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Kenny Dorham: Blue Bossa in the Bronx: Live from the Blue Morocco
by Pierre Giroux
Trumpeter Kenny Dorham's stature in jazz history is undeniable, yet he remains one of music's most under-appreciated masters. Despite being a vital presence among the great innovators of his era, Dorham never achieved the star power his talent deserved. In conjunction with Record Store Day, Resonance Records is releasing Blue Bossa in the Bronx: Live from the Blue Morocco as a deluxe CD edition that captures Dorham in fiery form during a never-before-heard live performance. The package includes Bob Blumenthal's ...
Continue ReadingKenny Dorham: Blue Bossa in the Bronx: Live from the Blue Morocco
by Troy Dostert
On their 1955 live recording At the Cafe Bohemia (Blue Note), the Jazz Messengers' Art Blakey introduced his trumpet player, Kenny Dorham, as the “Uncrowned King," a title that was perhaps fitting at the time given Dorham's still-rising trajectory. But even in his prime, Dorham arguably never received his proper accolades, and he would typically be regarded as more of a “musician's musician" than some of the more celebrated trumpeters like Clifford Brown, Lee Morgan or Freddie Hubbard. Hence, the ...
Continue ReadingArt Pepper: Gettin' Together
by Richard J Salvucci
Roughly about a year before Art Pepper was sentenced to 3 to 20 years in San Quentin State Prison on heroin charges, he made this recording. Miles Davis' rhythm section was briefly available in Los Angeles. So Pepper had a chance to reprise his wonderful performance in Art Pepper Meets the Rhythm Section (Original Jazz Classics, 1957), albeit with different personnel and with the addition of Conte Candoli on trumpet. The recording was a kind of coda to the first ...
Continue ReadingWes Montgomery: Maximum Swing: The Unissued 1965 Half Note Recordings
by Mario Calvitti
La Resonance Records, etichetta californiana legata a un'organizzazione non-profit dedita a preservare l'arte e l'eredità della musica jazz, prosegue instancabile la sua attività di archeologia musicale pubblicando questo doppio CD di Wes Montgomery col trio del pianista Wynton Kelly al famoso club di New York Half Note nel 1965, all'incirca nello stesso periodo delle esibizioni raccolte nell'album Smokin' at the Half Note. I brani contenuti in questa raccolta provengono da cinque diverse date comprese tra il 24 Settembre e la ...
Continue ReadingMiles Davis: 2nd Session 1956 Revisited
by Glenn Astarita
The Miles Davis Quintet's 2nd Session 1956 Revisited revitalizes the iconic recordings from a pivotal year in jazz history. These original sessions, featuring Davis alongside luminaries like John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, stand as timeless classics that have indelibly shaped the course of jazz.This revisited edition captures the very essence and vitality of those legendary sessions while infusing them with a fresh perspective. The music's hallmark traits--the melodic sophistication and improvisational brilliance--are expertly ...
Continue ReadingWes Montgomery: The Complete Full House Recordings
by Mark Sullivan
Wes Montgomery's original Full House album (Riverside, 1962) comprised six tracks; the 1987 CD edition had nine tracks, with alternate takes plus the addition of “Born to be Blue"; the 2007 reissue was expanded to eleven tracks. This complete edition has fourteen tracks, including all of the previously released alternate takes as well as the completely unedited master take of the title tune, with Montgomery's original guitar solo restored. That restoration is the big news for completists but, for everyone ...
Continue ReadingPhineas Newborn, Jr.: A World of Piano!
by Richard J Salvucci
Did a critic ever accuse classical concert pianist Martha Argerich of displaying too much technique while playing Ravel? It is hardly an idle question as Argerich, one of the most gifted pianists in history, plays Ravel beautifully precisely because she has the technique to do so. She could not play “Sonatine" or “Gaspard de la Nuit"--fearsomely difficult, say pianists--if she did not. The beauty is inseparable from the technique; and the technique part of the beauty. This is ...
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