Kenny Kirkland -][- Kenny Kirkland [GRP/Verve]

Tags

African American, Jazz, Kenny Kirkland, Piano

Greetings jazz aficionados, after a brief pause from the blog I’m delighted to return and feature an extraordinary musician of his generation pianist Kenny Kirkland. Like many of you, I dearly miss him. With his GRP debut, as imagined … Kenny’s compositions and arrangements encompass a wealth of angular shapes and shifting tones attached to a chorus of complex melodies has undoubtedly left an infinite impression on those of us that had the pleasure of hearing him as a soloist and ensemble player. By chance, if you don’t have this recording please if you will do your ears a favor and pick up this gem by Kenny Kirkland … you want regret it. —Rob Young | The Urban Flux

Kenny Kirkland (Verve, 2009)

Kenny Kirkland -][- Kenny Kirkland – [GRP/Verve, 1991/2009]

One of the best definitions of musician is “student of music“. Kenny Kirkland exemplified this statement. As a musician, Kenny could fit any groove, any mold, any group. His playing with Sting, Branford Marsalis, and Wynton Marsalis is completely different stylistically, yet unmistakably Kenny. Considering the great musicians Kenny was recruited to play with: Dizzy Gillespie, Elvin Jones, Sting, Branford Marsalis, Wynton Marsalis, and Kenny Garrett (to name a few); and considering his rhythm section mates: Jones, Jeff ‘Tain’ Watts, Bob Hurst, Eric Revis, and Nat Reeves; it is evident just reading these names that Kenny was at the top of the list of many jazz musicians. This cd, remarkably Kenny’s only solo release, is a superb example of his versatility and love of all styles of music. His use of synthesizers and differing styles shows his versaltility as a pianist and his playing exemplifies his brilliance. Not to mention the sidemen on this date, Branford, Tain, Roderick Ward (aka Kenny Garrett), Christian McBride and Jerry Gonzales.

I would like to end with a quote from Kenny himself on Sting’s Bring on the Night video pertaining to his and Branford’s decision to join the band. “Some people might not like what we’re doing. But I feel, as a musician, you need to play all styles of music”. Kenny definitely did that on this cd, and his genius will be missed greatly. –jkrl | Amazon.com

..:: Source: Amazon.com ::..

Hart Ramsey -][- Charge It To My Heart (Review)

Tags

Afro American, Hart Ramsey, Keyboards

Hart Ramsey - Charge it to My Heart

Hart Ramsey -][- Charge It To My Heart – [Indie, 2008] – (Review)

Hart Ramsey, a talented music producer and keyboardist shifts his focus from producing and playing for others in favor of releasing his own solo album, Charge It To My Heart. Charge It To My Heart could be summed up as being a ‘smooth jazz’ album for the most part, but with Ramsey’s restlessness for incorporating ideas from idioms outside of smooth jazz, it is more than just smooth jazz. Here, elements of R&B, gospel, and rock cross paths on numerous cuts making Charge It To My Heart quite an enthralling listen throughout. Sure, some‘sameness’ given the repetitive nature of smooth jazz rears it’s ugly head, but given Ramsey’s musicianship and ambition with including so many stylistic turns at times, Charge it to My Heart is never a bore.

The album opens up with the crisply produced “What About Love,”featuring saxophonist Kelley O’Neal. The programming and keyboard work by Ramsey is exceptional throughout and O’Neal’s saxophone solos are both creative and soulful. “What About Love” proves to be a ‘grand’ opener. “Be Attitude,” similarly is inspired, with Ramsey exploiting his piano skills more overtly here than “What About Love.” Smartly, programming is mixed in the background during Ramsey’s solos, adding a nice touch to the production. The slap bass is very appropriate here, setting the ‘attitude’ as the title of the cut prescribes.