Dave Rickert
December 2001

Combing the Catalog
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By David Rickert

Blues the Common Ground
Kenny Burrell
1968/2001

Kenny Burrell is a consummate musician, able to adapt his style to any setting from bossa to bop and promising to enliven even the most mediocre recording session with his effortless playing. He has recorded often as a leader and is featured prominently on collaborations with Jimmy Smith and Coltrane, drawing from a seemingly endless bag of interesting ideas. On this record he explores various permutations of the blues throughout history, from pop songs to spirituals, backed by an orchestra conducted by Don Sebesky. Burrell has recorded a blues based album before with Midnight Blue and dabbled with larger orchestras on the Gil Evans arranged Guitar Forms, both of which are guitar jazz masterpieces. Blues the Common Ground doesn’t come close to these two records, although Burrell is in top form throughout. The record starts off solidly with an odd choice (Buffalo Springfield’s “Everydays”) and a funky interpretation of a standard (“Every Day”) before quickly losing its momentum. The problem rests heavily with the arrangements, which sounds woefully dated and quickly begin to resemble the sort of music commonly found on game shows and cop movies from the era. There are a few highlights sprinkled throughout, but any momentum gained is soon lost. Only a solo version of “Were You There?” (barely a minute long, unfortunately) and two quartet tunes featuring Hancock, Carter, and Tate threaten to become something more special. Even then Tate, whose reliably funky snap made Guitar Forms such a success and contributes heavily on this record, seems all thumbs behind the more delicate treatments presented here. Perhaps the problem is the relatively brief running time of most of the tracks, which feature Burrell exclusively; it’s a shame to see players like Thad Jones, Jimmy Cleveland, and Snooky Young not given more to do here. Overall, Blues the Common Ground is a record that called for firmer footing, an excellent idea marred by poor execution.

The Lionel Hampton Quintet
Lionel Hampton
1954/2001

Lionel Hampton began his jazz career playing drums with Louis Armstrong, but switched to the vibraphone at the suggestion of the leader. In doing so he helped establish the instrument as one with serious jazz credentials and, with his driving, percussive attack, rescuing it from its previously lightweight sound. Hampton’s success with Benny Goodman enabled him to form his own big band where he shepherded the careers of Clifford Brown, Illinois Jacquet, and Quincy Jones, to name a few. Later he produced a few records with a much smaller ensemble under the aegis of Norman Granz, two of which are released here. Helped immeasurably by the impeccable musicianship of the sidemen, Hampton created small-group swing of lasting appeal.

Bolstered by the rhythmic propulsion of the seemingly tireless Buddy Rich and the bouncy stride of Oscar Peterson, the quintet gets a good start out of the gate with a fierce run through of the Hampton chestnut “Flying Home”. Virtuoso clarinetist Buddy DeFranco is also along for the ride (he can lay claim to being one of the few of the next generation to keep Goodman’s spirit alive) and he gets plenty of opportunities to trade licks with Hampton. Never ceasing to be interesting despite its seventeen minute plus running length, “Flying Home” displays the quartet’s intense synergy and drive. After this the record settles into a comfortable groove of more of the same, including a version of “It’s Only A Paper Moon” played at a frightening pace. Although nothing quite reaches the heights of “Flying Home”, “Don’t Be That Way” comes close. As consistently enjoyable as these guys are when they swing hard, it’s almost a letdown to hear them tackle a ballad like “The Way You Look Tonight”; even though it’s a fine reading, at eleven minutes it seems a tad overlong.

These days Hampton tends to get lost in the notoriety shuffle while Benny Goodman, Glenn Miller, and others get all the credit. These sessions help reassert why he was so highly regarded as a swing musician; it’s small group swing at it’s best.

Kenny Burrell: Blues the Common Ground
Tracks: Everydays, Every Day (I Have The Blues), The Preacher, Angel Eyes, The Common Ground, Were You There?, Burning Spear, Wonder Why, Soulful Brothers, See See Rider, Sausalito Nights.
Tracks: Kenny Burrell (guitar) with collective personnel: Bernie Glow, Thad Jones, Jimmy Nottingham, Jimmy Owens, Ernie Royal, Snooky Young (trumpet); Wayne Andre, Jimmy Cleveland, Paul Faulise, Urbie Green, Tony Studd, Bill Watrous (trombone); Don Butterfield, Harvey Phillips (tuba); Jerome Richardson (woodwinds, reeds); Herbie Hancock (piano); Ron Carter (bass); Johnny Pacheco (percussion); Donald McDonald, Grady Tate (drums); Don Sebesky (arranger, conductor).

Lionel Hampton: The Lionel Hampton Quintet
Tracks: Flying Home, Je Ne Sais Pas, On the Sunny Side of the Street, April in Paris, Don’t Be That Way, These Foolish Things, The Way You Look Tonight, It’s Only A Paper Moon.
Personnel: Lionel Hampton (vibraphone); Buddy DeFranco (clarinet); Oscar Peterson (piano); Ray Brown (bass); Buddy Rich (drums).

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