A Statement from the Jazz Foundation Re: Kenny Burrell Board of Directors B

Total Page:16

File Type:pdf, Size:1020Kb

A Statement from the Jazz Foundation Re: Kenny Burrell Board of Directors B Saving Jazz and Blues, one musician at a time. Richard D. Parsons Chairman Jarrett Lilien President Joseph Petrucelli Executive Director May 10, 2019 Wendy Oxenhorn Founding Director A STATEMENT FROM THE JAZZ FOUNDATION RE: KENNY BURRELL BOARD OF DIRECTORS B. Bonin Bough GOFUNDME CAMPAIGN Michael Devins William A. Douglass, III Steven Edwards The Jazz Foundation has received many inquiries over the past 24 hours regarding Dr. Frank Forte Dr. Daveed D. Frazier the legitimacy of the GoFundMe campaign for Kenny Burrell. Ben Giordano Danny Glover Steve Jordan We would like to assure anyone concerned about Kenny that this campaign was Casey Lipscomb Peter Low indeed created by Katherine on his behalf. Geoffrey D. Menin Michael Novogratz Robert Opatrny Musicians close to Kenny have been in touch with him directly to confirm his Michael Pietrowicz Lee Richards situation, and the Jazz Foundation has been in contact with Katherine for months. Marc Roth Abigail Scheuer Stephen B. Siegel We operate with the utmost respect for client privacy and confidentiality, but given Marlisa Vinciguerra Bill Wurtzel the questions that have come up, Katherine has kindly given us permission to share HONORARY this information. FOUNDERS BOARD Hon. David Dinkins Sandy Jordan Kenny and Katherine had been dealing with this situation alone for several years, Quincy Jones Stella Marrs because, as always, musicians are proud and self-reliant and do things on their own. Hank O’Neal Jimmy Owens They did not even contact us to ask for help but were referred by friends. ADVISORY COMMITTEE Dr. Jennifer Adams The Jazz Foundation assessed the case, conferred with other helping organizations, Robbin Ahrold Christian Alexander and reviewed documents attesting to the financial need described in the GoFundMe Arthur H. Barnes Joslyn Barnes post. Glen Barros Thurston Briscoe Ron Carter We couldn't possibly cover the full scope of the need, and other sources of funding Judy Chambers Chevy Chase were explored, including a GoFundMe campaign, given how successful and Elvis Costello lifesaving they have proven for fellow musicians. Archibald Cox, Jr. Ron Delsener Jim Eigo Lois Gilbert As we can see in this outpouring of love for Kenny and Katherine, it has worked. Marius André Holzer Michael Imperioli Victoria Imperioli This is a painful but inspiring example of what we see every day at the Jazz Phyllis Lubarsky Bruce Lundvall Foundation. Howard Mandel Wynton Marsalis Jill Newman Many of our legends do not have a partner at home to help them. As we see here, Jacques Nordeman James Polsky even when they do, the Jazz Foundation is needed to give emotional and financial Bob Porter Fran Richard support. This is why the organization exists, and we handle 30 emergency cases Phil Schaap Steve Shapiro every day. Lew Tabackin George Wein Ron Weisner Katherine wished to share these words with everyone who has given their kindness and support over the last day: 247 West 37th Street, Suite 201, New York, NY 10036 Tel. (212) 245-3999 Fax (646) 786-4403 www.jazzfoundation.org Saving Jazz and Blues, one musician at a time. “Thank you to everyone at the Jazz Foundation and those who have responded with loving thoughts, prayers, and generosity. Kenny and I are overwhelmed by the compassion, support, and love of both friends and people whom we do not know, but revere his music. Even simple acts of caring and prayer are deeply appreciated during this difficult time, but the generosity in others’ hearts is far beyond anything we could have imagined. The outpouring of love and support, as well as the words of admiration and respect he has received through the campaign have tremendously lifted his spirit and touched his heart. It is my greatest joy to see his expressions, including tears, as he realizes he is respected, cherished, and loved beyond his comprehension. It is a deeply moving and humbling experience, challenging though it may be to expose ourselves and ask for help. Our deepest and heartfelt gratitude for your support, love, and light." We applaud Kenny and Katherine for the courage it took to share the details of their crisis. It has opened up a world of such goodness and generosity, which they so richly deserve. Yours in service, Joe Petrucelli Wendy Oxenhorn Executive Director Founding Director Alisa Hafkin Steve Jordan Director of Social Services Artistic Director Contact: Joe Petrucelli (212) 245-3999 [email protected] 247 West 37th Street, Suite 201, New York, NY 10036 Tel. (212) 245-3999 Fax (646) 786-4403 www.jazzfoundation.org .
