| | Kenny Barron Live At Maybeck Recital Hall, Vol. 10 CD Kenny Barron Discography of CDs
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Recorded live at Maybeck Recital Hall, Berkeley, California on December 3, 1990. Includes liner notes by Fred Bouchard.
Producing a darker tone from the Maybeck Yamaha piano than do some other participants in the series, Kenny Barron gets a chance to flaunt a wider range of his influences than he usually does in a group format. Barron opens with a stride-ish "I'm Getting Sentimental Over You," which sports a few minor fluffs (this is live, folks), and then explores a number of diverse styles under the bop umbrella. Barron's "Bud-Like" has reminiscences of "Un Poco Loco," built on an ostinato bass pattern most of the way, with a witty "Bemsha Swing." As usual with Maybeck, the sound of the hall's bright, brittle Yamaha piano is brilliantly captured. ~ Richard S. Ginell
Solo performer: Kenny Barron (piano).Down Beat (12/91) - 4 Stars - Very Good - "..the self-generating energy of an assured solo flight that veers from a rhapsodic "Spring Is Here" to the boppish dazzle of Barron's "And Then Again"..." Live At Maybeck Recital Hall, Vol. 10 Music Kenny Barron Live At Maybeck Recital Hall, Vol. 10 Songs Live At Maybeck Recital Hall, Vol. 10 Music Review Purchase Live At Maybeck Recital Hall, Vol. 10 CD To buy, Click on price to add to cart | Hank Jones Live At Maybeck Recital Hall, Vol. 16 CD (1991)
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DREAMS is a 4-CD box set compiling in chronological order tracks by the Allman Brothers Band, as well as tracks by bands featuring one or more member of the Allman Brothers Band and solo performances by Gregg Allman and Dickey Betts.
Recorded between 1966 & 1988. Includes a 32-page illustrated booklet and liner notes by John Swenson.
Like nearly all box sets, DREAMS has plenty to recommend it-and a few nagging drawbacks. The set's chief shortcoming is its two conflicting goals: providing an overview of the Allmans' history, thus attracting buyers seeking the ultimate hits package, and including enough unreleased tracks and rarities to appeal ...
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The transformation of Spring Heel Jack into its own brand of avant electronic jazz continues with Amassed, rather logically following up on the previous year's Masses as another entry in the "Blue Series." Performers like Evan Parker and Matthew Shipp once again return, accompanied by a slew of fellow improvisational musicians (drummer Han Bennink, trombonist Paul Rutherford, and bassist George Trebar among them). If not a regular performing group capturing a nuanced sound, the lineup readily demonstrates both the abilities of the performers and the relaxed-but-on-point edge of the overall performance ("Wormwood" is a fine standout, Bennink's drumming an understated but crucial part of the arrangement). There's also a ringer from the rock world -- Spiritualized's Jason Pierce, who had Spring Heel Jack as an opening act back in 1997 and whose interest in free jazz makes him a perfect addition. He contributes to four tracks in particular, including "Maroc," written by Pierce and Parker, with the saxophonist ripping out some frenetic work while Pierce's guitar contributes tense shading and feedback shreds in the background. The air of Amassed in general is much like Masses in that the combination of on-the-spot work and collaboration and careful studio arrangement becomes blurry -- one suspects just as much work went into the arranging of this as, say, In a Silent Way, but that's hardly a bad role model to have. John Coxon and Ashley ...
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This 1961 groove date by Stanley Turrentine is an example of him at his fiery peak. Far from the slow groover of the CTI years, Turrentine's early Blue Note sides were massive and bright, saturated in deep soul and blues. This set featured Turrentine's wife, organist and composer Shirley Scott, and a pair of alternating rhythm sections. The first is Major Holley on bass and Al Harewood on drums, and the second is with Sam Jones and Clarence Johnston. Latin Conguero Ray Barretto appeared with the Holley/Harewood band. The set opens with a stomping version of Lloyd Price's "Trouble," with Scott taking the early solo while driving the groove. Turrentine burns the edges of the tune and ...
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