Biography
After 40 years as a jazz professional, appearing on several hundred albums as leader and sideman, Kenny Burrell is among the handful of guitar greats who have forever changed the role of their instrument.
Staunch musical integrity and discriminate taste coupled with matchless technique have made the guitarist nonpareil among his peers. “My goal is to play with good tone, good phrasing and to swing,” says Burrell, “I strive for honesty in playing what I feel.”
“Master instrumentalist and composer,” “virtuoso,” “historic figure of American guitar.” “Ellington's favorite guitar player”—this is a typical sampling of the critical praise routinely bestowed on Burrell, who pioneered the guitar-led trio with bass and drums in the late Fifties. Although he has since worked in countless other formats, from big band to three guitars plus rhythm to solo, he has remained constant in his quest to get the most out of a natural, low-volume, acoustic sound. “My audience has developed so that they come to listen and are quiet,” he explains. “Thus I can work in a limited volume range and explore all the subtleties that can happen, which is my favorite part of the music.”
Aside from his performing and recording schedule, Kenny has been a teacher at the University of California at Los Angeles (UCLA) for many years. Included in his teaching schedule is a special course that he developed on the music and life of Duke Ellington called “Ellingtonia”. Started in 1978, it was the first regular college course on Ellington taught in the United States. In addition he is also the founder and director of the Jazz Studies Program at UCLA where he is a professor of music and ethnomusicology. He is also a lecturer and director of workshops on guitar and Jazz studies, founder and President Emeritus, of the Jazz Heritage Foundation, and all around crusader for the recognition of jazz as a classical art form.
Kenny Burrell is also a prolific composer whose work is more and more in demand. Kenny is composer of the 1998 Grammy Award winning song “Dear Ella”, performed by Dee Dee Bridgewater. His compositions have been recorded by many other great artists such as Ray Brown, Jimmy Smith, Grover Washington Jr., John Coltrane, June Christy, Frank Wes and Stevie Ray Vaughn. More recently, he received a commission grant from Meet the Composer, Inc. to write an original, extended composition for the Boys Choir of Harlem which premiered at New York's Lincoln Center, and in 1997 was recorded for Concord Records.
Kenny is a man who has garnered the respect of the entire jazz world. “He's one of jazz's most gracious gentlemen,” says pianist Mike Wofford, “an educator and spokesperson for the entire tradition of American Jazz, Kenny is truly a goodwill ambassador for our music, and more importantly, a representative of the best in our society.”
Born in Detroit, Kenny Burrell was raised in a musical family. His mother, who sang in the Second Baptist Church choir, also played the piano around the house. His father was fond of the banjo and the ukulele. “He was just the kind of guy who could pick up string instruments and do something with 'em.” Kenny recalls, - “It kinda rubbed off on us.”
Kenny, who credits Charlie Christian, Oscar Moore, and Django Reinhardt as influences, as well as such blues men as T-Bone Walker and Muddy Waters, played on his first major recording session in Detroit in 1951 with a Dizzy Gillespie combo that included John Coltrane, Milt Jackson, and Percy Heath. Even though the young guitarist was keeping heavy company, including that of such other up- and-coming Detroiters as Tommy Flanagan, Yusef Lateef, Pepper Adams, and Elvin Jones, he remained in Detroit to study at Wayne State University, from which he earned a B.A. in music composition and theory in 1955. He also studied classical guitar with Joseph Fava during that period and continues to employ finger-style and other techniques.
A six-month tour in 1955 with the Oscar Peterson Trio helped to set Burrell's sight on the Big Apple. The following year, he and Flanagan drove to New York City and were promptly drafted into the major league of jazz. Burrell not only became the city's most in demand Jazz guitarist, recording with his own groups and with Coltrane, Billie Holiday, Thad Jones, Kenny Dorham, Paul Chambers, Jimmy Smith, Gene Ammons - and many others, but played on pop sessions with the likes of Tony Bennett, James Brown and Lena Horn and worked in the pit bands of such Broadway shows as Bye Bye Birdie and How to Succeed in Business without Really Trying.
In all, Burrell has recorded more than ninety albums as a leader. This body of work has received much critical acclaim.
