Dorham eventually joined Bird’s quintet after Miles left and shortly thereafter became a first call trumpet player for the top small groups in jazz.He became the trumpet player for one of the original versions of the Jazz Messengers, stood in for Clifford Brown after his tragic passing in the Brown/Roach Quintet, recorded with Monk and Sonny Rollins and continued on to record many landmark albums for Bluenote during it’s golden age in the 1960’s with the great tenorman Joe Henderson.One of the remarkable traits of Dorham, like the other lasting greats in jazz, is that he was able to adapt his style as the music evolved.
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Check out this very rare clip of Kenny playing over his tune K.D. Account & Lists Sign in Account & Lists Returns & Orders. "Kenny Dorham was a master composer, especially when it came to using rhythm section instruments to enhance a composition. Some of Dorham’s most notable playing on record is with the great Joe Henderson during the 1960’s for Bluenote records.
Aug 31, 2019 - Explore johnhudson311's board "Kenny Dorham", followed by 146 people on Pinterest. He began forming his musical concept playing bebop in the late forties and then perfected his mature sound and compositional style as the music became more and more innovative. Not only did Joe Henderson use Kenny as the trumpet player on his records, he also recorded his compositions on each of his early Bluenote albums.To really appreciate the full spectrum of Kenny Dorham’s playing, you really have to check out his records from each phase of his career. This characteristic comes out in all of his solos and is especially evident in his compositions.
is a jazz composition composed by trumpet player Kenny Dorham released in 1963 by an all star band for the eponymous album. Releases include: Page One (Joe Henderson), In 'n Out, The Freelance Years: The Complete Riverside & Contemporary Recordings (Sonny Rollins). Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree....
By the mid-60’s he was recording with some of the most progressive rhythm sections of the time, from Herbie Hancock and Tony Williams (à la Miles) to McCoy Tyner and Elvin Jones from Coltrane’s quartet.Another prominent element and characteristic of Kenny’s playing was his harmonic prowess. Whistle Stop features seven of his compositions, none of which were picked up later by any of the Young Lions of the '90s despite their high quality and many fresh melodies.
He survived and thrived in a music scene where trumpet players like Dizzy Gillespie, Fats Navarro and Howard McGhee were tearing it up.
Though influenced by Gillespie,
Kenny Dorham, black American jazz trumpeter, a pioneer of bebop noted for the beauty of his tone and for his lyricism. What is the name for the end of a horn that projects the sound?
Dorham's talent is frequently lauded by critics and other musicians, but he never received the kind of attention or public recognition from the jazz establishment that many of his peers did.
became an early supporter of Henderson’s playing and first began recording with Henderson in his quintet in 1963.In terms of improvising, both players have a very personal sound and a unique way of playing over changes, sort of kindred spirits in the music, so it is no surprise that they began to play frequently on each other’s albums. Listening to him play over standards like When I was in grad school, the tenor player Jimmy Heath was rehearsing one of the ensembles on a Dorham tune called The composition that everyone recognizes and associates with Dorham is Here are just a few of Kenny Dorham’s compositions, among many others, worth checking out:As K.D.’s musical concept continued to evolve, he looked for other players with the same vision to play in his groups and in terms of saxophonists, he found that in Joe Henderson.
Full music credits for Kenny Dorham: 208 performances.
Dorham began playing trumpet in high school, attended Wiley College (Marshall, Texas), and was on a U.S. Army boxing team in 1942. He noted that Kenny Dorham was one of the great romantics of the music, referring to his soulful, lyrical and personal approach to his playing.
arrived on the New York scene in the mid-1940’s as bebop was gaining momentum and quickly made his mark.