Frequently bought together
Customers who viewed this item also viewed
Customers who bought this item also bought
Intensely dedicated to the instrument, Jonathan was featured in Guitar Player and DownBeat while still in his teens. He won a scholarship to the University of Miami, where he held the guitar chair in the acclaimed Concert Jazz Band, touring Brazil and performing with Joe Henderson, Michael Brecker, and Red Rodney. Since returning to New York City, Jonathan has worked in the bands of many jazz greats including Lee Konitz, Joe Locke, Dr. Lonnie Smith, Joel Frahm, Greg Tardy, Lenny White, Roy Nathanson, Donald Edwards, Jane Monheit, Ari Hoenig, and Yosvany Terry. He has also led groups of various sizes featuring artists such as Bill Stewart, Larry Grenadier, and Scott Wendholt.
His newest CD features all original compositions except for a cover of Gershwin's Nice Work If You Can Get It. It features saxophonist Will Vinson, pianist Henry Hey, bassist Matt Penman and drummer Mark Ferber. From the band's entrance on the first cut of SHADOWLESS, the intentions are very clear -- This is Jazz as an evolving artform. The respect for the tradition is deep but the compositions stretch the possibilities of form, the sounds challenge the possibilities of the ''acoustic'' jazz group, and the improvisations reflect a working band that has electrified audiences on five continents over the past few years. The result is a rythmically deep and lyrically compelling journey.
''On a conceptual level, I wanted the disc to have a strong impact...the effect of a bright light. After the smoky, late evening feel of last year's NIGHT SONGS (Criss Cross), I wanted SHADOWLESS to wake people up.''
Featuring Jonathan's touring band on tunes such as the powerful opener Twenty One, and the otherwordly groove of Stir the Stars, the quintet is pared down to a quartet on the hauntingly lush Long, Like a Mercury Day, a trio on the deceptively grooving romp on Nice Work If You Can Get It, and an intimate yet exciting Hey/Kreisberg duo reading of the title cut.
As a guitarist, Jonathan Kreisberg has been steadily building his name as the one of the instruments brightest young stars.
''Jonathan Kreisberg is a great musician whose playing and writing always tell a story. His formidable technique and intellect never get in the way, but only serve the agenda of the heart.'' -Joe Locke
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
The set starts w/ a fast tempo, Metheny-style postbop piece #1 'twenty one' that slows down for Vinson's input, and is followed by the sweeping #2 'stir the stars'. The title track #3 'shadowless' is a duet with pianist Henry Hey (Rudder, Chris Tarry Group; also an educated trumpet player) that somewhat reminds me of the French pianist Michel Petrucciani's (R.I.P.) duo segments with guitarist Jim Hall on the album called Power of Three (also including Wayne Shorter - 1987, Capitol).
#4 'zembékiko' utilizes a Greek dance (for fellas) form in 9/4, with Kreisberg's tone being akin to that of Kurt Rosenwinkel's, morphing into fast swing for the sax-piano exchange. The lyrical #5 'long, like a mercury day' has a standardish feel and - you may disagree - is vaguely reminiscent of Metheny's brooding 'as i am'.
The invigorating #6 'common climb' finds the bandleader sporting a sitar-like guitar sound that gives way to a jazz-rock/funk change towards the end. We also have the light and airy #7 'defying gravity' and an engaging trialogue of guitar - bass (Matt Penman) - drums (Mark Ferber) on Gershwin's #8 'nice work if you can get it' as a closer. Total time: 54.23 min.
However, this doesn't top his "South of Everywhere" and "Unearth" albums, which I believe to be Kreisberg's best. Those two albums just floored me when I heard them. I enjoy the electric piano playing on those albums and believe they blend well with Kreisberg's guitar tones. It's also worth checking out Kreisberg's work on the Dr. Lonnie Smith album "Spiral".