Requisites

Cunningbird ~ Jimmy Knepper Quintet | By Eddie Carter

A few years back, during our anniversary trip to Honolulu, Hawaii, my wife and I took a walk along Bethel Street in Chinatown and found our way into Skull-Face Books and Vinyl. There, I came across an album by the Jimmy Knepper Quintet, which I listened to a few nights ago, inspiring me to feature it in this morning’s discussion. Cunningbird (SteepleChase Records SCS-1061) is a 1977 Danish release, the trombonist’s fourth as a bandleader. He’s best known for working with Charles Mingus, Gil Evans, the Mingus Dynasty, and the Thad Jones-Mel Lewis Orchestra. Here, he’s joined by Al Cohn on tenor saxophone, Roland Hanna on piano, George Mraz on bass, and Dannie Richmond on drums. The copy I own is the 1980 U.S. stereo reissue that shares the original catalog number.

Side One opens with Figment Fragment, the first of six originals by Jimmy Knepper. The opening ensemble is a spirited romp by the group with Knepper and Cohn at the forefront. Jimmy is up first and gives an energetic solo, then Al jumps in with a lively bounce. Roland follows with a delightful reading, and George walks with assurance next. Knepper and Cohn share a short workout ahead of the closing chorus. Languid is a lovely ballad that begins with a touchingly tender ensemble melody. Knepper’s opening solo is executed with warmth and intimacy. Hanna delivers a short statement, delicately leading to the group’s elegant reprise and ending.

Just Tonight is a fast bopper that gets busy right from the start of the ensemble’s speedy theme. Jimmy kicks things off with a fiery opening statement. Cohn takes over, pouring energy into every note. Roland builds the third reading with a compelling intensity next. George steps in last and walks briskly before the quintet wraps up with a vigorous restatement of the theme. Cunningbird, the title selection, opens the second side solemnly, then picks up the pace for Knepper to state the theme. Knepper cruises comfortably into the lead solo. Mraz follows and solos effectively. Cohn swings lightly next, and Hanna takes aim last, making a concise comment into the reprise and close.

Noche Triste is a haunting ballad with a Latin groove underpinning the ensemble’s graciously inviting melody. Jimmy leads the way with a thoughtfully tender solo. Al fills the next interpretation with a soft, elegant beauty. Roland etches a reading of lyrical grace next, and George gets the last words to deliver a wonderfully soothing statement preceding the group’s gentle reprise and fadeout. Spotlight Girl ends the album on an upbeat note with the quintet’s theme. Knepper gets to the point right away in the first solo. Mraz responds vigorously in the following reading. Hanna finds new avenues to explore in the third statement, and Knepper and Cohn have a brief conversation that leads back to the lively reprise and climax.

Nils Winther produced Cunningbird, and Elvin Campbell managed the recording console. The album’s sound quality is excellent with no harshness from top to bottom. The record is silent until the music starts, and the soundstage of each instrument is splendid. If you’re a hard bop fan and are in the mood for a great ensemble album, I invite you to consider Cunningbird by the Jimmy Knepper Quintet on your next record-shopping trip. It’s a terrific album by one of the unsung heroes of the slide trombone, who’s deserving of greater recognition and serves as a perfect introduction to his discography as a leader and sideman!

© 2026 by Edward Thomas Carter

More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,trombone

Daily Dose Of Jazz…

Billy Childs was born William Edward Childs on March 8, 1957 in Los Angeles, California and began piano lessons when he was six. By age 16 he started attending the Community School of the Performing Arts, a prestigious music program sponsored by the University of Southern California, in which he ultimately attended in 1975.

Playing professionally as a teenager, he made his recording debut in 1977 with the J. J. Johnson Quintet’s Yokohama Concert during a tour of Japan. He would gain significant attention during his six-year stint playing with trumpeter Freddie Hubbard’s group from 1978 to ’84.

His early playing influences were Herbie Hancock, Keith Emerson and Chick Corea and in his composing came by Paul Hindemith, Maurice Ravel and Igor Stravinsky. Adept in both the jazz and classical idioms, Childs develop his own voice with an original conception near the start of his career. His solo recording career began in 1988 with the release of Take for Example, This… the first of four critically Windham Hill Jazz label. He would go on to record two albums for Stretch/GRP and Shanachie.

