Requisites
Blue Lights, Volume 1 ~ Kenny Burrell | By Eddie Carter
I became a fan of guitarist Kenny Burrell at an early age, enjoying him on Houseparty (1958), The Sermon (1959), Midnight Special (1961), Back At The Chicken Shack (1963), Organ Grinder’s Swing (1965), All Day Long, and All Night Long (1957), and Steamin’ (1963). He steps into the spotlight this morning with a superb 1958 album, Blue Lights, Volume 1 (Blue Note BLP 1596/BST 81596). It’s a straight-ahead blowing session anchored by a superlative supporting cast, Louis Smith on trumpet, Tina Brooks, Junior Cook (tracks: A1, A2, B2) on tenor sax, Duke Jordan (tracks: A1, A2), Bobby Timmons (tracks: B1, B2) on piano, Sam Jones on bass, and Art Blakey on drums. My copy used in this report is the 1996 Toshiba-EMI Limited Japanese Mono reissue sharing the original catalog number.
Side One begins with Yes Baby, an easy-going blues by Kenny Burrell. The sextet’s relaxing melody gets things off to a good start. Kenny goes to work first with a solo as smooth as satin, then Tina comes in for a deliciously mellow statement. Louis takes a carefree drive next, followed by Junior and Duke who gather good notes during their turns. Sam delivers the payoff by walking leisurely into the ensemble’s slow fading closing chorus. Scotch Blues by Duke Jordan gives the group an extremely fun tune to play with a Scottish flavor in the opening and ending theme. The solo order is Burrell, Brooks, Smith, Cook, Jordan, and Blakey. Each musician develops their readings cheerfully sustained by the rhythm section’s infectiously laid-back vibe.
Autumn In New York by Vernon Duke starts Side Two offering Burrell in a quartet setting with Bobby Timmons taking over the piano duties. Kenny begins with a brief solo introduction that evolves into the ensemble’s attractive melody. Burrell is the song’s only soloist and presents a beautifully elegant reading ahead of the quartet’s thoughtfully polite ending. The album concludes with Caravan, an uptempo swinger by Duke Ellington, Irving Mills, and Juan Tizol. It begins briskly with the opening chorus. Smith is off to the races quickly, then Cook and Brooks follow with two examples of splendid solo work. Burrell simply sizzles on the next reading ahead of Timmons’ fingers flying over the keys. Blakey has the last word preceding the sextet’s reprise and disappearance in a fadeout.
Blue Lights, Volume 1 was produced by Alfred Lion and Rudy Van Gelder was the recording engineer. Toshiba-EMI Limited has done a wonderful job with this reissue’s remastering. The soundstage is stunning, and the musicians jump out of your speakers as if they’re playing in front of you. The vinyl is also flat and silent until the music starts. Kenny Burrell is one of those rare musicians who play with a distinctive blend of explosive and punchy rhythms. His discography as a leader and sideman is extensive and his career has lasted seven decades. Here, he’s completely at ease and perfectly at home playing the blues. If you’re a fan of jazz guitar and only know his album, Midnight Blue, I invite you to check out Blue Lights, Volume 1 by Kenny Burrell. It’s an album of great jazz that doesn’t disappoint, and I’ve already added its companion, Blue Lights, Volume 2 to my Want and Wishlist!
~ All Day Long (Prestige PRLP 7081/PRST 7277), All Night Long (Prestige PRLP 7073/PRST 7289), Back At The Chicken Shack (Blue Note BLP 4117/BST 84117), Blue Lights, Volume 2 (Blue Note BLP 1597/BST 81597), Houseparty (Blue Note BLP 4002/BST 84002), Midnight Blue (Blue Note BLP 4123/BST 84123), Midnight Special (Blue Note BLP 4078/BST 84078), Organ Grinder’s Swing (Verve Records V-8628/V6-8628), Steamin’ (Prestige PRLP 7278/PRST 7278), The Sermon (Blue Note BLP 4011/BST 84011) – Source: Discogs.com ~ Autumn In New York, Caravan – Source: Discogs.com © 2022 by Edward Thomas Carter
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Daily Dose Of Jazz…
James Archibald McLin was born in Brooksville, Florida on June 26, 1908. He started on piano before picking up the banjo, then later the guitar. He played locally in Florida before relocating to New York City in 1928. He played both guitar and banjo in the early 1930s for James P. Johnson, Ward Pinkett, and Roy Eldridge.
