Podcasts about dorham

The jazz standard "All The Things You Are" has been performed countless times by master jazz vocalists, 30s big bands, bebop small groups, hard-bop combos, modern deconstructionists, and even soon-to-be Kings of Pop. On this episode, Kirk takes listeners through the history of the now-famous tune, from its humble Broadway origins all the way to his recording studio in Portland, where he and some friends recorded an all-new arrangement just for Strong Songs.Music/Lyrics: Jerome Kern & Oscar Hammerstein IIVersions Featured:Broadway Original Cast Recording of "Very Warm for May," - 1939Tommy Dorsey and His Orchestra, feat. Jack Leonard, 1939Artie Shaw w/ Hellen Forrest, 1939Dizzy Gillespie w/ Charlie Parker, 1945Johnny Griffin w/ Hank Mobley, John Coltrane, Lee Morgan, Wynton Kelly, Paul Chambers, Art Blakey on A Blowing Session, 1957Ella Fitzgerald from Sings the Jerome Kern Songbook, 1963Michael Jackson, 1973Sonny Rollins w/ Coleman Hawkins from Sonny Meets Hawk!, 1963Bill Evans w/ Chuck Israels, bass, and Larry Bunker, drums at Shelly's Mane-Hole, 1963Keith Jarrett Trio, from Standards, Vol.1, 1983Brad Mehldau Trio, from Art of the Trio 4, 1999Jim Hall & Pat Metheney, 1999Strong Songs Version Featuring:Kirk Hamilton, tenor saxAndrew Oliver, keyboardScott Pemberton, guitarSam Howard, bassTyson Stubelek, drumsThe "All The Things You Are" Playlist:Spotify | Apple | YouTube MusicALSO REFERENCED/DISCUSSED:The Jazz Standards: A Guide To The Repertoire by Ted Gioia, 2012The terrific 99% Invisible episode about The Real Book“Autumn Leaves” by Joseph Kosma as recorded by Cannonball Adderley and Miles Davis on Somethin' Else, 1958“Pennies From Heaven” by Johnston and Burke, recorded by Stan Getz with the Oscar Peterson Trio, 1957“Bye Bye Blackbird” by Henderson/Dixon, recorded by Miles Davis on ‘Round About Midnight, 1957“All Of Me” by Marks and Simons, played by Charlie Parker, Lennie Tristano and Kenny Clarke, 1951“I Got Rhythm” by George Gershwin, recorded by Sonny Stitt on The Hard Swing, 1961Rachmaninoff: Prelude in C-Sharp Minor,  performed by Jason Minnis, 2011“Goodbye Yellow Brick Road” by Elton John, 1973“Bird of Paradise,” recorded by Charlie Parker w/ Howard McGhee, Tpt. on The Complete Dial Recordings, Feb 1947“Prince Albert” recorded by Art Blakey's Jazz Messengers (Mobley, Dorham, Watkins, Silver) live at Cafe Bohemia, 1955“Poinciana” by Simon/Bernier recorded by Amhad Jamal Live At The Pershing, 1958----LINKS-----

