"This is a most unusual CD due to the inclusion of Cecil Taylor on piano. Although Taylor and John Coltrane got along well, trumpeter Kenny Dorham (who is also on this quintet date) hated the avant-garde pianist's playing and was clearly bothered by Taylor's dissonant comping behind his solos. With bassist Chuck Israels and drummer Louis Hayes doing their best to ignore the discord, the group manages to perform two blues and two standards with Dorham playing strictly bop, Taylor coming up with fairly free abstractions and Coltrane sounding somewhere in between. The results are unintentionally fascinating." (Scott Yanow, Allmusic)
"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. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers." (Michael G. Nastos, Allmusic)
Na zijn medewerking te hebben verleend aan 'Ascenseur pour l'échafaud' van Miles Davis werd saxofonist Barney Wilen gevraagd om de soundtrack te componeren voor 'Un témoin dans la ville'. Deze verscheen oorspronkelijk op een 10-inch LP. Op de cd is de plaat gecombineerd met het meer free jazz-achtige studioalbum 'Jazz Sur Seine', waarop Wilen samenspeelt met driekwart van het originele Modern Jazz Quartet, plus de Latin-percussie van Gana M'Bow. "Wilen gets more of a chance to stretch out and reveal his swinging, warm tenor tone; Jackson is quite competent as a comping accompanist and in fairly fluent, right-handed bop flurries. A mix of Django Reinhardt tunes and Charles Trénet chansons, a few tunes by Wilen, and the concluding Monk "Epistrophy" make up much of the program, which thoroughly dispels the sinking feeling left by the preceding film music". (Richard S. Ginell, Allmusic).
"Tenor saxophonist Joe Henderson's debut as a leader is a particularly strong and historic effort. With major contributions made by trumpeter Kenny Dorham, pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca, Henderson (who already had a strikingly original sound and a viable inside/outside style) performs six generally memorable compositions on this CD reissue. Highlights include the original versions of Dorham's "Blue Bossa" and Henderson's "Recorda Me." It's highly recommended." (Scott Yanow, Allmusic)
"Joe Henderson's second recording as a leader features a very strong supporting cast: trumpeter Kenny Dorham (one of Henderson's earliest supporters), pianist Andrew Hill, bassist Eddie Khan, and drummer Pete La Roca. Together they perform three Dorham and two Henderson originals, advanced music that was open to the influence of the avant-garde while remaining in the hard bop idiom. The up-tempo blues "Teeter Totter" contrasts with the four minor-toned pieces and, even if none of these songs became standards, the playing is consistently brilliant and unpredictable. Even at this relatively early stage, Joe Henderson showed his potential as a great tenorman." (Scott Yanow, Allmusic)
"This single CD has nearly all of the music from "Message" and "Second Message". The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work." (Scott Yanow, Allmusic)
"Often lost in the shadows of A-team players like Dizzy Gillespie and Clifford Brown, trumpeter Kenny Dorham quietly made a name for himself throughout both the bebop and hard bop years from the mid-'40s to the mid-'60s. His tart tone and mercurial phrasing ideally framed here, The Best of Kenny Dorham offers newcomers a perfect way to get familiar with one of modern jazz's top composers and players. Starting with 1955's classic Afro-Cuban LP, the eight cuts include such essential Dorham originals as "Minor's Holiday," "Blue Bossa," and "Una Mas." And helping out along the way are tenor saxophonists Joe Henderson and Hank Mobley, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones. A fine snapshot of Dorham in his eclectic prime." (Stephen Cook, Allmusic)
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