Kenny Barron -

Kenny Barron (born June 9, 1943) is an American jazz pianist from Philadelphia who emerged as a Sixties sideman for Yusef Lateef and Dizzy Gillespie. In 1967, he teamed with trumpeter Jimmy Owens on the Atlantic release You Had Better Listen. After gigs behind Bobby Hutcherson, Freddie Hubbard, and Idris Muhammad, Barron cut the 1973–75 Muse bandleader albums Sunset to Dawn, Peruvian Blue, and Lucifer.

Background

Kenneth “Kenny” Barron was born on June 9, 1943, in Philadelphia, Pennsylvania. His mother encouraged Barron and his siblings to play piano as children. Kenny’s older brother, Bill Barron became a tenor saxophonist, paving an early family route into working jazz circles.

Barron began piano at age six and studied classical pieces under Vera Bryant, the sister of jazz pianist Ray Bryant. After his 1960 high-school graduation, Barron entered Philadelphia Musical Academy as a music-education student. He left the academy after roughly three months.

Philadelphia Activity and Yusef Lateef

By the late Fifties, Barron played piano in Mel Melvin’s R&B orchestra in Philadelphia. Bill Barron held the tenor saxophone chair in the same band. At age sixteen, Kenny Barron worked with drummer Philly Joe Jones and saxophonist Jimmy Heath in Philadelphia.

Heath passed Barron’s number to Yusef Lateef, who needed a pianist for a Philadelphia matinee. Barron joined Lateef for that engagement, then traveled with him for a week at the Minor Key in Detroit. Soon afterward, Barron wrote and arranged material for the 1960 Lateef album The Centaur and the Phoenix. Riverside credited Barron as composer-arranger on “Revelation” and arranger on “Ev’ry Day (I Fall in Love)” on the album.

New York, James Moody, and Early Sessions

In 1961, Barron moved to New York City and settled near Bill Barron on East Sixth Street. James Moody heard Barron in Manhattan, then invited him to sit in at the Five Spot. Barron worked with Moody in Manhattan and Brooklyn clubs. During February and June 1961, Barron cut early New York sessions with Bill Barron. In 1962, he appeared on a Vanguard date by trumpeter Dave Burns. Barron and Moody then cut Another Bag at Ter-Mar Recording Studio in Chicago. He also played early-sixties sessions with Perry Robinson and Booker Ervin.

Dizzy Gillespie and Mid-Sixties Work

Moody recommended Barron to Dizzy Gillespie during a European job in Berlin. Barron joined Gillespie there and remained in the band through the mid-sixties. During his Gillespie tenure, Barron appeared on Philips and Limelight albums that included Something Old, Something New; Dizzy Goes Hollywood; The Cool World; Jambo Caribe; and The Melody Lingers On. Jambo features the Barron “Trinidad, Hello” and “Trinidad, Goodbye.” Moody also summoned Barron for the 1963 Argo release Comin’ On Strong and the 1966 Milestone title James Moody and The Brass Figures.

Late-Sixties Sideman Credits

In 1967, Barron co-led You Had Better Listen with trumpeter Jimmy Owens for Atlantic. He also played late-sixties sessions with Curtis Amy, Stanley Turrentine, Tyrone Washington, Joe Henderson, Booker Ervin, and Eric Kloss. Hubbard used Barron on High Blues Pressure at Atlantic sessions in New York. In May 1968, Ervin cut the Barron tune “Gichi” at Van Gelder Studio.

In 1969, Barron rejoined Moody for The Blues and Other Colors. He worked with Bobby Hutcherson on Now! at A&R Studios in New York. Freddie Hubbard covered the Barron track “South Street Stroll” on A Soul Experiment. Barron played on the subsequent Hubbard release, The Black Angel, titled after a Barron composition. In March 1970, Barron played piano and e-piano with Jimmy Owens on the trumpeter’s solo debut No Escaping It. During July and August 1970, he joined Hubbard again for the sessions later issued as Sing Me a Song of Songmy.

Yusef Lateef Return and 1972 Credits

In 1971, Barron rejoined Lateef for the 1971–73 Atlantic albums The Gentle Giant and Part of The Search. During the September 1971 sessions, Lateef recorded the Barron compositions “African Song,” “Nicole And Nile,” “Jungle Plum,” and “Nubian Lady.” That same month, Barron played electric piano with Idris Muhammad on Peace and Rhythm. He also toured Europe with Lateef’s quartet and appeared with Lateef on Boston broadcast material.

During 1972, Barron played on albums by Buddy Terry (Pure Dynamite), Jimmy Heath (The Gap Sealer), Pete Yellin (Dance of Allegra), and his brother Bill Barron, whose Savoy release Motivation includes the Kenny composition “Cosmos.” Lateef’s band performed the Barron numbers “Inside Atlantis” and “A Flower” on European broadcasts. At the end of 1972, Barron joined Lateef at Atlantic sessions for material later issued on Hush ’n’ Thunder.

