Customer Reviews

Enemies of Energy

5 star:		(10)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

I had previously only heard Kurt on two albums, one by Paul Motian, and the other by Chris Potter, both albums he plays superbly. So my expectations were high, however on this album, he exceeded them in a much different way than I expected. Throughout he shows off his highly developed and personal guitar style, but on the album I feel that his writing ability shines through even more. The songs are beautifully crafted and well thought out. Beautiful is the key word here. The melodies are very linear as is the entire album. Shifting from jazz to groove, to polish(classical really), to music that can't even be classified in a genre, and that in my opinion is the key of a great artist and song. To defy category and genre, and this album in my opinion achieves that ideal beautifully. I strongly urge anyone to pick this album up and check him out now. He is highly touted and is going to be big soon enough. I hope you enjoy as much as I have been enjoying it.

Anybody that thinks this album is dull doesnt know anything about jazz music and where it is going. Rosenwinkel is heading a new wave in jazz, a new fushion. He uses complex time signatures, complex chord changes, and complex sounds. My favorite track is also track 4. I also really enjoy the track in which he sings polish. For you people who think this album is lame, go listen to Kenny G or something.

Sure, its only 2001, but I suspect this album would be in my millenial top ten even in 2999. Abandon all pretense when you toss these tracks on the old stereo system, and be prepared for a great step in the evolution of jazz. Rosenwinkel's compositions and arrangements are amazing to say the least, and every solo is a pristine example of what modern jazz improvisation should be.

If Rosenwinkel's guitar virtuosity isn't enough, then just wait for Mark Turner's Tenor Sax action. Turner might be the hottest sax player out there, and he certainly argues his case well on this album. The rest of the quintet (a regularly perfroming group, so everthing is TIGHT) consists of pianist and keyboardist Scott Kinsey, Bass-man Ben Street, and drummer Jeff Ballard. These three are no slouches themselves, and deliver top-notch performances.

Mind you, this is not trad jazz, its not Metheny, and I've been unable as of yet to give it a classification. All I can say is that its fun, hip and intellectual all at the same time, and it spends a disproportionate amount of time in my CD player.

I've had the great pleasure of seeing Kurt perform in a number of ensembles all around NYC, particularly in Smalls, one of the world's best jazz clubs. And there's no doubt he's one of the most creative young musicians working. He's a striking composer, and agile and inventive soloist, and, perhaps most importantly, has personal voice that doesn't mimic, but adds to history of his instrument and of jazz. The CD, which I got yesterday, is great introduction to his music. My personal favorite tunes are "Grant," "Number 10," and "The Polish Song," which, despite the reviewer's comments above, I find unique and compelling in a sea of sound-alike music. Congratulations, Kurt, it's a fantastic album. Go ahead and buy the CD - you'll be able to tell everyone what a wonderful discovery you've made.

'The Enemies of Energy' is a great album. And Scofields remark of Rosenwinkel being 'the finest en most creative jazz guitarist today' is not one of a delusional drunk, but a statement of another great jazzguitarist, one that knows his business. Pat Metheny says about Rosenwinkel that he has vision and that Rosenwinkel works hard to meet his personal criteria of what music is.

Metheny and Scofield make no false statements. Indeed, Rosenwinkel is one of the great. His skills on the guitar are tremendous, his compositions are succesfull endeavours to immortality.

Track 4 starts Scofield like and turns out to be more a Metheny kind of thing. I think Rosenwinkels style is amidst their styles, but one can not say that Rosenwinkel is nothing else but a mere mixture of Scofield and Metheney. He has his own notions and puts them on disc after disc.

The greatness of this album is not only to be found in the composing and guitarplaying Rosenwinkel. It is also a case of groupeffort.

Mark Tuner is also one of the greatest musians. His saxplaying strikes me again and again. Check his efforts on Matthias Lupri's latest album. Wauw! I saw Tuner play in the Dave Holland Big Band (NSJF 2005)! Excellent performing! 'The Enemies of Energy' is trough the interaction of Mark Tuner and Kurt Rosenwinkel one of high standard.