Since the mid-Sixties, the guitarist has been leading his own group plus working in “All-Star” settings and has performed with college bands and orchestras. He has also performed with professional orchestras such as the Detroit Symphony and the Buffalo Philharmonic.
Though his combos vary in personnel, size and instrumentation, integrity and invention have constantly guided his music. “My inspiration comes from the message Duke gave - you are unique, be yourself, put out that thing that is you, then use your work ethic and produce great music.”
Kenny Burrell has been the recipient of many awards and has been voted “Best Guitarist” numerous times by music fans and critics worldwide. Recently he received this honor for the second time from the Jazz Times International Readers Poll.
His music and recordings have received much international recognition including the “Prix de Disc” from Switzerland. He has also received many academic honors including a Doctorate of Human Letters, and the 1997 Ellington Fellowship awarded by Yale University. He was voted “favorite Jazz Musician” by listeners of KLON Jazz Station in Los Angeles in 1996 and was inducted into the KLON Jazz Hall of Fame. He served on the awards panel for the National Endowment for the Arts and was the National Chairperson for guitars for the National Association of Jazz Educators. He has been dubbed America's “guitar laureate” by the Detroit Free Press.
https://musicians.allaboutjazz.com/kennyburrell
After 40 years as a jazz professional, appearing on several hundred albums as leader and sideman, Kenny Burrell is among the handful of guitar greats who have forever changed the role of their instrument.
Staunch musical integrity and discriminate taste coupled with matchless technique have made the guitarist nonpareil among his peers. “My goal is to play with good tone, good phrasing and to swing,” says Burrell, “I strive for honesty in playing what I feel.”
“Master instrumentalist and composer,” “virtuoso,” “historic figure of American guitar.” “Ellington's favorite guitar player”—this is a typical sampling of the critical praise routinely bestowed on Burrell, who pioneered the guitar-led trio with bass and drums in the late Fifties. Although he has since worked in countless other formats, from big band to three guitars plus rhythm to solo, he has remained constant in his quest to get the most out of a natural, low-volume, acoustic sound. “My audience has developed so that they come to listen and are quiet,” he explains. “Thus I can work in a limited volume range and explore all the subtleties that can happen, which is my favorite part of the music.”
Aside from his performing and recording schedule, Kenny has been a teacher at the University of California at Los Angeles (UCLA) for many years. Included in his teaching schedule is a special course that he developed on the music and life of Duke Ellington called “Ellingtonia”. Started in 1978, it was the first regular college course on Ellington taught in the United States. In addition he is also the founder and director of the Jazz Studies Program at UCLA where he is a professor of music and ethnomusicology. He is also a lecturer and director of workshops on guitar and Jazz studies, founder and President Emeritus, of the Jazz Heritage Foundation, and all around crusader for the recognition of jazz as a classical art form.
Kenny Burrell is also a prolific composer whose work is more and more in demand. Kenny is composer of the 1998 Grammy Award winning song “Dear Ella”, performed by Dee Dee Bridgewater. His compositions have been recorded by many other great artists such as Ray Brown, Jimmy Smith, Grover Washington Jr., John Coltrane, June Christy, Frank Wes and Stevie Ray Vaughn. More recently, he received a commission grant from Meet the Composer, Inc. to write an original, extended composition for the Boys Choir of Harlem which premiered at New York's Lincoln Center, and in 1997 was recorded for Concord Records.
Kenny is a man who has garnered the respect of the entire jazz world. “He's one of jazz's most gracious gentlemen,” says pianist Mike Wofford, “an educator and spokesperson for the entire tradition of American Jazz, Kenny is truly a goodwill ambassador for our music, and more importantly, a representative of the best in our society.”
Born in Detroit, Kenny Burrell was raised in a musical family. His mother, who sang in the Second Baptist Church choir, also played the piano around the house. His father was fond of the banjo and the ukulele. “He was just the kind of guy who could pick up string instruments and do something with 'em.” Kenny recalls, - “It kinda rubbed off on us.”
