Matador Kenny Dorham Artist

{|Kenny Dorham|}'s {|Matador|} can safely claim the all too common distinction of being a classic among {|jazz|} connoisseurs while virtually unknown to the casual listener. {|Dorham|} is joined here by {|Jackie McLean|}, {|Bobby Timmons|}, {|Teddy S... Read more

{|Kenny Dorham|}'s {|Matador|} can safely claim the all too common distinction of being a classic among {|jazz|} connoisseurs while virtually unknown to the casual listener. {|Dorham|} is joined here by {|Jackie McLean|}, {|Bobby Timmons|}, {|Teddy Smith|}, and {|J.C. Moses|}, all of whom deliver outstanding performances. More than anything, this session is perhaps best known for including a stunning version of {|McLean|}'s composition {|Melody for Melonae,|} used less than a month earlier on his groundbreaking {|Blue Note|} LP {|Let Freedom Ring|}. For this session, though, the tune is renamed {|Melanie|} and, if not better, this version at least rivals the take under {|McLean|}'s leadership. For starters, the addition of another horn adds some tonal depth to the proceedings, a situation arguably lacking in the tune's earlier recording. Also of note is what has to be {|Bobby Timmons|}' most intense moment on record. One rarely has the opportunity to hear {|Timmons|} dig and scrape as hard as he does during this solo, and his barely audible vocal accompaniment (a la {|Bud Powell|}) only helps to prove this point. This is a case where a performer not commonly associated with seriously stretching out goes at it with a life-affirming fervor, making {|Melanie|} a treat for listeners who revel in emotional performances. Other highlights include the opener, {|El Matador,|} a 5/4 number that, frankly, fades out just when things were getting good, and the otherwise unaccompanied {|Dorham|}/{|Timmons|} duet, {|Prelude.|} A fantastic session by any standard. ~ Brandon Burke Less