Showing posts with label Kenny Dorham. Show all posts
Showing posts with label Kenny Dorham. Show all posts

Blue Note Works 4000-4100 series [4176-4185]

 
...The Modern Jazz Series continued into the 1970s with the LPs listed below. Many were issued in both monaural versions (BLP series) and stereo versions (BST 84000 series).  Most of the 4000 series have been reissued by Toshiba-EMI in Japan ("Blue Note Works 4000" series); the catalog numbers are TOCJ-4###


BN.4176- Dexter Gordon- 1964- One Flight Up {RVG Remaster}
BN.4177- Grachan Moncur III- 1964- Some Other Stuff {RVG Remaster}
BN.4178- Blue Mitchell- 1964- The Thing To Do {RVG Remaster}
BN.4179- Jackie McLean- 1964- It's Time
BN.4180- Anthony Williams- 1964- Life Time {RVG Remaster}
BN.4181- Kenny Dorham- 1964- Trompete Toccata {RVG Remaster}
BN.4182- Wayne Shorter- 1964- JUJU {RVG Remaster}
BN.4183- Grant Green- 1964- Talkin' About
BN.4184- Sam Rivers- 1964- Fuchsia Swing Song {RVG Remaster}
BN.4185- Horace Silver- 1964- Song For My Father {RVG Remaster}




Blue Note Works 4000-4100 series [4126-4140]

 

 

...The Modern Jazz Series continued into the 1970s with the LPs listed below. Many were issued in both monaural versions (BLP series) and stereo versions (BST 84000 series).  Most of the 4000 series have been reissued by Toshiba-EMI in Japan ("Blue Note Works 4000" series); the catalog numbers are TOCJ-4###


BN.4126- Herbie Hancock- 1963- My Point Of View {RVG Remaster}
BN.4127- Kenny Dorham- 1963- Una Mas {RVG Remaster}
BN.4129- Stanley Turrentine- 1963- Never Let Me Go {RVG Remaster}
BN.4130- John Patton- 1963- Along Came John
BN.4131- Horace Silver- 1963- Silver's Serenade {RVG Remaster}
BN.4132- Grant Green- 1962- Feelin' The Spirit {RVG Remaster}
BN.4133- Dexter Gordon- 1962- A Swingin' Affair {RVG Remaster}
BN.4134- Horace Parlan- 1963- Happy Frame of Mind
BN.4135- Freddie Hubbard- 1962- Here To Stay {RVG Remaster}
BN.4136- Solomon Ilori- 1963- African High Life
BN.4137- Jackie McLean- 1963- One Step Beyond {RVG Remaster}
BN.4139- Grant Green- 1963- Am I Blue {RVG Remaster}
BN.4140- Joe Henderson- 1963- Page One {RVG Remaster}





Blue Note Works 4000-4100 series [4061-4070]

 
...The Modern Jazz Series continued into the 1970s with the LPs listed below. Many were issued in both monaural versions (BLP series) and stereo versions (BST 84000 series).  Most of the 4000 series have been reissued by Toshiba-EMI in Japan ("Blue Note Works 4000" series); the catalog numbers are TOCJ-4###



BN.4061- Donald Byrd- 1960- At the Half Note Cafe vol.2 {RVG Remaster}
BN.4062- Horace Parlan- 1960- Headin' South {RVG Remaster}
BN.4063- Kenny Dorham- 1961- Whistle Stop {RVG Remaster}
BN.4064- Grant Green- 1961- Grant's First Stand {RVG Remaster}
BN.4065- Stanley Turrentine- 1961- Comin' Your Way
BN.4066- Lou Donaldson- 1961- Here 'Tis {RVG Remaster}
BN.4067- Jackie McLean- 1961- Bluesnik {RVG Remaster}
BN.4068- Baby Face Willette- 1961- Face To Face {RVG Remaster}
BN.4069- Stanley Turrentine- 1961- Up at Minton's Vol.1
BN.4070- Stanley Turrentine- 1961- Up at Minton's Vol.2







Kenny Dorham discography [1953-1966]

 McKinley Howard (Kenny) Dorham (August 30, 1924 – December 5, 1972) was an American jazz trumpeter, singer, and composer born in Fairfield, Texas. Dorham's talent is frequently lauded by critics and other musicians, but he never received the kind of attention from the jazz establishment that many of his peers did or public recognition. For this reason, writer Gary Giddins said that Dorham's name has become "virtually synonymous with underrated." He also composed the jazz standard "Blue Bossa," which first appeared on Joe Henderson's album Page One.

 

 

Blue Note Works 1500 series Vol.1531-1540

 

Blue Note Records is an American jazz record label, owned by Universal Music Group and currently operates in conjunction with Decca Records. Established in 1939 by Alfred Lion and Max Margulis, it derives its name from the characteristic "blue notes" of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz. While the original company did not itself record many of the pioneers of bebop, significant exceptions are Thelonious Monk, Fats Navarro and Bud Powell.

Many great jazz musicians recorded for Blue Note, but the man responsible for the quality of label’s recordings – their high dynamic and tonal range and lifelike presence – was sound engineer, Rudy Van Gelder. It was his recording equipment, choice and placement of microphones, the work at the mixing desk, the selection and rejection of takes, and the active supervision of the whole recording process from monitoring the dials through to cutting of the master lacquer, that created the “Blue Note sound”.

Van Gelder always sought to be at the forefront of recording technology – the Scully lathe he used for cutting lacquer masters was the first to feature variable pitch/depth control to optimise groove-width and loudness. He deployed the newest Neumann/ Telefunken U-47 condenser microphone, which he had specially modified for use very close to instruments. His recordings were made on the latest Ampex tape recorders.