STANDARS SEMANAL.-.WAVE.-VINILOS MITICOS DEL JAZZ.-.Kenny Dorham - Afro-Cuban.-JAZZACTUALIDAD.-.ESTER ANDUAR.-INNER SONGS Afro-Cuban es un álbum del trompetista de jazz estadounidense Kenny Dorham , grabado para Blue Note el 29 de marzo de 1955 y publicado ese mismo año en la Blue Note Modern Jazz Series, poco antes de que el sello descontinuara el formato. Pronto se reeditó en la nueva serie 1500, recopilado con una sesión de una primera encarnación del conjunto, con nueva portada. Recepción Calificaciones profesionales Puntuaciones de la revisión Fuente Clasificación Toda la música [ 3 ] La guía Penguin para grabaciones de jazz [ 4 ] La reseña de AllMusic de Michael G. Nastos afirma: «Una grabación de primera clase para el poco apreciado Dorham; esta debería estar en todas las colecciones de los verdaderos amantes de la música». [ 3 ] Lista de canciones LP de 10", BLP 5065 Todas las pistas están escritas por Kenny Dorham, excepto donde se indique lo contrario. Lado 1 No. Título Fecha de registro Longitud 1. "Afrodisia" 29 de marzo de 1955 5:06 2. "Flor de loto" 29 de marzo de 1955 4:17 Lado 2 No. Título Escritor(es) Fecha de registro Longitud 1. "Vacaciones del menor" 29 de marzo de 1955 4:27 2. "El sueño de Basheer" Gigi Gryce 29 de marzo de 1955 5:03 Inner Songs es el cuarto álbum de Ester Andújar, basado en sus propias composiciones. Jazz, música brasileña y de autora se unen en su música. Su capacidad para interpretar en valenciano, inglés, español y portugués destaca su conexión global y su gran versatilidad vocal Después de 15 años de silencio discográfico, Ester Andújar regresa con Inner Songs, un álbum que destila madurez, valentía y un profundo sentido de identidad artística. Este cuarto trabajo de la cantante valenciana no solo reafirma a Ester como una de las voces más destacadas del jazz español, sino que también redefine el «jazz de autora», entrelazando elementos poéticos, narrativos y texturas sonoras en un viaje íntimo y cautivador. Desde el primer tema, Els somnis, Ester nos invita a un universo donde la frontera entre sueño y realidad se difumina. La riqueza armónica y la conexión entre su voz y los instrumentistas crean una atmósfera mágica. Acompañada por algunos de los mejores músicos de la escena, quienes también participaron en la grabación del disco ??"Albert Palau al piano, Iván Cebrián a la guitarra, Miquel Álvarez al contrabajo, Tico Porcar a la batería y el saxofonista Javier Vercher como invitado especial??", Ester logra que cada nota fluya con naturalidad. Además, su interpretación de scat es exquisita, demostrando no solo su virtuosismo técnico, sino también su capacidad para convertir su voz en un instrumento que dialoga de manera orgánica con la banda. El álbum explora emociones complejas, como en Flor del desierto, una autobiografía que aborda el dolor y la resiliencia. Aquí, Andújar revela sus vulnerabilidades y contrastes, logrando un final catártico que resuena en cada nota. Su voz, rica en matices, equilibra fuerza y fragilidad, convirtiéndose en un vehículo para la reflexión y la conexión emocional. Pero este viaje no es solo introspectivo, sino también social y político. Canciones como República y Las mujeres que nos faltan demuestran el compromiso de Andújar con la memoria histórica y la reivindicación de voces silenciadas. Las mujeres que nos faltan resulta particularmente impactante, ya que da voz a las víctimas de la violencia de género con una sensibilidad y una contundencia que estremecen. Musicalmente, el disco es un mosaico enriquecido por influencias de la música brasileña (Beijo partido), el folklore y el jazz, siempre desde una perspectiva muy personal. Ester canta en valenciano, español, portugués e inglés, y cada idioma aporta una textura diferente, ampliando las emociones que transmite cada canción y mostrando una versatilidad que refuerza su carácter cosmopolita. En Abans de tu, dedicada a su hija, la cantante encapsula su transformación personal en estos años. Con una letra cargada de esperanza y amor, celebra el renacer artístico y vital que la maternidad le ha brindado. Esta conexión entre lo personal y lo artístico atraviesa todo el disco, dándole una autenticidad que conmueve. Inner Songs no es solo un regreso, es una declaración. Es el retrato de una artista que se vació para reconstruirse, que se cuestionó qué quería decir y cómo quería hacerlo. El resultado es un álbum conceptual que cuenta una historia de principio a fin, llena de contrastes, himnos y homenajes que reflejan tanto las luces como las sombras de la vida. Este trabajo es una obra valiente, poética y necesaria. Ester Andújar ha creado un disco que no solo alza su propia voz, sino también la de quienes no pueden hacerlo. Su jazz de autora no es solo música; es narrativa, memoria y emoción. Un imprescindible para quienes aman el jazz y la música con alma.

