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Most Helpful Customer Reviews
8 of 8 people found the following review helpful
Format:Audio CD
An absolutely classic hard bop album and one of the very best produced by Blue Note. All five of the musicians were among the best in this style and all play at the very top of their game.
Dorham had been around since the mid forties and was always highly respected, although never one of the biggest names, but he had worked successfully with Art Blakey, Max Roach and Horace Silver, holding his own in some very fast company. Much the same can be said of his slightly younger front line partner, Hank Mobley, and indeed, both had worked together in the three bands mentioned above. Neither was a musician given to the empty gesture or to displays of flashy technique. Both play crisp and swinging lines and it comes as a shock to listen to this disc after a period away and realise just how good they both were.
Kenny went on to make some very fine records with Joe Henderson but this may very well be his best ever. Hank was always good but this comes in the middle of what was probably his best period.
The rhythm play up to the standards of the two horns. Kenny Drew on piano had been around for years and had kept some very good company (John Coltrane, for example, on Blue Trane) without ever being a big name. He had to go to Denmark to become everybody's accompanist of choice. Bass and drums are Paul Chambers and Philly Joe Jones who together were part of Miles Davis' best rhythm section. Both are on top form here and you can't really say anything better than that.
All compositions are Dorham originals and provide interesting sequences for improvisation, without being particularly catchy. The ensemble work is as clean as it usually was with Blue Note but what counts is the solo work and that is as good as anything New York could offer at the time. If hard bop is your thing, you really should be buying this.
Dorham had been around since the mid forties and was always highly respected, although never one of the biggest names, but he had worked successfully with Art Blakey, Max Roach and Horace Silver, holding his own in some very fast company. Much the same can be said of his slightly younger front line partner, Hank Mobley, and indeed, both had worked together in the three bands mentioned above. Neither was a musician given to the empty gesture or to displays of flashy technique. Both play crisp and swinging lines and it comes as a shock to listen to this disc after a period away and realise just how good they both were.
Kenny went on to make some very fine records with Joe Henderson but this may very well be his best ever. Hank was always good but this comes in the middle of what was probably his best period.
The rhythm play up to the standards of the two horns. Kenny Drew on piano had been around for years and had kept some very good company (John Coltrane, for example, on Blue Trane) without ever being a big name. He had to go to Denmark to become everybody's accompanist of choice. Bass and drums are Paul Chambers and Philly Joe Jones who together were part of Miles Davis' best rhythm section. Both are on top form here and you can't really say anything better than that.
All compositions are Dorham originals and provide interesting sequences for improvisation, without being particularly catchy. The ensemble work is as clean as it usually was with Blue Note but what counts is the solo work and that is as good as anything New York could offer at the time. If hard bop is your thing, you really should be buying this.
6 of 9 people found the following review helpful
Format:Audio CD
One of my very favourite jazz releases. I admit to having a soft spot for it because it was my first experience of Kenny Dorham's music. A solid grrove throughout!
Most Helpful Customer Reviews on Amazon.com (beta)
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12 reviews
19 of 21 people found the following review helpful
a classic blue note session
16 Oct 2000
Format:Audio CD
mr. dorham had the unfortunate honor of being a hard-working, adept trumpeter at the same time miles davis was hitting his peak, meaning everyone else sat in the shadows. mr. dorham was often overshadowed by his fellow blue noters lee morgan and freddie hubbard, as well, all of which is unfortunate considering the grace and swing of his work, as this album attests. mr. dorham could swing with the best of them, as the cooking opener, "philly twist," shows. the tone is blues-bop, and things stay on high all the way through the title track. one note: check out the mute on "sunset." it's as good as miles. then we get a glimpse of another side of mr. dorham. like dizzy gillespie, mr. dorham explored the fusion of cuban and jazz musics and "sunrise in mexico" stands as a clear example. it's bop with salsa! the album closes with a hardbop romp ("windmill") and to give the set a club feel, mr. dorham adds a snippet of his theme to end the record. the support is solid from philly joe jones (drums), paul chambers (bass), kenny drew (piano), and hank mobley (tenor). listen to this, and you will want to hear more from this under-appreciated trumpet talent.
11 of 12 people found the following review helpful
Underrated album, underrated talents.
25 Feb 2001
Format:Audio CD
Trumpeter Kenny Dorham, tenor saxophonist Hank Mobley, and pianist Kenny Drew all have one thing in common, they spent their careers in the shadows of bigger name musicians such as Gillespie, Rollins, and Kelly that obscured their individual talent. The material recorded here, all originals penned by Dorham, allows these men the opprotunity to stand in their own light and swing out. Rounding out this classic 1961 session are two men who cast long shadows themselves, the rock solid duo of the thunderous drummer Philly Joe Jones and bassist Paul Chambers. Highlights of the album include "Sunset" which features laidback, simmering solos by Mobley, Drew, and a muted Dorham, as well as the hard swinging "Philly Twist" and the title track "Whistle Stop". The sound is wonderfully remastered as usual by Mr Rudy Van Gelder, which just adds to this underrated gem. This cd is perfect for fans of classic Blue Note hard bop as well as fans of Dorham, Mobley, Drew, Chambers, and Jones, and is highly recommeded by this listener.
6 of 6 people found the following review helpful
Stop For Whistle Stop
16 Oct 2000
Format:Audio CD
Kenny Dorham's magnificent "Whistle Stop" was first released on CD in 1994 as one of the initial twelve titles in the limited edition Connoisseur series, and it quickly sold out. Now this classic hard-bop session makes a well-deserved permanent return to the Blue Note catalog as part of the RVG series. Joining KD on this January 1961 recording are Hank Mobley on tenor sax, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. These cats are in top form, most likely because they had played together so frequently, that they had developed an outstanding musical rapport. For example, Dorham and Mobley were the original horn team for the Jazz Messengers, while the rhythm trio of Drew, Chambers and Jones had already been the rhythm backbone for John Coltrane's "Blue Train," and in a few months they would team up again on Dexter Gordon's "Dexter Calling" (see my review). This album is full of bluesy, hard swingers like "Philly Twist," "Buffalo" and the title track, but it is the more reflective pieces like "Sunset," "Sunrise In Mexico" and the brief, sublime "Dorham's Epitaph" that I find particularly enjoyable. You should definitely let out a whistle and bring this disc to a stop, right in your collection.
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