Blue Note made the switch to 12" LPs late in 1955. The Modern Jazz Series continued with the following 12" LPs. Many of these were issued in both monaural versions (BLP series) and stereo versions (BST 81500 series), sometimes in electronically rechanneled stereo. In certain cases, the stereo versions of recordings from 1957 onwards only appeared many years later. Beginning in 1956 with BLP 1509, Reid Miles designed most of the Blue Note LP covers. The 1500 series has been systematically reissued by Toshiba-EMI in Japan ("Blue Note Works 1500" series, 20-bit 88.2 kHz CDs); the catalog numbers are TOCJ-1501, etc.


BN.1531- Fats Navarro- 1953- The Fabulous Fats Navarro Vol.1
BN.1532- Fats Navarro- 1953- The Fabulous Fats Navarro Vol.2
BN.1533- Johnny Griffin- 1956- Introducing Johnny Griffin {RVG Remaster}
BN.1534- Paul Chambers- 1956- Whims Of Chambers
BN.1535- Kenny Dorham- 1955- Afro-Cuban {RVG Remaster}
BN.1536- J.R. Monterose- 1956- J.R. Monterose {RVG Remaster}
BN.1537- Lou Donaldson- 1954- Quartet Quintet Sextet
BN.1538- Lee Morgan- 1956- Lee Morgan Indeed! {RVG Remaster}
BN.1539- Horace Silver- 1956- Six Pieces Of Silver {RVG Remaster}
BN.1540- Hank Mobley- 1956- With Donald Byrd & Lee Morgan



Blue Note Works 1500 series Vol.1521-1530

 

Blue Note Records is an American jazz record label, owned by Universal Music Group and currently operates in conjunction with Decca Records. Established in 1939 by Alfred Lion and Max Margulis, it derives its name from the characteristic "blue notes" of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz. While the original company did not itself record many of the pioneers of bebop, significant exceptions are Thelonious Monk, Fats Navarro and Bud Powell.

Many great jazz musicians recorded for Blue Note, but the man responsible for the quality of label’s recordings – their high dynamic and tonal range and lifelike presence – was sound engineer, Rudy Van Gelder. It was his recording equipment, choice and placement of microphones, the work at the mixing desk, the selection and rejection of takes, and the active supervision of the whole recording process from monitoring the dials through to cutting of the master lacquer, that created the “Blue Note sound”.

Van Gelder always sought to be at the forefront of recording technology – the Scully lathe he used for cutting lacquer masters was the first to feature variable pitch/depth control to optimise groove-width and loudness. He deployed the newest Neumann/ Telefunken U-47 condenser microphone, which he had specially modified for use very close to instruments. His recordings were made on the latest Ampex tape recorders.

Blue Note made the switch to 12" LPs late in 1955. The Modern Jazz Series continued with the following 12" LPs. Many of these were issued in both monaural versions (BLP series) and stereo versions (BST 81500 series), sometimes in electronically rechanneled stereo. In certain cases, the stereo versions of recordings from 1957 onwards only appeared many years later. Beginning in 1956 with BLP 1509, Reid Miles designed most of the Blue Note LP covers. The 1500 series has been systematically reissued by Toshiba-EMI in Japan ("Blue Note Works 1500" series, 20-bit 88.2 kHz CDs); the catalog numbers are TOCJ-1501, etc.


BN.1521- Art Blakey- 1954- A Night At Birdland Vol.1 {RVG Remaster} (5037)
BN.1522- Art Blakey- 1954- A Night At Birdland Vol.2 {RVG Remaster} (5038)
BN.1523- Kenny Burrell- 1956- Introducing Kenny Burrell
BN.1524- Kenny Dorham- 1956- Complete 'Round About Midnight At The Cafe Bohemia (2CD) {RVG Remaster}
BN.1525- Jimmy Smith- 1956- The Incredible Jimmy Smith at the Organ, Vol.3
BN.1526- Clifford Brown- 1953- Memorial Album {RVG Remaster}
BN.1527- Thad Jones- 1956- The Magnificent Thad Jones {RVG Remaster}
BN.1528- Jimmy Smith- 1956- Live At The Club Baby Grand, Vol. 1 {RVG Remaster}
BN.1529- Jimmy Smith- 1956- Live At The Club Baby Grand, Vol. 2 {RVG Remaster}
BN.1530- Jutta Hipp- 1956- Jutta Hipp With Zoot Sims {RVG Remaster}



Kenny Dorham - Eight Classic Albums 1953-1960 (4 CD, 2012/FLAC)


 Real Gone Jazz continues its box set catalog series with this fine Kenny Dorham volume. This four-disc collection contains eight full-length Dorham recordings cut between 1953-1960 for Debut, Blue Note, Riverside, and other labels. The set kicks off with Dorham's initial offering as a leader, The Kenny Dorham Quintet for Debut in 1953, and Afro-Cuban for Blue Note from 1955. The second disc contains 'Round About Midnight at the Cafe Bohemia (also for Blue Note) circa 1956, and 2 Horns/2 Rhythm for Riverside in 1957. The third disc contains two more Riverside dates, Jazz Contrasts from 1957 and Blue Spring from 1959. Disc four begins in 1959 with the ballad collection Quiet Kenny on New Jazz and ends with a lesser-known 1960 date for the Time imprint entitled Jazz Contemporary. These four discs contain remastered versions of the original albums and some bonus material from their individual reissues. Taken as a whole, this set offers solid proof of Dorham's many gifts as composer, arranger, and bandleader, though he was often overlooked at the time.