Sunset to Dawn

Kenny Barron released his debut solo album, Sunset to Dawn, in 1973 on Muse.

Sunset to Dawn presents Barron in a five-piece studio group with bassist Bob Cranshaw, drummer Freddie Waits, vibraphonist Warren Smith, and conga/percussion player Richard Landrum. Barron divides the program between acoustic piano and electric piano. Smith switches between vibes and percussion; Waits and Cranshaw add further percussion to “Swamp Demon.” Waits contributes “Al-Kifha,” and Barron wrote the remaining five titles.

“Sunset” glides on electric-piano shimmer, vibraphone color, and small shaken accents. “A Flower” pauses through rich left-hand chords and right-hand flurries. “Swamp Demon” coils around rattles, thick low-end figures, and call-like effects. “Al-Kifha” races through fast blues changes as Barron cuts sharp lines over cymbal spray. “Delores Street, S.F.” sways through open voicings, light hand accents, and waltz-time lift. “Dawn” rises from a darker electric tint to a quiet, rounded close.

A1. “Sunset” (9:08)
A2. “A Flower” (6:56)
A3. “Swamp Demon” (4:43)

B1. “Al-Kifha” (6:17) – Waits
B2. “Delores Street, S.F.” (6:43)
B3. “Dawn” (6:03)

Barron recorded Sunset to Dawn on April 2, 1973, at RCA Studios in New York City with producer Don Schlitten and engineer Paul Goodman. Joe Brescio mastered the Muse LP.

Muse reissued Sunset to Dawn on CD in 1990. In 1997, 32 Jazz paired the album with Golden Lotus on the two-disc set Soft Spoken Here.

Peruvian Blue

Kenny Barron released his second solo album, Peruvian Blue, in 1974 on Muse.

Peruvian Blue pairs Barron with guitarist Ted Dunbar across five titles and uses a variable rhythm/percussion group. Bassist David Williams and drummer Albert “Tootie” Heath join most of the ensemble pieces. Richard Landrum and Sonny Morgan add congas and percussion to “Peruvian Blue,” “Two Areas,” and “In the Meantime.” The album includes tunes by Thelonious Monk (“Blue Monk”) and Dolores Gray (“Here’s That Rainy Day”); Dunbar contributes “Two Areas.”

“Peruvian Blue” spreads electric-piano color, delicate six-string filigree, low-end current, and dense handwork. “Blue Monk” narrows to piano-and-guitar dialogue, with Barron and Dunbar trading phrases across the tune. “The Procession” threads upright line, brushwork, and patient quartet interplay.

“Two Areas” glows under Barron’s soft touch while Dunbar answers with restrained, sensitive lines. “Here’s That Rainy Day” lingers as a solo piano statement with broad phrasing. “In the Meantime” bursts through the electric quartet with dense accents and a harder bite.

A1. “Peruvian Blue” (9:50) – Barron
A2. “Blue Monk” (8:38) – Monk
A3. “The Procession” (4:48) – Barron

B1. “Two Areas” (9:44) – Dunbar
B2. “Here’s That Rainy Day” (8:03) – Jimmy Van Heusen, Johnny Burke
B3. “In the Meantime” (5:46) – Barron

Barron recorded Peruvian Blue on March 14, 1974, in New York City with producer Don Schlitten and engineer Paul Goodman.

In 1998, Peruvian Blue reappeared on 32 Jazz.

Lucifer

Kenny Barron released his third solo album, Lucifer, in 1975 on Muse.

Lucifer features Barron on acoustic piano, electric piano, Clavinet, string synthesizer, and cowbell. The ensemble joins trumpeter Charles Sullivan, reedists Bill Barron and James Spaulding, guitarist Carlos Alomar, bassist Chris White, and drummer Billy Hart.

“Spirits” ignites from clavinet figures into a foot-heavy pattern, jagged horn bursts, and a heated Alomar solo. “Firefly” glides into a breezy Brazilian sway while the solo chain stays active. “Ethereally Yours” hushes to acoustic piano and bass-flute dialogue. “Hellbound” heaves through synth-driven peaks and softer drops. “Lucifer” dives through layered electric figures and collides into the fade. “Oleo” skips out on bright solo piano.

A1. “Spirits” (9:00)
A2. “Firefly” (8:52)
A3. “Ethereally Yours” (5:53)

B1. “Hellbound” (13:00)
B2. “Lucifer” (5:36)
B3. “Oleo” (5:03) – Rollins

Barron recorded Lucifer on April 28, 1975, at Bell Sound in New York City with producer Michael Cuscuna and engineer Malcolm Addey. Alomar played just beforehand on Young Americans, his first of eleven albums behind David Bowie.

Innocence

Kenny Barron released Innocence in 1978 on Wolf Records.