Renowned archivist & record producer Zev Feldman, "The Jazz Detective", returns to discusses the Record Store Day 2025 releases of lost jazz recordings from Freddie Hubbard, Charlie Mingus, Bill Evans, Patsy Cline & more!  Topics Include: Introduction of Zev Feldman, nicknamed "the jazz detective" Status of finding lost jazz recordings - feeling optimistic Live recordings create a "renaissance" for jazz enthusiasts Concern about aging jazz colleagues with undiscovered tapes Feldman works with multiple record labels simultaneously Record companies are selective about which projects to release Concerns about tariffs affecting vinyl manufacturing costs Vinyl jazz releases often operate on slim profit margins Resonance Records uses Canadian pressing plant Le Vinylist Six Record Store Day releases coming from Feldman Patsy Cline "Imagine That" was most difficult release to assemble Patsy Cline release required coordinating multiple rights holders Country Music Hall of Fame involved in Patsy Cline project Feldman's personal connection to record stores and vinyl collecting Freddie Hubbard "On Fire" recorded at Blue Morocco (1967) Bernard Drayton engineered the Blue Morocco recordings Blue Morocco club owned by Sugar Hill Records founders Kenny Dorham recordings from same Blue Morocco venue Dorham's recordings especially rare and significant to Feldman Dorham was also a writer who contributed to DownBeat magazine Charles Mingus in Argentina - recordings from 1977 concerts Second Argentina concert added due to popular demand Mingus recordings made less than year before his ALS diagnosis Wes Montgomery with Wynton Kelly Trio reissue with new mastering Original Montgomery release now selling for $100+ in stores Time machine question - which historic jazz gig to attend Discussion of legendary venue Slugs and its important shows Feldman's collection of music memorabilia and venue posters Bill Evans live in Finland recordings (1964-1969) Feldman's 13th Bill Evans production with the Evans Estate Finland recordings feature three different Evans trio lineups Record Store Day helping introduce Evans to younger audiences Plans for Record Store Day Black Friday releases Value of releasing previously unheard music versus reissues EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Photo by Jean-Louis Atlan Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Tonight's Jazz feature spotlights the perennially underrated trumpeter Kenny Dorham. His Birthday Anniversary was August 30, 1924 in Fairfield, Texas and he died of kidney disease in New York on December 5,1972 at age 48. Dorham now his the recognition and the honors that eluded him in his lifetime like many music and artistic masters. Tonight's Jazz Feature is by a short lived group that Kenny Dorham formed in early 1956 called "The Jazz Prophets" and this album was their first recorded outing and it's one fine debut. 4 of the 5 tunes are Dorham compositions as well and the slow ballad feature is the Billie Holiday classic "Don't Explain" soulfully interpreted by Kenny. The people involved here are Kenny Dorham on trumpet, J.R. Monterose on tenor saxophone, Dick Katz on piano, Sam Jones on bass and Arthur Edgehill on drums. In honor of Kenny Dorham The Jazz Show presents The Jazz Prophets......enjoy!

Rather than discuss a single Jazz standard, this episode of Same Difference is all about the trumpet, and we've invited our friend and professional Jazz trumpeter, Mike Sailors, to join the fun. In fact, we had so much fun recording this, we've broken it into 2 full shows! In this part one, join us as the three of us listen to and discuss music by Louis Armstrong, Chet Baker, and Kenny Dorham.

Bienvenidos amantes de la música. El trompetista Kenny Dorham estuvo en bandas de renombre desde muy joven. Con apenas 21 años empezó a aparecer en las bandas de Billy Eckstine y Dizzy Gillespie. Reemplazó a Miles Davis en la banda de Charlie Parker, formó parte de la primera versión de los Jazz Messengers de Horace Silver y Art Blakey. Tras la muerte del trompetista Clifford Brown se integra al famoso quinteto de Max Roach. Impulsó la carrera de jóvenes figuras como Joe Henderson, el saxo tenor, que después le incluiría en su disco debut "Page One" donde Dorham compuso uno de sus standards inmortales, "Blue Bossa". Miles Davis quien era bastante mezquino a la hora de elogiar a sus colegas, reconoció la calidad e influencia de Kenny Dorham. Les invitamos a una pequeña revisión de su música e interpretación. Los temas son: 1. Night Watch 2. Mamacita (extracto) 3. The Fox. *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos)patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

durée : 00:59:39 - Centenaires 2024 (4/5) : Dinah Washington, Kenny Dorham, Bill Perkins - par : Alex Dutilh - Quand on observe la liste des jazzwomen des jazzmen et des bluesmen dont on pourra célébrer le centenaire de la naissance en 2024, ça ressemble à une jam session au sommet de l'Olympe.

durée : 00:59:39 - Centenaires 2024 (4/5) : Dinah Washington, Kenny Dorham, Bill Perkins - par : Alex Dutilh - Quand on observe la liste des jazzwomen des jazzmen et des bluesmen dont on pourra célébrer le centenaire de la naissance en 2024, ça ressemble à une jam session au sommet de l'Olympe.

Lauded musicians Josh Evans and Marcus Strickland join Milestones to discuss the debut album from saxophone giant Joe Henderson. Together they examine Henderson's harmonic and rhythmic innovation; the essentiality of collaborator and friend Kennny Dorham; and why it's always the right time to give flowers to one of the most important yet somehow underexplored musicians of our time. As members of Christian McBride's New Jawn, they share thoughts on the special relationship between the saxophone and trumpet in small group formats and why Henderson and Dorham are at the top of the list of dynamic duos.