Kenny, who credits Charlie Christian, Oscar Moore, and Django Reinhardt as influences, as well as such blues men as T-Bone Walker and Muddy Waters, played on his first major recording session in Detroit in 1951 with a Dizzy Gillespie combo that included John Coltrane, Milt Jackson, and Percy Heath. Even though the young guitarist was keeping heavy company, including that of such other up- and-coming Detroiters as Tommy Flanagan, Yusef Lateef, Pepper Adams, and Elvin Jones, he remained in Detroit to study at Wayne State University, from which he earned a B.A. in music composition and theory in 1955. He also studied classical guitar with Joseph Fava during that period and continues to employ finger-style and other techniques.
A six-month tour in 1955 with the Oscar Peterson Trio helped to set Burrell's sight on the Big Apple. The following year, he and Flanagan drove to New York City and were promptly drafted into the major league of jazz. Burrell not only became the city's most in demand Jazz guitarist, recording with his own groups and with Coltrane, Billie Holiday, Thad Jones, Kenny Dorham, Paul Chambers, Jimmy Smith, Gene Ammons - and many others, but played on pop sessions with the likes of Tony Bennett, James Brown and Lena Horn and worked in the pit bands of such Broadway shows as Bye Bye Birdie and How to Succeed in Business without Really Trying.
In all, Burrell has recorded more than ninety albums as a leader. This body of work has received much critical acclaim.
Since the mid-Sixties, the guitarist has been leading his own group plus working in “All-Star” settings and has performed with college bands and orchestras. He has also performed with professional orchestras such as the Detroit Symphony and the Buffalo Philharmonic.
Though his combos vary in personnel, size and instrumentation, integrity and invention have constantly guided his music. “My inspiration comes from the message Duke gave - you are unique, be yourself, put out that thing that is you, then use your work ethic and produce great music.”
Kenny Burrell has been the recipient of many awards and has been voted “Best Guitarist” numerous times by music fans and critics worldwide. Recently he received this honor for the second time from the Jazz Times International Readers Poll.
His music and recordings have received much international recognition including the “Prix de Disc” from Switzerland. He has also received many academic honors including a Doctorate of Human Letters, and the 1997 Ellington Fellowship awarded by Yale University. He was voted “favorite Jazz Musician” by listeners of KLON Jazz Station in Los Angeles in 1996 and was inducted into the KLON Jazz Hall of Fame. He served on the awards panel for the National Endowment for the Arts and was the National Chairperson for guitars for the National Association of Jazz Educators. He has been dubbed America's “guitar laureate” by the Detroit Free Press.
https://musicians.allaboutjazz.com/kennyburrell
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Biografía
Después de 40 años como profesional del jazz, apareciendo en varios cientos de álbumes como líder y acompañante, Kenny Burrell está entre el puñado de grandes guitarristas que han cambiado para siempre el papel de su instrumento.
La integridad musical y la discriminación de gustos, junto con una técnica inigualable, han hecho que el guitarrista no esté a la altura de sus colegas. "Mi objetivo es tocar con buen tono, buen fraseo y balancearme", dice Burrell, "Me esfuerzo por ser honesto al tocar lo que siento".
"Maestro instrumentista y compositor", "virtuoso", "figura histórica de la guitarra americana". "El guitarrista favorito de Ellington" - es una muestra típica de los elogios de la crítica que rutinariamente se conceden a Burrell, quien fue pionero del trío liderado por la guitarra con el bajo y la batería a finales de los cincuenta. Aunque desde entonces ha trabajado en otros innumerables formatos, desde la big band a las tres guitarras, pasando por el ritmo y el solo, ha permanecido constante en su búsqueda por sacar el máximo provecho de un sonido natural, de bajo volumen y acústico. "Mi público se ha desarrollado de tal manera que vienen a escuchar y son silenciosos", explica. "Así puedo trabajar en un rango de volumen limitado y explorar todas las sutilezas que pueden ocurrir, que es mi parte favorita de la música."
Aparte de su horario de actuación y grabación, Kenny ha sido profesor de la Universidad de California en Los Ángeles (UCLA) durante muchos años. Incluido en su horario de enseñanza hay un curso especial que desarrolló sobre la música y la vida de Duke Ellington llamado "Ellingtonia". Iniciado en 1978, fue el primer curso universitario regular sobre Ellington que se impartió en los Estados Unidos. Además, es también el fundador y director del Programa de Estudios de Jazz de la UCLA, donde es profesor de música y etnomusicología. También es conferencista y director de talleres sobre estudios de guitarra y jazz, fundador y presidente emérito de la Jazz Heritage Foundation, y cruzado por el reconocimiento del jazz como una forma de arte clásico.
