Short Cuts

Before we turn our posting attention to covering AXPONA the rest of this week, AP editor Mike Mettler wanted me to do a short preview/review ahead of Record Store Day, which is taking place this Saturday, April 12, 2025 — and I was more than happy to oblige.

Resonance Records has several exciting new titles coming out for this year’s RSD, and my esteemed colleague Ken Micallef shared a video of some of them being previewed at a recent listening event in NYC here on AP just a few days ago. The three key Resonance RSD multi-disc LP sets I’m covering here today feature rare live recordings of legendary jazz musicians Charles Mingus, Kenny Dorham, and Freddie Hubbard. I’m happy to report that, for the most part, they sound excellent!

More on all those listening details in a moment, but let’s first get into some of the nitty-gritties of the all-important DNA underlying these new albums. The vinyl pressings for these three 180g multi-LP releases were all made at Le Vinylist in Quebec. Each of my review copies are on dark black vinyl that is quiet and well-centered (so, happily, I have no issues on that front). The Mingus and Dorham albums were mastered for vinyl by Matthew Lutthans at The Mastering Lab in Salinas, Kansas (now part of Acoustic Sounds’ QRP facility), while Bernie Grundman is credited for mastering the Hubbard set at Bernie Grundman Mastering. Given that “Sound Restoration” is listed in the liner notes for each of these recordings — Lutthans at The Mastering Lab for Mingus, and George Klabin and Fran Gala at Resonance Records Studio for both Dorham and Hubbard — it may be safe to assume that hi-res digital transfers of the original analog tapes were made along the way to accomplish this necessary step, and in no way does any of that detract from how good the end results sound, mind you — but if there weren’t any digital steps involved, we’ll happily stand corrected.

Speaking of liners, the notes for these new releases are fascinating for fans of recording and live music. I won’t spoil all the details you’ll read about in the very detailed booklets that are included in all of these collections — but, as a teaser, I will say that two of the live recordings here (Dorham and Hubbard) were made by a noted (if under-the-radar, to some of us) producer, engineer, musician, and jazz enthusiast named Bernard Drayton (shown above). According to interweb sources, in addition to his studio engineering work, Drayton became the producer/program director for the iconic African American radio station out of Harlem, WLIB (later changed to WBLS), which was broadcasting jazz 24/7 in the mid-1960s.

WLIB DJ Del Shields broadcast performances from the Blue Morocco every Monday night, and it was he who gave Drayton permission to record those two shows. To do so, Drayton brought in his own personal (and portable) UHER recording gear — a reel-to-reel deck, two microphones, and a small mixing unit, as you can see in the photo below that was included in the booklet accompanying the Hubbard release.

Drayton clearly knew his stuff in order to capture such high-quality and surprisingly natural-sounding documents in the club with such basic gear — especially when it came to mic placement. When you think of the legendary Dean Benedetti recordings of Charlie Parker from the late ’40s and early ’50s that were made on acetate discs and tape, or the iconic Fargo Concert by Duke Ellington made in 1940 by student fans on portable disc recording gear (which sounds pretty incredible, all things considered), these Drayton recordings are leaps and bounds beyond those in terms of quality. Effectively, these are pro-grade recordings that you’re hearing on the two Blue Morocco LPs.

The cover designs of all three of these Resonance titles feature the label’s now-standardized look and feel — like many vintage jazz labels of the past, you can tell immediately when an album is a Resonance Records release. They employ a trifold format for the 3LP editions, all of them including the aforementioned booklets with cool, related photography and fresh essays on the performance and the artists. I only wish the cover jackets were made with a sturdier cardboard than the white oaktag type material, which can be a bit cumbersome to handle for 3LP trifold editions in particular.

One last note before I get to the actual reviewing. Be aware that RSD SRPs can sometimes vary, but we’ve been told upfront that the 3LP Mingus and 3LP Hubbard sets are $74.98 apiece, while the 2LP Dorham release is $52.98.

CHARLES MINGUS
MINGUS IN ARGENTINA: THE BUENOS AIRES CONCERTS
180g 3LP (Resonance Records) / limited edition (3,000 copies)
MUSIC: 10
SOUND: 8

I am very excited about this 3LP release that captures bass maestro Charles Mingus just six months before his diagnosis with Lou Gehrig’s Disease (ALS), which ultimately took him from our world in January 1979. This live album helps fill some important gaps in Mingus’ official release catalog, in that it features his little-documented touring band of that period. This group included trumpeter Jack Walrath, tenor saxophonist Ricky Ford, and pianist Robert Neloms, as well as his loyal, near-career-long ever-sympathetic drummer, Dannie Richmond.

From official press materials, we learn, “The 180-gram vinyl set has been transferred from the original tape reels recorded by engineer Carlos Melero, mastered by Matthew Lutthans at The Mastering Lab, and pressed at Le Vinylist.” This is another fine-sounding concert recording that Jazz Detective and album producer Zev Feldman has discovered, featuring some great performances of many Mingus classics. (This release is being issued with support of Mingus’ Jazz Workshop, Inc. and the Charles Mingus Estate.)

