"As a jazz guitarist with leanings toward Pat Methenys song-rooted openness, Kurt Rosenwinkel has long been a discreetly creative leader of fine bands. But hes long nurtured an urge towards more vocals-oriented music, that could include his reflections on the human condition. It was hinted at on 2003s "Heartcore", and revisited on "Caipi", on which he sings and plays many instruments, and which includes some telling vignettes from Eric Clapton and the classy tenor saxophonist Mark Turner. Rosenwinkels rich frameworks for Eliane Eliass singer daughter Amanda Brecker sometimes suggest that an intriguing, Metheny-and-hip-hop-inflected update of classic samba jazz hides in the wings, and the leader is typically fluent and narratively elegant whenever he cuts loose on guitar. But improv takes a back seat to some prosaic autobiographical songs, cleverly produced and harmonised ensemble pieces and a dinner-jazzy vibe that undercuts the projects undoubtedly sincere objectives." (John Fordham, The Guardian)
"Listening to "Kings Highway" one can feel this fellowship, the solidarity of the musicians, their sense of purpose to achieve a feeling that goes beyond the notes or the technical abilities of the individual players. Not all jazz is like this. Often a particular soloist is forefront, supported by the others driving the leader's vision and solos to express themselves. Spiritual is a word that comes to mind often when listening to this band. Though this recording feels more fusion inspired at times than previous albums, there is always a return to a sound with a palpable sense of a searching for holiness, for truth, for fellowship, not only amongst the players, but with the listeners as well. The album ends with a spiritual hymn and prayer named "God Be With You", setting a final, beautiful, solemn tone to the record. With this record Brian Blade and The Fellowship Band invite the listener along to join their fellowship on a musical highway of life, and so we should." (All About Jazz; 4 uit 5 sterren)
"One of Joel Frahms major strengths is his ability to adapt his saxophone playing to a number of seemingly incongruous settings with grace and ease. And while the tenor saxophonists chameleonic tendencies on this live set are largely kept in check, theres enough shifting in tone and approach to make one wonder whether all of the saxophone parts are by the same guy. They are, of course, and despite the stylistic zigzagging, theres a consistency to the level of performance quality throughout the program, which teams Frahm with the ever more impressive Kurt Rosenwinkel on guitar, bassist Joe Martin and drummer Otis Brown III. The quartet navigates the multiple moods like the pros they are, transforming the musics potentially off-putting eclecticism into a positive where others would have let it weigh the set down." (Jeff Tamarkin, Jazztimes)
De drummer maakte 2 eerdere platen onder de 'Fellowship'-vlag, in 1998 en 2000, met moderne jazz waar roestbruine invloeden uit americana in doorsijpelde. Acht jaar later is de naam veranderd in The Fellowship Band en heeft pedal steel guitarspeler David Easly de band verlaten. Naast gitarist Kurt Rosenwinkel 'vechten' Myron Waldon (as, bc) en Melvin Butler (ts) voor een plaats in de 'frontlinie'. Vooral Rosenwinkel bewijst in tracks als "Return Of The Prodigal Son" een gevarieerde, kleurrijke en gevoelvolle speler te zijn. Maar het draait vooral om het bandgeluid, dat ook zonder de jazzvreemde pedal steel bijzonder blijft. "There isn't a jazz record out there like this, and perhaps there won't be; this is the place where the argument stops: jazz is not only alive and well, it is on the verge of an entirely new adventure; this album is the aural proof of a new, exciting sound that offers new possibilities for jazz is in our midst. Brian Blade & the Fellowship Band are sounding its cry." (Thom Jurek, Allmusic)
Acclaimed yound Danish tenor sax player, Jakob Dinesen (another ex-Berklee student) and the hottest current US guitarist, Kurt Rosenwinkel, join Anders Christensen (double bass) andKresten Osgood (drums) in an energetic and highly varied studio album featuring original pieces and material by Coltrane, Bill Evans, Wayne Shorter, & Django Reinhardt.
Unieke blend van jazz, rock en electronica, voor een groot deel zelf laag voor laag gecreeerd in z'n studiootje, maar er zijn ook bijdragen van o.a. Mark Turner (ts). Zegt evenveel beinvloed te zijn door Arnold Schonberg als door hiphop.
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