(Post-Bop, Mainstream Jazz) [CD] Kurt Rosenwinkel Standards Trio (Eric Revis, Eric Harland) - Reflections - 2009, FLAC (tracks+.cue), lossless

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Kurt Rosenwinkel / Reflections
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TITLE "Reflections"
PERFORMER "Kurt Rosenwinkel"
REM GENRE "Jazz"
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https://www.allmusic.com/artist/kurt-rosenwinkel-mn0000115399/biography
Respected guitarist and keyboardist with a harmonically rich, genre-bending approach to jazz.
Artist Biography by Matt Collar
Guitarist, keyboardist, and multi-instrumentalist Kurt Rosenwinkel is a highly gifted performer with a fluid, harmonically rich approach to genre-bending jazz and rock. Born in Philadelphia in 1970, Rosenwinkel grew up in a musical family with parents who started him on piano at age nine. By age 12 he was seriously studying jazz guitar, a skill he perfected at the Philadelphia High School for the Creative and Performing Arts alongside classmates Christian McBride, Joey DeFrancesco, and future Roots drummer Questlove. He then spent two years studying at Berklee College of Music in Boston before vibraphonist Gary Burton hired him to go on tour. From there, he settled in Brooklyn, where he worked with the Human Feel quartet as well as such as Seamus Blake, Brian Blade, Mark Turner, and others. Along the way, Rosenwinkel earned praise from veteran guitarists like John Scofield and Pat Metheny, and in 1995 won a Composer's Award from the National Endowment for the Arts.
As a leader, he debuted in 1996 with East Coast Love Affair, followed by Intuit on Criss Cross. These were intimate, warmly performed standards albums that showcased the guitarist's growing creativity and knack for harmonically rich improvisation. Along with his early solo work, Rosenwinkel continued to perform with Burton and appeared on albums by Chris Cheek, Larry Goldings, Paul Motian, and more.
He then signed with Verve and embarked on a series of extremely well-received albums, including 2000's The Enemies of Energy, 2001's The Next Step, 2003's Heartcore, and 2005's Deep Song. Primarily centered on Rosenwinkel's original compositions, these albums detailed his highly inventive approach to post-bop jazz. Also during this period, Rosenwinkel relocated to Germany, where split his time between performing and teaching as a professor of jazz guitar at the Hochschule für Musik Hanns Eisler.
In 2009, he moved to the independent label Wommusic with Reflections, followed a year later by Our Secret World. Two years later, he delivered the expansive Star of Jupiter. As his profile grew, Rosenwinkel cut back on teaching, eventually deciding to focus completely on his performance career. In 2017, he also founded his own Heartcore label and released the Brazilian-influenced Caipi.

https://www.allmusic.com/album/reflections-mw0001952372
AllMusic Review by Jeff Tamarkin
Reflections is an album unlike any other in Kurt Rosenwinkel's catalog. Nearly all ballads, it dispenses with effects and other fireworks and allows Rosenwinkel to display pure jazz guitaristry, his tone and performance unencumbered by outside influences and modern distractions. Accompanied only by bassist Eric Revis and drummer Eric Harland, Rosenwinkel keeps the mood soft and, appropriately, reflective on a set of nuggets from jazz giants (Haven Gillespie, Wayne Shorter, Thelonious Monk), the Great American Songbook ("More Than You Know," "You've Changed"), and his own debut album: a remake of "East Coast Love Affair" from the same-named 1996 release. As always, Rosenwinkel's virtuosity and intellect are on full display. The title track, an easygoing stroll through Monk's "Reflections," opens the program and sets the mood: Rosenwinkel's guitar is fluid and confident, airy and free of tension. He and the trio are in no hurry to get anywhere; there is nothing to prove, no need to cram in extraneous notes (not that the ever-judicious Rosenwinkel falls into that camp anyway). Shorter's "Ana Maria" and "Fall" are about as uptempo as things get here, and the former's a bossa nova, the latter a chill take on funk. Even the lone original tune undergoes a transformation, losing the edge that marked its first incarnation in favor of a stripped-down simplicity that befits its creator's maturation as a player. A gracefulness and stateliness pervade Reflections, and one can only hope that Rosenwinkel will revisit this territory again down the line, to provide another reevaluation of his gifts after he's investigated still other realms.
https://www.amazon.com/dp/B01G64MN1M
This is my personal favorite from 2009. When I analyze why, I think it's the mix of strange and familiar, past and present. The group is playing standards, but Kurt's way of playing them goes beyond anything I've heard from a guitarist. Kurt's intros are pleasantly disorienting and then make sense. Charisma is hard to analyze, but Kurt's playing has that riveting quality that makes me pay very close attention even when I'm not sure I like what I'm hearing. There are lots of ways Kurt's playing draws me in: the judicious use of blue notes, the groovy against the beat phrasing, the occasional startling run, the sophisticated, horizontal, pianistic sense of harmony, the continuous variation in technique and tone, rhythm and phrasing. For example, on Monk's "Reflections" Kurt goes back and forth between sophisticated swing chord playing and excellent single-line bebop playing, like the great pianists of the 50s, Ahmad Jamal, Oscar Peterson, Red Garland, and Wynton Kelly. In fact I don't think I've heard better bebop playing on the guitar than on this tune. Charlie Christian and Jim Hall are giants, but Kurt's bebop playing here is looser and more agile and sounds even closer to the spirit of Charlie Parker and Monk, which is amazing when you consider his age and musical era. But this is part of what makes this album so touching for me and makes me want to sing along. It sounds like Kurt's reaching across a span of human history, connecting closely with something in the past that is both very far away and very near. I can't help hearing George van Epps in the way what Kurt plays the head with chords on Monk's "Reflections." I can't help hearing Jim Hall and Kenny Burrell in some of Kurt's single note playing on "East Coast Love Affair," and in his use of altered chords, particularly in that dramatic reoccurring augmented 9th chord. On "Ana Maria" I can't help hearing Pat Metheny in the hammer-ons, hammer-offs, and sliding up and down notes. In the brooding, mysterious intro to "More than You Know" I can't help hearing Bill Frisell and in the fancy harmonics fingerwork on this tune I think I hear Lenny Breaux. Is that Johnny Smith I hear in some of Kurt's speedy ascending runs?

Kurt Rosenwinkel: guitar;
Eric Revis: bass;
Eric Harland: drums