WILL VINSON / KURT ROSENWINKEL GROUP (New York) featuring Mike Janisch (bass) and Paul Wiltgen (drums)
WEDNESDAY 29th AND THURSDAY 30th @ ZIGFRID VON UNDERBELLY (11 Hoxton Square, N1 6NU
Will Vinson/Kurt Rosenwinkel Group will be playing their well known and new originals PLUS we will be celebrating an official launch of our new venue, Zigfrid Von Underbelly. Zigfrid has a great PA, amazing acoustics, really good lighting that adds to the intimate atmosphere PLUS you can see the stage from everywhere. We tried it out last month with Ari Hoenig’s band. The audience was crazy (in a good way) very often. Check out the clip from that gig http://www.youtube.com/watch?v=ec4WbxUY0_E
Preview about Will Vinson/ Kurt Rosenwinkel Group from TIME OUT: NYC-based guitarist Rosenwinkel is widely regarded as one of the instrument's most important and gifted players today. While his Metheny-ish touch is smoothly melodic, he's capable of astonishingly angular flights and incendiary, skronking solos. Altoist Vinson is equally acclaimed and possesses a similarly lethal approach to writing and soloing. These two nights are their only UK appearances, and a very rare chance indeed to hear them outside of their native Downtown territory.
Preview about Will Vinson/ Kurt Rosenwinkel Group from GUARDIAN: If you can't tell a book by the cover, you can't tell a saxophone player by what sounds at first like their primary influence either. Will Vinson, the technically adroit alto and soprano saxophonist who went to work in New York, is certainly capable of the kind of sharply accented, minimally lyrical, high-pressure sax virtuosity heard countless times over the years in the foaming wake of John Coltrane. Vinson has a sophisticated interest in the long, twisting, dynamically reserved melody lines of both the pre-Coltrane Cool School era and the linear intricacies of Steve Coleman, Greg Osby and Chris Potter. For these two gigs he's joined by versatile guitarist Kurt Rosenwinkel (pictured), who can get started from deceptively reticent, Frisell-like beginnings - but if his solos might begin with sleepwalking chords, they soon find their way to flying double-time runs full of fresh phrasing, intriguingly veering between elaborate caution and deep-breath leaps across abysses.
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