KENNY BARRON
After hiring Barron - then still a teenager - to be in his band in 1962, Moody recommended him to replace Lalo Schifrin in Dizzy Gillespie's group, where Barron became a key player for several years. His resume soon expanded to include collaborations with such heavyweights as Freddie Hubbard, Buddy Rich, Milt Jackson, Stan Getz and more.
"I've worked with Kenny a lot and I've never heard him make a mistake," Moody said. "He's fantastic! And all of his solos sound like portraits."
The pianist, who is as notable for his self-effacing demeanor as for his sublime artistic skills, sounded both flattered and a bit embarrassed when apprised of Moody's accolades.
"That's a high compliment, so I'd be silly not to agree," Barron said. "I don't know if I could live up to that, but one of the things I try and reach for is to try and paint pictures when I'm playing, if possible. I try to be lyrical; I want to be as lyrical as possible.
"Most of the people who influenced me - like Tommy Flanagan and Hank Jones - played that way. They really created pictures when they played. I still strive for that."
Of late, Barron has been striving to paint his musical portraits at solo concerts, as well as with his band. The prospect of performing sans accompanists is one that both excites him and gives him cause for pause.
"It's a little scary because you have nobody (else) to lean on, although the scare only lasts for a tune or two," Barron said from his New York home.
"The other variable, which affects pianists more than anyone else, is that you never know the condition of the instrument you'll be playing. A bass player or saxophonist travels with their instrument. I get to play the piano du jour, and you don't always have time to acquaint yourself with that instrument. It might be a great piano, but it's not your piano."
Lyricism and clarity are hallmarks of Barron's playing. So is his supple touch, refined harmonic sense and ability to sound fully in control even as he constantly pushes himself to explore new terrain within the jazz tradition.
He has more than 40 albums as a leader to his credit, and many more with other artists. His voluminous discography includes recordings with everyone from Benny Carter and George Benson to Ella Fitzgerald, Elvin Jones and bass great Charlie Haden.
Barron is also notable as a jazz educator and as a skilled bandleader who is constantly nurturing young talents. The quintet he led from 2004 to 2006, to cite a recent example, featured vibraphonist Stefon Harris, Japanese bassist Kiyoshi Kitagawa, flutist Ann Drummond and drum dynamo Kim Thompson, who is now in Beyonce's new, all-female band.
"I like the energy of younger players," said Barron, 63. "Sometimes when you play with people your own age, you play safe and do what's comfortable, rather than challenging yourself. Playing with younger people allows you to challenge yourself."
He laughed.
"If I knew what I know now when I was starting out, I would still play music, without question. But I would probably practice a lot more so that I'd be a lot better."
SIDEBAR
Barron's harmonic convergences
By George Varga
Copley News Service
Selecting highlights from pianist Kenny Barron's extensive discography is no easy matter, especially since he's made 40-plus solo albums and has performed on hundreds more with other artists. Here are five standout releases that spotlight his impeccable musicianship:
- "Scratch" (Enja Records, 1985): Together with bassist Dave Holland and drummer Daniel Humair, Barron offers a splendid example of how to create forward-looking music and remain steeped in tradition.
- "Sambao" (Verve, 1993): This isn't Barron's only Brazilian-flavored album, but - along with his 2002 release, "Canta Brasil" - it's a gem. Performing with a multinational quartet that includes ace guitarist Toninho Horta, the supple pianist dances on his instrument throughout. His harmonic ingenuity and seamless rhythmic command are matched by his exquisite taste.
- "Wanton Spirit" (Gitanes, 1995): This all-star trio album teams Barron with bassist Charlie Haden and drum legend Roy Haynes. Together, they deftly salute and reinvigorate jazz gems new (Victor Lewis' "Loss of a Moment," Tom Harrell's "Sail Away") and old (Dizzy Gillespie's "BeBop," Billy Strayhorn's "Passion Flower").
- "Spirit Song" (Polygram, 2000): A showcase for Barron's finely crafted compositions, this 10-song set finds him stretching beyond usual bop chord changes with arresting results. The album also features such fine instrumentalists as violinist Regina Carter, saxophonist David Sanchez and guitarist Russell Malone.
- "Live at Bradley's" (Sunnyside, 2002): This live trio outing features bassist Ray Drummond and drummer Ben Riley, the latter of whom Barron played with in the 1980s in the Thelonious Monk tribute band Sphere. Their near-telepathic interplay is a delight, especially during an extended workout on - ahem! - "Canadian Sunset," which lifts this hoary elevator-music staple to unexpected musical heights.
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