JOv2
Well-Known Member
By far the bulk of my time on the internet is spent researching this or that regarding some aspect of music from roughly 1955-70. Every once in awhile I re-review release or session listings of given labels to see if there’s a previously passed up recording that is now open to consideration.
Enter Don Sleet / All Members (16MAR61) and Honi Gordon / Honi Gordon Sings (23MAR62).
Both artists only issued one solo LP in their respective recording careers. Although both artists are quite good, predictively both have essentially faded into obscurity sixty years on.
Gordon was a very young singer whose deeper alto, unique timbre and phrasing are instantly notable. On her date she is heard in the company of Jaki Byard, Ken McIntyre, and Ed Shaughnessy.
Sleet was a technically proficient and expressive trumpet player. Deeply Kenny Dorham influenced by way of Miles and Blue Mitchell, on his session he was paired in the front line with Jimmy Heath, along with Miles’ current bandmates James Cobb, Wyn Kelly and future bandmate, Ron Carter. Such high caliber artists underscore Sleet’s chops.
(Regrettably, however, Sleet’s gifted trumpet playing, good looks, and charismatic personality led to his downfall. Here’s what Sleet’s brother wrote about him years ago: "Sadly, Don fell into bad habits experimenting with drugs in the late 1950s and 1960s. I think his association with the in-group of established players in fast cities like New York and L.A. played a big role in his lifestyle of recreational drug use. Many of the jazz musicians he performed with were experimenting with drugs...no matter how much love and support a family provides, they cannot control outside influences. I still believe Don's substance use was the result of the friends he kept and the culture he was a part of. It was the conformity to a nightlife culture that he longed to be a part of".)
I recently secured inexpensive SS CD copies of both; and, happy to report, not only were both memorable on first listen — but on subsequent listens enjoyment continues to grow. Both are highly recommended for that delectable early-60s moody, hard-bop / post-bop transitional period. Each artist must have been on top of the world, as they say, upon hearing their respective excellent LPs upon release. Luckily, we have these living documents.
Enter Don Sleet / All Members (16MAR61) and Honi Gordon / Honi Gordon Sings (23MAR62).
Both artists only issued one solo LP in their respective recording careers. Although both artists are quite good, predictively both have essentially faded into obscurity sixty years on.
Gordon was a very young singer whose deeper alto, unique timbre and phrasing are instantly notable. On her date she is heard in the company of Jaki Byard, Ken McIntyre, and Ed Shaughnessy.
Sleet was a technically proficient and expressive trumpet player. Deeply Kenny Dorham influenced by way of Miles and Blue Mitchell, on his session he was paired in the front line with Jimmy Heath, along with Miles’ current bandmates James Cobb, Wyn Kelly and future bandmate, Ron Carter. Such high caliber artists underscore Sleet’s chops.
(Regrettably, however, Sleet’s gifted trumpet playing, good looks, and charismatic personality led to his downfall. Here’s what Sleet’s brother wrote about him years ago: "Sadly, Don fell into bad habits experimenting with drugs in the late 1950s and 1960s. I think his association with the in-group of established players in fast cities like New York and L.A. played a big role in his lifestyle of recreational drug use. Many of the jazz musicians he performed with were experimenting with drugs...no matter how much love and support a family provides, they cannot control outside influences. I still believe Don's substance use was the result of the friends he kept and the culture he was a part of. It was the conformity to a nightlife culture that he longed to be a part of".)
I recently secured inexpensive SS CD copies of both; and, happy to report, not only were both memorable on first listen — but on subsequent listens enjoyment continues to grow. Both are highly recommended for that delectable early-60s moody, hard-bop / post-bop transitional period. Each artist must have been on top of the world, as they say, upon hearing their respective excellent LPs upon release. Luckily, we have these living documents.
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