Ray Charles & Milt Jackson - Soul Brothers, Soul Meeting Disc 1 And Disc 2

Styles: Soul Jazz
Year: 1989
File: MP3@320K/s
Time: 47:50 (Disc 1)
Size: 111,6 MB (Disc 1)
Time: 46:10 (Disc 2)
Size: 107,8 MB (Disc 2)
Art: Front

Disc 1

(9:15)  1. How Long Blues
(5:23)  2. Cosmic Ray
(5:25)  3. The Genius After Hours
(4:57)  4. Charlesville
(8:50)  5. Bags Of Blues
(5:51)  6. Deed I Do
(8:05)  7. Blue Funk

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Disc 2

(9:34)  1. Soul Brothers
(6:27)  2. Bag's Guitar Blues
(6:04)  3. Soul Meeting
(5:29)  4. Hallelujah I Love Her So
(6:40)  5. Blue Genius
(8:11)  6. X-Ray Blues
(3:42)  7. Love on my Mind

This brings together all of the extant takes recorded for two albums that Milt Jackson made with Ray Charles for Atlantic in 1957 and 1958. With Oscar Pettiford, Connie Kay, and Kenny Burrell in the various lineups, this is bluesy jazz in a laid-back manner; it surprised many hardcore R&B fans when these albums were originally issued. Jackson moves from vibes to piano, and even guitar (on "Bag's Guitar Blues"), while Ray jumps between piano and alto sax on these sessions. A rare glimpse of Charles' jazz soul coming up for air.      ~ Cub Koda   http://www.allmusic.com/album/soul-brothers-soul-meeting-mw0000653204.

Personnel: Skeeter Best, Kenny Burrell (guitar); Ray Charles (alto saxophone, acoustic & electric pianos); Billy Mitchell (tenor saxophone); Milt Jackson (piano, vibraphone); Oscar Pettiford (bass); Connie Kay (drums)

Soul Brothers, Soul Meeting Disc 1, Disc 2

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Kenny Burrell - Unlimited 1: Live at Catalina's

Styles: Guitar Jazz, Big Band
Year: 2016
File: MP3@320K/s
Time: 75:51
Size: 174,3 MB
Art: Front

(1:29)  1. Spoken Introduction
(9:33)  2. Stolen Moments
(5:36)  3. Jeannine
(5:43)  4. Be Yourself
(0:27)  5. Spoken Introduction
(6:03)  6. Remembering
(1:07)  7. Spoken Introduction
(9:33)  8. Mama Ya Ya
(5:43)  9. Fourth Dimensions (aka Kenny's Sound)
(7:49) 10. Adelante!
(0:26) 11. Spoken Introduction
(6:28) 12. Soulero
(0:22) 13. Spoken Introduction
(9:49) 14. Strayhorn Medley: Passion Flower/Take the "A" Train
(0:15) 15. Spoken Introduction
(5:22) 16. Things Ain't What They Used to Be (with Barbara Morrison)

Guitarist Kenny Burrell, who isn't generally known for hanging out with big bands, now has one of his own: the Los Angeles-based Jazz Orchestra Unlimited, for which he serves as music director on its debut album, Unlimited 1, Live at Catalina's. While the ensemble is splendid, individually and collectively, there's no doubt that Burrell is the star attraction. Any misgiving about that is erased by the fact that the names of orchestra members aren't listed in the Catalina's booklet except as soloists.

Luckily, most of them have at least one chance to do so, leaving less than a handful of uncounted participants. In his opening remarks, Burrell says a part of the orchestra's mission is to become a repertory ensemble playing "the great jazz classics and standards," a purpose that is somewhat underplayed here, as only four of the ten numbers would qualify as such. Besides soloing on all but one selection, Burrell sings on two (Duke Pearson's "Jeannine," his own "Remembering"), guest Barbara Morrison on one (the bravura finale, "Things Ain't What They Used to Be"). Although his voice is by no means polished, Burrell manages to reach the proper notes; Morrison, meanwhile, lends a bluesy patina to the Ellington classic, on which Burrell and the orchestra swing with abandon. Burrell's co-directors are composer / arranger / guitarist Charley Harrison and trumpeter Bobby Rodriguez, and among the album's highlights is Rodriguez' loping Latin-accented romp, "Mama Ya Ya," written to honor his great-great grandmother (on his mother's side).

Rodriguez also composed the multi-faceted "Adelante!" as a showpiece for Burrell and the orchestra. Completing the amiable program are Burrell's lyrical "Be Yourself" (inspired, he writes, by Ellington) and power-packed "Fourth Dimensions" (arranged by Don Sickler), Richard Evans ' evocative blues, "Soulero" (featuring versatile drummer Clayton Cameron) and a Billy Strayhorn medley ("Passion Flower," "Take the 'A' Train"), on the last of which the trumpet section reprises Ray Nance's original solo. In sum, an auspicious debut by the Jazz Unlimited Orchestra, whose sections are laden with some of the area's most accomplished sidemen, and another solid outing for Burrell who is at home in any arena.By Jack Bowers https://www.allaboutjazz.com/unlimited-1-live-at-catalinas-kenny-burrell-highnote-records-review-by-jack-bowers.php

Personnel: Kenny Burrell: artistic director, electric guitar, vocals, commentary; Los Angeles Jazz Orchestra Unlimited: Charley Harrison, Dr. Bobby Rodriguez: co-directors; Bobby Rodriguez: trumpet; Mike Price: trumpet; Dave Richards: trumpet; Jon Papanbrook: trumpet; Tom Marino: trumpet; Andre Delano: alto sax; Justo Almario: tenor sax, flute; Scott Mayo: tenor sax; Charles Owens: baritone sax; Nick De Pinna: trombone; Ryan Porter: trombone; Billy Mitchell: piano; Trevor Ware: bass; Clayton Cameron: drums; Barbara Morrison: vocal (16). Other personnel unlisted.

