Kenny Dorham - Quiet Kenny (200g)
Kenny Dorham, trumpet [click here to see more vinyl featuring Kenny Dorham]
Tommy Flanagan, piano [click here to see more vinyl featuring Tommy Flanagan]
Paul Chambers, bass [click here to see more vinyl featuring Paul Chambers]
Art Taylor, drums [Click here to see more vinyl featuring Art Taylor]
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 200g
Record color : black
Speed : 33 RPM
Size : 12'’
Record Press : Quality Record Pressings
Label : Analogue Productions
Original Label : Prestige
Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey by Rudy Van Gelder
Remastered by Kevin Gray at Cohearant Audio
2. My Ideal
3. Blue Friday
4. Alone Together
2. I Had the Craziest Dream
3. Old Folks
4. Mack the Knife
"I've never heard an original pressing, but this reissue by Chad Kassem's Analogue Productions — a 200-gram QRP pressing, mastered at 33 1/3 RPM by Kevin Gray — is every bit the equal of Van Gelder's Blue Note LPs from the same era: the trumpet's brash brass and bushels of air, the pluck and wood of the bass, the sizzling hi-hat and smashing snare of the trap set. ... Listen to 'Blue Friday,' and you'll be reminded of the trumpet-led passages on 'Stolen Moments,' the high point of Oliver Nelson's The Blues and the Abstract Truth. There's a similar sound, and it's no accident." Fred Kaplan, Stereophile, Feb. 8, 2017.
« In the liner notes of Quiet Kenny, former Downbeat magazine publisher Jack Maher states that trumpeter Kenny Dorham's music is not necessarily the demure, balladic, rapturous jazz one might associate as romantic or tranquil. Cool and understated might be better watchwords for what the ultra-melodic Dorham achieves on this undeniably well crafted set of standards and originals that is close to containing his best work overall during a far too brief career. Surrounded by an excellent rhythm team of the equally sensitive pianist Tommy Flanagan, emerging bassist Paul Chambers, and the always-beneficial drummer Art Taylor, Dorham and his mates are not prone to missteps or overt exaggerations. One of Dorham's all-time best tunes "Lotus Blossom" kicks off the set with its bop to Latin hummable melody, fluid dynamics, and Dorham's immaculate, unpretentious tone. "Old Folks," a classic ballad, is done mid-tempo, while the true "quiet" factor comes into play on interesting version of "My Ideal" where Dorham gingerly squeezes out the slippery wet notes, and on the sad ballad "Alone Together." The rest of the material is done in easygoing, unforced fashion, especially the originals "Blue Friday" and the simple swinger "Blue Spring Shuffle" which is not really a shuffle. Never known as a boisterous or brash player, but also not a troubadour of romanticism -- until he started singing -- Dorham's music is also far from complacent, and this recording established him as a Top Five performer in jazz on his instrument. It comes recommended to all. » AllMusic Review by Michael G. Nastos
“There are many jazz instrumentalists who are woefully underrated. This can be for several reasons. Oftentimes they are either located outside of New York City, and are under the radar of jazz critics. Other reasons are that their active period was during the time that others (i.e. Miles Davis, John Coltrane) dominated the scene. Or perhaps they were on the shy side, and did not get many sessions as a leader, while not actively promoting their cause.
Such is the case with trumpeter, Kenny Dorham. His Blue Note and OJC label dates were well respected, but since he was not known as a “fiery” player, his lack of “fireworks” kept his stature among jazz fans lower than it should have been. Dorham’s forte was playing ballads, and mid-register material.
Kenny’s career goes back to the 1940s. He played with Dizzy Gillespie in 1945, and then was featured with the big bands of Lionel Hampton and Billy Eckstine. He then spent time with Charlie Parker.
His album, Quiet Kenny, recorded in 1959, showcases his talents. It has been re-released for the upcoming Record Store Day, by Craft Recordings, a subsidiary of Concord Records. It was Kenny’s first album fronting a quartet, and as the solo soloist. Backing Dorham is Tommy Flanagan, an equally sensitive musician, on piano. Completing the rhythm section are veterans, Paul Chambers on bass, and Art Taylor on drums. Each one of the quartet also led groups on their own over the years.
Song selection is mostly standards, but includes a few Dorham originals. “Lotus Blossom” is given a Latin tinge. Kenny glides over the changes, and Flanagan has a masterful solo utilizing his classy light touch. “My Ideal” is a gentle ballad, made well known by Coleman Hawkins. Its late night vibe would be welcome in an intimate club setting.
“Blue Friday” would check all the bases as a hard bop treasure. It’s a sanctified blues written by Dorham, that has an instant feel good groove, with Paul Chamber’s bass, tightly in the pocket. “Alone Together,” which Kenny played often with “Bird,” is reflective. Dorham pours out his heart, almost in remembrance of a departed dear friend.
“Blue Spring Shuffle,” also a Kenny original, is uptempo and sprightly, and shows his mastery of mid-register material. Tommy Flanagan’s classy touch is on full display on the standard, “I Had the Craziest Dream.” “Old Folks” closes out the album. It’s a paean to the elderly among us. It’s a fitting close to an album of tunes that Kenny chose for their sentimental value.
This release is being released in Mono, and its remastering from the original tapes, was done by Kevin Gray from Cohearant Audio. The acoustics are warm and crystal clear. For late night listening it would be a sure fire winner. It showcases the ballad playing of Kenny Dorham, a vastly underappreciated trumpeter.” Jeff Krow, Audiophile Audition, June 2021
Quiet Kenny is yet another reminder of what a trumpet giant Kenny Dorham was. Whether limning ballads such as "My Ideal," "Alone Together," "I Had the Craziest Dream," and "Old Folks," or investigating the timelessness and intricacies of the blues (his originals in this set with "Blue" in their titles), the former Charlie Parker cohort and ex-Jazz Messenger exhibits his subtle swing, personal sound, and finely-honed harmonic sense. Along the way these reflections and connections with Bird, Coleman Hawkins, Sonny Rollins, Max Roach, Harry James, and Louis Armstrong make for a rich legacy. With Tommy Flanagan, Paul Chambers and Arthur Taylor