Once it seemed that it was only young trumpet players who were cursed with tragic early deaths. Seems that the sad plight of equally young piano players was overlooked. For example, Richie Powell, Richard Twardzik, Carl Perkins, Elmo Hope, Herbie Nichols, Tommy Pollard, Bud Powell and, in this instance, Sonny Clark all died well short of their three score and ten. An early starter, Sonny quickly found favour on both the West and East Coasts, but his flame burned the brightest during that brief period in his short life when he moved to New York and soon became a permanent fixture on Blue Note (1957-62). There, he was not only called upon to contribute to numerous sessions by the label’s front line artists, but he so impressed Alfred Lion with his logical approach that he was given the green light to record under his own name and for which he composed most of the material. At the piano, Sonny preferred a slightly understated approach rather than a slash and burn assault which set him apart him from many of his speedy contemporaries. That said, as a 1960 trio performance of ‘Blues Mambo’ reveals, if so inclined, Sonny could hit down hard on the gas. Elsewhere, a trio version of ‘Gee Baby Ain’t I Good To You’ shows him to be a master of after-hours club blues.

While his enjoyable trio albums were well received, it was those albums were Sonny shared the solo spotlight with horn players that gained the most attention. In 1957, Dial “S” For Sonny opened his Blue Note account featuring a front line of Art Farmer, Curtis Fuller and Hank Mobley. A second group album Sonny’s Crib, retained Fuller but brought in Donald Byrd and John Coltrane on trumpet and tenor sax. 1958 began with what is believed to be his definitive hard bop statement – Cool Struttin’ and saw Art Farmer and Jackie McLean holding court in grand style – and all are included here. But, it’s always Sonny Clark who sneaks up from behind to grab most of the attention. As with the current crop of Properboxes, this is worthy of your attention.