Recommended publications
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • Impex Records and Audio International Announce the Resurrection of an American Classic
    Impex Records and Audio International Announce the Resurrection of an American Classic “When Johnny Cash comes on the radio, no one changes the station. It’s a voice, a name with a soul that cuts across all boundaries and it’s a voice we all believe. Yours is a voice that speaks for the saints and the sinners – it’s like branch water for the soul. Long may you sing out. Loud.” – Tom Waits audio int‘l p. o. box 560 229 60407 frankfurt/m. germany www.audio-intl.com Catalog: IMP 6008 Format: 180-gram LP tel: 49-69-503570 mobile: 49-170-8565465 Available Spring 2011 fax: 49-69-504733 To order/preorder, please contact your favorite audiophile dealer. Jennifer Warnes, Famous Blue Raincoat. Shout-Cisco (three 200g 45rpm LPs). Joan Baez, In Concert. Vanguard-Cisco (180g LP). The 20th Anniversary reissue of Warnes’ stunning Now-iconic performances, recorded live at college renditions from the songbook of Leonard Cohen. concerts throughout 1961-62. The Cisco 45 rpm LPs define the state of the art in vinyl playback. Holly Cole, Temptation. Classic Records (LP). The distinctive Canadian songstress and her loyal Jennifer Warnes, The Hunter. combo in smoky, jazz-fired takes on the songs of Private-Cisco (200g LP). Tom Waits. Warnes’ post-Famous Blue Raincoat release that also showcases her own vivid songwriting talents in an Crosby, Stills, Nash & Young, Déjá Vu. exquisite performance and recording. Atlantic-Classic (200g LP). A classic: Great songs, great performances, Doc Watson, Home Again. Vanguard-Cisco great sound. The best country guitar-picker of his day plays folk ballads, bluegrass, and gospel classics.
    [Show full text]
  • Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
    Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York.
    [Show full text]
  • Kenny Burrell
    Kenny Burrell 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.
    [Show full text]
  • Radio & Records National Airplay
    RADIO & RECORDS NATIONAL AIRPLAY MOST ADDED KENNY BURRELL/GROVER WASHINGTON (15) HOTTEST Last BOBBY HUTCHERS0N (19) Week Togethering (Blue Note) Good Bait (Landmark) STANLEY JORDAN (11) DAVID SANBORN (19) 1 0 BOBBY HUTCHERSON/Good Bait (Landmark) Magic Touch (Blue Note) Straight To The Heart (WB) 10 © STANLEY JORDAN/Magic Touch (Blue Note) D. ANGER & B. HIGBIE QUINTET (10) JAMES WILLIAMS (IS) 2 3 DAVID SANBORN/Straight To The Heart (WB) Live At Montreux (Windham Hill) Alter Ego (Sunnyside) MAYNARD FERGUSON (7) 4 o JAMES WILLIAMS/Alter Ego (Sunnyside) DAVE GRUSIN (14) Live From San Francisco (Palo Alto) One Of A Kind (GRP) 3 5 DAVE GRUSIN/One Of A Kind (GRP) RARE SILK (7) 6 O TAHIA MARIA/The Real Tania Maria: Wild! (Concord Picante) STANLEY JORDAN (14) American Eyes (Palo Alto) Magic Touch (Blue Note) 5 7 JACKSON/BROWN/WALTDN/ROKER/lt Don't Mean A Thing If You... (Pablo) 20 Q DAROL ANGER & BARBARA HIGBIE QUINTET/Live At Montreux (Windham Hill) """ER L0CKW00D GROUP "Didier Lockwood Group" (Gramavision) 8/5 17 © YELLOWJACKETS/Samurai Samba (WB) 2/1 Medium 3/2, Li9h, 1/0, Ex,ra AddS 21 To,al AdClS 5 WM0T KBEM KRVS KLCC Medium K^FM ' ' ' ' - . ^LSK, Heavy: 25 (£) KENNY BURRELL/GROVER WASHINGTON/Togethering (Blue Note) NEW PULSE JAZZ BAND "Boogis Man" (Kilmamock) 8/1 11 $ FALCON & THE SNOWMAN/Soundtrack (EMI America) Rotations: Heavy 0/0, Medium 3/0, Light 5/1, Extra Adds 0, Total Adds 1, WYBC. Medium: WFAE WMOT WNUR 8 12 BOBBY SHEW QUARTET/Breakfast Wine (Pausa) DON MENZA "Horn Of Plenty" (Pausa) 8/0 15 BILL REICHENBACH QUARTET/BIN Reichenbach Quartet (Silver Seven) KAD^KJZZ^LU ' 6/0, Li9ht 0/0' 0' TOtal AddS 0' HeaVV: WBF0, WHR0 Medium: WGBH' WBEE.
