Mel Bay Presents
Kurt Rosenwinkel Compositions MB20749 by Kurt Rosenwinkel Transcribed by Chuck Stevens
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contents Selected Compostions & Solo Transcriptions from
Deep Song
brooklyn sometimes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 cake (Gershwin/Rosenwinkel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 the cloister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 the cross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 gesture (lester) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 synthetics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 use of light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Selected Kurt Rosenwinkel
Compositions
a shifting design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 cubism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 east coast love affair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 minor blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 our secret world . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 path of the heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 zhivago . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Appendix - piano parts brooklyn sometimes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 the cloister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74 our secret world . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 kurt rosenwinkel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
introduction Here is a book of compositions and solo transcriptions. The solo transcriptions are from my CD “Deep Song” and the compositions were selected from all of my songs spanning the last 15 years. I hope that you find meaning and enjoyment in working with this book, and I encourage playing these songs with your own group. Play more, discover more! Kurt Rosenwinkel Corey Christiansen’s intro… Corey Christiansen’s intro… Corey Christiansen’s intro… Corey Christiansen’s intro… 2
compositions
kurt rosenwinkel
3
k ur or st e n w i n k e l
compositions
“BROOKLYN SOMETIMES”
[A]
G D mi /
D mi9
guitar
D mi(sus)
D mi69
D mi9
3
Guitar
C MAJ 7 D /
G 1 D mi /
6
11
D MAJ7(#11)
[B] A
16
C mi
D 20
25
D mi
D
B bMAJ 7
E#b F/7[1b93]
A 7(b9)
piano melody
G mi
E mi7
E
[C] A b7sus
B bmi
guitar melody
E E/b
B bmi7(b6)
F #13
B bmi
D mi
Add 1 bar on keyboard solo
A mi(b6)
D.C. al Coda
30
[C]
F Eb / E B b7sus B/b
A MAJ 7
A6
A 7sus4(b9)
Ab
A bmi11
3
F #mi7(b5)
mi(b6)
G/ Bbb
F #7[13 b9] Gmi(ÂÅ7)
B7 D /
[Solo] F MA9 A mi Db /
G bMAJ7(#11) G 7sus E MA7(=5) D /
E b7alt
A b7sus
E mi7
A mi9
B bmi9
F MAJ 7
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
4
A mi9 B /
G7
B bmi9 C /
k ur or st e n w i n k e l
compositions
“BROOKLYN SOMETIMES”
F MA9
A mi Db /
G bMAJ 7
G 7sus
A b7sus
mi7
F
bass pg. 2
A mi9
B bmi9
E MA7(=5) D /
A mi9 B bmi9 B / C/
Open
Eb
7alt
E
MAJ7
G
6
7sus4
To PIANO solo
compositions
k ur or st e n w i n k e l
“BROOKLYN SOMETIMES”
G D /
D mi9
solo pg. 1
D mi69
3
D mi(sus)
P
P
1
5
T A B
3
6533
4 5 5
3
3
4 5 5
sl.
5
3
P
P
6 5 5
C MAJ7 D /
G D /
D mi9
7
6 5 5
3
5 3
2
3
2
B/ D7 sl . sl.
5 sl.
T A B
0 3
2
5
3 5 3
5
5
4
8
7
7 5
8 6 8
F #7[13 b9] B /
B mi11
5
8655
G mi(ÂÅ7) B /
sl.
4
4
sl.
424
4 2
1
2
B mi6 sl. sl .
9 sl .
T A B
5
5
7
F #7[13 b9] B /
7
9
7
9
7
9
7 10
7
11 7
14
11 1 0
9
7
7 5 4 2
B bMAJ7 D /
B mi11
5
3
sl .
2
4
E mi7 D /
sl.
12
T A B
2
3
4
3
5
2
4
4
3
A 7(b9)
4
2
2
2
3
5
sl.
6
5
3 5
3
3
5
(Piano)
A
3
G D /
D mi9
P
16
T A B
2
P
5 2
5
3
2
5 2
2
5
5
4
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
7
7
7
3
0
k ur or st e n w i n k e l
compositions
“BROOKLYN SOMETIMES”
D mi69
P
20
D mi9
G D /
sl.
sl.
P
7 7
T A B
D mi(sus )
solo pg. 2
7 7 3
0
7
5
C DMAJ7 /
B D7 /
10
8
7
10
sl.
sl.
10 10
88
866
B mi11 P
sl.
24 P
T A B
8 6 5 5
1
2
sl.
5
4
5
4
3 4
G mi(ÂÅ7) B /
F #7[13 b9] B /
0
B mi6
0
P
2
0
2
2
4
3
4
7 10
7
sl.
3
27
T A B
P
11
14
12
16
14
F #7[13 b9] B /
H
P
14
s l.
12
16
14
B mi11
P
12
sl.
14
13
B bMAJ 7 D /
11
H
14
13
11
P
3
29
T A B
H
10
11
8 9 11
11
8
P
9 12
9
8
H
sl.
P
11 10
7
9
7 5 35
8
5
E mi7 D /
7 5
8
H P
A
P
7(b9)
P
6
5
7
7
G bMAJ7(#11)
MA9 H
F picking close to the bridge
32
T A B
P
7 8
H
5 7
H
P
5 6 5
5 7
7
4 7 4
5
5
2 5 2
5
4
0
8
P
5 3
P
2
2
1 2 0
4
3 1
1 3
1 3
1 3
compositions
k ur or st e n w i n k e l
“BROOKLYN SOMETIMES” solo pg. 3
G 7sus
A b7sus
A mi9
A mi9 B /
B bmi9
H
P
sl.
picking close to the bridge
35
H
P
T A B
1
1
1
3
1
3
1
4
A Dmib /
4
1 4
MA7(=5)
E b/ D
11 1 0 9
2
1
2
3
Eb
3
7alt
sl.
0 1 3 3 4 6
1 1 0 1 3
1
E mi7
s l.
8 7 8 1 0 11 8
8
F MAJ7
87
4
5
5
5
5
7
5
7
8
F MA9
G7
8
sl.
sl.
sl.
7 12
0
sl.
sl.
38
T A B
B bmi9 C /
G bMAJ7(#11)
G 7sus
5
7
A b7sus
41
T A B
5
5
3
7
B bmi9
A mi9
5
3
2
1
4
2
3
5
sl.
44
P
sl.
P
5
2 5
3
b7alt
4 5
6 5 3
6
E P
5
2
H
P
5
3
3
5
0
F
MAJ7
3
0
3
9
0
sl.
6 8
sl.
sl.
6 43
7 6
P
G
P H
3
E MA7(=5) D /
5
7 P
H
1
P
6
P
5 8 7
H
P
5
3 5
5 6
E mi7
P
47
5
2 45
4
3
2
3
4
sl .
P
T A B
T A B
4
A mi Db /
B bmi9 C /
A mi9 B /
P
1
2
2
1
3
1
0
P
3
3 1
3
0
0
2
1
k ur or st e n w i n k e l
compositions
“BROOKLYN SOMETIMES”
G bMAJ7(#11)
F MA9
solo pg. 4
G 7sus
A b7sus
50
T A B
3
5
3
2 3 5 6
A mi9
5
6
5
4568
B bmi9
6
7
A Bmi9 /
5
9 8 6 5
7
Bb Cmi9 /
5
6
6
Ab Dmi /
4
5 6 4 5
MA7(=5)
E b/ D
sl.
3
3
3
52
T A B
4
2
5
3 5 2
35
E b7alt
6 3
4
6
3
5
E mi7
4 2
2 5
F MAJ 7
5
3 5
6
8 10
G7
P
sl.
2 4 4 6
9 10 1 1 8
sl.
9
9
9
sl.
55
T A B
8
sl.
10
sl.
9
7
6
7
4
5
7
5
8 12 10 8
P
5
7
7
5
G bMAJ7(#11)
F MA9
7
10 8
7
G 7sus
6
5
7
5
A b7sus
H
58 H
T A B
4
5
7
4
5
4
7 6 5 3
4
3634
6
A mi9 B /
B bmi9
mi9
5
4
5
H
P
4
3
5
4
5
B bmi9 C /
sl.
60
P
H H
5
3
2
5
4
2
2 5
6
4 6
5
6
4
4
10
5
2
3
5
3
2
sl.
5
3
6
4
6
H
H
H
A
T A B
3
3
6
6
6
4
H
H
4
6
6
4
compositions
k ur or st e n w i n k e l
“BROOKLYN SOMETIMES”
A mi Db /
E bMA7(=5) D /
H
solo pg. 5
E b7alt
E mi7
F MAJ 7
62
T A B
H
5
5
7
G7
7
7
F MA9 G bMAJ7(#11)
7
10 8
A mi9
8
8
B bmi9
68 s l.
8
P
8
4
T A B
8
5
10
3
G 7sus
A b7sus
5
8
A mi9 B /
P
5
E b7alt
8 5
8
5
B bmi9 C /
P
P
P
7
8
6
6
P
9
7 6
8
s l.
