"I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger."
—Rudy Van Gelder
Kenny Dorham's Quiet Kenny is one of the loveliest albums ever made by a trumpeter and a rhythm section. Recorded for the Prestige subsidiary New Jazz, the session is not entirely "quiet"; while ballad readings of standards cast a late-night spell, Dorham's three tuneful blues originals, plus "Mack the Knife," swing jauntily. Dorham (1924-1972) had worked as a sideman for such innovators as Charlie Parker, Max Roach, and Art Blakey before going solo. In his own sweet way, Dorham was a major figure during the 1950s and ’60s. If he was not as effervescent as Dizzy Gillespie, as mysterious as Miles Davis, or as given to skyrocketry as Clifford Brown, Dorham was an eloquent, soulful player with a beautifully understated tone. On Quiet Kenny, backed by the supple piano/bass/drums team of Tommy Flanagan, Paul Chambers, and Arthur Taylor, Kenny Dorham is at his lyrical best.