Kenny Burrell es también un compositor prolífico cuyo trabajo es cada vez más solicitado. Kenny es el compositor de la canción "Dear Ella", ganadora de un premio Grammy en 1998, interpretada por Dee Dee Bridgewater. Sus composiciones han sido grabadas por muchos otros grandes artistas como Ray Brown, Jimmy Smith, Grover Washington Jr., John Coltrane, June Christy, Frank Wes y Stevie Ray Vaughn. Más recientemente, recibió una comisión de subvención de Meet the Composer, Inc. para escribir una composición original y ampliada para el Boys Choir of Harlem que se estrenó en el Lincoln Center de Nueva York, y en 1997 se grabó para Concord Records.
Kenny es un hombre que se ha ganado el respeto de todo el mundo del jazz. "Es uno de los caballeros más gentiles del jazz", dice el pianista Mike Wofford, "un educador y portavoz de toda la tradición del jazz americano, Kenny es realmente un embajador de buena voluntad de nuestra música, y lo que es más importante, un representante de lo mejor de nuestra sociedad".
Nacido en Detroit, Kenny Burrell se crió en una familia de músicos. Su madre, que cantaba en el coro de la Segunda Iglesia Bautista, también tocaba el piano en la casa. A su padre le gustaba el banjo y el ukelele. "Era el tipo de hombre que podía coger instrumentos de cuerda y hacer algo con ellos." Kenny recuerda, - "Se nos pegó un poco."
Kenny, que atribuye a Charlie Christian, Oscar Moore y Django Reinhardt las influencias, así como a hombres del blues como T-Bone Walker y Muddy Waters, tocó en su primera gran sesión de grabación en Detroit en 1951 con un combo de Dizzy Gillespie que incluía a John Coltrane, Milt Jackson y Percy Heath. A pesar de que el joven guitarrista estaba manteniendo una compañía pesada, incluyendo la de otros prometedores de Detroit como Tommy Flanagan, Yusef Lateef, Pepper Adams y Elvin Jones, se quedó en Detroit para estudiar en la Universidad Estatal de Wayne, donde obtuvo una licenciatura en composición y teoría musical en 1955. También estudió guitarra clásica con Joseph Fava durante ese período y sigue empleando el estilo de los dedos y otras técnicas.
Una gira de seis meses en 1955 con el Oscar Peterson Trio ayudó a Burrell a ver la Gran Manzana. Al año siguiente, él y Flanagan condujeron a la ciudad de Nueva York y fueron reclutados rápidamente en la liga mayor de jazz. Burrell no sólo se convirtió en el guitarrista de jazz más solicitado de la ciudad, grabando con sus propios grupos y con Coltrane, Billie Holiday, Thad Jones, Kenny Dorham, Paul Chambers, Jimmy Smith, Gene Ammons y muchos otros, sino que también tocó en sesiones de pop con gente como Tony Bennett, James Brown y Lena Horn y trabajó en las bandas de boxes de espectáculos de Broadway como Bye Bye Birdie y How to Succeed in Business without Really Trying.
En total, Burrell ha grabado más de noventa álbumes como líder. Esta obra ha recibido muchos elogios de la crítica.
Desde mediados de los sesenta, el guitarrista ha liderado su propio grupo además de trabajar en los escenarios del "All-Star" y ha actuado con bandas y orquestas universitarias. También ha actuado con orquestas profesionales como la Sinfónica de Detroit y la Filarmónica de Buffalo.
Después de 40 años como profesional del jazz, apareciendo en varios cientos de álbumes como líder y acompañante, Kenny Burrell está entre el puñado de grandes guitarristas que han cambiado para siempre el papel de su instrumento.
La integridad musical y la discriminación de gustos, junto con una técnica inigualable, han hecho que el guitarrista no esté a la altura de sus colegas. "Mi objetivo es tocar con buen tono, buen fraseo y balancearme", dice Burrell, "Me esfuerzo por ser honesto al tocar lo que siento".
