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Wynton Kelly

His family moved from the island of Jamaica to Brooklyn, New York City when Kelly was four, and he started his professional career as a teenager, initially as a member of R&B groups. After working in the big band and small groups led by Dizzy Gillespie, he was a member of Miles Davis' Quintet from 1959 to 1963.

Wynton Kelly was one of the most prolific sideman pianists of his era, performing on scores of jazz albums, and led albums under his own name for the Riverside and Vee-Jay labels. After leaving Davis's group, along with Paul Chambers and Jimmy Cobb, he formed a trio which worked regularly during the 1960s.

A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. He grew up in Brooklyn and early on played in R&B bands led by Eddie “Cleanhead” Vinson, Hal Singer, and Eddie “Lockjaw” Davis. Kelly, who recorded 14 titles for Blue Note in a trio (1951), worked with Dinah Washington, Dizzy Gillespie, and Lester Young during 1951-1952.

After serving in the military, he made a strong impression with Washington (1955-1957), Charles Mingus (1956- 1957), and the Dizzy Gillespie big band (1957), but he would be most famous for his stint with Miles Davis (1959-1963), recording such albums with Miles as "Kind of Blue," "At the Blackhawk," and "Someday My Prince Will Come." When he left Davis, Kelly took the rest of the rhythm section (bassist Paul Chambers and drummer Jimmy Cobb) with him to form his trio. The group actually sounded at its best backing Wes Montgomery.

Wes Montgomery: Maximum Swing: The Unissued 1965 Half Note Recordings

Read "Maximum Swing: The Unissued 1965 Half Note Recordings" reviewed by Mario Calvitti

by Mario Calvitti
February 20, 2024

La Resonance Records, etichetta californiana legata a un'organizzazione non-profit dedita a preservare l'arte e l'eredità della musica jazz, prosegue instancabile la sua attività di archeologia musicale pubblicando questo doppio CD di Wes Montgomery col trio del pianista Wynton Kelly al famoso club di New York Half Note nel 1965, all'incirca nello stesso periodo delle esibizioni raccolte nell'album Smokin' at the Half Note. I brani contenuti in questa raccolta provengono da cinque diverse date comprese tra il 24 Settembre e la ...

Album Review

Wes Montgomery: The Complete Full House Recordings

Read "The Complete Full House Recordings" reviewed by Mark Sullivan

by Mark Sullivan
December 21, 2023

Wes Montgomery's original Full House album (Riverside, 1962) comprised six tracks; the 1987 CD edition had nine tracks, with alternate takes plus the addition of “Born to be Blue"; the 2007 reissue was expanded to eleven tracks. This complete edition has fourteen tracks, including all of the previously released alternate takes as well as the completely unedited master take of the title tune, with Montgomery's original guitar solo restored. That restoration is the big news for completists but, for everyone ...

Radio & Podcasts

Wynton Kelly, Jason Moran, Christian McBride, Geri Allen

by David Brown
December 16, 2023

This week we will we celebrate some birthdays including the legendary pianist Wynton Kelly known for his lively, blues-based playing and as one of the finest accompanists in jazz. I'll spin some tunes I heard at Jason Moran's Village Vanguard Thanksgiving weekend run; we'll play some music to get ready for Christian McBride's New Jawn here in Philly; and finally, let's check in with some recordings made on this day in history from John Coltrane, Sonny Rollins and David S. ...

Album Review

Miles Davis Quintet: Live Europe 1960 Revisited

Read "Live Europe 1960 Revisited" reviewed by Chris May

by Chris May
August 5, 2022

A high proportion of the studio albums recorded by Miles Davis from the mid 1950s until Bitches Brew (Columbia) in 1970 are landmark ones, so frequent and so momentous were the occasions on which Davis adjusted his direction. With a few exceptions, notably My Funny Valentine (Columbia, 1964), this is less true of the live albums until the early 1970s, when Davis' live performances increasingly anticipated changes later heard on studio recordings, especially as regards his choices of repertoire.

Album Review

John Coltrane: Giant Steps: Remastered & Super Deluxe Editions

Read "Giant Steps: Remastered & Super Deluxe Editions" reviewed by Chris May

by Chris May
September 4, 2020

A date for your diary... 18 September 2020. That is when Atlantic / Rhino releases two cracking new editions of John Coltrane's first landmark album, Giant Steps (Atlantic, 1960). The main event is enhanced audio quality, which has noticeably more presence than any previous reissue. The double CD and vinyl Remastered Edition and digital-only Super Deluxe Edition consist of material which has been newly remastered by John Webber at Air Studios in London. The Remastered Edition includes ...

Reassessing

Piano

by C. Michael Bailey
May 23, 2020

Following his debut as a leader on, Wynton Kelly: New Faces -New Sounds (Blue Note, 1951), pianist Kelly surfaced again some seven years later, this time on Riverside Records, with the simply titled Piano. The length of time between leader recordings is a testament to the pianist's value in a supporting role for artists like Dinah Washington (with whom he recorded almost exclusively between 1952 and 1955) Lester Young, and Dizzy Gillespie. During this same period Kelly contributed to several ...

Reassessing

New Faces - New Sounds

by C. Michael Bailey
May 8, 2020

The jazz name Wynton Kelly is typically associated with other artists' endeavors, such as John Coltrane's Giant Steps (Atlantic, 1959), Miles Davis' Kind of Blue (Columbia, 1959) or Wes Montgomery's Smokin' at the Half Note (Verve, 1965), just to mention three landmark recordings. While he always seemed best cast in supporting roles, Kelly did have a highly respectable solo career, and while it was neither as productive, nor considered as critically important as his sideman roles, it is still worthy ...

Birthday