5
8
F MAJ7
E mi7
5
7
6
7
5
A mi Db /
H
8
4
5
E MA7(=5) D / sl.
H
7
sl.
8 10 8
5
11 8
G7
sl.
71
3
5 2
sl.
12 8
sl .
T A B
3 2 5
2 2 6
7656
sl.
65
T A B
4
12 10 8
A
H
sl.
sl.
1 4 1 5 16
(piano solo)
sl.
1 6 17
17 12
13
10
12 10
12
8
11
5
6
5
H
7
6
7
5
2 2 2 0 4 4
2 4 3
sl.
k ur or st e n w i n k e l
compositions
“CAKE” Slow Soviet Revolutionary Memorial
D mi F mi D mi F mi
D mi F mi D mi F mi
D mi A mi D mi F mi
D mi A mi D mi F mi
Turn of the Century American Ballad
5
A mi7
C
C
A 7 G mi A 7 G mi A 7 G mi A 7 G mi Bb D /
D
A mi7 B mi7
D MA6 A mi7 B mi7
D mi7 G 7 A mi7 B mi7 D 7(b9) 1st time: RITARD Ending: NO RITARD
G
=
4x
. 14
G mi
fine
E MAJ 7
[A1]G mi7 22
28
F mi G/mi
Piano & Bass IN
4 Bars Drums
B mi7 E /
G bMAJ 7 Db /
C MAJ7(#11)
C MAJ7(#5 ) B mi7 E /
C MA7(#5) E /
[A2] GMAJ 7
34
D mi7
C MA7(#5) E / E bMAJ 7
G bMAJ7 Db /
D mi7
C MAJ7(#11)
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
12
B mi7 E / E MAJ 7
compositions
k ur or st e n w i n k e l
“CAKE”
C MAJ7(#11)
[B]
pg. 2
C MA7(#5) E /
B mi7 E /
C MA7(#5)
C MA7(#5) E /
B mi7 E /
B mi7 E /
A7
G mi
G mi
A7 1
A7
2
G mi
F mi7 D.S. al Coda
D.S. al Coda
[Solos] Last Solo
[A1] [A2] [B]
[C] A 7[13 b9]
[A1] [A2] [C]
Original Tempo / Head Out
F mi G /
[C] D mi1st x only ( )
13
G mi F /
8x
k ur or st e n w i n k e l
compositions
“CAKE”
D mi
A 7(b9)
solo pg. 1
F mi G mi G / / F
sl.
sl.
10
F mi G /
D mi
G mi F /
sl.
sl.
5
T A B
F mi G /
D mi
10
G mi F /
10
8
10
13
D mi
F mi G mi G / / F
D mi
1 7 1 6 1 5 17 14 13
1 4 1 3 1 2 11 1 5 1 0
14 1 0
6
T A B
F mi G /
17
15
F mi G mi G / F /
D mi
G mi F /
sl.
P
P
D mi
F mi G /
G mi F /
13
1 2 11
3
11
T A B
P
sl.
14 1310
P
13 12 1 0 1 3
F mi G /
D mi
sl.
P
G mi F /
10
8
10
10
10
10
12
G mi7 P
P
16
T A B
13
sl.
P
sl.
P
sl.
picking close to the bridge
10 10 10 12
12 10
sl.
P
14 12 10
8
P
13 12 11
P
10
13 1 2 1 0 8
P
P
6
5
3
1
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
14
10 9 8
6 5
8
sl.
compositions
k ur or st e n w i n k e l
“CAKE”
E MAJ7 sl.
solo pg. 2
G bMAJ 7 Db /
D mi7
sl.
21
T A B
7
5
4
7
5
4
12
5
2
3
2
5
5
2
1 3 11
T A B
11 10
picking close to the bridge
8
7
9
7
10 9
7
C MA7(#5) E /
10 9
7
5
3
2
3
B mi7 E /
C MA7(#5) E / H
7
4
5
7 9
7
4
B mi7 E /
5
5
7
10
7
7
G MAJ 7
P
P
7
4
H
4 6
5
B mi7 E /
5
picking close to the bridge
36
T A B
8
B mi7 E /
C MAJ7(#5 )
26
31
9
3
C MAJ7(#11)
T A B
P
sl.
sl.
sl.
P
sl.
7
9
8
7
10 10
9
D mi7
E MAJ7
11
7
P
P
D mi7
P
P
sl.
D mi7
12
H
3
T A B
P
P
41
11
12
12
12
10
P
8
7
15
5
3
H
P
sl.
10 8
5
4
5
3
5
4
2
k ur or st e n w i n k e l
compositions
“CAKE”
G bMAJ 7 Db /
C MAJ7(#11)
solo pg. 3
C MA7(#5)
H
3
3
4
H
sl.
45
T A B
3
5
4
2
B mi7 E /
3
3
5 5 3
5
2
4
5
2
2
4
5
4
5
5
C MA7(#5) E /
2 5
B
5
3
4 7
2
3
4
5
2 5
4
B Emi7 / 3
3
3
T A B
5
C MA7(#5) E /
3
50
3
H
H
sl.
5
7 5 7
9 5
9
7 9
3
3
3
3
7 10
10 9
7 8
12
B mi7 E /
P
3
3
10 14 1 2 12 10 12 13 12
A7 P
3
B
54
T A B
P
17
16 1 9
19
19 18 17
A7
G mi
B
15
1 3 12 1 1 1 0
9
11
12 1 0 9
B
sl.
B
59
T A B
8
7
B
H
12
(10)
sl.
13
19
A7
sl.
G mi
G mi s l.
T A B
13
10
G mi
64
P
12 11
A7
G mi
H
10
H
sl.
13 14 1 7 1 5
16
14 15
1 7 16 14
16
H
17 15 14
sl.
17 15 12
14 12 11 12
10
9
compositions
k ur or st e n w i n k e l
“CAKE”
A7
B
G mi
solo pg. 4
A7
P
F mi7
A7
P
P
69 B
T A B
12
11
G mi7
P
9
5
6
5
6
5
G mi7
P
9
5
E MAJ 7
G mi7
10
P
8
9
6
7
5
D mi7 P
sl.
74
P
T A B
3
P
8
5
5
6
3
D mi7
G bMAJ 7 Db /
P
3
5
5
C MAJ7(#11)
2
3
5
5
C MAJ7(#11)
3
5
5
6
P
4
6
5
5
3
3
4
5
5
C MA7(#5) E /
B mi7 E /
4
P
P
84 B
T A B
5
4
P
3
C MAJ7(#5 )
B
3
P
P
P
79
T A B
4
P
sl.
8
1
2
4
B mi7 E /
5
2
P
4
5
2 5
C MA7(#5) E /
P
H
P
5
4
4 7 4 6
5
4
7
5
B mi7 E /
7
7
9
P sl.
P
89
T A B
9
7 12 10 8
7
H
P
P
10 8
7 10
7
9 9
7
17
7
9
7
sl.
P
5
4
7
6
4
7
6
7
4
5
7
5
k ur or st e n w i n k e l
compositions
“CAKE”
G MAJ 7
solo pg. 5
E MAJ7
E bMAJ7
H
P
sl.
D mi7
sl.
sl.
sl.
P
sl.
94
T A B
P
7
7
H
4
0
sl.
2
5
4
2
5
5
5
6
5
8
G bMAJ7 Db /
7
8
sl.
7
9
9
C MAJ7(#11)
11 1 2 8
P
sl.
10
P
10
9
10 7
P
P
8
P
H
3
13
T A B
14
3
P
14
10
12 8
12
3 P
P
10
10 7
8
8
5
7
H
7
10 7
3
3
P
3
7 3
5
B mi7 E /
5
P
B
3
2
3
P
3 0
C MA7(#5) E /
C MA7(#5) E /
B
P
P
P
P
P
P
2 0
2
16
3
12
P
14
13
3
3
10
12
12 8
B mi7 E /
P
3
P
3
P
10
10 7
P
9
8 5
7
A 7(b9)
P
109
T A B
B mi7 E /
0
P
P
104
5
C MA7(#5)
P
T A B
3
P
99
7
16 12
F mi G / D
13
14 13
G mi F /
12
1 6 15 14 13 13
12
1 5 14 13 12
G mi F /
F mi G /
D mi
16
15 14 13 12
15 13
D mi
mi
114
T A B
20 12
20
20
20
17
18
12
18
17
16
17
16
13
14
15
16
compositions
k ur or st e n w i n k e l
“CAKE”
F mi G mi G / / F
solo pg. 6
F mi G /
D mi
G mi F /
F mi G /
D mi
G mi F /
P
119
12
T A B
P
15 12
13
14 11
3
11 13 10
F mi G mi G / / F
14 13
10
D mi
P
3
124
T A B
13 10
10 11
G mi F /
F mi G /
D mi
1 4 13 11
3
11
P
10
10
12
13
1 2 11 1 3
F mi G mi F G / /
sl.
12
D mi
3
P
12 11 10 13 10
D mi
13 12
10
P
12
F mi G mi G / / F
sl.
sl.
