![]() ![]() Dorham displays the gift of carrying one to a special zone, where the spine tingles and melancholia is barely suppressed by the bright side of life. Plenty of space for Kenny’s cushion-soft but poignant lyricism. Quiet Kenny is remarkable for the fact that Dorham is the sole horn. They ooze with Dorham’s tasteful trumpet playing, the opposite of flashy bop, crystal clear weaving of lines anchored by a distinctive balancing act of bittersweetness and sleaze and a tone that I once overheard someone, I forgot whom, describe as ‘sweet-tart’. His discography is a hard bop playground and Afro-Cuban, Quiet Kenny, Whistle Stop, Round About Midnight At Cafe Bohemia, Una Mas and Trompetta Toccata are essential LP’s. Blue Bossa is his best-known composition. At least he was never described as ‘best kept secret’, which also spells disaster and a lavish portion of vomit.ĭorham was active in the bop era, colleague of Parker and Gillespie, a charter member of the first Jazz Messengers incarnation (Art Blakey introduced him nightly as the “the uncrowned king of the trumpet”) and enjoyed a particularly fruitful cooperation with tenor saxophonist Joe Henderson in the early ‘60s. ![]() Go to hell with your musician’ musician stuff, I need to pay my bloody rent! Dorham was a major league musician’s musician, a BADDASS musician’s musician, one of the iconic musician’s musicians. Dorham is part of a great pack whose members were dubbed ‘musician’s musician’, which signifies esteem from colleagues and critics which equals poverty so must’ve been terminology that left the pack disgusted. Most people would not have recognized Dorham, one of the great modern trumpeters of a form of art whose geniuses like Parker and Monk eluded mass recognition for so long, let alone superb disciples as Kenny Dorham. The rest is history in the case of De Graaff, who stepped into a dream and subsequently met and played with Dorham, Hank Mobley, Barry Harris, Paul Chambers and Billy Higgins. Dorham invited the dumbfounded De Graaff to a gig the following night. As a matter of fact, after politely inquiring, it turned out to be the one and only Kenny Dorham. The first thing that the burgeoning Dutch pianist and hard bop aficionado noticed when he stepped out of the subway station in the East Village was a fellow with a trumpet case that was the spitting image of Kenny Dorham. On Novemat Van Gelder Studio, Englewood Cliffs, New Jersey ReleasedĪn anecdote that Rein de Graaff once told me concerned his first ever visit to New York City in 1967. Kenny Dorham (trumpet), Tommy Flanagan (piano), Paul Chambers (bass), Art Taylor (drums) Recorded ![]()
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