Unlimited 1: Live at Catalina's

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Stanley Turrentine - The Look Of Love

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 38:02
Size: 87,8 MB
Art: Front

(4:23) 1. The Look Of Love
(3:26) 2. Here There And Everywhere
(3:22) 3. A Beautiful Friendship
(6:01) 4. Blues For Stan
(2:34) 5. This Guy's In Love With You
(4:41) 6. MacArthur Park
(2:25) 7. I'm Always Drunk In San Francisco
(3:14) 8. Emily
(3:43) 9. Cabin In The Sky
(4:07) 10. Smile

With its mix of pop covers and jazz material, The Look of Love could be considered a typical Turrentine album from the late '60s. What sets this and a few other of his Blue Note titles apart, though, are the full yet tasteful string and band arrangements by jazz flügelhorn player and composer Thad Jones. With his flexible phrasing and muscular tone, Turrentine dives into the lush arrangements, especially on the sweeping rendition of Burt Bacharach's "Look of Love." Other pop selections bring mixed results: The plodding arrangement on "McArthur Park" garners a lukewarm response from Turrentine, while the tender settings for "Emily" and another Bacharach number, "This Guy's in Love With You," elicit the kind of velvety vaporous tone and sincere romantic phrasing Turrentine usually killed with on ballads.

More upbeat, straight-ahead material like "A Beautiful Friendship" and the blues swinger "Blues for Stan" keep the date well balanced and set the table for some masterful Turrentine solos. Again, special mention should be made of Thad Jones who, along with Oliver Nelson (Nancy Wilson's Welcome to My Love in particular) and Duke Pearson, supplanted the usual syrupy arrangements found on "cross-over" dates with intelligent, complimentary charts. Turrentine certainly appreciated it, as evidenced by his strong work here. Purists who usually cringe at late-'60s jazz dates like this (yes, there is a Beatles cover here) might be pleasantly surprised. For those who feel Bacharach and Jimmy Webb provide fine material for jazz, then The Look of Love is a must.By Stephen Cook https://www.allmusic.com/album/look-of-love-mw0000899764

Personnel: Stanley Turrentine - tenor saxophone; Jimmy Nottingham, Snooky Young - flugelhorn; Benny Powell - bass trombone; Jim Buffington - French horn; Kenny Burrell - guitar; Hank Jones - piano; Duke Pearson - piano, arranger ; Roland Hanna - piano; George Duvivier - bass; Grady Tate - drums; Mickey Roker - Thad Jones - drums

The Look Of Love

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Kenny Burrell - 12-15-78: Live At The Village Vanguard/In New York (Double CD)

Live At The Village Vanguard

Styles: Mainstream Jazz
Year: 1999
Time: 49:01
File: MP3 @ 320K/s
Size: 112,7 MB
Art: Front

( 6:10) 1. Second Balcony Jump
( 6:44) 2. Willow Weep For Me
( 4:27) 3. Work Song
( 7:03) 4. Woodyn' You
( 0:55) 5. The Introduction
(10:11) 6. In The Still Of The Night
( 6:49) 7. Medley: Don't You Know I Care/Love You Madly
( 6:38) 8. It's Getting Dark

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Kenny Burrell In New York

Styles: Mainstream Jazz
Year: 1999
Time: 36:48
File: MP3 @ 320K/s
Size: 84,6 MB
Art: Front

(9:02) 1. Pent Up House
(5:20) 2. But Beautiful
(3:50) 3. Bags' Groove
(7:20) 4. Makin' Whoopee
(3:30) 5. Come Rain Or Come Shine
(7:44) 6. Love, Your Magic Spell Is Everywhere

12/15/78 Live At The Village Vanguard/In New York CD 1 & CD 2

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The Kenny Burrell Trio recorded Live At The Village Vanguard and Kenny Burrell In New York on December 15, 1978; hence, the title for this two-disc reissue. It doesn’t get much better for those who appreciate a guitar trio performing mainstream jazz. Burrell combines a great respect for the lyrical with harmonic chorded lines and a sweet tone in his work. It was in 1978 that the guitarist began teaching a course at UCLA on the life and music of Duke Ellington. Quite popular with students, the course still has a long waiting line for admission, after all these years. Burrell includes a few Ellington numbers on this program and works in a quote from "It Don’t Mean a Thing" on his upbeat arrangement of "Love, Your Magic Spell is Everywhere."

Bass and drums solo infrequently on this session. Drummer Sherman Ferguson takes a few extended solos and fours that express his penchant for space and a variety of textures. Ferguson’s drums are tuned loosely at different pitches; this, in support of a lyrical outing. Although he stays way in the background for most of the club date, Larry Gales’ big fat round tones jump out on "Makin’ Whoopee," as he has a lot to say and all of it tied to the melody. Ballads "Willow Weep for Me," "Come Rain or Come Shine," "Don’t You Know I Care?" and "But Beautiful" drive home the message that Burrell’s unmistakable singing guitar style comes naturally and falls on ears that appreciate the reissue of this long out of print material.

https://www.allaboutjazz.com/12-15-78-kenny-burrell-32-records-review-by-jim-santella

Personnelfor both sessions:

Kenny Burrell- guitar; Larry Gales- acoustic bass; Sherman Ferguson- drums.

