Archive for the Kenny DORHAM Category

Kenny DORHAM & Jackie McLEAN – Inta Somethin' 1962

Posted in Jackie McLEAN, JAZZ, Kenny DORHAM on November 29, 2010 by whoisthemonk

Kenny DORHAM & Jackie McLEAN – Inta Somethin’ 1962
1978 Issue. GXF 3119, PJ-41
Recorded at The Jazz Workshop, San Francisco, California on November 13, 1961

Jazz

Inta Somethin’ is an live album by American jazz trumpeter Kenny Dorham featuring performances recorded at The Jazz Workshop in San Francisco in 1961 and released on the Pacific Jazz label.
**
Some of the most interesting early 60s work by both of the players! The group’s co-led by Kenny Dorham and Jackie McLean with rhythm backing by Walter Bishop Jr on piano, Leroy Vinnegar on bass, and Art Taylor on drums a trans-continental trio of players who really make for a lot of fire in the date! The quintet play a fiercely modernist approach to hardbop somewhat like McLean’s studio albums from the time, but even a bit more unbridled.
**
This album captures Dorham and McLean at their best, and most original,with their own sound just a few years out of the Blakey band and with their own hard-bop reedy thing *going-on*.I can’t recommend this enough…
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Piano- Walter Bishop Jr.
Alto Saxophone- Jackie McLean (Tracks A1 & A3-A6)
Trumpet- Kenny Dorham
Bass- Leroy Vinnegar
Drums- Art Taylor
**
A1.
US  7:10
Composed By – K. Dorham

A2.
It Could Happen To You  5:55
Composed By – J. V. Heusen* , J. Burke

A3.
Let’s Face The Music  6:07
Composed By – I. Berlin

B1.
No Two People  6:54
Composed By – F. Loesser

B2.
Lover Man  4:54
Composed By – J. Davis , J. Sherman* , R. Ramirez

B3.
San Francisco Beat  7:07
Composed By – K. Dorham
**

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Kenny DORHAM – Una Mas 1963

Posted in JAZZ, Kenny DORHAM on November 19, 2010 by whoisthemonk

Kenny DORHAM – Una Mas 1963
1987 Issue.

Jazz

“Una Mas” is a testament to Dorham’s singular approach to mixing bossa and bop. His breathy articulations also add spice to an already infectious melody. This was Joe Henderson’s first recording session. Just shy of his 26th birthday and already mature in his conception, Joe would become one of Blue Note’s most celebrated mainstays. In the rhythm section are Herbie Hancock and Tony Williams, two future anchors of the Miles Davis Quintet. Handfuls of groove rise up from Hancock’s fervent and uncharacteristically soulful comping. The spirited cymbals of the 17-year-old Williams complete the package.
By David Tenenholtz.
**
Trumpeter Kenny Dorham was a significant presence in the bop and hard bop scenes, a musician whose distinctive, lyrical style had been apparent from his work in the late ’40s with Charlie Parker’s quintet. The year 1963 was especially good for him. He had just returned from a trip to Brazil where he had been absorbing the bossa nova, and he had formed a musical partnership with Joe Henderson, a powerful young tenor saxophonist whose rugged sound and coiling lines were an ideal complement to Dorham’s often subtler approach. This session is the first in a series of dates that would pair the two, and the fifteen minute “Una Mas,” a percolating mix of hard bop sonorities and a samba beat, was the first recorded example of Dorham’s distinctive exploration of bossa nova (his “Blue Bossa” would become a jazz standard). Pianist Herbie Hancock, bassist Butch Warren, and drummer Tony Williams all take naturally to the new beat, handling it as effectively as they do “Straight Ahead.”
By Stuart Broomer. AMG.
**
This is a revered session in some quarters, I know, but I suspect partly for the wrong reasons. The compositions are worthy (in fact, I find “Una Mas” similar to but more infectious than “Sidewinder”) but not necessarily “essential.” The personnel are first-rate, but Joe Henderson’s harmonic adventurousness is no match for Hank Mobley’s warmth and melodic inventiveness; nor are Tony Williams’ dancing cymbals as irresistible a force of nature as Blakey’s hot and explosive skins. In other words, rate this set, as far as the Dorham canon goes, with “The Jazz Messengers at the Cafe Bohemia,” “Whistle Stop,” and “Afro-Cuban” but not necessarily ahead of them.
The reason to own this one is the man who belongs on even the shortest list of trumpet greats (for example, Diz, Clifford, and Kenny?). His playing is absolutely addictive. No one else prepares and “cures” every single note, launching it with that lovely cushion of sound. No one plays with so little pose and showmanship, relying so exclusively on the substance of the music itself to make sense–intellectually and emotionally–without reliance on extraneous effects. There’s tenderness, warmth, and abundant humor in each Dorham solo, but once again it arises from what the man does with the materials at hand and not from a musical persona that takes itself overly seriously. Above all I hear a vulnerability in Dorham’s work that not only touches a universal emotional core but more often than not sets off the triumph of each of his poignant creations.
If you’ve developed a Dorham habit, “Una Mas” is definitely one more to add to your collection. It’s also a good place to start, but as the title suggests it won’t do all by itself.
By Samuel Chell.
**
Kenny Dorham- Trumpet
Joe Henderson- Tenor Sax
Herbie Hancock- Piano
Butch Warren- Bass
Tony Williams- Drums
**
01. Una Mas (One More Time) 15:19
02. Straight Ahead 8:59
03. Sao Paolo Dorham 7:20
04. If Ever I Would Leave You 5:09
**

