La Villa – Kenny Dorham
This uptempo swing has a distinctive descending melodic pattern. Two arrangements, with second parts available for the "Jazz Contrasts" arrangement.
- Recording: Kenny Dorham - Afro-Cuban
- Recorded on: January 30, 1955
- Label: Blue Note (BLP 1535)
- Concert Key: F
- Style: Swing (uptempo)
- Trumpet - Kenny Dorham
- Tenor Sax - Hank Mobley
- Baritone Sax - Cecil Payne
- Piano - Horace Silver
- Bass - Percy Heath
- Drums - Art Blakey
Video
- Live At The Bimuis, Amsterdam; 9/25/2014: John Marshall, trumpet; Grant Stewart, tenor sax; Leo Lindberg, piano; Kenji Rabson, bass; Phil Stewart, drums
- Jazz Globus 2009: Mamelo Gaitenepoulos, trumpet; Arnan Raz, sax; Nahum Pereferkovich, piano/arrangement; Adam ben Ezra, bass; Eugen Maistrovsky, drums
The primary differences between these two arrangements is that the bridge of the melody is Latin on the "Afro-Cuban" date and swing on "Jazz Contrasts." There are other differences in the way the melody is played, so we're making lead sheets for both arrangements available, along with second parts for the quintet "Jazz Contrasts" recording. The bass has a counter melody part in the composition, so both bass parts are written out and are included in the C treble clef lead sheets.
Both arrangements start in uptempo swing with eight-measure drum intros that are notated in the respective C treble clef lead sheets. Kenny knew drummer Max Roach liked to play fast, so I'm sure that's why he streamlined the melody by taking out some of the syncopations for the second recording. Max obviously loved La Villa. We're providing links for three different performances of two different Max Roach groups as well. You can read more about these recordings in our 12/10/2010 News.
La Villa (Live At Newport 1958) [feat. Booker Little & George Coleman] [Bonus Track]
La Villa (Clifford Brown/Max Roach)
La Villa (Max Roach Quintet Volume II)
Both arrangements start in uptempo swing with eight-measure drum intros that are notated in the respective C treble clef lead sheets. Kenny knew drummer Max Roach liked to play fast, so I'm sure that's why he streamlined the melody by taking out some of the syncopations for the second recording. Max obviously loved La Villa. We're providing links for three different performances of two different Max Roach groups as well. You can read more about these recordings in our 12/10/2010 News.
La Villa (Live At Newport 1958) [feat. Booker Little & George Coleman] [Bonus Track]
La Villa (Clifford Brown/Max Roach)
La Villa (Max Roach Quintet Volume II)
"Afro-Cuban" was recorded at Rudy Van Gelder's legendary Hackensack Studio.
For Kenny, the "Afro-Cuban" recording session was sandwiched in between two Horace Silver quintet sessions (November 13, 1954 and February 6, 1955). The Silver sessions were first issued as Horace Silver Quintet, Vol. 1 and Vol. 2 (10" LPs). When 12" LPs were introduced, they became Blue Note's 18th release: "Horace Silver and The Jazz Messengers". This release is important, because it shows the true nature of "The Jazz Messengers." They were a co-operative group: "whoever got the gig was the leader." These Blue Note Silver sessions were The Jazz Messengers' first recording sessions as a group. The only personnel differences in Kenny's in-between session was that Percy Heath was on bass, instead of The Messengers' Doug Watkins, and Kenny added baritone saxophonist Cecil Payne.
Kenny and Art Blakey actually go back to an earlier "Messengers" recording session, a 1947 octet "Art Blakey's Messengers" date that was an offshoot of a big band that was known as Art Blakey and the 17 Messengers, a group made up primarily of Muslim musicians who drafted Blakey as the leader. The "Art Blakey's Messengers" session is an abbreviated edition of the big band. (See Michael Cuscuna liner notes.)
