Jimmy Knepper - I Dream Too Much (Soul Note, 1984)

This post is by Dan

Jimmy Knepper (tb); John Eckert (tr); John Clark (frhn); Roland Hanna (p); George Mraz (b); Billy Hart (d)

Recorded February 9, 1982

Jimmy Knepper has been one of my favorite trombone players since I heard him in Charles Mingus' group in the 1950s. His contributions to Mingus' East Coasting and Tijuana Moods albums, both recorded in 1957, were the ultimate in cool for me. Unlike many trombonists who impress with speed or flamboyance, Knepper stays within himself and spins out measure after measure of meaningful, thoughtful ideas. He also writes great music to support his improvisations. 

The 1980s was a good decade for Knepper. I Dream Too Much is one of two albums featured in this blog, the other being Dream Dancing (Criss Cross, 1986). I'm thankful that Soul Note and Criss Cross, both European labels, recorded this great artist at the peak of his powers.

I Dream Too Much features two Jerome Kern compositions, three by the leader, and one by pianist Sir Roland Hanna. The group is a sextet featuring three brass: John Clark's French horn and John Eckert's trumpet along with Knepper's trombone. Each track except one, Hanna's "If I Say I'm Sorry," gives opportunity for ensemble arrangements and solos. The overall feel of the album is upbeat, even joyful. At times, Knepper has written rather doleful music with titles such as "Languid," "Noche Triste," and "Idol of the Flies." But everything here is uplifting. 

As I revisited this album, I was struck by the excellence of three soloists: Knepper, Hanna, and George Mraz. Eckert and Clark also have fine moments, and Billy Hart excels even without soloing on any tunes. Knepper's excellence comes as no revelation to me, but I found all of the piano and bass solos on this album to be absolutely compelling. Mraz actually gets four full solo opportunities on the album and makes the best of each one. I don't usually find myself praising bass solos, but this is exceptional artistry on display. As for Hanna, he always sounds great, but I find his solos on this album to be models of economy and coherence. To use Knepper's term, none of the solos from these artists serve as "filler." That alone is enough to raise this album into the favorites echelon.