Customer Reviews

Una Mas

5 star:		(7)
4 star:		(1)
3 star:		(4)
2 star:		(1)
1 star:		(0)

 

 

This is a revered session in some quarters, I know, but I suspect partly for the wrong reasons. The compositions are worthy (in fact, I find "Una Mas" similar to but more infectious than "Sidewinder") but not necessarily "essential." The personnel are first-rate, but Joe Henderson's harmonic adventurousness is no match for Hank Mobley's warmth and melodic inventiveness; nor are Tony Williams' dancing cymbals as irresistible a force of nature as Blakey's hot and explosive skins. In other words, rate this set, as far as the Dorham canon goes, with "The Jazz Messengers at the Cafe Bohemia," "Whistle Stop," and "Afro-Cuban" but not necessarily ahead of them.

The reason to own this one is the man who belongs on even the shortest list of trumpet greats (for example, Diz, Clifford, and Kenny?). His playing is absolutely addictive. No one else prepares and "cures" every single note, launching it with that lovely cushion of sound. No one plays with so little pose and showmanship, relying so exclusively on the substance of the music itself to make sense--intellectually and emotionally--without reliance on extraneous effects. There's tenderness, warmth, and abundant humor in each Dorham solo, but once again it arises from what the man does with the materials at hand and not from a musical persona that takes itself overly seriously. Above all I hear a vulnerability in Dorham's work that not only touches a universal emotional core but more often than not sets off the triumph of each of his poignant creations.

If you've developed a Dorham habit, "Una Mas" is definitely one more to add to your collection. It's also a good place to start, but as the title suggests it won't do all by itself.

Kenny Dorham is one of the more under-rated trumpet players in jazz. His technique, range and jazz sound are quite impressive, yet he doesn't get mentioned as often as Miles, Dizzy, Clifford, Freddie Hubbard, or even Lee Morgan. Kenny is probably most famous for his tune "Blue Bossa" (which has been run into the ground by high school jazz bands everywhere in both combo and big band format). That is not his best work. This, in my opinion, is. Kenny plays with a great group full of stars: Joe Henderson on tenor saxophone, Herbie Hancock on piano, Butch Warren on bass and Tony Williams on drums. Herbie provides an extremely solid anchor to the band as well as creative force, and Tony Williams provides a lot of energy in the rhythm section. Kenny is at his best here, playing interesting and technically challenging lines throughout and still making them fit well with the chord. Henderson is still young on this recording, but he nevertheless plays extremely well and holds up well with Dorham. "Una Mas" is an instant classic, it's hard to believe this one was not one of the overplayed classic jazz tunes like "Chameleon", "Sidewinder", "Red Clay", "Cantaloupe Island", "Watermelon Man", etc. became. They also experiment with the beautiful latin rhythms on "Sao Paulo", a tune about one of Brazil's cities. Kenny plays very well here, playing another long, strong solo. There is also a tasty "If Ever I Would Leave You", which is from the musical Camelot. A sensitive ballad, Kenny plays this one with the appropriate musicality. "Straight Ahead" is interesting to hear because it is a one-note tune, just the same note played over and over in evolving rhythms. This one honestly took a little while to grow on me but it's an excellent bop tune. All in all, this album is a wonderful piece of work, and it's great to hear Herbie and Joe Henderson and Tony Williams still in their formative years.

When this recording was first released as an LP, the tune "Una Mas" occupied the entired first side of the LP. A first? It marks the beginning of Joe Henderson's recording career, and also catches Herbie Hancock and Anthony Williams at very near the beginnings of their careers. And the tune "Una Mas" is (probably) the first recording of 'Latin funk jazz'. A short while after this recording, Lee Morgan headed a date for the same label, using many of the same players including Joe Henderson, and including a tune that sounds remarkably like "Una Mas", and came up with "Sidewinder", which became one of the biggest selling jazz records of all time.

