Anyone with even a passing interest in or knowledge of jazz has no doubt heard the name Kenny Barron. He is an acclaimed master of the piano and has been since the early 1960s. He has worked with the best in the field and, at 82, he could easily choose to rest on his well-deserved laurels. Instead, he has for the first time decided to release a full vocal album filled with new and reimagined originals, enhanced by the words of lyricist Janice Jarrett (who first collaborated with the composer on 2007’s The Traveler) and performed by an astonishing array of guest vocalists (with some Bistro Award recipients among them). He called upon his regular side men, Kiyoshi Kitagawa (on bass) and Johnathan Blake (on drums) to provide the music. All the ingredients were in place for a masterful creation, and that is just what he achieves with the new Artwork Records release, Songbook. It follows his 14th Grammy nomination for 2024’s Beyond This Place and 2023’s The Source, his first solo piano recording in over four decades, both from Artwork. His artistic passion and enthusiasm show no sign of slowing down.
“Beyond This Place” has the feel, the delicate strength, and the musical heft of a prayer as Jean Baylor intones, “Lessons unlearned return to show how simple truth is when you know love can lead the way guiding us beyond this place,” turning the song into a sweet and hopeful embrace to open the album. The singer then floats her lovely vocal over the rhythmic invention of Barron’s Latin-tinged virtuosity on “Until Then.” Ann Hampton Callaway conjures a waterside paradise in “Cook’s Bay” with sensuous passion, making her love of the locale tangible. Her drifting, wordless ending creates winds rustling through trees and waves caressing the shore. The island feel grows more insistent in “Thoughts and Dreams” delivered with Cécile McLorin Salvant’s distinctive, almost impossibly young sound and bursting into a slyly jubilant celebration, with a surprisingly infectious playoff by the trio. Her voice morphing to a smoky, more mature sound enhances “Sunshower” as that voice manages to pull off a blend of both Betty Carter and Eartha Kitt, lifted by Barron’s sizzling piano.
“Illusion” contains some of Jarrett’s most beautiful poetry, and the piano, bass, and especially the cello-like low notes of newcomer Ekep Nkwelle (recalling Sarah Vaughan at her most luxurious) make it a highpoint of the project. The singer returns later for an unexpected but fascinating tribute to actress “Sônia Braga” capturing her art with lines like “How do her eyes say so much without words, her eyes so warm, so bright. Her eyes a welcome light among all the well-hidden hearts….”
The great Catherine Russell provides not only her customarily irresistible, bluesy vocal but also the lyrics for the insistent “Minor Blues Redux.” My one minor quibble with the recording is that I wish Ms. Russell had provided a few more lyrics to the project as a more colloquial alternative to the admittedly personal poetry provided by Jarrett. Kurt Elling’s laid back yet soulful philosophy of life “In the Slow Lane” is perfection, especially with the clock-ticking underscoring by each of the trio, capped by some world-weary whistling by the singer. “Calypso” provides a joyous escape especially when delivered with infectious abandon by Tyreek McDole. He changes gears to paint a portrait of the mystery, the menace, and mystical madness of the Voodoo Queen of New Orleans, “Marie Laveau,” with evocative, pulsing piano by Barron. Another new voice, Kavita Shah, makes a gentle, comforting appearance on “Lullaby.”
The album closes with the return of Cécile McLorin Salvant and some extraordinary piano by Barron proving that he is as brilliant as he has ever been. “Song for Abdullah” has exquisite singing, playing, and writing in a stirring, low-key anthem that is thrilling. It is the perfect climax to this sterling tribute to the artistry of Kenny Barron. Here is a Songbook to return to again and again to discover more of its pleasures and more of its secrets. Barron is an artist for the ages, and the album is a new masterpiece in his repertoire.
Gerry Geddes, critic for BistroAwards.com, is an award-winning director, writer, teacher, performer, lyricist, and a contributor to the podcast Troubadours and Raconteurs. He conceived and directed the acclaimed musical revues Monday in the Dark with George (Bistro and MAC Award winner), Put on Your Saturday Suit—Words & Music by Jimmy Webb, and Gerry Geddes & Company (in its five-year residency at Pangea). He has directed singers André De Shields, Darius de Haas, Helen Baldassare, and Lisa Viggiano. He has been active in the cabaret world for over five decades and has produced numerous CDs; his lyrics have been performed and recorded here and in Europe. Gerry’s workshop, The Art of Vocal Performance, is regularly offered to singers of all levels. His memoir of life in NYC, Didn’t I Ever Tell You This?, was recently published and is available at barnesandnoble.com. He is currently at work on his first novel.
