When Kenny Burrell Came to Town
Memories of a very Kenny Christmas
Sometimes it seems that almost every artist has released a Christmas record-if not an entire album, then at least an individual song: Bruce Springsteen, Prince, Willie Nelson, the Eagles. Who could possibly be next? Bob Dylan, perhaps? No, wait-he already has a Christmas album. (And who could see that coming?)
In jazz, too, Christmas albums are now ubiquitous. But in the 1970s, jazz Christmas albums were still somewhat unusual.
Guitarist Kenny Burrell was one of the few to release such a record. Have Yourself a Soulful Little Christmas (Verve) was, and remains, a landmark album. Recorded in October 1966 and released a few weeks later, Burrell provided a mix of old and new, sacred and secular. Expected selections like “Away in a Manger” and “Silent Night” are included, but so are nods to gospel, with “Go Where I Send Thee” and especially “Mary’s Little Boy Chile.” A blues closes the record, with Burrell’s take on the Charles Brown hit “Merry Christmas, Baby.”
The album’s original liner notes suggest that Soulful Little Christmas is the first to include Rogers & Hammerstein’s “My Favorite Things” as a Christmas selection. Is this accurate or promotional hyperbole? Burrell himself has stated that this The Sound of Music selection was a “year ’round number” which he decided to use on his Christmas album. By the fall of 1966, of course, John Coltrane had put his indelible stamp on this melody in the jazz community, but not in a Yuletide setting. The song had only been around for seven years at the time Burrell recorded the Christmas LP. So: was Have Yourself a Soulful Little Christmas the first holiday album to use “My Favorite Things” as a Christmas song? Some digging would be in order. But not today.
I was fortunate enough to see Kenny Burrell in a club setting in early December 1981, 30 years ago this month. Minneapolis’ Carlton Supper Club was a place where people like Andy Williams played (in the days before Branson). When it was announced that the Kenny Burrell Trio was booked for a week into this Back Room, we all thought it must be some other Kenny Burrell or that it was a booking error. This place had never featured jazz before and, to my knowledge, never again afterwards. But it did that week.
Have Yourself a Soulful Little Christmas had been out of print for several years by 1981, something that would not be remedied for another full decade. Clearly not striving to promote an unavailable album, Burrell’s trio nonetheless featured selections from the Christmas album in each of their sets. In fact, Burrell was aware that some were there specifically to hear his Christmas arrangements, for early in the program he indicated that they would indeed be playing material from his Soulful Little Christmas album. The audience was quiet and respectful throughout; he was just letting them know that he was aware of the season.
An hour in, Burrell pulled his acoustic guitar from its case and proceeded to play three unplugged numbers with the gentle backing of bass and drums. He indicated that he was not really known as an acoustic player and didn’t often pull out “the guitar with the big hole” for club dates. But when an audience was as attentive and appreciative as this one, he was glad to get the chance. One number he performed was the title selection from his 1979 release, Moon and Sand.
Returning to his large electric, Burrell led the trio through a short set of holiday fare, beginning with “My Favorite Things.” After this, the following three selections flowed together without band or audience interruption, but I hesitate to call it a medley since these renditions were not at all truncated. Full versions of “White Christmas,” “Have Yourself a Merry Little Christmas,” and “Santa Claus is Coming to Town” were presented as the nostalgic and joyful songs they are. The group acknowledged the applause of the audience as drummer Sherman Ferguson softly started what would become his percussion feature on “The Little Drummer Boy.”
Burrell began to close out the evening with a two-song Ellington tribute, “Love You Madly” and “I’m Just a Lucky So-and-So,” on which he not only took a hot, chord-driven solo but also sang! The trio launched into the closing break theme, Kenny Burrell thanked the audience for coming out, and the evening was over. A generous set, to be sure, especially when remembering that this was his second show of the night. More generosity was still to come, however, as the group returned for a little more Ellington, with “Take the ‘A’ Train,” and a little more Yuletide, with “The Christmas Song.”
As the audience thinned I took a seat at the bar, hoping to be able to speak with Burrell. It wasn’t long before he came out of the dressing room and appeared happy to talk. His manager wanted to get him back to the hotel, but during our short conversation I recall telling Burrell that he was an “important” jazz guitarist. He smiled at this and thanked me, but disagreed. He seemed appreciative for a lasting audience that would allow him to make a living playing music, but to be called “important” seemed to make him uneasy. “Historically important, maybe, as a continuation of a musical heritage,” he said, “but that goes far beyond me as an individual.” I indicated how much I enjoyed the Have Yourself a Soulful Little Christmas LP, and that I had been in the audience to hear him twice during the past week.
I likely strayed over the fence a little when I told Mr. Burrell that I had searched-out both a stereo and a mono copy of his Christmas album. He looked somewhat vexed at this unexpected compliment (or so I meant it), but had no real comment. As such, I thought it best not to mention that I had recorded that evening’s music on my portable cassette machine. Instead, I asked him when he thought Soulful Little Christmas would again be available.
He hoped it would be back in print soon, but also told me that he had little input over such things. When I showed surprise at this lack of artistic control, Burrell explained that this was normal in the recording industry in general and jazz artists probably had even less control than most. He considered himself lucky because he had experienced some tangible success with one album in particular, which had earned numerous critical accolades as well as made money for the record label. “The success of my Midnight Blue record [1963] opened a lot of doors that remain important for me to this day,” he said. “Lots of fine musicians don’t have the opportunities I’ve had, and I am grateful for the way things have worked out.” It seemed that he really did consider himself “a lucky so and so,” as he had told the audience in song just a few minutes earlier.
I thanked him for his time and his music, and said again how much I enjoyed his Christmas album and the live versions he had offered to appreciative audiences that week. Knowing he was headed to the next town for the next gig, I asked one final question of Mr. Burrell as we parted while his manager again pointed to his watch.
“Being constantly on the road, does it even seem like the Christmas season to you?” I asked.
“It does now,” he smiled.
Originally Published December 1, 2011
Updated May 31, 2019 – By Tom Wilmeth
Memories of a very Kenny Christmas
Sometimes it seems that almost every artist has released a Christmas record-if not an entire album, then at least an individual song: Bruce Springsteen, Prince, Willie Nelson, the Eagles. Who could possibly be next? Bob Dylan, perhaps? No, wait-he already has a Christmas album. (And who could see that coming?)
In jazz, too, Christmas albums are now ubiquitous. But in the 1970s, jazz Christmas albums were still somewhat unusual.
Guitarist Kenny Burrell was one of the few to release such a record. Have Yourself a Soulful Little Christmas (Verve) was, and remains, a landmark album. Recorded in October 1966 and released a few weeks later, Burrell provided a mix of old and new, sacred and secular. Expected selections like “Away in a Manger” and “Silent Night” are included, but so are nods to gospel, with “Go Where I Send Thee” and especially “Mary’s Little Boy Chile.” A blues closes the record, with Burrell’s take on the Charles Brown hit “Merry Christmas, Baby.”
The album’s original liner notes suggest that Soulful Little Christmas is the first to include Rogers & Hammerstein’s “My Favorite Things” as a Christmas selection. Is this accurate or promotional hyperbole? Burrell himself has stated that this The Sound of Music selection was a “year ’round number” which he decided to use on his Christmas album. By the fall of 1966, of course, John Coltrane had put his indelible stamp on this melody in the jazz community, but not in a Yuletide setting. The song had only been around for seven years at the time Burrell recorded the Christmas LP. So: was Have Yourself a Soulful Little Christmas the first holiday album to use “My Favorite Things” as a Christmas song? Some digging would be in order. But not today.
I was fortunate enough to see Kenny Burrell in a club setting in early December 1981, 30 years ago this month. Minneapolis’ Carlton Supper Club was a place where people like Andy Williams played (in the days before Branson). When it was announced that the Kenny Burrell Trio was booked for a week into this Back Room, we all thought it must be some other Kenny Burrell or that it was a booking error. This place had never featured jazz before and, to my knowledge, never again afterwards. But it did that week.
Have Yourself a Soulful Little Christmas had been out of print for several years by 1981, something that would not be remedied for another full decade. Clearly not striving to promote an unavailable album, Burrell’s trio nonetheless featured selections from the Christmas album in each of their sets. In fact, Burrell was aware that some were there specifically to hear his Christmas arrangements, for early in the program he indicated that they would indeed be playing material from his Soulful Little Christmas album. The audience was quiet and respectful throughout; he was just letting them know that he was aware of the season.
