Since the days of comparing Louis Armstrong to Bix Beiderbecke, there have always been two schools of trumpet players, the “big chops” guy or the “mellow melodic” one. During the bebop and hard bop days, Kenny Dorham was the lyrical and gentle anti-matter to Dizzy Gillespie’s and Lee Morgan’s hot matter. These eight albums are from his midcareer which isn’t saying too much since he died less than a decade later at the young age of 48.
Dorham’s first found in a quintet with Charles Davis/bars, Tommy Flanagan/p, Butch Warren/b and Buddy Enlow/dr, with the leader in rich form on “I’m An Old Cowhand” and “Lazy Afternoon”. A similar lineup with Steve Kuhn/p and Jimmy Garrison/b as replacements combine originals like “Waltz” with a lovely read of “In Your Own Sweet Way”. Next up is an album of interpretations from Showboat with boppers Jimmy Heath/ts, Kenny Drew/p, Art Taylor/dr and Garrison with a warm read from Dorham on “Old Man River” doing wonders.
In ’61, Dorham releases one of his classics with a team of Blue Note all stars Hank Mobley/ts, Kenny Drew/p, Paul Chambers/b and Philly Joe Jones/dr on a lively collection of originals including an ultra hip “Philly Twist” and cruising “Whistle Stop”. His roll continues the next year as he teams up with Jackie McLean on alto and Walter Bishop./p, Leroy Vinnegar/b and Art Taylor/dr for a smoking gig and hot reads of “Us” and “Let’s Face The Music and Dance”. That same year Dorham works with McLean, Bobby Timmons/p, Teddy Smith/b and JC Moses/dr for a riveting “Melody For Melaonae” featuring a hammering Timmons. Most famous of all is his 1963 (sic) session with long time teammate Joe Henderson/ts, who along with Butch Warren/b and Miles Davis’ bandmates Herbie Hancock/p and Tony Williams/dr, deliver the famous “Una Mas” that is the background for scores of scores, with it’s irresistible chopping horns, while his take of “If I Ever Leave You” is as tender as anyone can dare to get. Quiet Kenny, indeed.