Kenny Barron, Beyond This Place Review

by Jeff Becker

NEA Jazz Master Kenny Barron continues to elevate his legacy with his latest album, Beyond This Place, released on May 10, 2024. Barron, already a titan in the jazz world, finds himself celebrating his 14th GRAMMY® nomination. This new release on Artwork / PIAS brings together an intergenerational ensemble that captures the vitality of an evolving jazz tradition that Barron has always cherished. Featuring his longtime collaborators, bassist Kiyoshi Kitagawa and drummer Johnathan Blake, alongside vibraphonist Steve Nelson and rising alto saxophone star Immanuel Wilkins, Beyond This Place is a documentation of Barron’s unwavering passion and musical dexterity.

Beyond This Place opens with a rendition of the timeless standard “The Nearness of You,” the ensemble’s performance makes it clear that this album is about melding jazz tradition and contemporary vocabulary nuances. The track starts with a gentle piano and saxophone duet, Barron’s precise chordal voicings touch Wilkins’ contemplative melodic lines, interweaving seamlessly to lure us into their musical world. As Kitagawa and Blake enter, the feel expands, highlighting the tender balance of the ballad feel and Wilkins’ lyrical approach to responding to the sensitive context. There’s a poignant contrast here: the timeless beauty of the standard and the fresh perspective brought by this imaginative quintet.

The album’s title track, “Beyond This Place,” shows that the ensemble’s chemistry allows them to explore a contemporary gospel-inflected ballad with spirited jazz restraint. Barron’s touch, an eloquent mix of fleet-fingered agility of jazz and masterful subtlety of harmonic structures found in the church today, frames his intricate yet musical solo. Kitagawa effortlessly evokes the robust warmth of gospel from his bass, while Blake’s steady yet sensitive drumming anchors the piece with a quiet strength, further amplifying the track’s spiritual undertones.

Barron’s originals are the vehicle for our journey through this nine-track program, offering listeners glimpses of the pianist’s inspirations and evolution. “Scratch,” initially heard on Barron’s 1985 trio record, bursts forth with a joyful swing energy of post-bop, bearing the unmistakable influences of hard-bop. Wilkins’ jagged solo is full of rhythmic twists and syncopated accents as he performs with an exuberant spirit. The rhythm section follows his every lead and demonstrates the quintet’s cohesion—each member anticipating the next’s move with intuitive precision. Nelson’s fiery solo is angular and dexterous.  Barron’s solo is built around motifs from the intervallic shapes of the Monkish melody. His ideas are always beautifully placed within the rhythmic pocket.

“Blues on Stratford Road,” a contribution by Blake, has a classic Blue Note hard bop overtone from the 1960s. The piece saunters at a relaxed swing pace, with Blake’s drumming subtly guiding the ensemble through its swinging groove. Nelson’s shimmering vibes add a layer of pastel colors, crafting a fluid solo that is a refreshingly modern statement with blues hues. Similarly, “Tragic Magic” channels the spirit of Tommy Flanagan—an evident influence on Barron. The piece captures the essence of late-night hard bop, brimming with clever interplay between Barron and Wilkins, their exchanges playful yet purposeful.

Barron is adept at creating creative musical spaces, nowhere more evident than in the album’s duos. The raw, candid duet between Barron and Blake on “Softly, as in a Morning Sunrise” is a standout—it feels as if we are listening in on a spontaneous, unrehearsed moment of rhythmic brilliance. Barron stretches the melody, deconstructing it with imaginative harmonic turns, while Blake’s drumming is interactive and propulsive, driving the dialogue without overwhelming. The other notable duet, “We See,” finds Barron and Wilkins exploring Monk’s intricate lines with an energy that speaks to Barron’s decades-long admiration of the composer. Wilkins’ interpretation is vibrant and full of life, capturing Monk’s spirit while showcasing his own youthful fire.

“Sunset,” a piece that initially appeared on Barron’s 1973 album Sunset to Dawn, is revisited here with an acoustic glow that brings another angle to the composition. Where the original version featured electric piano and a psychedelic overtone, this rendition builds into the acoustic nature of the ensemble, the rich bass line and expanded chords provide a mysterious and moody atmosphere. Nelson’s vibes shine with an iridescent quality, adding depth to the piece and bringing out its Latin-tinged rhythmic inferences. The result is a richly textured track that highlights Barron’s evolution as an artist—someone who honors his past without being confined by it.

Beyond This Place is an album that pays homage to Barron’s influences—Monk, Flanagan, gospel, Latin jazz—while documenting his artistry with the fresh voices of Wilkins, Blake, Kitagawa, and Nelson. The intergenerational dynamic breathes life into every track, with Wilkins’ youthful intensity juxtaposing Barron’s masterful restraint, Kitagawa’s steadfast bass providing a solid foundation, Nelson’s shimmering vibes adding warmth, and Blake’s versatile drumming tying everything together.

Even after six decades, Barron continues to enthrall as Beyond This Place, at its core, is a celebration of Barron’s immense contributions to jazz, the synergistic power of ensemble playing, and the boundless creativity that continues to define his illustrious career. The clarity, dexterity, and sheer inventiveness displayed across these nine tracks make this a solid recording within Barron’s extensive discography.