Kristian Borring is a jazz guitarist who lives in Perth, Australia, however sends his fearless taking part in echoing across the planet through his trio, Quantity Junky, which simply launched its second album, Birak.

Borring is intriguing due to the fluidity of his improvisations, which may bounce between single-note phrases and chords in a flash – the mark of a grasp post-bop guitarist. We talked to him whereas separated by 13 time zones.

How is Birak completely different from Quantity Junky’s first album?

It’s a deeper dive into the rhythmic, specifically the metric ideas that we’ve got been exploring through the years. It began with my doctoral analysis into odd meters in jazz, exploring the right way to develop a more-personalized and holistic method to the topic in my very own taking part in and composition. Quantity Junky turned the platform to discover a few of this materials and we’ve got toured a bit and performed a variety of live shows. I feel it actually exhibits in our general expression and exploration of the fabric.

Your taking part in on “Basel Return” jumps effortlessly between single-note licks and chords. Did you spend time in your youthful years engaged on chord improvisation?

Completely, and nonetheless do; it’s an important a part of mastering jazz guitar. I largely do it on requirements, however I additionally write chord etudes such “Nausicaa Reprise” or “Music Etude.”

Is “Etude No. 12” constructed off a follow train?

Sure! Actually, my half, up till the solos, is note-for-note taken from a collection of etudes that I wrote as a part of my doctoral analysis. Our bassist, Zac Grafton, got here up with a line and we tried to work with a groove impressed by central-African drumming. An easier clarification is that it’s an odd-meter time notated in 14/8.

“The Birthday Music” has some attention-grabbing echo results.

That will be my Supa-Puss from Method Enormous. It’s a bucket-brigade delay and I take advantage of it for bizarre modulated stuff on the fly; I really like the nice and cozy, colourful textures it may create. I used to make use of it on a regular basis, virtually as a preamp, due to the way in which it colours the tone. Now, I’ve the Seymour Duncan Andromeda delay as a fixture due to its reminiscence banks and dynamic expression operate. A lot of the pedals on my rig are for tone shaping and are completely on; there’s a 10-band EQ from MXR, Xotic RC Booster, Klon clone, J. Rockett Archer overdrive, and a reverb from Neunaber. I even have an MXR Micro Refrain and Pork Loin distortion from Method Enormous.

Your guitar tone is splendidly darkish and heat.

Thanks, man! For this recording, I solely used my 15″ semi-hollow from Eastman. It’s acquired a carved-mahogany prime and Lollar Imperial PAFs. It’s my favourite guitar for the time being as a result of it handles results and carries a lot of maintain however on the identical time tasks a heat, wood tone. I used to be given a John Pisano signature archtop with a maple prime and Kent Armstrong PAF neck pickup. Stunning craftsmanship. I’ve an endorsement with Eastman Guitars, although they’ve by no means put me their web site, so it’s an enormous secret (laughs).

What about strings and picks?

I take advantage of D’Addario .011-.049 or .012-.050 units, each with a wound G string. I get somewhat obsessed exploring plectrums; I just lately found Honey Picks and have been trying out acrylic supplies – so loud! I’ve too many picks in 351 form and fancy supplies between 1 and 1.5 mm, however I at all times come again to Dunlop’s 1.14mm Delrin after I really feel misplaced. I take advantage of my fingers fairly a bit whereas holding my plectrum with my index finger as a result of it creates completely different textures and dynamics.

Herbie Hancock defines jazz as merely “concord.” Do you retain exploring concord, and if that’s the case, how?

Massive query! The quick reply is, completely. Regardless that I really like working with time and rhythm, concord is key to jazz. It’s consistently creating as we discover music; generally, our ears hear new sounds or acknowledge one thing we’ve by no means heard earlier than. How? By listening, experimenting, and working towards.

Speaking about improvisation, sax legend Benny Golson as soon as informed an viewers, “Don’t thoughts us, we’re simply having a dialog.” Are you able to communicate to that?

Yeah, that’s what jazz is – speaking and exchanging concepts and viewpoints. As our title signifies, Quantity Junky explores rhythm and meter to develop a language from our shared contributions. In fact, we’re knowledgeable by different stuff and might relate to the language of Charlie Parker, Coltrane, Herbie, and so forth. Benny Golson, as nicely. The music I write could also be complicated, however I need Quantity Junky to sound relaxed and welcoming to any listener, not simply the jazz police. – Pete Prown

This text initially appeared in VG’s February 2025 difficulty. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.