Bluesy Burrell

This releases contains the complete classic album Desafinado (Impulse AS- 28), which marks Coleman Hawkins’ only incursion into the Bossa Nova genre while showcasing him as the only horn. As a bonus, Kenny Burrell’s entire LP Bluesy Burrell (Moodsville MVST29) featuring Coleman Hawkins, and recorded in between the two bossa nova sessions. Even though it was not recorded in the Bossa Nova style, it maintains the relaxed spirit of the first album. Both LPs feature the exceptional Tommy Flanagan (playing percussion on the first album), as well as Latin percussion - by Willie Rodríguez on Desafinado, and by the great Ray Barretto on Bluesy Burrell.

Kenny Burrell with Coleman Hawkins - Bluesy Burrell (1962) {2008 Prestige RVG Remasters Series}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 235 Mb | MP3 @320 -> 94 Mb
Full Artwork @ 300 dpi (png) -> 61 Mb | 5% repair rar
© 1962, 2008 Concord / Prestige / Moodsville | 0888072306585 | 24-bit remaster
Jazz / Bop / Hard Bop / Guitar / Saxophone

This session is valuable for the majestic playing of tenor great Coleman Hawkins, who performs on half of the eight tracks. While originally released on the Prestige subsidiary Moodsville – a label that specialized in recordings with an intimate, reflective atmosphere – the Moodsville sound doesn't sit comfortably on Hawkins. His playing is brilliantly relaxed, but it's not mood music. Leader Kenny Burrell's playing is much more in line with the Moodsville groove. The guitarist is not amplified as much as he is on his Prestige dates from this time. In fact, he performs on a nylon-string instrument almost as much as he does on his hollow-body electric.

Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions — 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3 and also released on Hybrid SACD All mastered from the original analog master tapes by mastering maestro Kevin Gray.

As Detroiters like Kenny Burrell, Pepper Adams, and Tommy Flanagan were migrating to New York in the mid-'50s in a modern jazz takeover, Pittsburgh drummer Kenny Clarke made known his intentions to support these new Young Lions by being their drummer of choice. This album is nearly the same as the equally excellent and highly recommended effort Kenny Clarke Meets the Detroit Jazzmen, save one extra selection. Burrell is the ostensible leader on this six-track set, but the members of this finely honed quintet (including dual Detroit/Pittsburgh claimant citizen bassist Paul Chambers) can all take equal roles, and eventually would as frontmen in their own right…