Solos y juntos, de Schwartz y Dietz es una estupenda balada. Las versiones de este episodio van a cargo de Arti Shaw, Baker, Miles, Dorham y Dizzy en trompetas; Golson, Getz, Rollins y otros en saxo, Bill Evans, Jim Hall, Ron Carter. Hosted on Acast. See acast.com/privacy for more information.

Tonight`s Jazz Feature is one of the few albums under his name that he recorded despite the fact that master drummer Arthur Taylor was on literally hundreds of recording sessions in the 50`s and 60`s. He played with everyone of note from Coleman Hawkins, Charlie Parker, John Coltrane, Thelonious Monk et al. The Jazz Feature album is called `A.T.`s Delight` and it is one that Art Taylor was proud of. He selected the tunes and picked the personnel. First up is the underrated and under recorded trumpeter Dave Burns. On tenor saxophone is a young up and coming star, Stanley Turrentine. On piano is Wynton Kelly and Taylor`s favorite bassist, Paul Chambers. Where heard is the great conga player Carlos `Patato` Valdes, he is on some tunes. The set is a good one beginning with Coltrane`s `Syeeda`s Song Flute` followed by Thelonious Monk`s `Epistrophy` and that is followed by the up tempo `Move`. Trumpeter Kenny Dorham was commissioned by Art Taylor to write two tunes for this date and the first is called `High Seas`. Following this one is a Taylor composition reflecting his Caribbean heritage called `Cookoo and Fungi` (a West Indian dish). The final tune is the second Dorham composition called `Blue Interlude`. Taylor was happy with this date done at RVG Studio on August 8, 1960 and you will be too when you hear it.....`A.T.`s Delight`.

Mac the Knife (literalmente Mac el del cuchillo), también conocida como Moritat fue compuesta por Kurt Weill con letra original de Bertold Brecht y en inglés de Marc Blitzstein. Desde una versión de 1928 en alemán, pasando por la de Lotte Lenya (esposa del autor), la inmortal de Satchmo; las trompetas de Dorham, Terry y Sandoval; a Grapelli; Rollins, Stanley Clarke pasamos a Pedro Navaja con el mismo tema y rematamos con Ole' Blue Eyes. Hosted on Acast. See acast.com/privacy for more information.

Today I interview Sylvia Dorham, children's author.  The beginning of the interview had a glitch so we miss some of Sylvia's biographical information!  Sylvia is a Catholic mother of ten, who has a great love of beauty and recognizes that we learn better through rhythm,  rhyme and beauty.  We discuss her "Monks" books and her newest book, Our Lady, Undoer of Knots.  Sylvia Dorham's accomplishments are best summarized in the words, "wife" and "mother." She appreciates truth, goodness and beauty and is grateful for skilled artists with whom she can collaborate.1:02 - Delivering truth in writing for children 3:12 - Not another cheesy children's book11:40 - About Our Lady Undoer of Knots and new book27:36 - Hymns - Rhyme, Rhythm and Music 28:51 - About the illustrator 33:44 - Best advice for keeping our children close to usSylvia's books How to Pray the Mary Undoer of Knots Novena Books by Paul Thigpen Books by Regina Doman eyes to see (blog post) #makejoynormal #homeschool #faith # relationships #literature #music #ourladyundoerofknots #prayer Try Riversidefm, Our recording platform.  I use it because it's easy. I use it because good tech support matters.https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=bonnieBuzzsprout makes podcasting simple.  I value support in this ministry; the folks at buzzsprout respond quickly and cheerfully.https://www.buzzsprout.com/?referrer_id=1000177

Blue Bossa" is an instrumental jazz composition by Kenny Dorham 1963. It was introduced on Joe Henderson's 1963 album Page One. A blend of hard bop and bossa nova, the tune was possibly influenced by Dorham's visit to the Rio de Janeiro Jazz Festival in 1961.The tune has since been recorded numerous times by different artists, making it a jazz standard.(Wikipedia)These selections and arrangements are for your listening pleasure only and not intended for any other purpose.Cover by Franco Cianflone at GS studios Hosted on Acast. See acast.com/privacy for more information.

Teaching children about Our Lady, Undoer of Knots.

