 |  | Absolutely habit-forming (would there were many more) |  |
This is a revered session in some quarters, I know, but I suspect partly for the wrong reasons. The compositions are worthy (in fact, I find "Una Mas" similar to but more infectious than "Sidewinder") but not necessarily "essential." The personnel are first-rate, but Joe Henderson's harmonic adventurousness is no match for Hank Mobley's warmth and melodic inventiveness; nor are Tony Williams' dancing cymbals as irresistible a force of nature as Blakey's hot and explosive skins. In other words, rate this set, as far as the Dorham canon goes, with "The Jazz Messengers at the Cafe Bohemia," "Whistle Stop," and "Afro-Cuban" but not necessarily ahead of them.
The reason to own this one is the man who belongs on even the shortest list of trumpet greats (for example, Diz, Clifford, and Kenny?). His playing is absolutely addictive. No one else prepares and "cures" every single note, launching it with that lovely cushion of sound. No one plays with so little pose and showmanship, relying so exclusively on the substance of the music itself to make sense--intellectually and emotionally--without reliance on extraneous effects. There's tenderness, warmth, and abundant humor in each Dorham solo, but once again it arises from what the man does with the materials at hand and not from a musical persona that takes itself overly seriously. Above all I hear a vulnerability in Dorham's work that not only touches a universal emotional core but more often than not sets off the triumph of each of his poignant creations.
If you've developed a Dorham habit, "Una Mas" is definitely one more to add to your collection. It's also a good place to start, but as the title suggests it won't do all by itself.
July 22, 2006I think Kenny Dorham is one of the most underrated horn players of all time and for me, Una Mas proves it. Of all the many jazz recordings I own, this one constantly finds its way back to my CD-player time and time again. I can't speak for the quality of the recording versus the vinyl original, but if you're able to look beyond the lack of snap, crackle and pop missing on this album you'll hear some very, very fine horn playing that merits rank among the greats.
September 14, 2005 | | one of the best sessions, noe of the worst CDs | |
I already have a jap vinyl copy of this session some 20 years old, but due to having an in-car CD I bought this copy. What a mistake. This session is in my top 20 of all recorded sounds of what ever type. I have about 500 jazz albums and about 100 albums of other music. I have an average turntable, a good cartridge, a very average amplifier, an average CD player and good speakers. A reasonable comparison I think.....
To say I was disappointed would be a very mild description of what I think. This "item" compares with Lou Donaldson's Good Gracious as the worst CD xfer that I have ever owned. It is so many miles away from the quality of my vinyl as to be on the other side of the world!!
I have Dorham's Afro-Cuban, Donaldson's Natural Soul, Blakey's A night in Tunisia, various Grant Green CDs, and others too. All were fine. So my advice is.... buy something else, or find out why this RVG Re-master is so bad. And my advice to Bluenote, Your very early CDs boasted of not being re-mastered. Stick to that and all could be better.
June 29, 2005| | | Kenny Dorham Unsung Trumpet Master. | |
It might be a little too far fetched but it is right to say that Kenny Dorham, in so many ways, created the most used style of modern trumpet playing. I am not putting down miles or Dizzy or Brwonie or Fats or anyone else, I'm only saying that you hear the influence of him in so many later trumpeters such as Lee Morgan, Freddie Hubbard, Woody Shaw, Blue Mitchell, Booker Little, Wynton Marsalis, etc. Even Miles has a lot of Kenny in his playing. Sorry to ramble on about this stuff, I'll get to the point. "Una Mas", as short as it may be, is a great session. The title track is set by the cokkin rhythmn section of Herbie Hancock, Butch Warren, and Tony Williams. The composition is not melodically but Rhythmnically complicated. Joe Henderson mkes this his first recording date, heand Kenny would record four more Quintet dates on the Bluenote label. Two of their best are "Page One" under Hendersons name, and "In 'n Out" again under Hendersons name. "
"Straight Ahead" is just that, straight ahead. Only the solos are much more sophisticated.
One reason Why I admire Kenny a lot is because he excepted many aspects of jazz that other people were careful not to venture to far into. Starting out as a Charlie Parker sideman to being part of one of the most important Hardbop groups, the Jazz Messengers. In the midst of the he produced ten or so albums on the Prestige and Bluenote Labels. "Sao Paulo" has a odd but unique feeling sort of a bossa/swing combonation that really starts to get to you.
Get this, you will listen to it not 'una mas' but 'mucha mas' times.
June 3, 2005| | | Excellent bop date, great playing. | |
Kenny Dorham is one of the more under-rated trumpet players in jazz. His technique, range and jazz sound are quite impressive, yet he doesn't get mentioned as often as Miles, Dizzy, Clifford, Freddie Hubbard, or even Lee Morgan. Kenny is probably most famous for his tune "Blue Bossa" (which has been run into the ground by high school jazz bands everywhere in both combo and big band format). That is not his best work. This, in my opinion, is. Kenny plays with a great group full of stars: Joe Henderson on tenor saxophone, Herbie Hancock on piano, Butch Warren on bass and Tony Williams on drums. Herbie provides an extremely solid anchor to the band as well as creative force, and Tony Williams provides a lot of energy in the rhythm section. Kenny is at his best here, playing interesting and technically challenging lines throughout and still making them fit well with the chord. Henderson is still young on this recording, but he nevertheless plays extremely well and holds up well with Dorham. "Una Mas" is an instant classic, it's hard to believe this one was not one of the overplayed classic jazz tunes like "Chameleon", "Sidewinder", "Red Clay", "Cantaloupe Island", "Watermelon Man", etc. became. They also experiment with the beautiful latin rhythms on "Sao Paulo", a tune about one of Brazil's cities. Kenny plays very well here, playing another long, strong solo. There is also a tasty "If Ever I Would Leave You", which is from the musical Camelot. A sensitive ballad, Kenny plays this one with the appropriate musicality. "Straight Ahead" is interesting to hear because it is a one-note tune, just the same note played over and over in evolving rhythms. This one honestly took a little while to grow on me but it's an excellent bop tune. All in all, this album is a wonderful piece of work, and it's great to hear Herbie and Joe Henderson and Tony Williams still in their formative years.
October 13, 2003More reviews at Amazon.com ...
(9 reviews)