Kenny Dorham Quintet with Jackie McLean - Complete Recordings (2007)
Kenny Dorham Quintet with Jackie McLean - Complete Recordings (2007)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 422 MB. & 182 MB.
300dpi. Complete Scans (JPG) - 19 MB. | WinRar, 3% recovery
Audio CD (2007) | Label:Gambit Records | Catalog# 69267 | 77:09 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 422 MB. & 182 MB.
300dpi. Complete Scans (JPG) - 19 MB. | WinRar, 3% recovery
Audio CD (2007) | Label:Gambit Records | Catalog# 69267 | 77:09 min.
~cduniverseTracklist:
Digipak edition of this great Jazz title features the two albums recorded by trumpeter Kenny Dorham's Quintet featuring Jackie McLean on alto sax. Features the complete albums Matador (1962), which was recorded in New York and Inta Somethin' (1961), recorded live at the Jazz Workshop in San Francisco.
01. El Matador (6:32)
02. Melanie (11:35)
03. Smile (4:59)
04. Beautiful Love (5:12)
05. There Goes My Heart (5:15)
06. Prelude (4:48)
07. Una Mas (7:18)
08. It Could Happen to You (5:59)
09. Let's Face the Music and Dance (6:11)
10. No Two People (7:01)
11. Lover Man (5:00)
12. San Francisco Beat (7:18)
Kenny Dorham Quintet with Jackie McLean - Complete Recordings (2007)
Personnel:
Kenny Dorham - trumpet
Jackie McLean - alto saxophone
Bobby Timmons - piano (#1-6)
Walter Bishop Jr. - piano (#7-12)
Teddy Smith - bass (#1-6)
Leroy Vinnegar - bass (#7-12)
J.C. Moses - drums (#1-6)
Art Taylor - drums (#7-12)
~allAboutJazz
Born: August 30, 1924 | Died: December 5, 1972 | Instrument: Trumpet
Overshadowed for most of his career by the likes of Dizzy Gillespie, Fats Navarro, Miles Davis, Clifford Brown, and Lee Morgan, Kenny Dorham's abilities as a composer and unique voice as an advanced bop trumpet player are underrated to this day.
McKinley Howard Dorham was born on August 30, 1924 on a ranch called Post Oak, near Fairfield, Texas. He attended Anderson High School in Austin, where he began teaching himself to play piano and trumpet, and spending much of his time on the school boxing team. He later enrolled at Wiley College in Marshall, Texas, studying chemistry and minoring in physics. During this time he experimented with arranging, writing for the stage band, where he met such players as Wild Bill Davis, Harold Land, and Roy Porter.
He was drafted into the army in 1942 (spending some time with the army boxing team) and was discharged about a year later.
In late 1943 he joined the Russell Jacquet orchestra in Houston, and he spent much of 1944 playing the band of Frank Humphries. By 1945, Dorham had gained positions with Dizzy Gillespie's short-lived first big band, and then replaced Fats Navarro in Billy Eckstine's orchestra. In 1946 he recorded with the Be Bop Boys (aka the 52nd Street Boys, including Fats Navarro), and spent time playing in the bands of Lionel Hampton and Mercer Ellington.
During this time, Dorham continued to compose and arrange (he arranged “Okay for Baby” for Lucky Millinder and Benny Carter, and “Malibu” for Cootie Williams), ghosting arrangements for Walter 'Gil' Fuller which were sold to several name big bands, including Harry James, Jimmy Dorsey, and Gene Krupa.
In 1948, Dorham studied composition and arranging at the Gotham School of Music under the G.I. Bill. On Christmas Eve of that year, Dorham performed for the first time as replacement for Miles Davis in the Charlie Parker quintet, where he would play for about a year (Davis had recommended Dorham for the job), including an appearance at the 1949 Paris Jazz Fair.
After a two-year hiatus starting in 1950, during which Dorham lived and worked day jobs in California, he settled in New York City and began a busy career as a free-lance musician, perorming with players such as Bud Powell, Sonny Stitt, Thelonious Monk, and Mary Lou Williams. In 1952 Dorham recorded with Monk and in late 1953 led his first recording as a leader, a 10-inch record on the Debut label.
