8/4/2023 0 Comments Kenny garrett songbook reviewThis album consumed me for a long time – I listened to it every day for years when I was younger, more than anything else, and I still listen to it now. It really impressed my dad and his friends that I liked Eric Dolphy. Even though it’s considered a difficult album and I was only 13, I loved it straight away. When I told my dad I’d started playing sax, he took me to his friend Calvin’s house and played me Out to Lunch! – he wanted to see how deep I was. MY TOP FIVE Out to Lunch!, Eric Dolphy (1964) The recording is just a snapshot – it continues to evolve long after you’ve set it down. Over five years we’ve filled this big super-thick book with 300-400 tracks.Ī song is a living thing. Whenever I have a new track, I bring it down to the Piano Bar in Hollywood, where the collective I’m part of test it out. For me, that means listening to other musicians play what I’ve written. You fool around for a while and grab something, but it’s not until you bring it into the light that you see what you have. Writing a song is like going into a dark room to look for unexpected treasure. A seed of a song will just hit me and I don’t know where it comes from or why. Ideas don’t come from me, they come through me. I have ideas for songs all over the place, written on Post-It notes and little scraps of paper and journals. Songs strike me in unexpected places.When I was younger I’d be walking down the street and suddenly panic because I had a cool idea and no way of getting it down – I’d have to sing it all the way home. It was the biggest challenge of my career. I put my whole life savings into making The Epic. It took me six months to decide what to use, a whole year to finish the tracks and another year to mix it. I ended up with 45 tracks just for my own album. Each person had their own project, and by the time we finished we had 190 tracks between us. It was a music sweatshop: we’d start at 10am and work till 1 or 2 in the morning. It was like getting the planets to align, but in the end we cancelled all our gigs and spent a month in the studio. In 2011 I got eight of us together in a studio to document the sound we’ve been developing our whole lives. I grew up with a bunch of great musicians. Add certain elements, it’ll be this take a few away, it’ll be that. There are no hardline distinctions between two styles. Things sometimes evolve.Genres don’t mean much to me. That I recommend to all jazz fans, but especially to those who love the Songbook is remarkably tight and rewarding set Ubiquitous Jeff "Tain" Watts on drums, Garrett shows off hisĬomposing and blowing talents without ever sounding as though he is Fronting a tight quartetįeaturing Kenny Kirkland on piano, Nat Reeves on bass, and the he has his own voice and his own vision. Wonderfully enough, however, Garrett never sounds like a Trane imitator Of Trane, and his focus, drive, and intensity also bring Trane to mind. Garrett's tone on alto reminds one of the slightly dry tone This column a few issue back, featured, yes, the music of John Coltrane,Īnd now Garrett's new recording, Songbook, finds Garrett writingĪll of the songs himself, but following along in the giant footsteps of The Music of John Coltrane, which was favorably reviewed in APA style: Kenny Garrett: Songbook (Warner Bros.MLA style: "Kenny Garrett: Songbook (Warner Bros.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |