b. 9 October 1960, Detroit, Michigan, USA. It would be fair to say that Kenny Garrett was the main musical force in Miles Davis' final band, and perhaps the last truly special young musician to emerge from the Davis hot house. As the great trumpeter played less and less, he relied more and more on his sideman to fill in the gaps, and be ready to step in quickly and build something accomplished into the gaps. Garrett proved himself an incredible alto saxophone powerhouse ' an intense and complex improviser with an astonishing energy and drive. Starting early at the age of 17 with a saxophone spot in Mercer Ellington's revived Ellington Orchestra, Garrett earned a complete musical education, in a series of perhaps surprisingly mainstream bands, considering his edgy and experimental, funky style. Mel Lewis' group (a traditional route for young and aspiring jazzers) followed, and a spell with veteran vibes and piano man Lionel Hampton followed that. His first recording as a leader came in 1984, and it was an assured affair, featuring the brilliant Woody Shaw on trumpet and a young, as yet unknown, Mulgrew Miller at the piano.

In the following years Garrett became involved in the Blue Note Records label's Out Of The Blue project, recording with the band in 1986, before continuing his extensive jazz education with a stint in Art Blakey's prestigious Jazz Messengers. A year later, in 1987, Garrett joined Miles Davis for what would be the biggest boost for his career. Garrett was given all the room he needed, and excelled in his ability to build long, escalating solos out of simple riffs and grooves, using exotic scales and sophisticated inner chord changes as the basis for an individualistic "outside' approach. Since Davis" death, Garrett has continued to record under his own name, with variable degrees of success, as well as working on a huge array of projects by such notable leaders as Dizzy Gillespie, Donald Byrd and Freddie Hubbard. Recommended listening must include African Exchange Student, featuring his regular rhythm section of the time, with pianist Mulgrew Miller, bassist Charnett Moffett and drummer Tony Reedus, as well as occasional appearances by Ron Carter and Elvin Jones. The record provides a fine example of Garrett's edgy and acidic style, on compositions that range from the Louis Armstrong anthem "Mack The Knife" to Garrett's own raucous title track.