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Kenny Burrell - Live at the Village Vanguard

Styles: Guitar Jazz
Year: 1980
File: MP3@320K/s
Time: 49:03
Size: 113,0 MB
Art: Front

( 6:10) 1. Second Balcony Jump
( 6:44) 2. Willow Weep For Me
( 4:27) 3. Work Song
( 7:03) 4. Woodyn' You
( 0:55) 5. The Introduction by Kenny Burrell of Max Gordon, Village Vanguard
(10:11) 6. In The Still Of The Night
( 6:49) 7. Don't You Know I Care - Love You Madly
( 6:41) 8. It's Getting Dark

Kenny Burrell's storied career as perhaps the premier modern jazz guitarist has been documented by many efforts in the studio, but here's a nightclub date that may well be highly ranked as one of his very best efforts. The spontaneity and freshness of Burrell's lyric lines and deft chords is further enhanced by perhaps the most advanced musicians he has ever played with bassist Richard Davis and drummer Roy Haynes.

For music done in 1959, this is heady, seat-of-the-pants, brilliantly executed jazz that is mostly based in standards, but stretched to exacting tolerances that bend, but are not close to breaking. Davis provides strong support without going as outward as he did later in life, while Haynes might sound subdued to his fans, yet has an elastic presence that allows the other two a lot of freedom to fully articulate this modern mainstream language as a prelude heading into the turbulent '60s.

On this straight reissue that originally sported the title "Man at Work," the trio plays all standards save the lively blues groove, more pronounced than the studio version of Burrell's "All Night Long," and the Erroll Garner tune "Trio," where Burrell's proves expert at combining singles lines and chords in balance. Most of the material is very upbeat and energetic as on the fast and quick "Will You Still Be Mine," and the bop swing of "Broadway" mixed up a little melodically by Burrell.

The love of Duke Ellington's music is always with the guitarist as rendered during "Just A-Sittin' and A-Rockin'," where the genius of Burrell is extant in his ability to provide his own counterpoint. Burrell's other precious component is his ability to relax and consistently swing as on Thelonious Monk's "Well, You Needn't," Benny Goodman's poignant and simple "Soft Winds," and dipping deep into the tenderness quotient on the ballad "I'm a Fool to Want You" aside the tango-flavored bass of Davis. A solid effort top to bottom, and a recording most highly recommended, this is Burrell and his extraordinary trio very close to, if not truly in their prime, and their element. By Michael G. Nastos https://www.allmusic.com/album/a-night-at-the-vanguard-mw0000203946#review

Live at the Village Vanguard

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Kenny Burrell - Earthy

Styles: Guitar Jazz

Year: 1957/2020

File: MP3@320K/s

Time: 43:40

Size: 100,0 MB

Art: Front

( 9:23) 1. Earthy

( 7:12) 2. What's Not

( 6:16) 3. I Wouldn't

( 6:14) 4. The Frontline

(14:33) 5. Dayee

One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir, while his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others.

In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava, and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson's trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing in gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, and recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell technically his second session for the label, but the first to see release. From the late '50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957's The Cats featuring Coltrane, 1963's Midnight Blue featuring saxophonist Stanley Turrentine, 1965's Guitar Forms with arrangements by Gil Evans, and 1968's Blues - The Common Ground.

Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the '80s and '90s, releasing several albums including 1989's Guiding Spirit, 1991's Sunup to Sundown, 1994's Collaboration with pianist LaMont Johnson, 1995's Primal Blue, and 1998's church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released the live album Be Yourself: Live at Dizzy's Club Coca-Cola, recorded at Lincoln Center's smaller club-like venue, followed two years later by Special Requests (And Other Favorites): Live at Catalina's. In 2015, Burrell released The Road to Love, recorded live at Catalina's Jazz Club in Hollywood. Another Catalina's live date, Unlimited 1, appeared in 2016 and featured Burrell backed by the Los Angeles Jazz Orchestra. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA, as well as president emeritus of the Jazz Heritage Foundation. ~ Matt Collar

https://www.allmusic.com/artist/kenny-burrell-mn0000068780/biography

Personnel: Kenny Burrell - guitar; Al Cohn - tenor saxophone; Art Farmer - trumpet; Hal McKusick - alto saxophone; Mal Waldron - piano; Teddy Kotick - bass; Ed Thigpen - drums

Earthy

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Kenny Burrell - Sanremo 1987

Styles: Guitar Jazz
Year: 1987
File: MP3@320K/s
Time: 43:08
Size: 98,7 MB
Art: Front

(6:39) 1. Blues No.1
(7:32) 2. Summertime
(7:33) 3. Blues No.2
(6:25) 4. Ballad
(8:18) 5. Blue Bossa
(6:38) 6. Body & Soul

One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-’50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir and his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others.

In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson’s trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing on gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, as well as recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell technically his second session for the label, but the first to see release. From the late ’50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957’s The Cats featuring Coltrane, 1963’s Midnight Blue featuring saxophonist Stanley Turrentine, 1965’s Guitar Forms with arrangements by Gil Evans, and 1968’s Blues The Common Ground.

Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the ’80s and ’90s, releasing several albums including 1989’s Guiding Spirit, 1991’s Sunup to Sundown, 1994’s Collaboration with pianist LaMont Johnson, 1995’s Primal Blue, and 1998’s church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released another live album, Be Yourself: Live at Dizzy’s Club Coca-Cola, recorded at Lincoln Center’s smaller club-like venue. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA as well as President Emeritus of the Jazz Heritage Foundation. ~ Matt Collar https://www.bluenote.com/artist/kenny-burrell/

Personnel: Kenny Burrell - guitar; Dave Jackson - bass; Kenny Washington - drums

Sanremo 1987

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Kenny Burrell - Jazzmen Detroit

Styles: Guitar Jazz
Year: 1956
File: MP3@320K/s
Time: 33:52
Size: 77,9 MB
Art: Front

(5:57)  1. Afternoon in Paris
(4:46)  2. You Turned the Tables on Me
(5:28)  3. Apothegm
(5:21)  4. Your Host
(5:37) 5. Cottontail
(6:40)  6. Tom's Thumb

This Savoy CD lists Kenny Burrell as session leader, but it is clearly a group effort that could easily have been attributed to Pepper Adams or pianist Tommy Flanagan. Burrell has the edge, though, in writing credits with the contribution of two tunes: the quietly assured "Your Host" and the bluesy, hard bop line "Tom's Thumb." Adams offers his leisurely, sophisticated "Apothegm" to the date. Flanagan, for his part, is pure elegance, subtlety, and swing. With the exception of drummer Kenny Clarke, all the players hail from the motor city.

Coming up through the same hometown music scene may help account for the fine group interplay. It's also apparent the musicians had the luxury of working through these six tunes before sitting down to record. The result does full justice to the fine writing and arranging and allows for thoughtfully developed improvisations. Ensemble entries are crisp and assured, as are the entrances by all soloists. Burrell favors a dry, clean attack here, while Adams reins in his more full-throated tendencies. Clarke, Flanagan, and bassist Paul Chambers support with consummate taste. The overall mood may be a bit too polite, but this remains a classy, near classic performance. There's no padding, although, at 33 minutes, the running time is brief. The sound recording is excellent.By Jim Todd  http://www.allmusic.com/album/jazzmen-detroit-mw0000097797

Personnel: Kenny Burrell (guitar); Pepper Adams (baritone saxophone); Tommy Flanagan (piano); Paul Chambers (bass); Kenny Clarke (drums).

Jazzmen Detroit

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Kenny Dorham - The Best Of Kenny Dorham - The Blue Note Years

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 58:46
Size: 135,3 MB
Art: Front

( 4:26)  1. Minors Holiday
( 4:16)  2. Lotus Flower
( 6:00)  3. Mexico City
( 5:38)  4. Philly Twist
( 7:57)  5. Blue Bossa
( 7:11)  6. Short Story
(15:16)  7. Una Mas (One More Time)
( 7:58)  8. The Fox

Often lost in the shadows of A-team players like Dizzy Gillespie and Clifford Brown, trumpeter Kenny Dorham quietly made a name for himself throughout both the bebop and hard bop years from the mid-'40s to the mid-'60s. His tart tone and mercurial phrasing ideally framed here, The Best of Kenny Dorham offers newcomers a perfect way to get familiar with one of modern jazz's top composers and players. Starting with 1955's classic Afro-Cuban LP, the eight cuts include such essential Dorham originals as "Minor's Holiday," "Blue Bossa," and "Una Mas." And helping out along the way are tenor saxophonists Joe Henderson and Hank Mobley, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones. A fine snapshot of Dorham in his eclectic prime. ~ Stephen Cook https://www.allmusic.com/album/the-best-of-kenny-dorham-blue-note-years-mw0000082543

Personnel: Trumpet – Kenny Dorham; Kenny Burrell - Guitar; Paul Chambers - Bass; Richard Davis - Bass; Kenny Drew - Piano; Cecil Payne - Saxophone; Philly Joe Jones - Drums.

The Best Of Kenny Dorham - The Blue Note Years

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Ray Brown Trio - Some of My Best Friends Are...Guitarists

Styles: Contemporary Jazz, Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 66:04
Size: 152,3 MB
Art: Front

(7:28) 1. Squeeze Me
(3:36) 2. I Want To Be Happy
(5:30) 3. Heartstrings
(3:13) 4. Blues for Ray
(5:12) 5. Fly Me To The Moon
(5:01) 6. The Song Is You
(7:47) 7. Little Darlin'
(6:01) 8. Blues For Junior
(4:27) 9. Tangerine
(6:04) 10. My Funny Valentine
(4:42) 11. Blues For Wes
(6:56) 12. Soulful Spirit

The fifth in Ray Brown's series of recordings pairing his working trio with several different musicians from the same family of instruments (although one volume was exclusively singers) features a half-dozen guitarists, ranging from fellow Oscar Peterson alumni Herb Ellis (who worked with Brown in the pianist's most famous trio) and Ulf Wakenius to veteran Kenny Burrell, as well as seasoned players like John Pizzarelli and Bruce Forman and the rising star Russell Malone. Each song sounds as if the group could be a working quartet, due to the great interaction between the trio and each guest. Pizzarelli shines in a bluesy, strutting take of Duke Ellington's "Just Squeeze Me" (erroneously labeled as Fats Waller's "Squeeze Me") which has a nice series of exchanges between the guitarist and the leader.

