Rare And Obscure Argo Recordings (XXI)

Max Roach

MAX

1958's MAX shows Max Roach at the top of his game. A decade earlier, Roach had absorbed Kenny Clarke's drumming style and, with trumpet virtuoso Clifford Brown, forged his own brand of bebop. By 1958, on his way to becoming a true jazz elder, Roach began pushing the boundaries of jazz even further. The quintet heard here served as Roach's musical springboard after Brown's untimely death in 1956. >MAX< is a "comeback" album of sorts. Kenny Dorham steps in to fill Brown's shoes and does so with great panache. Hank Mobley's fine tenor playing is also spotlighted. Highlights include the fast and furious Dorham original "Speculate" and the lush ballad "That Ole Devil Love". On the former, Roach takes an absolutely blazing drum solo-which ends curiously with the sound of a tape splice. The performances on this track alone prove that Roach's band was the equal of any hard-bop group in the world. *allmusic.com*

Killer set of bop tracks recorded by Max and other NY bop heavy hitters — like Hank Mobley and Kenny Dorham — plus a guest appearance by Ramsey Lewis on piano, in one of his few non-Chicago, non-trio sides! The record's got that great kind of energy that Roach could hit when he really was kicking his group into gear — and although the overall approach is mostly hardbop, there's plenty going on under the surface. Tracks inlcude "CM", "Four X", "Crackle Hut", and "Speculate". *Dusty Groove, Inc.*

There are many drummers in jazz. But Roach is one of the few meriting the title "percussionist". Few drummers utilize their instrument in the multi-faceted manner that Roach does. He communicates vividly, because he has liberated his instrument to incorporate in its realm patterns of expression rarely associated with it before Roach.

As an accompanist, Roach knows his function and performs it with taste and skill.

Roach, to understate it, is "a good drummer".

In every sense, Roach is a musician. He listens carefully and astutely to what occurs around him. He reflects the feelings and expressions of his compatriots. He seizes ideas, expands them, and returns them in the form of provocative messages. He utilizes the drums as more than sound-creating devices. He fulfills the musical needs of other musicians during a performance. This fulfilment often leads to specific and longrun progress on their parts.

Roach is more than a time-keeper, often the sole function of many jazz drummers. Rather than impersonate a metronome, Roach plays several key roles. Zealously guarding the beat, Roach is inventive enough to accomplish much more than this single function. He utilizes rhythmic patterns creatively; it is difficult to predict his musical behavior, yet it is a constant listening challenge. He plays melodically, speaking freely to the other instruments.

Roach has come a long way since he emerged from high school in '42. From the Minton's era to the School of Jazz at Lenox, Roach has grown with jazz, in the best sense of the term "evolution". Although many jazz listeners might question Roach's capacity for further growth, after such ambitious development, it is quite likely that he will go on to master more of the complexities of modern music, without sacrificing his improvisatory brilliance.

In so doing, he may well dwarf his past achievements.

In Roach's case, this is possible. *Don Gold (liner notes)*

1 - Crackle Hut

(Owen Marshall)

2 - Speculate

(Kenny Dorham)

3 - That Ole Devil Love

(Allan Roberts, Doris Fisher)

4 - Audio Blues

(Max Roach)

5 - "C.M."

(Hank Mobley)

6 - Four-X

(Max Roach)

Kenny Dorham (trumpet), Hank Mobley (tenor sax),

Ramsey Lewis (piano), George Morrow (bass), Max Roach (drums).

Recorded in Chicago, Illinois, January 4, 1958

Matthew Gee - Jazz By Gee!

Matthew Gee (1925-1979), who belatedly had the opportunity to record this album, Jazz by Gee!, his first and only one as a leader, in 1956, was one of many talented jazzmen who earned the solid and lasting respect of his peers without ever achieving the public recognition they clearly deserved. Leonard Feather described Gee as one of the "best and most underrated of bop-influenced trombonists".

Gee was first influenced—not only in style but in his decision to play the trombone—by hearing Trummy Young, who was playing ahead-of-his-time trombone with the Jimmie Lunceford band. After attending Alabama State College, where he built a musical reputation, Gee arrived in New York. His first big band job was with Erskine Hawkins's band. After military service, he worked with Dizzy Gillespie in 1946, the Gene Ammons-Sonny Stitt group, Count Basie, and Illinois Jacquet, before freelancing in the New York area. From 1959 to 1963, he played intermittently with the Duke Ellington Orchestra. Later, in the 1960s, he played in small groups with Paul Quinichette and Brooks Kerr, and in big bands with Sonny Stitt and Johnny Griffin.

