Jul 21

Louis Armstrong – What A Wonderful World (1968/2012)
FLAC (tracks) 24 bit/192 kHz | Time – 31:36 minutes | 1,24 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital booklet | © The Verve Music Group

The album, highlighted with his expressive and emotive vocal styling, includes arguably one of the greatest songs ever written, “What A Wonderful World,” a recording that would be inducted into the GRAMMY® Hall of Fame and continues to transcend countless generations of music lovers.

Helmed by legendary producer Bob Thiele, this 1968 recording ushered Louis Armstrong into his later days as a pop vocalist. Here, the trumpet that drove Armstrong’s early Hot Fives and Sevens is more subdued as his familiar gravelly voice takes center stage. Showcasing the powerful title track as well as several cheery pop favorites, Armstrong’s prowess as an interpreter of song is unmistakable during these recordings, despite his rapidly failing health. Satchmo’s amiable presence carries this recording through a few slow moments and has endeared the album as a pop vocal classic.

01 – What A Wonderful World (Single Version)
02 – Cabaret (Single Version)
03 – The Home Fire (Album Version)
04 – Dream A Little Dream Of Me (Album Version)
05 – Give Me Your Kisses (Album Version)
06 – The Sunshine Of Love (Single Version)
07 – Hello Brother (Single Version)
08 – There Must Be A Way (Album Version)
09 – Fantastic, That’s You (Album Version)
10 – I Guess I’ll Get The Papers And Go Home (Album Version)
11 – Hellzapoppin’ (Single Version)

About the Mastering:
Mastering was completed by Kevin Reeves at Sterling Sound NYC, using the original 1/4″ analog masters from the ABC Records vault. The masters were played on a modified Studer A820 with Wolke Butterfly heads and converted to digital at 192khz/24bit resolution using the DCS 904 converter and Sterling’s proprietary mastering systems. As always, the most direct signal path was maintained throughout the mastering process.

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Jul 21

Louis Pimentel – The Interstellar Group (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 00:45:53 minutes | 578 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Bandcamp | Front Cover | © Self Released

This is my first recording project that I have decided to take up in the Summer of 2015. I had enough original music to create an album and great musicians that were available to record it, so I asked “Why not?”. A lot of these compositions were written over the course of the two years when I first decided to take up composing. I am so proud on how these tracks have turned out! There are some great moments that have been recorded and I hope that you will enjoy listening as much as we had enjoyed playing it!

1. Level One
2. Searching
3. Always (For You)
4. Stream Of Consciousness
5. Cosmic Undulation
6. Pandemonium

Louis Pimentel – saxes, compositions
Shai Golan – alto sax
Zach Ramacier – trumpet
Adam Hersh – piano
Andy McCauley – bass
Kirk Portuguez – drums

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Jul 21

Little Star – Being Close (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 00:31:04 minutes | 360 MB | Genre: Indie
Studio Masters, Official Digital Download – Source: Bandcamp | Front Cover | © Good Cheer Records

Like it or not, the Little Star story is a classic rock one. Born out of a dissolving relationship, baptized in manic bedroom recording sessions, and confirmed under the winking lights of Portland basement venues, Little Star embodies the rock dream of transfiguring sadness into pop gold.

We first heard of Little Star through the Romantic World of Little Star cassette self-release, a map for Daniel Byers’ inner tumult disguised as scrappy dreampop. Big Star’s exuberant melancholy, the Kinks’ crackerjack guitar work and the Cure’s winking macabre all lit the path through Daniel Byers’ little world. Now we have Being Close, an album that finds Byers enlisting the help of bassist, singer and songwriter Julian Morris and drummer John Value, transposing the coy synthesized instrumentation of Romantic World into a true power trio. “It has very aggressive moments, and it has more tender and sweet moments,” than the debut cassette, proclaims Morris. Byers takes care to note the influence of friends and fellow Portlanders Sioux Falls on the album’s brash sound.

Being Close is the sound of Little Star “bringing the [Romantic World] out of the bedroom and into the live space,” says Value. The ten-song collection finds Byers and Morris, penning songs about transformation and transcendence—Dan’s songs about processing his breakup, Julian’s songs about his process of gender transition. The album might be about dissolution and finding oneself anew, but Byers carefully notes that the songs are really about “moving apart from people.” Is it a breakup album? “Well maybe it is, on accident.”

Songs like “Cheeseman” and “For Goth Easter” demonstrate the emotional breadth of Little Star. All of the songs are “about moving apart from people,” Byers explains. The rollicking “Cheeseman” details the painful drift between two friends, set over Bolan-esque chugging guitar chords. An honest-to-god guitar solo caps off the song, showcasing Byers’ sage-like (and Sage-like) fret heroics. And then there’s “For Goth Easter.” The Morris-Value-Byers trio have turned Romantic World’s emotional centerpiece into a Being Close’s first act showstopper, a breathless three-minute meditation on the power of rock music. Portland Mercury contributor Cameron Crowell has described seeing entire basements teary-eyed, singing along to every word of the song, and I’ve seen it happen, too, I swear to god.

Little Star recorded the bulk of Being Close live in a single eighteen-hour session at Portland’s Type Foundry Studios and mixed the rest of the album in the same house used to make Romantic World. Portland label Good Cheer Records is proud to release the album on CD and Cassette, available online and in stores on January 8.
– Mac Pogue


01. Being Close
02. Cheeseman
03. For Goth Easter
04. Voice
05. Ollie
06. Banker
07. New TV
08. Ian
09. Attention
10. Hungry Ghost

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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.


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


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


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)

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”

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

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

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.”

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

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

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.

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

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