1.Zumbi; 
2.Clouds; 
3.Paraty; 
4.Until Then; 
5.Bachiao; 
6.Thoughts and Dreams; 
7.Dona Maria; 
8.This One

Personnel: 
Kenny Barron - Piano/Composer/Arranger; 
Nilson Matta - Bass; 
Duduka da Fonseca - Drums; 
Romero Lubambo - Acoustic Guitar; 
Anne Drummond - Flute; 
Valtinho - Percussion; 
Maucha Adnet – Vocals

If one had to choose one word to describe pianist, instrumentalist and composer Kenny Barron, it would mostly likely be ubiquitous, in not only the kind of music he plays (which is most everything in modern creative jazz), but his in performing mates as well. Over the years, he has build relationships with the group Sphere, Ron Carter, Freddie Hubbard, Yusef Lateef and, of course, the near magical association with Stan Getz in the 1980's. On this his latest release, Barron has returned to his love affair with the Brazilian genre which he first cataloged in his 1993 release Sambao. His latest CD is a series of original compositions and arrangements. Each tune, while having a distinct character of its own, a la, the hyper "Zumbi" or the airy "Bachiao", has the common element of innovation and surprise that has made Barron's work so celebrated over the last few years. He seems to have lightened an up bit since his earlier sessions in the recording studio. Now as one of the most prolific recording artists on today's scene, Barron has built up a library of recorded music matched by few of his contemporaries and which highlights the universality of his compositions. On this outing, he is joined by a group of contemporary Brazilian jazz artists musicians who, like him, have an ingrained feel for these unique rhythms and melodies. While they all make important contributions, prominent among them is Anne Drummond's light as a feather flute which is instrumental in establishing that ambience of buoyancy Barron has established for each of these tracks. ---Dave Nathan, allaboutjazz.com

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01. Hush-A-Bye 	7'35
02. Spring Is Here	 8'05
03. Kojo No Tsuki 	8'36
04. Ringo Oiwake	 5'57
05. Calypso 	4'35
06. Dear Old Stockholm 	5'54
07. Sunset 	5'57

Kenny Barron - piano
Cecil McBee - bass
Al Foster - drums

Vanguard Studio, NY. 1984

After a long career in jazz that began with his move to New York in 1961, Kenny Barron emerged during the 1980s as one of the dominant pianists in his field, recording a series of first-rate releases for a variety of labels in the U.S., Europe, and Japan. This recording was first made for Baystate Records in Japan and was licensed by the Dutch label Limetree for issue in 1986, although it was recorded in New York. Barron's driving version of the traditional melody "Hush-A-Bye" also provides plenty of solo space for bassist Cecil McBee and a series of drum breaks for Al Foster. "Spring Is Here" is reworked as a gentle samba, while "Dear Old Stockholm," a old Swedish folk tune made popular in jazz by Stan Getz with whom Barron would later make several important live recordings, is pretty straightforward. Barron also includes two fine originals, the tantalizing "Calypso" and the very relaxing "Sunset." This first-rate effort will be appreciated by any fan of the great Kenny Barron. ---Ken Dryden, AllMusic Review

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1. Scratch (5:18) 
2. Quiet Times (5:30) 
3. Water Lily (10:16) 
4. Song For Abdullah (5:30) 
5. The Third Eye (6:25) 
6. Jacob's Ladder (4:04) 
7. And Then Again (5:18)  

Kenny Barron piano 
Dave Holland bass 
Daniel Humair drums

Kenny Barron, one of those talented pianists who always seems to be underrated, breaks away from playing standards and conventional bebop on this frequently exciting trio date. Matched up with bassist Dave Holland and drummer Daniel Humair, Barron explores five of his originals and Carmen Lundy's "Quiet Times." The fresh material and close interplay between the musicians make this set one of Barron's best trio recordings to date. ---Scott Yanow, Rovi

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01. All of me
02. Bye bye blackbird
03. Cherokee
04. Cleopatra’s dream			play
05. Doxy
06. Misty
07. Stolen moments
08. Summer night
09. Sunset and the mockingbird
10. Sweet and lovely
11. Willow weep for me
12. Yesterdays			play