An hour in, Burrell pulled his acoustic guitar from its case and proceeded to play three unplugged numbers with the gentle backing of bass and drums. He indicated that he was not really known as an acoustic player and didn’t often pull out “the guitar with the big hole” for club dates. But when an audience was as attentive and appreciative as this one, he was glad to get the chance. One number he performed was the title selection from his 1979 release, Moon and Sand.
Returning to his large electric, Burrell led the trio through a short set of holiday fare, beginning with “My Favorite Things.” After this, the following three selections flowed together without band or audience interruption, but I hesitate to call it a medley since these renditions were not at all truncated. Full versions of “White Christmas,” “Have Yourself a Merry Little Christmas,” and “Santa Claus is Coming to Town” were presented as the nostalgic and joyful songs they are. The group acknowledged the applause of the audience as drummer Sherman Ferguson softly started what would become his percussion feature on “The Little Drummer Boy.”
Burrell began to close out the evening with a two-song Ellington tribute, “Love You Madly” and “I’m Just a Lucky So-and-So,” on which he not only took a hot, chord-driven solo but also sang! The trio launched into the closing break theme, Kenny Burrell thanked the audience for coming out, and the evening was over. A generous set, to be sure, especially when remembering that this was his second show of the night. More generosity was still to come, however, as the group returned for a little more Ellington, with “Take the ‘A’ Train,” and a little more Yuletide, with “The Christmas Song.”
As the audience thinned I took a seat at the bar, hoping to be able to speak with Burrell. It wasn’t long before he came out of the dressing room and appeared happy to talk. His manager wanted to get him back to the hotel, but during our short conversation I recall telling Burrell that he was an “important” jazz guitarist. He smiled at this and thanked me, but disagreed. He seemed appreciative for a lasting audience that would allow him to make a living playing music, but to be called “important” seemed to make him uneasy. “Historically important, maybe, as a continuation of a musical heritage,” he said, “but that goes far beyond me as an individual.” I indicated how much I enjoyed the Have Yourself a Soulful Little Christmas LP, and that I had been in the audience to hear him twice during the past week.
I likely strayed over the fence a little when I told Mr. Burrell that I had searched-out both a stereo and a mono copy of his Christmas album. He looked somewhat vexed at this unexpected compliment (or so I meant it), but had no real comment. As such, I thought it best not to mention that I had recorded that evening’s music on my portable cassette machine. Instead, I asked him when he thought Soulful Little Christmas would again be available.
He hoped it would be back in print soon, but also told me that he had little input over such things. When I showed surprise at this lack of artistic control, Burrell explained that this was normal in the recording industry in general and jazz artists probably had even less control than most. He considered himself lucky because he had experienced some tangible success with one album in particular, which had earned numerous critical accolades as well as made money for the record label. “The success of my Midnight Blue record [1963] opened a lot of doors that remain important for me to this day,” he said. “Lots of fine musicians don’t have the opportunities I’ve had, and I am grateful for the way things have worked out.” It seemed that he really did consider himself “a lucky so and so,” as he had told the audience in song just a few minutes earlier.
I thanked him for his time and his music, and said again how much I enjoyed his Christmas album and the live versions he had offered to appreciative audiences that week. Knowing he was headed to the next town for the next gig, I asked one final question of Mr. Burrell as we parted while his manager again pointed to his watch.
“Being constantly on the road, does it even seem like the Christmas season to you?” I asked.
“It does now,” he smiled.
Originally Published December 1, 2011
Updated May 31, 2019 – By Tom Wilmeth
///////
Cuando Kenny Burrell llegó al Barrio
Recuerdos de una Navidad muy Kenny
A veces parece que casi todos los artistas han lanzado un disco de Navidad, si no un álbum entero, al menos una canción individual: Bruce Springsteen, Prince, Willie Nelson, los Eagles. ¿Quién podría ser el próximo? ¿Bob Dylan, tal vez? No, espera... ya tiene un álbum de Navidad. (¿Y quién podría verlo venir?)
En el jazz, también, los álbumes de Navidad son ahora omnipresentes. Pero en la década de 1970, los álbumes navideños de jazz eran todavía algo inusual.
