Search - Kenny Dorham :: Jazz Contrasts

One of a kind!

06/25/2000

(5 out of 5 stars)

"There was only one Kenny Dorham! Overshadowed in his day by the likes of Dizzy Gillespie, Clifford Brown, Miles Davis, Lee Morgan and Freddie Hubbard, Dorham's recorded legacy demonstrates with great clarity his singular contribution to the jazz trumpet tradition- a contribution that many of today's young and not so young trumpet players are trying to come to grips with. The vocal sound quality, harmonic slyness, and puckish phrasing are the cornerstones of his distinctive style. Simply stated, Kenny Dorham was, at least to this listener, the most soulful trumpet player who ever lived.On this particular album, Dorham benefits from the all-star support of Hank Jones, Oscar Pettiford, Sonny Rollins, and Max Roach as well as some undistracting harp backing on several of the tracks. The program highlights many of Dorham's special talents including his heartfelt way with a ballad (hear My Old Flame). Highly Recommended!"

The Bard of the Trumpet

Samuel Chell | Kenosha,, WI United States | 09/15/2007

(4 out of 5 stars)

"Keepnews is rightly proud of this session under the leadership of the man who has been called the poet of the trumpet as well the musician whose name is "synonymous with underrated." It shows Kenny's gifts as a balladeer, composer, and pyrotechnician--the kind of player who can take apart a song's chord structure and reconstruct it with surgical precision, even while operating at blinding speed.



If you should have doubts about whether Kenny was really all that good, start with the last track, his own "La Villa." Here the minimalist or playful Dorham is less in evidence and the trumpet-master emerges, practically supporting Keepnews' contention in the new liner notes that after Clifford there was none better on the instrument than Dorham. Roach supplies the break-speed tempo and Kenny lets the notes fly, yet not allowing a single one to get away from his thought process. It may be his most technically accomplished solo on record. It also brings Rollins, who starts slowly on the opening tune, up to speed.



Still, the Dorham-Rollins pairing is more satisfying overall on Roach's "Jazz in 3/4 Time." The inclusion of "I Remember April" on the present date practically invites listeners new to Dorham to compare him immediately with Clifford Brown who, shortly before his death, had submitted a memorable performance of the same song with the same cast ("At Basin Street" on Mercury). Such comparisons are rarely productive. Clifford was a passionate Romantic, his tone not merely brilliant but flashing with daring, emotion and near-operatic splendor. Kenny's temperament is more Schubert than Verdi, more at home in chamber music and lieder than grand opera. His is an equally moving voice, but one that requires an adjustment on the listener's part to be able to absorb all of its subtle intricacies.



As for the remastering, some listeners will no doubt prefer the more prominent sound of the rhythm section on Kenny's Blue Note recordings with Hank Mobley ("Whistle Stop") or Joe Henderson ("Una Mas," "Concierto Trompeta"). Personally, if I had to stick with just one recording with Dorham on it, make it "Art Blakey at the Cafe Bohemia." But perish the thought at having fewer than 10-12 Dorham sessions in your collection.



(Note to the anonymous paparazzi who's been trailing my every review, awaiting another chance to rubber-stamp his monotonously acrid verdict: I'm not worth your time. Go after someone who cares what you think--if anything. But vary your targets. Amazon is pretty good at detecting ad hominem patterns and denying voting privileges.)"

Melodic blowing session

Anthony Cooper | Louisville, KY United States | 09/15/2007

(4 out of 5 stars)

"Kenny Dorham brought together Sonny Rollins, Max Roach, Hank Jones, Oscar Pettiford for a jam session. Harpist Betty Glamann plays on three songs in the middle of the CD. Sometimes jam sessions can be tough to get through, but Kenny Dorham plays very melodically throughout. Sonny Rollins is known for his melodicism, so even though the session may have been to jam, it's still worth many listens. The title comes from the songs in the middle with the harpist sitting in. They're ballads, though not much is done with the harp. You could have had an acoustic guitarist strumming open chords.



There isn't anything groundbreaking or world-shattering, but you have Kenny Dorham in fine form with a stellar backing cast. It's a good CD."