Ken Wessel: Press

”Consistently exciting, often moving, and certainly, an exceptional session.  Here's hoping that there is more for Wessel on the horizon, as this is undoubtedly a contender for one of the best records of the year.”
[about Jawboning]

”Matriculation from sideman to frontman can be a stressful process. Guitarist Ken Wessel makes the long due move with aplomb....Creative improvised music is a crowded place these days, with plenty of new players cropping up and older ones jockeying for more prominent positions. With all the activity it’s hard to keep track. But based on this auspicious debut my money says Wessel is one to watch.”
[about Jawboning]

“One of the ten best recordings of 1998.”

[On the CD, Daybreak, with Badal Roy and Stomu Takeishi]

“...sublime beauty can be powerful too, and in that sense, this is one of the finer power trio discs in recent memory....those who dig artful composition and soulful, unhurried improvisation should seek this one out.”
[On the CD, Daybreak, with Badal Roy and Stomu Takeishi]

“The guitarist demonstrates an adeptness at creating a spacious ambiance with delay lines and volume-pedal swells on Filiano’s complex suite, “Behind the Mirror.” And he shows a penchant for gentle lyricism on his lovely ballad “Sunset,” which also serves as a showcase for Filiano’s expressive arco work. The trio closes out with the collective improv, “Diminutive Innuendos,” full of darting, jagged lines and daring intervallic leaps by the adventurous and underrated guitarist.”
[about Jawboning]

“Wessel showed great promise. He listened closely to Ornette and constantly reworked alto phrases, often inspiring further variations from the leader. With time in the band, Wessel should assume a more active, up-front role.”

"Among these hired guns...Kenny Wessel pushes blues-rock runs into jazz harmony..."

[About Wessel’s playing on Donald Fagen’s Morph the Cat]

And Ken Wessel’s rocky solo is the cream on top of “Security Joan.”
[on Donald Fagen's Morph the Cat]

“....guitarist Kenny Wessel, whose cleanly phrased single-string solos give the group a relaxed, swinging feeling.”

“Badal Roy and Ken Wessel have choreographed the musical score and played the tabla and guitar respectively, enhancing the beauty of this presentation which was a joyful blend of music and movement.”

”...Wessel’s work here is witty and makes me move in my seat.”

“When the song finally opens up for improvisation, Wessel’s solo - punctuated with chord clusters and tight double stops - floats gracefully atop a deep tabla groove. Here Wessel manages to be delicate without being precious - a fine line that he walks with ease....Half-way into his solo, as Roy and Takeishi egg him on with rhythmic volleys, Wessel kicks into overdrive - literally and figuratively - showing off an edgier side of his musical personality without resorting to rock/fusion cliches. Other cuts - notably “Processional” and “Daybreak” - offer further evidence of Wessel’s patience and maturity.”