Gee's favorite trombonists were J.J. Johnson and Benny Green, and some of his admiration for them could be heard in his work. But there was even more in his driving, plunging style that was uniquely Gee; and it was high time that a lot more people appreciated just how much jazz that was.

The supporting cast here rated his "star" billing. In the septet numbers, tenor sax Frank Foster, trumpet Kenny Dorham, and baritone sax Cecil Payne stood out. The quintet featured Ernie Henry, one of those few altos with a defined sound and his own ideas, in addition to the inevitable debt to Charlie Parker. The rhythm section in both sessions was driven by Art Taylor. Joe Knight, a young pianist from Brooklyn, provided remarkably solid support throughout. Bass was shared by formidable veteran John Simmons and respected Chicago newcomer Wilbur Ware.

Matthew Gee's limited discography as a leader prompted us to add five bonus tracks from albums by other artists, featuring Matthew as a soloist and sideman. *Jordi Pujol*

Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist. *Scott Yanow*

Trombonist Matthew Gee was a sideman on a couple of dozen recording sessions but only one as a leader, Jazz by Gee, for Riverside, in July and August 1956. Between 1946 and 1975, Gee recorded with Gene Ammons, Erskine Hawkins, Sonny Stitt, Count Basie, Coleman Hawkins, Nat Pierce, Dizzy Gillespie, Johnny Griffin, Archie Shepp and many others. And yet, he made just one album under his own name. A terrible oversight by record labels at the time.

Today, Gee is barely known. As a sideman, his trombone was an ingredient in other artists' creations, so he never became a household name. What's interesting about his trombone is that he played with a zesty bark. A bebopper, Gee was able to push a rich sound through his horn and keep his improvisation bouncy and dance-like.

Now, Fresh Sound has released Jazz by Gee!  Matthew Gee All Stars that includes Gee's sole leadership album as well as sideman recordings leading up to that session. The bonus tracks are Gee with three different ensemble, led by Lou Donaldson, Illinois Jacquet and Joe Newman. Of particular note about Jazz by Gee! are Gee's sidemen on the two leadership sessions. They were indeed all-stars. *Marc Myers*

1 - Out Of Nowhere

(Green, Heyman)

2 - I'll Remember April

(Raye, dePaul, Johnston)

3 - Joram

(Bill Massey)

4 - Sweet Georgia Brown

(Bernie, Pinkard, Casey)

5 - Lover Man

(Davis, Ramirez, Sherman)

6 - Gee!

(Matthew Gee)

7 - Kingston Lounge

(Matthew Gee)

8 - The Boys From Brooklyn

(Matthew Gee)

9 - Moe's Bluff

(Elmo Hope)

10 - Caracas

(Lou Donaldson)

11 - The Stroller

(Lou Donaldson)

12 - On Your Toes

(Illinois Jacquet)

13 - Close Quarters

(F. Foster, J. Newman)

#1 to #8, from the album Jazz by Gee (Riverside RLP 12-221)

#1 to #5:

Matthew Gee (trombone), Ernie Henry (alto sax),

Joe Knight (piano), Wilbur Ware (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, August 22, 1956

#6 to #8:

Kenny Dorham (trumpet), Matthew Gee (trombone),

Frank Foster (tenor sax),Cecil Payne (baritone sax),

Joe Knight (piano), John Simmons (bass), Art Taylor (drums).

Recorded at Reeves Sound Studios, New York City, July 19, 1956

#9 to #11, from the album Lou Donaldson Sextet, vol.2 (Blue Note BLP-5055)

Kenny Dorham (trumpet), Matthew Gee (trombone), Lou Donaldson (alto sax),

Elmo Hope (piano), Percy Heath (bass), Art Blakey (drums).

Recorded at Van Gelder Studio, Hackensack, NJ, August 22, 1954

#12, from the album Illinois Jacquet Septet - Jazz by Jacquet (Clef MG C-167)

Russell Jacquet (trumpet), Matthew Gee (trombone),

Illinois Jacquet (tenor sax), Cecil Payne (baritone sax),

Raymond Acea (piano), Al Lucas (bass), Shadow Wilson (drums).

Recorded in New York City, December 11, 1953

#13, from the album Joe Newman and His Band (Vanguard VRS 8007)

Joe Newman (trumpet), Matthew Gee (trombone),

Frank Wess (tenor sax, flute), Frank Foster (tenor sax),

Johnny Acea (piano), Eddie Jones (bass), Osie Johnson (drums).

Recorded in New York City, March 9, 1954

Kenny Dorham - Afro-Cuban

McKinley Howard Dorham is a trumpet player who was taken for granted. 

For several years, mainly the halcyon years of the bop movement, Kenny was Mr. Available for every trumpet chair in every band and combo. If Dizzy wasn't around and Howard McGhee was out of town, there was always Kenny. And so it went from about 1945 to '51, always in the shadow of those who had been first to establish themselves in the vanguard of the new jazz. 

Slowly, in the past few years, Kenny has emerged from behind this bop bushel to show the individual qualities that were ultimately to mark him for independent honors. Numerous chores as a sideman on record dates for various small companies led to his inclusion in the important Horace Silver Quintet dates for Blue Note, and, as a result of his fine work on these occasions, to the signing of an exclusive Blue Note contract and his first date for this label as a combo leader on his own. 

For this session with its Afro-Cuban rhythmic motif, Kenny says "I tried to write everything so that the rhythm would be useful throughout and would never get in the way". As a consequence, the Cuban touch sounds as if it is a part of the whole, rather than something that has been superimposed on a jazz scene, as is sometimes the case.

Kenny Dorham's Blue Note debut as a leader marks an important phase in his career. After hearing these sides, the fans who for so long had been only vaguely aware of his real capabilities will learn that here is a soloist and a composer whose sound and pen are destined from now on to play a lively and stimulating role on the jazz stage. *Leonard Feather*

There are good names here, and an often exciting brand of jazz over a mostly Cuban rhythm. Dorham is a fine modern trumpeter and then there are J. J. Johnson, trombone; Hank Mobley, tenor; Horace Silver, piano; Oscar Pettiford, bass; Art Blakey, drums, etc., all of whom have plenty to say. If pushed, this could sell nicely to modern. *Billboard, November 5, 1955*

Considered Kenny Dorham's finest recording of his all-too-short career, this re-reissue has been newly remastered and presumably now includes all of the takes from these nonet and sextet sessions of 1955. Considering the time period, this date remains way ahead of the Latin-tinged and hard bop music that would follow. It would be difficult to assess the sextet being a step below the larger group effort, but only because it is much less Afro-Cuban. Nonetheless the unmistakable drumming of Art Blakey powers the combo through the blisteringly swinging "La Villa" with unison horns (Hank Mobley, tenor sax; Cecil Payne, baritone sax). The other easy swinging pieces "K.D.'s Motion", "Venita's Dance", and "Echo of Spring/K.D.'s Car Ride" display great group empathy and seem effortless, though they're not. It's the Latin-based music that really differentiates this band from all others of this era, save Dizzy Gillespie's. Payne's robust bari ignites the hip call-and-response motif of "Afrodisia", while his horn in tandem with pianist Horace Silver backs the up-front horns, supplemented by trombonist J.J. Johnson, for the heated mambo-ish hard bopper "Basheer's Dream". Two takes of "Minor's Holiday" are, curiously enough, exactly the same time at 4:24, both super cooking with Dorham's clear-as-a-bell trumpet leading the other horns, which practically act as backup singers. Percussionist Carlos "Patato" Valdes is the perfect spice added to this dish. The lone ballad, "Lotus Flower", is remarkable in that its marked tender restraint feels on the brink of wanting to cut loose, but never does. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers. *Michael G. Nastos*

Title is only half true, for one side of this collection spots straight jazz blowing with a quintet running thru fleet, if boppish. Dorham originals. Trumpeter Dorham is in fine form thruout; more colorful within Afro-Cuban rhythmic frame. These tracks spot Blakey, J. J. Johnson, Mobley, etc. Latter have been released before; quintet sides are new. Worth price for solo and rhythmic. Should be able to find buyers among both Latin and jazz clientele. *Billboard, May 20, Mayo 1957*

1 - Afrodisia

(Kenny Dorham)

2 - Lotus Flower

(Kenny Dorham)

3 - Minor's Holiday

(Kenny Dorham)

4 - Basheer's Dream

(Gigi Gryce)

5 - K.D.'s Motion

(Kenny Dorham)

6 - La Villa

(Kenny Dorham)

7 - Venita's Dance

(Kenny Dorham)

8 - Echo Of Spring (aka K.D.'s Cab Ride)

(Kenny Dorham)

9 - Minor's Holiday (alternate take)

(Kenny Dorham)

Kenny Dorham (trumpet); J.J. Johnson (trombone [#1 to #4, #9]); Hank Mobley (tenor sax); Cecil Payne (baritone sax); Horace Silver (piano); Oscar Pettiford [#1 to #4, #9], Percy Heath [#5 to #8] (basses); Art Blakey (drums); Carlos "Patato" Valdes (congas [#1 to #4, #9]); Richie Goldberg (cowbell [#1 to #4, #9]).

Recorded at Van Gelder Studio, Hackensack, New Jersey, January 30 (#5 to #8) and March 29, 1955 (#1 to #4, #9).