All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Kenny Werner has long been active as a jazz pianist/bandleader, composer and jazz educator, having recorded around two dozen albums as a leader and many more as a sideman. He has performed with quite a few jazz greats, including Charles Mingus, Bob Brookmeyer, Lee Konitz and Toots Thielemans. He's also a sought after pianist by vocalists, having long worked with Broadway star Betty Buckley and jointly leading the Delirium Blue Project with Roseanna Vitro.
This trio date pairs the pianist with bassist Johannes Weidenmueller and drummer Ari Hoenig, two top musicians of their generation. Werner incorporates the lyricism of Bill Evans while blending in his own inventive arrangements and intensity. He starts Miles Davis' "Nardis" with a playful hip introduction that even adds the air of a hoedown, though the arrangement only uses Evans' ideas as a launching pad, Werner taking a more spacious route, a tough challenge given the many recordings available by Evans. Regardless of who you credit with writing "Blue in Green" (Evans is more likely its composer), Werner's impressionist introduction sets up a haunting arrangement of this modal masterpiece.
The off-center take of John Coltrane's "26-2" is a lively affair as well. Werner's "Beauty Secrets" is a gem that unveils itself slowly with many shimmering facets, eventually evolving into the centuries-old "Greensleeves". The pianist is a gifted interpreter of standards, delivering a whispering "With a Song in My Heart," a subtly swinging "Autumn Leaves" and a buoyant, waltzing "All the Things You Are" where he seems at times independent of the rhythm section.
Track Listing: With a Song in My Heart; Nardis; Autumn Leaves; If I Should Lose You; Beauty Secrets; All the Things You Are; Balloons; 26-2; Blue in Green.
Personnel: Kenny Werner: piano; Johannes Weidenmueller: bass; Ari Hoenig: drums.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.