Some of my favorite tunes here so far include a tremendous 13-minute, side-long version of “For Harry Carney” (LP2, Side C, Track 1), featuring stellar soloing by trumpeter Walrath and a passionate solo by Mingus himself. (This song originally appeared on Mingus’ 1975 Changes Two LP, on Atlantic.) We also get two tunes back-to-back that appeared in studio form on Mingus’ fine 1977 Atlantic LP Three or Four Shades of Blues, including “Noddin’ Ya Head Blues” (LP1, Side B, Track 1) and the 10-minute “Three or Four Shades of Blue” title track (LP1, Side B, Track 2).

I was especially pleased to hear an early roaring version of “Cumbia & Jazz Fusion” (LP2, Side D, Track 1), which would be released the following year on the Atlantic album of the same name. There are also two fascinating, and at times, haunting moments where Mingus plays what are each respectively titled as “Solo Piano Improvisation” (LP2, Side D, Track 2; and LP3, Side F, Track 2).

I appreciate the very natural and real feeling of how this concert album starts out, the first four sides of which emanate from the June 2, 1977, show at Teatro Coliseo in Buenos Aires, while the latter two sides come from the following night, June 3, 1977, at the Teatro SHA (Sociedad Hebraica Argentina). It all begins with an edgy-fast version of Mingus’ by-then-standard “Goodbye Porkpie Hat” (LP1, Side A, Track 1) before the band finds its chill-groove grounding. [Before the song starts, Mingus references the great 1976 “Porkpie” cover by Jeff Beck—AP Ed. MM]

By the time they launch into their second tune, Mingus’ “Duke Ellington’s Sound of Love” (LP1, Side A, Track 2) — a track recorded twice by Mingus for his two 1975 Atlantic LPs, Changes One and Changes Two — the group is sounding fully connected as one. I love how, on this track, pianist Neloms periodically drops these little distinctive Ellington-esque minor-key, falling-down-the-stairs type flourishes (a signature motif that Duke himself periodically peppered into his solos). “Sound of Love” was no doubt a heartfelt tribute to Duke, who had passed in 1974.

Mingus’ then-new band on Buenos Aires is excellent and the recorded quality is quite terrific, especially for an archival live recording that was not originally intended for commercial release. One of the contributing factors here (I think, at least) is that Mingus’ bass was amplified for the concerts (according to the liner notes), so there is a surprisingly punchy clarity to his driving rhythmic pulse that comes across wonderfully. The stereo separation isn’t as distinct as on the other two releases that I’m reviewing here, but it’s still very enjoyable — and, again, remarkably clean-sounding.

From the press release, producer Feldman helps put this album into useful perspective. “Regardless of the era, Mingus always found a way to surround himself with incredible musicians. I’m a fan of this group in particular. I became familiar with it in my early 20s when I discovered the Dannie Richmond album The Last Mingus Band A.D. [. . .] That album featured the same band as the one on this set, except that for, on that album, Cameron Brown played bass. The band had an amazing energy and simpatico, and they just sounded terrific. In fact, there was such an undeniable chemistry in this band that they would continue to perform with Brown in the bass chair for years after.”

Interestingly for me, I just recently discovered that same Dannie Richmond album —titled simply Dannie Richmond Quintet, and released on Gatemouth Records in 1980 [Landmark reissued it (and retitled it, with the A.D. part added in) on CD in 1994—AP Ed. MM] — and it indeed feels like a continuum in the Mingus canon, given the organic connection of the musicians involved. So, it is especially timely and special for me to hear this previously under-documented era of the man’s music.

The only sadness I have with this release is knowing that in just a couple years, Mingus would be gone from our world. He reportedly even had a bit of a heart attack during this tour but kept pushing onward. That said, once again, I’m grateful we’re getting this glimpse into his final years, hearing him playing with his trademark vigor and passion. As you can tell, I’m quite happy with all 3LPs of The Buenos Aires Concerts, and if you are a Mingus fan, you’ll want to snap this one up on Record Store Day. I mean, any Mingus live or the studio is important in my book — and because this recording captures the man towards the end of his career still in fine playing form, that alone makes this RSD release very helpful. It’s a keeper.

CHARLES MINGUS
IN ARGENTINA: THE BUENOS AIRES CONCERTS

LP1, Side A*
1. Introduction
2. Goodbye Pork Pie Hat
3. Duke Ellington’s Sound Of Love

LP1, Side B*
1. Noddin’ Ya Head Blues
2. Three Or Four Shades Of Blue
3. Koko/Cherokee

LP2, Side C*
1. For Harry Carney

LP2, Side D*
1. Cumbia & Jazz Fusion
2. Solo Piano Improvisation (Performed by Charles Mingus)

* LP1 & LP2: Recorded on June 2, 1977, at the Teatro Coliseo in Buenos Aires, Argentina

LP3, Side E**
1. Sue’s Changes [Incomplete]
2. Koko/Cherokee/Band Intros

LP3, Side F**
1. Fables Of Faubus
2. Solo Piano Improvisation (Performed by Charles Mingus)

