I don’t know how the Jazz Heritage All–Stars were chosen, but can’t quarrel with the results of the vote or whatever was involved. Leader Kenny Burrell’s credentials are unimpeachable, and everyone else on this concert date from July ’96 at New York’s Blue Note nightspot is a remarkably accomplished musician. While Burrell’s mellow guitar is the focal point, he generously shares the playing time with his superlative sidemen and provides a supple cushion for guest vocalists Jeannie Bryson and Vanessa Rubin. Burrell sings too (and quite well), on “Dear Ella,” a warmhearted tribute to “the first lady of song,” as Burrell describes the incomparable Ella Fitzgerald. Bryson, accompanied only by Burrell on “I’ve Got a Crush on You,” is sexy to the max, but wanders occasionally off–key. Rubin, with the full rhythm section behind her on “All Blues,” stays in the pocket and gives Miles’ tune a charming ride to the checkered flag. The instrumental tracks are, like Burrell himself, cordial and easygoing with only Strayhorn’s “A Train” accerating beyond a measured canter. Happily, Burrell and his teammates can swing hard at any tempo, as they prove beyond a doubt on Chick Corea’s “Tones for Joan’s Bones,” Scott Joplin’s “The Entertainer,” Dizzy Gillespie’s “Birk’s Works” and Jerome Richardson’s “Groove Merchant,” none of which is a bona fide chops–buster. The medley of “Embraceable You” and Bird’s “Quasi Modo,” based on its changes, has Burrell playing alone on the former before everyone comes on board for “Quasi Modo.” There are pleasing solos along the way by Richardson (flute or tenor), Owens and Turre, while Hanna, Drummond and Ferguson hold everything in place like Elmer’s Glue–All (and for a textbook model in comping, check out Hanna on almost any track). A pleasant, well–framed session that’s never less than entertaining.
Track listing: Tones for Joan’s Bones; The Entertainer; Medley: Embraceable You, Quasi Modo; Dear Ella; Birk’s Works; I’ve Got a Crush on You; Take the “A” Train; All Blues; Groove Merchant (64:18).
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.