"On this strictly instrumental penultimate Chet Baker session for Riverside, the trumpeter was supported by an all star cast, including Pepper Adams, Bill Evans, and Kenny Burrell. Each of them makes important contributions. Adams' baritone sax solo on "Alone Together" is one of the high points, while Herbie Mann and Bill Evans make their presence known on several cuts. Baker possessed one of the most melodious trumpets in jazz, compelling in its simplicity. Rarely extending his range above a single octave, he nonetheless had few peers when it came to slow, romantic ballads, which make up the playlist here. His characteristically soft approach is heard to good effect on "It Never Entered My Mind," where he works with the guitar of Kenny Burrell. Burrell and Baker also collaborate on a moving rendition of "September Song." This album is a good place to hear Baker's special way with the horn, and is made even more attractive with the contributions of top jazz artists." (Dave Nathan, Allmusic; 4 uit 5 sterren)
"This is one of organist Jimmy Smith's classic Blue Note sessions, and the first to draw attention to tenor saxophonist Stanley Turrentine. Recorded in 1960 with Kenny Burrell on guitar, Donald Bailey on drums, and Turrentine, the group reaches the peak of funky soul-jazz that all other challengers of the genre would have to live up to. Included on this uptempo session is a reworking of "When I Grow Too Old to Dream" (a feature for Turrentine), Turrentine's "Minor Chant," two Smith compositions, "Messy Bessie" as well as the set's notable title cut, and the CD-only bonus track, "On the Sunny Side of the Street." Smith's Midnight Special album was recorded at these same sessions, and is also exceptional." (Al Campbell, Allmusic)
Album pick op Allmusic: "This unusual set (reissued on CD by Blue Note) was one of the most successful uses of a gospel choir in a jazz context. Trumpeter Donald Byrd and a septet that also includes tenor saxophonist Hank Mobley, guitarist Kenny Burrell, and pianist Herbie Hancock are joined by an eight-voice choir directed by Coleridge Perkinson. The arrangements by Duke Pearson are masterful and one song, "Cristo Redentor," became a bit of a hit. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd's career." (Scott Yanow, Allmusic)
"Salena Jones (born Joan Elizabeth Shaw, January 29, 1944 in Newport News, Virginia) is an American jazz and cabaret singer. In Rio de Janeiro not long before Antonio Carlos Jobim's death she recorded Salena Sings Jobim With The Jobims (1994) (licensed from Japanese Victor by Vine Gate Music UK), Jobim's hits sung in English, with Paulo Jobim on vocals, flute and guitar, grandson Daniel Cannetti Jobim on piano and the composer himself on two duets, Kenny Burrell on one track: 14 Jobim songs plus Michael Franks's tributes "Antonio's Song (The Rain- bow)" and "Abandoned Garden", and including two duos with Antonio Carlos "Tom" Jobim himself. A beautiful recording and one of her best." (Amazon)
"Most of organist Jimmy Smith's recordings for Verve during the mid- to late '60s were with big bands, making this trio outing with guitarist Kenny Burrell and drummer Grady Tate a special treat. This outing is a throwback to Smith's Blue Note sets (which had concluded two years earlier) and gives the organist the opportunity to stretch out on three blues and three standards. This release shows that, even with all of his commercial success during the period, Smith was always a masterful jazz player." (Allmusic)
"For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast. They cut their teeth on two Flanagancompositions, two lifted from the Great American Songbook, and a Kenny Burrell original. Flanagan's tunes open and close the album, with the spirited "Freight Trane" getting the platter underway. The delicate "Why Was I Born" is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial "pause for the cause" and sit out. What remains is the best argument for the meeting of these two jazz giants. In many ways the showpiece of the project is Flanagan's nearly quarter-hour "Big Paul." Those interested in charting the saxophonist's progression should make specific note of Coltrane's work here." (Lindsay Planer, Allmusic)
Salena Jones heeft een carrière als jazz zangeres van meer dan 60 jaar achter de rug en heeft meer dan 40 albums opgenomen. Ze wordt vooral gewaardeerd voor haar weergave van de swing. Zo ook op dit album waarop ze in duet gaat met Kenny Burrell op saxofoon en Richie Cole op gitaar. Met een setlist vol klassiekers. (GR Muziekbank)
"The jazz jam session has always been reserved for in-concert or club performances. Where these 1956-1957 recordings from guitarist Kenny Burrell and his all-star septet and sextet differ is that they were made in the confines of Rudy Van Gelder's recording studio, where the musicians were able to stretch out on two of the most memorable jam sessions of all time: "All Night Long" and "All Day Long". Initially available as individual LPs and then together as a two-fer, this is a welcome reissue, showcasing perhaps the finest collective groups the Detroiter ever fronted. The title tracks, with ample solo room for these individualists, were the best friends of radio DJs, and in the case of "All Day Long", very danceable. They epitomize the hard bop sound as mastered by Art Blakey's Jazz Messengers. Among the top five recordings Kenny Burrell ever led, this is also jazz music that has stood the test of time, and is heartily recommended." (Michael G. Nastos, Allmusic)
"The Hammond organ mastery of Jimmy Smith is arguably nowhere as profound as on this collection. Support is provided by the formidable trio of Donald Bailey (drums), Kenny Burrell (guitar) and Percy France (tenor sax). Here, they couple a few understated cool R&B classics with their own originals. Jimmy Smith's voluminous catalog is remarkably solid throughout and "Home Cookin'" is a recommended starting place for burgeoning enthusiasts as well as a substantial entry for the initiated." (Lindsay Planer, Allmusic; voor uitgebreide complete tekst met track-voor-track-beschrijving; klik op de link)
"Of the seven songs on this Blue Note CD reissue, four are more common than the other three because they contain solos by tenor saxophonist John Coltrane and have therefore been reissued more often. Actually there are quite a few solos in the all-star sextet (which includes the bassist-leader, Coltrane, trumpeter Donald Byrd, guitarist Kenny Burrell, pianist Horace Silver and drummer Philly Joe Jones) and all of the players get their chances to shine on this fairly spontaneous hard bop set. Coltrane's two obscure compositions ("Nita" and "Just for the Love") are among the more memorable tunes and are worth reviving. "Tale of the Fingers" features the quintet without Coltrane, the rhythm section stretches out on "Whims of Chambers" and "Tale of the Fingers" is a showcase for Chambers bowed bass. This is a fine effort and would be worth picking up by straightahead jazz fans even if John Coltrane had not participated." (Scott Yanow, Allmusic)
De tweede plaat die de jazzcrooner opnam voor Impulse!, in hetzelfde jaar als z'n eerste: het beroemde "John Coltrane And Johnny Hartman". Deze doet daar nauwelijks voor onder. De repertoirekeuze is perfect en Hartmans beheerste bariton schittert naast de opnieuw formidabele begeleiding, ditmaal van o.a. tenorsaxofonist Illinois Jacquet, de gitaristen Kenny Burrell en Jim Hall en de gebroeders Hank (piano) en Elvin (drums) Jones. De hoestekst is veelzeggend: "Listen to Johnny Hartman's dark satin lyricism... a voice that is a perfectly tuned instrument... unobtrusive, relaxing yet heavy in quality. he caresses each word with tenderness - his enuciation is impeccable. He respects the word - his meaningful embellishments are a joy." Daar hebben we niks aan toe te voegen!
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