El guitarrista Kenny Burrell fue uno de los pocos en lanzar un disco así. Have Yourself a Soulful Little Christmas (Verve) fue, y sigue siendo, un álbum histórico. Grabado en octubre de 1966 y lanzado unas semanas después, Burrell proporcionó una mezcla de lo viejo y lo nuevo, lo sagrado y lo secular. Se incluyen selecciones esperadas como "Away in a Manger" y "Silent Night", pero también guiños al gospel, con "Go Where I Send Thee" y especialmente "Mary's Little Boy Chile". Un blues cierra el disco, con la interpretación de Burrell del éxito de Charles Brown "Feliz Navidad, Baby".
Las notas originales del disco sugieren que Soulful Little Christmas es el primero en incluir "My Favorite Things" de Rogers & Hammerstein como una selección navideña. ¿Es esto exacto o una hipérbole promocional? El mismo Burrell ha declarado que esta selección de The Sound of Music fue un "número de todo el año" que decidió usar en su álbum de Navidad. En el otoño de 1966, John Coltrane había puesto su sello indeleble en esta melodía en la comunidad del jazz, pero no en un ambiente navideño. La canción sólo llevaba siete años en el momento en que Burrell grabó el LP de Navidad. Así que: ¿fue Have Yourself a Soulful Little Christmas el primer álbum navideño que usó "My Favorite Things" como canción de Navidad? Un poco de investigación estaría bien. Pero no hoy.
Tuve la suerte de ver a Kenny Burrell en un club a principios de diciembre de 1981, este mes hace 30 años. El Carlton Supper Club de Minneapolis era un lugar donde gente como Andy Williams tocaba (en los días anteriores a Branson). Cuando se anunció que el Kenny Burrell Trio estaba reservado para una semana en este Back Room, todos pensamos que debía ser algún otro Kenny Burrell o que era un error de reserva. Este lugar nunca había presentado jazz antes y, que yo sepa, nunca más después. Pero lo hizo esa semana.
Have Yourself a Soulful Little Christmas estuvo agotado durante varios años en 1981, algo que no se remediaría hasta dentro de una década. Claramente no se esforzaban por promover un álbum no disponible, pero el trío de Burrell incluía selecciones del álbum de Navidad en cada uno de sus sets. De hecho, Burrell era consciente de que algunos estaban allí específicamente para escuchar sus arreglos navideños, ya que al principio del programa indicó que en efecto tocarían material de su álbum Soulful Little Christmas. El público se mantuvo callado y respetuoso durante todo el programa; sólo les hizo saber que estaba al tanto de la temporada.
Una hora después, Burrell sacó su guitarra acústica de su estuche y procedió a tocar tres números desenchufados con el suave respaldo del bajo y la batería. Indicó que no era realmente conocido como músico acústico y que no solía sacar "la guitarra con el gran agujero" para las citas en el club. Pero cuando el público estaba tan atento y agradecido como éste, se alegraba de tener la oportunidad. Uno de los números que interpretó fue la selección del título de su lanzamiento de 1979, Moon and Sand.
Volviendo a su gran eléctrica, Burrell dirigió al trío en un corto viaje de vacaciones, comenzando con "Mis cosas favoritas". Después de esto, las siguientes tres selecciones fluyeron juntas sin interrupción de la banda o del público, pero dudo en llamarlo un "medley" ya que estas interpretaciones no fueron en absoluto truncadas. Las versiones completas de "White Christmas", "Have Yourself a Merry Little Christmas" y "Santa Claus is Coming to Town" fueron presentadas como las canciones nostálgicas y alegres que son. El grupo reconoció el aplauso del público cuando el baterista Sherman Ferguson comenzó suavemente lo que se convertiría en su característica de percusión en "The Little Drummer Boy".
Burrell comenzó a cerrar la velada con un tributo de dos canciones a Ellington, "Love You Madly" y "I'm Just a Lucky So-and-So", en las que no sólo hizo un ardiente solo de cuerdas sino que también cantó! El trío se lanzó en el tema de la pausa de cierre, Kenny Burrell agradeció a la audiencia por salir, y la noche terminó. Un conjunto generoso, sin duda, especialmente al recordar que era su segundo show de la noche. Sin embargo, aún faltaba más generosidad, ya que el grupo regresó por un poco más de Ellington, con "Take the 'A' Train", y un poco más de Yuletide, con "The Christmas Song".
