Podcast 2: 1950s trumpet greats

1950's Trumpet Greats

Welcome to ACE Jazz Library - Podcast no. 2
Yes folks we are in the 1950's when it was all change on the jazz scene. This weeks podcast features a diverse range of trumpet players, cornetists and flugelhornists (!) and music spanning the gap between swing, bebop, hard bop and New Orleans. With the gradual demise of big bands in the 1940's-50s, the record buying and radio listening public now supported smaller ensembles, with virtuosity and blistering solos more to the fore. Taking advantage of the new long player record format, solos were not only longer but everyone in the band could shine. This podcast features outstanding performances from some of the classic albums of the era. Click on the title above to listen.   [Click on the text links to hear more samples (US); or the selection box below (UK)]

Dizzy Gillespie - Doodlin' (At Newport Live 1957)

Dizzy Gillespie must be rated as the foremost exponent of the bop medium which originated in the 1940’s, not least because of his musical ability but also for his articulation and wit. He was a consummately humorous compere and frontman, for which he was nicknamed “Dizzy” and constantly drew the crowds with his accessible and pleasing style. He was also a radical bop innovator and teacher, injecting spontaneous rhythmic invention and harmonic texture throughout his long playing career. While it is thanks to Dizzy, Bop became a lasting phenomenon, it can even be claimed he introduced latin/Afro-cuban jazz to a western audience, but that is another story. Despite his continuous reinvention however, he always maintained enough swing to avoid only being a hit with hardline bop fans. Here he is with a characteristically boisterous live performance of Doodlin’ with his second great big band at Newport from 1957, featuring Al Grey (trom), and Billy Mitchell (ts), Pee Wee Moore (bs) and Wynton Kelly (p).  

Clifford Brown – Delilah (Clifford Brown and Max Roach 1954)
This duo teaming sent shock waves through the jazz world. Clifford, the hot young trumpet star, beating up the path blazed by Gillespie and Davis, teaming up with Max Roach, the sophisticated and innovating drummer par excellence. Roach who transcended the swing era's adherence to brush and snare in favour of the ride cymbal, had really opened up the vocabulary for jazz drumming and the pairing makes excellent and accessible listening. Check thos characteristic drum solos. Sadly Clifford’s warm and lush tone would not be heard past his 25th year when he died tragically in a car accident. Fortunately Roach would continue to astound audiences for many decades to come. This album features some of the most classic sounds of the duo, featured well on the podcast with the leisurely Delilah. Clifford Brown (t), Harold Land (ts), George Morrow (b), Richie Powell (p) Max Roach (d).  

Thad Jones - Thedia (The Magnificent Thad Jones 1956)
The multi talented Jones family are a main feature throughout the classic jazz period. Thad, younger brother of pianist Hank and older brother of drummer Elvin, learnt the ropes with the Count Basie Orchestra. In the mid 1950’s however trumpeter and cornetist Thad was finding his voice as a leader and arranger and this appropriately titled album displays his talent in the ascendant. While he later took his place more as a band leader, composer and arranger beside Mel Lewis and on the staff of CBS along with brother Hank, this quintet setting really shows off his harmonically advanced stylings at their best and is highly recommended. With Billy Mitchell (ts), Percy Heath (b), Max Roach (d).

Miles Davis – Bye Bye Blackbird (Round About Midnight 1956)
Who knew when Miles signed up for this, his debut with Columbia records, it would be the start of a marathon career of ground breaking jazz that would last until his death of pneumonia in 1991? One listen to this album however and you could tell the permanent quintet which Columbia’s contract allowed him to form was something special. Featuring Davis’ now legendary muted trumpet take on the intro to the Monk classic ‘Round Midnight and the as yet unknown talents of John Coltrane, backed by Philly Joe Jones (d), Paul Chambers (b) and Red Garland (p), this quintet churned out a consistently excellent array of records during the mid to late 1950’s. The band’s playing is more than tight, it is seamless. Just listen to the players flexing their respective muscle as they work out on the podcast track “Bye Bye Blackbird”.

Kenny Dorham - Afrodisia (Afro-Cuban 1955)
Kenny Dorham may not have had the limelight like some of his contemporaries, but name some of the most significant bop bands and he was in them - from Dizzy Gillespie and Billy Eckstine to Lionel Hampton, Charlie Parker’s Quintet, Art Blakey's Jazz Messengers and after Clifford Brown's untimely death, the Max Roach Quintet. But Dorham was not just an accompanist, he penned the standard Blue Bossa (podcast 1) and had a prolific 10 years as a leader starting with this Blue Note session, which is an excellent example, including nonet and sextet ensembles, featuring an all star cast. The latin tinged Afrodisia features the baritone sax of Cecil Payne along with Art Blakey (dr) Kenny Dorham (t) Percy Heath/ Oscar Pettiford (b) J.J. Johnson (trom) Hank Mobley (ts), Horace Silver (p) Carlos "Patato" Valdes (conga).

Louis Armstrong - St Louis Blues (Louis Armstrong Plays W.C. Handy 1956)
What collection of jazz trumpet greats would be complete without Louis Armstrong? He is after all credited with inventing the jazz solo and here Louis with his Allstars brings a touch of New Orleans style to the podcast, featuring arguably one of his best albums from the 1950’s, now an all time classic. Ably backed by Trummy Young (trom), clarinetist Barney Bigard (cl), Billy Kyle (p), Arvell Shaw (b), Barrett Deems (b) and Velma Middleton (voc), the band clearly enjoy themselves on this extended cut of St Louis Blues, giving the artists ample opportunity to swing with style. An an essential album for all serious jazz collections.  

Art Farmer – Mox Nix (Modern Art 1958)
It is the subtlety of Art Farmer that sets him apart from other players. Not brash or in your face, but cool, composed and thoughtful, which is perhaps why he never had the same attention as other players. He was a distinct feature throughout the 50’s and 60’s in the luminary bands of Gigi Bryce, Gerry Mulligan, Horace Silver, Benny Golson and Jim Hall. On this piece Bill Evans’ (p) plays shuffle accompaniment, quite out of type, (thinking of his very imminent date on Miles Davis' Kind of Blue), while Benny Golson (ts) and Farmer trade licks on his own composition Mox Nix, giving a glimpse of a maturing partnership that would come to fruition in their Jazztet pairing. Addison Farmer (b) Dave Bailey (d). Well worth a listen.

Track listing

0.0 Doodlin’: Dizzy Gillespie
6.30 Delilah: Clifford Brown
14.36 Thedia: Thad Jones
25.08 Bye Bye Blackbird: Miles Davis
32.59 Afrodisia: Kenny Dorham
38.02 St. Louis Blues: Louis Armstrong
46.55 Mox Nix: Art Farmer