【Jonathan Kreisberg - One】(2013) ★★★★

(English follows Japanese)

 

My Favorite Album (382)

 

By Takaaki Kondo, Tokyo Jazz Review
http://tokyo-jazz-review.jimdo.com/

https://www.facebook.com/tokyo.jazz.review?ref=tn_tnmn

Criss CrossNew For Now Musicよりのストレートアヘッド~コンテンポラリーな力作群で人気を上げてきた実力派ギタリスト、Jonathan Kreisberg。もともとロック畑からフュージョン→主流派ジャズへ変遷してきたプレイヤーだけに、そのレンジの広さは並々ならぬもの。今回は、タイトルが示す通り全編ソロで、そのヴァーサタイルな個性を存分に発揮した作品になっています。モダン・ジャズ、ブラジリアンなど、それぞれの要素をモチーフにし、即興性に満ちた架空のSFサウンドトラックの様に編み上げられた音楽は大胆で完璧なクレイズバーグ自身を映し出す多面鏡的作品といえるでしょう。スタンダード中心で、ソロといっても物足りなさは全くなく、様々なアプローチでの解釈を美しくメロウに、シンプルにまとめあげた素敵な作品です

(Personnel)
Jonathan Kreisberg: guitar

(Track List)

1. Conto De Ossanha

2. Summertime

3. Without Shadow

4. Skylark

5. Caravan

6. Tenderly

7. My Favorite Things

8. Hallelujah

9. E.S.P.

10. I Thought About You

11. Escape From Lower Formant Shift

Jonathan Kreisberg - Website

Offcial Website

http://jonathankreisberg.com/


Facebook

https://www.facebook.com/pages/Jonathan-Kreisberg/214371258594187?fref=ts

https://www.facebook.com/jonathan.kreisberg?fref=ts

Preview

https://itunes.apple.com/jp/album/one/id602828924

Buy CD

http://www.amazon.co.jp/One-Jonathan-Kreisberg/dp/B00A92MGEM/ref=sr_1_1?s=music&ie=UTF8&qid=1372305376&sr=1-1&keywords=jonathan+kreisberg

EPK (Video & Audio)

JONATHAN KREISBERG --- "ONE" EPK 1080p
http://www.youtube.com/watch?v=OjjKIe_OagI
 
Review

While recognized for his band leading skills on his international tours and countless CD's (as well as side man work with Dr. Lonnie Smith, Joe Locke, and Ari Hoenig among others) One marks guitarist Jonathan Kreisberg's first recording made up of entirely solo guitar performances.The program boasts a daring range of material and introduces the world to his unique polyphonic approach. Although at times it's hard to believe, the entire recording is one man on one track. Modern jazz, a Brazilian mythical tale, folk, and improvised music for an imaginary science fiction soundtrack are all refracted through Kreisberg's prism to create a bold and complete tale.


The liner notes may say no overdubs or loops were used, but Jonathan Kreisberg might just as easily have included that "No guitars were harmed in the making of ONE." Beyond work with artists like vibraphonist Joe Locke on Sticks and Strings (Music Eyes, 2007) and organist Dr. Lonnie Smith on Spiral (Palmetto, 2010), the guitarist has slowly built a personal discography that includes the particularly impressive The South of Everywhere (Mel Bay, 2007) and Shadowless (New for Now, 2011). Kreisberg may come from a progressive rock background but has, over the past fifteen years, evolved into a virtuoso guitarist who, nevertheless, never substitutes style for substance. Still, it's a ballsy move to turn to that most exposed of contexts
the solo recitaland to do so without the looping and overdubbing so often used to allow others access to more expansive sound worlds. ONE covers considerable territory with nothing more than one man, one guitar and, on a couple tracks, some effects to broaden Kreisberg's palette. It's hard not to think of seminal solo guitar innovator Joe Pass on Kreisberg's bright take on Juan Tizol's "Caravan," and a set-defining, similarly acoustic look at saxophonist Wayne Shorter's "E.S.P." that combines high-velocity, cascading phrases with ethereal abstractions, only to resolve into an unexpectedly Latin-esque main section. Kreisberg's language is, however, more modernistic, and hereand throughout the albumKreisberg creates an impression of multiple guitarists by combining instrumental mastery with sleight-of-hand, effortlessly moving between bass, chordal and melodic roles to simultaneously imply all three. Kreisberg resorts to a clean, warm, hollowbody electric tone on Baden Powell/Vinicius De Moraes's classic "Canto De Ossanha"one of a number of ONE's covers that have been recorded almost ad nauseum, but which Kreisberg makes his own through distinctive arrangements and melodic invention. Kreisberg nails Leonard Cohen's often-covered "Hallelujah," combining respect and irreverence as, in an extended coda, he layers dissonances that, nevertheless, remain completely in contextCohen's melody lines are largely intact but moved a half step or three away from the tune's harmonic center, their tension finally resolved as Kreisberg returns to consonance to finish the tune with some impressive finger-picking. Kreisberg kicks in more overt effects on ONE's two originals. On the serpentine "Without Shadow," his guitar sounds more like an organ," while on the dark- hued "Escape From Lower Formant Shift," Kreisberg's heavily overdriven tone harkens back to his pre-jazz days. But in a set that also includes other chestnuts like "Skylark" and "Summertime," Kreisberg's originals serve notice of his broader concerns. Kreisberg may love standards like "Tenderly" and "My Favorite Things," but what he does with them is never less than thoroughly contemporary. ONE may be 46 minutes of one man, one guitar, but in Kreisberg's hands it becomes a master class in just how unlimited that seemingly reductionist context can be. Truly solo jazz guitar recordings are few and far between, but with ONE, Kreisberg not only pays homage to past masters like Pass, George Van Eps and Lenny Breau, he makes clear that here, in the new millennium, he's unequivocally worthy of being mentioned in the same breath.
- By JOHN KELMAN, All About Jazz

 

Lest anyone jump to a logical conclusion while playing Jonathan Kreisbergs ingeniously arranged new solo CD, One, a listeners note is included: Although subtle (and not so subtle at times) guitar effects were utilized by Jonathan on some of the material for this recording, no additional tracks, overdubs or loops were used in the making of these purely solo performances. Apparently Kreisberg possesses the usual allotment of fingers, too. The heads up is something to keep in mind when Kreisbergs handiwork is in full motion, hinting at some form of six-string prestidigitation and refreshing a collection of mostly pop and jazz standards with extraordinary melodic, harmonic and rhythmic finesseto say nothing of the guitarists vast imagination. Think youve heard enough recordings of Leonard Cohens Hallelujah to last a few lifetimes? Kreisberg may well change your mind with his highly original treatment. But most of the albums pleasures are inspired by vintage tunes. Some are animated by bass-register motifs (Caravan) or adorned with elegant counterpoint (Summertime); others are hauntingly revived with brushed chords and light-fingered filigree (Skylark) or made all the more intriguing by curiously linear excursions and modal pulses (E.S.P.). Touches of bossa nova, flamenco and blues add color here and there, attaching familiar ballast to Kreisbergs intricately devised and beautifully articulated arrangements. The aforementioned not so subtle guitar effects are largely confined to a pair of original pieces: the fancifully baroque interlude Without Shadow and the rumbling, amped-up odyssey Escape From Lower Formant Shift.
- By Mike Joyce, Jazz Time