Archive for the ‘Kenny Drew’ Category
Kenny Drew: Undercurrent (1960 – Blue Note)
The only Blue Note recording under pianist Kenny Drew’s leadership and the last to be released under his name for a thirteen-year period, during which time the pianist would relocate to Europe, Undercurrent is a strong outing by the gifted pianist, composer and session leader. In the latter capacity, his job is greatly facilitated by a frontline of saxophonist Hank Mobley and trumpeter Freddie Hubbard, whose instant compatibility had been established just weeks earlier on Mobley’s sterling Roll Call (Blue Note, 1960). Moreover, the rhythm team of bassist Sam Jones and drummer Louis Hayes had become one of the more efficient power plants in jazz because of its nightly duties with the Cannonball Adderley Quintet during the same year as its best-selling At the Lighthouse (Riverside, 1960), which included the hit single “Sack O’ Woe.”
Undercurrent has nothing as viscerally infectious as the Adderley tune but is an admirable program of Drew originals, ranging from the modal, streaming title piece to the self-descriptive “Funk- Cosity,” a sort of fleshed-out variation on Bobby Timmons’ “Moanin’.” “Lion’s Den” is a welcome change of mood and pace, moving to a major key and an alternating pedal tone/straight-ahead harmonic-rhythmic pattern. Next is the beboppish “The Pot’s On,” an elliptical melody that yields to the reassuringly warm inventiveness at which Mobley has few if any peers. “Groovin’ the Blues,” an ordinary but appealing line, would be an engaging finger-popper were it not such a close twin of “Funk-Cosity,” and the closer, “Ballade,” is a once-through set piece, an appealing romantic melody stated with formal grace and simplicity.
If none of the tunes is strikingly original or memorable, the same might be said of Drew’s otherwise superlative post-Powell piano work. Certainly among the highlights is the opening title tune, set up by an electrifying 38-second introduction: drums and bass walk off eight bars at a flaming tempo, Drew adds a running baroque figure for the next eight, tenor and trumpet harmonize in thirds for the next sixteen then play in unison over a pedal tone for eight more, finally re-harmonizing in thirds for the last eight before Mobley’s tenor is suddenly ejected into the jet stream for the first solo. The latter player is simply wondrous on this and each of his solo turns, as consistently rewarding as he is risk-taking, and clearly in command during the same year that produced his masterpiece, Soul Station (Blue Note, 1960). Hubbard, the comparative newcomer, isn’t as fluent as Mobley but complements his frontline companion with a more aggressive, even puckish approach, alternating between repeated percussive motifs and a soaring, passionate lyricism.
Given the size of the ensemble, the quality of the musicians and the blowing room for each of the soloists, it’s perhaps small wonder that Undercurrent falls just short of a personal triumph for the leader (though arguably essential to any Mobley fan). But as a democratic and exemplary Blue Note session with strong hands vigorously played by five proven winners, this RVG remaster deserves a place alongside more heralded recordings during a truly golden age in the music.
Samuel Chell (All About Jazz)
1. Undercurrent
2. Funk-Cosity
3. Lion’s Den
4. Pot’s On
5. Groovin’ the Blues
6. Ballade
Personnel:
Kenny Drew (piano)
Freddie Hubbard (trumpet)
Hank Mobley (tenor sax)
Sam Jones (bass)
Louis Hayes (drums)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 11, 1960
Original Release Date: December 11, 1960 – Label: Blue Note Records
John Coltrane – Blue Train (2003 – Blue Note Records)
Blue Train gives a taste of what that might have been like, as well as a taste of what was to come. This reissue of the 1957 album finds Trane blowing hard on one of his first albums as a band leader. With one foot still in the Charlie Parker catalog and one ear turned toward hard bop, the album sounds like a typical club set. The album is best known for the title track, Coltrane’s first notable composition. His solo starts off with an announcement that he has something to say, but quickly moves toward Birdland. “Moment’s Notice” and “Locomotion” also demonstrate that, even before his work was informed by his eventual stylistic uniqueness and spiritual depth, Trane could write a compelling, well-organized tune.
The group’s rendering of the Kern/Mercer ballad “I’m Old Fashioned” and Trane’s “Lazy Bird” are a let down after the first three, although each has some nice playing by various band members.
The album benefits from Paul Chambers and Philly Joe Jones from Miles’ band laying down the bass and drums. Kenny Drew’s plays bluesy piano completes the excellent rhythm section. A young Lee Morgan contributes to the boppish flavor of the album with his Gillespie-ish licks (he even played a bent up horn). Curtis Fuller passes up the rapid fire riffing trombonists sometimes employ in trying to keep up with their more nimble bandmates in favor of a more nuanced, rhythmic variety. And he burns when he has to.
07 Lazy Bird (alternate take)
Personnel:
Across Rhythm 