Intuit

カート・ローゼンウィンケルの1998年クリスクロス・レーベルに残した唯一作『INTUIT』
180g重量盤にて待望の初LP化!

フィラデルフィア生まれのギタリスト、カート・ローゼンウィンケルが、1998年クリスクロス・レーベルに残した唯一作、『INTUIT』を180g重量盤にて待望の初LP化!
カート・ローゼンウィンケルは、90年代にたNYジャズシーンに颯爽とデビューし、「Verve」を中心に次々に新譜をリリースした。スタンダード・ナンバーに特化したカルテット・セッションではバップを得意とするギタリストの深みを感じさせる。
本作では、ピアニストのミカエル・カナン、ベーシストのジョー・マーティン、ドラマーのティム・プレザントがバックを務める。スタンダードとオリジナル・レパートリーの境界を曖昧にするような、その後のカート・ローゼンウィンケルの試みを予見させる1枚。

Intuit, a quartet session devoted entirely to standards, is not entirely representative of Kurt Rosenwinkel's art. However, it does reveal the depth of the guitarist's expertise in the bop idiom, and is therefore worth the attention of devoted fans. Rosenwinkel's sound throughout this straight-ahead excursion is fairly dry -- a touch of reverb, no shimmering delay, no ethereal vocalizing, a bit less distinctive than usual. His highly modern approach to harmony often comes through, however, even on vehicles as traditional as "Darn That Dream." And, as always, he uses the physical properties of the guitar to alter the sonic dimensions of his lines, as when he plays a long string of 16th notes near the bridge during his solo on "When Sunny Gets Blue." Other highlights include two fast takes of George Shearing's "Conception" and two less-than-commonplace Charlie Parker heads, "Dewey Square" and "Segment." (Miles Davis's "Sippin' at Bells" is wrongly credited to Parker as well.) Rosenwinkel's partners are pianist Michael Kanan (author of "Epiphany," the date's only original), bassist Joe Martin, and drummer Tim Pleasant. The way he interacts with these straight-ahead players says a great deal about his breadth as a jazz musician. It also foreshadows his later attempts to blur the boundary between standard and original repertoire. ~ David R. Adler