12 11 10 13 10
10 10
10
10
G mi F /
F mi G /
D mi
10
3
129
T A B
sl.
1 0 1 0 10 1 3 1 4
13
15
F mi G mi G / / F
D mi
1 7 16
15
15
19 1 8
F mi G /
D mi
16 20 16
G mi F /
4
18
17
16
15
18 16
D mi
4
134
T A B
18
17
1 6 15
16
21
16
19
19
16
18
15
17
17 16 15 14 13
17
k ur or st e n w i n k e l
compositions
“CAKE”
F mi G /
G mi F /
solo pg. 7
F mi G /
D mi
G mi F /
D mi sl.
3
139
T A B
16 1 3 14
F mi G /
13
16 1 5 1 3
1 2 15
12
1 4 1 5 14
13
sl.
1 5 1 3 11 1 0
1 0 12 13
G mi F /
F mi G /
D mi
10
12 1 0
G mi F /
143
T A B
12
13
G mi7
146
T A B
10
11
13
10
10
13
sl. sl.
sl.
sl.
15
12
19
20
12
10
12
10
10
10
10
compositions
k ur or st e n w i n k e l
“THE CLOISTER”
[A]
A C/7(b9)
A mi7
guitar
F# C /
Db G / 3
F #7sus
A mi7(b6)
C MAJ 7
3
A C/7(b9)
5
A mi7
Eb G /
3
F# C / 3
3
9
F #7sus
A mi7(b6)
13
3
[A2] B mi7 phryg.
Gb Bb /
3 3
B A/7
E MAJ 7
C MAJ 7
3
D mi9
4
C Db /
3
E b7(#9)
E b7(#9)
E b7(#9)
3
3
21
B mi7phryg.
E bmi7
3
25
B9
3
F MAJ7(#11)
3
B9
[B] C MAJ7(#11)
3
A mi11 3
C MAJ7(#11)
29
F #mi7
B7
B7
3
33
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
21
E MAJ7
k ur or st e n w i n k e l
compositions
“THE CLOISTER”
C MAJ7(#11)
guitar pg. 2
C MAJ7(#11)
A mi7(b6)
C MAJ 7 3
37
[C] C mi7
F C /
D bMAJ7(#11)
41
4x
E bMA9 A C/7(b9)
45
[A3] A mi7
F# C /
Db G / 3
49
F #7sus
A mi(b6)
C MAJ 7
3
E MAJ 7
3
3
53
A
mi7
Eb
57
3
G bMAJ 7
61
A mi7
65
+7
MAJ7 C MAJ 7
3
3
D F# /
3
Db
B
7(#11)
3
A mi(b6)
G/b 69
C
[D] E b69
C MAJ 7 B mi7[b5n9]
F
MAJ7
A mi7
7alt
MAJ6
A/
C
E b+7
C MAJ7
22
3
compositions
k ur or st e n w i n k e l
“THE CLOISTER”
B7
F A /
F #mi7(b5)
77
guitar pg. 3
C
E mi7 To Solos
81
[B2] tacet 3
3
85
A mi7 3
IN
3
C MAJ7
BLOW!
89
Outro
F
MAJ7
B
mi7(b5)
C
MAJ7
D
mi7
fine 94
VAMP
23
k ur or st e n w i n k e l
compositions
“THE CLOISTER”
The Cloister
guitar pg. 4
SOLOS
A mi(sus )
A C/7(b9)
F #MAJ C /
D b lyd. G /
B F# /
7(b9)
E bMAJ G /
F #MAJ C /
B F# /
C MAJ B /
B A /
D mi9
C7 Db /
Gb Bb /
B phryg.
E bmi(+5)
F MAJ7(#11)
F #mi
B7
A
mi
C
C MAJ
A mi(b6)
A
mi(b6)
C
MAJ
E
MAJ
E balt
A mi
B 11
C MAJ7(#11)
E MAJ 7
C MAJ7(#11)
A mi(b6)
C MAJ 7 4x
C 4 th
F C / Form : Solos :
Play to [B2] To Coda al Fine
24
compositions
k ur or st e n w i n k e l
“THE CLOISTER”
A mi(sus )
solo pg. 1
Db G /
A C /
3
3
F #MAJ C /
3
3
T A
5
0
5 5
6 7
8
8
4
6
2
B
F #7sus4
A mi7
C MAJ 7
A mi(b6)
6
4
3
3
3
5
7
T A B
6
7
6
5
3
7
0
0
7
A C /
E bMAJ G /
H H
2
8 10
12 10
8
7
10
2
F #MAJ C /
A mi(b6)
F #7sus4
3
T A B
3
HH
10
5
78 9
5
C MAJ 7
8
6
3
3
3
8
6
4
3
4
5
3
4
2
7
5
3
B Phryg.
E MAJ 7
3
6
T A B
2
4
2
4
2
4
2
2
5
2
3
2
4
5
2
4
5
2
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
25
3
3
3
3
3
A 13(#11)
3
3
4
3
3
3
3
15
3
4
5
2 3 5 7 1 0 12
k ur or st e n w i n k e l
compositions
“THE CLOISTER”
D mi9
solo pg. 2
Gb Bb /
C Db / 3
3
3
19
10 8
T A B
7
8
8
8
8
76
9
8
7
6
8
6
9
E balt
6
9 8 7 6
B Phryg.
sl.
H
8
3 3
22
T A B
11
12
H
4
1 2 11
10
sl.
11
12
11
10
10
8
7
6
E bmi7
A mi11
F MAJ7(#11)
sl.
B9
3
P
3
3
3
3
26
T A B
sl.
6
7
7 8
7
8
12
8 7 7
P
P
4 2 4 5
2
4
5
3
5
2
3
7 5
3 2
4
4
2
2
4
B7
H
H
3 H
5
2 5
2
H
1 2
4
C MAJ7(#11) 3
H
B
4
2
E MAJ 7
7
7
F #mi7
P
P
31
2 5
5
9
C MAJ7(#11)
T A B
P
5
P
3
3 3
35
T A B
H
1
2
4
2
4 5
2 4 5 7
9 11
12
7
26
12 1 0 8
7
10 8
7
P
9
7 5
4
2
compositions
k ur or st e n w i n k e l
“THE CLOISTER”
solo pg. 3
C 4 th
C MAJ 7
A mi(b6)
F C /
3
3
T A B
3
3
3
39
3
0
3
3
3
3
8
8 13 10
8
9 10
2
F C /
C 4th
sl .
7
F/ C 3
3
sl.
44
T A B
8
8
5 7
5
6 8
6 8 1 0 15 10
13
C 4 th
even
P
11 10
11 10
8
11 10
7
C 4 th
s l.
sl.
13
8
6
F C / sl .
49
P
6 7 8 7 6
T A B
F C /
8
sl .
sl.
7654
5
4
3
5
4
C 4 th
H
5
3
4
5
sl.
3
5 3 2 3 5
2
3
3
52
T A B
3 H
1
3
5
1
3
1
3
0
3
F C /
5
6
3
3
5
5
4
6
A mi7
F C /
8
3 H
3
3
3
3
55
T A B
3
C 4 th
3
3
6
15
13
11
10
13
11
10
8
H
10 9
27
7
6
5
5
7
8
10 1 3
k ur or st e n w i n k e l
compositions
“THE CROSS”
[A] C
[B] B 7sus4
G mi7
pg. 1
G mi7
C
D 7alt
B 7alt
2nd x
Db
{ /G }
A bmi7(b6)
4x
G bmi7(b6)
7
E mi7(b6)
B 7sus4
D 7alt
B 7alt
G 7sus4
13
[C] C
Eb
19
[D] A bmi7
Gb
mi7
Db
D
A
Ab
E
C /
Ab /
G bmi7
A mi7(b6)
mi7(b6)
4x
G b7(13)
23
A mi(ÂÅ7)
Ab C /
A bmi7
Ab C /
29
A bMAJ 69
F #mi7
1
A mi7
C mi7
2
G 7sus To Solos
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
28
compositions
k ur or st e n w i n k e l
“THE CROSS”
[Solos] C
[A]
B 7sus4
pg. 2
OPEN
G mi7
C
B 7alt
D 7alt
G mi7
A bmi7(b6)
G bmi7(b6)
D 7alt
G 7sus4
[B] E mi7(b6)
B 7sus4
B 7alt
Eb
C
D
Db
4x
[C] Ab
[D]
mi7
Gb
mi7
Play [D] al After Last Solo Play [D] al
1.
A
after each Solo
2.
and
mi7(b6)
b A/ C
2.
