Quiet Kenny - Kenny Dorham

McKinley (Kenny) Howard Dorham was born on August 30, 1924. He achieved fame as a trumpet player and composer during the 1950's and 1960's performing with other musicians and also as a band leader. While he usually performed in a quintet or sextet with other reed or brass players, in this case he led a quartet with himself as a the lead instrument. He had a stellar rhythm section supporting him with Tommy Flanagan on piano, Paul Chambers on bass and Art Taylor on drums. The album was recorded on November 13, 1959 (a Friday, as it turns out) at Rudy Van Gelder's studio and was produced by Esmond Edwards. It was released on the New Jazz label, a subsidiary of Prestige Records. 

The album was received warmly, and has gone on to be very highly regarded, with the 3rd Edition of the Penguin Guide to Jazz on CD calling it "a minor masterpiece". There is a Miles Davis influence discernable both in Kenny's sound and the tempos of the songs. There are no bebop style "burners", rather there is an emphasis on melody and sound, with the supporting cast providing Kenny with lots of room to explore. His sound is rich and pure with definition in his tone. Tommy Flanagan gets an opportunity to solo on most of the songs, with Paul Chambers also getting a few chances to step out and show what an outstanding bassist he was. Art Taylor's drums are well recorded as well. Rudy Van Gelder was one of the best recording engineers when it came jazz, and he built his own studio in Englewood Cliffs New Jersey earlier in 1959, prior to the recording of this record. Of the eight tracks on the record, three were originals composed by Kenny, with the other five being well known standards that Kenny personally selected based on his preference. A very good example of the cooler style of jazz that became popular in the lay 1950's and early 1960's.     

                     Oliver Jones Trio Featuring Dave Young and Terry Clarke

                                                        Cookin' At Sweet Basil

Oliver Jones is a Canadian pianist who grew up in Montreal, Quebec. He was a contemporary of Oscar Peterson's, and studied as a young man under Oscar's sister, Daisy, a noted piano teacher. His style is similar to Oscar's as well. To quote from Richard Cook and Brian Morton's Third Edition of "The Penguin Guide to Jazz on CD", Jones is "a frequently engaging soloist, filling his records with good-hearted swinging music. His ballads are glossy rather than introspective, but one listens to Jones for his generous virtuosity, not his tenderness". 

"Cookin' At Sweet Basil" is a live recording from the famous Sweet Basil Jazz Club located in Greenwich Village in New York City. The recording was made on September 3rd, 1987 during the 6th Annual Greenwich Village Jazz Festival. As indicated in the title, Oliver was accompanied by two other famous Canadian jazz musicians, Dave Young (double bass) and Terry Clarke (drums). The songs are mix of originals and standards. During the opening number, "Snuggles" (written by Oliver), we get to hear the trio open up and let loose on an uptempo song. Dave performs an particularly outstanding arco solo, and then we get to hear Terry's facility as the group "trades fours". I would also recommend the beautiful interpretation of "My Funny Valentine". While this is a song that many artists have recorded, the version here has its own unique identity. The album has seven songs all told. It was released on the Justin Time Label in LP (vinyl) format (which is the one I have) as well as CD and Cassette. Oliver has over twenty recordings to his name, with virtually all (with one exception) on the Justin Time label. If you aren't familiar with his music, he one of Canada's jazz treasures, and well worth listening to. 

   

                         

 

The Art Ellefson Trio

Art Ellefson was a Canadian jazz musician who was known for playing tenor saxophone. Although he spent much of his early career outside Canada (primarily England), he returned to his home country in 1974. During this time he seems to have based primarily in the Toronto area, and performed with several well known jazz musicians. This was the first recording released under his name. 

"The Art Ellefson Trio" was recorded in 1981 in Toronto and released by the Canadian Broadcasting Corporation on its record label. The record featured Art on tenor, accompanied by Dave Young on bass and Peter Leitch on guitar. Usually, this type of recording would feature a drummer (making the group a quartet), but in this case, the lack of drummer is certainly not missed. The album swings throughout, and without drums, the bass is more prominent, and when Peter is playing rhythm, you can hear the guitar. At this point I would be remiss in not pointing out that the sound on this record while adequate, is certainly nothing to write home about. There is a lack of depth in the sound, and Peter's guitar is a little too far back in the mix when he isn't soloing. The actual performances though are well worth listening to, with the renditions of Willow Weep For Me and St. Thomas being two of my favourites. Art has a classic tone, certainly reminiscent of the more prominent tenor men of the 1950's. This is the type of jazz that isn't breaking any boundaries, but if you like a style that harkens back to the golden age of decades ago, this will be your cup of tea. 