    [Show full text]
  • New Jazz Label Discography
    New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With
    [Show full text]
  • John Jenkins
    1 The ALTOSAX of JOHN JENKINS Solographer: Jan Evensmo Last update: May 4, 2020 2 Born: Chicago, Jan. 3, 1931 Died: July 12, 1993 Introduction: I have to admit I had never heard of John Jenkins until into my mature years, but then I found his personal style very interesting and he certainly deserves his solography and recognition. Through a brief period of seven months in 1957, he participated in several recording sessions with the cream of his contemporaries, and he was obviously considered a great talent. Why he quit in the middle of success is not known. History: Jenkins initially studied clarinet in high school but switched to saxophone after six months on the instrument. He played in jam sessions led by Joe Segal at Roosevelt College from 1949-1956. He played with Art Farmer in 1955 and led his own group at the Bee Hive in Chicago in December that year. In 1957 he played with Charlie Mingus and recorded two albums as a leader. He played as a sideman with Johnny Griffin, Donald Byrd, Hank Mobley, Paul Quinichette, Clifford Jordan, Sahib Shihab and Wilbur Ware in 1957 (not the late 1950s and early 1960s as stated), but essentially dropped out of music after 1962, aside from a few dates with Gloria Coleman. After leaving the jazz world he worked as a messenger in New York and dabbled in jewelry; he sold brass objects at street fairs in the 1970s. After 1983 he began practicing again and playing live on street corners; shortly before his death he played with Clifford Jordan (Wikipedia).
    [Show full text]
  • Kenny Burrell: a Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend (Guitar Signature Licks) Online
    1cdah [Download pdf ebook] Kenny Burrell: A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend (Guitar Signature Licks) Online [1cdah.ebook] Kenny Burrell: A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend (Guitar Signature Licks) Pdf Free Wolf Marshall, Kenny Burrell ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #866099 in Books Hal LeonardModel: 695830 2009-07-01 2009-07-01Original language:EnglishPDF # 1 12.00 x .36 x 9.00l, 1.06 #File Name: 0634074431128 pages | File size: 15.Mb Wolf Marshall, Kenny Burrell : Kenny Burrell: A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend (Guitar Signature Licks) before purchasing it in order to gage whether or not it would be worth my time, and all praised Kenny Burrell: A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend (Guitar Signature Licks): 40 of 40 people found the following review helpful. Kenny Burrell - Lessons in Blues Based JazzBy D.R.L.~ This package, like all issues in the Hall Leonard "Signature Licks" series, contains informative introduction to the history, equipment, and style of Kenny Burrell, transcriptions and detailed analysis of each transcription (all by Wolf Marshall), and a CD by an in-house quintet that demonstrates the transcriptions.~ The transcriptions in regular musical notation as well as tab notation appear to be accurate and provide considerable insight into Kenny's chord voicing as well his single-note line development.~ Since some of the tunes are written by Kenny, the transcriptions also provide insight into his composing and arranging skills.~ Highly recommended to any intermediate or advanced guitarist who wants to gain insight into the improvisational melodic and chordal style of one of the best musicians to every play the guitar.~ The 126-page book/CD package contains the songs listed below.