For Kenny, the "Afro-Cuban" recording session was sandwiched in between two Horace Silver quintet sessions (November 13, 1954 and February 6, 1955). The Silver sessions were first issued as Horace Silver Quintet, Vol. 1 and Vol. 2 (10" LPs). When 12" LPs were introduced, they became Blue Note's 18th release: "Horace Silver and The Jazz Messengers". This release is important, because it shows the true nature of "The Jazz Messengers." They were a co-operative group: "whoever got the gig was the leader." These Blue Note Silver sessions were The Jazz Messengers' first recording sessions as a group. The only personnel differences in Kenny's in-between session was that Percy Heath was on bass, instead of The Messengers' Doug Watkins, and Kenny added baritone saxophonist Cecil Payne.
Kenny and Art Blakey actually go back to an earlier "Messengers" recording session, a 1947 octet "Art Blakey's Messengers" date that was an offshoot of a big band that was known as Art Blakey and the 17 Messengers, a group made up primarily of Muslim musicians who drafted Blakey as the leader. The "Art Blakey's Messengers" session is an abbreviated edition of the big band. (See Michael Cuscuna liner notes.)
- Recording: Kenny Dorham - Jazz Contrasts
- Recorded on: May 21, 1957
- Label: Riverside (RLP 12-239)
- Concert Key: F
- Style: Swing (uptempo)
- Trumpet - Kenny Dorham
- Tenor Sax - Sonny Rollins
- Piano - Hank Jones
- Bass - Oscar Pettiford
- Drums - Max Roach
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Video
- Live At The Bimuis, Amsterdam; 9/25/2014: John Marshall, trumpet; Grant Stewart, tenor sax; Leo Lindberg, piano; Kenji Rabson, bass; Phil Stewart, drums
- Jazz Globus 2009: Mamelo Gaitenepoulos, trumpet; Arnan Raz, sax; Nahum Pereferkovich, piano/arrangement; Adam ben Ezra, bass; Eugen Maistrovsky, drums
The primary differences between these two arrangements is that the bridge of the melody is Latin on the "Afro-Cuban" date and swing on "Jazz Contrasts." There are other differences in the way the melody is played, so we're making lead sheets for both arrangements available, along with second parts for the quintet "Jazz Contrasts" recording. The bass has a counter melody part in the composition, so both bass parts are written out and are included in the C treble clef lead sheets.
Both arrangements start in uptempo swing with eight-measure drum intros that are notated in the respective C treble clef lead sheets. Kenny knew drummer Max Roach liked to play fast, so I'm sure that's why he streamlined the melody by taking out some of the syncopations for the second recording. Max obviously loved La Villa. We're providing links for three different performances of two different Max Roach groups as well. You can read more about these recordings in our 12/10/2010 News.
La Villa (Live At Newport 1958) [feat. Booker Little & George Coleman] [Bonus Track]
La Villa (Clifford Brown/Max Roach)
La Villa (Max Roach Quintet Volume II)
Both arrangements start in uptempo swing with eight-measure drum intros that are notated in the respective C treble clef lead sheets. Kenny knew drummer Max Roach liked to play fast, so I'm sure that's why he streamlined the melody by taking out some of the syncopations for the second recording. Max obviously loved La Villa. We're providing links for three different performances of two different Max Roach groups as well. You can read more about these recordings in our 12/10/2010 News.
La Villa (Live At Newport 1958) [feat. Booker Little & George Coleman] [Bonus Track]
La Villa (Clifford Brown/Max Roach)
La Villa (Max Roach Quintet Volume II)
Recordings of Kenny Dorham with Max Roach start in 1948 with broadcasts from the NYC club the "Royal Roost" as part of the Charlie Parker All Stars. While in Paris, in 1949, doing concerts with Charlie Parker, Max did his own Vogue records date with Kenny. Back in New York, they did "Jay Jay Johnson's Boppers" together for New Jazz, and in 1952 both recorded with Thelonious Monk for Blue Note. After Clifford Brown's tragic death in June, 1956, Max asked Kenny to join him for his September 17, 1956, EmArcy "Max Roach + Four" session.
Kenny Dorham
August 30, 1924 – December 15, 1972
August 30, 2025, is Kenny Dorham's 101st birthday: jazzleadsheets.com has added many new K.D. compositions. Jazz At Lincoln Center has dedicated three late-night sets to Kenny's music, played with love by young musicians who want his music to live on. Join in, play K.D. music! Read more...