Kenny Drew • By Request

 

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation.

Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town.

In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was "I'll Remember April." The label, in addition to stating "Howard McGhee's All Stars", further read, "Introducing Kenny Drew."

Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.”

In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note.

In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year.

Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964.

Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader.

Kenny Drew died on Aug. 4, 1993.
Source: James Nadal

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Kenny Drew nació en Nueva York en agosto de 1928. A los 5 años empezó a estudiar piano clásico con un profesor particular y a los 8 dio un recital. Esta formación temprana es similar a la de Bud Powell, el hombre que más tarde se convertiría en su principal inspiración como pianista de jazz. Tras escuchar a Fats Waller, a los 12 años, y luego a Art Tatum y Teddy Wilson, Drew asistió a la Escuela Superior de Música y Arte. Tenía fama de tocar el boogie woogie, pero pasó por esta fase antes de graduarse.

El primer trabajo profesional de Kenny fue como acompañante en la escuela de baile de Pearl Primus. Al mismo tiempo, alternaba con Walter Bishop Jr. en una banda de barrio que incluía a Sonny Rollins, Jackie McLean y Art Taylor. En esta época, solía frecuentar la calle 52 para escuchar a Charlie Parker y Powell y empezó a participar en varias jam sessions de la ciudad.

En enero de 1950, Drew grabó su primer disco con Blue Note. Howard McGhee era el líder y los otros solistas eran Brew Moore y J.J. Johnson. Una de las seis caras publicadas fue «I'll Remember April». En la etiqueta, además de poner «Howard McGhee's All Stars», se leía «Introducing Kenny Drew».

Más tarde, en 1953, Kenny grabó su primer álbum como líder. De nuevo fue Blue Note quien le grabó, esta vez en un trío con Curly Russell y Art Blakey. Pero Kenny optó por instalarse en Los Ángeles durante los años siguientes. Allí, en 1955, formó un cuarteto con el difunto Joe Maini, Leroy Vinnegar y Lawrence Marable. El cuarteto grabó juntos por primera vez en 1955 para Pacific Jazz. En diciembre, Jazz West, filial de Aladdin Records, llevó al cuarteto tal cual a los estudios de grabación de Capitol para «Talkin“ & Walkin”».

En febrero del 56, la banda y los arreglos de Kenny se utilizaron para otro lanzamiento de Jazz West, éste de la vocalista Jane Fielding. Un mes después, Drew, Paul Chambers, John Coltrane y Philly Joe Jones hicieron el gran «Chambers' Music» para el mismo sello, que ahora se reedita en Blue Note.

A principios de 1957, Kenny regresó a Nueva York como acompañante de Dinah Washington. Ese septiembre participó en la monumental obra maestra de John Coltrane «Blue Train», pero su asociación con Blue Note no volvió a caldearse hasta 1960, cuando grabó su propio «Undercurrent», así como «Bluesnik» de Jackie McLean, y «Jackie's Bag», «Whistle Stop» de Kenny Dorham, «Dexter Calling» de Dexter Godon, «Sunday Mornin'» de Grant Green y un par de fechas de Tina Brooks, todo ello en el espacio de un año.

Aunque Kenny se mantuvo activo en la escena discográfica y de clubes de Nueva York e incluso sustituyó a Freddie Redd durante un tiempo en la exitosa representación de The Connection en Off-Broadway, finalmente optó por emigrar a Europa. Pero volvió a aparecer en una fecha clásica de Blue Note, «One Flight Up» de Dexter Godon, realizada en París en 1964.

Kenny se convirtió en una gran estrella en Europa y Japón, aunque su música fue tristemente olvidada en su país. Se instaló en Copenhague, donde dirigió una editorial y fue pianista del Café Montmartre. También fue pianista del sello Steeplechase, donde participó en innumerables sesiones acompañando a músicos visitantes. Dejó un impresionante legado de grabaciones como músico de acompañamiento y como líder.

Kenny Drew murió el 4 de agosto de 1993.
Fuente: James Nadal

Tracks:
1 - Softly As In A Morning Sunrise
Written-By – Oscar Hammerstein II, Sigmund Romberg 5:31
2 - Misty
Written-By – Erroll Garner 4:58
3 - On Green Dolphin Street
Written-By – Bronislaw Kaper, Ned Washington 3:53
4 - Smoke Gets In Your Eyes
Written-By – Jerome Kern, Otto Harbach 4:51
5 - You'd Be So Nice To Come Home To
Written-By – Cole Porter 3:58
6 - My Funny Valentine
Written-By – Lorenz Hart, Richard Rodgers 6:49
7 - Lover Come Back To Me
Written-By – Oscar Hammerstein II, Otto Harbach 5:06
8 - As Time Goes By
Written-By – Herman Hupfeld 3:42
9 - Fly Me To The Moon (In Other Words)
Written-By – Bart Howard 5:42
10 - Round Midnight
Written-By – Thelonious Monk 3:56


Credits:
    Bass – Niels-Henning Ørsted Pedersen
    Cover [Illustration] – Mizue Kawamura
    Design – Heyglow Kobayashi
    Drums – Ed Thigpen
    Engineer [Recording] – Henrik Lund
    Ensemble – Kenny Drew Trio    Piano – Kenny Drew
    Producer – Kenny Drew, Makoto Kimata

Recorded August 24 & 25, 1985 at Easy Sound Studio, Copenhagen

Label:    Baystate – RJL-8106
Country:    Japan
Released:    1985
Genre:    Jazz
Style:    Contemporary Jazz
https://www.discogs.com/es/release/3322752-Kenny-Drew-By-Request

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