    [Show full text]
  • Grover Washington, Jr. Then and Now Mp3, Flac, Wma
    Grover Washington, Jr. Then And Now mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Then And Now Country: Yugoslavia Released: 1988 Style: Smooth Jazz MP3 version RAR size: 1321 mb FLAC version RAR size: 1335 mb WMA version RAR size: 1777 mb Rating: 4.3 Votes: 403 Other Formats: MP3 DTS AAC XM MOD MP3 AU Tracklist Hide Credits Blues For D.P. A1 Bass – Ron CarterDrums – Grady Tate, Marvin "Smitty" SmithPiano – Herbie HancockSoprano Saxophone – Grover Washington, Jr. Just Enough A2 Bass – Ron CarterDrums – Marvin "Smitty" SmithPiano – Herbie HancockTenor Saxophone – Grover Washington, Jr. French Connections Drums – Darryl WashingtonElectric Bass – Gerald VeasleyGuitar – Richard Lee A3 Steacker*Percussion – Miguel FuentesPiano – James SimmonsTenor Saxophone – Grover Washington, Jr., Igor Butman* Something Borrowed, Something Blue A4 Piano – Tommy FlanaganTenor Saxophone – Grover Washington, Jr. Lullaby For Shana Bly B1 Bass – Ron CarterDrums – Marvin "Smitty" SmithPiano – Herbie HancockTenor Saxophone – Grover Washington, Jr. Stolen Moments Drums – Darryl WashingtonElectric Bass – Gerald VeasleyGuitar – Richard Lee B2 Steacker*Percussion – Miguel FuentesPiano – James SimmonsSoprano Saxophone – Grover Washington, Jr.Tenor Saxophone – Igor Butman* In A Sentimental Mood B3 Alto Saxophone – Grover Washington, Jr.Piano – Tommy Flanagan Stella By Starlight B4 Drums – Darryl WashingtonElectric Bass – Gerald VeasleyPercussion – Miguel FuentesPiano – James SimmonsSoprano Saxophone – Grover Washington, Jr.Tenor Saxophone – Igor Butman* Credits Mixed By – Grover Washington, Jr., Joe Tarsia Recorded By – Fernando Krai*, Joe Tarsia Barcode and Other Identifiers Barcode: 5099746251611 Matrix / Runout (Runout Side A): 4625161-A I HP Matrix / Runout (Runout Side B): 4625161-B I HP Other (Rights Society): SOKOJ Other versions Category Artist Title (Format) Label Category Country Year Grover Washington, Then And Now (LP, CBS 462516 1 CBS CBS 462516 1 Europe 1988 Jr.
    [Show full text]
  • Press Release 10/25/99
    Seven Concepts for Successful Improvisation 1. Know the melody. Many good ideas can come from the melody of the tune. You can embellish what's already there, change the phrasing, create new rhythmic interest, etc. Many players forget this valuable resource that is present in every tune. Also, working off the melody is a good way to avoid getting lost in the form while you are improvising. 2. Know the form. Jazz improvisations are based on tunes with a specific number of measures, called the form. Once through the form is called a chorus. An improviser must decide how many choruses they will take, and must telegraph this information to the rhythm section nonverbally. 3. Use space. Don't try to fill up every beat of every bar. This is as exhausting for the listener as it is for you. What you leave out can be as important as what you put in. Many beginning improvisers forget this concept. 4. Start simply, listen, develop. The great saxophonist/clarinetist Sidney Bechet once complained that many bebop musicians didn't ever seem to develop a coherent solo, because they were consumed with playing too many 'licks'. It is usually more effective to start simply and build logically than it is to come at the listener with a wall of sound that leaves you nowhere to go. 5. Know the tradition. If you're playing jazz, you need to listen to jazz. Start with Louis Armstrong and Duke Ellington, then seek out recordings by Charlie Parker, Miles Davis, JJ Johnson, Thelonious Monk, John Coltrane, Kenny Burrell, Sonny Rollins, Clifford Brown, Max Roach, and others.
