Third Man Records and Blue Note Records have formed an exciting partnership that presents re-releases of important jazz artists from Detroit. Included are Donald Byrd, Elvin Jones, Grant Green, Kenny Cox and the Contemporary Jazz Quintet, and this one from Thad Jones – Detroit-New York Junction (1956), which, along with Donald Byrd’s Electric Byrd (1970), also covered here, inaugurate the series. All five albums are newly remastered from the original tapes and pressed on 180-gram vinyl at Third Man’s Detroit facility. Blue Note President and Detroiter Don Was personally selected these five.
Although the Jones brothers, trumpeter Thad, pianist Hank, and drummer Elvin hailed from nearby Pontiac, all three are inextricably linked to the great jazz heritage of Detroit. Detroit-New York Junction was Thad Jones’ first album as a leader for Blue Note and his second as a leader overall, having appeared as the featured soloist on a 1953 date with the Billy Mitchell Quintet. Jones reciprocated by including the tenorist on his own debut, along with fellow Detroiters – pianist Tommy Flanagan and guitarist Kenny Burrell who were joined by New Yorkers – bassist Oscar Pettiford and drummer Shadow Wilson for this session which included five songs of bop and hard bop, four of which Thad Jones penned.
Essentially this was a welcome party to New York for the four Detroiters who recorded the album in NYC at Audio Video Studios in 1956. Flanagan was an esteemed leader (30 albums) and sideman (over 200 albums) as was Burrell who at age 92 is no longer active but boasts countless dates as leader and sideman. Mitchell had a dozen or so albums as a leader, with several featuring Thad and Elvin Jones though he is most commonly associated with the big bands of Count Basie and Dizzy Gillespie. Taken collectively, the album shines a light on the early careers of these four artists who went on to have legendary careers of their own, Thad Jones later linked most prominently to The Thad Jones-Mel Lewis Big Band.
The album kicks off with Jones’ “Blue Room” with the leader stating the bouncy melody followed by a soulful solo from Mitchell. As you’d expect the albums of this period usually followed the pattern of head-solo-solo-solo-solo-head. As such, Burrell weighs in next with his fluid, bluesy runs. Flanagan’s deft touch marks his brief statement before the leader enters with an extended lyrical turn as the rhythm section sustains the mid-tempo groove. Few pianists comped as tastefully as Flanagan as evidenced here. The Jones original “Tariff” plays to a brisk tempo with a gutsy, expressive solo from Mitchell, liquid coolness from Burrell, swinging swagger from Flanagan, and sharp lyricism from the leader, all soloists playing brightly but with restraint. The one cover, “Little Girl Blue,” from Rodgers and Hart is a oft rendered ballad which casts principal soloist Jones in a more elegant light, with the brilliant comping here courtesy of Burrell, not Flanagan.
Jones” “Scratch” is by far the most extensive track, exceeding ten minutes, as it carries a mid-tempo hard bop groove that Jones rides with his clear toned trumpet, playing lucidly with occasional fiery bursts. Burrell, Flanagan, and MItchell weave in and around the melody in their crisp solos, each leaning into bluesy tones. Bassist Pettiford steps forward as well. “Zec,” another Jones original is an extended take played at a faster, bebop tempo with the leader soaring in his fluid rapid runs, setting the bar for Burrell, Flanagan, and Mitchell who all follow suit cleanly and emphatically.
Thad Jones’ Blue Note successor in 1956, The Magnificent Thad Jones, is generally regarded just a bit higher but there’s little to criticize about Detroit-New York Junction as it too is an excellent example of seminal hard bop for the period.