Musicians:
Kenny Barron – piano
Jay Leonhart – bass
Al Foster – drums

Super Trio is the name given by the Japanese Venus label to a trio of Manhattan based musicians, consisting of pianist Kenny Barron, bassist Jay Leonhart, and drummer Al Foster. Contractual reasons may have prevented the CD's release under Barron's name and like many Venus dates, this is not a working trio, but one assembled for the record date. As one of the busiest pianists around, Barron has a wealth of music at his fingertips and he doesn't disappoint with fresh approaches to standards and jazz compositions that make up this session. Leonhart occasionally shows a sense of humor in his solos, while Foster is a capable drummer who has worked with many stars, in addition to occasionally recording as a leader. The driving "All of Me" is a nice switch from the typical relaxed arrangement, while the Latin-flavored take of Bud Powell's "Cleopatra's Dream" swings. Barron's scoring of "Misty" proves lyrical and spacious, while he personalizes Duke Ellington's rarely performed "Sunset and the Mockingbird" with his distinctive touch. It is difficult not to think of Art Tatum when one sees "Willow Weep for Me" followed by "Yesterdays," but Tatum was not on Barron's mind for these performances. The former is a showcase for Leonhart's masterful arco playing, with the latter being a bouncy post-bop rendition of this old chestnut. ---Ken Dryden, allmusic.com

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01 - All Of You
02 - This Time The Dreams On Me
03 - Some Day My Prince Will Come		play
04 - I Love You
05 - My Funny Valentine

Musicians:
Kenny Barron - piano
Ben Riley - drums
Buster Williams – bass

Kenny Barron is joined by Buster Williams for this live set from the 1986 Umbria Jazz Festival. Since the two had worked together on a number of recording sessions previously, they were very familiar with each other's skills and they mesh very well on all five of the standards on this date. Williams is not a mere accompanist but a musical equal who finds interesting paths when the pianist is in the lead. Barron's inventive approach to these chestnuts is always inventive, especially in the extended takes of "All of You," "This Time the Dream's on Me," and "I Love You." "Someday My Prince Will Come" is rather brief by comparison to the remaining performances, but the novel treatment includes repeating several of the phrases within its structure before moving on, as well as Williams' pulsing repeated bassline. "My Funny Valentine" especially benefits from Barron's bittersweet arrangement. This rewarding date should be considered essential. ---Ken Dryden, All Music Guide

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01 Minor Blues 06:33 
02 Beautiful Love 06:58 
03 Emily 06:56 
04 For Heaven's Sake 09:04 
05 How Deep Is The Ocean 08:20 
06 Too Late Now 08:38 
07 Don't Explain 06:34 
08 Hush-A-Bye 06:26 
09 I've Never Been In Love Before 06:52 
10 My Ideal 06:38

Personnel: 
Kenny Barron – piano
Ray Drummond – bass
Ben Riley - drums.

Kenny Barron was honored as an NEA Jazz Master on January 12, 2010, and it was a recognition that was due. Since entering the jazz scene in the early '60s, he has made his mark as a sideman (especially with Dizzy Gillespie and Stan Getz), solo pianist, leader, and composer. These 2009 sessions pair him with frequent collaborator Ben Riley and fellow veteran George Mraz on bass. While most of the focus is on familiar standards, the opener is Barron's slinky "Minor Blues," in which Barron and Mraz both shine backed by Riley's brushwork, though the drummer switches to sticks for his breaks. The leader's jaunty take of "Emily" and driving treatment of "How Deep Is the Ocean?" sizzle. His richly textured setting of "Too Late Now" doesn't require its lyrics to get across the mood of the song, while his breezy Latin arrangement of Billie Holiday's "Don't Explain" casts this ballad in a new light. This is yet another fine example of Kenny Barron's superb chops in a small-group setting. ---Ken Dryden, allmusic.com

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A1   Sunshower (12:05) 
A2   Innocence (10:07) 
B1   Bacchanal (7:58) 
B2   Sunday Morning (8:40) 
B3   Nothing To Fear (7:21)

Bass - Buster Williams (tracks: A1, A2, B1) , Gary King (tracks: B2, B3) 
Drums - Ben Riley (tracks: A1, A2, B1) , Brian Brake (tracks: B2, B3) 
Engineer - Vince McGarry 
Keyboards, Arranged By - Kenny Barron 
Percussion - Billy Hart
Saxophone - Sonny Fortune (tracks: A1, A2, B1) 
Trumpet - Jimmy Owens (tracks: B2, B3)

A thorough examination of Kenny Barron's musical accomplishments over a span of 50 years necessitates a discography of more than 200 pages. That's because in addition to a distinguished career as soloist and leader he has served as one of the most dependable sidemen in all of post-bop mainstream modern jazz. More than 40 albums have appeared under his name, and his presence on literally hundreds of recordings by other musicians paints a panoramic picture of Kenny Barron's lifelong devotion to the music.

