Burrell at his level best as a player, composer, and bandleader — magnificent work across the board.
God Bless the Child arrived in 1971 as a showcase for Kenny Burrell operating at full creative capacity. The AllMusic review noted it was "Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent" — a reading that caught what made this record matter. It was not a sideman session or a standard guitar-plus-strings date. Burrell was steering the ship, writing the material, and playing with purpose.
The album sits comfortably within Burrell's body of work as a strong middle-period statement, neither a debut declaration nor a retrospective, but evidence that his compositional voice had matured alongside his playing. By 1971 he had already proven himself as both a session player and a bandleader, and this record let both talents work in concert. The CTI release put him in company with the label's other soul-jazz and sophisticated pop-leaning artists, which meant the music was designed to reach listeners beyond the hard-core jazz audience without sacrificing depth.
What makes this worth hearing now is straightforward: the playing is clean and purposeful, the writing shows a real hand, and there is no padding or filler. If you want to understand Burrell as more than a hired gun, this is one of the places to start.