One of the revelations I got from listening to Frank Hewitt is that at the core of bebop there’s an inventiveness that’s also reinventing the harmony as it’s happening; you can take many harmonic pathways through these songs, so the harmony itself is being improvised in a very changeable way. I learned from Frank Hewitt that, in addition to the context and structure, and everything else that already exists in the song, there’s a whole world of imagination and magic. The song is the nucleus, but there’s an entire atmosphere around the nucleus. It’s this atmosphere that is the most exciting and engaging and important thing in the music.
Even though you might compare a band that’s playing at Small’s—let’s say Ari Roland and Sacha Perry—with my band, and think that they have nothing to do with each other, the truth is that we have a lot in common. I think mostly it is this concept, this idea, this truth that the most important thing in music is the atmosphere around the literal nucleus of the actual nuts and bolts of the music. But also, there is a language commonality between my band and bebop. Definitely, if you’re going to play in my band, you need to have that foundation, because that language is part of where we’re coming from, even though the rhythms are different and the harmony is different. - Kurt Rosenwinkel
( Beautiful tones, gorgeous chords and lines. - Ed )
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