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DISCID=c212b20c
DTITLE=Kenny Cox / Introducing Kenny Cox And The Contemporary Jazz Qui
DTITLE=ntet
DYEAR=1968
DGENRE=Jazz
TTITLE0=Mystique
TTITLE1=You
TTITLE2=Trance Dance
TTITLE3=Eclipse
TTITLE4=Number Four
TTITLE5=Diahnn
TTITLE6=Spellbound
TTITLE7=Snuck In
TTITLE8=Sojourn
TTITLE9=Multidirection
TTITLE10=What Other One
TTITLE11=Gravity Point
EXTD=Blue Note: 0946 3 85189 2 1\nConnoisseur CD Series\n\nOriginally 
EXTD=released as Introducing Kenny Cox And The Contemporary Jazz Quint
EXTD=et (BST 84302) and Multidirection (BST 84339)\n\nKenny Cox, p\nCh
EXTD=arles Moore, tpt\nLeon Henderson, sax\nRon Brooks, b\nDanny Spenc
EXTD=er, d\n\nRecorded Dec. 9, 1968, United Sound Systems, Detroit (1-
EXTD=6) and Nov. 26, 1969, GM Recording Studios, E. Detroit, Mich., \n
EXTD=\nReview by Matt Collar\nOriginally released in 1968, Introducing
EXTD= Kenny Cox and the Contemporary Jazz Quintet is the first recordi
EXTD=ng by the storied and somewhat lesser known Detroit ensemble. Led
EXTD= by pianist Cox, the Contemporary Jazz Quintet featured saxophoni
EXTD=st Leon Henderson (brother of Joe Henderson), trumpeter Charles M
EXTD=oore, bassist Ron Brooks and drummer Danny Spencer. Interestingly
EXTD=, this group is perhaps best known for its connection to the lege
EXTD=ndary Detroit rock group the MC5 as both Moore and Henderson perf
EXTD=ormed on the band's 1971 cut "Sister Anne". Cox himself was well 
EXTD=established in the Detroit scene by the time of this recording ha
EXTD=ving studied at the competitve Cass Tech High School and the Detr
EXTD=oit Conservatory of Music as well as performed with a who's who o
EXTD=f Detroit players including Yusef Lateef. Though well-versed in t
EXTD=he traditions of jazz standards and Bop, Cox and his ensemble res
EXTD=emble most closely here the classic Miles Davis quintet of the mi
EXTD=d and late '60s. But rather than merely aping Davis, the Contempo
EXTD=rary Jazz Quintet had a muscular and urban group sensibility all 
EXTD=its own.In that sense, this is fiery, expansive and cerebral post
EXTD=-bop of the highest order.\n\nMULTIDIRECTION\nReview by Brandon B
EXTD=urke\nMultidirection has as much in common with Blue Note's mildl
EXTD=y avant-garde releases of the early '60s as it does the soul-base
EXTD=d output typical of 1969. In this sense, one could compare it to 
EXTD=Andrew Hill's Grass Roots or Jackie McLean's Jacknife, as soulful
EXTD= yet mildly dissonant hard bop is the order of the day here as we
EXTD=ll. The most profound difference between the three is the relativ
EXTD=e absence of household names on Multidirection. Trumpeter Charles
EXTD= Moore contributes three interesting -- if not entirely memorable
EXTD= -- tunes featuring choppy, stutter-step heads. Cox supplies the 
EXTD=rest, all of which are decidedly more hard bop in nature. The fly
EXTD=ing cymbal patterns of drummer Danny Spencer are particularly int
EXTD=eresting, as his rapid-fire, tension/release hi-hat style sounds 
EXTD=a like a virtual carbon copy of Tony Williams as heard on early a
EXTD=vant-garde classics such as Evolution and Out to Lunch. This may 
EXTD=delight some listeners and bother others, as Spencer's chops are 
EXTD=adequate but nowhere near as tight and tastefully flamboyant as t
EXTD=hose of the brilliant Williams. Similarly, the group's collective
EXTD= response to Moore's solo on "Snuck In" is again reminiscent of t
EXTD=he high-modernist sound on Evolution, though this time it reminds
EXTD= one of Lee Morgan's passage on "Air Raid." Unfortunately, neithe
EXTD=r Morgan or Williams were present on this date, making it enjoyab
EXTD=le but, like a reasonably good sports franchise, lacking the star
EXTD=power to take it to the next level.\n\n
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