Ellis brings back memories of the Oscar Peterson Trio with a heated performance of "I Want to Be Happy" during which pianist Geoff Keezer is up to the task of carrying on where Ellis left off. Wakenius is the guest on a particularly moody take of "My Funny Valentine." Burrell, Forman, and Malone also fare nicely on each of their pair of tracks, so it's very easy to recommend this very enjoyable disc.~Ken Drydenhttps://www.allmusic.com/album/some-of-my-best-friends-are-guitarists-mw0000224992

Personnel: Ray Brown - Bass; Geoff Keezer - Piano; Karriem Riggins - Drums; Kenny Burrell, Herb Ellis, Bruce Forman, Russell Malone, John Pizzarelli, Ulf Wakenius - Guitar.

Some of My Best Friends Are...Guitarists

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Charlie Rouse - Bossa Nova Bacchanal

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 42:32
Size: 97,8 MB
Art: Front

(3:56)  1. Back to the Tropics
(2:58)  2. Aconteceu
(4:50)  3. Velhos Tempos
(6:18)  4. Samba de Orfeu
(5:56)  5. Un Dia
(5:58)  6. Meci Bon Dieu
(5:29)  7. In Martinique
(7:05)  8. One for Five

About eight or nine years ago, the major record labels finally realized that they could sell more copies of classic jazz CDs if they reissued them with the respect they deserved, including high-quality remastering and packaging. This has proved an unprecedented boon for the jazz fan; never have so many records by so many artists been readily available, even if the inventories are in cyberspace rather than in the attic of the corner shop. However, there is a cloud to this silver lining. There are simply so many old albums in the reissue queue that some artists, particularly those who were more prolific as sidemen than as leaders, are underrepresented. And not just in quantity sometimes whole stylistic forays are lost. A case in point is Charlie Rouse, the vastly underrated tenor man best known for his long tenure with Thelonious Monk in the late '50s and '60s. Thankfully, then, Blue Note has reissued Rouse’s 1962 Bossa Nova Bacchanal as part of its limited edition Connoisseur Series. I know, I know, “not another bossa nova cash-in album!” But keep an open mind; this is no crass marketing ploy. Bacchanal is actually a fine album, and apparently Rouse was very serious about making authentic bossa nova music, recruiting excellent Latin rhythm players alongside the dual guitar line of Kenny Burrell and Lord Westbrook (playing acoustic Spanish guitars). 

The selection of tunes is perfect, too, with really only one bossa warhorse (“Samba de Orfeu”), several refreshingly lesser-known gems (the breezy “Aconteceu,” the ominous “Meci Bon Dieu”), and a Rouse original for good measure. Rouse does nothing to soften his sharp-edged, sinusoidal tone but lacks nothing in melodic invention, and his acerbic lines provide a citric zing where this kind of music is often too sticky sweet. The dual-guitar team is a real treat, providing excellent solos (both Westbrook and Burrell have their chance to shine) and a constant stereophonic percolation in the background. A startling bonus track, however, threatens to steal the show, at least for Rouse fans "One For Five," a non-bossa original from a later, 1965 session with (get this) Freddie Hubbard, McCoy Tyner, Bob Cranshaw, and Billy Higgins. The tune is reminiscent of something that might have fit on Wayne Shorter’s contemporary Blue Notes, and it features a nice Rouse solo different from his Monk guise, as well as fleet work by Hubbard and Tyner. How the rest of this session could remain in the vaults is beyond imagining, and only goes to prove the point made above. So please, Blue Note, put out the rest, and soon but until then, thanks for the Brazilian appetizer. ~ Joshua Weiner https://www.allaboutjazz.com/bossa-nova-bacchanal-charlie-rouse-blue-note-records-review-by-joshua-weiner.php

Personnel: Charlie Rouse, tenor sax; Kenny Burrell and Chauncey "Lord" Westbrook, guitars; Larry Gales, bass; Willie Bobo, drums; Patato Valdes, conga; Garvin Masseaux, chekere. On "One For Five": Rouse; Freddie Hubbard, trumpet; McCoy Tyner, piano; Bob Cranshaw, bass; Billy Higgins, drums

Bossa Nova Bacchanal

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Frank Foster - No Count

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 35:39
Size: 89,4 MB
Art: Front

(6:04)  1. Stop Gap
(5:14)  2. Excursion
(6:33)  3. Casa Del Marcel
(3:55)  4. Apron Strings
(8:58)  5. Alternative
(4:52)  6. Serenata

No Freddie Green either, but that's okay; the four horns carved out from the Count Basie band for this Frank Foster-led date get along just fine with drummer Kenny Clarke, bassist Eddie Jones, and guitarist Kenny Burrell. The set is a companion to Frank Wess' North, South, East...Wess, recorded by the same players at the same sessions. No Count, however, stays closer to Kansas City swing than the Wess release, which attempted, not altogether successfully, to update the sound with some nods to hard bop. Foster's charts provide for lots of interplay and counterpoint between the two trombones and two tenors. This gets around the potential for the similar ranges of the horns to bog down in tonal homogeneity. The natural, yet sophisticated, blues-based swing players spin out long, masterful lines. Trombonists Henry Coker and Bennie Powell are most effective in supporting roles. The rhythm section is what makes this date, though. The poised Clarke balances the blues feeling of the arrangements with a cool bopping, cymbal-driven pulse. Jones, too, is effective, even if he is a bit far down in the mix. Then there's Burrell, who pretty much steals the show, covering for the absent Count and Basie guitarist Freddie Green with some of the finest rhythm work to be heard anywhere. À la the Count, he also takes the occasional brief but impressive solo. ~ Jim Todd http://www.allmusic.com/album/no-count-mw0000100132

Personnel: Frank Foster (tenor saxophone); Frank Wess (tenor saxophone, flute); Bennie Powell, Henry Coker (trombone); Kenny Burrell (guitar); Eddie Jones (bass); Kenny Clarke (drums).

