Kurt Rosenwinkel. While it’s fun to blame my unfamiliarity with most of his catalog on a petty dislike of his hats, my ignorance stems from never having seen a performance by the acclaimed guitarist, composer and bandleader. I’ve blown off chances to see him in New York City, and I didn’t catch him at his two area appearances in recent years (at the Blue Room in 2009 and at the KU Jazz Festival in 2013.)
Eric Lewis, the genre-bending artist who works as Elew, just issued a new solo piano album of Rosenwinkel compositions on Rosenwinkel’s in-house record label. The stunning project reveals that Rosenwinkel’s songs merit comparison to the likes of Wayne Shorter and Pat Metheny. Cubism inspired me to go down a rabbit hole.
I began my Rosenwinkel binge with Do It 1992. Released in April, the goofy 23-minute project features a throwback drum production. I moved on to Caipi, a bossa nova-inspired pop album released in 2017. It’s jarringly weird. I jumped back to the 2003 album Heartcore. How I regret missing this stunningly prescient project! Rosenwinkel anticipates the sound collages popularized by James Blake, Kanye West and Justin Vernon a decade later.
By the time I finally get around to studying the remainder of Rosenwinkel’s extensive catalog, I won’t be thinking about hats.
I reviewed concerts by Shawn Mendes and Khalid at the Sprint Center for The Kansas City Star.
I write weekly concert previews for The Kansas City Star.
I reviewed the return of Ehud Ettun and Henrique Eisenmann to the 1900 Building at Plastic Sax.
(Original image by There Stands the Glass.)