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Ellington is Forever, Vol. 2
Kenny Burrell
első megjelenés éve: 1975
72 perc

3.324 Ft 


Kosaramba teszem
1.  Azure
2.  Take the "A" Train
3.  In a Sentimental Mood
4.  I'm Beginning to See the Light
5.  Satin Doll
6.  I'm Just a Lucky So and So
7.  In a Mellow Tone
8.  Solitude
9.  The Jeep Is Jumpin'
10.  I Let a Song Go out of My Heart
11.  Prelude to a Kiss
12.  Satin Doll
13.  Come Sunday
14.  Just Squeeze Me
But Don't Tease Me
15.  I Ain't Got Nothin' but the Blues
16.  Orson
Jazz / Mainstream Jazz

Recorded: Nov & Dec 1975, Fantasy Studios, Berkeley, California

Kenny Burrell - guitar
Quentin "Butter" Jackson - vocals, trombone
Ernie Andrews - vocals
Gary Bartz - alto saxophone
Joe Henderson - tenor saxophone
Jerome Richardson - tenor saxophone
Snooky Young - trumpet
Nat Adderley - cornet
Thad Jones - cornet
Jimmy Jones - piano
Roland Hanna - piano
Jimmy Smith - organ
Stanley Gilbert - acoustic bass
George Mraz - acoustic bass
Monk Montgomery - electric bass
Jimmie Smith - drums
Philly Joe Jones - drums

The modus operandi of Ellington Is Forever, Vol. 2 is essentially the same as the first; Kenny Burrell gathered a great bunch of musicians together in a studio for a relaxed yet masterful tour through some of Ellington's best-known material. The sole exception to the Ellingtonia is the Strayhorn-penned "Take the 'A' Train," a song that will forever be associated with the Duke. Jimmy Jones provided a stunning solo reading of this composition on the first volume, but it gets a full band treatment on Vol. 2, and features a fantastic solo from Burrell, a bluesy romp through the changes. In fact, the leader seems to be a bit more present on this album compared to Ellington Is Forever, Vol. 1. This is not to say, however, that the excellent contributions of the many musicians on this record go without benefit of the spotlight. One only has to listen to Roland Hanna's solo piano introduction to "In a Sentimental Mood" or Philly Joe Jones' masterful brushwork on "I'm Beginning to See the Light" to realize the immense quality of the musicianship on display on this record. As on the first album, Ernie Andrews appears here on two tracks. His contributions, so essential to the overall quality of the first volume, are somewhat mixed here. His rendition of "I'm Just a Lucky So and So" is controlled and soulful, but his interpretation of "Satin Doll" seems a bit forced. However, this may seem this case only because the listener cannot help but compare it to the near-perfection of his performances on Vol. 1. Of historical note is the fact that this is the last recording to feature trombonist Quentin "Butter" Jackson, who passed away after the sessions were recorded but before the album could be released. Although he plays his horn with the confidence and expertise of a man who had been involved with some of the greatest bandleaders of all time (including Ellington), the most exquisite moment on this record is his singing on "Prelude to a Kiss." His soft, tremulous voice is frail and heart wrenching, and the fact of its inclusion alone is worth the price of admission. Burrell's initial plan was to release a volume in tribute to Ellington once a year, but this record and the one that preceded it were the only two albums in this proposed series that were ever made. One can only imagine what could have been if Burrell had continued. Alternately, and more positively, one can be glad that the only records that were released were as beautiful and as close to perfection as these two.
---Daniel Gioffre, AMG

Includes liner notes by Patricia Willard and Kenny Burrell.

Kenny Burrell

Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jul 31, 1931 in Detroit, MI
Genre: Jazz
Styles: Ballads, Bop, Cool, Hard Bop, Mainstream Jazz, Soul-Jazz

Kenny Burrell has been a very consistent guitarist throughout his career. Cool-toned and playing in an unchanging style based in bop, Burrell has always been the epitome of good taste and solid swing. Duke Ellington's favorite guitarist (though he never actually recorded with him), Burrell started playing guitar when he was 12, and he debuted on records with Dizzy Gillespie in 1951. Part of the fertile Detroit jazz scene of the early '50s, Burrell moved to New York in 1956. Highly in demand from the start, Burrell appeared on a countless number of records as a leader and as a sideman. Among his more notable associations were dates with Stan Getz, Billie Holiday, Milt Jackson, John Coltrane, Gil Evans, Sonny Rollins, Quincy Jones, Stanley Turrentine, and Jimmy Smith. Starting in the early '70s, Burrell began leading seminars and teaching, often focusing on Duke Ellington's music. He toured with the Phillip Morris Superband during 1985-1986, and led three-guitar quintets, but generally Kenny Burrell plays at the head of a trio/quartet.
---Scott Yanow, All Music Guide

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