Ben Street and Jeff Ballard are also great artists. Just check the work the have done in the recent years. These guys are every where and all around. On this album they play a couple of very modern rhythms.

Mayby this second album of Rosenwinkel is not his best, but it of high quality and it has more than some elements that I find interesting. The usage of acoustic guitars and the 4 string stella is a new element on Rosenwinkels albums. This new element proves to be essential for this album. Especialy in combination with the piano. The acoustic guitars lift Rosenwinkel his music to new levels, it brings new meaning to his melodic poetry and makes the whole sound sound even more full, though the fullness is also smoothend by it.


Enjoy!




But note: Rosenwinkel is not a singer! Hope he will not do that again!

Prior to hearing this album, I had only hear Kurt Rosenwinkel with Paul Motian, and on a Chris Potter album, "Vertigo." On both albums he does an outstanding and beautiful job. However, on this album, he goes beyond anything I had heard prior. The album shows off less of his guitar virtuosity than it does his ability to write structured and beautiful songs. Yet, he really does cook throughout the album, also he shows how masterfully he can handle an acoustic guitar. Overall, the album is, in my opinion, phenomenal. The playing and songwriting throughout is full of depth, emotion, personality, and beauty. I strongly urge you to start checking this kid out now, becuase sooner or later he will be everywhere.

This guitarist's second album under his leadership is, to the greatest extent of any guitarist's album, as much about a full complement of instruments in balanced contribution as about guitar fireworks. The thematic content and development are sensitive, tight, and potent. At moments there is something reminescent of Scofield... of Holdsworth... of Abercrombie. Yet there is, in the entirety, something wholly original happening and it's utterly exciting. The phrases catch you off balance and play with your sense of timing and momentum like some heady amusement park ride. While the harmonic content is as edgy and fresh as metallic blue neon. This album, as well as his latest "The Next Step" are of that phenomenon where a sense of urgency emerges as waves of unanticipated originality in musical thought catch you in their undertow. Like the days of summer childhood at the beach... there is something innocent and joyful. Yet these are important moments.... moments you'll want to remember... You'll want to hum these tunes in your head... Your soul wants to swim as freely as these dolphins.... always!

Take the cool vamps of Larry Coryell, the chord voicings of Pat Metheny, and the freedom of John Scofield, and you start to recognize the new sound of young guitarist Kurt Rosenwinkel. But don't stop there. Mr. Rosenwinkel has developed his own special qualities -- and it's a breath of fresh air in the very crowded world of jazz guitar.

One of the things that first struct me is Rosenwinkel's use of fast picking techiques, rather than the more common use of legatto playing that many of the young players are using. This gives his sound an edgy feel, reminiscent of early jazz-rock.

And while Rosenwinkel's playing is distinctive, it is the music that captures your attention. On the surface each track is sensitive with a hint of dissonance, but behind it is a threating storm. Take the scond track, which lulls you into thinking it is standard funk piece, until you start hearing the overlaying of complex keyboard and sax melodies, and then the raunchy guitar riffs on top.

There are very few pyro-techniques here. The musicians play in service of the music. Tenor saxophonist Mark Turner plays most of the leads, and does so with finess and grace. Scott Kinsey, from Tribal Tech, works well with the group, adding accoustic piano and synth support when needed. The rhythm section consisting of Ben Street in bass and Jeff Ballard on drums do a fine job of keeping the music on track.

This is a fine album from a fresh new voice in jazz.

Kurt's work shines on "The Enemies of Energy". I have heard him as a sideman both live and on recordings--where his reserve is equally impressive. But this recording truly displays his unique creative process. The band members are household names by now, and deservedly so. We have a genius on our hands here; this recording is a must-have.

I don't know what that other guy was talking about....this album doesn't sound like a pat metheny "derivative" to me...unless you count playing the guitar as derivative.

Excellent tunes. Killer musicians. I've been listening to this album pretty much 8 hours per day for the last week. Especially track 4...the vocal unison with the melody creates a really cool texture. Kinda reminds me of eliane elias...except this ain't eliane's music by a longshot. :)

(Just a little side note: I saw them in concert and wasn't especially impressed. They were dull. Weird.)