 Ruby Braff with the Ed Bickert Trio

Featuring Don Thompson and Terry Clarke

Reuben "Ruby" Braff was born on March 16, 1927 (almost 100 tears ago!) and was a renowned jazz trumpeter and cornetist. Unlike many other brass players of his generation, he was not influenced by the be-bop movement, but rather the idiom based on the playing of Louis Armstrong and Bix Beiderbecke. He had a lengthy and distinguished musical career, recording both as a leader and a sideman with many different artists.

This particular album was recorded at Puget Sound in Toronto by Bill Smith and Don Thompson on June 14, 1979.  It was released on the Sackville Records, a small Toronto label that specialized in jazz. Supporting Ruby were Ed Bickert on guitar, Don Thompson on bass and Terry Clarke on drums. All of these three gentlemen were first call studio and club musicians, well known in the jazz community.

According to the liner notes (written by John Norris), "This recording grew out of a chance association with guitarist Ed Bickert at Toronto's Bourbon Street (a well-known jazz club). On a previous occasion at the sam club Ruby had been less than happy with an ever-changing succession of pianists." At some point Ruby and Ed joined forces, and as John relates "With Ed Bickert he established a warm musical communication almost instantly. Braff, the melodist, and Bickert the master craftsman of harmony, created music that seemed to be of one mind".  

Ruby chose all of the songs to be recorded during this session. They are all jazz "standards", some perhaps better know than others. The quality of the recording is excellent; it is one of this records where the listener feels he or she is in the control room with the recording engineer. The balance between the instruments is perfect, with a quiet intensity that never overwhelms the listener, but breaths life into all of the songs. Although this is Ruby's record, Ed gets equal billing when it comes to the solos. Don also has plenty of room when he steps out, and when it is his turn, Terry acquits himself admirably. I can't peak highly enough of how the rhythm is absolutely hand-in-glove; their years of performing together in the recording studio and on stage has enabled an almost telepathic level of musical communication. An album I would have no hesitation in recommending for fans of the older style of jazz. 

 

                                                                                R 50 

Rush has released a retrospective celebrating their 50th Anniversary. It goes without saying that 50 years in the music business is quite an accomplishment, and doing it with one band is even more amazing, especially when you consider that there has been exactly one personnel change during the band’s tenure (and that occurred after they released their first album). 

Rush has always been a “power trio” in the style of Cream, that is to say bass guitar, guitar and drums. The lead vocalist is also one of the instrumentalists. Originating in Toronto, Ontario, the original lineup consisted of Geddy Lee on bass and lead vocals, Alex Lifeson on guitar and John Rutsey on drums. This version of the band was the one that paid its dues; playing wherever they could. A big break for the band ironically came when the legal drinking age in Ontario was reduced from 21 to 18 in 1971. Suddenly, the band could know start working 6 nights a week in local clubs. The first record was released in March 1974. Shortly after the only personnel change that would occur during the band’s history took place when a decision was made to replace John Rutsey. Auditions were held and the successful applicant was Neil Peart. This lineup would be the one that would last until Neil’s untimely passing in 2020.  

Trying to come up with a selection of music that would adequately represent the exceptional catalogue Rush has created is a definite challenge. In preparing this release, a decision was made to ensure music from the beginning of the band’s history to the last time they performed together. This massive package of 50 individual tracks is their first ever complete career anthology and there is a track from every album the band has released. Befitting the 50th anniversary of the band, many of their most well known songs are included (although it would be a mistake to consider this just a “greatest hits” package). Fans will appreciate the number of live tracks as well as the inclusion of alternate studio versions of “Working Man” and “The Trees”, heretofore unreleased. The sound is magnificent throughout, the remastering done with painstaking attention to detail. There are several versions available, from the R50 Backstage Exclusive Super Deluxe Edition comprising of (wait for it) 4 compact discs and 7 180 gram vinyl records (the cds and records contain the same songs), 2 hardcover books, over 20 lithos, all in a golden box. If this seems a bit overwhelming, you can get by with just a boxset of the records or the compact discs. I chose the digital version on iTunes. 

