Jazz

Kenny Garrett - Happy People (2002)

2010-03-09T14:50:57Z

Kenny Garrett - Happy People (2002)


1. Song For DiFang (5:26) 
2. Happy People (5:12) 
3. Tango In 6 (5:52) 
4. Ain't Nothing But The Blues (5:11) 
5. Song #8 (3:43) 
6. Halima's Story (5:32) 
7. Monk-ing Around (4:43) 
8. A Hole In One (5:59) 
9. Thessalonika (4:50) 
10. Asian Medley (7:03) 
11. Brother B. Harper (7:59)

Musicians:
Kenny Garrett - soprano saxophone
Vernell Jr. Brown - piano
Marcus Miller - bass guitar
Charnett Moffett - acoustic bass
Michael 'Patches' Stewart - flugelhorn (2)
Bobby Hutcherson - vibraphone
Chris Daddy Dave - drums
Jean Norris – vocals

As of 2002, Kenny Garrett had spent a decade recording for Warner Bros., with Happy People being his seventh release for the major label. That was a remarkable accomplishment in an era when, to succeed, it seemed that jazz musicians either had to adopt pop-oriented contemporary jazz as their style or, if they stayed in a traditional mode, be, uh, dead. Garrett remained very much alive, but Happy People demonstrated the strategies that the alto saxophonist had developed to maintain his precarious status. Basically, he took a little from both of those successful approaches. As on his previous album, Simply Said, he employed Marcus Miller on a selective basis as an electric bassist, also promoting Miller to co-producer. Miller, who knew his way around contemporary jazz, helped turn the opening track, "Song for DiFang," into the kind of number that potentially could be played on smooth jazz radio stations. And those stations probably also would feel at home with the title track, slotted second in the album's sequence, which featured vocals by Jean Norris. Indeed, if you stopped listening there, you'd classify Happy People as a contemporary jazz album. But Garrett turned gradually more traditional as the album went on, and he also supplied signposts to his illustrious (and dead) predecessors, humorously imitating former employer Miles Davis' harsh whisper of a voice at the start of "Ain't Nothing but the Blues," dedicating "Monk-ing Around" to Thelonious Monk, and, in the closing track, "Brother B. Harper," which nominally concerned saxophonist Billy Harper, actually sounding much more like John Coltrane. What kept Happy People from being a compromised effort was Garrett's always-impressive playing, but it was certainly a record that carefully touched a lot of bases. ---William Ruhlmann, All Music Guide

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Kenny Garrett - Seeds From the Underground (2012)

2012-04-09T19:39:18Z

Kenny Garrett - Seeds From the Underground (2012)


01 – Boogety Boogety
02 – J. Mac
03 – Wiggins
04 – Haynes Here
05 – Detroit		play
06 – Seeds From the Underground
07 – Du-Wo-Mo
08 – Welcome Earth Song
09 – Ballad Jarrett
10 – Laviso, I Bon		play

Personnel:
Kenny Garrett (alto and soprano saxophone, piano),
Benito Gonzalez (piano),
Nat Reeves (bass),
Ronald Bruner (drums),
Rudy Bird (bata, percussion),
Nedelka Prescod (vocals).

Seeds From the Underground, the latest from saxophonist Kenny Garrett is a strong, straight-ahead, acoustic statement from the acclaimed bandleader and sideman. An all original set of pieces dedicated to those who have inspired and influenced Garrett either personally or musically, the disc is full of memorable themes, odd-metered grooves and robust soloing. Garrett is in exemplary form on both alto and soprano saxophone, at times caressing simplistic motifs, yet willing and able to burn on a moments notice.

Hard driving swingers such as "J. Mac," dedicated to Jackie McLean, and "Du-Wo-Mo," for Duke Ellington, Woody Shaw and Thelonious Monk, find Garrett at his most inspired and ferocious, stretching out vigorous and edgy lines. Pianist Benito Gonzalez gets plenty of improvisational space, emitting a McCoy Tyner vibe on "Du-Wo-Mo" and the Roy Haynes-inspired waltz "Haynes Here." Bassist Nat Reeves and drummer Ronald Bruner round out the tight quartet with percussionist Rudy Bird and vocalist Nedelka Prescod adding flavor here and there. Prescod's wordless vocalizing thickens the dark harmonies of "Detroit," Garrett's pensive tribute to his hometown. --- thejazzword.blogspot.com

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Kenny Garrett Quintet – Festival Jazz de Cully 2016