"Maestro instrumentista y compositor", "virtuoso", "figura histórica de la guitarra americana". "El guitarrista favorito de Ellington" - es una muestra típica de los elogios de la crítica que rutinariamente se conceden a Burrell, quien fue pionero del trío liderado por la guitarra con el bajo y la batería a finales de los cincuenta. Aunque desde entonces ha trabajado en otros innumerables formatos, desde la big band a las tres guitarras, pasando por el ritmo y el solo, ha permanecido constante en su búsqueda por sacar el máximo provecho de un sonido natural, de bajo volumen y acústico. "Mi público se ha desarrollado de tal manera que vienen a escuchar y son silenciosos", explica. "Así puedo trabajar en un rango de volumen limitado y explorar todas las sutilezas que pueden ocurrir, que es mi parte favorita de la música."
Aparte de su horario de actuación y grabación, Kenny ha sido profesor de la Universidad de California en Los Ángeles (UCLA) durante muchos años. Incluido en su horario de enseñanza hay un curso especial que desarrolló sobre la música y la vida de Duke Ellington llamado "Ellingtonia". Iniciado en 1978, fue el primer curso universitario regular sobre Ellington que se impartió en los Estados Unidos. Además, es también el fundador y director del Programa de Estudios de Jazz de la UCLA, donde es profesor de música y etnomusicología. También es conferencista y director de talleres sobre estudios de guitarra y jazz, fundador y presidente emérito de la Jazz Heritage Foundation, y cruzado por el reconocimiento del jazz como una forma de arte clásico.
Kenny Burrell es también un compositor prolífico cuyo trabajo es cada vez más solicitado. Kenny es el compositor de la canción "Dear Ella", ganadora de un premio Grammy en 1998, interpretada por Dee Dee Bridgewater. Sus composiciones han sido grabadas por muchos otros grandes artistas como Ray Brown, Jimmy Smith, Grover Washington Jr., John Coltrane, June Christy, Frank Wes y Stevie Ray Vaughn. Más recientemente, recibió una comisión de subvención de Meet the Composer, Inc. para escribir una composición original y ampliada para el Boys Choir of Harlem que se estrenó en el Lincoln Center de Nueva York, y en 1997 se grabó para Concord Records.
Kenny es un hombre que se ha ganado el respeto de todo el mundo del jazz. "Es uno de los caballeros más gentiles del jazz", dice el pianista Mike Wofford, "un educador y portavoz de toda la tradición del jazz americano, Kenny es realmente un embajador de buena voluntad de nuestra música, y lo que es más importante, un representante de lo mejor de nuestra sociedad".
Nacido en Detroit, Kenny Burrell se crió en una familia de músicos. Su madre, que cantaba en el coro de la Segunda Iglesia Bautista, también tocaba el piano en la casa. A su padre le gustaba el banjo y el ukelele. "Era el tipo de hombre que podía coger instrumentos de cuerda y hacer algo con ellos." Kenny recuerda, - "Se nos pegó un poco."
Kenny, que atribuye a Charlie Christian, Oscar Moore y Django Reinhardt las influencias, así como a hombres del blues como T-Bone Walker y Muddy Waters, tocó en su primera gran sesión de grabación en Detroit en 1951 con un combo de Dizzy Gillespie que incluía a John Coltrane, Milt Jackson y Percy Heath. A pesar de que el joven guitarrista estaba manteniendo una compañía pesada, incluyendo la de otros prometedores de Detroit como Tommy Flanagan, Yusef Lateef, Pepper Adams y Elvin Jones, se quedó en Detroit para estudiar en la Universidad Estatal de Wayne, donde obtuvo una licenciatura en composición y teoría musical en 1955. También estudió guitarra clásica con Joseph Fava durante ese período y sigue empleando el estilo de los dedos y otras técnicas.
Una gira de seis meses en 1955 con el Oscar Peterson Trio ayudó a Burrell a ver la Gran Manzana. Al año siguiente, él y Flanagan condujeron a la ciudad de Nueva York y fueron reclutados rápidamente en la liga mayor de jazz. Burrell no sólo se convirtió en el guitarrista de jazz más solicitado de la ciudad, grabando con sus propios grupos y con Coltrane, Billie Holiday, Thad Jones, Kenny Dorham, Paul Chambers, Jimmy Smith, Gene Ammons y muchos otros, sino que también tocó en sesiones de pop con gente como Tony Bennett, James Brown y Lena Horn y trabajó en las bandas de boxes de espectáculos de Broadway como Bye Bye Birdie y How to Succeed in Business without Really Trying.