James Moody and Art Blakey - early Bop/Cool/Hard Bop from Blue Note, 1947 and 48. Larger bands featuring Moody, Blakey, David Burns, Kenny Dorham, Ernie Henry, Sahib Shihab, Musa Kaleem, Cecil Payne and others - arrangements by Payne, Dorham, and Gil Fuller. --- Support this podcast: https://anchor.fm/john-clark49/support

DIEGO RIVERA – RasquacheKENNY DORHAM – Afrodisia ART BLAKEY - Once In A WhileGERI ALLEN – Dancing in the DarkTHELONIOUS MONK – I'm Getting Sentimental Over YouSTAN TRACEY – Just You, Just MePAUL BLEY – TurnaroundORNETTE COLEMAN – Morning SongJOHN COLTRANE & JOHNNY HARTMAN – My One and Only Love NINA SIMONE – Don't Let Me Be Misunderstood

Welcome to The Black Nova Experience The Black Nova Experience is comprised of Vocalist, K. E. Dorham & Guitarist/Producer, Ricardo Love. Black Nova is an Oakland, California based music duo with an eclectic music catalog that covers nearly every major genre of music. The R&B concentrated duo's works extends to the genres of Blues, Pop, Rock, Hip-Hop, House, Adult Contemporary, Jazz, and Bossa Nova. With sign language interpreting performed by Odie Ashford, The Black Nova Experience becomes an event for all eyes to see. We introduce you to The Black Nova Experience with a tribute to the late great Bob Nesta Marley via Black Nova's “Don't Cry”, a cry against gentrification and homelessness. Free download: https://soundcloud.com/user-106089706/dont-cry Prepare to witnesses what has yet to be accomplished by any artist in the history of music. Welcome to The Black Nova Experience. --- Support this podcast: https://anchor.fm/justchatwitbri/support

Revisamos una película sobre la amistad y el mundo del Jazz, dirigida por el recientemente fallecido director francés Bertrand Tavernier, 'Round Midnight, Alrededor de la Medianoche. A pesar de los 35 años transcurridos desde su estreno, se sigue disfrutando como el primer día. La banda sonora es obra de Herbie Hancock, y cuenta con el saxo de Dexter Gordon que también encarna el papel protagonista junto a François Cluzet. En el apartado musical, un gran numero de primeros espadas escoltan a Hancock y Gordon. En el bajo se alternan Pierre Michelot y Ron Carter, y Tony Williams y Billy Higgins en la batería. Junto a ellos las colaboraciones de Bobby McFerrin, John McLaughlin, Chet Baker, Wayne Shorter, Lonette McKee, Cedar Walton y Bobby Hutcherson. Los temas que suenan son, por orden: Berangere's Nightmare (H. Hancock); Round Midnight (B. Hanighen, C. Williams, T. Monk); Body And Soul (E. Heyman, F. Eyton, J. Green, R. Sour); Fair Weather (K. Dorham); Una Noche Con Francis (B. Powell); The Peacocks (J. Rowles); How Long Has This Been Going On? (. Gershwin - G. Gershwin); Rhythm-A-Ning (T. Monk); Still Time (H. Hancock); Minuit Aux Champs-Elysees (H. Renaud); Chan's Song (H. Hancock, S. Wonder); Broadway (Woods, Bird, McCrae). Merece la pena volver a verla y volver a escuchar su banda sonora.

Let’s face it: the nutrition and wellness world is very, well, *white*. Today Sierra Dorham, FNTP joins us to have a very needed conversation about her experience in this space as a black woman. Sierra also shares ideas for making our businesses more diverse and how we can use our privilege to help others. Today’s conversation highlights the importance of being able to set our egos aside and be willing to have conversations that make us uncomfortable is part of our personal responsibility to educate ourselves! Systemic Racism Video https://youtu.be/YrHIQIO_bdQ Harvard Implicit Bias Project https://implicit.harvard.edu/implicit/takeatest.html Me and White Supremacy https://amzn.to/2NBDTPT Connect with Sierra! IG: @bettereverydayhealth befitnessandhealth.com If this episode was helpful to you, make sure to screenshot this episode and tag me (@rebellenutrition) and Andrea (@bettereverydayhealth)! Join my FREE masterclass - Turn Your Passion Into An Online Business https://rebellenutrition.lpages.co/turn-your-passion-for-nutrition-into-an-online-business/ --- Send in a voice message: https://anchor.fm/rebellenutrition/message

durée : 00:59:31 - Prières dans l'air - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

To swing or not to swing, that is the question, and here is the answer - Swinguer ou ne pas swinguer, telle est la question, et voici la réponse. À vous de départager les deux protagonistes de cette émission en direct du Mellotron à Paris. Fred Boucaumont et Lawrence Walken s'envoient du lourd, et on l'impression qu'ils y prennent goût. Ils sont touchants, en fait. À bout portant, plus exactement. Jugez plutôt : Art Blakey vs Charles Mingus vs Miles Davis vs Kenny Dorham vs Joe Henderson vs Clifford Jordan vs Art Farmer et Donald Byrd vs Charlie Byrd vs Scott Hamilton vs George Wallington...

