Archive for the ‘Robert Hurst’ Category
Kenny Kirkland: Kenny Kirkland (1991 – Grp)
Keyboardist Kenny Kirkland’s long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is “Mr. J.C.” (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell’s “Celia” (taken as a duet with percussionist Don Alias), the struttin’ “Steepian Faith,” a driving rendition of Ornette Coleman’s “When Will the Blues Leave” that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter’s “Ana Maria” and Thelonious Monk’s “Criss Cross.” This album has more than its share of brilliant moments.
Scott Yanow, All Music Guide
1. Mr. J.C.
2. Midnight Silence
3. El Rey – Watts
4. Sleepian Faith
5. Celia
6. Chance
7. When Will the Blues Leave?
8. Ana Maria – Shorter
9. Revelations
10. Criss-Cross
11. Blasphemy
Personnel:
Kenny Kirkland (Piano – Keyb)
Branford Marsalis (Sopr &Ten Sax)
Roderick Ward (Alto Sax)
Roderick Ward (Alto Sax)
Robert Hurst (Bass)
Christian McBride (Bass),
Charnett Moffett (Bass),
Jeff “Tain” Watts (Drums)
Don Alias (Percu & Bongos)
Steve Berrios (Percu & Drums),
Jerry Gonzalez (Percu & Conga)
Original Release Date: 1991 – Label: Grp Records
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Wynton Marsalis: Marsalis Standard Time, Vol. 1 (1986 – SONY)
The first in a series, in which Marsalis re-investigates the jazz standards that many of his generation have, for one reason or another, rejected. The classic tunes that were part of the “songbooks” of all the great improvisers of the tradition–Charlie Parker, Art Blakey, Clark Terry, Max Roach–are here, and Marsalis and Co. carry on the tradition of making these tunes their own. He wails “Cherokee” while paying tribute to the style and influence of Dizzy Gillespie with a rapid-fire muted sound. “Goodbye” and “New Orleans” look to the sound of early-’60s Miles Davis.
Marcus Roberts is a joy to hear. His piano playing draws influence from Monk and Bill Evans, and he executes his carefully-chosen notes and phrases with perfect, no-excess flair. None of this comes off as imitation, but rather shows contemporary players continuing a great tradition. Marsalis uses this album to focus on, and pay tribute to, the standards and styles that formed the foundations for this superior American art form.
Stanley Crouch.
Robert Hurst (bass)
Recorded at RCA Studio A, New York, New York on May 29 & 30 and September 24 & 25, 1986.
Original Release Date: January 1, 1987 – Label: Sony
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Across Rhythm 