2017-11-16T14:01:51Z

Kenny Garrett Quintet – Festival Jazz de Cully 2016


1. Haynes Here		19:58
2. Spanish-Go-Round	9:45
3. Boogety Boogety	7:28
4. Chasimg The Wind 		10:03
5. Seeds From Underground	15:22
6. Happy People	13:28
7. Wayne’s Thang 	15:46
8. Sing a Song of Song		7:07

Kenny Garrett (alto & soprano saxophone) 
Vernell Brown (piano) 
Corcoran Holt (bass) 
Marcus Baylor (drums) 
Rudy Bird (percussion)

Considered one of the greatest alto saxophone players in the world, Kenny Garrett, volcanic soloist and partisan of an irresistibly rhythmical music, has managed to conquer generations of music lovers with his muscled and rousing music. He became the point of junction between popular jazz and a more experimental and sophisticated scene. Starting his career in the Duke Ellington Orchestra in 1978, it's with the Miles Davis Band that this child of Detroit developed his technique, becoming the most imitated wind musician in the contemporary jazz scene. With sixteen albums under his belt, Kenny Garret feeds his wild funk with intense lyricism, bursting with energy and hidden dynamics. --- cullyjazz.ch

Considéré comme l’un des plus grands saxophonistes alto au monde, Kenny Garrett, soliste volcanique, partisan d’une musique à l’irrésistible pulsion rythmique, a su conquérir des générations de mélomanes avec un son musclé, entraînant, point de conjonction entre un jazz populaire et une scène plus sophistiquée et expérimentale. S’il débute sa carrière aux côtés du Duke Ellington Orchestra en 1978, c’est au sein du Miles Davis Band que l’enfant de Detroit se forme et devient le souffleur le plus imité de la scène jazz contemporaine. Avec seize albums à son actif, Kenny Garrett irrigue son funk fougueux d’un intense lyrisme, riche en énergies et en dynamiques souterraines. --- cullyjazz.ch

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Kenny Garrett – Pushing The World Away (2013)

2013-10-28T16:51:01Z

Kenny Garrett – Pushing The World Away (2013)


01 – A Side Order Of Hijiki
02 – Hey, Chick
03 – Chucho’s Mambo
04 – Lincoln Center
05 – J’ouvert (Homage To Sonny Rollins)
06 – That’s It
07 – I Say A Little Prayer
08 – Pushing The World Away
09 – Homma San
10 – Brother Brown
11 – Alpha Man
12 – Rotation

Musicians:
Kenny Garrett – alto saxophone (1-7, 9, 11-12), soprano saxophone (8), 
chant (8), piano (10), arranger, producer
Benito Gonzalez – piano (1-3, 5-7, 9, 12)
Corcoran Holt - bass (1-12)
Marcus Baylor - drums (1-3, 5-6, 9, 12)
Rudy Bird - percussion (3, 5-7, 9), cymbals and gong (8)
Ravi Best - trumpet (3)
Vernell Brown - piano (4, 8, 11-12), chant (8)
McClenty Hunter - drums (4, 7, 10, 12), vocals (6)
Mark Whitfield, Jr. - drums (8, 11-12)
Jean Baylor - vocals (9)
Carolin Pook - violin (10)
Brian Sanders - cello (10)
Jen Herman - viola (10)