The musical abilities of Rush has always been something that attracted me to the band, and just hearing how good everything they recorded sounds and how tight they were as a band is something that R50 really brings into focus. The progression of the band from their early heavy blues based British influences, to the later “proggier” compositions, to the inclusion of keyboards and synthesizers, to the New Wave influences and on into the 1990’s and 2000’s, where they concentrated more on concise compositions without losing the technical aspects of their music is exemplified beautifully throughout R50. 

Rush was never a critical darling, and never tried to be, something I always loved about them. I am an unabashed fan of the band’s members and their music. They were never about compromise and the fact that they had the last laugh on their detractors in the music journalism realm has something that I find very satisfying. This release is a labour of love for those that love the band, and is not to be missed if you are a fan. 

Days Gone By featuring Sonny Greenwich and Ed Bickert

 Days Gone By is a recording featuring Ed Bickert and Sonny Greenwich; two of Canada’s finest jazz guitarists. They are supported on the recording by the very capable rhythm section of Don Thompson (double bass) and Terry Clarke (drums). It can difficult to coordinate a guitarist and a pianist when performing, and two guitars is even more of a challenge. One must always be conscious of not stepping on toes when the other guy is playing. This recording is a master class in how it is done right. It is fascinating to hear how the two guitarists take turns soloing and “comping” behind each other. Clarke’s drumming is busy without being intrusive, and Thompson’s bass playing is propulsive and supportive. There are 8 songs on the recording, and the two main soloists have plenty of room to stretch out. According the liner notes, “One summer afternoon in 1979, Sonny and Ed met up with bassist Don Thompson and drummer Terry Clarke at the bassist’s Puget Sound Studio. The tape machine was turned on and the music flowed.” The session has a relaxed feeling, with the musicians really enjoying themselves playing the type of music they enjoy, while at the same time pushing each other to perform. To be fair, there are some instances of distortion and a few minor miscues, but these flaws take nothing away from the vitality and musicality of the performances. All the tracks are great, although some are real standouts. On “I’ll Take Romance”, the rhythm section lays out and we get to hear the two guitarists on their own. Everybody really digs in on “Oleo”, the hard bop standard written by Sonny Rollins. After the song is over, you get to hear the musicians spontaneously express their themselves on how much fun they had in playing it. Although the recording took place in 1979, it wasn’t released until 2000 for some reason. We can only thank fortune that the tapes were held onto and that eventually we were give the opportunity to listen to some extraordinary playing. The compact disc version was released on the Sackville label and a digital version is available on itunes.     

The Sackville All Star Christmas Record

A genre fraught with peril is the “Christmas Album”. While there are some that are genuinely loved and have stood the test of time, the field is littered with far too many examples of anodyne versions of songs already too saccharine for their own good. Jazz musicians, however seem to approach the concept of recording an album of Christmas related music with an open mind, since being it being “jazz”, it means you can experiment with the arrangements, and maybe breath some new life into an older number.

Sackville was a Canadian record company and label that specialized in jazz. In March of 1986, they brought together a quartet to record a record of Christmas music, which was released later in the same year. The “Sackville All Star” group was a quartet consisting of Jim Galloway (soprano saxophone), Milt Hinton (bass), Gus Johnson (drums) and Ralph Sutton (piano). Jim Galloway was a leader in Canadian jazz. He was born in Kilwinning, Ayrshire Scotland in 1936, and moved to Toronto in 1964. In addition to a prolific recording and performing career, Jim was also a band leader and a co-founder of the Toronto Jazz Festival. 

Side one opens with “Santa Claus Is Coming Town”, one of the best known songs in the canon of Christmas music (and before anybody might look down their nose at this selection, Bill Evans also recorded a version of this tune). The album includes three well known carols (We Three Kings, Good King Wenceslas and Silent Night), a couple of more modern well known seasonal numbers (Winter Wonderland and Let It Snow) and two other Christmas themed songs I hadn’t heard before; “At The Christmas Ball” and “Santa Claus Came In The Spring”. The final song on side two is “Old Time Religion”, which, according to the liner notes, was included because “while not exactly a Christmas song, personifies the spirituality which is so much a part of the season”. All of the songs are performed with verve and character. These were songs that all of the players would have been familiar with, and probably had played over their careers on numerous occasions. In this case, the arrangements are respectful of the nature of the song, but also inventive enough that they breathe some new life into them.  

I found my copy of this record at a used record store for 5 bucks. The original celllophane wrapping was still attached with "6.99" written in red marker across the front. It was definitely worth the original price and 5 bucks for a pristine used copy was a great deal. A nice piece of Canadian recording history, and well worth listening to over the holidays.