Record: Mint (M) Still Sealed! Cover: Excellent (EX) NO cut-out marks, NO splits, NO stickers, NO writing  Labels: Clean! Kenny Burrell Kenny Burrell / John Coltrane 1976 United States Prestige P-24059 12" Stereo Double LP SB-59613
Kenny Burrell

Kenny Burrell / John Coltrane
 1976 United States Prestige 12" Double LP

Clean stock copy Still Sealed

Condition
Vinyl: Mint (M) Still Sealed!
Sleeve: Excellent (EX) shrink is torn at upper left with minor edge wear NO cut-out marks, NO splits, NO stickers, NO writing

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Tracks:
Kenny Burrell / John Coltrane ‎– Kenny Burrell / John Coltrane Label: Prestige ‎– P-24059 Format: 2 × Vinyl, LP, Compilation, Remastered Country: US Released: 1976 Genre: Jazz Style: Post Bop, Hard Bop Tracklist Hide Credits A1 Why Was I Born Composed By – Kern-Hammerstein* 3:11 A2 Big Paul Composed By – Tommy Flanagan 14:03 B1 Freight Trane Composed By – Tommy Flanagan 7:18 B2 I Never Knew Composed By – Kahn*, Fiorito* 7:03 B3 Lyresto Composed By – Kenny Burrell 5:41 C1 Minor Mishap Composed By – Tommy Flanagan 7:23 C2 How Long Has This Been Going On Composed By – George Gershwin 5:54 C3 Eclypso Composed By – Tommy Flanagan 7:55 D1 Solacium Composed By – Tommy Flanagan 9:07 D2 Tommy`s Time Composed By – Tommy Flanagan 11:57

KENNY BURRELL JOHN COLTRANE LP Mint SEALED 1976 Prestige P-24059 John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. Over the course of his career, Coltrane's music took on an increasingly spiritual dimension. He remains one of the most influential saxophonists in music history. He received numerous posthumous awards, including canonization by the African Orthodox Church and a Pulitzer Prize in 2007.[2] His second wife was pianist and harpist Alice Coltrane. The couple had three children: John Jr. (1964–1982), a bassist; Ravi (born 1965), a saxophonist; and Oran (born 1967), also a saxophonist.[3][4][5] Contents Biography 1926–1954: Early life and career Coltrane's first recordings were made when he was a sailor. Coltrane was born in his parents' apartment at 200 Hamlet Avenue in Hamlet, North Carolina, on September 23, 1926.[6] His father was John R. Coltrane[7] and his mother was Alice Blair.[8] He grew up in High Point, North Carolina and attended William Penn High School. Beginning in December 1938, his father, aunt, and grandparents died within a few months of each other, leaving him to be raised by his mother and a close cousin.[9] In June 1943, he moved to Philadelphia. In September, his mother bought him his first saxophone, an alto.[8] He played clarinet and alto horn in a community band before beginning alto saxophone in high school. From early to mid-1945 he had his first professional work: a "cocktail lounge trio" with piano and guitar.[10] To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6, 1945, the day the first U.S. atomic bomb was dropped on Japan.[11] He was trained as an apprentice seaman at Sampson Naval Training Station in upstate New York before he was shipped to Pearl Harbor,[11] where he was stationed at Manana Barracks,[12] the largest posting of African-American servicemen in the world.[13] By the time he got to Hawaii in late 1945, the Navy was downsizing. Coltrane's musical talent was recognized, and he became one of the few Navy men to serve as a musician without having been granted musician's rating when he joined the Melody Masters, the base swing band.[11] As the Melody Masters was an all-white band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band.[14] He continued to perform other duties when not playing with the band, including kitchen and security details. By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946.[15] He played alto saxophone on a selection of jazz standards and bebop tunes.[16] After being discharged from the Navy as a seaman first class in August 1946, Coltrane returned to Philadelphia, where he "plunged into the heady excitement of the new music and the blossoming bebop scene."[17] After touring with King Kolax, he joined a band led by Jimmy Heath, who was introduced to Coltrane's playing by his former Navy buddy, trumpeter William Massey, who had played with Coltrane in the Melody Masters.