Later in the decade he recorded with Willie “The Lion” Smith, Buster Bailey, Midge Williams, and Billie Holiday. In the early 1940s he worked with Sidney Bechet, Dave Nelson, and Claude Hopkins, then played trombone and mellophone in a military band while serving in the United States Navy during World War II. After his discharge he worked again with Hopkins and played guitar for The Ink Spots.
Banjoist and guitarist Jimmy McLin transitioned on December 15, 1983 in St. Petersburg, Florida.
JORGE GARCIA BAND
Guitarist Jorge Garcia brings all the richness and melodic soul of Latin rhythms from his birthplace of Cuba. His intense passion for his instrument is immediately visible and colorfully audible through his unique original compositions, impeccable solos and supportive, rhythmic guitar. He has performed across the globe with the renowned and impressive talents of Tony Bennett, Richie Cole, Patti Page, Andrea Bocelli, Bucky Pizzarelli, Joel Grey, Enrique Iglesias, Trini Lopez, The Drifters, and Bobby Riddell.
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Daily Dose of Jazz…
Nappy Lamare was born Joseph Hilton Lamare on June 14, 1905 in New Orleans, Louisiana. He got his nickname from his friend, Eddie Miller, because he had curly hair. He started playing trumpet but picked up the banjo when he was thirteen and weeks later he was a member of the Midnight Serenaders. During his teen years he worked with Sharkey Bonano, Monk Hazel, and Johnny Wiggs. In 1925 he toured in California with Johnny Bayersdorffer, then recorded for the first time two years later with the New Orleans Owls.
A move to New York City had him playing mostly guitar instead of banjo and he became a member of the Ben Pollack Orchestra and sang on Two Tickets to Georgia. Lamare remained with the band until 1942, performing on records and films, sometimes as a vocalist. He moved to California and spent the rest of his career playing Dixieland as leader of the Louisiana Levee Loungers, then the Straw Hat Strutters in the 1940s and 1950s. The Strutters appeared in the movie Hollywood Rhythm and on the weekly TV variety show Dixie Showboat.
The latter part of his career he spent in reunions with Bob Crosby, performing at Disneyland, and touring with the World’s Greatest Jazz Band. He played guitar, banjo, and sang until his transition at the age of 82 on May 8, 1988.
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Daily Dose Of Jazz…
Attila Cornelius Zoller was born on June 13, 1927 in Visegrád, Hungary. As a child, he learned violin from his father, a professional violinist. While in school, he played flugelhorn and bass before landing on the guitar. Dropping out of school he played in jazz clubs in Budapest while Russia occupied Hungary. He fled Hungary on foot through the Austrian mountains with his guitar in 1948 as the Soviet Union was establishing communist military rule. Settling in Vienna, he became an Austrian citizen and started a jazz group with accordionist Vera Auer.
The mid-1950s saw Zoller moving to Germany and playing with Jutta Hipp and Hans Koller. When American jazz musicians passed through, such as Oscar Pettiford and Lee Konitz, they persuaded him to move to the United States. He moved to the states after receiving a scholarship to the Lenox School of Jazz. One of his teachers was guitarist Jim Hall and his roommate was Ornette Coleman, who got him interested in free jazz.
From 1962–1965, Zoller performed in a group with flautist Herbie Mann, then Lee Konitz and Albert Mangelsdorff. Over the years, he played and recorded with Benny Goodman, Stan Getz, Red Norvo, Jimmy Raney, Herbie Hancock, Ron Carter, Shirley Scott, Cal Tjader, Jimi Hendrix, and in New York City jazz clubs in the 1960s with pianist Don Friedman.
During the Seventies he started the Attila Zoller Jazz Clinics in Vermont, later named the Vermont Jazz Center, where he taught until 1998. He invented a bi-directional pickup, designed strings and a signature guitar series. Between the years 1989 and 1998, he played more and more with the German vibraphonist Wolfgang Lackerschmid. They also did recordings together. He performed with Tommy Flanagan and George Mraz in New York City three weeks before his transition in Townshend, Vermont on January 25, 1998.
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