Reviews

BOPPING TRUMPETS 101: Kenny Dorham: The Complete Albums 1953-1959, Howard McGhee: The Classic 1960s Albums, Blue Mitchell: Complete Albums Collection 1958-1963

by  •  • 0 Comments
Breaking away from the swing style trumpeters of the Big Band era like Harry James and Roy Eldridge, the next generation, led by Dizzy Gillespie, created a whole new modern sound, with tricky and rapid lines, sophisticated harmonies and bright, lightning fast solos. Here are three that participated in and defined the genre.
Best known for his work with Art Blakey, Kenny Dorham released a series of impressive albums on his own. He was best known for a quiet and gentle tone, but able to pierce through if needed. His  rookie release included Jimmy Heath/ts-bs, Walter Bishop/p, Kenny Clarke/dr and Percy Heath/b for a gorgeous take of “Darn That Dream” and  “Ruby My Dear”. His Afro Cuban is one of his classics, with a collection of clever originals like “Afrodisia”, “Minor’s Holiday” and “Lotus Flower” with Art Blakey/dr, Percy Heath/b, JJ Johnson/tb,  Hank Mobley/ts, Horace Silver/p and others. His Prophets album with JR Montrose/ts included his own “The Prophet” and a rich read of “Don’t Explain”. His live recording at the Café Bohemia with Kenny Burrell/g, Sam Jones/b, Bobby Timmons/p and Montrose is a swinger, including “Monaco” and a poignant “Round About Midnight”. With alto saxist Ernie Henry, Dorham introduces his classic “Lotus Blossom” , and he sings on one album and doing good service to “Autumn Leaves” and “I Remember Clifford”. Last but not least is a ’59 ses
ion with Cannonball Adderley for some swinging of songs focusing on Spring, like “It Might As Well Be Spring” and “Spring Is  Here”. An under-appreciated, lyrical player and composer.
Howard McGhee was one of the first bebop trumpeters, rivaling Dizzy Gillespie at one time. These records are during his “comeback” period and tend to be overlooked, undeservedly so. He put out a series of albums in 1961, like the classics Dusty Blue, Maggie’s Back In Town” and Shades Of Blue. With a team of Pepper Adams/bs, Bennie Green/tb, and Tommy Flanagan/p with Ron Carter/b, McGhee blows through “Dusty Blue” and “I Concentrate On You”. McGhee sears through “Sunset Eyes” with Shelly Manne/dr, Phineas Newborn/p and LeRoy Vinnegar/p in an LA setting, and he’s part of the soundtrack for the play “The Connection” with Freddie Redd on “Who Killed Cock Robin?”. Another LA session has him with warm toned Teddy Edwards/ts, Phineas Neweborn/p, Ray Brown/b and Ed Thigpen/dr for a swinging album that includes “Together Again” and the bopper “Perhaps”. McGhee warms the house with a soulful album that includes “Muggin McGhee” and ‘Jivin’ Around”. McGhee goes out of the 60s in style, with Ron Carter-Larry Ridley/b and Dave Bailey-Art Taylor/dr for a bluesy “Nobody Knows When You’re Down and Out” and “Tenderly”. A bopper to the end.

Blue Mitchell went against the grain at the time of his career because he emphasized lyricism and melody over burning and stratosphere penetrating chops. He is best known fo his stint during what was arguably Horace Silver’s best quintet from 1958-64. Because his style didn’t necessarily follow the times, these albums have actually aged very well. His 1959 debut has him leading Cedar Walton-Wynton Kelly/p, Paul Chambers-Sam  Jones/b and Art Blakey/dr for a clever read of “When The Saints Go Marching” and a lovely “It Could Happen To You”. Next year was a bopper with Johnny Griffin/ts, Curtis Fuller/tb, Philly Joe Jones/dr Wilbur Ware/b and Kelly for a snappy “Blues March” and fragrant ‘Thee Will Never Be Another You”. The same year with essentially the same team except with Jimmy Heath/ts for a mix of standards like “The Way  You Look Tonight” and originals such as “Top Shelf”. In 1960 he’s featured as the only horn, and it works wonderfully with Kelly, Jones and Roy Brooks/dr for boppers like “Scrapple From The Apple” and originals such as “Sweet Pumpkin”. Mitchell mixes things up a bit in 1961 with an album with strings and brass, showcasing his warm trumpet in richly arranged pieces such as “The Best Things In Life Are Free” and a hip take of “Strollin’”. Mitchell goes once more with an orchestra, with charts by Jimmy Heath, for impressively lyrical takes of “I Can’t Get Started” and a fun “Hootie Blues”. For 1963, Mitchell teams up with essentially his former employer Horace Silver sideman with Cedar Walton/p, Roy Brooks/dr, Junior Cook/ts and Gene Taylor/b for hard bopping pieces like “The Cup Bearers” and “Turqoise”. Last up is an obscure Blue Note session that was unreleased for over 15 years, for whatever reasons, as the session with Joe Henderson/ts, Leo Wright/as, Gene Taylor/b, Roy Brooks/dr and Herbie  Hancock/p is a cooker, particularly for versions of Henderson tunes like the irresistible “Mamacita” and sleek “Step Lively”. Nothing here is less than exemplary.

www.mvdshop.com

Leave a Reply