No Count

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Bill Evans - Quintessence

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 43:23
Size: 99,6 MB
Art: Front

( 6:08) 1. Sweet Dulcinea Blue
( 8:17) 2. Martina
( 3:45) 3. Second Time Around
( 7:34) 4. A Child Is Born
(10:07) 5. Bass Face
( 7:29) 6. Nobody Else But Me

Bill Evans was such a looming force as a trio pianist that people tend to overlook his achievements in a quintet context. A few sessions made the point throughout his career, though, like this 1976 date that was one of Evans’s personal favorites. With longtime friend Philly Joe Jones plus new-to-Evans associates Harold Land, Kenny Burrell, and Ray Brown, the ensemble is stellar to say the least; and the players strike a comfortably creative groove on a program that includes originals by trumpeters Thad Jones and Kenny Wheeler, plus Burrell’s blowing tune "Bass Face." And how fascinating to hear Ray Brown, the man who defined bass playing in the pre-Evans-trio style, finally making music with the pianist. https://concord.com/concord-albums/quintessence/

Personnel: Piano – Bill Evans; Bass – Ray Brown; Drums – Philly Joe Jones; Guitar – Kenny Burrell; Tenor Saxophone – Harold Land

Quintessence

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Budd Johnson - French Cookin'

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 35:09
Size: 81,2 MB
Art: Front

(3:03) 1. La Petite Valse
(5:41) 2. Le Grisbi
(4:30) 3. I Can Live With The Blues
(4:33) 4. Darling Je Vous Aime Beaucoup
(4:21) 5. Under Paris Skies
(3:47) 6. Hugues' Blues
(4:53) 7. Je Vous Aime
(4:19) 8. Je T'Aime

One of the earliest Texas tenors, arranging boss of the Earl Hines Grand Terrace Orchestra, and pivotal swing-to-bop figure, Budd Johnson distributed his gifts through several eras of jazz. He was a major composer and arranger and a saxophonist whose style fit as comfortably into bebop as it did into swing. Albert J. (Budd) Johnson was born in Dallas on December 14, 1910. His father was a choir director and cornetist who taught him piano at a young age. By Johnson's teenage years he had switched to drums and was playing with his brother, Keg Johnson, in bands around town. Eventually the two started their own group, the Moonlight Melody Six. They later joined Gene Coy's Amarillo-based band, the Happy Black Aces. Switching instruments again, this time to the saxophone, Johnson headed to Kansas City and then to Chicago, where he met and joined Louis Armstrong in 1933. During his stint in the Windy City he also met Earl Hines; their musical relationship lasted nine years. It was during his tenure with Hines that he came into his own as an arranger on top of being a solid member of the reed section.

By 1944 Johnson had moved to New York City, where he became involved in organizing and playing in smaller jazz combos, joining up with Coleman Hawkins, Dizzy Gillespie, Woody Herman, and Billy Eckstine, in whose band he replaced Dexter Gordon. Johnson became a pioneer of the emerging bop jazz style, and he is credited with organizing the first bop recording session. He remained an integral part of American jazz throughout the 1950s. In 1956-57 he played with Benny Goodman, with whom he toured Asia, and in 1958 he formed his own septet and recorded the album “Blues a la Mode.” In 1960 he did a stellar session “Budd Johnson and the Four Brass Giants,” for Riverside. Johnson, who takes tenor solos throughout the date and also contributes a bit of clarinet in addition to providing the arrangements, is matched with four distinctive and very different trumpeters: Clark Terry, Harry “Sweets” Edison, Nat Adderley and Ray Nance.

He seemed in top form that year (’60) for he also did “Let’s Swing,” which is regarded as one of his best efforts. He would go on to be involved in countless of sessions and too many recording to mention. During the 1960s Johnson played with Count Basie and Quincy Jones and rejoined Earl Hines in ’64. He formed the JPJ Quartet, which worked on an occasional basis, during the 1969-‘75 periods. He also served as music director for Atlantic Records and started his own publishing company. In the 1970s and 1980s he taught music at Queens College and the State University of New York at Stony Brook. Budd Johnson died in New York City on October 20, 1984. https://www.allaboutjazz.com/musicians/budd-johnson

Personnel: Budd Johnson – tenor saxophone; Hank Jones – piano; Kenny Burrell, Everett Barksdale – guitar; Milt Hinton – bass; Willie Rodriguez – latin percussion; Osie Johnson – drums; Joseph Venuto – marimba, vibraphone

French Cookin'

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Kenny Burrell - The Artist Selects

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 75:14
Size: 173,1 MB
Art: Front

(4:59) 1. This Time The Dream's On Me - Remastered 2000
(6:05) 2. Delilah - Remastered 2000
(3:49) 3. But Not For Me - Remastered
(4:42) 4. Phinupi - Remastered
(4:46) 5. Love, Your Spell Is Everywhere
(7:59) 6. Scotch Blues - Remastered
(4:43) 7. Weaver Of Dreams - Remastered 2000
(9:35) 8. Swingin' - Remastered 1987
(5:25) 9. Chitlins Con Carne
(2:43) 10. Soul Lament - Remastered 1999/Rudy Van Gelder Edition
(4:01) 11. Midnight Blue - Remastered
(5:30) 12. These Foolish Things - 20 Bit Mastering; 1998 Digital Remaster
(6:02) 13. Hackensack - Remastered
(4:49) 14. Freedom