29
the Vamp Out on
[A]
OPEN
k ur or st e n w i n k e l
compositions
“THE CROSS”
3
4
solo pg. 1
G mi7
C
T A B
5
5
5
C
5
G mi7
3
5
55535
5 3 3 3
G mi7
C
5
T A B
3 3 5
4
C
5
4
4
5
3
5
3
3
4
4
2
5
5
2
0
G mi7
C
H
2
2
0
1
2
2
0
2
2
3
4
5
H
15
3
H
3
65356
5 4 3 5
C
G mi7
C
T A B
4
G mi7
H
10
T A B
3
5
G mi7
6
3
4
5
3
4
P
P
3
5
0
3
5
3
5
3
G mi7
C
20
T A B
03330
3
0
3
3
5
3
3
53575
3
3
5
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
30
3
3
3
compositions
k ur or st e n w i n k e l
“THE CROSS”
solo pg. 2
G mi7
C
G mi7
C
25
T A B
G
3
mi7
5
3 5 5 5
5
6
5
7
7
7 10 1 0 8
10
9
10
G mi7
C
H
8
8 10 1 1
10
C
H
30
T A B
5
8
8 10 8
12
13
10
11
10
8 1 0 6
13
12
8
G mi7
C
G mi7
P
T A B
8
11
10 9
8
8 10
6
7
8
H
H
6
7
G mi7
C
10
H
P
35
10 9
8
12
7
5
8
7
5
H
6
6
3
5
6
5
G mi7
C
40
T A B
5 5
3
3
5
5
3
3
4
5
3
1
G mi7
C
4
P
3
2
C
H
s l.
sl.
P
45
T A B
2 5 4 3
2 5
4
4
3 5
sl.
7
5
5
H
7
8
31
5
6
9
5
4
7 6 4 3
sl.
5
k ur or st e n w i n k e l
compositions
“THE CROSS”
G mi7
solo pg. 3
G mi7
C
50
T A B
5
3
3
4
5
5
C
3
G
3
3
5
5
5
3
3
mi7
C
G
3
3
5
5
6
mi7
55
T A B
5
8
8
12
13
8
G mi7
C
T A B
1 0 13 11
1 0 1 2 11
P
sl.
13
H
11 1 2 1 0 9
H
3 H
10
9
10
10
10
9
10
8 10
3
G mi7
C
10
H
H
H
10
3
H
65
T A B
12 1 3
10 12 13 10 10 11
G mi7
C
15
13
C
14 13 11 10 13
G mi7
12
P
10
11
13
sl.
60
10
12 1 3
3
3
5
5
3
5
3
4
3
3
3
5
H
3
G mi7
C
H
H
sl.
3
70
T A B
6
3
5
3 10
8
3
H
10 . sl
8 3
32
5
3
3 6
3
5
3
4
3
3
5
H
3
compositions
k ur or st e n w i n k e l
“THE CROSS”
G mi7
H
3
H
G
3
6
5
3
6
5
6
3
C
G mi7
10
10
C
H
5
6
mi7
8
8
10
G mi7
C
sl.
15
H
H
80
13 14
T A B
13
11
sl.
14 13 11 10
12
11 9
G mi7
C
12 11 10 9
75430
0
0 2 3 0
3 1
9
10 1 1 6
9
8
6
G mi7
1
1
3
3 3
4
5 5
B 7alt
B 7sus4
9
8
C
H
5
7 10
8
H
85
T A B
solo pg. 4
3
75
T A B
H
3
3
5
5
D 7alt
90
T A B
8
5
A bmi7(b6)
6
7
4
5
7 6
G bmi7(b6)
6
5
6
4
5
6
12
E mi7(b6)
B 7sus4
P
95
T A B
11
14
18
17 16 1 5 1 4
17
15 13 12
P
14 12
33
15
14 12
15 14 12
15
14
12
11 14 11 12
k ur or st e n w i n k e l
compositions
“THE CROSS”
D 7alt
B 7alt
G 7sus4
sl .
H
100
T A B
solo pg. 5
Eb
C
sl.
H
9
10
8
10
12
11 1 0 9
7
6
10
10
7
5
5
D
Eb
C
Db
D
9 8 6 5
sl. sl.
105
T A B
5
5
Db
6
8
5
8
8
8 8
Eb
C
sl.
sl.
sl.
8 8 15
15 15 1 5 1 5 1 5 1 5
sl.
sl.
sl.
sl.
D
.
110
T A B
sl.
sl.
15 15 15 13 15 15
C
14 15 15 15
sl
13 15
15 13 1 5 13 15 15
Eb
sl.
115
T A B
sl.
sl.
4
D
sl.
sl.
15
. sl
14
sl.
sl.
sl.
sl.
15 13 15 15 13 15
A bmi7
Db
P
14 15 1 5 15 15 1 4
12 11 10
Ab C /
A mi7(b6)
F #mi7
Db
sl.
15 15 14 15 1 5 15
P
sl.
1 5 1 5 1 3 15 15
1 3 15 15 15 15
9
13 12
A bmi7
11
14
F #mi7
120
T A B
12
9
10
12
12
10
10
8
9
10
34
8
9
9 8 7 6
5
6
7
4
6
4
compositions
k ur or st e n w i n k e l
“THE CROSS”
Ab C /
A mi7(b6)
solo pg. 6
A mi7(b6)
F #mi7
A bmi7
125
T A B
7
5
5
7
7
Ab C /
6
8
A bmi7
4
5
6
T A B
3
4
6
A bmi7
6
2
7
6
4
4
4
4
6
9
F #mi7
7
8
7
7
11
2
P
14 11 13
12
11
14
Ab C /
A mi7(b6)
12
13
8
10
P
5
6
3
5
6
5
Ab C /
10
2
5
P
3
Ab C /
sl.
sl.
14
5
sl.
140
11
3
Ab C /
A mi7(b6)
A mi7(b6)
A mi7(b6)
P
T A B
4
F #mi7
135
T A B
H
7
H
H
4
6
F #mi7
H
130
4
4
8
8
9
4
3
6
4
A bmi7
9
A bmi7
F #mi7
sl.
14
18
18
18
19
19
A bmi7
19
16
17
mi7(b6) F#
mi7
A
145
T A B
19 2 0
17
16 1 4 13
16
1 5 14 12
15 13
35
16
14 14
14
11
12
9
10 12
9 12 1 2
k ur or st e n w i n k e l
compositions
“THE CROSS”
A bmi7
Ab C /
T A
F #mi7
H
150
solo pg. 7
13 10 11 13
B
10 11
A bmi7
sl.
11
7
A mi7(b6)
P
H
9
Ab C /
P
8
9
9
6
F #mi7
7
7
9
6
9
10
9
7
9 10 8
6
6
Ab C /
A mi7(b6)
6 10
9
8
A bmi7
155
7 6 5 3
sl.
T A B
8
11
9
8
11
11
F #mi7
12
Ab C /
A mi7(b6)
8764
7
A bmi7
6
4
4
F #mi7
160
T A B
3
5
6
5
A mi7(b6)
3
6
Ab C /
4
4
4
sl.
165
T A B
11
9
12
10
14
sl.
11
36
16
4
6
4
7
5
9
7
compositions
k ur or st e n w i n k e l
“GESTURE (LESTER)”
A mi7
A mi7(b6)
A MAJ7
E MA6
F MAJ7(#11)
7
C MAJ7(#11)
6 G MAJ 9
F#mi11
13
17
3
21
B mi7
A 7sus
F7
Bb F7
25
C mi7(b5) C 7alt
4
E 7sus4-3
E b7
6 A bMAJ 9
C mi7
F #MA7(=5) D 7sus4-3
4
D bMA6 G mi11 B MAJ 69
D MAJ7(#11) D b7sus
A bMA6
4
G bMAJ 7
4
D bMAJ7
3 3
G bMAJ7
F #mi11
C 7alt
F mi7
4
C mi7
4
G mi11
E bmi9 3
E 7alt
G mi11
D bMA7(=5) G bMAJ7 D bMA7(=5) G bMAJ7
3
33
Db
Eb
A mi7 G bMAJ 7
Db A mi7 G bMAJ 7 E mi7
A mi9
A mi7(b5)
D MAJ7(#11) D b7sus
A bMA6
F #mi11
F 7(#9) 4
4
3
29
2
4
B bmi11 D bMA7(=5)
F 7(#9)
G #mi11
B mi7
D bMAJ 7
[A] B b F 7 Bb
A MAJ7(#11)
pg. 1
A b69
Eb
1
G Ab /
F7
F 7 G mi7
Bb Ab /
Bb F7
4
F 7sus
G mi7
F7
D bMAJ7 A bMA6 4
3
F 7sus
B bmi7
G mi7
A mi7 C mi7 F 7
Bb
3
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
37
Bb
k ur or st e n w i n k e l
compositions
“GESTURE (LESTER)”
[B] B bmi69
Bb
mi69
G b7
Gb
pg. 2
F mi9
7
F
mi9
D bmi69
C 7(#9)
A bmi6
D bmi69
C 7(#9)
A bMAJ 69
A bmi(b6)
E MAJ 7 F 7sus
38
compositions
k ur or st e n w i n k e l
“GESTURE (LESTER)”
A bmi(b6)
3
solo pg. 1
E MAJ 7
H
3
3
1
2
1
4
3
2
4
B
B bMAJ 7
3
3
H
T A
F 7sus4
4
4 2 6
A bMA6
D bMAJ 7
F7
2 4 6 2
5
D MAJ7(#11)
5 3
D b7sus
P
3
3 P
3
T A B
1
1
B MAJ 69
F 7(#9)
6
6
11
B bMAJ 7
10
9
10
9
6
9
7
G bMAJ 7
8
F mi7 3
3
D bMA7(=5)
3
3
6
5 6 8 6
1
4
2
3
1
3
4
1
2
B mi7
A mi7(b5)
C mi7
3
9
7
B bmi11
F7
3
3
T A B
6
3
4
A 7sus
9
T A B
2
3
Bb
3
4
3
1
6
3
D bMAJ 7
F7
H
3
5
3
3
5
3
5
A bMA6
4
4
2
2
5
D MAJ7(#11)
4
5
2
D b7sus
3
T A B
3
3
12
H
3
5
3
3
6
4
6
4
3
2
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
39
2
9
k ur or st e n w i n k e l
compositions
“GESTURE (LESTER)”
C 7alt
C mi7(b5)
F7
P
solo pg. 2
G bMAJ 7
H
C 7alt
8
T A
9 1 2 9
P
8
3
H
11 10
8
6
7
6
6
5
4
B
E bmi9
G mi11
3
3
3
15
F #mi11
G mi11
2
5
4
E 7alt
H
2
2
G bMAJ 7
D bMA7(=5)
H
18
T A B
3
5
5
3
6
3
4
6
3
3
5
B bMAJ 7
D bMA7(=5) G bMAJ 7
5
6
6
3
3
3
3
H
6
5
A bMA6
D bMAJ 7
F7
H
3
21
H
T A B
H
6
8
9
6
Db Eb
8
P
7
10
5
8
Db
T A B
6
4
6
8
9
3
6
6
s l.
