Round About Midnight At The Cafe Bohemia: Complete [Original recording reissued, Original recording remastered]

Kenny Dorham | Format: Audio CD

Product Details

• Audio CD (January 29, 2002)
• Number of Discs: 2
• Format: Original recording reissued, Original recording remastered
• Label: Blue Note Records
• ASIN: B00005UOKS
• In-Print Editions: Audio CD  |  MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #118,567 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

35 of 35 people found the following review helpful:

5.0 out of 5 stars The uncrowned king, March 19, 2002

By 

G. Schramke (Vienna, Austria) - See all my reviews
(REAL NAME)   

This review is from: Round About Midnight At The Cafe Bohemia: Complete (Audio CD)

Kenny Dorham was such a great trumpet player, but even considering the fact, that his recording period spanned about 20 years, starting with important contributions in the forties, when he played with Charlie Parker, Bud Powell and others, it quite seems, that he largely was taken for granted by the wider audience, which paid most of the attention to more glamorous players, namely Dizzy and Miles. But listening to Kenny Dorham's Blue Note recordings you will notice, that he had it all: A beautiful, slightly bittersweet sound, really nice, long lines and a great knowledge about chord-progressions. Of course, he also was a great composer. This latest reissue from the RVG-Series offers for the first time the possibility to really listen to all recorded material from that live-date. You will love it, especially if you already own the two Art Blakey CDs "Life at Café Bohemia", which also feature Dorham at his best. About the personnel of this date, I'd like to notice the presence of Kenny Burrell on some of the tunes. He had finished his first own album ("Introducing Kenny Burrell") just the day before and he sure was in a playing mood. the choice of J.R. Montrose is also a very interesting one. this relatively obscure tenorist really has nice ideas and a pleasant, light sound, somehow similar to Stan Getz or Zoot Sims and he really takes care of business. Bobby Timmons on piano already had his block-chord style, which later would become famous when he was part of Blakey's Jazz Messengers. Sam Jones on bass and the to me completely unknown Athur Edgehill on drums contribute everything necessary for a good groove, so let's say, that I really enjoy this music: The tremendous swinging versions of "K.D.'s Blues", "Night in Tunisia", "Who Cares", a very relaxed "My Heart Stood Still" and gorgous ballad interpretations of "Autumn in N.Y." and "Round Midnight". Considering the originals, I think, that "Monaco" is the most interesting one. It's based on an idea, which first appeared on another Dorham original ("Minor's Holiday") from the above mentioned Art Blakey date and Dorham's first Blue-Note Album, the fantastic "Afro Cuban", which I also reviewed. Enjoy it!

16 of 17 people found the following review helpful:

5.0 out of 5 stars FANTASTIC!!! Classic Jazz, February 25, 2002

By 

David Thomas (Beaverton, OR USA) - See all my reviews

This review is from: Round About Midnight At The Cafe Bohemia: Complete (Audio CD)

I just picked this album up today and I was blown away. First of all, despite being a mono recording, the sound is awesome; clarity and depth are excellent. I have shied away from previous mono recordings, as they tend to get muddied, but this music suffers no such fate. Kenny Dorham sounds as good as I've ever heard him, and Bobby Timmons was just beginning to shine. If you are a fan of classic jazz, this is a must-have for your collection.

10 of 10 people found the following review helpful:

5.0 out of 5 stars Sharp Sword under Smooth Water, August 13, 2007

By 

Todd M. Stellhorn (baltimore, MD) - See all my reviews
(VINE VOICE)   

This review is from: Round About Midnight At The Cafe Bohemia: Complete (Audio CD)

As much as I like Dorham's collaborations with Joe Henderson (una mas, in'n out, trumpet tocatta, page one) and Hank Mobley (whistle stop, afro-cuban) you really have to tip your porkpie hat to Dorham's own working group, as documented on this album. Here is one of the most interesting lineups in all of the blue note catalog, it's a mix that challenges itself, yet is cohesive in a smoothly angular way (think of a sharp sword submerged under running water), and above all interesting. Some players seem to come out of nowhere and just blow your mind with the uniquness of their playing; J.R. Monterose is on of these (do yourself a big favor and check out his "The Message", or the self titled blue note offering that is only available as a japanese pressing unfortunately) he had a Rollin's like sound but his phrasing was absolutely his own, and to me something of a revelation. Monterose can come from behind the beat, snort out choppy phrases, or blow with a constrained and lyrical intensity, but whatever he's doing it is absolutely his own sound. Besides Monterose we have a young blocking Bobby Timmons, who in his pre-fame at this point is a bit more restrained but nevertheless perfect for the group sound. Throw in the Adderley inclined Sam Jones, Kenny Burrell for a few songs, and a drummer I can't recall ever hearing of, and you have a very eclectic line up, and then of course there's Kenny Dorham himself. The words: "Kenny Dorham" are usually followed by the words "underrated", and "Miles Davis". The first was sadly his lot in the jazz life, one he shared with many other fine players, and the later I suppose is because Dorham doesn't belong to the Clifford Brown red hot blowing school of trumpet, and when the casual jazz fan thinks of lyrical cool blowing on trumpet the words Miles Davis pop up. However this, like all analogies is a bit weak. Dorham was a comtemporary of Davis and while they share some similarities, they have just as many differences. For one thing Dorham was much more of a composer than Davis, and while they are both lyrical, and while lyrical might define Davis, the strenght of Dorham's playing is in the logic of his solos, you pay attention to where he's going, not just to the sound. And probably since he is a composer, his sound is much more involved in the group interplay than Davis normally was. None of this is to take anything away from Miles, rather when it comes to non-Clifford inspired trumpet players there ought to be room made for Kenny Dorham. In closing what we have in this album is a documentation of an extremly interesting and diverse group who will show you a musical structure of many layers if you have the inclination to listen. Most of all enjoy.