Kenny Dorham: Blue Bossa in the Bronx: Live from the Blue Morocco

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 liner notes, Dan Morgenstern's appreciation and several remembrances from fellow trumpeters. Also featured on this outing are a remarkable group of collaborators, including altoist Sonny Red, pianist Cedar Walton, bassist Paul Chambers and drummer Denis Charles.

The track list is a fairly straightforward compilation of familiar material from well-known sources, yet grounded in adequate diversity and lasting imagination. The opener is Dorham's now-iconic composition "Blue Bossa." Under his guiding hand, it brims with renewed vitality. Dorham's tone is polished and inviting, with his phrasing taut yet expressive. Red, whose crisp biting tone is underpinned by a blues-drenched sensibility, offers a searing solo, and Walton's crystalline comping and finely articulated runs add depth and sophistication. Next up is Charlie Parker's "Confirmation." Unlike many Parker compositions that are contrafacts (new melodies over familiar chord progressions), this number is an original composition, which makes it somewhat unique among bebop tunes. Through its sophisticated and intricate chord changes, harmonic complexity, and melodic inventiveness, Dorham's lines unfurl with serpentine grace and muscular intensity. Chambers' bold walking lines support Red's acerbic and slashing tone and, following Walton's solo filled with swirling arpeggios, Chambers delivers a master arco presentation.

The two standards, "Memories of You" and "My One and Only Love," begin with Red covering the former number, where his sharp-toned alto is front and center throughout the extended solo. On the latter, Dorham's horn sighs with wistful tenderness, revealing an emotive vulnerability that feels deeply personal. Among the album's highlights is the Dorham composition "Blue Friday," an earthy swinging blues that finds the trumpeter in a mischievous mood. His improvisations guide him from one chord to another with inimitable fluidity. Red is a master storyteller, and his playing is filled with harmonic ingenuity. Chambers shines with his deep-toned bass lines and supports Walton's finely articulated runs, adding depth and sophistication to the chart. Charles drives the session with a combustible energy.

The closer is a Miles Davis composition "The Theme." This number is a contrafact based on the chord changes to the popular song "I Got Rhythm" by George and Ira Gershwin. Dorham makes the opening statement with enduring artistry, yielding to Red, who picks it up in full bebop mode. The rest of the band never wavers, keeping the groove simmering. The recording offers a rare and candid snapshot of Dorham's melodic genius, harmonic ingenuity and singular voice on the trumpet.

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