3
3
3
11
3
4
2 5 6sl.
sl.
3 H
0
3
1
1
3
4
A mi7 G bMAJ 7
3
sl.
3
2
4
sl.
5
2
2
40
5
2
3
11
11
F 7sus
3
3
2
G bMAJ 7
3
sl.
8
H
H
4
A mi7
B bmi7
E 7sus
9
3
3
6
6
11
H
1
sl.
T A B
3
8
A b69
3
4
7
Eb
P
24
27
4
2
2
1
3
3
sl.
compositions
k ur or st e n w i n k e l
“GESTURE (LESTER)”
G mi7
F7
solo pg. 3
H
G mi7
F7
G mi7
F7
H
sl.
sl.
sl.
3
30
T A B
H
3
3
A mi7
P
5
5
8
H
5
C mi7
5 8 4 5
7
H
F7
sl.
6
8
7
P
T A B
8
6
5
3
P
H
6
3
4
3
8
B bMAJ 7
P sl.
33
sl.
1
4
41
sl.
3
8
6
7
sl.
8
6 1 0 8
6
k ur or st e n w i n k e l
compositions
“SYNTHETICS”
E bMAJ 7
G MAJ 7
F7
F #7
A mi7
E MAJ7(#11) G bMAJ7
B bmi7
F
5
G bMAJ7
G MAJ 7 C #mi7
F mi7
Gb
F
D #mi7
C #mi7 D MAJ7
Bb
F7 Gb
F 7(#9)
9
B b7
A bmi
A bmi7
B b7
Bb Gb Bb Eb
13
[Solos]
E bMAJ 7
G MAJ 7
F #7
Gb
F mi
B b7
A bmi
F7 B bmi7
Gb
F mi
Gb
F mi
G MAJ 7
C #mi7
D #mi7
C #mi7
D MAJ 7
F 7(#9)
A bmi
Bb
A mi7
B b7
E MAJ7(#11)
F 7(b9)
G bMAJ 7 B bMAJ7
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
42
G bMAJ 7 B bMAJ7
compositions
k ur or st e n w i n k e l
“SYNTHETICS”
E bMAJ 7
F7
T A B
G MAJ 7 F #7
E MAJ7(#11)
4
3
6
5
A mi7
B bmi7
2
5
G bMAJ 7
H
5
3
4
6
F mi
4
4
sl.
5
T A B
solo pg. 1
sl.
2 4
G bMAJ7 F mi
F mi
G bMAJ 7 H
6
H
4
6
6
D #mi7
G MAJ 7 C #mi7
4
6
4
6
3
D MAJ 7 F 7(#9)
C #mi7
P
H
9
T A B
4
5
B b7
4
6
A bmi
4
2
4
2
4
2
A bmi
B b7
3
4
2
4
4
4
2
3
B bMAJ 7
G bMAJ 7
F 7(b9)
Bb
P
1
P
P
P
13
T A B
2
3
3
G bMAJ 7 B bMAJ7
2 3
1
3
H
H
3
H
H
0
1
0
5
P
4
2
1
1
3
1
3
P
P
4
3
P
1
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
43
4
E MAJ7(#11)
P
H
P
4
F7
H
17
3
6
3
E bMAJ 7
P
T A B
2 2
4
2
4
k ur or st e n w i n k e l
compositions
“SYNTHETICS”
E MAJ7(#11)
P
P
21
T A
G MAJ 7
H
solo pg. 2
F #7
P
H
A mi7
B bmi7
G bMAJ7
P
P
3
H
P
1
4
B
G bMAJ 7 sl.
1
H
1
4
G bMAJ7
F mi
T A B
6
H
4
4
4
6
F mi
2
1
3
G MAJ 7
P
5
4
C #mi7
D #mi7
P
P
7
A bmi
3
P
P
7
2
2
3
P
6
B b7
P
3
4
H
H
F 7(#9)
D MAJ7
5
H
25 sl.
4
6
B b7
5
3
1
4
2
4
4
2
G bMAJ7 B bMAJ7
3
3
3
3
G bMAJ7
2
4
4
F 7(b9)
Bb
P
P
3
3
P
21
1
4
sl.
P
P
42
C #mi7
H
sl.
29
T A B
P
H
2
A bmi
F mi
P
3 6 6 5
4
2
E bMAJ 7
B bMAJ7
4
4
F7
2
3
3
P
H
33 H
T A B
2
1
1
3
4 1 2 3 3
E MAJ7(#11)
P
1
2
3
1
3
1
3
0
3
3
P
P
T A B
4
2
sl.
4
5
4 7
11
sl.
9
7
6
3214
B bmi7 H
P
P
9
5
5
P
sl.
37
2
A mi7
G MAJ7 F #7
P s l.
0
7
5
4
6
44
3
4
5
4
3
6
6
5
3
H
5
5
3
5
6
3
compositions
k ur or st e n w i n k e l
“SYNTHETICS”
F mi
G bMAJ 7
solo pg. 3
G bMAJ7
G bMAJ 7 F mi
# G MAJ 7 C mi7
F mi
P
P
H
H
T A
5
48764
6
6
B
8
C #mi7
D #mi7
D MAJ 7 F 7(#9)
H
45
7
4
8
A bmi
B b7
9
P
49
6
P
P
5
9
7
6
P
P
P
4
P
5
P
P
4
6
4
9
B b7
H
8
6464
B bMAJ7
G bMAJ 7
P
P
T A B
P
6
7
P
P
6
4
6
P
P
5
P
P
4
7
P
P
P
6
4
6
4 6 9 6
P
6
4
3
P
5
6
5
3
F #7
P
H
P
53
H
1
P
3
G MAJ 7
P
H
P
P
P
4
9
A bmi
E bMAJ7
P
5
7
P
6
P
E MAJ7(#11)
F7
7
9
P
P
67
G bMAJ 7 B bMAJ7
P
P
7
P
H
9
F 7(b9)
Bb
3
2
2
H
3
1
B bmi7
A mi7
2
1
4
4
F mi
G bMAJ 7
P
57
T A B
6
H
T A B
T A B
P
P
41
H
12
7
11 1 0
G bMAJ7 F mi
P
9
12
10
11
9
11
9
9
13
9
P
11
F mi P
P
P
11
45
11
G bMAJ 7
H
P
12
5
4
12
11
10
9
P
11
9
k ur or st e n w i n k e l
compositions
“SYNTHETICS”
G MAJ 7 C #mi7
D #mi7
solo pg. 4
C #mi7
sl .
D MAJ 7
P
A bmi
B b7
F 7(#9)
P
sl.
61
T A
P
10
B
7
9
6
9
8
9
6
6
7
6
9
9
6
sl.
9
11
10
11 1 0
9
9
B b7
A bmi
P
65
T A B
7
P
sl.
G bMAJ 7 B bMAJ7
G bMAJ 7 B bMAJ 7
F 7(b9)
Bb
P
9
11
9
11
9
6
2 8
E bMAJ7
8
F7
3
3
8
3
4
E MAJ7(#11)
3
4
H
H
69
T A B
4
G MAJ 7
6
3
4
3
6
4
B bmi7
G bMAJ 7
4
7
F mi
P
G bMAJ 7 F mi
P
73
6
T A B
7
7
G bMAJ 7
8
5
8
G MAJ 7
F mi
7
6
6
D #mi7
C #mi7
C #mi7
8
9
11
9
D MAJ 7 F 7(#9) P
P
H
77
11
9
H
T A B
2
3
A mi7
F #7
2
12
17
14
46
16
12 14
12 14
12 1 4
12 13
compositions
k ur or st e n w i n k e l
“SYNTHETICS”
B b7
B b7
A bmi
A bmi
solo pg. 5
F 7(b9)
Bb
81
13 18 13
T A
18
16
18
16
s l.
