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Bob Dorough brings his quartet to the Iridium Jazz Club every Sunday for brunch. This live session gives those of us who live outside of New York City the opportunity to experience his charming manner. His cohesive quartet allows Dorough to summarize his career effectively. Dorough, 80, sounds better today than he did when he started out, as well as later with Miles Davis and in the 1970s with ABC-TV's Schoolhouse Rock. Like fine wine...
With the members of his quartet sharing the soloing duties, Dorough gives his audience a creative session. Bassist Steve Gilmore swings with a hearty foundation, giving the program an additional lyrical voice. Guitarist Steve Berger adds fluid lines that soar gently above the room. Drummer Ed Ornowski provides a solid groove with varied textures. Dorough delivers a sparkling performance at the piano, but it's his vocal interpretations that thrill.
"Electricity, Electricity" swings with a vibrant spirit that proves memorable. The ballad "We'll Be Together Again" drifts gently along rose petal lanes. "Without Rhyme or Reason" recalls the vocal duets that Dorough created long ago with Blossom Dearie. His 2004 performance remains as timeless.
Dorough's "But For Now" moves stealthily along a blues-covered walkway. The singer's heartfelt emotion comes through clearly. It's what he does best: convincing the world that he loves the music that he creates. Highly recommended, Sunday At Iridium reaches out and takes hold of your heart for keeps.
Track Listing: You're the Dangerous Type; But for Now; You're Looking at Me; Sunday; Comin' Home, Baby; Three is a Magic Number; Baby Used to Be; How Could a Man Take Such a Fall; Without Rhyme or Reason; Down St. Thomas Way; Ain't No Spoofin'; Electricity, Electricity; We'll Be Together Again.
Personnel: Bob Dorough- piano, vocals; Steve Berger- guitar; Steve Gilmore- bass; Ed Ornowski- drums; Joe Wilder- trumpet on "Sunday" and "Ain't No Spoofin';" Daryl Sherman- additional vocal & piano on "Without Rhyme or Reason;" Laura Amico, Roslyn Hart- backing vocals on "Comin' Home, Baby" and "Electricity, Electricity."
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.