Born in Philadelphia, PA, on June 9, 1943, he took on the piano at the age of 12, with a little help from Ray Bryant's sister, known today as the mother of guitarist Kevin Eubanks. Three years later, on the recommendation of his own big brother saxophonist Bill Barron (1927-1989), he joined Mel Melvin's rhythm & blues band. The aspiring pianist gained more experience while working with drummer Philly Joe Jones and saxophonist Jimmy Heath as well as multi-instrumentalist Yusef Lateef in Detroit. Lateef's album The Centaur and the Phoenix (1960) was Kenny Barron's first modern jazz recording project -- not as a performer (Joe Zawinul was the pianist on this date) but as composer and arranger.

His recording debut as an improvising artist took place shortly after he moved to New York in 1961 and cut the first of many albums with his brother, who often aligned himself with two graduates of the Charles Mingus Jazz Workshop, trumpeter Ted Curson and saxophonist Booker Ervin. A session in 1962 found Barron working with trumpeter Dave Burns, onetime member of sax and flute man James Moody's exciting bop orchestra. Moody himself played an important role in Barron's career, first hiring him to perform at the Village Vanguard, then bringing him into Dizzy Gillespie's band. Barron stuck with Diz and Moody until 1966, performing at clubs and festivals on both coasts and touring through France and England.

Kenny Barron's first great year of independent recording activity was 1967. In addition to co-leading a band with trumpeter Jimmy Owens, the pianist made records with trumpeter Freddie Hubbard and saxophonists Joe Henderson, Stanley Turrentine, Tyrone Washington, Booker Ervin, and Eric Kloss. Barron seldom recorded with anyone just once. His discography is thickly woven with inspiring names that recur with the regularity of intricate and colorful patterns that invite further scrutiny. Examples of artists who made a lot of records with Barron during the 1970s are sax and flute men James Moody and Yusef Lateef and bassists Ron Carter and Buster Williams, with people like Earl and Carl Grubbs, Marion Brown, and Marvin "Hannibal" Peterson expanding the range of expression beyond perceived parameters of predictability and accessibility. This healthy combination of freedom and discipline would continue to bear fruit as Barron worked regularly with saxophonists Chico and Von Freeman, John Stubblefield, Nick Brignola, and Stan Getz (with whom he toured extensively during Getz's twilight years). The stylistic range continued to widen as Barron sat in with violinists Michal Urbaniak and John Blake, drummer Elvin Jones, and singing trombonist Ray Anderson.

During the '80s, Kenny Barron composed the score for Spike Lee's film Do the Right Thing, appeared on multi-performer tribute albums honoring composers Nino Rota and Thelonious Monk, and became a founding member (with Charlie Rouse, Buster Williams, and Ben Riley) of the definitive Monk legacy band, known as Sphere. Later developments continued to illustrate Barron's remarkable ability to blend with and complement a broad spectrum of artists, such as trumpeters Lee Morgan, Johnny Coles, Chet Baker, Woody Shaw, Eddie Henderson, Rebecca Coupe Franks, Terence Blanchard, and Wallace Roney; clarinetists Perry Robinson and Alvin Batiste; saxophonists Benny Carter, Gary Bartz, Lee Konitz, Eddie Harris, Bobby Watson, Frank Morgan, and Ernie Watts; guitarists George Freeman, Larry Coryell, Ted Dunbar, Jim Hall, and Joshua Breakstone; organist Jimmy McGriff; violinist Regina Carter; bassists Red Mitchell, Dave Holland, and Santi Debriano; vibraphonists Milt Jackson, Bobby Hutcherson, and Charlie Shoemake; drummers Louis Hayes, Roy Brooks, and Roy Haynes; percussionist Babatunde Lea; and bandleader Gerald Wilson.

Barron's history of collaborations with vocalists begins with nonchalant scatter Jackie Paris and includes Joe Lee Wilson, Michael Franks, Janis Siegel, Roseanna Vitro, Maria Muldaur, Sheila Jordan, Sathima Bea Benjamin, Teresa Brewer, Mark Murphy, Jimmy Scott, Roberta Flack, Jane Monheit, Jon Lucien, Abbey Lincoln, and Ann Hampton Callaway. A respected educator who has taught at Rutgers, Juilliard, and the Manhattan School of Music, Kenny Barron continues to create music of exceptionally high quality and substantial depth, something he has done for half a century, whether using the Fender Rhodes electromechanical keyboard, a plugged-in harpsichord, a synthesizer, or his lifelong companion, that fundamental jazz instrument, the piano. --- arwulf arwulf, allmusic.com

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1.Barron Intro 
2.Softly, As In A Morning Sunrise (Romberg) 
3.Um Beijo (Barron) 
4.Shuffle Boil (Monk) 
5.Blame It On My Youth (Levant) 
6.New Samba (Barron) 
7.And Then Again (Barron)   

Kenny Barron (piano); 
Dayna Stephens (tenor saxophone); 
Kiyoshi Kitagawa (bass); 
Francisco Mela (drums).