18
B
G bMAJ 7
B bMAJ 7
85
T A B
13
G bMAJ 7 B bMAJ 7
sl.
6
47
18
1816
15
15
13
k ur or st e n w i n k e l
compositions
“USE OF LIGHT”
pg. 1
B bMAJ7(#11)
[1] D MAJ 7 5
C mi7
D MAJ 7
maj7] C #7[#9
A mi7
9
B bMAJ7(#11)
[ ]
13
B bMAJ7(#11)
[2] 17
D mi7 21
B mi7
E bMAJ 7
C 7sus1 0
C #MA7(=9)
25
B bMAJ 7
D MAJ 7 B bMAJ7(#11)
29
Bb
MAJ7
[3]
33
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
48
A mi7
compositions
k ur or st e n w i n k e l
“USE OF LIGHT”
F MAJ 7
37
C mi7
D bMAJ 7
49
D bMAJ7
pg. 2
D mi7
E bMAJ7
E bMAJ 7
B b7sus
B bMAJ7(#11)
45
D bMAJ 7
D b7(#9)
B bMAJ 7
B bMAJ7(#11) Solos over form
53
fine
]
Guit. 2
]
Guit. 1
tenor
49
k ur or st e n w i n k e l
compositions
“USE OF LIGHT”
solo pg. 1
B bMAJ7(#11) 3
3
T A B
5
8
8
5
8
8
8
8 5 5 7
8
8 5 5 7
6
5
7
5
6
5
7
B bMAJ7(#11) 3
T A B
5
5 5 7
D MAJ 7
5
3
3
2 2
A mi7
5
H
5
3
2 5
8
sl.
P
3
7
0
sl.
sl.
4 3
0
D MAJ 7
C mi7
P
5
44
sl.
4 33
2
2
4
C Db /
sl.
picking close to the bridge P
5
5 2
B bMAJ7(#11)
T A B
5
7
P
12
16
5
7
H
8
T A B
T A B
7
5
2
0
2
0 2 3 5
2
5
4
sl.
5
3
5
35
37
P
P sl.
12
11 1 0
9
10
8
8
8 10
8
9 8 6 5
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
50
4
sl.
9 12
sl.
H
sl.
10
8
4
sl.
H
sl.
sl.
3
2
7
6
sl.
8 7 5 7
compositions
k ur or st e n w i n k e l
“USE OF LIGHT”
B bMAJ7(#11)
sl.
20
T A
5
B
5
8
5
7
7
8
5
6
8
98
B mi7
E bMAJ7
H
P
sl.
8
6
D mi7
P H
3 3 1 5
4 5
2
H
0
0
6
5
5
H
C 7sus4
5
3
3 5
P
2
T A B
3
P
7
7
3
7
H
5
65 4
sl.
sl.
P
sl.
5
8 10 5
P
2
P
32
P
sl.
sl .
12 1 0 8
1 3 12 1 0
P
8 10
6
D MAJ 7
6 5 3
T A B
3
6 P
1 2 10 13
sl.
5 3
B bMAJ 7
P
P P
P
P P
6 5 3
B bMAJ 7
P
P
5
3 2
sl .
P P
3PP
0
sl.
10
P
9
7 5
P P
P
P
P P
7 5 3
3 10
sl.
sl.
P P
6 4 2
P
5
5
P
P
4 2
5
P
4 2 0
B bMAJ7(#11)
H
3 P
P P 6
3
P P P
P
H P
36
T A B
7
4
P
28
H
A mi7
3 5
C D/b
6
7
H
H
P
24
T A B
solo pg. 2
5
5 5 8
P
6
6
sl.
5
5
6
9
sl.
8
51
15
15
13 12
15
14
k ur or st e n w i n k e l
compositions
“USE OF LIGHT”
B bMAJ7(#11)
solo pg. 3
D mi7
H
3
E bMAJ 7
3
T A B
slightly swung
H
40
15
12
15
15
12
14
C mi7
F MAJ 7
11
P
15 12
5
13 11
7 7
P
13
8 10
5
6 8
5
6
7
5
B b7sus4
sl.
44
T A B
10
10
E bMAJ 7
P
sl.
sl.
1 2 13 10
P
8
P
P
P
9 8
7
6
6
sl.
P
8 6 4 3
5
3
5 3
6
3
5
5
4
3
6 4 4
6
B bMAJ7(#11)
D bMAJ7
P
P
3 7 3
H
H
H
3
sl.
48
picking close to the bridge
T A B
3
4
6
3
6
5
6
4 6
34
6 8
8
T A B
H
3 5
H
3
6
3
sl.
3 5
5
5
5 3
P
picking close to the bridge
4
6
4
6
3
6
3
6
4
4 6 9 8 7
6
9
B bMAJ 7
P
7
9
8
6
P
9
6
9
6
8 7 6
4 5
H
H
3
P
54
T A B
H
3 5
D b7(#9)
D bMAJ 7 52
8
5
5
5
8
5
3 0
52
H
H
2
3
0
2
3
1
3
4
1
compositions
k ur or st e n w i n k e l
“USE OF LIGHT”
D bMAJ 7
B
solo pg. 4
B bMAJ 7
D b7
P
3
sl.
3 B
56
T A
4
2
3
6
4
B bMAJ7
8
4
P
6
11
sl.
9
12
9
16
17
15 1 5
15
B
P
P
sl.
P
3
P
3
6
15 1 5
15
15
P
sl.
12
P
13
1 7 15 1 5
P
12
14 12
17 15
13
B bMAJ 7
62
T A B
P
3
P
59
T A B
P
6
15 12
14
17 15
P
14 12
P
14 11
12
P
sl.
17
1 7 16 15 1 4 13 12
15 14 13
15
12
15
P
l. s
15
D MAJ 7
13 1 5 18
15 14 13
1 2 19
18 1 7 1 6
s l.
3
65
T A B
sl.
3
1 5 1 3 12 10
C mi7
1 3 11 1 0
10 1 4
10
D MAJ 7
sl.
sl .
10
10 11
10 12
11 12
12
9
12
10
A mi7
68
T A B
sl.
10
8 6
5 7
7
sl.
7 75
53
1
3
1
2
4
2
0
1
1
k ur or st e n w i n k e l
compositions
“USE OF LIGHT”
C Db /
H
H
6
sl.
6 H
H H
H
solo pg. 5
B bMAJ 7
H
sl.
sl.
H
3 6
73
T A B
H
1
H
H
3
1
4
H
H
sl.
3
5
3
6
H
5
H
H
4
6
5
6
H
3
H
4
6
sl.
8
3 sl.
10
10 13 12
14 13
12 11
B bMAJ 7 sl.
3
3
5
sl.
3
3
76
3 3
sl.
T A B
12 11 14 13
13 12
11 10
10 9
8
7
s l.
7
6
6
4
5
3
4
3
3
656
5
3
5
E bMAJ 7
D mi7 picking close to the bridge 80
T A B
5
3
2
0
2
C Db /
A mi7
B mi7
3
3
2
T A B
7
7
3
7
5
12
sl.
sl.
15
3
3
6
8
5
0
sl.
sl.
84
5
15 1 6
15 13 12
P
P
P
P
14 13
P
15 13 12
P
15 14 12 10
13 11 8
B bMAJ 7
C 7sus4 5
88
T A B
10
8
7 10
8
7 10
8
7 10
8
7 10
10
7 10
10
8 10
54
10
8 12
10
8 12 15 12 15 12 13
17
17
17 1 7
compositions
k ur or st e n w i n k e l
“USE OF LIGHT”
B bMAJ 7
3
B
17
solo pg. 6
D MAJ 7
91
T A
1 5 15
17
17
1 5 1 5 15
15
17
15
3
17
15
17
3
15
17
15
3
17
15
17
3
15
17
B bMAJ 7
15
17
15
22
(melody) sl.
94
T A B
20
18
17
sl.
