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Kenny Drew

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow, Rovi
full bio

Selected Discography

Comments

sunity19
Love hearing an equal collection of instruments! You can hear the enthusiasm the musicians have for playing music together. Very well put together!
jeff sheloff-mult i - i n s t r u m e n t a l i s t - t h i s music is timeless,bea u t i f u l & i s part of the foundation from which all american comes from
I am sorry to say that I think (though it would be easier to just ask the man himself) racism likely played a big role. Of course, it doesn't hurt that American jazz greats were embraced with greater enthusiasm and treated with greater respect in Europe.
LISTENED TO A CD WITH KENNY DREW ON PIANO, PHILLY JO JONES ON DRUMS AND PAUL CHAMBERS ON BASS AND WAS QUITE IMPRESSED
You must understand that the straight ahead jazz scene was always under appreciated here at home, mostly due to racism and the 'complexity' of the music along with the general ignorance of the masses. I wasn't until Fusion 70's that a younger audience began to appreciate. Alas the Jazz IQ is still lower compared to Europe and Japan, who greater appreciate American musical arts/culture .
Copenhagen, Paris, et.al., what does that say of the U.S. Jazz I.Q. when we let our treasures get away?

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