In 1954, Dorham replaced Clifford Brown with Art Blakey's Jazz Messengers when Brown left the group to form the legendary Brown/Roach quintet, and that same year formed a band called the Jazz Prophets which recorded for Blue Note. Dorham left Blakey's band in late 1955, and shortly found work playing with the Birdland All-Stars (along with Conte Candoli, Phil Woods, and Al Cohn) and recording with the likes of Tadd Dameron, Phil Woods, Cecil Payne, Matthew Gee, Hank Mobley, and Gil Melle.
In August, 1956, Dorham recorded some interesting material for Riverside with alto saxophonist Ernie Henry. Upon Clifford Brown's untimely death in September of that year, Dorham replaced him in Roach's group, an association which would produce several EmArcy recordings and last almost two years.
Once Roach disbanded the group in 1958, Dorham led several groups of his own, recording for Riverside (including a vocal album! and the notable Quiet Kenny), New Jazz, and Time.
In 1961 began a fruitful period recording again with Blue Note records, where he recorded some of his most significant albums, especially with up-and-comers Joe Henderson, Herbie Hancock, and Tony Williams.
By the mid-1960s, economic circumstances made it impossible for Dorham to maintain his group with Henderson, and he was forced to find employment outside of music (this time working for the post office). He still studied music (at the NYU School of Music) and wrote record reviews for Down Beat magazine, but by the early 1970s his health began to deteriorate; development of a kidney ailment forced him to make regular hospital trips for 15 hours a week on dialysis. He passed away at the age of 48.
Source: Jeff Helgesen
Born: August 30, 1924 | Died: December 5, 1972 | Instrument: Trumpet
Overshadowed for most of his career by the likes of Dizzy Gillespie, Fats Navarro, Miles Davis, Clifford Brown, and Lee Morgan, Kenny Dorham's abilities as a composer and unique voice as an advanced bop trumpet player are underrated to this day.
McKinley Howard Dorham was born on August 30, 1924 on a ranch called Post Oak, near Fairfield, Texas. He attended Anderson High School in Austin, where he began teaching himself to play piano and trumpet, and spending much of his time on the school boxing team. He later enrolled at Wiley College in Marshall, Texas, studying chemistry and minoring in physics. During this time he experimented with arranging, writing for the stage band, where he met such players as Wild Bill Davis, Harold Land, and Roy Porter.
He was drafted into the army in 1942 (spending some time with the army boxing team) and was discharged about a year later.
In late 1943 he joined the Russell Jacquet orchestra in Houston, and he spent much of 1944 playing the band of Frank Humphries. By 1945, Dorham had gained positions with Dizzy Gillespie's short-lived first big band, and then replaced Fats Navarro in Billy Eckstine's orchestra. In 1946 he recorded with the Be Bop Boys (aka the 52nd Street Boys, including Fats Navarro), and spent time playing in the bands of Lionel Hampton and Mercer Ellington.
During this time, Dorham continued to compose and arrange (he arranged “Okay for Baby” for Lucky Millinder and Benny Carter, and “Malibu” for Cootie Williams), ghosting arrangements for Walter 'Gil' Fuller which were sold to several name big bands, including Harry James, Jimmy Dorsey, and Gene Krupa.
In 1948, Dorham studied composition and arranging at the Gotham School of Music under the G.I. Bill. On Christmas Eve of that year, Dorham performed for the first time as replacement for Miles Davis in the Charlie Parker quintet, where he would play for about a year (Davis had recommended Dorham for the job), including an appearance at the 1949 Paris Jazz Fair.
After a two-year hiatus starting in 1950, during which Dorham lived and worked day jobs in California, he settled in New York City and began a busy career as a free-lance musician, perorming with players such as Bud Powell, Sonny Stitt, Thelonious Monk, and Mary Lou Williams. In 1952 Dorham recorded with Monk and in late 1953 led his first recording as a leader, a 10-inch record on the Debut label.
