Jazz Articles about Gary Burton

About Gary Burton

Extended Analysis

Seven Songs for Quartet and Chamber Orchestra

by John Kelman
February 27, 2014

While there is still a handful of ECM titles from vibraphonist Gary Burton that remain unreleased on CD, perhaps the most unique of the bunch is Seven Songs for Quartet and Chamber Orchestra, originally issued by the German label in 1974 and the first of two collaborations with Zimbabwe-born, British-resident composer/pianist/trombonist Michael Gibbs. The similarly intriguing In the Public Interest (Polydor, 1974) is a more conventionally configured large ensemble with horns, reeds, piano, bass and drums; Seven Songs, on the ...

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Live Review

New Gary Burton Quartet: San Diego, California, October 12, 2011

by Robert Bush
October 28, 2011

New Gary Burton Quartet Neurosciences Institute San Diego, CA October 12, 2011 Vibraphone master Gary Burton has returned to the guitar quartet, a format that has served him well since his early recordings with Larry Coryell in the '60s, and especially with Pat Metheny in the '70s. His current group was born about a year ago, when he began touring with drummer Antonio Sanchez, double bassist Scott Colley, and protégé Julian Lage, a guitarist ...

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Live Review

Gary Burton Quartet: New York, NY, September 21, 2011

by Dan Bilawsky
September 30, 2011

Gary Burton QuartetBlue NoteNew York, NYSeptember, 21, 2011 Lionel Hampton carved out a place for the vibraphone in a swing setting, and Milt Jackson brought the instrument into bop, but Gary Burton remains the guru and guiding light in virtually every other aspect for vibraphonists and fans the world over. As a visionary educator, he helped to make Berklee the place to go for aspiring jazzers, and as a performer, he's redefined the very ...

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Album Review

The New Gary Burton Quartet: Common Ground

Read "Common Ground" reviewed by John Kelman

by John Kelman
June 10, 2011

In a career now entering its sixth decade, vibraphonist Gary Burton has participated in plenty of one-off recordings, paying tribute to everyone from tango master Astor Piazzolla to mallet-men who have come before, like Lionel Hampton and Milt Jackson. His discography has been nothing if not unfailingly consistent--every recording meticulously conceived and flawlessly executed. A project, perhaps, rather than an ongoing concern, but Burton's last record, Live (Concord, 2009), remains as exhilarating a concert recording as the vibraphonist has done, ...

Album Review

Gary Burton: Quartet Live

by AAJ Italy Staff
May 4, 2010

L'intreccio fra le linee eleganti del vibrafono e le frasi flessuose e brucianti della chitarra elettrica è stata una delle caratteristiche più interessanti dei gruppi di Gary Burton dalla fine degli anni sessanta in poi. In particolare si sono segnalati come partner di quel periodo Larry Coryell, Sam Brown, Jerry Hahn, Mick Goodrick e Pat Metheny. Quest'ultimo, allievo di Goodrick, iniziò a frequentare il gruppo di Burton mentre era ancora studente e, fra il 1974 e il 1977, finì per ...

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Live Review

Gary Burton's Arrival: Celebrating 50 Years

by Michael Epstein
April 24, 2010

Gary Burton's Arrival: Celebrating 50 YearsBerklee Performance CenterBoston, MAApril 8, 2010 When was the last time you saw a concert that featured Gary Burton, Mick Goodrick, Abe Laboriel, Harry Blazer, Joe Lovano, John Scofield, Steve Swallow, Antonio Sanchez, Tiger Okoshi, Jim Odgren, Donny McCaslin, Makoto Ozone, Julian Lage, Vadim Neselovskyi, Luques Curtis, James Williams, and Chick Corea? Unless you were at the Berklee Performance Center on Thursday, April 8, the answer is never.

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Extended Analysis

Crystal Silence: The ECM Recordings 1972-79

by John Kelman
September 2, 2009

It's a story that's been told before, but it's worth repeating. Pianist Chick Corea and vibraphonist Gary Burton were performing individually at a 1972 Munich festival, and ended up as the only two artists at a late night jam session. While the two had attempted working together in the 1960s, it was in a quartet context that never seemed to work--in no small part due to the challenge of combining two chordal instruments without getting in each other's way.