Today marks the 100^th birth anniversary of the important yet underappreciated trumpeter Kenny Dorham, a major figure in bridging the gap from bebop to hard bop to more modern sounds as well as incorporating Afro-Cuban and Brazilian sounds into straight-ahead jazz. His compositions are a crucial part of the jazz canon (if I had a buck for every time I’ve played “Prince Albert,” “Straight Ahead,” or “Lotus Blossom,” for example, then I’d buy a pretty fancy dinner, and if I included “Blue Bossa,” then I’d probably buy the restaurant) and his playing is simply divine. He was basically done performing by his mid-40s due to the health struggles that ultimately claimed his life at 48, but his legacy is enormous.

1 ) “Visa” (single, re-released on various albums) by Charlie Parker (1949)

It would be a great oversimplification to classify KD as the “lukewarm water” of bebop trumpet that represents the space in between the fire and ice of Dizzy Gillespie and Miles Davis, respectively, but hearing his assured soloing alongside the king of bebop, Charlie Parker, demonstrates that he was one of the major figures (alongside Fats Navarro in particular) to bridge that gap. For further study, there are some surviving live recordings from this same year from the Royal Roost club that offer further insight into his early work alongside bird.

2 ) “An Oscar for Oscar” from Kenny Dorham Quintet (1953)

Kenny Dorham released his first sides as a bandleader in 1953, with this bebopping blues tune being the one original composition on it. He is in complete command of the instrument and the vocabulary and takes 3 spirited choruses before handing it off to Jimmy Heath and Walter Bishop.  

3 ) “Minor’s Holiday” from Jazz Messengers at the Café Bohemia by Art Blakey (1955)

All these recordings from the early days of the Jazz Messengers (alternately led by Blakey and Horace Silver, with Hank Mobley on saxophone and Doug Watkins on bass) are not just essential KD but essential documents of the genesis of hard bop. This up-tempo Dorham composition is fire from the first note to the last, and the extended trumpet/drum duet section is, as the kids would say, sick.  

4 ) “Valse Hot” from Jazz in 3/4 Time by Max Roach (1957)

I can think of few settings more loaded than being the trumpet player tasked with replacing the recently-deceased Clifford Brown, but that’s exactly what KD did in Max Roach’s group, starting with the wonderful Max Roach Plus Four record. I chose this one partly to represent KD’s wonderful work on waltz-time tunes and partly because it provides an interesting compare-and-contrast with Clifford (who played on the prior year’s recording of the tune by its composer Sonny Rollins, also a featured soloist here and an important long-term KD collaborator). It’s not a competition, for sure, but KD acquits himself well.  

5 ) “This is the Moment” from This is the Moment (1958)

Is it frivolous to include this track which, in addition to a relaxed and gorgeous trumpet solo, revolves around KD’s debut as a vocalist? Can I justify it further since this record is Cedar Walton’s recorded debut? Does the fact that it’s delightful make a difference? Does it matter since it’s my list?           

6 ) “Buffalo” from Whistle Stop (1961)

I had to have KD playing the blues in here, and among the many viable options this one stands out, in part because it comes on one of THE classic Blue Note records. “Philly” Joe Jones and Paul Chambers lay it down and KD plays with deep soul and swing, as do Hank Mobley and Kenny Drew.  

7 ) “Melanie” from Matador (1962)

Jackie McLean’s composition (recorded on his own Let Freedom Ring album a month prior under its better-known title, “Melody for Melonae”) provides the jumping off point for an epic (and at times hard-grooving while at other times moody and mysterious) traditional-meets-modern vehicle for extended improvisational features for KD, J-Mac, and pianist Bobby Timmons.  

8 ) “La Mesha” from Page One by Joe Henderson (1963)

It may seem weird not to include his most famous composition, “Blue Bossa,” which comes before this one on Joe Henderson’s debut record as a bandleader. That said, representing Kenny’s gorgeously lyrical ballad playing is also important, and this original tune of his is a stellar example of that, as well as of his important and fruitful relationship with Henderson.

9 ) “Refuge” from Point of Departure by Andrew Hill(1964)

There are a number of mid-60s records, particularly Joe Henderson’s, that demonstrate Kenny’s ease with more “modern” music (in quotes since that suggests that someone who played on classic early-50s Thelonious Monk sides would need to establish “modern” bona fides), and I can think of none more compelling than this tour de force where he fits right in alongside JoeHen and Eric Dolphy.  

10 ) “Barengo” from Bull’s Eye by Barry Harris (1968) It was a bit painful to omit his Afro-Cuban record, but this sly, tango-inspired number offers a little taste of KD’s mastery of Latin feel, while also demonstrating. Lovely solos are also featured by Harris on piano and by saxophonists Charles McPherson and Pepper Adams.