In 1954, Dorham replaced Clifford Brown with Art Blakey's Jazz Messengers when Brown left the group to form the legendary Brown/Roach quintet, and that same year formed a band called the Jazz Prophets which recorded for Blue Note. Dorham left Blakey's band in late 1955, and shortly found work playing with the Birdland All-Stars (along with Conte Candoli, Phil Woods, and Al Cohn) and recording with the likes of Tadd Dameron, Phil Woods, Cecil Payne, Matthew Gee, Hank Mobley, and Gil Melle.
In August, 1956, Dorham recorded some interesting material for Riverside with alto saxophonist Ernie Henry. Upon Clifford Brown's untimely death in September of that year, Dorham replaced him in Roach's group, an association which would produce several EmArcy recordings and last almost two years.
Once Roach disbanded the group in 1958, Dorham led several groups of his own, recording for Riverside (including a vocal album! and the notable Quiet Kenny), New Jazz, and Time.
In 1961 began a fruitful period recording again with Blue Note records, where he recorded some of his most significant albums, especially with up-and-comers Joe Henderson, Herbie Hancock, and Tony Williams.
By the mid-1960s, economic circumstances made it impossible for Dorham to maintain his group with Henderson, and he was forced to find employment outside of music (this time working for the post office). He still studied music (at the NYU School of Music) and wrote record reviews for Down Beat magazine, but by the early 1970s his health began to deteriorate; development of a kidney ailment forced him to make regular hospital trips for 15 hours a week on dialysis. He passed away at the age of 48.
Source: Jeff Helgesen
~allAboutJazz
Born: May 17, 1932 | Died: March 31, 2006 | Instrument: Alto Saxophone
John Lenwood (Jackie) McLean was an alto saxophonist, composer, bandleader and educator, born in New York City.
His father, John Sr., who died in 1939, played guitar in Tiny Bradshaw's orchestra. After his father's death, his musical education was continued by his godfather, by his stepfather, who owned a record store, and by several noted teachers. He also received informal tutoring from neighbours Thelonious Monk, Bud Powell, and Charlie Parker. During high school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy Kirk).
He recorded with Miles Davis, on Davis' Dig album, when he was 19 years old. Rollins played on the same album. As a young man McLean also recorded with Gene Ammons, Charles Mingus, andGeorge Wallington, and as a member of Art Blakey's Jazz Messengers (he reportedly joined the Jazz Messengers after being punched by the notoriously violent Mingus and, fearing for his life, stabbing him in self-defence). His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for his distinctive tone (often described with such adjectives as withering, piercing, or searing), his slightly sharp pitch, and a strong foundation in blues.
McLean was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret licence forced him to undertake a large number of recording dates; consequently, he produced a large body of recorded work in the 1950s and 60s. He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for Blue Note is highly regarded.
In 1962 he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over the years to deal with harmonic problems in jazz, especially in soloing on his piece “Quadrangle.” (*”Quadrangle” appears on BST 4051, Jackie's Bag, recorded in 1959). Let Freedom Ring began a period in which he performed with avant-garde musicians rather than the veteran hard bop performers he had been playing with. His recordings from 1962 on, in which he adapted the innovations of modal and free jazz to hard bop, made his body of work distinctive.
In 1964, he served six months in prison on drug charges. The period immediately after his release from prison is known as his acid period because the three albums he released during it were much harsher in tone than his previous albums.
In 1967, his recording contract, like those of many other progressive musicians, was terminated by Blue Note's new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of Hartford. He later set up the university's African American Music Department (now the Jackie McLean Institute of Jazz) and its Jazz Studies degree program.
In 1970, he and his wife, Dollie, founded the Artists' Collective, Inc. of Hartford, an organization dedicated to preserving the art and culture of the African diaspora. It provides educational programs and instruction in dance, theatre, music and visual arts.
He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001.
His stepson René is a jazz saxophonist and flautist as well as a jazz educator.
After a long illness, McLean died on March 31, 2006, in Hartford, Connecticut.
