Soul LamentPour Wouf58 Kenny Burrell ” Midnight Blue ” Words & Music by Kenny Burrell Emadd9 Emadd9. Soul Lament by Kenny Burrell – discover this song’s samples, covers and remixes on WhoSampled. Midnight Blue is a album by Jazz guitarist Kenny Burrell featuring Stanley Turrentine on “Chitlins con Carne” – ; “Mule” (Kenny Burrell, Major Holley Jr.) – ; “Soul Lament” – ; “Midnight Blue” – ; “Wavy Gravy” –
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The eight-bar intro lays down a pulsing Latin clave, with Holley pedaling the bass as Barretto kejny liberties on the congas. Kenny Burrell’s Midnight Blue. Burrell closes the album with “Saturday Night Blues,” a driving nightcap to a bottomless evening that shifts the blues from minor to major. Undoubtedly, was a high-water mark for jazz, in New Jersey and elsewhere.
Turrentine plays foil, Captain Kirk to Burrell’s Spock, singing the blues right out of the gate, but the two show their psychic connection when seamlessly trading not fours, but ones, until the blistering out chorus. One of Burrell’s most enduring achievements, the album plumbs the depths of the blues for its harmonic subtleties and lyricism in a manner that can be readily accessible on its face yet challenging enough to reward repeated visits.
The album opens with Burrell’s classic minor blues, “Chitlins con Carne. As always with Burrell, though, never mistake brevity for simplicity; the fathomless bar mantra has no two identical choruses, and Burrell doesn’t rely on reflexive facility, the blues equivalent of fool’s gold.
Discussion Be the first to comment on this track! 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. Adblock Click the AdBlock button on the top right of your browser’s toolbar and select Don’t run on pages on this domainand then hit Exclude to finish.
Brrell hues ruled the night, and burrelo 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. Burrell’s sparse comping sets the album’s precedent for succinctness, one of his hallmarks. Turrentine’s matter-of-fact statement of the melody establishes his by turns lugubrious and diaphanous sound.
Recorded 50 years ago at Van Gelder studio in Englewood Cliffs with Burrell’s pianoless quintet, the album still holds up to critical scrutiny, or to a pairing with a half-empty bottle of Scotch. Few albums capture the aesthetic of Blue Note’s golden era better than Midnight Blue —a consistent set of original minor grooves meant to be experienced in its entirety, rather than padding for one standout track—and it justifiably occupies a place in the jazz canon, a common entry on countless essential listening lists.
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Turrentine simply wails; his style contrasts perfectly with Burrell’s cavalier detachment. Holley establishes the groove with a well-articulated bass kenby, which Burrell glides over sparsely, until the saxophonist comes in to state the head in unison with the guitar. 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.
Leonard Feather begins his liner notes for Burrell’s seminal album with this quote, invoking one of the consummate jazz guitarist’s greatest influences, and one of his greatest champions.
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.
Here are the instructions on how to disable your ad blocker: 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. Though under three minutes, this represents some of Burrell’s most sensitive playing, replete with embellishments, a rhythmic elasticity, and complex inversions. You must be logged in to comment. Refresh the page to see the result.
Burrell uses it as a springboard for his effortless, behind-the-beat bebop phrasing, playing off English’s sultry brushwork. In an era dominated by the glossy veneer of “Facebook blue,” Kenny Burrell ‘s Midnight Blue sets the mood zoul a brief return to a bygone era when the deep indigo of the Yves Lameht version was more common.
Turrentine returns on “Wavy Gravy,” a smoldering mid-tempo blues waltz that brings the minor groove to a new tension point. We’ve detected that your browser isn’t showing ads. Burrell got his start as a Detroit rhythm guitarist; as a result, his time is unerring and right in the pocket, he always spells out the chords and forecasts where he’s going, but like a great bus driver, he doesn’t kennyy attention to the underlying mechanics.
The soup picks up abruptly on the title track, which reintroduces the rhythm kenny, but not Turrentine. Burrell keeps it mellow on the crepuscular “Soul Lament,” a solo minor kenny that departs from the blues form but nevertheless retains its spirit.
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. Please sign in or sign up.
Thank you for supporting our work. Punctuated by Holley’s downward bass slide riff and English’s ambling hi-hat, Turrentine and Burrell stretch out on this quintessential slow jam. If ads still aren’t showing, look into tweaking your browser settings so that they start to show.
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If you are running an ad blocker, please disable it kebny whosampled. Kenny Burrell Electric Guitar: Midnight Blue Blue Note On this outing, he is joined by like-minded players who create the illusion of a loose blowing session within a tight framework: 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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