[18] He studied jazz theory with guitarist and composer Dennis Sandole and continued under Sandole's tutelage through the early 1950s. Although he started on alto saxophone, he began playing tenor saxophone in 1947 with Eddie Vinson.[19] Coltrane called this a time when "a wider area of listening opened up for me. There were many things that people like Hawk [Coleman Hawkins], and Ben [Webster] and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally."[20] A significant influence, according to tenor saxophonist Odean Pope, was the Philadelphia pianist, composer, and theorist Hasaan Ibn Ali. "Hasaan was the clue to...the system that Trane uses. Hasaan was the great influence on Trane's melodic concept." [21] Coltrane became fanatical about practicing and developing his craft, practicing "25 hours a day" according to Jimmy Heath. Heath recalls an incident in a hotel in San Francisco when after a complaint was issued, Coltrane took the horn out of his mouth and practiced fingering for a full hour.[22] Such was his dedication it was common for him to fall asleep with the horn still in his mouth or practice a single note for hours on end.[23] An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat magazine article in 1960 he recalled, "the first time I heard Bird play, it hit me right between the eyes." Parker became an idol, and they played together occasionally in the late 1940s. He was a member of groups led by Dizzy Gillespie, Earl Bostic, and Johnny Hodges in the early to mid-1950s. 1955–1957: Miles and Monk period In 1955, Coltrane was freelancing in Philadelphia while studying with guitarist Dennis Sandole when he received a call from trumpeter Miles Davis. Davis had been successful in the 40s, but his reputation and work had been damaged in part by heroin addiction; he was again active and about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet"—along with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums) from October 1955 to April 1957 (with a few absences). During this period Davis released several influential recordings that revealed the first signs of Coltrane's growing ability. This quintet, represented by two marathon recording sessions for Prestige in 1956, resulted in the albums Cookin', Relaxin', Workin', and Steamin'. The "First Great Quintet" disbanded due in part to Coltrane's heroin addiction.[24] During the later part of 1957 Coltrane worked with Thelonious Monk at New York's Five Spot Café, and played in Monk's quartet (July–December 1957), but, owing to contractual conflicts, took part in only one official studio recording session with this group. Coltrane recorded many albums for Prestige under his own name at this time, but Monk refused to record for his old label.[25] A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records as Live at the Five Spot—Discovery! in 1993. A high quality tape of a concert given by this quartet in November 1957 was also found later, and was released by Blue Note in 2005. Recorded by Voice of America, the performances confirm the group's reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall, is widely acclaimed. Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and the title track, "Moment's Notice", and "Lazy Bird", have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes. 1958: Davis and Coltrane Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of sound"[26] to describe the style Coltrane developed with Monk and was perfecting in Davis's group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. Coltrane recalled: "I found that there were a certain number of chord progressions to play in a given time, and sometimes what I played didn't work out in eighth notes, sixteenth notes, or triplets. I had to put the notes in uneven groups like fives and sevens in order to get them all in."[27] Coltrane stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions Milestones and Kind of Blue, and the concert recordings Miles & Monk at Newport (1963) and Jazz at the Plaza (1958). 1959–1961: Period with Atlantic Records At the end of this period Coltrane recorded Giant Steps (1959), his first album as leader for Atlantic which contained only his compositions.[28] The album's title track is generally considered to have one of the most difficult chord progressions of any widely played jazz composition.