** LP3: Recorded on June 3, 1977, at the Teatro SHA (Sociedad Hebraica Argentina) in Buenos Aires, Argentina

KENNY DORHAM
BLUE BOSSA IN THE BRONX: LIVE FROM THE BLUE MOROCCO
180g 2LP (Resonance Records) / limited edition (2,500 copies)
MUSIC: 8
SOUND: 8

Featuring a stellar band including alto saxophonist Sonny Red, pianist Cedar Walton, bassist Paul Chambers, and drummer Denis Charles, I have been enjoying this live set from trumpeter Kenny Dorham, which was recorded in 1967 at a club I’d never heard about before this release series, the Blue Morocco. A little bit of sleuthing on the interwebs revealed a neat detail — this club was apparently founded by singer Sylvia Vanterpool of the 1950s pop duo Mickey & Sylvia, who had a big hit with their 1957 song “Love Is Strange” (later covered by others, including The Everly Brothers and even Paul McCartney’s Wings, on their December 1971 debut Apple LP, Wild Life). Vanterpool, better known as Sylvia Robinson, was also the founder and CEO of legendary hip-hop/rap label Sugar Hill Records.

Robinson apparently opened the venue leveraging her royalties from the hit song, and the Blue Morocco went on to attract some pretty major stars, such as Dizzy Gillespie and Thelonious Monk. And, thanks to two of these new Resonance Records RSD releases, we now know that both Dorham and Freddie Hubbard performed at this surprisingly under-documented night spot. (Brief aside: I haven’t located any other official releases emanating from the Blue Morocco as of the time of this posting, but that may change.)

As far as my enjoyment of Kenny Dorham’s Blue Bossa in The Bronx: Live From the Blue Morocco 180g 2LP set goes, I liked it just fine. The recording is solid, and the pressings are nice — as is the whole package.

While the performances no doubt have plenty of their own sense of heat, overall, this is a more laid-back, mid-tempo bluesy listening experience — especially in contrast to the other two releases in this Short Cuts review. This is notable on reflective tracks like “Memories of You” (LP1, Side B, Track 1) and “Blue Friday” (LP2, Side D, Track 1).

That said, comparatively, this recording hasn’t pulled me in quite in the way like Freddie Hubbard’s performance from the same venue did (as you’ll read below, following this section). But certainly, if you are a fan of Dorham’s playing, you’ll want this otherwise fine release.

KENNY DORHAM
BLUE BOSSA IN THE BRONX: LIVE FROM THE BLUE MOROCCO

LP1, Side A
1. Introduction
2. Blue Bossa

LP1, Side B
1. Confirmation
2. Memories Of You
3. My One And Only Love

LP2, Side C
2. Bag’s Groove

LP2, Side D
1. Blue Friday
2. The Theme

FREDDIE HUBBARD
ON FIRE: LIVE FROM THE BLUE MOROCCO
180g 3LP (Resonance Records) / limited edition (1,500 copies)
MUSIC: 10
SOUND: 9

Saving the best for last, this recording of trumpeter Freddie Hubbard was indeed a surprise, because it turned out to be my favorite of the Resonance Records RSD releases. Backed by a sizzling hot band — tenor saxophonist Bennie Maupin, pianist Kenny Barron, bassist Herbie Lewis, and drummer Freddie Waits — this 1967 recording captures Hubbard at peak powers in this (probably smoky) little Bronx club.

Musically, the band is almost literally on fire, so the album title is quite appropriate (and I’ll own the use of these ensuing reviewer clichés unapologetically from here). Hubbard’s playing is smoky and fiery right from the start of the performance on the hyper-bossa album opener “Crisis” (LP1, Side A, Track 1) on through to “True Colors / Breaking Point” (LP2, Side D, Track 1) and the epic, nearly 17-minute journey through “Summertime” (LP3, Side F, Track 2).

The sound quality of On Fire is excellent, and the stereo soundstage is surprisingly lovely via the archival tape made by the aforementioned Bernie Drayton. It’s only unfortunate that such great performances have languished in the archives all these years, but I’m sure there was much legal processes to go through in order for these recordings to see the light of day as official releases to the public. And for that, we can be thankful that Resonance is on the prowl to save such important artifacts of an era that will never be repeated in quite the same manner.

If you like Freddie Hubbard, then On Fire: Live From the Blue Morocco is an essential RSD choice. But you will be smart to get in line extra early at your favorite store to make sure you get a copy. On Fire comes in a comparatively very limited edition of 1,500 copies, so I suspect they’ll disappear quickly.

REDDIE HUBBARD
ON FIRE: LIVE FROM THE BLUE MOROCCO

LP1, Side A
1. Crisis

LP1, Side B
1. Up Jumped Spring

LP2, Side C
1. Echoes Of Blue

LP2, Side D
1. True Colors / Breaking Point

LP3, Side E
1. Bye Bye Blackbird

LP3, Side F
1. Summertime
2. Breaking Point

Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for AudiophileReview.com, among others, and you can see more of his impressive C.V. at LinkedIn.