When you hear music on a Monday afternoon on GBH, that means it’s time for the All Things Considered Turntable! This week, we have some music fit for a real turntable — all three of the new releases we’ll be talking about have been released on vinyl, in beautiful deluxe editions with gorgeous photos and liner notes from experts and musicians.
The records are new releases, but the music was recorded more than 50 years ago — three concerts from jazz giants at the height of their powers that have not been heard by the public since they were recorded.
When it comes to jazz, there’s no one better to talk to than GBH Music’s Al Davis. He joined GBH’s All Things Considered host Arun Rath to talk about the records. What follows is a lightly edited transcript.
Arun Rath: First up, we have trumpet player Kenny Dorham. The record is called Blue Bossa in the Bronx — we’re listening to the title track. It was recorded in 1967 at a club called the Blue Morocco.
[“Blue Bossa in the Bronx” — Kenny Dorham]
And Al, in a way, this might be the most exciting of these releases because, unlike the others, we don’t have a lot of records with Kenny Dorham as a leader. In a way, he’s kind of underappreciated as a trumpet player, so let’s start there. Tell us about Kenny Dorham.
Al Davis: Yeah, Kenny is... We lost Kenny at a very young age, but he was one of the upcoming voices in the trumpet players and a modern trumpet sound, trumpet playing. He performed a lot with Joe Henderson. He started his career working with Lionel Hampton Big Band, along with Billy Eckstine, Dizzy Gillespie, and, also, Mercer Ellington, who is the son of Duke Ellington, and then worked with Charlie Parker in his quintet as well.
He also worked with the beginning of The Jazz Messengers series, back in the day.
Rath: [Dorham was] one of those people they called “a musician’s musician,” or specifically, “a trumpet player’s trumpet player.” Everybody respected the heck out of Kenny Dorham.
Davis: Yes. And, you know, he was a young trumpet player. Getting into jazz was tough — to get some good recognition back then, being a young soul. He was noticed by these musicians I just talked about. He had a different voice, he brought something different to the table. Folks really loved what he was doing.
Rath: Next up, we have legendary bassist and composer Charlie Mingus. This one is a 1977 concert in Argentina. And Al, I’m a big Mingus fan, but I’m not really familiar with his music from this period, which is kind of late Mingus.
Davis: Yeah, you know, I’m like you — I’ve never heard this. When he was with his big band, that’s when I started listening to Mingus. Some of the things that he recorded, especially some of their titles like “Eat That Chicken” and [the album] Oh Yeah and stuff. I’m saying, “Man, who is this guy?”
He’s playing his upright bass, and he’s screaming out, and he has this avant-garde band — members of his band with him that I’ve never heard of. He was taking jazz in a whole new different direction.
So, I said, “OK, well, I like what he was doing.” But this era here, I’m like you, I’ve never heard this. He’s not your typical bass player. He was being very avant-garde and very expressive with what he was playing and what he was feeling on bass, and just shouted out things [about] how he was feeling at the time, as he was playing the bass.
[In Argentina: The Buenos Aires Concerts — Charlie Mingus]
Rath: I’ve saved my favorite — and, actually, I know it’s your favorite, too — for last. This is the record that’s aptly named, “Freddie Hubbard on Fire: Live from the Blue Morocco.”
Davis: Oh my goodness. You can’t go wrong there, man.
Rath: This one is recorded in the same club as the Kenny Dorham recording. Al, I cannot stop listening to this record. This is the young Freddie Hubbard at his peak. He’d go on to record more incredible and groundbreaking albums, but I think this is now my favorite Freddie Hubbard live record. I can’t quite explain why. There’s something —
Davis: Magical about it?
Rath: Yeah. I mean, I don’t want to sound flaky, but it’s just like there was something special this night, where every note is perfect.
Davis: Yes, that’s typical Freddie Hubbard.
[“Freddie Hubbard on Fire: Live from the Blue Morocco” — Freddie Hubbard]
Davis: And then, look at the band he has with him — Bennie Maupin on tenor, and Kenny Barron. How can you go wrong with Kenny Barron, Herbie Lewis and Freddie Waits? You know, that’s a lot of energy in one room.
Rath: It’s not just Freddie Hubbard on fire on this record.
Davis: That’s right. So, listening to this, I kind of sat back. You know, I’m used to Freddie Hubbard playing: I’ve seen him perform live several times, and he brings it every time. Every single time.
But this one here — the band, as you said, was on fire. Solos — he was hitting notes that you say, “Wow, how did he play that?”
You know, [he had] great chops. Freddie Hubbard is one of my favorites and always will be. I’ve seen him perform live here in Boston at The Jazz Workshop, and even when he walks in, his presence is there. And then, he just walks up on that bandstand, and [says] “We’re gonna play.” There’s no BS — “we’re going to perform.” And he gives you the best, and he hits all these notes, man. It’s just unbelievable.
