Anything by trumpeter Kenny Dorham instantly commands attention, and this Record Store Day release, on vinyl from Resonance Records, immediately moved to the top of my wish list. Resonance has a flair for finding and releasing rare sessions, unheard since the molecules stopped moving in the air at their first performance.

In this case, the first performance was at a jazz club in the Bronx called the Blue Morocco in 1967 (a more exact date is hard to come by). At this point, Dorham was playing with a particularly interesting line up consisting of Sonny Red on alto saxophone, Cedar Walton on piano, Denis Charles on drums and none other than Paul Chambers on bass. Of these musicians, Charles is the least known to me. He mostly worked with more out-there players such as Cecil Taylor, Archie Shepp and soprano sax maven Steve Lacey – he features, with his name spelled ‘Dennis’, on Lacey’s 1958 debut album on Prestige – but as the sumptuous booklet accompanying the LPs correctly notes, he acquits himself very well here in a straight-ahead session. His measured and unfussy playing is an asset on ‘My One and Only Love’, which also sees some particularly lyrical comping from Walton in support of the sharply poignant solos from Dorham. 

The leader’s finest playing, however, is probably on his own composition ‘Blue Friday’, where he is nimble, exploratory and sardonic, weaving and interweaving themes with Walton’s piano. Red plays sparingly and pointedly in taut little solos, then spreads out in long unfurling lines, with snapping punctuation like sky rockets and signal flares from Charles. Walton concludes in a methodical and meditative passage, and Chambers has his back. Red offers some concise acrobatics before playing in unison with Dorham, who signs off the tune.

‘Confirmation’, an extended (almost fifteen minutes) Charlie Parker composition, is especially notable for the space it allows Chambers to hang a curtain wall of bass. Red’s finest hour (well, five minutes) is probably on ‘Bag’s Groove’, where he provides shimmering cascades of notes alternating with piercing commentary. Dorham then comes out of his corner and begins sparring confidently as he puts the piece through its paces. He invokes Dizzy Gillespie on ‘The Theme’ – one almost expects the offer of some salt peanuts – and Walton plays with silvery, ringing dexterity.

The album consists of four long tracks, two of them occupying entire sides of the double album, plus three shorter tracks. Of the two original Dorham compositions, and indeed of the entire set, ‘Blue Friday’ is probably the standout.

Once again, we must thank Zev Feldman and Resonance Records for saving valuable music from oblivion. In this case, thanks is also due to Bernard Drayton, who originally recorded these performances for WLIB radio in the Bronx. This album is available on CD, but the deluxe double vinyl package discussed here – featuring the usual Resonance extra of a lavishly illustrated booklet with detailed and informative text – is an especially desirable item.

• Label: Resonance Records
• HLP9072
• 
  

from https://ukjazznews.com