JAM Magazine: February/March 1997 Issue: Folly Jazz News

by Doug Tatum

In my position at the Folly Theater over the past four years, I have had the privilege and honor of bringing dozens of great jazz musicians to Kansas City to perform on the Folly Jazz Series. I cannot recall, however, another time when I felt such a sense of personal excitement regarding the next two artists who are scheduled to appear.

First, the Kenny Burrell Quartet will perform at the Folly on Saturday, February 22. Kenny Burrell has been cited as the favorite guitarist of Duke Ellington, Billie Holiday, John Coltrane, and even B.B. King. Described as an "historic figure of American guitar," Kenny Burrell embodies the history of swing, bebop and contemporary jazz with his artistry. After more than 40 years in jazz, appearing on hundreds of albums as a leader and sideman, Burrell is among a handful of guitar greats who forever changed the role of their instrument.

Born in Detroit in 1931, Kenny Burrell came up during a time that also produced fellow Detroit jazzmen Tommy Flanagan, Yusef Lateef, Pepper Adams, and the famous Jones brothers, Hank, Thad and Elvin. After arriving in New York in 1955, he quickly became the city's most in-demand jazz guitarist, recording with John Coltrane, Billie Holiday, Thad Jones, Kenny Dorham, Paul Chambers, Jimmy Smith, Gene Ammons, and many others.

Throughout his career, Burrell has remained constant in his quest to get the most out of a natural, low-volume, acoustic sound. "My audience has developed so that they come to listen and are quiet," he explains. "Thus, I can work in a limited volume range and explore all the subtleties that can happen, which is my favorite part of the music... My inspiration comes from the message Duke Ellington gave: you are unique, be yourself, pull out that thing that is in you, then use your work ethic and produce great music."

Next, Sonny Rollins is scheduled to appear in concert with a quintet on Friday, March 14. If virtually anyone else were described as a "Saxophone Colossus," it would most likely be regarded as overstated media hype. In reference to Sonny Rollins, however, the phrase is a simple statement of fact -- Rollins is an intriguing, invigorating, inventive artist whom many have called the jazz world's greatest living improviser. And there is a plethora of evidence to support such a claim. Rollins' magisterial power has been documented in performances and/or recordings with the giants of jazz, among them Charlie Parker, Lester Young, Bud Powell, Dizzy Gillespie, Fats Navarro, Thelonious Monk, Miles Davis, Kenny Dorham, Clifford Brown, Art Blakey, Max Roach, Coleman Hawkins and John Coltrane.

Born in New York City in 1930, Rollins first studied piano and then turned to saxophone. By the time he was 19, his career had begun its rocket-like ascent. The early fifties found him working and recording as a leader, producing a superb series of recordings for Prestige Records, which has been reissued as a 7-CD set, The Complete Prestige Recordings. Then, at a time when he appeared to be at the peak of his abilities, Rollins took an unexpected sabbatical from performing, a move that even today remains controversial.

Rollins has explained that he left performing because he was dissatisfied with his playing. He lived on the lower East Side of Manhattan, kept to himself, and practiced on the Williamsburg Bridge to avoid disturbing neighbors. "I did what I wanted to do," he says. "It was a way of controlling my own destiny." He returned to performing in 1962 with The Bridge, a recording done with guitarist Jim Hall. After another great period of creativity, he once again left jazz in 1969, returning in 1972. Today, Sonny Rollins works about 50 engagements a year.

Never one to rest on past achievements, Rollins continues to look toward the future. He practices every day when at home in upstate New York "trying to keep my chops up," he says. The self-effacing Rollins describes himself very simply. "I've reached some pretty good heights, special times when the music plays itself and you're just there." He calls himself "a survivor of jazz's illustrious period," and as one of the last of that era, he always wants to portray it with honor. "I get a little leeway for being who I am," he explains. "But I still have to be good when people pay their money. It's an okay challenge. I'm still yearning to get to my peak, and I haven't reached that point yet." In always striving to reach the pinnacle of greatness, Rollins has set the standard. He truly is a monumental jazz legend.

Tickets to Folly Jazz events are available at the Folly box office (816) 474-4444 Monday through Friday, 10:00 a.m. to 5:30 p.m.

(Doug Tatum is the Executive Director of the Folly Theater.)

