Kurt Rosenwinkle: The Next Step

In the aftermath of Ken Burns' controversial documentary, questions about the "End of Jazz" or the death of innovation have resurfaced in jazz criticism. Evidence against this historicized perception abounds. The New York City jazz club Small's is a prime example. Over the past decade, Small's has become a testing ground for talent and creativity, producing a growing litter of young lions. Guitarist Kurt Rosenwinkle has emerged as one of the club's most promising alumni; his new album, The Next Step, provides a telling showcase for his skill.

Like most young musicians recording for major labels right now, Rosenwinkle possesses a formidable array of technical abilities. Unlike many, though, he deploys his chops in service to a haunting lyricism. Each of Rosenwinkle's solos draws on a wealth of melodic ideas to trace a coherent narrative. The power of these improvisations is only enhanced by the remarkable tone he manages to produce. Rosenwinkle sings along with almost every note he plays. In lesser performers, this technique smacks of affectation and merely distracts from the music. Rosenwinkle, however, uses his own voice as a natural choral effect and generates a delicate echo.

Rosenwinkle's distinctive style finds ample support from his impressive quartet. Drummer Jeff Ballard and bassist Ben Street negotiate the complexities of the recording's eight original tunes with ease. Mark Turner's tenor saxophone makes a suitable complement to Rosenwinkle's own melodic lines. Turner's long phrases and hard, percussive tone add textural density, helping the quartet to eliminate distinctions between rhythm section and front line. Together, these four musicians craft powerful tracks that transcend standard forms. (Verve) —Aaron G. Jakes

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