There is a lot to like about "Una Mas". First is the funky latin groove. Then, there is the very catchy tune itself. And then there is the stellar quality of the soloists. KD was one of the great, if unhearded, trumpet players of the bebop era, and what distinguishes his playing is its lyricism. He plays a catchy style, with whoops and growls and trills, all in the service of stong lines that pull the listener along. Both he and Henderson play many choruses on the title cut. This is Joe Henderson's first recorded solo. What's amazing is that it is a perfect solo, fully developed, melodic, so good it couldn't possibly be improved. One of the things about Henderson's playing is its sophistication, and the sophistication is there from day one. It's like he was born with a suit, tie, and a saxophone, fully formed, ready to go, no need for any time consuming 'maturation'. This CD also represents the recording debut of Anthony Williams, who was seventeen when it was recorded. It is also one of the very early recordings of Herbie Hancock. They didn't become great, they started great.

Some of the best jazz is also some of the most accessible, as in this instance.

Now, this is a classic Blue Note Album. Since I have it I can do nothing but playing that great record again and again. It's Swinging like hell and it's got a hot latin groove. Add all this to the fine players playing the gig (the dizzy-inspired Kenny Dorham, the groovy Hancock and the unknown yet Joe Henderson) and you will understand why this is a classic. It's a pity Blue Note didn't release it since 1988. Una Mas - this cd is a must !

I think Kenny Dorham is one of the most underrated horn players of all time and for me, Una Mas proves it. Of all the many jazz recordings I own, this one constantly finds its way back to my CD-player time and time again. I can't speak for the quality of the recording versus the vinyl original, but if you're able to look beyond the lack of snap, crackle and pop missing on this album you'll hear some very, very fine horn playing that merits rank among the greats.

It might be a little too far fetched but it is right to say that Kenny Dorham, in so many ways, created the most used style of modern trumpet playing. I am not putting down miles or Dizzy or Brwonie or Fats or anyone else, I'm only saying that you hear the influence of him in so many later trumpeters such as Lee Morgan, Freddie Hubbard, Woody Shaw, Blue Mitchell, Booker Little, Wynton Marsalis, etc. Even Miles has a lot of Kenny in his playing. Sorry to ramble on about this stuff, I'll get to the point. "Una Mas", as short as it may be, is a great session. The title track is set by the cokkin rhythmn section of Herbie Hancock, Butch Warren, and Tony Williams. The composition is not melodically but Rhythmnically complicated. Joe Henderson mkes this his first recording date, heand Kenny would record four more Quintet dates on the Bluenote label. Two of their best are "Page One" under Hendersons name, and "In 'n Out" again under Hendersons name. "
"Straight Ahead" is just that, straight ahead. Only the solos are much more sophisticated.

One reason Why I admire Kenny a lot is because he excepted many aspects of jazz that other people were careful not to venture to far into. Starting out as a Charlie Parker sideman to being part of one of the most important Hardbop groups, the Jazz Messengers. In the midst of the he produced ten or so albums on the Prestige and Bluenote Labels. "Sao Paulo" has a odd but unique feeling sort of a bossa/swing combonation that really starts to get to you.

Get this, you will listen to it not 'una mas' but 'mucha mas' times.

First of all, Kenny Dorham sounds great on this CD. He creates interesting lines of notes melodically, and makes great "special effects" sounds with the trumpet. But my favorite part of the album is the Joe Henderson solos. He is clearly inspired by Tony Williams and Herbie Hancock. Tony's inventive drumming and Herbie's stacatto comping give him interesting material to play around. Joe here is both rhythmically and melodically interesting. He swings, but doesn't play each note at the exact beat where a swinging rhythm would be expected. His playing is somewhat similar to Wayne Shorter's, but Joe certainly swings his eighth notes more than Wayne.

This is a very enjoyable recording. All the musicians are playing well. How can you go wrong with a line-up like that! It is a CD I have listened to many times and I never get tired of listening to it.

To me, this CD was disappointing. I have lots of albums of Kenny Dorham and while his playing is fine (he never played bad, did he?) and he is one of the most underrated trumpet players in jazz history, I like most of his other albums much more...Whistle Stop, Quiet Kenny, Our Thing (side man to Henderson), Horace Silver and the Jazz Messengers, to name a few...

The audio quality of this CD is not very good. Bad balance. There is so much more and better work of Mr. Dorham.

Latin flavored bop is accommodating though rarely inspiring like so many of these more traditional early jazz offerings tend to be.