RETURN TO FEBRUARY/MARCH 1997 MAIN INDEX

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		by Doug Tatum In my position at the Folly Theater over the past four years, I have had the privilege and honor of bringing dozens of great jazz musicians to Kansas City to perform on the Folly Jazz Series. I cannot recall, however, another time when I felt such a sense of personal excitement regarding the next two artists who are scheduled to appear. First, the Kenny Burrell Quartet will perform at the Folly on Saturday, February 22. Kenny Burrell has been cited as the favorite guitarist of Duke Ellington, Billie Holiday, John Coltrane, and even B.B. King. Described as an "historic figure of American guitar," Kenny Burrell embodies the history of swing, bebop and contemporary jazz with his artistry. After more than 40 years in jazz, appearing on hundreds of albums as a leader and sideman, Burrell is among a handful of guitar greats who forever changed the role of their instrument. Born in Detroit in 1931, Kenny Burrell came up during a time that also produced fellow Detroit jazzmen Tommy Flanagan, Yusef Lateef, Pepper Adams, and the famous Jones brothers, Hank, Thad and Elvin. After arriving in New York in 1955, he quickly became the city's most in-demand jazz guitarist, recording with John Coltrane, Billie Holiday, Thad Jones, Kenny Dorham, Paul Chambers, Jimmy Smith, Gene Ammons, and many others. Throughout his career, Burrell has remained constant in his quest to get the most out of a natural, low-volume, acoustic sound. "My audience has developed so that they come to listen and are quiet," he explains. "Thus, I can work in a limited volume range and explore all the subtleties that can happen, which is my favorite part of the music... My inspiration comes from the message Duke Ellington gave: you are unique, be yourself, pull out that thing that is in you, then use your work ethic and produce great music." Next, Sonny Rollins is scheduled to appear in concert with a quintet on Friday, March 14. If virtually anyone else were described as a "Saxophone Colossus," it would most likely be regarded as overstated media hype. In reference to Sonny Rollins, however, the phrase is a simple statement of fact -- Rollins is an intriguing, invigorating, inventive artist whom many have called the jazz world's greatest living improviser. And there is a plethora of evidence to support such a claim. Rollins' magisterial power has been documented in performances and/or recordings with the giants of jazz, among them Charlie Parker, Lester Young, Bud Powell, Dizzy Gillespie, Fats Navarro, Thelonious Monk, Miles Davis, Kenny Dorham, Clifford Brown, Art Blakey, Max Roach, Coleman Hawkins and John Coltrane. Born in New York City in 1930, Rollins first studied piano and then turned to saxophone. By the time he was 19, his career had begun its rocket-like ascent. The early fifties found him working and recording as a leader, producing a superb series of recordings for Prestige Records, which has been reissued as a 7-CD set, The Complete Prestige Recordings. Then, at a time when he appeared to be at the peak of his abilities, Rollins took an unexpected sabbatical from performing, a move that even today remains controversial. Rollins has explained that he left performing because he was dissatisfied with his playing. He lived on the lower East Side of Manhattan, kept to himself, and practiced on the Williamsburg Bridge to avoid disturbing neighbors. "I did what I wanted to do," he says. "It was a way of controlling my own destiny." He returned to performing in 1962 with The Bridge, a recording done with guitarist Jim Hall. After another great period of creativity, he once again left jazz in 1969, returning in 1972. Today, Sonny Rollins works about 50 engagements a year. Never one to rest on past achievements, Rollins continues to look toward the future. He practices every day when at home in upstate New York "trying to keep my chops up," he says. The self-effacing Rollins describes himself very simply. "I've reached some pretty good heights, special times when the music plays itself and you're just there." He calls himself "a survivor of jazz's illustrious period," and as one of the last of that era, he always wants to portray it with honor. "I get a little leeway for being who I am," he explains. "But I still have to be good when people pay their money. It's an okay challenge. I'm still yearning to get to my peak, and I haven't reached that point yet." In always striving to reach the pinnacle of greatness, Rollins has set the standard. He truly is a monumental jazz legend. Tickets to Folly Jazz events are available at the Folly box office (816) 474-4444 Monday through Friday, 10:00 a.m. to 5:30 p.m. (Doug Tatum is the Executive Director of the Folly Theater.) RETURN TO FEBRUARY/MARCH 1997 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.