Kenny Barron-Jimmy Owens • You Had Better Listen

 

Review by Andrew Hamilton
Kenny Barron and Jimmy Owens' first recording was a solid debut. The exciting title cut, "You Had Better Listen," composed by Jimmy Owens, is good, basic, uptempo jazz, nothing fancy, no frills. The Jimmy Owens-Kenny Barron Quintet doesn't condescend like some jazz artists tend to do; casuals can groove, relate, nod their heads in approval and feel righteous about it. Owens plays some beautiful trumpet scales, while Barron keeps busy banging chord progressions. The other members of the quintet are Benny Maupin (tenor sax, flute), Chris White (bass), Freddie Waits (drums on tracks one, two and four), and Rudy Collins (drums on tracks three through five). Owens' sparkling flügelhorn spices "The Night We Call It a Day." Barron composed the strutting "Gichi," Maupin and Owens blowing as one introduces the bebopper, White's bass is cool and steady, and Collins' drum work is incredibly creative. Owens comes in later and spits a series of darting trumpet hits before rejoining Maupin near the conclusion for a cutting contest. Moody and occasionally happy, but mostly maudlin, best describes "Love, Where Are You," an exercise in cool; Owens gives a trumpet clinic, while White's walking basslines titillate the ears. "Carolina John," is Maupin's best showcase, his flute work is understated throughout the LP, but he plays a mad tenor on this cut, his attention-getting solo is followed by some remarkable horn work by Owens.
https://www.allmusic.com/album/you-had-better-listen-mw0000011994

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Reseña de Andrew Hamilton
La primera grabación de Kenny Barron y Jimmy Owens fue un sólido debut. El excitante corte que da título al disco, «You Had Better Listen», compuesto por Jimmy Owens, es jazz bueno, básico, a ritmo acelerado, sin lujos ni florituras. El Jimmy Owens-Kenny Barron Quintet no es condescendiente como algunos artistas de jazz tienden a hacer; los ocasionales pueden bailar, relacionarse, asentir con la cabeza en señal de aprobación y sentirse justos por ello. Owens toca unas hermosas escalas de trompeta, mientras Barron se mantiene ocupado tocando progresiones de acordes. Los otros miembros del quinteto son Benny Maupin (saxo tenor, flauta), Chris White (bajo), Freddie Waits (batería en las pistas uno, dos y cuatro) y Rudy Collins (batería en las pistas tres a cinco). El chispeante flügelhorn de Owens adereza «The Night We Call It a Day». Barron compuso el pavoneante «Gichi», Maupin y Owens soplando como uno presenta al bebopper, el bajo de White es fresco y firme, y el trabajo de batería de Collins es increíblemente creativo. Owens entra más tarde y escupe una serie de golpes de trompeta antes de reunirse con Maupin cerca de la conclusión para un concurso de corte. Moody and occasionally happy, but mostly maudlin, best describes «Love, Where Are You,» an exercise in cool; Owens gives a trumpet clinic, while White's walking basslines titillate the ears. «Carolina John» es el mejor escaparate de Maupin, su trabajo con la flauta es discreto en todo el LP, pero en este corte toca un tenor enloquecido; su solo, que llama la atención, va seguido de un notable trabajo de trompa de Owens.
https://www.allmusic.com/album/you-had-better-listen-mw0000011994

 

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