Search - Kenny Burrell :: Jazzmen Detroit

Excellent Bop Outing

Robert J. Ament | Ballwin, MO United States | 01/07/2003

(4 out of 5 stars)

"Something got lost in the translation...... the correct titles for tracks 2,3, 5 and 6, respectively, being "You Turned The Tables On Me", "Apothegm", "Cotton Tail", and "Tom's Thumb". That having been said, this is a very classy sophisticated quintet session featuring good crisp ensemble entries with some well developed improvisations. Four of the musicians had their roots in Detroit, the exception being drummer Kenny Clarke.My favorites are the standard "You Turned The Tables On Me" with fine solos by all, the Pepper Adams original "Apothegm" with a mellow bop ensemble entry, and Kenny Burrell's "Tom's Thumb".When you consider the stature of the musicians, even allowing this is a 1956 recording, these became among the best in the business! If you like a really good bop session and/or familiar with the talents of any of this group, you will enjoy this session!"

No clunkers in this Detroit lineup

Bomojaz | South Central PA, USA | 10/05/2006

(5 out of 5 stars)

"When this album was cut in 1956, participants Kenny Burrell, Pepper Adams, Tommy Flanagan, and Paul Chambers were all young modern jazz players just making names for themselves on the scene; it wouldn't be long before all were considered stars. All four of them were from Detroit - thus the title(only house drummer Kenny Clarke didn't qualify in this regard). It's a very relaxed date, with just about all the tunes assuming a medium groove. John Lewis's attractive AFTERNOON IN PARIS gets an excellent treatment, with Flanagan's piano solo being especially fine. Tommy is also brilliant on Kenny's original blues TOM'S THUMB, a tune that reverses the order of things a bit by starting out with Burrell and baritone saxist Pepper Adams exchanging 4s at the beginning rather than at the end of the tune. YOUR HOST, another Burrell original, is perhaps the most relaxed tune on the date, with everyone producing quiet yet swinging jazz; Kenny Clarke's brushwork is particularly delicate and delightful. This is a solid mainstream-modern jazz album from the mid-50s - definitely worth looking into."