Kristian Borring is a jazz guitarist who lives in Perth, Australia, but sends his fearless playing echoing around the planet via his trio, Number Junky, which just released its second album, Birak.
Borring is intriguing because of the fluidity of his improvisations, which can jump between single-note phrases and chords in a flash – the mark of a master post-bop guitarist. We talked to him while separated by 13 time zones.
How is Birak different from Number Junky’s first album?
It’s a deeper dive into the rhythmic, in particular the metric concepts that we have been exploring over the years. It started with my doctoral research into odd meters in jazz, exploring how to develop a more-personalized and holistic approach to the subject in my own playing and composition. Number Junky became the platform to explore some of this material and we have toured a bit and played a lot of concerts. I think it really shows in our overall expression and exploration of the material.
Your playing on “Basel Return” jumps effortlessly between single-note licks and chords. Did you spend time in your younger years working on chord improvisation?
Absolutely, and still do; it’s an essential part of mastering jazz guitar. I mostly do it on standards, but I also write chord etudes such “Nausicaa Reprise” or “Song Etude.”
Is “Etude No. 12” built off a practice exercise?
Yes! In fact, my part, up until the solos, is note-for-note taken from a series of etudes that I wrote as part of my doctoral research. Our bassist, Zac Grafton, came up with a line and we tried to work with a groove inspired by central-African drumming. A simpler explanation is that it’s an odd-meter time notated in 14/8.
“The Birthday Song” has some interesting echo effects.
That would be my Supa-Puss from Way Huge. It’s a bucket-brigade delay and I use it for weird modulated stuff on the fly; I love the warm, colorful textures it can create. I used to use it all the time, almost as a preamp, because of the way it colors the tone. Now, I have the Seymour Duncan Andromeda delay as a fixture because of its memory banks and dynamic expression function. Most of the pedals on my rig are for tone shaping and are permanently on; there’s a 10-band EQ from MXR, Xotic RC Booster, Klon clone, J. Rockett Archer overdrive, and a reverb from Neunaber. I also have an MXR Micro Chorus and Pork Loin distortion from Way Huge.
Your guitar tone is wonderfully dark and warm.
Thanks, man! For this recording, I only used my 15″ semi-hollow from Eastman. It’s got a carved-mahogany top and Lollar Imperial PAFs. It’s my favorite guitar at the moment because it handles effects and carries lots of sustain but at the same time projects a warm, wooden tone. I was given a John Pisano signature archtop with a maple top and Kent Armstrong PAF neck pickup. Beautiful craftsmanship. I have an endorsement with Eastman Guitars, though they’ve never put me their website, so it’s a big secret (laughs).
What about strings and picks?
I use D’Addario .011-.049 or .012-.050 sets, both with a wound G string. I get a little obsessed exploring plectrums; I recently discovered Honey Picks and have been checking out acrylic materials – so loud! I have too many picks in 351 shape and fancy materials between 1 and 1.5 mm, but I always come back to Dunlop’s 1.14mm Delrin when I feel lost. I use my fingers quite a bit while holding my plectrum with my index finger because it creates different textures and dynamics.
Herbie Hancock defines jazz as simply “harmony.” Do you keep exploring harmony, and if so, how?
Big question! The short answer is, absolutely. Even though I love working with time and rhythm, harmony is fundamental to jazz. It is constantly developing as we explore music; sometimes, our ears hear new sounds or recognize something we’ve never heard before. How? By listening, experimenting, and practicing.
Talking about improvisation, sax legend Benny Golson once told an audience, “Don’t mind us, we’re just having a conversation.” Can you speak to that?
Yeah, that’s what jazz is – communicating and exchanging ideas and viewpoints. As our name indicates, Number Junky explores rhythm and meter to develop a language from our shared contributions. Of course, we are informed by other stuff and can relate to the language of Charlie Parker, Coltrane, Herbie, and so on. Benny Golson, as well. The music I write may be complex, but I want Number Junky to sound relaxed and inviting to any listener, not just the jazz police. – Pete Prown
This article originally appeared in VG’s February 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