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Kenny DORHAM – Quiet Kenny 1959

Posted in JAZZ, Kenny DORHAM on November 16, 2010 by whoisthemonk

Kenny DORHAM – Quiet Kenny 1959
1992 Issue.

Jazz

In the liner notes of Quiet Kenny, former Downbeat magazine publisher Jack Maher states that trumpeter Kenny Dorham’s music is not necessarily the demure, balladic, rapturous jazz one might associate as romantic or tranquil. Cool and understated might be better watchwords for what the ultra-melodic Dorham achieves on this undeniably well crafted set of standards and originals that is close to containing his best work overall during a far too brief career. Surrounded by an excellent rhythm team of the equally sensitive pianist Tommy Flanagan, emerging bassist Paul Chambers, and the always-beneficial drummer Art Taylor, Dorham and his mates are not prone to missteps or overt exaggerations. One of Dorham’s all-time best tunes “Lotus Blossom” kicks off the set with its bop to Latin hummable melody, fluid dynamics, and Dorham’s immaculate, unpretentious tone. “Old Folks,” a classic ballad, is done mid-tempo, while the true “quiet” factor comes into play on interesting version of “My Ideal” where Dorham gingerly squeezes out the slippery wet notes, and on the sad ballad “Alone Together.” The rest of the material is done in easygoing, unforced fashion, especially the originals “Blue Friday” and the simple swinger “Blue Spring Shuffle” which is not really a shuffle. Never known as a boisterous or brash player, but also not a troubadour of romanticism — until he started singing — Dorham’s music is also far from complacent, and this recording established him as a Top Five performer in jazz on his instrument. It comes recommended to all.
By Michael G. Nastos.
**
Throughout his career, Kenny Dorham was almost famous for being underrated since he was consistently overshadowed by Dizzy Gillespie, Fats Navarro, Miles Davis, Clifford Brown, and Lee Morgan. Dorham was never an influential force himself but a talented bop-oriented trumpeter and an excellent composer who played in some very significant bands. In 1945, he was in the orchestras of Dizzy Gillespie and Billy Eckstine, he recorded with the Be Bop Boys in 1946, and spent short periods with Lionel Hampton and Mercer Ellington. During 1948-1949, Dorham was the trumpeter in the Charlie Parker Quintet. After some freelancing in New York in 1954, he became a member of the first version of Art Blakey’s Jazz Messengers and for a short time led a group called the Jazz Prophets, which recorded on Blue Note. After Clifford Brown’s death, Dorham became his replacement in the Max Roach Quintet (1956-1958) and then he led several groups of his own. He recorded several fine dates for Riverside (including a vocal album in 1958), New Jazz, and Time, but it is his Blue Note sessions of 1961-1964 that are among his finest. Dorham was an early booster of Joe Henderson (who played with his group in 1963-1964). After the mid-’60s, Kenny Dorham (who wrote some interesting reviews for Down Beat) began to fade and he died in 1972 of kidney disease. Among his many originals is one that became a standard, “Blue Bossa.”
By Scott Yanow, AMG.
**
Kenny Dorham- Trumpet
Tommy Flanagan- Piano
Paul Chambers- Bass
Arthur Taylor- Drums
**
01. Lotus Blossom  4:36
02. My Ideal  5:04
03. Blue Friday  8:45
04. Alone Together  3:09
05. Blue Spring Shuffle  7:34
06. I Had the Craziest Dream  4:38
07. Old Folks  5:11
08. Mack the Knife  3:02
**

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