Album Notes

Ken Rose was born and raised in the Boston area, a city that Gary Burton once said was “guitar heaven, or the opposite, depending on your viewpoint (there are more guitarists in Boston than anywhere on earth).” After picking up the guitar at age thirteen, he was quickly drawn to jazz. While still in high school, Ken was exposed to many great guitarists in Boston’s jazz clubs, including Jim Hall, Mick Goodrick, Pat Metheny, John Scofield, Bill Frisell, John Abercrombie and Mike Stern. Also as a high school student, Ken was fortunate to study with local legend Randy Roos. The duo performances of Mick Goodrick and Randy Roos were an important early influence.

After high school, Ken did a stint in the US Army Band, touring the East Coast with the All American Jazz Ensemble. Once his tour of duty was complete, Ken attended universities in North Carolina, Pennsylvania and Illinois working on degrees in English and Applied Linguistics, culminating with a PhD. Along the way, he kept up his music and performed in a range of contexts, from straight‐ahead jazz to experimental music. He lives and works in Hong Kong, by day holding a university post teaching Applied Linguistics, and by night appearing in local jazz venues, emphasizing the performance of his own compositions.

Robin Lynam, jazz critic for the South China Morning Post, wrote that Ken’s music represents “the cutting edge of Hong Kong modern jazz.” One reason for this is that Ken has had the good fortune of presiding for the past five years over the first Saturday of the month at Visage—Hong Kong’s hippest place to play—organizing performances with many of the city’s finest jazz musicians such as Eugene Pao, Ted Lo, Peter Scherr and Sylvain Gagnon. He has also had the opportunity to play with some of the fine musicians who have visited Hong Kong, such as Blaine Whittaker, Quinsin Nachoff, and Toby Mak.

Slow Poke, Ken’s debut CD, was released in September 2002 and warmly received in the jazz press, with critics noting the maturity and economy in Ken’s playing.

A writer at JazzReview.com commented that “the logic of Rose’s solos and the understated nature of his playing are more reminiscent of the work of the mature masters who take their time with solo construction and who concentrate on purity of sound. . . a style derived from mature attention to a burnished sound and formed by a narrative ability that ensnares the listener.”

Likewise, a reviewer for ejazznews.com noted that “Rose isn’t a ‘how fast can I play this thing?’ kind of guitarist, he lingers over the notes and coaxes some muted blues‐based licks that just hang there like slowly dissipating smoke. . . lightness of rhythmic touch coupled with elegant restraint from the guitar seems to sum up the CD.”

A second JazzReview.com writer felt that Slow Poke was “reminiscent of Grant Greenʹs more reflective work for Blue Note during the 1960’s. . . an enjoyable debut effort featuring a tight, responsive band and inspired playing from its leader. Tag this effort as another reassurance that the future of jazz guitar is in good hands.”

One critic for AllAboutJazz.com also wrote that Ken Rose “is yet another fine new guitarist waiting to be discovered by the public and other plectrists. . . [he] distinguishes himself by sounding like a much older guitarist, a lyrical yet blues‐based player like classic players from the ‘60s. This is a guy to listen to and enjoy the ride. He plays without jamming notes down our throats and seems to relish the clean articulation of his solos.”

And a writer for 20th Century Guitar Magazine remarked that “one of the outstanding new players on the jazz guitar scene, Rose effortlessly amazes with Slow Poke—for atmospheric, smoky‐room jazz guitar vibes, it doesn’t get any better.”