Requisites
Blue Lights, Volume 2 ~ Kenny Burrell | By Eddie Carter
This morning’s subject offered for your consideration is a recent acquisition to my library. Blue Lights, Volume 2 (Blue Note BLP 1597/BST 81597) by Kenny Burrell was recorded in 1958 but hit the stores in 1961. The guitarist is back to work on this bluesy blowing session with Louis Smith on trumpet, Tina Brooks (tracks: A1, B1), Junior Cook (tracks: A1, B1, B2) on tenor sax, Duke Jordan (tracks: A2, B2), Bobby Timmons (tracks: A1, B1) on piano, Sam Jones on bass, and Art Blakey on drums. My copy used in this report is the Toshiba-EMI Limited Japanese Mono reissue sharing the original catalog number.
Side One opens with Kenny’s Rock Salt, a soothing blues that the septet opens with a relaxing melody. Louis takes the lead solo like a breath of fresh air, then Junior comes in with a solid, irresistible swing. Kenny keeps it going with a few easy-going licks ahead of Tina’s tasty statement next. Bobby’s fingers run smoothly over the keys on the following reading. Sam brings us back to the closing chorus with a brief solo matched by Art’s perfect timekeeping. The Man I Love by George and Ira Gershwin begins as a conversation between Jones and Blakey. Sam states the theme accented by Kenny’s comments, then the bassist gives a fine opening statement. Louis follows with a jubilant solo and Duke turns in a refreshing reading leading to Sam and Art’s closing chorus.
Side Two starts with Chuckin’ by Sam Jones, a lively little tune allowing everyone a solo opportunity. Kenny and the rhythm section establish the dialogue for the melody. Bobby takes the lead this time and moves into a swinging groove. Kenny follows in his footsteps with a fulfilling solo, and Tina also provides a pleasant improvisation. Louis comes in next with a well-constructed statement. Junior and Sam speak effectively in the next two readings, and Art has a conversation with Bobby and the front line into the climax. Burrell’s Phinupi takes off at a fast clip on the ensemble’s theme. Cook and Smith kick off the solos with some spirited blowing. Burrell comes straight to the point on the next reading, then Jordan takes an enthusiastic turn. Blakey gets the last word preceding the ending theme.
Like its companion, Blue Lights, Volume 2 was produced by Alfred Lion and Rudy Van Gelder was again at the controls for the recording. Toshiba-EMI Limited has done another superb job with the remastering of this reissue. The album has an excellent soundstage with all the instruments emerging vividly from your speakers. The vinyl is also silent until the music starts. Kenny’s playing throughout the album is easy on the ears and his bandmates swing along perfectly when soloing. If you’re a fan of straight-ahead jazz guitar, I hope you’ll consider Blue Lights, Volume 2 by Kenny Burrell on your next vinyl treasure hunt. It’s a splendid example of his work and a perfect companion to Volume 1 that’s sure to be a welcome addition to any library!
~ Blue Lights, Volume 1 (Blue Note BLP 1596/BST 81596) – Source: Discogs.com ~ The Man I Love – Source: JazzStandards.com © 2022 by Edward Thomas Carter
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RUSSELL MALONE
Russell Malone is one of the signature guitar players of his generation. The leader of ten albums since 1992, Malone is as well-known on the international circuit for helming a world-class quartet and trio as he is for his long-standing participation in Ron Carter’s Golden Striker Trio, and his recent consequential contribution to the musical production of the likes of Sonny Rollins and Dianne Reeves, who recruited Malone for his singular tone, refined listening skills, limitless chops, and efflorescent imagination. In all these circumstances, Malone addresses the tradition on its own terms, refracting the vocabularies and syntax of such heroes as Charlie Christian, Chet Atkins, George Van Eps, Johnny Smith, Wes Montgomery, Grant Green, Kenny Burrell, Pat Martino, and George Benson into an argot entirely his own. A master of all tempos, a relentless swinger, he spins his stories —in idioms ranging from the urban and downhome blues, country, gospel, various corners of the American Songbook, and hardcore jazz—with a soulful, instantly recognizable instrumental voice, and seasons them with sophisticated harmonies that are never “too hip for the room.” “I take pride on being open enough to play with anybody,” says Malone, citing encounters with such diverse artists as B.B. King, Aretha Franklin, Gladys Knight, Andy Williams, James “Blood” Ulmer, and Ornette Coleman. “I love to swing, but I don’t look down my nose at other styles of music, or other musicians. I’ll play with anybody, if the music is good.”
