Kenny Barron Trio at Smoke Jazz Club

Edward A Kliszus, Editor-in-Chief / Music and Arts Critic
August 23, 2024
Edward A Kliszus, KennyBarron, MilesDavis, nycjazz, Openingnight.Reviews, PeterWashingtonbass, SavannahHarrisDrums, savvyknows, SmokeJazzClub, theFrontRowNYC, TheloniousMonk

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NEW YORK – Kenny Barron Trio at Smoke Jazz Club

Acclaimed pianist Kenny Barron showed how to break it down with his trio at Smoke Jazz Club in New York City. With Kenny Barron on piano, Peter Washington on bass, and Savannah Harris on drums, these cats displayed sublime musical artistry. It was an extraordinary, history-making night of glorious, tingling, and overwhelming music. The trio is in residence through August 25, so you must move quickly to get seats.

L-R: Pianist Kenny Barron, Bassist Peter Washington, and Drummer Savannah Harris. Photo by Edward Kliszus

Smoke’s intimate atmosphere was enhanced by subtle lighting, a great menu, superb sound, and a Steinway grand piano tuned to studio perfection. Tonight was the perfect venue for projecting Barron’s poetic, crystalline purity of creative genius.

After the host introduced the Kenny Barron trio, the bespoke and cool Barron chuckled about a charming reference to his status as “the late” artist (the host didn’t actually say this).

L-R: Portraits of George and Ira Gershwin. Photo of G. Gershwin by Carl Van Vechten. Photos Public domain, via Wikimedia Commons

The concert opened with George and Ira Gershwin’s “Embraceable You,” a perfect choice that showcased Barron’s ability to balance romanticism with a modern harmonic sensibility. The lush chords and melodic lines emerged from a delicate yet assured touch.

Kenny Barron Trio poster outside the Smoke Jazz Club in New York City. Photo by Edward Kliszus

Barron’s opening was sublime and gorgeous, setting a tender tone with delicate shadings and sonority before being joined by Washington and Harris. His attention to and use of subtle harmonic shifts, dissonance, melodic/harmonic tensions, and chromatic interplay was exquisite. With this song and the others tonight, ample time was provided for the trio’s improvisational interplay and unity. While each song opened with the head and followed the changes while improvising, transitions were seamless, and solos were virtuosic and sensitively synced with fellow artists. The trio exemplified deep musical and creative connections.

Duke Ellington (1964). Photo: Public domain

Barron’s followed with solo performances of Duke Ellington‘s works. This graceful, glittering set of songs was a masterclass in reflective, expressive, and improvisatory piano playing. Pieces like “Lotus Blossom,” “A Flower is a Lonesome Thing,” “Melancholia,” and “Star-Crossed Lovers” highlighted Barron’s ability to convey deep emotion through his instrument, capturing the halcyon elegance and quintessence of Ellington’s compositions with radiance and gentle splendor. Barron’s interpretation was reflective and meditative, with the music breathing and connecting with the listeners. Barron’s use of space and dynamics was especially striking, creating lyric ecstasy and moments of profound stillness.

The trio ventured into Thelonious Monk‘s repertoire, offering an up-tempo rendition of “Well You Needn’t” and a ballad version of “Ask Me Now.” Barron’s interpretation of Monk was respectful and inventive, preserving the angularity and wit of Monk’s compositions through his unique voice.

Thelonious Monk, Minton's Playhouse, New York, N.Y., ca. Sept. 1947 (William P. Gottlieb 06191) Public Domain — Thelonious Monk, Minton’s Playhouse, New York, N.Y., ca. Sept. 1947 (William P. Gottlieb 06191) Public Domain

Barron’s ability to navigate Monk’s idiosyncratic rhythms and harmonies with precision and creativity was a testament to his versatility as a pianist. The interplay between Barron, Washington, and Harris was tight and responsive, demonstrating their shared understanding of and commitment to the music.

The concert concluded with a smooth, cool, and sophisticated performance of Miles Davis’ “All Blues.” Again, Barron’s subtle genius was evident in every note, making this performance a memorable experience for all in attendance.

Miles Davis, by Oliver Nurock @ ohjaygee Johannesburg: Cape Town, South Africa, CC BY 2.0 , via Wikimedia Commons

The trio’s rendition of “All Blues” was a fitting denouement to an evening that balanced technical brilliance with soulful expression. It also exemplified the trio’s chemistry and Barron’s virtuosic command of jazz tradition.

Barron’s soloing effortlessly weaved through the tune’s modal landscape. Washington’s solo work and bass lines were eloquent and effervescent, while Harris’s drumming was dynamic with confidence and power. The trio’s perfect rendition of “All Blues” honored the moods, colors, and allusions of Davis’ assiduously crafted idiom.

The show is about 60 minutes long, with 7 and 9 pm sets.