The Village Vanguard, August 27, 2008

A living bridge between multiple generations of jazz, 65-year-old Kenny Barron is still consistently recognized as one of the most talented all-around pianists in New York. He brings a quartet of young musicians downtown to the Village Vanguard for a live performance broadcast on air by WBGO and online at NPR Music.

As a pianist, Barron sums a wide range of interests into his palette: driving bebop, delicate ballads, bounding calypso and rhythms from across Brazil. He brought them all to bear at the Vanguard, with pretty harmonies and fast-flying chops alike. Barron called an uptempo take on "Softly As In A Morning Sunrise" as an opener — as he began his 2001 duet album Freefallwith violinist Regina Carter. He then launched into swaying Brazilian-inflected numbers ("Um Beijo," "New Samba"), a lyrical ballad ("Blame It On My Youth"), underheard Monk repertoire ("Shuffle Boil") and a favorite hard-swinging original ("And Then Again," a blues). Along the way, excellent young sidemen complemented him: The smoky-toned saxophonist Dayna Stephens, the versatile, sensitive bassist Kiyoshi Kitagawa, and the rhythmically adroit drummer Francisco Mela.

Now a mentor to young musicians, Kenny Barron was once the talented protege, accompanying his saxophone-playing brother Bill Barron (over 16 years his elder), and being tapped to join Dizzy Gillespie's combo before his 20th birthday. Over the next 45-odd years, Barron continued to work with the finest players from every era; highlights include co-founding the group Sphere, which interpreted music of Thelonious Monk, and collaborating with Stan Getz over the course of several albums.

Many of New York's finest young jazz musicians know Barron both as a pianist and a teacher. Under the encouragement of multi-instrumentalist Yusef Lateef, Barron pursued a college education and earned a degree while touring. In 1973, he began teaching at Rutgers University; he continues to mentor top talent at the Manhattan School of Music and Juilliard.

Having recorded over 40 albums as a leader alone, Barron is still producing fresh, original music. His latest record The Traveler arrives the week of his appearance at the Vanguard. ---npr.org

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1.Anywhere
2.Other Places     play
3.Mythology        play
4.For Heaven’s Sake
5.Ambrosia
6.Wildlife
7.I Should Care
8.Nikara’s Song
9.Hey, It’s Me You’re Talkin’ To .

Personnel :
Kenny Barron - Piano
Ralph Moore - Sax soprano & tenor
Rufus Reid - Bass Acoustic
Bobby Hutchinson - Vibraphone
Mino Cinelu - Percusion
Victor Lewis - Drums.

Pianist Kenny Barron is in fine straight-ahead form and amongst old friends on OTHER PLACES, an excellent set of mostly originals. The music is a mixture of the traditional swing and Latin styles for which these masters are known. Vibraphonist Bobby Hutcherson in particular turns in fiery performances on cuts like the dynamic opener "Anywhere," and the dancing mambo groove "Mythology," performing a beautiful duet with Barron on the ballad "For Heaven's Sake." Ralph Moore also makes a fine contribution, conspicuously on soprano saxophone, on cuts such as the waltz "Ambrosia" and the lively "Wildlife." Barron performs another duet, this time with bassist Rufus Reid, on the standard "I Should Care," one of the disc's most moving performances, before the ensemble makes a spirited exit with the curiously titled "Hey, It's Me You're Talkin' To," a burning number that's an appropriate finale for this session.

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1.Peruvian Blue	
2.Blue Monk	
3.Procession	$0.99	
4.Two Areas	$0.99	
5.Here's That Rainy Day	
6.In The Meantime         play

Credits:
Kenny Barron - piano, electric piano, clavinet
Ted Dunbar - Guitar
David Willians - bass, Fender bass
Richard Laundrum - Percussion
Albert Heath - Drums

Reissued in 1998, this set (which was originally put out by Muse) has more than its share of variety. Kenny Barron is heard on piano, electric piano and clavinet on various tracks, and is joined some of the time by guitarist Ted Dunbar, bassist David Williams, drummer Albert "Tootie" Heath and percussionists Richard Landrum and Sonny Morgan. Dunbar in particular is in top form, dueting with Barron on an explorative version of "Blue Monk" and being an important part of the ensemble on some of the more electric jams (the four Barron originals), all of which are fairly colorful. The leader takes a lengthy unaccompanied piano solo on "Here's That Rainy Day," another of the date's highlights. This is a CD that rewards repeated listenings. ---Scott Yanow, All Music Guide

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