Innocence features four Barron originals and one Jimmy Owens contribution, performed on piano, Fender Rhodes, and synthesizer with two quintets. The first three pieces feature alto saxophonist Sonny Fortune, bassist Buster Williams, drummer Ben Riley, and percussionist Rafael Cruz. Owens and electric bassist Gary King play on the closing pair with Billy Hart and drummer Brian Brake.

“Sunshower” opens on electric keys and an A-minor vamp, with a repeating Am7–Bm7b5 circuit and a brief F-major lift. “Innocence” folds Rhodes and acoustic piano into a minor-modal line with Latin-marked keyboard motion. “Bacchanal” quickens into uptempo Barron motion with Sonny Fortune in the front line. “Nothing to Fear” flips through occasional disco backbeat and stretches into an extended Rhodes solo.

A1. “Sunshower” (12:05)
A2. “Innocence” (10:07)

B1. “Bacchanal” (7:58)
B2. “Sunday Morning” (8:40)
B3. “Nothing to Fear” (7:21) – Owens, White

Barron recorded Innocence circa 1978 at Regent Sound Studios in New York City with producer Joel Dorn and engineer/remixer Vince McGarry.

Golden Lotus

Kenny Barron released Golden Lotus in 1982 on Muse.

Golden Lotus contains four Barron originals for quintet and a solo piano reading of “Darn That Dream.” Tenor and soprano saxophonist John Stubblefield joins vibraphonist Steve Nelson, bassist Buster Williams, and drummer Ben Riley on the ensemble titles. Stubblefield plays soprano saxophone on “Golden Lotus” and “Row House.” He uses tenor saxophone on “Dewdrop” and “Cincero.”

“Golden Lotus” advances a direct uptempo line through the acoustic quintet. “Darn That Dream” pares the setting to solo piano, with Barron working touch and nuance across the standard. “Row House” returns to the full-quintet front line, pairing Stubblefield’s soprano with Nelson’s vibraphone.

A1. “Golden Lotus” (5:57)
A2. “Dewdrop” (6:38)
A3. “Cincero” (8:57)

B1. “Darn That Dream” (9:16) – Van Heusen, DeLange
B2. “Row House” (10:42)

Barron recorded “Darn That Dream” on April 4, 1980, at Downtown Sound in New York City. The quartet session followed on April 18, 1980, at Sound Heights Studio in Brooklyn with producer Michael Cuscuna.

In 1997, 32 Jazz paired Golden Lotus with Sunset to Dawn on the two-disc set Soft Spoken Here.

Green Chimneys

Kenny Barron Trio released Green Chimneys in 1984 on Criss Cross Jazz.

Green Chimneys presents Barron with bassist Buster Williams and drummer Ben Riley in a six-title trio program. The original LP draws from two Thelonious Monk pieces, “Green Chimneys” and “Straight No Chaser.” “Time Was” closes the album with its Prado–Luna–Russell composer credit, despite later issue copies that miscredit the title to Harry Akst.

“Softly as in a Morning Sunrise” and “Straight, No Chaser” mark the trio’s swinging core. “There Is No Greater Love” extends that acoustic format into the album’s broadest original-LP performance.

A1. “Softly, as in a Morning Sunrise” (4:38) – Romberg, Hammerstein
A2. “Don’t Explain” (5:46) – Herzog, Holiday
A3. “There Is No Greater Love” (11:42) – Jones, Symes

B1. “Green Chimneys” (6:48) – Monk
B2. “Straight No Chaser” (6:10) – Monk
B3. “Time Was” (8:50) – Prado, Luna, Russell

The trio recorded Green Chimneys on July 9, 1983, at Studio 44 in Monster, Netherlands, with producer Gerry Teekens and engineer Max Bolleman. The 1988 Criss Cross CD adds “Skylark,” “When Lights Are Low,” “Morning Blues,” and a second take of “Time Was.” Three added titles came from a December 31, 1987, session at Van Gelder Studio in Englewood Cliffs, New Jersey.

Scratch

Kenny Barron released Scratch in 1985 on Enja.

The original Scratch LP contains five Barron originals and the Carmen Lundy title “Quiet Times.” Bassist Dave Holland and drummer Daniel Humair play throughout apart from the solo piano “Song for Abdullah.” Holland contributes “Jacob’s Ladder” to the expanded CD sequence.

“Scratch” jolts through sharp rhythmic accents and a repeated figure that stops short. “Water Lily” lilts in waltz motion, with the trio leaving space around Barron and Holland. “Song for Abdullah” darkens into solemn piano lyricism. “And Then Again” closes on loose blues motion and a wild Barron solo.

A1. “Scratch” (5:18)
A2. “Quiet Times” (5:30) – Lundy
A3. “Water Lily” (10:16)

B1. “Song for Abdullah” (5:30)
B2. “The Third Eye” (6:25)
B3. “And Then Again” (5:18)

Barron recorded Scratch on March 11, 1985, at ERAS Studio in New York City with producers Horst Weber and Matthias Winckelmann. Enja added Holland’s “Jacob’s Ladder” to the CD edition.

Discography: