Jul 20

Lucie Horsch – Vivaldi: Recorder Concertos (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 53:14 minutes | 1,06 GB | Genre: Classical
Studio Master, Official Digital Download – Source: prestoclassical.co.uk | Digital Booklet | © Decca

Lucie Horsch is a brilliant young recorder virtuoso from Amsterdam. Still only 17, she began playing the recorder aged 5 winning numerous prizes and representing the Netherlands at Eurovision 2014 Young Musician of the Year in Cologne. In 2016 she was awarded the Concertgebouw Young Talent Award presented to her by Sir John Eliot Gardiner.

For her debut DECCA album Lucie has chosen to record an all Vivaldi programme: I love the music of Vivaldi she writes, its rhythmical, light, energetic and the slow movements are utterly beautiful.

Four famous concertos including La notte and La tempesta di mare are recorded alongside transcriptions of some of Vivaldis best-loved melodies, including Cum Dederit from the Nisi Dominus and the aria Vedro con mio diletto from the opera Giustino.

A bonus is the first movement of Spring from The Four Seasons transcribed in 1775 by Jean Jacques Rousseau.

Lucie is joined by the hand-picked Amsterdam Vivaldi Players led by Candida Thompson and including Gregor Horsch, Lucies father and principal cellist of the Royal Concertgebouw Orchestra.

Lucie already tours extensively throughout Europe, including appearances at Janine Jansens International chamber Music Festival in Utrecht, as well as making her debut in Canada with the Manitoba Chamber Orchestra. She will perform a series of concerts to launch the album in the Netherlands in Fall 2016.

Tracklist:

01-03. Flautino Concerto in C Major, RV 443
04-06. Concerto in C Minor for Recorder & Strings, RV 441
07. Nisi Dominus (Psalm 126), RV 608 – ‘Cum dederit’
08-11. Concerto for Flute and Strings in G minor, Op.10, No.2, RV 439 ‘La notte’
12. Concerto for 2 Mandolins, Strings and Continuo in G, RV 532 – II. Andante
13-15. Concerto for Flute and Strings in F, Op.10, No.1, RV 433 ‘La tempesta di mare’
16. Il Giustino, RV 717 – ‘Vedrò con mio diletto’
17. Concerto For Violin And Strings In E, Op.8, No.1, RV 269 ‘La Primavera’ – I. Allegro

Personnel:

Lucie Horsch (recorder)
Amsterdam Vivaldi Players
Candida Thompson (conductor)

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Jul 20

Lucas Debargue – Bach, Beethoven, Medtner (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:53 minutes | 869 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital booklet | © Sony Classical

Lucas Debargue, the most talked about pianist at the 2015 Tchaikovsky Piano Competition, releases his first studio album BACH, BEETHOVEN, MEDTNER.

Nikolai Medtner is a Russian composer, contemporary of Rachmaninov & Scriabin with German roots and influences. Debargue performed Medtner’s melodious sonata to spectacular success at the 2015 Tchaikovsky Competition with applause that lasted over fifteen minutes.

“I think it makes more sense to engage in a work like this one, brilliant but misunderstood, rather than in others we are too used to hearing,” says Debargue about Medtner

Besides Bach’s melancholic Toccata C minor BWV 911, Debargue is keen to engage in forgotten works as with Medtner and further puts a spotlight on the Sonata No. 7 in D major by Beethoven, which remained in the shadow of the famous Pathétique

Tracklist:

01. Toccata in C Minor, BWV 911: Toccata in C Minor, BWV 911: Toccata
02. Toccata in C Minor, BWV 911: Toccata in C Minor, BWV 911: Fugue
03. Sonata No. 7 in D Major, Op. 10, No. 3: I. Presto
04. Sonata No. 7 in D Major, Op. 10, No. 3: Sonata No. 7 in D Major, Op. 10, No. 3: II. Largo e mesto
05. Sonata No. 7 in D Major, Op. 10, No. 3: Sonata No. 7 in D Major, Op. 10, No. 3: III. Menuetto – Allegro – Trio
06. Sonata No. 7 in D Major, Op. 10, No. 3: Sonata No. 7 in D Major, Op. 10, No. 3: IV. Rondo – Allegro
07. Piano Sonata in F Minor, Op. 5: I. Allegro – Maestoso, ma a tempo – Alla breve
08. Piano Sonata in F Minor, Op. 5: Piano Sonata in F Minor, Op. 5: II. Intermezzo – Allegro
09. Piano Sonata in F Minor, Op. 5: Piano Sonata in F Minor, Op. 5: III. Largo divoto – Maestoso
10. Piano Sonata in F Minor, Op. 5: Piano Sonata in F Minor, Op. 5: IV. Finale – Allegro risoluto

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Jul 20

Rachel Podger & Arte Dei Suonatori – Antonio Vivaldi: La Stravaganza – 12 Violin Concertos (2003)
FLAC (tracks) 24 bit/96 kHz | Time – 103:53 minutes | 1,75 GB
Official Digital Download – Source: LinnRecords.com | Covers & Digital Booklet

These performances of Vivaldi’s La Stravaganza – a collection of 12 violin concertos – are truly extravagant. They’re not designed to be listened to in one sitting and shouldn’t be: it’s not the sameness of the orchestration which might get in the way, it’s the intensity with which Vivaldi composed them and the manner in which the remarkable Rachel Podger plays them. Fans of Andrew Manze will love Podger for similar reasons.

While Vivaldi was imitated and paraphrased for several decades in the 18th Century, his style is actually quite inimitable. His admirers could add to but not originate the formula. This is why his singular voice speaks to us now with such genuine directness and individuality. The concertos of La Stravanganza, remarkable for their range of coloration, constitute Vivaldi’s evolving style of extravagance and ecstasy. Immersing herself in the 12 Concertos of La Stravanganza was an intense and exhilarating experience for violinist Rachel Podger, and one which has left her full of wonder at Vivaldi’s seemingly endless capacity for invention.
— Gramophone’s Best Baroque Recording of 2003 CCS SA 19503 (Channel Classics)

Tracklist:
01 – Concerto in B Flat, Opus 4 No. 1 – Allegro
02 – Concerto in B Flat, Opus 4 No. 1 – Largo e cantabile
03 – Concerto in B Flat, Opus 4 No. 1 – Allegro
04 – Concerto in E Minor, Opus 4 No. 2 – Allegro
05 – Concerto in E Minor, Opus 4 No. 2 – Largo
06 – Concerto in E Minor, Opus 4 No. 2 – Allegro
07 – Concerto in G Major, Opus 4 No. 3 – Allegro
08 – Concerto in G Major, Opus 4 No. 3 – Largo
09 – Concerto in G Major, Opus 4 No. 3 – Allegro assai
10 – Concerto in A Minor, Opus 4 No. 4 – Allegro
11 – Concerto in A Minor, Opus 4 No. 4 – Grave e sempre piano
12 – Concerto in A Minor, Opus 4 No. 4 – Allegro
13 – Concerto in A Major, Opus 4 No. 5 – Allegro
14 – Concerto in A Major, Opus 4 No. 5 – Largo
15 – Concerto in A Major, Opus 4 No. 5 – Allegro
16 – Concerto in G Minor, Opus 4 No. 6 – Allegro
17 – Concerto in G Minor, Opus 4 No. 6 – Largo
18 – Concerto in G Minor, Opus 4 No. 6 – Allegro
19 – Concerto in C Major, Opus 4 No. 7 – Largo
20 – Concerto in C Major, Opus 4 No. 7 – Allegro
21 – Concerto in C Major, Opus 4 No. 7 – Largo
22 – Concerto in C Major, Opus 4 No. 7 – Allegro
23 – Concerto in D Minor, Opus 4 No. 8 – Allegro
24 – Concerto in D Minor, Opus 4 No. 8 – Adagio-Presto-Adagio
25 – Concerto in D Minor, Opus 4 No. 8 – Allegro
26 – Concerto in F Major, Opus 4 No. 9 – Allegro
27 – Concerto in F Major, Opus 4 No. 9 – Largo
28 – Concerto in F Major, Opus 4 No. 9 – Allegro
29 – Concerto in C Minor, Opus 4 No. 10 – Spirituoso
30 – Concerto in C Minor, Opus 4 No. 10 – Adagio
31 – Concerto in C Minor, Opus 4 No. 10 – Allegro
32 – Concerto in D Major, Opus 4 No. 11 – Allegro
33 – Concerto in D Major, Opus 4 No. 11 – Largo
34 – Concerto in D Major, Opus 4 No. 11 – Allegro assai
35 – Concerto in G Major, Opus 4 No. 12 – Spirituoso e non Presto
36 – Concerto in G Major, Opus 4 No. 12 – Largo
37 – Concerto in G Major, Opus 4 No. 12 – Allegro

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Jul 20

Antonio Vivaldi – La Cetra: 12 Violin Concertos
Rachel Podger / Holland Baroque Society
FLAC (tracks) 24 bit/96 kHz: 2,58 GB | Artwork
Label/Cat#: Channel Classics # – | Country/Year: Europe 2012
Genre: Classical | Style: Baroque, Violin | Source: Official Download

Podger is a dynamic and unfailingly accurate virtuoso with exceptional interpretive instincts that can turn an unimposing rhythmic accent, a tiny melodic figure, or a seemingly routine harmonic progression into a moment of surprise or sheer wonder not only at the technical facility but also at the unexpected expressive effect. These concertos are full of challenges for the soloist, and Podger, who has considerable experience not only with Vivaldi, but with Mozart, Bach, and Haydn, has no apparent fear of any of them. And she also is a confident leader, bringing her very capable orchestral colleagues perfectly along with her, not only concerning tempos, but more importantly into her personal conception of dynamics, her volatile phrasing and often relentless rhythmic thrust. This is what makes these performances so exciting, invigorating, and so memorably different from the Vivaldi we’ve previously known and loved from performers such as Fabio Biondi, Giuliano Carmignola, and Andrew Manze.

There’s nothing not to like in terms of the music, and there are interesting little tidbits of trivia, such as the C minor theme of the Largo in Concerto No. 1, which bears an all-too-striking resemblance to the theme of Bach’s G minor fugue in Book 1 of the WTC. For some reason the first movement of the D minor concerto (No. 8) is foisted on many third or fourth-year violin students, perpetuating the idea that Vivaldi is “easier Bach”. Well, it isn’t. And just listen to Podger’s no-holds-barred performance and you’ll want to slap a warning label on the work: “For Adults Only”.
The Holland Baroque Society is a superb ensemble-it reminds me of the Quebec-based Les Violons du Roy-a group of young and very talented musicians whose inherent youthful energy and technical virtuosity, not to mention serious dedication to their music, reassures us older types that the future of classical music is secure. Full disclosure: I happened to be in Amsterdam during these recording sessions, and sat in for an all-too-brief period. I can say without qualification that the sound you hear is absolutely faithful to the superb acoustics of Amsterdam’s Waalse Kerk and to the vibrant timbres of the Holland Baroque Society’s period instruments. (A wonderful thing about these performances is the way the instruments themselves and their unique colors are celebrated and exploited-not just the bowed strings, but also the lute, organ, and harpsichord.) When listening to this CD I turned the volume up just slightly past my normal listening level, and I was rewarded with a room-filling reproduction of what I’d heard in Amsterdam. “Uitstekend!” Highly recommended. David Vernier “ClassicsToday.com”

Tracklist:
Concerto No. 1 in C major RV 181a;
Concerto No. 2 in A major RV 345;
Concerto No. 3 in G minor RV 334;
Concerto No. 4 in E major RV 263a;
Concerto No. 5 in A minor RV 358;
Concerto No. 6 in A major RV 348;
Concerto No. 7 in B-flat major RV 359;
Concerto No. 8 in D minor RV 238;
Concerto No. 9 in B-flat major RV 530;
Concerto No. 10 in G major RV 300;
Concerto No. 11 in C minor RV 198a;
Concerto No. 12 in B minor RV 391;

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Jul 20

Kenny Dorham – Trompeta Toccata (1964/2014)
FLAC (tracks) 24 bit/192kHz | Time – 00:37:09 minutes | 1,41 GB | Genre: Jazz
Official Digital Download – Source: Qobuz | © Blue Note Records
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on September 4, 1964

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, AllMusic

Leave it to the least showy, most thoughtful of trumpet players to compose and perform a Trompeta Toccata (show piece) and make it work. Any new reissue of a Kenny Dorham date is welcome, guaranteed to be full of Dorham’s inventive twists and surprises as a soloist as well as composer. But as the very last recording session by Dorham as leader (it was recorded in 1964), this one merits special consideration.
The presence of the trumpeter’s favorite frontline companion at this time, tenor saxophonist Joe Henderson, will further enhance its value to some listeners. It’s hard to argue against Henderson’s main predecessor, Hank Mobley, as more compatible with Dorham’s deceptive facility and melodic logic, but the presence of Henderson seemed to push Dorham into more adventurous territory as both composer and player. Henderson’s Coltrane-inspired harmonics and overtones during his somewhat edgy, rough-hewn solos practically required an answer from Dorham in the form of more adventurous solo constructions and modal compositions.
The title piece is one-of-a-kind yet vintage Dorham, taking the music of the bull fight, toreador and matador, stripping it of all the gratuitous trappings, and distilling it to its dramatic and poignant flamenco essence. Besides the artistry of Dorham, the talents of both Henderson and bassist Richard Davis are also heard to full advantage (thankfully, Davis’ strong but lengthy solo stops just short of changing the character of this delicately balanced tone poem into a vehicle for bass).
In some respects, the piece is a highly concentrated, orchestrally spare version of the Miles Davis/Gil Evans recording of Rodrigo’s famous “Concierto De Aranjuez on the Sketches Of Spain album (Columbia, 1959), with Tommy Flanagan’s piano as the subtle, colorful counterpart of Evans’ image-rich, evocative orchestration. (Flanagan is one of the few pianists whose touch is so personal, so distinctive that not even Van Gelder can homogenize it.)
Trompeta Toccata offers a later, more idiosyncratic Dorham, sounding vulnerable and breathy one instant and dynamically brilliant and virtuosic the next. It’s when he moves to the upper register, without betraying a hint of strain or pushing, that his sound really opens up, “blossoming” into bright radiance and fullness. Then there’s that inimitable “growl” (sounding more like a cornered, frightened and ornery kitten) for added tonal variety and humor—possibly Dorham’s response to Henderson’s husky harmonics and percussive articulations.
The “growl” shows up not only in the Toccata but in the debut of “Blue Bossa,” from Henderson’s own debut session, Page One (Blue Note, 1963), as well as in the title tune of Dorham’s Una Mas, which again matches him with the textures of Henderson’s unshaven, masculine sound. But one of the tunes, “The Fox,” harkens back to the kind of challenging, rapidly changing chord sequence that only Dorham, with the possible exception of Mobley, could negotiate with such effortless facility and consummate command. It’s the one tune on both of the present sessions that captures the trumpeter at his lithe best, putting on the sort of harmonic clinic that characterizes his indispensable on-location Blakey session pairing him with Mobley (Jazz Messengers: At the Cafe Bohemia, Blue Note, 1955).
As the quintessential musician’s musician, never showing a need to play merely to “impress,” Dorham seemed intent on precluding others from judging his music by writing his own epitaph in the form of an extended orchestral work. Seeing it to completion remained his dream to the end, and somewhat sadly his album Whistle Stop concludes with a 69-second fragment of that dream, “Dorham’s Epitaph.
Even without the grand closure of a fully-realized requiem, Kenny Dorham remains a giant, belonging on any short list of trumpet immortals. In fact, once Louis Armstrong, Dizzy Gillespie and Clifford Brown have been accounted for, it can be difficult to move any further down the list without at least giving serious thought to the insertion of Kenny Dorham’s name. Given more familiar and influential trumpet styles, it can take a while for a new listener to “get” Dorham. Soon, however, it’s impossible to get enough of him. –Samuel Chell, All About Jazz

Tracklist:
1 Trompeta Toccata 12:22
2 Night Watch 5:44
3 Mamacita 11:03
4 The Fox 7:58

Personnel:
Kenny Dorham, trumpet
Tommy Flanagan, piano
Joe Henderson, tenor saxophone
Richard Davis, double bass
Albert Heath, drums

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Jul 20

Kenny Dorham – Afro-Cuban (1955/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 35:00 minutes | 1,29 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks.com | Front cover | © Blue Note Records

“In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you’ve set up your chaise lounge right in the middle of Rudy Van Gelder’s studio!” – Blue Note President, Don Was.

Afro-Cuban is the 1955 masterpiece by Kenny Dorham. The recording is one of the first well-respected blends of jazz and Afro-Cuban. The legendary jazz trumpeter is joined by J.J. Johnson, Hank Mobley, Cecil Payne, Horace Silver, Percy Heath, Art Blakey, Carlos Valdes and Richie Goldberg. This is a vital addition for any music connoisseur’s collection. Standouts include “Afrodisia,” “Lotus Flower” and “Minors Holiday.”

Tracklist:
01 – Afrodisia
02 – Lotus Flower
03 – Minors Holiday
04 – Basheer’s Dream
05 – K.D.’s Motion
06 – La Villa
07 – Venita’s Dance

Personnel:
Kenny Dorham (trumpet)
Hank Mobley (tenor saxophone)
J.J. Johnson (trombone, tracks 1-4 only)
Cecil Payne (baritone saxophone)
Horace Silver (piano)
Oscar Pettiford (bass, tracks 1-4)
Percy Heath (bass, tracks 5-7)
Art Blakey (drums)
Carlos “Patato” Valdes (congas, tracks 1-4 only)

Recorded January 30 (tracks 5-7) and March 29, 1955 (tracks 1-4) in Rudy Van Gelder Studio, Hackensack, NJ
Produced by Alfred Lion
Released as Blue Note BLP 1535 (Mono only)

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Jul 20

Kenny Dorham – Una Mas, One More Time (1963/1999/2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 36:46 minutes | 369 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Front Cover | © Blue Note Records
Rudy Van Gelder Edition, Remastered

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

Tracklist:
01 – Una Mas (One More Time)
02 – Straight Ahead
03 – Sao Paulo
04 – If I Ever I Would Leave You

Produced by Alfred Lion.
Recorded on April 1, 1963 at Van Gelder Studio, Englewood Cliffs, NJ.
Remastered by Rudy Van Gelder at Van Gelder Studio.

