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Afro-Cuban


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Vinyl, July 29, 2014
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Product Details

  • Vinyl (July 29, 2014)
  • Original Release Date: 2014
  • Number of Discs: 1
  • Label: Blue Note Records
  • ASIN: B00JZO335Q
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Best Sellers Rank: #67,541 in Music (See Top 100 in Music)

1. Afrodisia (Side A)
2. Lotus Flower (Side A)
3. Minor's Holiday (Side A)
4. Basheer's Dream (Side A)
5. K.D.'s Motion (Side B)
6. The Villa (Side B)
7. Venita's Dance (Side B)

Editorial Reviews

Afro Cuban, by jazz trumpeter, Kenny Dorham, will be reissued as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.

Customer Reviews

4.8 out of 5 stars
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See all 17 customer reviews
If you're a real KD fan, this in a must have.
jazzgirl3
The lineup includes the great Horace Silver on piano and Hank Mobley on Tenor Sax, who along with Dorham and Blakey were 4/5 of the original Jazz Messengers.
Roger Bennett
He had a beautiful tone, amazing chops, and he was a great composer.
Scott Williams

Most Helpful Customer Reviews

18 of 18 people found the following review helpful By Scott Williams on July 20, 2008
Format: Audio CD
Recorded in 1955, Afro-cuban is Kenny Dorham's first classic album. Kenny had the complete package. He had a beautiful tone, amazing chops, and he was a great composer. It is a wonder why he is not more reknown. The first five tracks on this reissue are all latin/jazz classics. They are an essential part of every jazz library. The bonus tracks included on the re-issue aren't quite the same caliber as the first part of the CD. They are more standard hard bop tunes that latin jazz tunes, and are from a different recording session.
The first five tracks feature an all star lineup:
Kenny on trumpet, J.J. Johnson on trombone, Hank Mobley on tenor sax, Cecil Payne on baritione sax, Horace Silver on piano, Oscar Petiford on bass, Art Blakey on drums, and Carlos 'Potato' Valdes on conga ... wow!
I highly recommend this album along with just about all Kenny's albums.
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15 of 17 people found the following review helpful By Eric C. Sedensky VINE VOICE on May 14, 2008
Format: Audio CD
Growing up in the late 60's and early 70's, one of my earliest musical memories is of repeatedly listening to Herb Alpert and the Tijuana Brass on my parents' stereo (high tech back then). When I was old enough to think I knew what I was doing, I even talked my parents into letting me take lessons and play trumpet for a summer. When I was done blowing my brains out after three months and still couldn't play "Yankee [Diddley] Doodle", we sold the trumpet and I started playing the organ. I share this so that it serves as my disclaimer that I am biased toward trumpet, but nonetheless, that did not influence my rating and review of this fantastic recording. I saw Kenny Dorham's name on the The Penguin Guide to Jazz Recordings: Eighth Edition (Penguin Guide to Jazz Recordings) Core Collection, and while this is not the recording on that list ('Round About Midnight at the Cafe Bohemia, Vol. 1-2is), I had a chance to pick this up relatively cheaply, so I did. I am very glad I did, too. Kenny really knows how to shake it, and he does it without a lot of mute and effects, just straight ahead, sharp, bright trumpet playing. The Afro-Cuban influences and claves and whatnot are unmistakeable, but the wonder of this CD is that it doesn't smack you over the head with "ethnicity" at every turn. It merely presents some rousing, pleasing jazz in some unusual but not unheard of rhythm patterns accented by less-than-conventional percussion instruments. The effect is as soothing as it is exciting.Read more ›
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5 of 5 people found the following review helpful By Tony NYC on February 8, 2007
Format: Audio CD Verified Purchase
This is one of my favorite Kenny Dorham albums. First off, the players with Dorham are: Jay Jay Johnson, trombone; Hank Mobley, tenor sax; Cecil Payne, baritone sax; Horace Silver, piano; Oscar Pettiford, bass (cuts 1-5); Percy Heath, bass (cuts 6-9); Carlos "Potato" Valdez, conga; and Art Blakey, drums. So we're talking greats.

The first half of this album is Afro Cuban jazz and include Valdez on Conga. The second half is mainstream jazz in nature and drops Valdez for a more mainstream feel. Also on the second half, J.J. Johnson is not present, and Pettiford is replaced by Heath on bass. It's like two different albums in one, but ALL of it is great. This album has the debut version of Dorhams famous (relatively speaking of course) "Lotus Flower" and an alternate, previously unreleased alternate take of "Minor's Holiday". Recorded by the great Rudy Van Gelder in Hackensack, N.J. in 1955. (two seperate recording sessions) Cuts 1-5 were done on March 29, and cuts 6-9 were done a couple of months earlier on January 30, but unfortunately not re-masted by (in my honest opinion) his best sidekick, Phil DeLancie. I guess I'm used to the dynamic duo of Van Gelder and DeLancie when it comes to music from this era, and I can truly hear immediately when DeLancie is missing from the mix. Just a tid bit, but if you are an audiophile as well as a Jazz lover, you might notice that when listening. A must have recording if you are a Kenny Dorham fan. While you're at it, pick up a copy of Dorham's "Whistle Stop" and the sometimes hard to find (so keep looking) "Kenny Dorham Memorial" from January 10, 1960, and you'll have a great Kenny Dorham collection.
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4 of 5 people found the following review helpful By Caponsacchi HALL OF FAMETOP 500 REVIEWERVINE VOICE on July 4, 2006
Format: Audio CD
I'm surprised the reviews tend to fixate on the rhythmic dimension of this session, though perhaps the title makes such a consideration inescapable. An even more undeniable strength of the recording is the presence of three of the all-time inventive masters on their respective instruments--Dorham, Mobley and J. J. Johnson. The session swings, and with a latin kick (with Blakey on board, how could it not?), but this is above all inspired ensemble playing and exemplary blowing--in fact, improvisation of the first order.

Kenny gets most of the time, and it's just as well, because the presence of the other two giants seems to bring out the best in him. No one articulates a single note in more varied, expressive ways then Dorham--he squeezes it shut, opens it up, comes at it from above, then underneath--and still manages to keep the ideas flowing and swinging. "Minor's Holiday" is such a delight you can't wait for the alternate take just for a chance to experience it again from a different angle. Mobley is Mr. Consistency, talking up a blues storm on each of his turns, and J. J. provides that extra life and spark that a Curtis Fuller, for all of his virtues, simply couldn't bring to a set like this. The last 4 tunes don't quite measure up, but the 5-star performance on the first 5 tunes is sufficiently memorable to characterize the session as a whole.
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