Live at Bradley's [LIVE]

Kenny Barron (Artist)

Product Details

• Audio CD (July 9, 2002)
• Original Release Date: 2002
• Number of Discs: 1
• Format: Live
• Label: Sunny Side
• ASIN: B000068QUL
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #121,772 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com
Jazz is a music best heard in a live context, and this date recorded at the famous Bradley's in New York City, which closed in the mid-'90s, offers an excellent example of how the music should sound. The room was a favorite of piano players and Kenny Barron was no exception. Backed by longtime partners drummer Ben Riley and bassist Ray Drummond, Barron's no-mistakes lyricism and fleet-fingered piano lines zip through a pleasing set of standards and post-bop jazz compositions. Miles Davis's "Solar" gets an invigorating workout, as does the striding "Everybody Loves My Baby, but My Baby Don't Love Nobody but Me." Barron's genius as a balladeer comes through on his pillow-soft treatment of "Blue Moon," and his rendition of "Canadian Sunset" recalls Ahmad Jamal. The standout track is Barron's tasty Latin take on James Williams's "Alter Ego." A good gig, at a good club, by some very good musicians. --Eugene Holley Jr.

Customer Reviews

Most Helpful Customer Reviews

18 of 18 people found the following review helpful:

5.0 out of 5 stars Intimations of Immortality from Recollections of Gabriel, August 1, 2004

By	Samuel Chell (Kenosha,, WI United States) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

One of a handful of truly great living jazz pianists, Kenny Barron has never sounded better to me on record. After listening to him in this setting, I'm beginning to understand why so many musicians lamented the passing of Bradley's, the Manhattan night spot that featured a grand piano handpicked and donated by Paul Desmond. If there's one performance on this recording that testifies to Barron's gifts, it's his exquisite and daring reading of Rodgers and Hart's "Blue Moon." He repeats and draws out the melody to the point where it practically becomes reductive if not boring. Then when he has you indoctrinated in the skeletal structure of the tune, waiting for it to end, he re-opens it with bursts and fountains of melodic colors--elongated, spinning note-streams that rise and fall and rise again, transporting this listener, at least, on a heady film of captivating lyrical moon dust.

But the real genius of this performance (unless memory deceives me) is Barron's incorporation not merely of the Rodgers' influence but of Freddie Hubbard's recording of the tune with Art Blakey and the Jazz Messengers (in turn inspired by Clifford Brown's rich if straightforward interpretation of the tune on the Strings album). Instead of the single-note melodic phrase (Bb) for the words "Blue Moon," Barron goes with the Hubbard three-note phrase (CGBb), turning it into a motif. And not only do Barron's alternate chord changes match those of the Messengers' chart but he captures the identical voicings and passing tones as well. Finally, the dazzling, rocket-like melodic excursions of the trumpet solo are matched here by Kenny's fluid right-handed melodic sallies but at an entirely different dynamic level. It's as if the quiet beauty of Barron's touch serves less to replicate Hubbard's performance than to resonate with it, providing an enchanting echo of the performances that occurred 35 and 45 years prior to it.

In short, this performance of "Blue Moon" is a tribute equally to Rodgers & Hart, Clifford Brown, Freddie Hubbard, and Kenny Barron. It's enough to make you believe that once a beautiful melody has been released into the dynamic energy field we call human consciousness, it can never die.

13 of 14 people found the following review helpful:

5.0 out of 5 stars A Masterpiece! Don't Miss It!, April 17, 2003

By	Ron M. "Ron M." (Rutherford, NJ USA) - See all my reviews

Barron's fingers are like deft little waterbugs on the keyboard, and this trio swings with great subtlety and sophistication. Smooth, smooth, smooth. Wonderful choice of tunes. Impeccable musicianship, exquisite taste. This is the joy of mastery.
If you love and value jazz artistry, you MUST have this CD. It is easily one of the best jazz piano albums to appear in the last 20 years. Superlative.

18 of 21 people found the following review helpful:

5.0 out of 5 stars Always enjoyed hearing Barron play at my uncle's club, January 22, 2006

By	Shannon Weil (Cool, CA USA) - See all my reviews (REAL NAME)

I am Bradley Cunningham's neice and I use to love spending time in Bradley's. The way the musical format in the club was established, piano and base and sometimes drums, was simply because that's what Bradley liked to listen to. His table, #1, was directly across from the musicians, the best seats in the house.

I met Kenny Barron, Ray Drummond and Ben Riley there and loved listening to them, the trio were among my favorite players.

One note of correction from another review is that Paul Desmond didn't pick out the piano for Bradley's but when he died he left his own personal piano to Bradley because up to then, Bradley only had an electric keyboard in the club which Desmond couldn't stand. When Desmond's piano was moved in, the keyboard went up to Bradley's apartment above Sheridan Square in Greenwich Village. Bradley played in private quite well but never felt he was good enough to play in the club with the other greats. Out of repsect to the musicians, Bradley had Desmond's piano tuned EVERY DAY and once a year had it completely renovated.

I am so pleased to find Kenny Barron's music recorded at the club as his mastery of the piano is so brilliant. Hanging out at Bradley's was indeed, a blast.