Taking a cue from ECM’s: rarum series, Blue Note has initiated their own The Artist Selects series, allowing living legends to hand-pick their own “best-of” compilations and even sequence them. The inaugural portion of the series, launched Oct. 4, features albums from guitarist Kenny Burrell (pictured), also saxophonist Lou Donaldson, trumpeter Freddie Hubbard and composer/arranger Gerald Wilson. The musicians cull their Blue Note releases, while Wilson selects from his Pacific Jazz recordings. Emphasizing the “artist selects” title, the liner notes contain first-person testimony from the artist of how the recordings came to be and how the process developed. By Katherine Silkaitis https://jazztimes.com/archives/blue-note-begins-artist-selects-series

Personnel: Guitar – Kenny Burrell (tracks: 1-14); Bass - Ben Tucker (tracks: 5,8,14), Major Holley (tracks: 9,11), Oscar Pettiford (tracks: 4), Paul Chambers (tracks: 1,2,7), Sam Jones (tracks: 6); Congas – Candido Camero (tracks: 1,2), Ray Barretto (tracks: 5,8,11,14); Drums – "Philly" Joe Jones (tracks: 12,13), Art Blakey (tracks: 6,8), Bill English (tracks: 5,9,11,14), Kenny Clarke (tracks: 1,2,7), Shadow Wilson (tracks: 4); Organ – Jimmy Smith (tracks: 13); Piano – Bobby Timmons (tracks: 8), Duke Jordan (tracks: 5), Herbie Hancock (tracks: 5,14), Tommy Flanagan (tracks: 1,2,4,7); Tenor Saxophone – Frank Foster (tracks: 4), Junior Cook (tracks: 5), Stanley Turrentine (tracks: 9,14), Tina Brooks (tracks: 5,8); Trumpet – Louis Smith (tracks: 6)

The Artist Selects

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Kenny Burrell - The Bluesin' Around Sessions

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 76:17
Size: 175,2 MB
Art: Front

(3:50) 1. Mambo Twist (Alternate Take)
(3:06) 2. Mambo Twist (Master)
(5:07) 3. The Switch (Master)
(2:51) 4. Bye and Bye
(3:08) 5. Funk Junction
(4:42) 6. Mood Indigo
(4:18) 7. The Squeeze
(3:56) 8. How Could You (Do a Thing Like That to Me?)
(4:46) 9. Opus 21
(4:03) 10. Bluesin' Around (Alternate Take)
(3:44) 11. Bluesin' Around
(4:43) 12. Gettin' in the Groove (Alternate Take)
(4:24) 13. Gettin' in the Groove
(3:32) 14. One Mint Julep
(3:30) 15. People Will Say We're in Love (Alternate Take)
(3:41) 16. People Will Say We're in Love
(6:19) 17. Moten Swing (Alternate Take)
(6:27) 18. Moten Swing

The complete original Kenny Burrell LP Bluesin' Around, which showcases the guitarist in a quintet format with such stars as Illinois Jacquet, Hank Jones, Brother Jack McDuff, Leo Wright, and Eddie Bert. In addition, we have included all existing songs from the same sessions that weren't included on the original LP plus all but one of the existing alternate takes from the dates. The music is presented here chronologically, in order to avoid mixing the personnel from the different sessions. Includes 12-page booklet. Essential Jazz Classics.~ Opiniones editoriales https://www.amazon.com/Bluesin-Around-Sessions-Kenny-Burrell/dp/B00F6XM3MYP

Personnel: Electric Guitar – Kenny Burrell; Acoustic Bass – George Duvivier (tracks: 9-13), Major Holley (tracks: 1-8); Alto Saxophone – Leo Wright (tracks: 17-18); Drums – Jimmy Crawford (tracks: 4-8), Joe Dukes (tracks: 14-18), Louis Hayes (tracks: 9-13), Osie Johnson (tracks: 1-8); Organ – Brother Jack McDuff (tracks: 14-18); Piano – Hank Jones (tracks: 1-13); Tenor Saxophone – Illinois Jacquet (tracks: 1-3); Trombone – Eddie Bert (tracks: 9-13)

The Complete Bluesin' Around Sessions

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Tommy Flanagan, John Coltrane, Kenny Burrell - The Cats

Styles: Jazz, Post Bop
Year: 1983
File: MP3@320K/s
Time: 42:21
Size: 97,5 MB
Art: Front

( 7:24) 1. Minor Mishap
( 5:55) 2. How Long Has This Been Going On?
( 7:55) 3. Eclypso
( 9:07) 4. Solacium
(11:58) 5. Tommy's Tune

The Cats are John Coltrane, Kenny Burrell, Tommy Flanagan, and Idrees Sulieman, heavyweights that clearly mark this as a Prestige All-Stars blowing session. However, this 1957 recording is actually a showcase for Flanagan, a rising star in his first major role. None of the tunes are all that challenging, following basic blues formulas that befit the nature of the session, which was probably quickly organized and recorded. But as you might expect this gives the players plenty of opportunities to wail.Coltrane demonstrates that he would soon be exploring more harmonically advanced territories than the others, tearing through rapid-fire solos with no trouble whatsoever. Burrell takes a more laid-back approach, stringing together bluesy licks in a relaxed fashion. If there's a weak link here, it's Sulieman, who despite a few nice solos seems tentative in spots and a little directionless in others.
But fortunately this is Flanagan's session, a gifted sideman who provides the right support to make sure that everyone stays on course. Along with the sextet tunes, a trio recording of "How Long Has This Been Going On?" proves that Flanagan was capable of handling the spotlight on his own. The slow, graceful rendering of the standard proves that the pianists had plenty of originality and taste and is the only track on the album that stands out. The Cats isn't the best recording by any of these musicians, who recorded in various combinations elsewhere (the later Kenny Burrell with John Coltrane , which also features Flanagan, is an essential purchase), but nevertheless The Cats is a solid album with plenty of tasty playing.~ David Rickert https://www.allaboutjazz.com/the-cats-john-coltrane-prestige-records-review-by-david-rickert.php

Personnel: Tommy Flanagan - piano; John Coltrane - tenor sax; Idrees Sulieman - trumpet; Kenny Burrell - guitar; Doug Watkins - bass; Louis Hayes - drums.