J.R. Monterose is certainly not a household name in Jazz music but he is one of the important tenor saxophonists who was in New York in the md-50s during the Jazz boom. Monterose was born in Detroit but raised in upstate New York in Utica and paid his dues in various big bands and by the mid-50s was heard on recordings by vibist Teddy Charles and bass master Charles Mingus. Monterose worked off and on with Mingus from 1954 to 1956 when he appeared on a famous and important Mingus recording called "Pithecanthrophus Erectus". Soon after he left Mingus and joined trumpeter Kenny Dorham's short-lived band called "The Jazz Prophets" and it was from a live recording with Dorham that Monterose came to the attention of Blue Note's head honcho Alfred Lion. Lion gave Monterose his first opportunity to record under his own name and this great recording is the result. J.R.'s hard-hitting tenor saxophone dominates and his partner, Chicago legend Ira Sullivan provides a great foil with his fast crackling trumpet. The rhythm section is one of New York's finest and was picked by J.R. specially for their astuteness and deep groove. Horace Silver on piano, the great Chicago bassist Wilbur Ware and the dynamic drummer Philly Joe Jones. The tunes are three by J.R., one by trumpeter Donald Byrd, one by bassist Paul Chambers and a hip original by drummer Philly Joe Jones. All in all this was one great debut recording and a perfect example of New York Jazz from the 1950s. J.R. Monterose!

Kenny Dorham was as Art Blakey once said "the uncrowned king" of Modern Jazz trumpet. This delightful album was a pet project of Kenny's as he loved the music of Jerome Kern and decided to do an album with a hand-picked all-star band of Kern's musical masterpiece "Showboat". Dorham selected his 6 favourite songs from the musical and delivers them with his beautiful sound, individual concept and total mastery. This date was done in December of 1960 and Dorham's band included the wonderful Philadelphia tenor saxophonist Jimmy Heath. Kenny Drew, one of the finest of all Bud Powell's disciples on piano. A young pre-Coltrane Jimmy Garrison is on bass and the ubiquitous Arthur Taylor mans the drums in his usual swinging and definitive manner. This date is a wonderful re-interpretation of great music from the Great American Songbook by one of the greatest of all trumpeters....Kenny Dorham.

Trumpeter Kenny Dorham had to live with the term "underrated" for most of his life but he was anything but. Now considered one of the leading lights of Modern jazz trumpet along with Miles, Dizzy, Fats and Brownie......"K.D's" place in Jazz is now assured. This date has just been discovered and it's a fine broadcast recording from the morning of January 15,1963 and it marks the first documented evidence of a great musical partnership between Dorham and the young Joe Henderson, one of the great masters of the tenor saxophone. They went on to record many great classic Blue Note dates under the leadership of one or the other. Dorham and Henderson are aided by a fine rhythm section with the reliable Ronnie Mathews on piano and Steve Davis on bass and J.C.(John Curtis)Moses on drums. The tunes are mostly standards but Dorham's great tune "Una Mas" (aka "My Injun From Brazil")is heard in an early version.The MC is Alan Grant who was a good friend of Jazz. The set has inspired playing throughout and shows all at their best. Kenny Dorham and Joe Henderson!

