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Kenny Dorham in 10 Tracks
Trumpeter Kenny Dorham never received the recognition he deserved. I'm not sure why. Part of the problem, I suppose, is that he was a gentler soul among hotter players such as Dizzy Gillespie, Miles Davis, Fats Navarro, Clifford Brown and others. He certainly was on plenty of remarkable recording sessions, and his playing was pretty and ...
Prestige Records: An Alternative Top 20 Albums
by Chris May
Along with Alfred Lion's Blue Note and Orrin Keepnews' Riverside, Bob Weinstock's Prestige was at the top table of independent New York City-based jazz labels from the early 1950s until the mid 1960s. Like those other two labels, Prestige built up a profuse catalogue packed with enduring treasures. Originally a record retailer, Weinstock ...
John Swana: Philly Gumbo
by Victor L. Schermer
From the 1995-2003 archive: This article first appeared at All About Jazz in June 2000. In addition to being one of the finest contemporary jazz trumpet players, John Swana is a human being who is spontaneously authentic and refuses to play a false role. Having reached the ripe old age of 38, John has ...
The TNEK Jazz Quintet: Plays the Music of Sam Jones
by Jack Bowers
The late Sam Jones is mainly remembered as an earnest craftsman whose perceptive bass lines undergirded the likes of Cannonball Adderley, Oscar Peterson, Cedar Walton, Barry Harris, Kenny Dorham, Bobby Timmons, Bill Evans and a host of other jazz masters. Jones, however, had another special albeit lesser-known talent, one that is addressed here, almost forty years ...
Strata-East: Seizing the Time
by Chris May
Operating on minimum finance and maximum passion, Brooklyn's Strata-East label was a pivotal platform for the spiritual-jazz movement that emerged during the Civil Rights struggle of the 1970s. Its closest contemporary comparator was Chicago's Association for the Advancement of Creative Musicians. Both were non-profit organisations. The AACM was non-profit by design. With Strata-East, co-founder Charles Tolliver ...
Un Poco Loco: Ornithologie
by Mark Corroto
Somewhere Han Bennink is very jealous of the music making of the trio Un Poco Loco. The master of 'New Dutch Swing' hijinks would give his right crash cymbal to perform music in the manner this trio covers Charlie Parker on Ornithologie. The aptly designated Un Poco Loco ('a bit crazy') trio is trombonist Fidel Fourneyron, ...
The Archive of Contemporary Music
by Karl Ackermann
In Lower Manhattan, sits a musical gold mine. It's the motherlode of recorded music though the small, brightly colored sign above a grey steel door provides only a cryptic clue. The dusty window display of rare 78 RPM records, broken into erratic pie charts serves as a vestige of the past and a cautionary tale about ...
The Arrival of Joe Henderson (1963 - 1967)
by Russell Perry
Joe Henderson may have been the most significant tenor saxophonist to emerge in the 1960s. Gary Giddins wrote that he is ..."an irresistibly lucid player, whose adroitness in conjuring stark and swirling riffs contributed immeasurably to two of the most durable jazz hits of the '60s, Horace Silver's 'Song for My Father' and Lee Morgan's 'The ...
Results for pages tagged "Kenny Dorham"...
Kenny Dorham
Born:
Overshadowed for most of his career by the likes of Dizzy Gillespie, Fats Navarro, Miles Davis, Clifford Brown, and Lee Morgan, Kenny Dorham's abilities as a composer and unique voice as an advanced bop trumpet player are underrated to this day. McKinley Howard Dorham was born on August 30, 1924 on a ranch called Post Oak, near Fairfield, Texas. He attended Anderson High School in Austin, where he began teaching himself to play piano and trumpet, and spending much of his time on the school boxing team. He later enrolled at Wiley College in Marshall, Texas, studying chemistry and minoring in physics
Association for the Advancement of Creative Musicians (1966 - 1969)
by Russell Perry
As hard bop was running out of steam and rock & roll was becoming the music of choice for the younger audience, many musicians were building on the innovations of Ornette Coleman, Cecil Taylor and John Coltrane, creating a new approach to jazz—Free Jazz (after Coleman's 1960 release of the same name) or, simply, the avant-garde. ...