Kenny Burrell, Art Blakey - On View At The Five Spot Cafe

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 63:42
Size: 146,7 MB
Art: Front

( 9:48)  1. Birk's Works
(10:00)  2. Lady Be Good
( 8:23)  3. Lover Man
( 9:52)  4. Swingin'
(11:43)  5. Hallelujah
( 4:35)  6. Beef Stew Blues
( 5:29)  7. If You Could See Me Now
( 3:48)  8. 36-23-36

Kenny Burrell and Art Blakey played together infrequently during their careers, so this meeting of jazz minds is a welcome occasion. On View is a rather short set issued from club dates at the Five Spot Cafe in New York City. No matter the configuration, this is come-what-may jazz that has no pressurized content, and a relaxed atmosphere allowing the music to organically breathe and come alive naturally. This feeling comes to the fore right away on Dizzy Gillespie's "Birk's Works," a rather polite version as Burrell tosses out his discriminating versions of the melody. Incorrectly identified as "Lady Be Good," this is actually an adaptation reworked by Thelonious Monk titled "Hackensack." It's a fast jam kicked off by a signature Blakey solo, where the band flies by the seat of their pants, and good feelings are fostered through the simple and solid tenor work of Tina Brooks. Though not penned by Duke Ellington, the elegance he displayed and Burrell revered is quite evident during the ballad "Lover Man." Randy Weston's "Beef Stew Blues," Ray Brown's obscure "Swingin'," and the classic Tadd Dameron ballad "If You Could See Me Now" further illuminate how good this group could have been had they turned into a working unit. As the dawn of the '60s saw new breed jazz fomenting, Burrell, Blakey, and company proved you could still swing and remain melodic while creating new sonic vistas.~ Michael G.Nastos https://www.allmusic.com/album/on-view-at-the-five-spot-cafe-mw0000191601

Personnel: Kenny Burrell - guitar; Tina Brooks - tenor saxophone (tracks 1–2, 4); Bobby Timmons - piano (tracks 1-4); Roland Hanna - piano (tracks 5-8); Ben Tucker - bass; Art Blakey - drums

On View At The Five Spot Cafe

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Jimmy Heath Quintet - On The Trail

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 38:23
Size: 88,7 MB
Art: Front

(5:07)  1. On The Trail
(4:20)  2. Cloak And Dagger
(4:40)  3. Vanity
(5:21)  4. All The Things You Are
(5:32)  5. Gingerbread Boy
(5:16)  6. I Should Care
(8:02)  7. Project S

Unlike some of his other Riverside recordings, the accent on this Jimmy Heath CD reissue is very much on his tenor playing (rather than his arrangements). Heath is in excellent form with a quintet that also includes pianist Wynton Kelly, guitarist Kenny Burrell, bassist Paul Chambers, and drummer Albert "Tootie" Heath. The instantly recognizable hard bop saxophonist performs four standards and three of his own compositions, including the original versions of "Gingerbread Boy" and "Project S." It's a good example of his playing talents. ~ Scott Yanow https://www.allmusic.com/album/on-the-trail-mw0000173712

Personnel: Jimmy Heath - tenor saxophone; Wynton Kelly - piano;  Kenny Burrell - guitar;  Paul Chambers - bass;  Al Heath - drums.

On The Trail

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Kai Winding - More! Theme From Mondo Cane

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 28:53
Size: 67,6 MB
Art: Front

(2:01)  1. More
(2:21)  2. Hero
(1:38)  3. Gravy Waltz
(1:52)  4. China Nights
(2:24)  5. Surf Bird
(2:23)  6. Pipeline
(2:28)  7. Sukiyaki
(3:54)  8. Soul Surfin'
(2:54)  9. Tube Wail
(2:09) 10. Spinner
(2:26) 11. Hearse Ride
(2:16) 12. Comin' Home Baby

A strict surf album this is not, despite the packaging and a few titles. More is really the classic, best-selling album launching Kai Winding's mod sound. Actually, it is Claus Ogerman and Winding's sound, helped out in no small part by Kenny Burrell on guitar. Except when obviously imitating standard surf guitar, Burrell provides texture, specifically the "water sound" popularized by Vinnie Bell. Within this warm bath, as it were, the piercing electronic ondioline shimmers icily. The rhythm is basic "big beat" rock, and melody never really has a chance to escape blues figures, which is just as well. "Soul Surfin'" (also the reissue title of the album) is the longest track at 3:50, and with the others at around the two minute mark, the whole thing splashes by like a breaker. But just as a quick dip in the Pacific elicits an appetite, More leaves you hungry for, well, Mondo Cane #2. ~ Tony Wilds https://www.allmusic.com/album/more%21%21%21-the-theme-from-mondo-cane-mw0001882462

More!

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