[29] Its altered chord progression cycles came to be known as Coltrane changes.[30] His development of these cycles led to further experimentation with improvised melody and harmony that he continued throughout his career.[31] 'Giant Steps' Menu 0:00 One of Coltrane's most acclaimed recordings, "Giant Steps" features harmonic structures more complex than were used by most jazz musicians of the time. Problems playing this file? See media help. Coltrane formed his first quartet for live performances in 1960 for an appearance at the Jazz Gallery in New York City.[32] After moving through different personnel, including Steve Kuhn, Pete La Roca, and Billy Higgins, he kept pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones.[33][34] Tyner, a native of Philadelphia, had been a friend of Coltrane for some years, and the two men had an understanding that Tyner would join the band when he felt ready.[35][36] My Favorite Things (1961) was the first album recorded by this band.[37] It was Coltrane's first album on soprano saxophone,[38] which he began practicing while with Miles Davis.[39] It was considered an unconventional move because the instrument was not as popular in jazz as other types of saxophone.[40] 1961–1962: First years with Impulse Records Coltrane in Amsterdam, 1961) In May 1961, Coltrane's contract with Atlantic was bought by Impulse!.[41] The move to Impulse! meant that Coltrane resumed his recording relationship with engineer Rudy Van Gelder, who had recorded his and Davis's sessions for Prestige. He recorded most of his albums for Impulse! at Van Gelder's studio in Englewood Cliffs, New Jersey. By early 1961, bassist Davis had been replaced by Reggie Workman, while Eric Dolphy joined the group as a second horn. The quintet had a celebrated and extensively recorded residency at the Village Vanguard, which demonstrated Coltrane's new direction. It included the most experimental music he had played, influenced by Indian ragas, modal jazz, and free jazz. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore performance, Coltrane is reported to have said, "He's got it! Gilmore's got the concept!"[42] The most celebrated of the Vanguard tunes, the 15-minute blues "Chasin' the 'Trane", was strongly inspired by Gilmore's music.[43] Starting in 1961, Coltrane also began pairing Workman with a second bassist, usually Art Davis or Donald Garrett. Garrett recalled playing a tape for Coltrane where "...I was playing with another bass player. We were doing some things rhythmically, and Coltrane became excited about the sound. We got the same kind of sound you get from the East Indian water drum. One bass remains in the lower register and is the stabilizing, pulsating thing, while the other bass is free to improvise, like the right hand would be on the drum. So Coltrane liked the idea."[44] Coltrane also recalled: "I thought another bass would add that certain rhythmic sound. We were playing a lot of stuff with a sort of suspended rhythm, with one bass playing a series of notes around one point, and it seemed that another bass could fill in the spaces..."[45] According to Eric Dolphy, one night "Wilbur Ware came in and up on the stand so they had three basses going. John and I got off the stand and listened..."[45] Coltrane employed two basses on the 1961 albums Olé Coltrane and Africa/Brass, and later on The John Coltrane Quartet Plays and Ascension. During this period, critics were divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was booed during his final tour with Davis. In 1961, Down Beat magazine called Coltrane and Dolphy players of "anti-jazz" in an article that bewildered and upset the musicians.[43] Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing", also known as free jazz, a movement led by Ornette Coleman which was denigrated by some jazz musicians (including Davis) and critics. But as Coltrane's style developed, he was determined to make every performance "a whole expression of one's being".