En total, Burrell ha grabado más de noventa álbumes como líder. Esta obra ha recibido muchos elogios de la crítica.
Desde mediados de los sesenta, el guitarrista ha liderado su propio grupo además de trabajar en los escenarios del "All-Star" y ha actuado con bandas y orquestas universitarias. También ha actuado con orquestas profesionales como la Sinfónica de Detroit y la Filarmónica de Buffalo.
Aunque sus combos varían en personal, tamaño e instrumentación, la integridad e invención han guiado constantemente su música. "Mi inspiración viene del mensaje que dio Duke - eres único, sé tú mismo, saca esa cosa que eres, luego usa tu ética de trabajo y produce gran música."
Kenny Burrell ha recibido muchos premios y ha sido elegido "Mejor Guitarrista" numerosas veces por los aficionados a la música y los críticos de todo el mundo. Recientemente recibió este honor por segunda vez en la encuesta internacional de lectores del Jazz Times.
Su música y sus grabaciones han recibido muchos reconocimientos internacionales, incluyendo el "Prix de Disc" de Suiza. También ha recibido muchos honores académicos, entre ellos un Doctorado en Letras Humanas y la Beca Ellington de 1997 otorgada por la Universidad de Yale. Fue votado "Músico de Jazz favorito" por los oyentes de KLON Jazz Station en Los Ángeles en 1996 y fue incluido en el KLON Jazz Hall of Fame. Fue miembro del panel de premios del National Endowment for the Arts y fue el Presidente Nacional de guitarras de la Asociación Nacional de Educadores de Jazz. Ha sido apodado el "laureado de guitarra" de América por el Detroit Free Press.
https://musicians.allaboutjazz.com/kennyburrell
Tracklist:
1 - This Time The Dream's On Me - 4:58
2 - Fugue'n Blues - 6:47
3 - Takeela - 4:18
4 - Weaver Of Dreams - 4:42
5 - Delilah - 6:03
6 - Rhythmorama - 6:26
7 - Blues For Skeeter - 8:05
Credits:
Bass – Paul Chambers
Congas [Conga Drum] – Candido
Design [Cover] – Reid K. Miles
Drums – Kenny Clarke
Engineer [Recording] – Rudy Van Gelder
Guitar – Kenny Burrell
Liner Notes – Leonard Feather
Photography By [Cover Photo] – Francis Wolff
Piano – Tommy Flanagan
Producer – Alfred Lion
Notes:
Recorded on May 29, 1956 (tracks 2, 3, 5) and on May 30, 1956 (tracks 1, 4, 6, 7).
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Label: Blue Note – TOCJ-6444
Series: Blue Note 1500 – 44
Released: 23 Sep 2004
Genre: Jazz, Blues
Style: Hard Bop
https://www.discogs.com/Kenny-Burrell-Introducing-Kenny-Burrell/release/8357293
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2 - Fugue'n Blues - 6:47
3 - Takeela - 4:18
4 - Weaver Of Dreams - 4:42
5 - Delilah - 6:03
6 - Rhythmorama - 6:26
7 - Blues For Skeeter - 8:05
Credits:
Bass – Paul Chambers
Congas [Conga Drum] – Candido
Design [Cover] – Reid K. Miles
Drums – Kenny Clarke
Engineer [Recording] – Rudy Van Gelder
Guitar – Kenny Burrell
Liner Notes – Leonard Feather
Photography By [Cover Photo] – Francis Wolff
Piano – Tommy Flanagan
Producer – Alfred Lion
Notes:
Recorded on May 29, 1956 (tracks 2, 3, 5) and on May 30, 1956 (tracks 1, 4, 6, 7).
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Label: Blue Note – TOCJ-6444
Series: Blue Note 1500 – 44
Released: 23 Sep 2004
Genre: Jazz, Blues
Style: Hard Bop
https://www.discogs.com/Kenny-Burrell-Introducing-Kenny-Burrell/release/8357293
This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader
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