On Kenny Garret's third album for Mack Avenue Records he explores many terrains. He uses two different pianists in Vernell Brown and Benito Gonzalez, bassist Corcoran Holt, drummers Marcus Baylor, McClenty Hunter, and Mark Whitfield, Jr., as well as a string quartet on "Brother Brown" (on which Garrett appropriately takes over on piano.) All but one of these 12 tunes offer sophisticated evidence of his own journey through the jazz lineage and his pushing at the margins of post-bop. There is a deep reliance on melody and singing through his horns, even when things get musically complex as they do on the title track in which he explores modal and Eastern musical terrains on his soprano. Quotes from Coltrane's "My Favorite Things" are in his solo, but so are moments of Eastern harmony, underscored by Brown's fat chords, wrangling arpeggios, and open-framed statements. There are also a pair of throaty vocal chants by him and the pianist -- his own Christian, the latter Buddhist -- commingling seamlessly to directly point at the spiritual nature inside the tune. Several other numbers offer overt nods to his forebears, collaborators, and influences. "Hey, Chick," with its Moorish-cum-flamenco vibe, evokes themes that Chick Corea explored potently on My Spanish Heart. "Chucho’s Mambo," with its rumbero and son vibe, is a direct nod to pianist Chucho Valdes and also features trumpeter Ravi Best and percussionist Rudy Bird (in one of several appearances). "J’Ouvert" is subtitled "Homage to Sonny Rollins" and takes its cue from the saxophone colossus' use of calypso rhythms, cadences, and lyric themes. "A Side Order of Hijiki" doesn't refer to the Japanese culinary seaweed of its title, but the manner of his own playing as described by the late Mulgrew Miller. It is a driving post-bop jam, with sharp ostinatos by Gonzalez and a thrumming, furious bassline by Holt. A noticeable surprise is the inclusion of Burt Bacharach's and Hal David's "I Say a Little Prayer for You," with a subtle Latin framework that otherwise follows the arrangement written for Dionne Warwick. This is Garrett at his most songlike, and his most direct attempt on the album at communicating melodically; as in the past, it also reveals the deep, early influence of Junior Walker on his playing. Pushing the World Away is a wildly diverse offering for Garrett. What it doesn't reveal in swing it does in intricacies, shadows, impressive arrangements, and striking musicianship. ---Thom Jurek, Rovi

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Kenny Garrett – TrioLogy (1995)

2010-03-09T15:17:52Z

Kenny Garrett – TrioLogy (1995)


1. Delfeayo' Dilemma (5:41) 
2. Night and Day (6:56) 
3. Giant Steps (4:51) 
4. A Time for Love (6:32) 
5. Wayne's Thang (6:50) 
6. Pressing the Issue (6:21) 
7. Koranne said (4:33) 
8. Oriental Towaway Zone (6:11) 
9. In Your Own Sweet Way (5:49) 
10. What Is This Thing Called Love (3:37)

Musicians:
Charnett Moffett – Bass
Brian Blade – Drums
Kenny Garrett - Sax (Alto), Producer
Kiyoshi Kitagawa – Bass

Kenny Garrett first got his start in 1978, playing alto sax in the Duke Ellington Orchestra at the age of 18. Since then he has compiled an extensive discography and been recognized as a world renowned saxaphonist and flautist. The aptly named Triology was his eighth recorded album, released in 1995. It features Garrett playing alto sax in a trio format, accompanied only by upright bass and drum set. The other musicians on Triology are Kiyoshi Kitagawa and Charnett Moffett on bass, and Brian Blade on percussion.

“Delfeayo’s Dilemma” sets the stage for the record, showcasing Garrett’s 20th century style and obvious virtuosity. It is a Wynton Marsalis tune and one of the hardest tracks on the album to digest. Much like the sixth track, “Pressing the Issue”, the harmonic and melodic structure of the song is very open and difficult to follow. As attention-requiring a track as it may be, it is one of the best on Triology. The trio play off each other perfectly, making for a dynamic opener.

The majority of the tracks are arrangements, but there are three Garrett originals. “Wayne’s Thang” is one of Garrett’s hallmark compositions. Driven by a thick, ostinato bass pattern, it is one of the pieces where you are least likely to notice the absence piano or guitar accompaniment; bass provides a more then substantial foundation for the sax solo. It is one of the more aesthetic tracks, sold by Garret’s melodic solo. The other two Garrett originals are “Koranne Said”, and “Oriental Towaway Zone”. “Koranne Said” feels almost vocal in a catchy accessible sort of way. Moffett lays down the chords clearly with his solid bass line, and Garrett’s solo reacts off of that. The latter track is quite a departure from that, featuring Garrett delving into Eastern sounds. It ends with an interesting and enjoyable solo by bassist Kitagawa.

Looking beyond Garrett and the bassists, the percussive work is excellent. Blade decorates each track with the perfect amount of color, and his off-beat accents and lopsided fills really compliment and complete the trio sound.

Triology is quintessential Garrett, experimenting in an almost childlike fashion. It is a subtle classic of his, featuring his usual ingenuity and also a touch of playfulness. His version of Coltrane’s great “Giant Steps” is extremely up-beat, featuring a fresh and interesting solo. His unique spin on the song is determinedly less serious without being underwhelming. At the same time, the album can be exhausting for its open trio format and modern structure. Still, there are respites, in the form of “A Time For Love” and the more melodic tracks. If you are a fan of modern jazz or the alto sax, do yourself a favor and buy this. It is a landmark album by a must-hear jazz artist. --- Nate Sniffen, sputnikmusic.com

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