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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Daily Dose Of Jazz…
Ford Lee “Buck” Washington was born October 16, 1903 in Louisville, Kentucky. He and John W. Sublett, known by his stage name Bubbles, first began working together in the 1910s, while in his teens. Their duo was known as Buck and Bubbles.
Bubbles was primarily a tap dancer while Washington sang and played stride piano and sang. They were so popular that the duo moved to Manhattan, New York City in 1919 and by the late 1920s they were on Broadway. They played together in the Columbia Theater, the Palace, performing with Eddie Cantor, Al Jolson, and Danny Kaye. They were in the Ziegfeld Follies of 1931.
They became the first black artists to perform at Radio City Music Hall. They toured Europe in the 1930s and appeared on television and in films, including Calling All Stars in 1937 and Cabin in the Sky in 1942. They performed live in the first scheduled high definition television program on November 2, 1936 at Alexandra Palace in London, England for the BBC. In 1927, when Buck and Bubbles were performing at the Sunset Café, Buck developed a working relationship and friendship with Louis Armstrong.
As a pianist, Washington also recorded sessions in the 1930s with jazz musicians including Armstrong, Bessie Smith, Benny Goodman and Coleman Hawkins. He also played trumpet, though he only made home recordings on the instrument. He continued working with Bubbles until 1953, and then for a couple of years worked with Timmie Rogers and Jonah Jones.
Pianist, singer and vaudeville performer Buck Washington, with partner Bubbles were the first black artists to appear on television anywhere in the world, transitioned on January 31, 1955 in New York City.
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Daily Dose Of Jazz…
Paul Tanner was born on October 15, 1917 in Skunk Hollow, Campbell County, Kentucky. One of six brothers, each could play an instrument and he learned to play the trombone at a reform school where his father was employed as superintendent. The brothers were playing in what he described as a strip joint when Glenn Miller heard him and offered him a position in his band.
He gained fame as a trombonist, playing with Glenn Miller and His Orchestra from 1938 to 1942, the group’s entire duration. When it disbanded, Paul joined the U.S. Army Air Force, becoming a part of the 378th Army Service Forces Band at Ft Slocum, New York. He later worked as a studio musician in Hollywood.
Tanner earned bachelor, master and doctorate degrees at the University of California, Los Angeles between 1958 and 1975. He was influential in launching UCLA’s highly regarded jazz education program in 1958. He became a professor at UCLA and authored or co-authored several academic and popular histories related to jazz.
He developed and played the Electro-Theremin, an electronic musical instrument that mimics the sound of the theremin. He can be heard performing on the opening title theme music of My Favorite Martian, on several 1966-1967 Beach Boys recordings, Good Vibrations, Wild Honey, I Just Wasn’t Made For These Times, and Tune L.
Trombonist, educator and inventor Paul Tanner transitioned from pneumonia on February 5, 2013 at the age of 95. Of all the members of the Glenn Miller Orchestra, only trumpeter Ray Anthony is still living.
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NEGRONI’S TRIO
The Aventura Jazz Festival presented by Lion Tribe Group presents three-time Latin GRAMMY®-nominated group Negroni’s Trio as part of a two day celebration of outstanding music performances. The Jazz takes place in Aventura!
Negroni’s Trio possesses enough musical experience to captivate listeners of any musical genre and is seducing and entertaining audiences across all continents. Negroni’s Trio is comprised of a “father and son team”, José Negroni, on piano and keyboards, Nomar Negroni, on drums and percussions, completing the trio is bassist Rafael Valencia. The Negroni team have worked together since 2002 as Co-Founders and Co-Producers to form an ensemble of master musicians who create their own unique voice in traditionally known jazz classics, Latin jazz and jazz fusion. Taking musical risks with performance and repertoire, the result is an array of classic lyricism mixed with innovative and sincere improvisations that quenches the audience’s thirst for world class jazz.
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JAVON JACKSON | THE GOSPEL ACCORDING TO NIKKI GIOVANNI
Saxophonist and former Jazz Messenger Javon Jackson, world-renowned poet laureate Nikki Giovanni, and celebrated jazz vocalist Nnenna Freelon stand on the shoulders of their ancestors in The Gospel According to Nikki Giovanni, a meaningful meditation on struggle, sacrifice, resilience, liberation, and victory.
Giovanni, one of today’s finest poets and thinkers, makes a rare vocal appearance at this inspired evening of her favorite poetry, hymns, and Negro spirituals reimagined by Jackson as jazzy new compositions. “These songs are so important,” says Giovanni of the historic collaboration. “I’m out here putting water on the flowers, because they need a drink” (Broadway World).
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