[46] 1962–1965: Classic Quartet period 'In a Sentimental Mood' Menu 0:00 The romantic ballad features Coltrane with pianist Duke Ellington. Problems playing this file? See media help. In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk About You". The criticism of the quintet with Dolphy may have affected Coltrane. In contrast to the radicalism of his 1961 recordings at the Village Vanguard, his studio albums in the following two years (with the exception of Coltrane, 1962, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative. He recorded an album of ballads and participated in album collaborations with Duke Ellington and singer Johnny Hartman, a baritone who specialized in ballads. The album Ballads (recorded 1961–62) is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember". Despite a more polished approach in the studio, in concert the quartet continued to balance "standards" and its own more exploratory and challenging music, as can be heard on the Impressions (recorded 1961–63), Live at Birdland and Newport '63 (both recorded 1963). Impressions consists of two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues. Coltrane later said he enjoyed having a "balanced catalogue."[47] On March 6, 1963, the group entered Van Gelder Studio in New Jersey and recorded a session that was lost for decades after its master tape was destroyed by Impulse Records to cut down on storage space. On June 29, 2018, Impulse! released Both Directions at Once: The Lost Album, made up of seven tracks made from a spare copy Coltrane had given to his wife.[48][49] On March 7, 1963, they were joined in the studio by Hartman for the recording of six tracks for the John Coltrane and Johnny Hartman album, released that July. Impulse! followed the successful "lost album" release with 2019's Blue World, made up of a 1964 soundtrack to the film The Cat in the Bag, recorded in June 1964. The Classic Quartet produced their best-selling album, A Love Supreme, in December 1964. A culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns characterized much of Coltrane's composing and playing from this point onwards—as can be seen from album titles such as Ascension, Om and Meditations. The fourth movement of A Love Supreme, "Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. The album was composed at Coltrane's home in Dix Hills on Long Island. The quartet played A Love Supreme live only once—in July 1965 at a concert in Antibes, France. [50] A recording of this concert was released by Impulse! in 2002 on the remastered Deluxe Edition of A Love Supreme,[51] and again in 2015 on the "Super Deluxe Edition" of The Complete Masters.[52]   Jazz 1960s,Hard Bop,Post-Bebop Gatefold Cover,Still Sealed 33 RPM  Kenny Burrell Real Name: Kenneth Earl Burrell Profile: American jazz guitarist, born July 31, 1931 in Detroit, Michigan, USA. Sites: MySpace, Wikipedia Aliases: K.B. Groovington In Groups: Aaron Bell And His Orchestra, Andy Gibson And His Orchestra, Billie Holiday And Her Orchestra, Bu Bu Turner Group, Gene Harris And The Phillip Morris Super Band, Gil Evans And His Orchestra, Illinois Jacquet And His Orchestra, Jay McShann And His Orchestra, Jerome Richardson Sextet, Jim Timmens And His Jazz All-Stars, Jim Tyler Orchestra, Jimmy Heath Quintet, Kenny Burrell All-Stars, Kenny Burrell And The Jazz Guitar Band, Kenny Burrell Orchestra, Kenny Burrell Septet, Lionel Hampton And His Orchestra, Oliver Nelson And His Orchestra, Paul Chambers Quartet, Paul Chambers Sextet, Project G-7, Quincy Jones And His Orchestra, Roberto Miranda Ensemble, Terry Gibbs Quartet, The Billy Mitchell Quintet, The Buck Clayton Septet, The Detroit Jazzmen, The Ernie Wilkins Orchestra, The Herbie Mann Sextet, The Kenny Burrell Octet, The Kenny Burrell Quartet, The Kenny Burrell Quintet, The Kenny Burrell Trio, The Newport All Stars, The Phoenix Authority, The Prestige All Stars, The Quincy Jones Big Band, The Secret 7, Tony Scott And His Orchestra, Tony Scott Quintet Variations: Viewing All | Kenny Burrell Burell, Burrell, K Burrell, K. Burell, K. Burrel, K. Burrell, K.Burrell, Kanny Burrell, Ken Burrell, Kenneth Burell, Kenneth Burrell, Kenneth Earl "Kenny" Burrell, Kenneth Earl Burrell, Kenneth Earl Kenny Burrell, Kenny Burell, Kenny Burrel, Kenny Burrel!, Kenny Burrell And Some Very Special Friends, ケニー・バレル Kenneth Earl Burrell (born July 31, 1931) is an American jazz guitarist known for his work on the Blue Note label. His collaborations with Jimmy Smith produced the 1965 Billboard Top Twenty hit album Organ Grinder Swing.[1] He has cited jazz guitarists Charlie Christian and Django Reinhardt as influences, along with blues guitarists T-Bone Walker and Muddy Waters.