Russell Malone: Guitar
Rick Germanson: Piano
Vincent DuPont: Bass
Neal Smith: Drums
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JOHN PIZZARELLI
John Pizzarelli, the world-renowned guitarist and singer, has established himself as a prime contemporary interpreter of the Great American Songbook and beyond, with a repertoire that includes Joni Mitchell, Neil Young, Tom Waits, Antônio Carlos Jobim, and The Beatles. Following high-profile collaborations with Sir Paul McCartney and Michael McDonald, Pizzarelli returns to his roots to honor his hero, the legendary jazz/pop vocalist and pianist Nat King Cole, whose centennial is being celebrated around the world.
Valet Parking ~ $10.00 prepaid
Valet parking is available for all Jazz St. Louis performances. Discounted $10 valet parking may be purchased when ordering your tickets. Please make sure to select the correct date and time when adding parking to your cart with your tickets before purchasing.
Performances
November 2 ~ 7:30pm
November 3 ~ 11:00am | 7:30pm
November 4 ~ 7:30pm | 9:30pm
November 5 ~ 7:30pm | 9:30pm
November 6 ~ 6:30pm
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Daily Dose Of Jazz…
Cuong Vu was born on September 19, 1969 in Saigon, Vietnam and immigrated to Seattle with his family when he was six. At 11 he began to play the trumpet and later received a scholarship from the New England Conservatory of Music.
After graduation, in 1994 Vu moved to New York City and formed the group Ragged Jack with Jamie Saft, Andrew D’Angelo, and Jim Black. Since that time he has worked with Laurie Anderson, David Bowie, Dave Douglas, Myra Melford, Gerry Hemingway, and Mitchell Froom.
While a member of the Pat Metheny Group, he won two Grammy Awards for Best Contemporary Jazz Album: Speaking of Now and The Way Up. Cuong worked with Metheny mainly as a trumpeter, but also contributed vocals, guitar and various small percussion.
As an educator, he serves as chair and professor in the jazz studies department of the University of Washington’s School of Music. Trumpeter Cuong Vu has recorded eleven albums as a leader, thirty-three as a sideman, and continues to lead his own band with bassist Stomu Takeishi and drummer Ted Poor.
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Daily Dose Of Jazz…
Bill Jennings was born September 12, 1919 in Indianapolis, Indiana and started out with his twin brother, Albert, in a trio called The Three Spades. He would later work with Louis Jordan and his Tympany Five, Wild Bill Davis Trio, Jack McDuff, Willis “Gator” Jackson, Bill Doggett, Louis Armstrong, Chris Powell And His Five Blue Flames, Hot Lips Page and others.
Recording as both a leader and a sideman, Bill has influenced numerous musicians in the genres of jazz, soul, R&B, and blues guitar. B.B. King often mentioned Jennings as one of his biggest influences. He recorded with such artists as Leo Parker, King Curtis, Ella Fitzgerald, Jerry Daniels of the Inkspots, Kenny Burrell, Betty Roche and Stuff Smith.
His unique ability to play in many styles included swing, bop, jump blues, R&B, and pop. Jennings played on Fever by Little Willie John, which made the Billboard R&B chart in the U.S. and peaked at number 24 on the Billboard Hot 100.
A left-handed player, Bill played guitar upside down, with the high strings at the top, which gave him a different approach to phrasing and bending the strings. Later in his career, he lost a finger on his fretting hand and began playing bass guitar.
Guitarist and composer Bill Jennings, who was described as “The Architect Of Soul Jazz”, transitioned at Veterans Hospital in Indianapolis on November 29, 1978 at the age of 59.
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