20
18
15
13
11
10
12 12
10
55
14
12
10
12
10
13
10
10
k ur or st e n w i n k e l
compositions
Selected Kurt Rosenwinkel Compositions
56
compositions
k ur or st e n w i n k e l
“A SHIFTING DESIGN”
E MAJ 7
E b7(=9)
G MAJ 7
D bmi7Phryg. E b7[b9 =9]
E mi9
C# B bMAJ 7 D/MAJ7(#11)
G 7sus
1
5
9
E MAJ 7
E bMAJ 7
F #7[b9 =9]
3
C# B bMAJ 7 D/MAJ7(#11)
F #MAJ7(#11)
E MAJ7(#11)
F #mi7 17
21
D b7[b9 =9]
D MAJ 7
29
B bMAJ 7
G 7sus
F #mi7
E MAJ7(#11)
F #MAJ7(#11)
B bmi7
B bMAJ7
E bmi7sus
B bmi7
13
25
F mi11
G mi(b6)
C# D / C# D /
G MAJ 7
F #7[b9 =9]
C# B bMAJ 7 D/MAJ7(#11)
B bMAJ 7
G 7sus
C# D /
G 7sus
33
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
57
D MAJ7(#11) D MAJ 7 G 7sus
G 7sus
k ur or st e n w i n k e l
compositions
“CUBISM”
[A]
G mi11 A mi11 B bmi11
F mi(b6) B bmi7 C #mi9
E bmi11
E 7sus B mi7 C MA9
F #mi69
G mi11 B b7
G mi(b6)
G #mi11
E bmi11
E 7sus B mi7
A mi(b6)
B MAJ 7
5
D 7sus
A mi11
9
G mi11 A mi11 B bmi11
[INT] [B] C
MAJ7
A #mi11
B mi11
F #mi11 Fine
A mi(b6)
C MA9
F mi(b6)
C#
MAJ7
D
MAJ7
B
6 mi9
C E /
B bmi7
E Eb /
F #mi7
Ab G /
B Bb /
A mi6
Eb D /
A bmi7 G bMAJ7 D MAJ 7
33
[ D MAJ 7 ]
F #mi7
Head: Solos:
[A][A][B][A] [A][A][B]
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
58
compositions
k ur or st e n w i n k e l
59
k ur or st e n w i n k e l
compositions
“EAST COAST LOVE AFFAIR”
E6
D MAJ 7 E b7
Db
D b7
C mi7
3
1
E mi6
3
3
C mi7
E b7
D mi7
3
3
3
3
3
A bmi7
D b7(=9)
3
G 7(=11)
to coda last x
3
G bmi7
D 7alt D MA7(=5) A bmi7
D mi7
B bmi7
C7
5
Db C B7
Db 8
B7
Db 3
Gb
mi7
mi7
Bb
D MA7(#11) A MA7 A b7 D bmi G 7(=11)
Db 3
D
mi7
D
7alt D MA7(=5) A bmi7
C
7
Db 3
13
G MAJ 7
3
D MA7(#11)
B mi7
A mi7(b6) D 7sus
C #7(=9) C MA7
F7
17
E mi
C #mi7
F #mi7 3
3
B7
E mi
C #mi7 3
3
21
E F/#7 F #7(=9) B 7sus4-3 E MA7(#11)
C #mi7
3
D 7sus
3
24
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
60
B 7sus
3
compositions
k ur or st e n w i n k e l
“EAST COAST LOVE AFFAIR”
B 7(=9)
C7
D b7
page 2
D mi7 G 7 G bmi7
B bmi7 3
27
C7
D 7alt D MA7(=5) A bmi7
D mi7 30
B7
Db
33
3
B7
Db 3
B mi7 Fine
61
Db
Db C
k ur or st e n w i n k e l
compositions
“MINOR BLUES”
BASS FIGURE
E bmi7
MELODY
E bmi7 1
E bmi7
A 7(=11)
A bmi7
B b7sus4
5
9
E bmi7 13
B 7sus4
A mi7
17
E bmi7 21
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
62
compositions
k ur or st e n w i n k e l
63
k ur or st e n w i n k e l
compositions
“OUR SECRET WORLD”
Drums
D bmi69 1
5
9
C 7sus
B 7[b9 b5]
[
17
F mi
21
C mi F /
B7 E /
]
D 7alt
D bMAJ 7
B bmi(sus)
Eb Ab /
13
B bmi(sus)
F 7sus4 E b7(=11)
B bmi7(b13)
E MA7(=11)
A b7sus10
D bMAJ 7
D 7(b9)
Db F / G bMA7(=11)
A b7sus A mi7
A bMAJ7
E bmi7
G mi7
25
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
64
D 7(=11)
G bMA7(=11) B7 D# /
compositions
k ur or st e n w i n k e l
“OUR SECRET WORLD”
A bMAJ 29
D bMAJ 69 3
A bmi7(b13) E B /
41
E /
E bMAJ 6 3
F mi
A bMAJ7 G bMA7(=11)
F mi7(b6)
D b7sus
page 2
G/b
33
37
C MA7[ =56 ]
Fine
65
E bmi7
D mi7
k ur or st e n w i n k e l
compositions
“PATH OF THE HEART”
3
3
3
G 0MAJ7
C #mi9(b5)
3
3
4
3
G 7sus
B bmi7 A bMAJ7(=5 )
Bb E /
F B /
5
3
7
Ab A /
A mi6
A 7alt
3
B A/ 7
D mi7 3
3
3
10
C MAJ 7
A mi6
B /
D b7(=9) 3
14
3
C MAJ 7 B bMAJ 7
A MAJ 7
G MAJ 7
F #7(=9)
17
F #7(=9)
E 7sus4
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
66
compositions
k ur or st e n w i n k e l
67
k ur or st e n w i n k e l
compositions
“ZHIVAGO”
D #mi
1
D# E /
F mi(b6)
F #mi69
G bMAJ7
E bmi7
Gb
E bmi7
5
Gb
E bmi7
Gb
C 7sus
9
A MAJ 7
B mi7
C #mi7
13
A b7sus
Gb
E bmi7
mi7
Gb
Eb
A b7sus D MAJ 7
17
Gb
Eb
mi7
21
F MAJ 7
E b7(b9)
B mi7
25
G mi7
D mi7
F MAJ 7
29
A mi7Phryg.
F MAJ7
D mi7
D mi7
F
D mi7
C 7sus B bMAJ 7
D bMAJ7
33
F
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
68
4x
compositions
k ur or st e n w i n k e l
“ZHIVAGO”
B 7sus
E MAJ7
page 2
B b7sus
B MAJ7
C #mi7
D #mi7
E MAJ 7
B b7sus
B MAJ7
C #mi7
D #mi7
Eb E/MAJ 7
B b7sus
B MAJ 7
C #mi7
D #mi7
E MAJ 7
Vamp
B b7sus
B bmi69
F #mi69
F mi(b6)
D# E /
D #mi
Fine Coda is part of form every time
B bmi7sus4
E bmi7sus4
A bmi7sus4
D bMAJ 7
G bMAJ 7
C mi(b6)
F mi7 B6 To Vamp
69
k ur or st e n w i n k e l
compositions
70
compositions
k u rrto s e n w i n k e l
appendix - piano parts
71
k ur or st e n w i n k e l
compositions
“BROOKLYN SOMETIMES”
piano
Open
[A]
1st x on D.C. to coda
D mi9
G D mi /
D mi(sus)
D mi69
D mi9
Piano
G
mi
D /
C MAJ 7 D /
6
D
F #7[13 b9] D
D MAJ7(#11)
11
B7 D /
[B] piano solo A G mi F #mi7(b5)
B bMAJ 7
F Eb /
E
mi
D
Eb
A 7(b9)
E mi7
3
13 7(b9) 7[b9] F#
C mi7
3
3
17
A 7sus4(b9)
3
[C] guitar melody A b7sus
22
27
A MAJ 7
A MA6
E Eb /
F#
7(13)
Ab E/bmi
B bmi7
A
E Eb /
Gb E/bmi
D mi7
A bmi11
mi(b6)
A bmi7(b6) B bmi7(b6)
Del Capo 1x al CODA per favore
32
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
72
compositions
k ur or st e n w i n k e l
“BROOKLYN SOMETIMES”
F MA9 G bMAJ7(#11)
A/ Dmib
A/ Db
G 7sus
E b7alt
A b7sus
piano pg.2
A mi9
E mi7
F MAJ7
B bmi9 C /
A mi9 B /
B bmi9
G7
(
F)
To Piano Solo over [B] / [C]
73
k ur or st e n w i n k e l
compositions
“THE CLOISTER”
A mi
piano part
F# C /
Ab G /
C 7(b9)
F #7sus
A mi(b6)
E MAJ
A mi
E b7
C MAJ
B7
13
Db G /
A mi(b6)
C MAJ
C MAJ
[A] A mi(sus )
C 7(b9)
F #MAJ C /
B F# /
A mi(b6)
C MAJ
19
D b lyd. G /
C MAJ
C 7(b9)
E bMAJ G /
F #MAJ C /
B
A mi(b6)
7
C MAJ 7
A mi
F# /
25
C MAJ
E MAJ
Gb Bb /
E b7alt
31
37
[A2] C MAJ
F
D mi9 B 7alt
MAJ7(#11) 43
B A /
B /
mi11
11
A
B
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
74
C7 Db / E bmi7(+5)
compositions
k ur or st e n w i n k e l
“THE CLOISTER”
[B] C MAJ7(#11)
piano part pg. 2
C MAJ7(#11)
F #mi7
B7
B7
47
3
52
E
MAJ7
3
C
MAJ7(#11)
C
MAJ7(#11)
3
[C] 57
A
mi(b6)
C
MAJ7
3
F C /
C 4 th
D bMAJ7(#11)
4x
E bMA9
61
[A3] 65
A mi
C MAJ
C 7(b9)
E MAJ
71
77
Db G /
A mi(b6)
F #MAJ C /
D b lyd. G /
A mi
C MAJ
E b7
C MAJ
75
B F# /
A mi(b6)
C MAJ
A mi7
B7 D F# /
k ur or st e n w i n k e l
compositions
“THE CLOISTER”
[D] E b6
9
83
97
B mi7(b5)
E b7(=5)
91
Db Gb /
piano part pg. 3
A 7alt
C MAJ
A mi
C6
F A /
F # Loc.