A veces parece que casi todos los artistas han lanzado un disco de Navidad, si no un álbum entero, al menos una canción individual: Bruce Springsteen, Prince, Willie Nelson, los Eagles. ¿Quién podría ser el próximo? ¿Bob Dylan, tal vez? No, espera... ya tiene un álbum de Navidad. (¿Y quién podría verlo venir?)
En el jazz, también, los álbumes de Navidad son ahora omnipresentes. Pero en la década de 1970, los álbumes navideños de jazz eran todavía algo inusual.
El guitarrista Kenny Burrell fue uno de los pocos en lanzar un disco así. Have Yourself a Soulful Little Christmas (Verve) fue, y sigue siendo, un álbum histórico. Grabado en octubre de 1966 y lanzado unas semanas después, Burrell proporcionó una mezcla de lo viejo y lo nuevo, lo sagrado y lo secular. Se incluyen selecciones esperadas como "Away in a Manger" y "Silent Night", pero también guiños al gospel, con "Go Where I Send Thee" y especialmente "Mary's Little Boy Chile". Un blues cierra el disco, con la interpretación de Burrell del éxito de Charles Brown "Feliz Navidad, Baby".
Las notas originales del disco sugieren que Soulful Little Christmas es el primero en incluir "My Favorite Things" de Rogers & Hammerstein como una selección navideña. ¿Es esto exacto o una hipérbole promocional? El mismo Burrell ha declarado que esta selección de The Sound of Music fue un "número de todo el año" que decidió usar en su álbum de Navidad. En el otoño de 1966, John Coltrane había puesto su sello indeleble en esta melodía en la comunidad del jazz, pero no en un ambiente navideño. La canción sólo llevaba siete años en el momento en que Burrell grabó el LP de Navidad. Así que: ¿fue Have Yourself a Soulful Little Christmas el primer álbum navideño que usó "My Favorite Things" como canción de Navidad? Un poco de investigación estaría bien. Pero no hoy.
Tuve la suerte de ver a Kenny Burrell en un club a principios de diciembre de 1981, este mes hace 30 años. El Carlton Supper Club de Minneapolis era un lugar donde gente como Andy Williams tocaba (en los días anteriores a Branson). Cuando se anunció que el Kenny Burrell Trio estaba reservado para una semana en este Back Room, todos pensamos que debía ser algún otro Kenny Burrell o que era un error de reserva. Este lugar nunca había presentado jazz antes y, que yo sepa, nunca más después. Pero lo hizo esa semana.
Have Yourself a Soulful Little Christmas estuvo agotado durante varios años en 1981, algo que no se remediaría hasta dentro de una década. Claramente no se esforzaban por promover un álbum no disponible, pero el trío de Burrell incluía selecciones del álbum de Navidad en cada uno de sus sets. De hecho, Burrell era consciente de que algunos estaban allí específicamente para escuchar sus arreglos navideños, ya que al principio del programa indicó que en efecto tocarían material de su álbum Soulful Little Christmas. El público se mantuvo callado y respetuoso durante todo el programa; sólo les hizo saber que estaba al tanto de la temporada.
Una hora después, Burrell sacó su guitarra acústica de su estuche y procedió a tocar tres números desenchufados con el suave respaldo del bajo y la batería. Indicó que no era realmente conocido como músico acústico y que no solía sacar "la guitarra con el gran agujero" para las citas en el club. Pero cuando el público estaba tan atento y agradecido como éste, se alegraba de tener la oportunidad. Uno de los números que interpretó fue la selección del título de su lanzamiento de 1979, Moon and Sand.
Volviendo a su gran eléctrica, Burrell dirigió al trío en un corto viaje de vacaciones, comenzando con "Mis cosas favoritas". Después de esto, las siguientes tres selecciones fluyeron juntas sin interrupción de la banda o del público, pero dudo en llamarlo un "medley" ya que estas interpretaciones no fueron en absoluto truncadas. Las versiones completas de "White Christmas", "Have Yourself a Merry Little Christmas" y "Santa Claus is Coming to Town" fueron presentadas como las canciones nostálgicas y alegres que son. El grupo reconoció el aplauso del público cuando el baterista Sherman Ferguson comenzó suavemente lo que se convertiría en su característica de percusión en "The Little Drummer Boy".
