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Jazz - Paru le 29 mai 2007 | Blue Note (BLU)

Hi-Res Distinctions Discothèque Idéale Qobuz - Hi-Res Audio
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Jazz - Paru le 2 septembre 2010 | Fresh Sound Records

Distinctions 4 étoiles Jazzman
Kenny Dorham, trompette - Charlie Davis, saxophone baryton - Tommy Flanagan, piano - Edward Butch Warren, contrebasse - Arnold « Buddy » Enlow, batterie
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Jazz - Paru le 1 janvier 1959 | Craft Recordings

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Jazz - Paru le 1 janvier 2006 | Prestige

Hi-Res Livret
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Jazz - Paru le 1 avril 1963 | CM BLUE NOTE (A92)

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When one thinks of great talent scouts in jazz, the name of Kenny Dorham is often overlooked. However, many top young players benefited from playing in his groups, and for proof one need look no further than the lineup on this 1963 CD reissue: tenor-saxophonist Joe Henderson, bassist Butch Warren, and (before either player joined Miles Davis) pianist Herbie Hancock and drummer Tony Williams. Together the quintet performs three of the trumpeter's originals ("Una Mas" is the most famous) along with the standard ballad "If Ever I Would Leave You." Even if the playing time (under 37 minutes) is a bit brief, the explorative yet swinging music lives up to its potential. © Scott Yanow /TiVo
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Jazz - Paru le 29 mai 2007 | Blue Note (BLU)

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Jazz - Paru le 29 janvier 2002 | CM BLUE NOTE (A92)

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During the spring and summer of 1956, trumpeter Kenny Dorham recorded two studio albums with his Jazz Prophets, a small hard bop band involving tenor saxophonist J.R. Monterose and a rhythm section of pianist Dick Katz, bassist Sam Jones and drummer Arthur Edgehill. On May 31 of that year, Dorham's group performed live at the Café Bohemia with Bobby Timmons at the piano and guitarist Kenny Burrell sitting in on all but the first of four sets. Originally engineered by Rudy Van Gelder and remastered by him in 2001, Blue Note's 2002 double-disc "Complete" Dorham Café Bohemia edition combines every usable track taped during this exceptionally fine evening of live jazz. The word "understated" has sometimes been used to describe the music played by Dorham's band on this night in 1956; this is only appropriate if Dorham is compared with intense individuals like Fats Navarro or Dizzy Gillespie. Dorham's jazz was perhaps more intimate and accessible precisely because his horn had an earthier tone, almost like that of a cornet. Sometimes compared with Ted Curson, Richard Williams or Freddie Hubbard, Dorham sounded a lot like the profoundly gifted and vastly underappreciated Johnny Coles, particularly during ballads like "Autumn in New York" and "Round Midnight." There are also intimations of Miles Davis, Nat Adderley and even young Don Cherry. This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day. © arwulf arwulf /TiVo
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Jazz - Paru le 15 janvier 1961 | Blue Note Records

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Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. 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. Dorham teams up with tenor-saxophonist Hank Mobley (who had recorded with him previously, along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set. © Scott Yanow /TiVo
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Jazz - Paru le 4 septembre 1964 | Blue Note Records

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It seems strange and somewhat tragic that this was trumpeter Kenny Dorham's last full album as a leader for he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson's catchy "Mamacita" also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert "Tootie" Heath served as a strong (if premature) ending to Dorham's impressive career as a solo artist. © Scott Yanow /TiVo
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Jazz - Paru le 1 janvier 1957 | Prestige

Some of trumpeter Kenny Dorham's finest recordings were his sessions as a leader for Riverside in the '50s and fortunately all of that music has been reissued on CD. This album is a bit brief in time (41 minutes) but contains many memorable selections. Three of the songs ("Falling in Love with Love" a 12-minute version of "I'll Remember April" and the trumpeter's "La Villa") match Dorham in an all-star quintet with the great tenor Sonny Rollins, pianist Hank Jones, bassist Oscar Pettiford and drummer Max Roach. The other three numbers (of which only "My Old Flame" includes Rollins) adds a fine harp player (Betty Glauman) and focuses on Dorham's lyricism. © Scott Yanow /TiVo
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Jazz - Paru le 6 octobre 1998 | Savoy

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Jazz - Paru le 30 juin 2011 | CoolNote

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Jazz - Paru le 1 janvier 1999 | Blue Note Records

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Jazz - Paru le 1 janvier 1990 | Prestige

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Jazz - Paru le 1 janvier 2007 | Blue Note Records

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Jazz - Paru le 31 mars 2014 | Tritone

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Jazz - Paru le 31 mars 2014 | Tritone

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Jazz - Paru le 1 janvier 1962 | CAPITOL CATALOG MKT (C92)

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Jazz - Paru le 15 janvier 1961 | Blue Note Records

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Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. 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. Dorham teams up with tenor-saxophonist Hank Mobley (who had recorded with him previously, along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set. © Scott Yanow /TiVo
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Jazz - Paru le 19 janvier 2010 | UPTOWN JAZZ