Texas poet/author/historian Dave Oliphant‘s KD: A Jazz Biography (Wings Press, 2012) is a poetic tribute to the life of Jazz trumpeter and one of the original Jazz Messengers, Kenny Dorham. Dorham, who played with some of the jazz greats like Dizzy Gillespie, Charlie Parker, Art Blakey, Monk and many, many others, is less well known than many of his contemporaries, but Oliphant’s highly allusive and alliterative rhythms and rhymes open one’s ears, eyes and heart to the Texas-born and raised trumpet player. Oliphant describes Dorham’s small town roots: Ken’s prodigious ear at five years old Could pick out keyboard boogies cold & from Sis’s 78s he could already tell Louie on trumpet an equal of Gabriel Oliphant also describes touches on Dorham’s gigs and experiences in New York City, the West Coast, Paris, South America, Scandinavia, and his untimely death from kidney disease at the age of 48 in 1972. a brain filled with unseen notes heard within his inner ears then out of tubes & a gold or silver bell the valve lubes had speeded along Messengers’ word a prophetic phrase blues or bossa beat a chase or a smoky-toned running line to blend with any instrument compete with none but under the brothers’ sign KD: A Jazz Biography is also a trove of takes on Dorham’s performances. Readers will find themselves downloading songs and comparing Oliphant’s insights with their own. There are also comparisons to Dorham’s trumpet player peers, in particular, Clifford Brown. For those who take pride in the diversity of their jazz libraries, this is a book that is as unique, original and dignified as Dorham himself. Oliphant weaves his own extended literary, historical, biologic, poetic, and popular culture knowledge into this extended poem about one of jazz’s lesser-known but nonetheless highly talented and original players. Learn more about your ad choices. Visit megaphone.fm/adchoices

Texas poet/author/historian Dave Oliphant‘s KD: A Jazz Biography (Wings Press, 2012) is a poetic tribute to the life of Jazz trumpeter and one of the original Jazz Messengers, Kenny Dorham. Dorham, who played with some of the jazz greats like Dizzy Gillespie, Charlie Parker, Art Blakey, Monk and many, many others, is less well known than many of his contemporaries, but Oliphant’s highly allusive and alliterative rhythms and rhymes open one’s ears, eyes and heart to the Texas-born and raised trumpet player. Oliphant describes Dorham’s small town roots: Ken’s prodigious ear at five years old Could pick out keyboard boogies cold & from Sis’s 78s he could already tell Louie on trumpet an equal of Gabriel Oliphant also describes touches on Dorham’s gigs and experiences in New York City, the West Coast, Paris, South America, Scandinavia, and his untimely death from kidney disease at the age of 48 in 1972. a brain filled with unseen notes heard within his inner ears then out of tubes & a gold or silver bell the valve lubes had speeded along Messengers’ word a prophetic phrase blues or bossa beat a chase or a smoky-toned running line to blend with any instrument compete with none but under the brothers’ sign KD: A Jazz Biography is also a trove of takes on Dorham’s performances. Readers will find themselves downloading songs and comparing Oliphant’s insights with their own. There are also comparisons to Dorham’s trumpet player peers, in particular, Clifford Brown. For those who take pride in the diversity of their jazz libraries, this is a book that is as unique, original and dignified as Dorham himself. Oliphant weaves his own extended literary, historical, biologic, poetic, and popular culture knowledge into this extended poem about one of jazz’s lesser-known but nonetheless highly talented and original players. Learn more about your ad choices. Visit megaphone.fm/adchoices

Texas poet/author/historian Dave Oliphant‘s KD: A Jazz Biography (Wings Press, 2012) is a poetic tribute to the life of Jazz trumpeter and one of the original Jazz Messengers, Kenny Dorham. Dorham, who played with some of the jazz greats like Dizzy Gillespie, Charlie Parker, Art Blakey, Monk and many, many others, is less well known than many of his contemporaries, but Oliphant’s highly allusive and alliterative rhythms and rhymes open one’s ears, eyes and heart to the Texas-born and raised trumpet player. Oliphant describes Dorham’s small town roots: Ken’s prodigious ear at five years old Could pick out keyboard boogies cold & from Sis’s 78s he could already tell Louie on trumpet an equal of Gabriel Oliphant also describes touches on Dorham’s gigs and experiences in New York City, the West Coast, Paris, South America, Scandinavia, and his untimely death from kidney disease at the age of 48 in 1972. a brain filled with unseen notes heard within his inner ears then out of tubes & a gold or silver bell the valve lubes had speeded along Messengers’ word a prophetic phrase blues or bossa beat a chase or a smoky-toned running line to blend with any instrument compete with none but under the brothers’ sign KD: A Jazz Biography is also a trove of takes on Dorham’s performances. Readers will find themselves downloading songs and comparing Oliphant’s insights with their own. There are also comparisons to Dorham’s trumpet player peers, in particular, Clifford Brown. For those who take pride in the diversity of their jazz libraries, this is a book that is as unique, original and dignified as Dorham himself. Oliphant weaves his own extended literary, historical, biologic, poetic, and popular culture knowledge into this extended poem about one of jazz’s lesser-known but nonetheless highly talented and original players. Learn more about your ad choices. Visit megaphone.fm/adchoices