[2][3][4] Furthermore, Jimi Hendrix, Stevie Ray Vaughan and Peter Frampton have cited Burrell as an influence.[5] Burrell is a professor and Director of Jazz Studies at the UCLA Herb Alpert School of Music.[6] Contents Early life Burrell was born in Detroit, Michigan. Both his parents played instruments,[7] and he began playing guitar at the age of 12 after listening to Charlie Christian's recordings. During World War II, due to metal shortage, he abandoned the idea of becoming a saxophonist, and bought an acoustic guitar for $10. He was inspired to play jazz after listening to Oscar Moore, but it was Django Reinhardt who showed him "that you could get your own individuality on an instrument."[8] He went on to study composition and theory with Louis Cabara and classical guitar with Joe Fava. While a student at Wayne State University, he made his recording debut as a member of Dizzy Gillespie's sextet in 1951,[9] followed by the "Rose of Tangier"/"Ground Round" single recorded under his own name at Fortune Records in Detroit. While in college, Burrell founded the New World Music Society collective with fellow Detroit musicians Pepper Adams, Donald Byrd, Elvin Jones, and Yusef Lateef.[2][3][4][6] Career Burrell toured with Oscar Peterson after graduating in 1955[7] and then moved to New York City in 1956 with pianist Tommy Flanagan. Within months, Burrell had recorded his first album as leader for Blue Note and both he and Flanagan were sought-after as sidemen and studio musicians, performing with singers Tony Bennett and Lena Horne and recording with Billie Holiday, Jimmy Smith, Gene Ammons, and Kenny Dorham, among others. From 1957 to 1959, Burrell occupied the former chair of Charlie Christian in Benny Goodman's band. Since his New York debut Burrell has had a prolific recording career, and critics have cited The Cats with John Coltrane in 1957, Midnight Blue with Stanley Turrentine in 1963, and Guitar Forms with arranger Gil Evans in 1965 as particular highlights.[2][3][4] In 1978, he began teaching a course at UCLA called "Ellingtonia," examining the life and accomplishments of Duke Ellington. Although the two never collaborated directly, Ellington called Burrell his "favorite guitar player,"[10] and Burrell has recorded a number of tributes to and interpretations of Ellington's works. Since 1996, Burrell has served as Director of Jazz Studies at UCLA, mentoring such notable alumni as Gretchen Parlato and Kamasi Washington.[4][6][11][10] Awards and honors Burrell wrote, arranged, and performed on the 1998 Grammy Award-winning album Dear Ella by Dee Dee Bridgewater, received the 2004 Jazz Educator of the Year Award from Down Beat, and was named a 2005 NEA Jazz Master.[4] Burrell was a GRAMMY Salute To Jazz Honoree in 2010. The Grammy website states, between "...1956 and 2006, Mr. Burrell has excelled as a leader, co-leader and sideman releasing recordings with stellar musicians in the world of jazz." [12] Personal In 2019, concerns arose about Burrell's well-being and living circumstances as he became increasingly socially and physically isolated in his home and major frictions developed between his wife, Katherine Goodrich, 37 years his junior, and others living in their Westwood, California, apartment building. A GoFundMe account was set up to pay medical bills and other putative expenses, which became controversial because he was covered by medical insurance through employment at UCLA and through Medicare.[13] Subsequently, a letter from Burrell was published, providing a detailed explanation of the situation and justification for the GoFundMe campaign.