<p>Kenny Burrell has played with pretty much everyone who?s anyone in jazz. Whether laying down the guitar support behind a John Coltrane rampage or stretching out in a solo while collaborating with Jimmy Smith, his experience and discography are immense. Virtually no important jazz musician of the ?50s and ?60s could escape recording with Burrell. For the past decade, UCLA students have also had an opportunity to follow in the footsteps of Coltrane and Smith by getting a chance to work with Burrell. <br/>His distinctive brand of guitar playing throughout his career has given him renowned invitations into the studios of so many greats and ultimately made him director of jazz studies at UCLA. Burrell will mark yet another achievement in his renowned career on Saturday, when he celebrates his 75th birthday at Royce Hall with a concert during which he will record his 100th album. <br/>As the chief of the jazz program, Burrell takes on administrative responsibilities, but more important are his interactions with students. Involved with many of the department-sponsored jazz groups on campus, Burrell coaches rehearsals, bringing his considerable talents to the table and affording students a chance to glean something from his knowledge. <br/>Noah Garabedian, a fourth-year jazz studies student, has played both in big bands and smaller combos coached by Burrell. Garabedian believes one of the most important things Burrell brings to rehearsal is his legendary ear, as well as an attitude that stresses musical communication in general. <br/>?Sometimes we play and it seems like he?s not listening, and then all of a sudden he?ll perk up, stop the group, and say, ?That?s supposed to be major, not minor,?? Garabedian said. ?He really stresses the importance of listening hard to everything that?s going on around you and communicating about it.? <br/>Burrell?s focus on listening is also linked to his other attitudes about teaching. Informed by a musical understanding and flexibility, his teaching can reflect his view that jazz is sometimes best left to speak for itself. Affording students valuable group leadership experience and the chance to head a group, Burrell sometimes steps back and cedes authority to a student?s vision. <br/>?I think it?s important that Kenny is open to student input. In rehearsals, he?s flexible enough to have students bring in their own compositions and have a chance to lead them. He understands that there?s no one way, and there might always be some way of doing things he?s not aware of,? said Max Kaplan, a third-year composition student. <br/>As valuable as this kind of flexibility is ? especially within a music world in which it pays to take initiative ? it is made all more remarkable by Burrell?s status. Duke Ellington famously referred to Burrell as his favorite guitarist, but such praise does not seem to have gone to Burrell?s head. At least, that?s how second-year jazz studies student Peter Hargreaves feels. <br/>?I own some of his recordings from the ?60s ? he?s a really gentle person, and it?s cool he can be this laid-back for being so famous,? Hargreaves said. <br/>As inspirational as Burrell?s flexibility, his students attest, is his dedication to his own sound. Holding on to a distinctive thread of ideas that are deeply his, Burrell has retained his musical vision throughout his career. His ability to discover himself and confidently project that discovery onto countless records can encourage students to attempt the same with their own sounds and careers. <br/>?His playing is very sweet and soulful. It is genuinely his own sound and style, and sounds truthful. It?s cool to hear someone who found his sound and carved a place for himself with it,? Garabedian said. <br/>To some, what?s more important is the link that Burrell provides to the history of the jazz tradition. For Kaplan, understanding the cultural connection between current ideas in jazz and those from the time of Burrell?s earlier career allows him understand the differences between then and now in ways not possible from listening to recordings alone. <br/>?He?ll tell you stories about his career ? he knows so much about the music scene of the ?50s and ?60s. It?s about more than just the performance, and he?s a huge prize to UCLA in that he shows so much about the cultural aspects of jazz,? Kaplan said. <br/>Although students take different lessons from Burrell, one thing all can agree on is his genuine spirit, in both his music-making and his attitude toward students. Students sense a positive force in working with Burrell and find his attitudes encouraging. <br/>?You can hear just from his playing that he?s a kind person,? Garabedian said. <br/>Garabedian, who will take part in Burrell?s 75th birthday celebration, is one of the students who has had a chance to play with Burrell. As a bassist, Garabedian is sensitive to a certain confidence in Burrell?s character that shines through his playing and benefits the ensemble. <br/>More importantly for Garabedian, however, is Burrell?s history as a musician and the bassists with whom he has played. Taking the role of some of his idols, who have been featured on much of the legend?s discography, Garabedian was able to experiment with some of the same musical ideas as his inspirations. <br/>?He has played with so many of my heroes,? Garabedian said. ?I tried to keep the spirit of some of my favorite bass players and adapt to (Burrell?s) style.?</p><br><br><a href='; target='_blank'>;