Top 6 Wynton Kelly Albums
When discussing the titans of jazz piano, the name Wynton Kelly might not immediately come to mind for casual listeners, but within musician circles, he stands as an underrated gem. In this article, we'll spotlight some of his finest albums that have contributed to his lasting legacy.
Born on December 2, 1931, in Brooklyn, New York, Wynton Kelly left an indelible mark on jazz, particularly for his role in Miles Davis's groundbreaking band. His piano work on the landmark album "Kind of Blue," alongside luminaries like Cannonball Adderley and John Coltrane, is just one testament to his musical prowess.
Before joining Davis's group, Kelly had already established himself as a leading bebop player. A sought-after accompanist, he collaborated with jazz legends such as the Adderley brothers, Hank Mobley, Betty Carter, and Dizzy Gillespie. His musical partnership with guitarist Wes Montgomery further showcased his versatility.
However, the pursuit of the jazz life took a toll on Kelly's health. A heavy drinker and epilepsy sufferer, he tragically passed away from a seizure at the age of 39. Despite his premature death, Kelly left behind a musical legacy that continues to resonate through his essential jazz albums.
- New Faces – New Sounds (1951)
At just 19, Kelly debuted as a leader with "New Faces – New Sounds" on Blue Note Records. This album captures a young Kelly navigating the space between swing and bebop, displaying his harmonic knowledge and melodic ingenuity. It serves as an impressive introduction to his evolving voice in the bebop movement.
- Kelly Blue (1959)
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Following his success with Miles Davis, "Kelly Blue" is Kelly's second album for Riverside. Recorded with Davis's bandmates Paul Chambers and Jimmy Cobb, the trio operates at an exceptionally high standard. The inclusion of Nat Adderley, Bobby Jaspar, and Benny Golson adds variety, making tracks like their version of "Willow Weep For Me" particularly satisfying.
- Kelly Great (1959)
Recorded with a quintet, "Kelly Great" showcases Kelly's adaptability in the evolving jazz scene. As the influence of Bill Evans and Ahmad Jamal became prominent, Kelly incorporated elements of this more restrained style while maintaining his natural sense of swing. The resulting music remains fresh and exciting.
- Kelly At Midnight (1960)
Returning to his natural habitat in a trio setting with Paul Chambers and Philly Joe Jones, "Kelly At Midnight" exudes easy elegance. Kelly's swinging melodic lines and bluesy undertones define the album. The repertoire, featuring compositions by Rudy Stevenson and Kelly himself, adds a distinct flavor to this timeless recording.
- Someday My Prince Will Come (1961)
Continuing his run with Vee Jay Records, "Someday My Prince Will Come" features Kelly's most sympathetic partners, Paul Chambers and Jimmy Cobb. As a departure from Davis's employment, Kelly's trio tackles Davis's staple repertoire, delivering personal statements on tracks like the title song and a perfectly paced "Autumn Leaves."
- Smokin’ At The Half Note (1965)
Although not solely a bandleader album, "Smokin’ At The Half Note" is a collaborative effort with the Wynton Kelly Trio, featuring guitar virtuoso Wes Montgomery. The quartet's cohesion, honed during their time as Miles Davis's rhythm section, shines through. Tracks like 'Four On Six' and 'Unit 7' have become staples in the jazz repertoire.
Wynton Kelly's enduring legacy is not only defined by his contributions as a sideman but also by these albums as a leader. Each recording showcases his evolving style, from the early days of bebop to the sophisticated trio settings that became his trademark. Despite his untimely departure, Wynton Kelly's influence on jazz remains immeasurable.
Initiating his professional career at the tender age of 12, Kelly's remarkable talent was evident when he became the pianist on a No. 1 R&B hit at just 16. A mere three years later, he made his recording debut as a leader, embarking on a trajectory that would establish him as a sought-after accompanist, notably for singer Dinah Washington and trumpeter Dizzy Gillespie.
Kelly's progress was momentarily interrupted by two years of service in the United States Army. Upon his return, he resumed collaborating with Washington, Gillespie, and an array of jazz luminaries, including Cannonball Adderley, John Coltrane, Hank Mobley, Wes Montgomery, and Sonny Rollins, as well as vocalists Betty Carter, Billie Holiday, and Abbey Lincoln.
However, it was his association with Miles Davis that brought Kelly into the spotlight. Joining Davis' band in 1959, he played a pivotal role in the groundbreaking album "Kind of Blue," often heralded as the best-selling jazz album ever. His dynamic and harmonically rich playing on tracks like "Freddie Freeloader" showcased his ability to contribute to Davis' quintet seamlessly.
After parting ways with Davis in 1963, Kelly embarked on a solo career, leading his own trio. Despite recording for several labels, his career faced challenges, and finding consistent work became difficult in the latter part of his life. Kelly's musical journey, characterized by a distinct blend of bop lines and bluesy expressions, came to a tragic end when he passed away in Toronto, Canada, on April 12, 1971, at the age of 39, succumbing to the consequences of epilepsy.
The son of Jamaican immigrants, Kelly's early exposure to music began at the age of four, and his informal training paved the way for a career that would shape the landscape of jazz. He navigated the R&B scene in his teenage years, touring the Caribbean with Ray Abrams' band at 15 and recording hits like "Cornbread" at 16.
Kelly's prolific collaborations continued throughout the late 1950s and early 1960s, with significant contributions to the albums of jazz leaders such as Cannonball Adderley, Hank Mobley, and Blue Mitchell. His versatility was showcased as he seamlessly transitioned between small groups and big bands, leaving an indelible mark with his melodic and rhythmic contributions.
As part of Davis' quintet, Kelly's playing drew admiration for its harmonic colorations and infectious swing. His ability to maintain his identity while enhancing the overall musicality of the band was widely acknowledged. Following his tenure with Davis, Kelly formed his own trio, featuring bassist Paul Chambers and drummer Jimmy Cobb. This trio, known for its dynamic performances and tight ensemble playing, toured extensively and left a lasting imprint on the jazz scene.
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