[B2]
C MAJ
3
G #mi F #mi7
C MAJ
F #mi6
3
C major sound
3
C MAJ 7
A mi
3
To Solos 1st x
Outro
F MAJ 7
B mi7[b511 ]
A mi C /
D mi9
fine
76
compositions
k ur or st e n w i n k e l
“THE CLOISTER” The Cloister
piano part pg. 4
SOLOS
A mi(sus )
A C/7(b9)
F #MAJ C /
D b lyd. G /
B F# /
7(b9)
E/ GbMAJ
# F/ CMAJ
B/ F#
C MAJ B /
B A /
D mi9
C7 Db /
Gb Bb /
B phryg.
E bmi(+5)
F MAJ7(#11)
F #mi
B7
A
mi
C
C MAJ
A mi(b6)
A
mi(b6)
C
MAJ
E
MAJ
E balt
A mi
B 11
C MAJ7(#11)
E MAJ7
C MAJ7(#11)
A mi(b6)
C MAJ7 4x
C 4 th
F C / Play to [B2] Solos : To Coda al Fine Form :
77
k ur or st e n w i n k e l
compositions
“OUR SECRET WORLD” Piano part
D bmi69
E b7(=11)
B7 E /
A b7sus10
2
B bmi7(b13)
D 7alt
D bMAJ 7
D 7(b9)
Db F /
B bmi(sus )
A b7sus
A bMAJ 7
G bMA7(=11)
Eb Ab /
B bmi(sus )
B7
E MA7(=11)
D bMAJ 7 F 7sus4
C 7sus
8
G bMA7(=11) 14
C mi F /
E bmi7
F mi
bmi7
mi7
E
G/b
F mi
D 7(=11)
3
B7 # D /
G
E bMAJ 6
E /
A mi7
D bMAJ 69
Ab
MAJ
E B /
F mi7(b6)
D mi7
D b7sus
Ab
mi7(b13)
A bMAJ 7
G bMA7(=11)
C MA7[=56 ]
35
© Zbigniew Music, SESAC. All Rights Reserved. Used by Permission.
78
Fine
compositions
k ur or st e n w i n k e l
kurt rosenwinkel - Deep Song Following a string of three acclaimed recordings for Verve Records that firmly established him as one of the most strikingly srcinal new voices in jazz as both guitarist and composer (2000’s The Enemies of Energy, 2001’s The Next
Step and 2003’s Heartcore ), Kurt Rosenwinkel returns with an all-star outing that is perhaps his most luminous and accessible to date. Joined by his high-profile colleagues Brad Mehldau on piano and Joshua Redman on tenor sax, along with Larry Grenadier on bass and either Ali Jackson or longtime associate Jeff Ballard on drums, Rosenwinkel plumbs the depths of emotion and lyricism on Deep Song. From dynamic new renditions of older compositions like the chops-busting “Synthetics” (from The Enemies of Energy) or the gentle and evocative “Use of Light” (from The Next Step) to hauntingly beautiful interpretations of the standard “If I Should Lose You” and the melancholy Billie Holiday vehicle “Deep Song,” Rosenwinkel unleashes his typically cascading, sonorous guitar lines with newfound authority. “I feel like as a guitarist I really got to a place of expressive maturity on this record,” says the Philadelphia native, who currently resides in Zurich, Switzerland, “so I’m really happy about that.” Also included in the 74-minute program are new or previously unissued Rosenwinkel srcinals like “Cake” (based on George Gershwin’s “Let Them Eat Cake”), “Gesture Lester” (an homage to his pianist father), “The Cloister,” “Brooklyn Sometimes” and “The Cross,” each rendered with masterful aplomb by Kurt and company. “The title of this album perfectly expresses where I’m coming from in my approach to jazz,” says the guitarist-composer-bandleader. “The music that I love always had that quality to it. From Billie Holiday to Sonny Rollins and John Coltrane, Ornette Coleman and Don Cherry, Miles Davis and Bill Evans… there’s always a deep sense of song to it. That’s a quality that I feel can be very lacking in today’s jazz that’s being made. But the music on this album was approached from those aesthetic values of deep song that we all share in the band. And that’s why I called the record Deep Song. Because that concept, that approach to music is the most basic, fundamental place from which I feel we’re all playing music.” While Rosenwinkel had talked in the past about forming a band with Mehldau and Redman, all the pieces didn’t fall into place until last summer when they finally went out on a European tour in preparation for a studio recording. As Kurt explains, “We’ve all been close musical friends for over a decade and there’s always been an understanding and an appreciation for each other’s music. So when I was thinking of what to do next 79
k ur or st e n w i n k e l
compositions
after Heartcore, I immediately thought of Brad and Josh. These guys, of course, are leaders of their own bands and have very busy schedules, but it just so happened that neither of them was touring this last summer. It turned out to be the perfect time to do what we had always talked about doing. So we all got together and had a great time on the tour, and then making the record was a deep pleasure.” While Mehldau and Rosenwinkel had played together on various sessions and isolated gigs around New York, Redman and Kurt had not previously collaborated. But Josh had been a keen observer (and great fan) of Kurt’s music for years. As he wrote in his insightful liner notes to Rosenwinkel’s Verve debut, The Enemies of Energy: “Kurt is a man of many musical virtues. His technique is prodigious. His ears are huge. His time is solid. His groove is ferocious. His articulation is precise. His tone is penetrating but warm. His narrative flow is relaxed yet dynamic. His ideas are often surprising, sometimes shocking. But always compelling and inevitably satisfying. He is an adventurous soloist, an empathic accompanist and a poetic composer… He navigates the jazz idiom with fluidity and grace. He is an uninhibited, uncompromising and uncommonly inspired artistic voice. He is an organic, intuitive innovator… a natural srcinal.” Born in 1970, Rosenwinkel attended the Berklee College of Music in Boston and later apprenticed with Gary Burton (1991-1992) and Paul Motian’s Electric Bebop Band (1992-94) before branching out as a leader in his own right. An adventurous, searching artist whose playing is marked by a kind of kinetic melodicism, darkly delicate lyricism and cascading, horn-like lines, Rosenwinkel has, over the course of four brilliant recordings for Verve, established an instantly recognizable voice on the guitar -- warm and fluid with a tinge of overdrive, a touch of sustain and echo with a penchant for dissonance. His singing quality on the instrument is all the more enchanced by the fact that he is often literally singing in unison with his single note lines. Through his first three albums, Rosenwinkel forged a tight alliance on the frontline with tenor saxophonist Mark Turner. The world renowned Joshua Redman fills that role on Deep Song and together with Mehldau, Grenadier, Jackson and Ballard, they all strike an uncanny chemistry on Rosenwinkel’s sixth album overall as a leader (he had previously recorded two albums in the ‘90s for the Fresh Sound and Criss Cross labels). Of the transcendent title track to Deep Song, Rosenwinkel says: “It’s one of the most beautiful pieces of music I’ve ever heard. I’ve been playing that song for many years and I tried to record it a few times, but this time I really felt that we lived up to the spirit of the srcinal. It’s a song that I always play the same way. There’s no solos, it’s all parts. I might improvise a little bit and embellish the parts but basically I’m trying to remain true to the arrangement. That is really the idea and the ideal of playing this song. It’s such a beautiful piece of music that you don’t need to do much else with it other than just play it. As a musician, if the piece of music that I’m playing is inspiring to me, then it’s not like I, by definition, need to solo. I want to make music come alive, but I don’t necessarily need to solo in order to do that. Often times in jazz today people think that it’s just about just taking a solo. And for me, if there’s a beautiful piece of music, I don’t mind playing a part at all.” Regarding his strikingly srcinal voice on guitar, Rosenwinkel (who also plays piano) is striving for a legato connectivity to the notes in the left hand while retaining a sense of rhythmic syncopation in the right hand. As he told Jazziz magazine: “Basically, I want a cross between Allan Holdsworth and Grant Green, in a sense, but I also want the chordal approach of Keith Jarrett; that pianistic quality of creating harmonic space even as you’re soloing. Of course, Holdsworth does that too with single-note lines, but the integration of chords and melody is something that I really hear in my head now. And Keith is a master of that, as is Bud Powell or Elmo Hope. So you might say that I’m trying to combine aspects of Allan Holdsworth, Grant Green, Keith Jarrett, Bud Powell, and Elmo Hope on the guitar. And I’m making progress little by little in incremental steps. First there’s visualization and then there’s manifestation. And along the way you have to take chances and stay true to your intuition.”
80