    [Show full text]
  • Midnight Blue (Blue Note)
    Kenny Burrell Midnight Blue (Blue Note) Midnight Blue Kenny Burrell, guitar; Stanley Turrentine, tenor sax; Ray Barretto, conga; Major Holley Jr., bass; Bill English, drums. 1. Chitlins Con Carne (Burrell) 5:26 2. Mule (Holley-Burrell) 6:55 3. Soul Lament (Burrell) 2:40 Produced by ALFRED LION 4. Midnight Blue (Burrell) 4:00 Cover Photo by FRANCIS WOLFF 5. Wavy Gravy (Burrell) 5:45 Cover Design by REID MILES 6. Baby Ain't I Good To You (Redman) 4:22 Recording by RUDY VAN GELDER 7. Saturday Night Blues (Burrell) 6:15 Recorded on January 7, 1963 8. Kenny's Sound (Burrell) 4:40 9. K Twist (Burrell) 3:30 "The blues," Duke Ellington wrote, "the blues ain't nothin' but a cold gray day, and all night long it stays that way . the blues is a one-way ticket from your love to nowhere; the blues ain't nothin' but a black crepe veil ready to wear." That's the way Kenny Burrell felt when he talked with Alfred Lion about the idea for the album. "I have always had a love for the blues," he said. "In my earliest days in Detroit I worked with groups that concentrated a great deal on the blues. And I wanted to get a group together for this session that can feel the blues just the way I do." Kenny decided that there would be no need for a piano on this occasion; not that he believes exclusively in pianoless rhythm sections as such, but the sound just wasn't required for his concept of the groove he wanted to establish.
    [Show full text]
  • Jazz Library (Song Listings)
    Music 932 songs, 3.7 days, 10.39 GB Name Time Album Artist Afrodisia 5:06 Afro-Cuban Kenny Dorham Lotus Flower 4:17 Afro-Cuban Kenny Dorham Minor's Holiday 4:28 Afro-Cuban Kenny Dorham Basheer's Dream 5:03 Afro-Cuban Kenny Dorham K.D.'s Motion 5:29 Afro-Cuban Kenny Dorham The Villa 5:24 Afro-Cuban Kenny Dorham Venita's Dance 5:22 Afro-Cuban Kenny Dorham Echo Of Spring (a.k.a. K.D.'s Cab Ride) 6:12 Afro-Cuban Kenny Dorham Minor's Holiday [Alternate Take] 4:24 Afro-Cuban Kenny Dorham Bouncing With Bud 3:05 The Amazing Bud Powell, Vol. 1 Bud Powell Wail 3:06 The Amazing Bud Powell, Vol. 1 Bud Powell Dance Of The Infidels 2:54 The Amazing Bud Powell, Vol. 1 Bud Powell 52nd Street Theme 2:50 The Amazing Bud Powell, Vol. 1 Bud Powell You Go To My Head 3:15 The Amazing Bud Powell, Vol. 1 Bud Powell Ornithology 2:23 The Amazing Bud Powell, Vol. 1 Bud Powell Bouncing With Bud [Alternate Take 1] 3:06 The Amazing Bud Powell, Vol. 1 Bud Powell Bouncing With Bud [Alternate Take 2] 3:16 The Amazing Bud Powell, Vol. 1 Bud Powell Wail [Alternate Take] 2:42 The Amazing Bud Powell, Vol. 1 Bud Powell Dance Of The Infidels [Alternate Take] 2:51 The Amazing Bud Powell, Vol. 1 Bud Powell Ornithology [Alternate Take] 3:12 The Amazing Bud Powell, Vol. 1 Bud Powell Un Poco Loco 4:46 The Amazing Bud Powell, Vol.
    [Show full text]