A greatly underrated trumpeter & album with wonderful alto playing from "Buckshot La Funke"(aka Cannonball Adderley).
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Last edited by Jazzrook; 03-10-12, 08:56. -
I have this classy platter on Label Bluenote and agree its tres fine with Cannonball ripping thro the tunes in surging style. Loius is Clifford like and theres some very tasty piano from Duke Jordan. I write as a semipro accordianist so I know my onions...and barrows.
Duke Jordans o'wn Bnote LP is a real let down...even with Dizzy Reece along.
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This is available on spotify
good stuff featuring Louis Smith
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According to the best estimates of astronomers there are at least one hundred billion galaxies in the observable universe.Comment
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I've been listening to Howard MCghee's Dusty Blue sext. album from 61. Wonderfully crisp band and Howard very much on form and in control...a lot of these really strong trumpet players went off the critical radar in the age of Miles? Bill Hardman is another.
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Bluesnick
Staggered to read you posting enthusiastically about a swing / Mainstream musician! When I first got into jazz of the the recording sessions that hugely impressed me was one with my hero Coleman Hawkins that featured a group that included Howard McGhee and Sir Charles Thompson (I think.) The music was the kind of swing-to-bop playing that typified the approach of big man musicians like Hawkins and McGhee around that time. Allan Reuss might have been the guitarist. There were a number of ballads but there were some cracking up-tempo numbers too. I'm sure one was called "Stuffy" and is better known as the Monk tune "Hackensack." It was a contrafact based upon the changes of "Lady be good."
This is a version of "Someone to watch over me2 and I think comes from the same session:-
Prior to this , I was familiar with the trumpet player from this famous record by Andy Kirk called "McGhee Special." You can hear a bit of the Eldridge / Gillespie approach but I think illustrates that McGhee was probably less "modern" than Dizzy.
Andy Kirk's band is one of my favourites although by the time this track was made they had started to lose their identity due to the fact that Mary Lou Williams had left around the same time and also due to the increase in the size of the band.
I tend to agree about the influence of Miles and how this impacted on the fortunes of many "bop" players. To my ears, the more interesting players like Kenny Dorham seemed to cope with the innovations of the 1960's. There were many players from the 1940's who were, if you like, modern swing players and I am particularly fond of these musicians who might not have been boppers themselves yet who embraced the changes that allowed wider expression. It's a shame that someone like McGhee is now practically unknown yet there are other musicians like pianist Clyde Hart who sensed where the music was going in the evry early 1940's and are now largely forgotten. The great thing about the innovations around be-bop is that there were changes afoot in recordings like Fletcher Henderson's 1934 "Queer Notions" with it's use of diminshed chords that illustrate how early "modern" ideas started to gestate in jazz.Comment
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Agree with nearly all that Ian!
I was reading recently that Kenny Dorham took a shortish break from "the scene" at start of the 60s to get his life in order and worked on the docks. His style also changed with those shorter abrupt lines and broken phrases, I guess worked out in bands, big and small, he co led with Joe Henderson.
I really love KDs work. An unsung giant.
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You should check out Amborse Akinmusire as he sounds to me like he has been checking out Dorham too. I find those players who followed Clifford Brown's model to be a bit dull. When you hear them start to solo, you are initially very much grabbed by the attack but after about 16 bars, it just seems like they are running around the block to me. I've always preferred trumpet players who go for a "dirtier" sound and exploe different timbres. Brown might have become a more interesting player as the 50's wore on but his early death mean't that his playing is more symbolic of his era like Beiderbecke as opposed to being a musician who makes you pick up your ears. Dorham just goes for the unexpected and you sense that he is exploring the music in the group with Hebderson. "Our thing" is probably the most under-rated album amongst all the Blue Notes. If it didn't have such an ugly cover, I would be better loved. Should have had something more iconic !Comment
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I had a really nice response from Kenny Dorham's daughter a few years ago after I said he was too often overlooked ...She said he was really more interested in what other peer musicians thought of him and was himself immensely proud at all he had done at the end, not bitter.
Wonderful artist.
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