Enemies of Energy
Guitarist-composer Kurt Rosenwinkel has a poetic spirit capable of both intriguing innovation and arty pretension. Some of Rosenwinkel's conceptions fall flat. "Cubism," for example, which he describes as "a 12-bar arrangement of the 12 major keys--one key per bar," is meant to parallel "the way cubist painters fragmented the basic elements of their art" but turns out to be a rather bland hopscotch. And "The Polish Song" is a quavering acoustic ballad sung by Rosenwinkel in a high-pitched gibberish that he imagines "might be Polish." But there's also evidence here as to whyPat Metheny,John Scofield, and especiallyJoshua Redmanpraise Rosenwinkel so effusively in the liner notes. His tunes are distinctive in ways small and large: a chiming bell on the "Number Ten" signature riff puts a cherry on that song's buoyant sundae of flavors, while "Dream of the Old," is a multihued tone poem that perfectly captures the wistful/peaceful/equivocal tenor of the aging process. At its best, Rosenwinkel's guitar work is reminiscent of Scofield's curlicue phrasing and full-bodied tone. The rest of the quintet handles the diverse material with sensitivity and aplomb, particularly saxophonistMark Turnerand bassist Ben Street.--Britt Robson