Musicians:
Kenny Dorham – trumpet
Herbie Hancock – piano
Joe Henderson – tenor saxophone
Butch Warren – double bass
Tony Williams – drums

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Jul 20

Kenny Dorham – Una Mas (1963/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 00:31:27 minutes | 1,32 GB | Genre: Jazz
Official Digital Download – Source: Qobuz | Front Cover | © Blue Note Records
Recorded: April 1, 1963 at Van Gelder Studio, Englewood Cliffs, New Jersey.

Trumpeter Kenny Dorham’s Una Mas was one of 1963’s best records. With its melding of hard-bop, bossa nova, and the blues, Una Mas is a prime example of the memorable vamps that Blue Note favored at the time, finding ultimate success later that year with Lee Morgan’s The Sidewinder.

Dorham was a prolific recording artist for almost a decade before Una Mas—both under his own name and as a sideman for some of jazz’s most notable leaders. He wasn’t the flashiest or most aggressive player, but he had impeccably good taste as a soloist, and his compositions have enjoyed consistent attention from musicians ever since.

With Una Mas, Dorham takes a few risks. Not every jazz musician that tries to infuse Latin rhythms is successful, and in retrospect, some efforts sound contrived. By contrast, Una Mas manages the fusion seamlessly, leaving a record notable for its insistent but not overpowering rhythm, and simple, powerful melodies.

Una Mas is also notable as the first recorded appearance of the great tenor saxophonist Joe Henderson. Fresh out of the Army, Henderson’s debut is unusually self-assured. A disciple of Charlie Parker, his playing here doesn’t betray any copycat licks; instead, he turns in a solid performance of beautifully constructed solos. In many respects his playing here is more adventurous than Dorham’s, a hint of great things yet to come.
The catchy and suave title track is one of the most recognizable tunes in the Blue Note catalog, built on brilliant economy and using a simple two-note bounce with a tight, blue chorus. Herbie Hancock contributes a particularly sophisticated handling of the two-note theme by modifying the chords almost continuously, even as he remains tightly within the rhythmic framework. The lineup, rounded out by bassist Butch Warren and drummer Tony Williams (only 17 at the time) is as tight and swinging as they come. –Greg Simmons, All About Jazz

Tracklist:
1 Una Mas (One More Time) 15:18
2 Straight Ahead 7:18
3 Sao Paulo 8:58

Personnel:
Kenny Dorham – trumpet
Herbie Hancock – piano
Joe Henderson – tenor saxophone
Butch Warren – double bass
Tony Williams – drums

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Jul 20

Kenny Dorham – Whistle Stop (1961/2014)
FLAC (tracks) 24 bit/192kHz | Time – 00:38:30 minutes | 1,67 GB | Genre: Jazz
Official Digital Download – Source: Qobuz | © Blue Note Records
Recorded: January 15, 1961 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

Whistle Stop is a jazz studio album by Kenny Dorham, featuring performances by acclaimed musicians Hank Mobley, Kenny Drew, Paul Chambers and Philly Joe Jones. It was recorded in January 1961 at Van Gelder Studio, in Englewood Cliffs, and was originally released on Blue Note Records as BST 84063 and BLP 4063. “In 1975”, Blumenthal states in the CD liner notes, “five British critics picked Whistle Stop as one of 200 albums that belonged in a basic library of jazz recorded after World War II”.

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

Tracklist:
1 Philly Twist 5:39
2 Buffalo 7:42
3 Sunset 6:22
4 Whistle Stop 5:56
5 Sunrise in Mexico 5:39
6 Windmill 6:18
7 Dorham’s Epitaph 1:16

Personnel:
Kenny Dorham, trumpet
Hank Mobley, tenor sax
Kenny Drew, piano
Paul Chambers, double bass
Philly Joe Jones, drums

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Jul 20

Kenny Dorham – Whistle Stop (1961) [APO Remaster 2008]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:45 minutes | Scans included | 1,57 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 760 MB
Genre: Jazz

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.

Tracklist:
01. ‘Philly’ Twist
02. Buffalo
03. Sunset
04. Whistle Stop
05. Sunrise in Mexico
06. Windmill
07. Dorham’s Epitaph

Mastered fo this SACD by Kevin Gray at Cohearent Audio.

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