In 2000 Childs arranged, orchestrated and conducted for Dianne Reeves’ project The Calling: Celebrating Sarah Vaughan that won a Grammy for Best Jazz Vocal. He has also arranged for Sting, Yo-Yo Ma, Chris Botti, Gladys Knight, Michael Bublé, David Foster, Phil Ramone and Claudia Acuna.

Billy’s 2005 “Lyric, Jazz-Chamber Music, Vol. 1”, a jazz chamber music ensemble recording, influenced by the Laura Nyro-Alice Coltrane collaboration, garnered three Grammy nominations. He has received a Guggenheim Fellowship, and Chamber music grant, and has been commissioned for more than a dozen jazz and classical compositions and arrangements.

Pianist Billy Childs has been nominated for seven Grammys, of which he has won six. He has fifteen albums to his leader roster with his latest album, The Winds Of Change, was released in 2024. He continues to make music on stage and in the studio.

More Posts: piano

Daily Dose Of Jazz…

Anthony Ocaña was born in the Dominican Republic on March 7, 1980 and from an early age discovered his love for music. At age 5 he started taking piano and violin lessons and by 12 he began playing the guitar. He studied at the National Conservatory of Music of the Dominican Republic, received a scholarship to study at Manhattanville College New York in 1998.

While in New York he worked with Elliot Magaziner, the Frank Sinatra Orchestra conductor, and received the “Senior Josephine Morgan Award” for his professional and academic achievements. 

In 1999 and 2001, he opened for Gonzalo Rubalcaba at the National Theater of the Dominican Republic; in 2001 Anthony recorded his first album titled “A Paso de Cebra”  (Zebra’s Pace) and 2002 saw him moving to Madrid to further his study of composition and guitar.

By 2003 he was again at the National Theatre opening for Brazilian guitarist and pianist Egberto Gismonti, integrating percussion into his music. Ocaña has received several awards for composition, has performed over 50 concerts at all the major venues in Spain, in 2006 he released his self-titled sophomore project was released. He continues to perform all over the world playing concerts and festivals in conjunction with composing and recording.

More Posts: guitar

Daily Dose Of Jazz…

Charles Tolliver was born on March 6, 1942 in Jacksonville, Florida and while still a child received his first trumpet from his grandmother. He attended Howard University in the early Sixties as a pharmacy student, but when he decided to pursue music as a career he moved to New York City.

Coming to prominence in 1964, playing and recording on Jackie McLean’s Blue Note albums, seven years later he and Stanley Cowell founded Strata-East Records. The label was one of the pioneer jazz artist-owned and Tolliver released many albums and collaborations as a leader.

Following a long hiatus, he reemerged in the late 2000 decade, releasing two albums arranged for big band “With Love” that was nominated in 2007 for a Grammy award for Best Large Jazz Ensemble and “Emperor March: Live at the Blue Note” in 2009.

He has recorded with Herbie Hancock, Ron Carter, Paul Chambers, Gary Bartz, Cecil McBee, Jimmy Hopps, Alvin Queen, Jon Faddis, Charles McPherson, Reggie Workman, John Hicks, Billy Harper, Robert Glasper, Max roach, Horace Silver and McCoy Tyner to name a few.

Hard bop, post bop, modern big band, trumpeter Charles Tolliver continues to be a force in the jazz idiom.

More Posts: trumpet

Daily Dose Of Jazz…

Wilbur Little was born on March 5, 1928 in Parmele, North Carolina and originally played piano but switched to bass after his military service. Steeped in the hard bop and post bop idioms, he moved to Washington, D.C. in 1949 and played with Sir Charles Thompson, Leo Parker, Margie Day and others. Little was also a member of a trio that supporting visiting jazz musicians like Miles Davis and John Coltrane.

Little’s wider recognition came when he joined J.J. Johnson’s trio from 1955 to 1958 and led to copious freelancing as a sideman with the Tommy Flanagan Trio, Sonny Stitt, Rahsaan Roland Kirk, Kenny Burrell, And Clark Terry.

Never leading his own sessions, Wilbur recorded albums with Elvin Jones, Archie Shepp, Bobby Jaspar, Tommy Flanagan, Randy Weston, Dave McKenna, Horace Parlan and Al Haig. In his latter years he worked with Charles Tolliver, Clifford Jordan and Barry Harris.

By 1976 he was in Japan with Duke Jordan, then moved to the Netherlands in 1977. He lived there for the rest of his life until his passing on May 4, 1987 in Amsterdam, Netherlands.

More Posts: bass