Burrell comenzó a cerrar la velada con un tributo de dos canciones a Ellington, "Love You Madly" y "I'm Just a Lucky So-and-So", en las que no sólo hizo un ardiente solo de cuerdas sino que también cantó! El trío se lanzó en el tema de la pausa de cierre, Kenny Burrell agradeció a la audiencia por salir, y la noche terminó. Un conjunto generoso, sin duda, especialmente al recordar que era su segundo show de la noche. Sin embargo, aún faltaba más generosidad, ya que el grupo regresó por un poco más de Ellington, con "Take the 'A' Train", y un poco más de Yuletide, con "The Christmas Song".
Mientras el público disminuía, me senté en el bar, esperando poder hablar con Burrell. No pasó mucho tiempo antes de que saliera del camerino y pareciera feliz de hablar. Su representante quería llevarlo de vuelta al hotel, pero durante nuestra corta conversación recuerdo haberle dicho a Burrell que era un "importante" guitarrista de jazz. Sonrió y me agradeció, pero no estuvo de acuerdo. Parecía apreciar una audiencia duradera que le permitiera ganarse la vida tocando música, pero que lo llamaran "importante" parecía inquietarlo. "Históricamente importante, tal vez, como continuación de una herencia musical", dijo, "pero eso va mucho más allá de mí como individuo". Indiqué lo mucho que disfruté del LP Have Yourself a Soulful Little Christmas, y que había estado entre el público para escucharlo dos veces durante la semana pasada.
Probablemente me desvié un poco cuando le dije al Sr. Burrell que había buscado una copia en estéreo y otra en mono de su álbum de Navidad. Parecía algo molesto por este inesperado cumplido (o eso quería decir), pero no hizo ningún comentario. Así que pensé que era mejor no mencionar que había grabado la música de esa noche en mi casetera portátil. En cambio, le pregunté cuándo pensaba que Soulful Little Christmas estaría disponible de nuevo.
Esperaba que volviera a imprimirse pronto, pero también me dijo que no tenía mucho que decir al respecto. Cuando me sorprendí por esta falta de control artístico, Burrell me explicó que esto era normal en la industria discográfica en general y que los artistas de jazz probablemente tenían incluso menos control que la mayoría. Se consideraba afortunado porque había experimentado un éxito tangible con un álbum en particular, que había recibido numerosos elogios de la crítica y había hecho dinero para el sello discográfico. "El éxito de mi disco Midnight Blue [1963] me abrió muchas puertas que siguen siendo importantes para mí hasta el día de hoy", dijo. "Muchos buenos músicos no tienen las oportunidades que yo tuve, y estoy agradecido por la forma en que las cosas han funcionado." Parecía que realmente se consideraba "un afortunado tal y cual", como había dicho al público en una canción unos minutos antes.
Le agradecí su tiempo y su música, y le dije de nuevo lo mucho que disfruté de su álbum de Navidad y las versiones en vivo que había ofrecido a un público agradecido esa semana. Sabiendo que se dirigía a la siguiente ciudad para el siguiente concierto, le hice una última pregunta al Sr. Burrell mientras nos separábamos y su representante volvió a señalar su reloj.
"Estando constantemente en la carretera, ¿te parece que es la temporada de Navidad?" Le pregunté.
"Ahora sí", sonrió.
Publicado originalmente el 1 de diciembre de 2011
Actualizado el 31 de mayo de 2019 - Por Tom Wilmeth
Tracks:
01 The Little Drummer Boy
02 Have Yourself a Merry Little Christmas
03 My Favorite Things
04 Away in a Manger
05 Mary's Little Boy Chile
06 White Christmas
07 God Rest Ye Merry Gentlemen
08 The Christmas Song
09 Go Where I Send Thee
10 Silent Night
11 Twelve Days of Christmas
12 Merry Christmas Baby
Label: Cadet Records LP-779
Released: 1966
October, 1966
Ter-Mar Recording Studios, Chicago, IL
Recording Engineer: Doug Brand
Personnel
Kenny Burrell(g)
Richard Evans(cond)
Arranger Orchestra: Richard Evans
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