(Vol. 1-2)
Jazz
Trumpeter Kenny Dorham played extensively with Charlie Parker, Horace Silver, Sonny Rollins, and other New York heavyweights of the 1950's and 60's. He was a hot player, but he never built up his technique to the point where he could cut the most daring passages like his contemporaries Dizzy Gillespie, Clifford Brown, Lee Morgan, and Freddie Hubbard. On the other hand he said more with his sound, which came in several shades of blue—he paid attention to nuance. He was particularly drawn to Latin rhythms.
This music was recorded in May, 1956 shortly after Dorham left the Jazz Messengers. Dorham called his band “The Jazz Prophets” to emphasize the connection with Art Blakey. Also Blakey had recorded a successful album at the Bohemia (a well-known New York club) the previous year with Dorham in the band. For this session guitarist Kenny Burrell sat in, and he contributed in a big way.
The band focuses on soloing, and all four front line players are on. Burrell and Timmons, two of the top blues players of the era, are caught near the beginnings of their New York careers. Every Burrell solo is riveting, and as always his technique is impeccable. The alternate of “Mexico City” features him all the way. Timmons is still getting himself together— he sometimes gets caught up in licks (clichés), and he doesn’t quite know how to approach ballads. Still his feel and phrasing are strong, and many of his solos have their moments. He adds greatly to the band, especially as a propulsive accompanist. (The Jazz Prophets without Burrell had recorded a few weeks before in the studio. The previous record was with a capable pianist who did not have Timmons’ feel for the blues. Café Bohemia works much more mainly because of Timmons.)
Monterose, an equally accomplished player, complements the other soloists with his more relaxed style and greater sense of pace. (He is not passive.) Rhythmically he is out of an earlier, Lester Young-inspired rhythmic feel. His best choruses come on “My Heart Stood Still.” Dorham's solos are the most varied and musically adventurous. He is the best ballad player in the band. As a bandleader he has a light touch but keeps things focused.
The repertoire is mostly the blues or blues-flavored tunes suitable for blowing. Many are borrowed from Dorham's contemporaries and retitled with Dorham as “composer”. “Hill’s Edge” is “Tune Up” by Miles Davis. “Mexico City” is Bud Powell's “Tempus Fugit.” “The Prophet” derives from Sonny Rollins’ “Airegin”. “K.D. Blues” is a variant on Oscar Pettiford's “Blues in the Closet” (AKA “Collard Greens and Black-eyed Peas”). “Royal Roost” and “N.Y. Theme” are common property songs of the time: “Royal Roost” was recorded as “Rue Chaptal” by Kenny Clarke and as “Tenor Madness” by Sonny Rollins. “N.Y. Theme” is the same tune Miles Davis recorded as “The Theme” and as “Trane’s Blues.” (Dorham later matured into a compelling composer on a series of burning records often with Joe Henderson, his most provocative collaborator.)
Sonically this is probably one of the best live sessions of the time. The balance is natural, and the musicians played into the microphones. Unfortunately the piano sounds cheap. Six other alternate takes from the session remain unissued.
By Craig Jolley.
**
Kenny Dorham was such a great trumpet player, but even considering the fact, that his recording period spanned about 20 years, starting with important contributions in the forties, when he played with Charlie Parker, Bud Powell and others, it quite seems, that he largely was taken for granted by the wider audience, which paid most of the attention to more glamorous players, namely Dizzy and Miles. But listening to Kenny Dorham's Blue Note recordings you will notice, that he had it all: A beautiful, slightly bittersweet sound, really nice, long lines and a great knowledge about chord-progressions. Of course, he also was a great composer. This latest reissue from the RVG-Series offers for the first time the possibility to really listen to all recorded material from that live-date. You will love it, especially if you already own the two Art Blakey CDs "Life at Café Bohemia", which also feature Dorham at his best. About the personnel of this date, I'd like to notice the presence of Kenny Burrell on some of the tunes. He had finished his first own album ("Introducing Kenny Burrell") just the day before and he sure was in a playing mood. the choice of J.R. Montrose is also a very interesting one. this relatively obscure tenorist really has nice ideas and a pleasant, light sound, somehow similar to Stan Getz or Zoot Sims and he really takes care of business. Bobby Timmons on piano already had his block-chord style, which later would become famous when he was part of Blakey's Jazz Messengers. Sam Jones on bass and the to me completely unknown Athur Edgehill on drums contribute everything necessary for a good groove, so let's say, that I really enjoy this music: The tremendous swinging versions of "K.D.'s Blues", "Night in Tunisia", "Who Cares", a very relaxed "My Heart Stood Still" and gorgous ballad interpretations of "Autumn in N.Y." and "Round Midnight". Considering the originals, I think, that "Monaco" is the most interesting one. It's based on an idea, which first appeared on another Dorham original ("Minor's Holiday") from the above mentioned Art Blakey date and Dorham's first Blue-Note Album, the fantastic "Afro Cuban", which I also reviewed. Enjoy it!
By G. Schramke.
**
Kenny Dorham- (Trumpet)
J.R. Monterose- (Tenor Sax)
Bobby Timmons-- (Piano)
Kenny Burrell (Guitar)
Sam Jones- (Bass)
Arthur Edgehill- (Drums)
**
CD 1
01. K.D.'s Blues (10:41)
02. Autumn In New York (4:38)
03. Monaco [alternate take] (5:33)
04. N.Y. Theme (5:39)
05. K.D.'s Blues (9:30)
06. Hill's Edge (8:16)
07. A Night In Tunisia (9:31)
08. Who Cares? [alternate take] (4:59)
09. Royal Roost (8:41)
CD 2
01. Mexico City (6:02)
02. 'Round About Midnight (7:44)
03. Monaco (6:37)
04. Who Cares? (6:21)
05. My Heart Stood Still (7:49)
06. Riffin' (7:50)
07. Mexico City [alternate take] (6:33)
08. The Prophet (6:20)
**
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