Texas poet/author/historian Dave Oliphant‘s KD: A Jazz Biography (Wings Press, 2012) is a poetic tribute to the life of Jazz trumpeter and one of the original Jazz Messengers, Kenny Dorham. Dorham, who played with some of the jazz greats like Dizzy Gillespie, Charlie Parker, Art Blakey, Monk and many, many others, is less well known than many of his contemporaries, but Oliphant’s highly allusive and alliterative rhythms and rhymes open one’s ears, eyes and heart to the Texas-born and raised trumpet player. Oliphant describes Dorham’s small town roots: Ken’s prodigious ear at five years old Could pick out keyboard boogies cold & from Sis’s 78s he could already tell Louie on trumpet an equal of Gabriel Oliphant also describes touches on Dorham’s gigs and experiences in New York City, the West Coast, Paris, South America, Scandinavia, and his untimely death from kidney disease at the age of 48 in 1972. a brain filled with unseen notes heard within his inner ears then out of tubes & a gold or silver bell the valve lubes had speeded along Messengers’ word a prophetic phrase blues or bossa beat a chase or a smoky-toned running line to blend with any instrument compete with none but under the brothers’ sign KD: A Jazz Biography is also a trove of takes on Dorham’s performances. Readers will find themselves downloading songs and comparing Oliphant’s insights with their own. There are also comparisons to Dorham’s trumpet player peers, in particular, Clifford Brown. For those who take pride in the diversity of their jazz libraries, this is a book that is as unique, original and dignified as Dorham himself. Oliphant weaves his own extended literary, historical, biologic, poetic, and popular culture knowledge into this extended poem about one of jazz’s lesser-known but nonetheless highly talented and original players. Learn more about your ad choices. Visit megaphone.fm/adchoices

Trumpeter/composer Kenny Dorham (McKinley Howard Dorham) had a most frustrating career as he always seemed overshadowed by others. He was born in 1924 in Fairfield, Texas and died quite young of kidney failure in 1972 in New York at age 48. He was an accomplished, arranger/composer/pianist and singer but left his mark as one of the most distinctive voices of the trumpet. He emerged as a soloist in the 40's but was overlooked by the critics in favor of Dizzy, Fats and Miles. In the 50's the same happened to Kenny as the world was watching and listening to Chet and Clifford. The 60's were no better for Kenny as the Jazz folks were checking out Lee, Freddie, Woody and others. Kenny was an also-ran. Sad to say, now that he is gone, he has the respect and recognition that he deserved in his lifetime. Dorham is considered to be one of the major voices and is studied by all the young players today. This album is one of two recordings by Kenny's working group of the late 50's,early 60's. Kenny and the wonderful baritone saxophonist, Charles Davis are on the front line. A young Steve Kuhn is on piano. The bass chores are split between Jimmy Garrison and Edward "Butch" Warren and the solid drumming is by Arnold "Buddy" Enlow. The tunes are all Dorham arrangements and three compositions are his and the others three are by Monk, Brubeck and Frank Sinatra. "Jazz Contemporary" is a fine recording and should stand with many of Kenny Dorham's better known albums. It's a gem!

Trumpeter, Kenny Dorham was called "the uncrowned king" by drummer Art Blakey and it was indeed true. Kenny was a musician's musician and always seemed overshadowed by others. In the 40's it was Dizzy, Miles and Fats Navarro from his generation and in the 50's it was Chet Baker and Clifford Brown who got the critical acclaim and in the 60's the attention was upon Donald Byrd, Lee Morgan and Freddie Hubbard. It was Kenny Dorham's lot to always be an also-ran. Musicians knew his value and immense talent but the critical fraternity overlooked Dorham. He was a nice man who put music first and was ego free and modest. Perhaps this was the reason for his position in the Jazz life. Dorham was not only and talented trumpeter but played fine piano and sang and was a fine composer. It was only after his passing in December of 1972 that his value began to be recognized.......a sad story in the Jazz world.The Feature is one of Dorham's great recordings and rather than record one of the bands he was leading at the time, Kenny picked an all-star group of his favourite players including tenor saxophonist Hank Mobley, who suffered some of the same treatment as Dorham by the critical establishment. Kenny Drew is on piano, Paul Chambers is on bass and the great drummer, Philly Joe Jones drives the band with taste and swing. The album was recorded by Blue Note in January 1961 and not only has great playing by all concerned but displays seven very interesting compositions by Kenny, showing his knack for writing. "Whistle Stop" is a classic and stands at the top of choice recordings by this gifted musician.