KENNY BURRELL SOUL LAMENT PDF

Arajind Undoubtedly, was a high-water mark for jazz, in New Jersey lamen elsewhere. Holley lamfnt the groove with a well-articulated bass line, which Burrell glides over sparsely, until the saxophonist comes in to state the head in unison with the guitar. The effect is a listener-friendly album with a tonally nuanced atmosphere easily shared between the jazz aficionado and the neophyte who just heard Kind of Blue for the first time; regardless of background, a smooth ride allows passengers to lamenh in the scenic vistas. Thank you for supporting our work. Please sign in or sign up. You must be logged in to comment.

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Darker hues ruled the night, and the pale moonlight of a lovelorn skyline meant it was past last call and all that remained of the day was an overwhelming air of what could only be called the blues. Undoubtedly, was a high-water mark for jazz, in New Jersey and elsewhere. A true master, Burrell has internalized the form, giving him the sense of repose and restraint that is the cornerstone of any bluesman worth his salt.

On this outing, he is joined by like-minded players who create the illusion of a loose blowing session within a tight framework: tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Billy Gene English, and conguero Ray Barretto, a highly regarded bandleader in his own right who injects a dash of Latin flavor into the mix.

The effect is a listener-friendly album with a tonally nuanced atmosphere easily shared between the jazz aficionado and the neophyte who just heard Kind of Blue for the first time; regardless of background, a smooth ride allows passengers to take in the scenic vistas. The eight-bar intro lays down a pulsing Latin clave, with Holley pedaling the bass as Barretto takes liberties on the congas. His deceptively clean guitar solo walks a tightrope between endless space and airtight rhythmic motifs; a devil-may-care attitude in the face of death that comes from having been down and out and having lived to tell about it.

Unlike other jazz subgenres, the key to the blues is to never let the bomb go off, and the five demonstrate an unwavering focus, keenly aware of this urgent fact. The pace picks up abruptly on the title track, which reintroduces the rhythm section, but not Turrentine. Taking another departure from the bar blues, Burrell shows his prodigious bebop chops here, cutting loose on some extended lines juxtaposed with subtler rhythm guitar, employing technique that carries his characteristic fullness despite its comparatively fewer notes.

Holley establishes the groove with a well-articulated bass line, which Burrell glides over sparsely, until the saxophonist comes in to state the head in unison with the guitar. The two continue riffing over each other until it all starts to fade out—the blues are never finished, merely abandoned at dawn—as Saturday night palpably fades into Sunday morning.

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KENNY BURRELL SOUL LAMENT PDF

Darker hues ruled the night, and the pale moonlight of a lovelorn skyline meant it was past last call and all that remained of the day was an overwhelming air of what could only be called the blues. Undoubtedly, was a high-water mark for jazz, in New Jersey and elsewhere. A true master, Burrell has internalized the form, giving him the sense of repose and restraint that is the cornerstone of any bluesman worth his salt. On this outing, he is joined by like-minded players who create the illusion of a loose blowing session within a tight framework: tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Billy Gene English, and conguero Ray Barretto, a highly regarded bandleader in his own right who injects a dash of Latin flavor into the mix. The effect is a listener-friendly album with a tonally nuanced atmosphere easily shared between the jazz aficionado and the neophyte who just heard Kind of Blue for the first time; regardless of background, a smooth ride allows passengers to take in the scenic vistas. The eight-bar intro lays down a pulsing Latin clave, with Holley pedaling the bass as Barretto takes liberties on the congas. His deceptively clean guitar solo walks a tightrope between endless space and airtight rhythmic motifs; a devil-may-care attitude in the face of death that comes from having been down and out and having lived to tell about it.

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