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Bob Dorough -
Sunday at Iridium -
by Michael P. Gladstone
Welcome to the world of Bob Dorough, the oldest living hipster in
jazz at age 81 (December 14, 2004). The singer/composer/pianist has
been recording since 1956 and (except for a brief flurry of
attention with his compositions written for ABC-TV's Schoolhouse
Rock from 1973-1985) he has remained largely unappreciated. When I
first heard Dorough's vocal of Charlie Parker's “Yardbird Suite” on
his debut Bethlehem album Devil May Care, it was a burst of energy
and long-needed thank you to Bird for his musical contribution. When
I first saw Dorough perform in late 1963, he opened for Miles Davis
at the Village Vanguard in duet with bassist Bill Takas and seemed
an anachronism more typical of the bohemian jazzman of the late 50s.
However, over the decades Dorough has endured and thrived
artistically. He has also become something of a cult figure in the
Cabaret genre per his performances and his own compositions or those
co-written with such esteemed musicians as Fran Landesman, Blossom
Dearie and Dave Frishberg. I enjoyed his live album with Dave
Frishberg, Who's On First (Blue Note, 2000), although Dorough's
tunes and piano were not quite as witty and prolific as Frishberg's.
All that being said, it is a pleasure to hear this live performance
at Manhattan's midtown jazz club, Iridium, where Bob Dorough and his
friends entertain on most Sunday afternoons. Over the years,
Dorough's voice has deepened and a bit of the Arkansas twang has
lessened. Also, Dorough serves as a most affable host and provides
well chosen and witty words to describe the music. Approximately 6
of the 21 tracks are brief spoken word opportunities. Dorough's
group is a lively and swinging combo with Steve Gilmore on bass
(normally with Phil Woods) the only known player. Veteran NYC
trumpet man and recording artist Joe Wilder sits in on “Sunday” and
“Ain't No Spoofin'” adding some good musical punch to the tunes. The
latter is a Leroy Vinnegar melody and the title reflects one of the
bassist's favorite expressions. Singer Daryl Sherman also shows up
to duet and joins Dorough in a four-handed piano setting on “Without
Rhyme or Reason.” There is a reciprocal duet between the two on
Sherman's latest album A Hundred Million Miracles (Arbors Records,
2004). There is also vocal assistance for the Bobettes (not to be
confused with the late 1950s doo-wop femme group) who provide vocal
backup on Dorough's pop hit “Comin' Home Baby” later popularized by
Herbie Mann and Mel Torme. They also sing on “Electricity,
Electricity.”
The songs on this album are largely Dorough originals with a few
exceptions. In addition to the aforementioned “Sunday,” Dorough
closes with a poignant version of the Laine/Fischer standard “We'll
Be Together Again” and features new lyrics to the Sonny
Rollins-associated “St.Thomas” which is here retitled “Down St.
Thomas Way.” Bob Dorough's forte is his ability to compose incisive
lounge songs in the style of the tunes popularized by the Nat King
Cole Trio. In fact, when he performs Bobby Troup's “You're Looking
At Me” on this album, the blend is perfect. Songs like “You're the
Dangerous Type,” “But For Now” and “Baby Used to Be” share, along
with the work of Dave Frishberg, a treasure trove for singers and
musicians for decades to come.
The resulting album is greatly enhanced by the musicians. Steve
Berger on guitar adds some lovely and swinging solo work in the
manner of Russell Malone, and demonstrates a lyrical sense. Drummer
Ed Ornowski provides just the right shading for percussion. All in
all, this is a relaxed and fun session!
by Michael P. Gladstone |