Born: May 17, 1932 | Died: March 31, 2006 | Instrument: Alto Saxophone
John Lenwood (Jackie) McLean was an alto saxophonist, composer, bandleader and educator, born in New York City.
His father, John Sr., who died in 1939, played guitar in Tiny Bradshaw's orchestra. After his father's death, his musical education was continued by his godfather, by his stepfather, who owned a record store, and by several noted teachers. He also received informal tutoring from neighbours Thelonious Monk, Bud Powell, and Charlie Parker. During high school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy Kirk).
He recorded with Miles Davis, on Davis' Dig album, when he was 19 years old. Rollins played on the same album. As a young man McLean also recorded with Gene Ammons, Charles Mingus, andGeorge Wallington, and as a member of Art Blakey's Jazz Messengers (he reportedly joined the Jazz Messengers after being punched by the notoriously violent Mingus and, fearing for his life, stabbing him in self-defence). His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for his distinctive tone (often described with such adjectives as withering, piercing, or searing), his slightly sharp pitch, and a strong foundation in blues.
McLean was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret licence forced him to undertake a large number of recording dates; consequently, he produced a large body of recorded work in the 1950s and 60s. He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for Blue Note is highly regarded.
In 1962 he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over the years to deal with harmonic problems in jazz, especially in soloing on his piece “Quadrangle.” (*”Quadrangle” appears on BST 4051, Jackie's Bag, recorded in 1959). Let Freedom Ring began a period in which he performed with avant-garde musicians rather than the veteran hard bop performers he had been playing with. His recordings from 1962 on, in which he adapted the innovations of modal and free jazz to hard bop, made his body of work distinctive.
In 1964, he served six months in prison on drug charges. The period immediately after his release from prison is known as his acid period because the three albums he released during it were much harsher in tone than his previous albums.
In 1967, his recording contract, like those of many other progressive musicians, was terminated by Blue Note's new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of Hartford. He later set up the university's African American Music Department (now the Jackie McLean Institute of Jazz) and its Jazz Studies degree program.
In 1970, he and his wife, Dollie, founded the Artists' Collective, Inc. of Hartford, an organization dedicated to preserving the art and culture of the African diaspora. It provides educational programs and instruction in dance, theatre, music and visual arts.
He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001.
His stepson René is a jazz saxophonist and flautist as well as a jazz educator.
After a long illness, McLean died on March 31, 2006, in Hartford, Connecticut.
Kenny Dorham Quintet with Jackie McLean - Complete Recordings (2007)
(L-R: Kenny Dorham, Jackie McLean)
Album "Matador" (tracks #1-6); recorded April 15, 1962; New York
Album "Inta Somethin'" (#7-12); recorded live at the Jazz Workshop, San Francisco; November, 1961
Liner notes by Allan Morrison and John William Hardy
Cover Design: Sci-Fi
EAC extraction logfile from 1. March 2007, 18:02 for CD
Kenny Dorham Quintet with Jackie McLean / Matador - Inta Somethin'
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Kenny Dorham Quintet with Jackie McLean / Matador - Inta Somethin'
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– 92,1 [B07E7486] [5ED1B277]
01 92,1 [A6A3E54A] [C4B4960E] CRC32
02 92,1 [F40F5D58] [55B329DD] CRC32
03 79,9 [00A03BF4] [D0C483F4] CRC32
04 87,0 [F79C8D9C] [E2B3C40F] CRC32
05 80,2 [DE361CCA] [19EF63DC] CRC32
06 76,5 [A5840FAC] [20A40D65] CRC32
07 53,4 [3F912017] [F27894D5] CRC32
08 59,9 [46F73D17] [F4F6E7FE] CRC32
09 70,8 [F17983CE] [A22F5263] CRC32
10 68,6 [78EECF6E] [BF7C2206] CRC32
11 83,6 [667CF50F] [E9B111B9] CRC32
12 79,3 [EA196C4D] [A337BC81] CRC32
Thanks to the original releaser.
Kenny Dorham Quintet with Jackie McLean - Complete Recordings (2007)
(flac & mp3@320 links are interchangeable, artwork = single link)