[14] Discography As leader Introducing Kenny Burrell (Blue Note, 1956) Kenny Burrell (Blue Note, 1956) Kenny Burrell (Prestige, 1957) All Day Long (Prestige, 1957) All Night Long (Prestige, 1957) 2 Guitars with Jimmy Raney (Prestige, 1957) Blue Lights Vol. 1 (Blue Note, 1958) On View at the Five Spot Cafe with Art Blakey (Blue Note, 1960) A Night at the Vanguard (Argo, 1960) Weaver of Dreams (Columbia, 1961) Blue Lights Vol. 2 (Blue Note, 1961) Kenny Burrell & John Coltrane (New Jazz, 1962) Blue Bash! with Jimmy Smith (Verve, 1963) Bluesy Burrell (Moodsville, 1963) Lotsa Bossa Nova! (Kapp, 1963) Midnight Blue (Blue Note, 1963) Crash! (Prestige, 1964) Soul Call (Prestige, 1964) Guitar Soul with Bill Jennings & Tiny Grimes (Status, 1965) Guitar Forms (Verve, 1965) The Tender Gender (Cadet, 1966) Have Yourself a Soulful Little Christmas (Cadet, 1966) Man at Work (Cadet, 1966) Ode to 52nd Street (Cadet, 1967) A Generation Ago Today (Verve, 1967) Blues – The Common Ground (Verve, 1968) Night Song (Verve, 1968) Asphalt Canyon Suite (Verve, 1969) Kenny Clarke Meets the Detroit Jazzmen (BYG, 1970) Guitar Genius in Japan with Attila Zoller, Jim Hall (Overseas, 1970) God Bless the Child (CTI, 1971) Cool Cookin (Cadet, 1972) 'Round Midnight (Fantasy, 1972) Both Feet on the Ground (Fantasy, 1973) Up the Street, 'Round the Corner, Down the Block (Fantasy, 1974) Ellington Is Forever (Fantasy, 1975) Sky Street (Fantasy, 1976) Ellington Is Forever Vol. Two (Fantasy, 1977) Ellington Is Forever Volume Two (Fantasy, 1977) Tin Tin Deo (Concord Jazz, 1977) Monday Stroll (Savoy, 1978) Handcrafted (Muse, 1978) Stormy Monday (Fantasy, 1978) When Lights Are Low (Concord Jazz, 1979) Freedom (Blue Note, 1979) K. B. Blues (Blue Note, 1979) Swingin' (Blue Note, 1980) Live at the Village Vanguard (Muse, 1980) Moon and Sand (Concord Jazz, 1980) Heritage (AudioSource, 1980) Kenny Burrell in New York (Muse, 1981) Listen to the Dawn (Muse, 1983) Bluesin' Around (Columbia, 1983) Groovin' High (Muse, 1984) A la Carte (Muse, 1985) Togethering with Grover Washington Jr. (Blue Note, 1985) Ellington a la Carte (Muse, 1993) Generation (Blue Note, 1987) On View at the Five Spot Cafe (Blue Note, 1987) Pieces of Blue and the Blues (Blue Note, 1988) Guiding Spirit (Contemporary, 1990) Sunup to Sundown (Contemporary, 1991) Midnight at the Village Vanguard (Bellaphon, 1994) No Problem with Ray Bryant (EmArcy, 1994) Lotus Blossom (Concord Jazz, 1995) Then Along Came Kenny (Evidence, 1996) Live at the Blue Note (Concord Jazz, 1996) Laid Back (32 Jazz, 1998) Love Is the Answer (Concord, 1998) Stormy Monday Blues (Fantasy, 2001) Lucky So and So (Concord Jazz, 2001) Blue Muse (Concord, 2003) 75th Birthday Bash Live! (Blue Note, 2007) Prime: Live at the Downtown Room (HighNote, 2009) Be Yourself (HighNote, 2010) Tenderly (HighNote, 2011) Special Requests and Other Favorites: Live at Catalina's (HighNote, 2013) The Road to Love (HighNote, 2015) Unlimited 1: Live at Catalina's (HighNote, 2016) As sideman With Gene Ammons Funky (Prestige, 1957) Jammin' in Hi Fi with Gene Ammons (Prestige, 1957) Bad! Bossa Nova (Prestige, 1962) With Donald Byrd Motor City Scene (Bethlehem, 1961) A New Perspective (Blue Note, 1964) Up with Donald Byrd (Verve, 1965) With Red Garland Red Garland Revisited! (Prestige, 1969) Stepping Out (Galaxy, 1980) So Long Blues (Galaxy, 1984) With Stan Getz Reflections (Verve, 1964) Getz Au Go Go (Verve, 1964) What the World Needs Now: Stan Getz Plays Burt Bacharach and Hal David (Verve, 1968) With Milt Jackson Bean Bags with Coleman Hawkins (Atlantic, 1959) Bags & Flutes (Atlantic, 1959) Vibrations (Atlantic, 1964) With Illinois Jacquet Illinois Jacquet (Epic, 1963) The Message (Argo, 1963) Desert Winds (Argo, 1964) With Johnny Hodges Sandy's Gone (Verve, 1963) Mess of Blues with Wild Bill Davis (Verve, 1964) Blue Rabbit (Verve, 1964) Stride Right with Earl Hines (Verve, 1966) Blue Notes (Verve, 1966) With Etta Jones Love Shout (Prestige, 1963) Hollar! (Prestige, 1963) Etta Jones Sings (Roulette, 1965) With Hank Jones Porgy and Bess (Capitol, 1959) Here's Love (Argo, 1963) Ain't Misbehavin' (Galaxy, 1979) With Wynton Kelly Wynton Kelly (Riverside, 1958) Comin' in the Back Door (Verve, 1963) It's All Right! (Verve, 1964) Whisper Not (Jazzland, 1965) With Jack McDuff Screamin' (Prestige, 1963) Somethin' Slick! (Prestige, 1963) Steppin' Out (Prestige, 1969) Plays for Beautiful People (Prestige, 1969) With Gary McFarland The Jazz Version of "How to Succeed in Business without Really Trying" (Verve, 1962) Soft Samba (Verve, 1964) The In Sound (Verve, 1966) With Jimmy Smith House Party (Blue Note, 1958) The Sermon! (Blue Note, 1959) Home Cookin' (Blue Note, 1961) Midnight Special (Blue Note, 1961) Back at the Chicken Shack (Blue Note, 1963) Any Number Can Win (Verve, 1963) Softly as a Summer Breeze (Blue Note, 1965) The Cat (Verve, 1964) Who's Afraid of Virginia Woolf? (Verve, 1964) Christmas '64 (Verve, 1964) Monster (Verve, 1965) Organ Grinder Swing (Verve, 1965) Got My Mojo Workin' (Verve, 1965) Hoochie Coochie Man (Verve, 1966) Confirmation (Blue Note, 1979) Second Coming (Mojo, 1981) Keep On Comin (Elektra Musician, 1983) Go for Whatcha Know (Blue Note, 1986) Fourmost (Milestone, 1991) Standards (Blue Note, 1998) Six Views of the Blues (Blue Note, 1999) Fourmost Return (Milestone, 2001) With Stanley Turrentine Hustlin' (Blue Note, 1964) Joyride (Blue Note, 1965) The Look of Love (Blue Note, 1968) Always Something There (Blue Note, 1968) The Sugar Man (CTI, 1975) Jubilee Shout!!! (Blue Note, 1986) With Frank Wess North, South, East....Wess (Savoy 1956) Opus in Swing (Savoy, 1956) Jazz for Playboys (Savoy 1957) With Kai Winding Soul Surfin' (Verve, 1963) Rainy Day (Verve, 1965) More Brass (Verve, 1966) With Jimmy Witherspoon Goin' to Kansas City Blues (RCA Victor, 1957) Baby, Baby, Baby (Prestige, 1963) Blue Spoon (Prestige, 1964) With others Nat Adderley, Little Big Horn (Riverside, 1963) Mose Allison, Ever Since the World Ended (Blue Note, 1987) Ernestine Anderson, My Kinda Swing (Mercury, 1960) Louis Armstrong, Louis Armstrong and His Friends (Flying Dutchman, 1970) Chet Baker, Chet (Riverside, 1959) Chet Baker, Baby Breeze (Limelight, 1965) Ray Barretto, Portraits in Jazz and Clave (RCA Victor/BMG 1999) Bill Barron, West Side Story Bossa Nova (Dauntless, 1963) Aaron Bell, Music from 77 Sunset Strip (Lion, 1959) Aaron Bell, Richard Rodgers' Victory at Sea in Jazz (Lion, 1959) Tony Bennett, Tony Bennett at Carnegie Hall (Columbia, 1962) Andy and the Bey Sisters, Andy and the Bey Sisters (RCA Victor, 1961) Andy and the Bey Sisters, Round Midnight (Prestige, 1965) Betty Blake, Sings in a Tender Mood (Bethlehem, 1961) Eubie Blake, Vol. 2 The Marches I Played On the Old Ragtime Piano (20th Century 1978) Dee Dee Bridgewater, Dear Ella (Verve, 1997) Ronnell Bright, Bright's Spot (Regent, 1957) Charles Brown, Ballads My Way (Mainstream, 1965) James Brown, Please Please Please (King, 1959) James Brown, Try Me! (King, 1959) Ray Brown & Milt Jackson, Much in Common (Verve, 1964) Ray Brown, Some of My Best Friends Are...Guitarists (Telarc, 2002) Milt Buckner, Mighty High (Argo, 1960) Vinnie Burke, Vinnie Burke's String Jazz Quartet (ABC-Paramount, 1957) Gary Burton & Sonny Rollins & Clark Terry, 3 in Jazz (RCA Victor, 1963) Betty Carter, 'Round Midnight (Atco, 1963) Paul Chambers, Bass on Top (Blue Note, 1957) Paul Chambers, Whims of Chambers (Blue Note, 1957) Kenny Clarke, Kenny Clarke Meets the Detroit Jazzmen (Savoy, 1994) Buck Clayton, Buckin' the Blues (Vanguard, 1957) Ray Charles & Milt Jackson, Soul Meeting (Atlantic, 1961) Chris Connor, Chris in Person (Atlantic, 1959) Chris Connor, Sings Ballads of the Sad Cafe (Atlantic, 1959) Blossom Dearie, My Gentleman Friend (Verve, 1959) Blossom Dearie, Blossom Dearie Sings Comden and Green (Verve, 1959) Kenny Dorham, 'Round About Midnight at the Cafe Bohemia (Blue Note, 1956) Jean DuShon, Feeling Good (Cadet, 1965) Duke Ellington, Music Is My Mistress (Musicmasters, 1989) Bill Evans, Quintessence (Fantasy, 1977) Gil Evans, The Individualism of Gil Evans (Verve, 1964) Art Farmer, Ph.D. (Contemporary, 1989) Tommy Flanagan, The Cats (New Jazz, 1959) Tommy Flanagan, Beyond the Blue Bird (Timeless, 1991) Frank Foster, No 'Count (Savoy, 1956) Frank Foster, All Day Long (Metronome, 1958) Aretha Franklin, Yeah!!! (Columbia, 1965) Aretha Franklin, Soul '69 (Atlantic, 1969) Terry Gibbs, Take It from Me (Impulse!, 1964) Astrud Gilberto, Brazilian Mood (Metro, 1977) Dizzy Gillespie, School Days (Regent, 1957) Paul Gonsalves, Cleopatra Feelin' Jazzy (Impulse!, 1963) Babs Gonzales, Tales of Manhattan (Jaro, 1959) Stephane Grappelli, So Easy to Remember (Omega, 1993) Lionel Hampton, The Many Sides of Hamp (Glad, 1961) Roland Hanna, Destry Rides Again (ATCO, 1959) Eddie Harris, Cool Sax from Hollywood to Broadway (Columbia, 1965) Gene Harris, World Tour 1990 (Concord Jazz, 1991) Nancy Harrow, Wild Women Don't Have the Blues (Candid, 1961) Johnny Hartman, I Just Dropped by to Say Hello (Impulse!, 1964) Coleman Hawkins, Soul (Prestige, 1958) Coleman Hawkins, The Hawk Relaxes (Moodsville/Prestige, 1961) Jimmy Heath, On the Trail (Riverside, 1964) David Hess, Climbing Up the Sunshine Path (Diggler, 2005) Jay Hoggard, The Fountain (Muse, 1992) Billie Holiday, Lady Sings the Blues (Clef, 1956) Kenyon Hopkins, The Yellow Canary (Verve, 1963) Shirley Horn, Loads of Love (Mercury, 1963) Shirley Horn, Travelin' Light (ABC-Paramount, 1965) Lena Horne, Stormy Weather (RCA Victor, 1957) John Jenkins, John Jenkins with Kenny Burrell (Blue Note, 1957) Budd Johnson, French Cookin' (Argo, 1963) J. J. Johnson, Broadway Express (RCA Victor, 1966) Salena Jones, Salena Sings Jobim with the Jobims (Vine Gate Music 1997) Thad Jones, Detroit – New York Junction (Blue Note, 1956) Thad Jones, After Hours (Prestige, 1957) Taft Jordan, Mood Indigo!! (Moodsville, 1961) Quincy Jones, The Birth of a Band! (Mercury, 1959) Quincy Jones, Plays Hip Hits (Mercury, 1963) Joe Kennedy Jr., Strings by Candlelight (Consolidated Artists, 1998) Barney Kessel, Live in Los Angeles at P.J.'s Club (Gambit, 2006) B. B. King, Live at the Apollo (GRP, 1991) Yusef Lateef, The Blue Yusef Lateef (Atlantic, 1968) Hubert Laws, Laws' Cause (Atlantic, 1969) Leiber-Stoller Big Band, Yakety Yak (Atlantic, 1960) John Letman, The Many Angles of John Letman (Bethlehem, 1960) Melba Liston, Melba Liston and Her 'Bones (Metrojazz, 1959) Gloria Lynne, At Basin Street East (Everest, 1962) Gildo Mahones, I'm Shooting High (Prestige, 1963) Miriam Makeba, Makeba Sings! (RCA Victor, 1965) Herbie Mann, Just Wailin (New Jazz, 1958) Jimmy McGriff, The Big Band (Solid State, 1966) Big Miller, Did You Ever Hear the Blues? (United Artists, 1959) Billy Mitchell, A Little Juicy (Philips, 1964) Marian Montgomery, Swings for Winners and Losers (Capitol, 1963) Wes Montgomery, Fusion! Wes Montgomery with Strings (Riverside, 1963) Frank Morgan, Listen to the Dawn (Verve, 1994) Maria Muldaur, Sweet Harmony (Reprise, 1976) Frankie Ortega & Sy Oliver, 77 Sunset Strip and Other Selections (Jubilee 1959) Dave Pike, Bossa Nova Carnival (New Jazz, 1962) Dave Pike, Times Out of Mind (Muse, 1976) Billie Poole, Confessin' the Blues (Riverside, 1963) Phil Porter, Introducing Phil Porter and His Organ (United Artists, 1963) Dory Previn & Andre Previn, Dory Previn & Andre Previn (DRG, 1982) Sam Price, Rock with Sam Price (Savoy,) Ike Quebec, Soul Samba (Blue Note, 1962) Della Reese, One of a Kind (1979) Irene Reid, Room for One More (Verve, 1965) Jerome Richardson, Midnight Oil (New Jazz, 1961) Freddie Roach, Down to Earth (Blue Note, 1962) Freddie Roach, Mo' Greens Please (Blue Note, 1963) Sonny Rollins, Alfie (Impulse! 1966) Charlie Rouse, Bossa Nova Bacchanal (Blue Note, 1963) Vanessa Rubin, I'm Glad There Is You (RCA 1994) Jimmy Rushing, Every Day I Have the Blues (Bluesway, 1967) A. K. Salim, Flute Suite (Savoy, 1957) Lalo Schifrin, Once a Thief and Other Themes (Verve, 1965) Shirley Scott Travelin' Light (Prestige, 1994) Zoot Sims, Recado Bossa Nova (Fresh Sound, 1992) Carol Sloane, Love You Madly (Contemporary, 1989) Dakota Staton, Time to Swing (Capitol, 1959) Idrees Sulieman, Interplay for 2 Trumpets and 2 Tenors (Prestige, 1957) Sylvia Syms, The Fabulous Sylvia Syms (20th Century Fox, 1964) Sylvia Syms, Sylvia Is! (Prestige, 1965) Clark Terry, 3 in Jazz (RCA, 1963) Ed Thigpen, Out of the Storm (Verve, 1966) Cal Tjader, Warm Wave (Verve, 1964) Cal Tjader, Soul Sauce (Verve, 1965) Jim Tyler, Twist (Time, 1962) Dicky Wells, Trombone Four-in-Hand (Felsted, 1959) Dinah Washington, What a Diff'rence a Day Makes! (Mercury, 1959) Doug Watkins, Watkins at Large (Transition, 1956) Randy Weston, Uhuru Afrika (Roulette, 1961) Ernie Wilkins, The Big New Band of the 60's (Everest, 1960) Ernie Wilkins, Screaming Mothers (Mainstream, 1974) Joe Williams, Me and the Blues (RCA Victor, 1974) Leo Wright, Suddenly the Blues (Atlantic, 1962) Leo Wright, Soul Talk (Vortex, 1970) Kenny Burrell Kenny Burrell / John Coltrane 1976 United States Prestige P-24059 12" Double LP Cover: Excellent (EX) NO cut-out marks, NO splits, NO stickers, NO writing shrink is torn at upper left with minor edge wear Record: Mint (M) Still Sealed! Labels: Clean!  SB-59613

This exquisite slice of retro music history is a vinyl sound recording (not a CD). Please reference Item Specifics above for additional detail. Strict Goldmine grading -- Over 22 years on Ebay! Combine Items to Save $$$!

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