Clifford BROWN and Max ROACH - At Basin Street 1956

Clifford BROWN and Max ROACH - At Basin Street 1956
Recorded in New York, New York on January 4 and February 16, 1956.
1990 Issue. 814 648-2

Jazz

Recorded mere months before Clifford Brown died in a car crash, 1956's AT BASIN STREET finds the revered trumpeter in top form, co-leading an ensemble with drummer Max Roach that included saxophonist Sonny Rollins and pianist Richie Powell (who was also killed in the accident). Morbid associations aside, this record is a vibrant hard-bop outing with Brown's amazingly agile horn lines always commanding attention even when compared to Rollins's robust sax work. Standout tracks include a swift, swinging rendition of "Love Is a Many-Splendored Thing" and the bright, uplifting take on "I'll Remember April."

When Clifford Brown and Max Roach passed through Chicago in the latter part of 1955, a pregnant Mrs. Harold Land wired her husband to come back home to Los Angeles; so Sonny Rollins filled the tenor chair. The rest would have been history, except that Clifford Brown and pianist Richie Powell perished in an auto accident the following summer. But AT BASIN STREET remains, marking Rollins' debut and documenting the emergence of the decade's most innovative small combo and three of its greatest solo voices.

Still, much of this band's enduring grace emanates from the charts and accompaniments of their underrated pianist, Richie Powell--Bud Powell's kid brother. He transforms a sappy popular standard such as "Love Is A Many Splendored Thing" through the use of multiple meters, rhythm changes and radical harmonic plumbing, while the witty intro to his own "Gertrude's Bounce" parodies "Santa Claus Is Coming To Town" before breaking into a spirited bebop line. Elsewhere, his punctilious phrasing is a studied contrast to the Olympian effusions of Brown, Roach and Rollins, and his varied vamps and shifting backgrounds give each piece big-band depth.

Given all the Clifford Brown compilations that have saturated the market, it's nice to hear a full original album by the lauded trumpeter. On this 1954 release, Brown--who died in a '56 car wreck at age 25--teams up with drummer Max Roach, and the result is a classic set of bebop. Standards "I Don't Stand a Ghost of a Chance with You" and "Stompin' at the Savoy" are played with mastery, and originals "Sweet Clifford" and "Mildama" by Brown and Roach respectively, highlight the two virtuosos' technical and conceptual abilities; breathtaking trumpet and drum solos are heard on both cuts. However, it is the wistful "Darn That Dream" that steals the show on this record. A gorgeous ballad in the hands of any professional.
**
Bass- George Morrow
Drums- Max Roach
Mastered By- Jeff Willens
Photography- Chuck Stewart
Piano- Richie Powell
Producer- Bob Shad
Tenor Sax- Sonny Rollins
Trumpet- Clifford Brown
**
01. What Is This Thing Called Love   7:38
02. Love Is a Many Splendored Thing   4:17
03. I'll Remember April   9:17
04. Powell's Prances   3:31
05. Time   5:08
06. The Scene Is Clean   6:09
07. Gertrude's Bounce   4:12
**

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Clifford BROWN and Max ROACH - Brown and Roach, Incorporated 1954

Clifford BROWN and Max ROACH - Brown and Roach, Incorporated 1954

Jazz

According to the original 1955 liner notes to Clifford Brown and Max Roach, the announcement that Clifford Brown and Max Roach had begun recording and playing together sent shock waves throughout the jazz community and predictions ran rampant about how the two might shape bop to come. The last duo to really shape the music had begun over ten years earlier, with the relationship between Bird and Diz. This recording was early fruit from a tree that would only live as long as Clifford Brown was around to water it (1956, the year of his tragic auto accident). The result is by far some of the warmest and most sincere bebop performed and committed to tape. Brown's tone is undeniably and characteristically warm, and he keeps the heat on alongside Roach's lilting vamps and pummeling solos. What really keeps this record on the orange side of things (other than the decidedly orange cover) is the solo work of saxophonist Harold Land, who plays part Bird and part Benny Goodman. His tone is as delightful as it gets on the sultry "Deliah" and as bop-expressive as it gets on "The Blues Walk" and "Parisian Thoroughfare," where he and Brownie go head to head blowing expressive runs of sheer New York-style jazz. This collection of songs runs a nice gamut between boplicity and pleasant balladry. It represents bop at its best and is recommended for collectors and casual fans alike. [The 2000 Verve reissue includes alternate takes of "The Blues Walk," "Daahoud," and "Joy Spring."]
By Jack LV Isles, All Music Guide.
**
Clifford Brown is the most non-controversial musician I can think of--probably the only musician, in fact, about whom I've never heard as much as a contrary word. The evidence is there for all to hear on recordings such as this one. But that evidence should also conclusively show that, though Rollins was certainly a powerful performer, there was none better than Harold Land 1954-1964, who is not only with Clifford on most but the best of the recordings with Max Roach. He's no less impressive (actually more stunning) on the sublime sessions he would record with Curtis Counce as well as dates, such as "The Fox," under his own leadership. I've never experienced a soloist who could at the end of an ensemble chorus come flying out of the chute with such purposeful and propulsive eloquence, creating while suspended in mid-air and setting up the re-entrance of the rhythm section, all but erasing the distinction between ensemble head and solo improvisation.
Land was not a big guy, and were he playing on-stage next to Rollins, he'd no doubt be physically dwarfed and sonically "blown away." He had a smallish, hard-edged sound with absolutely no frills or vibrato, but his melodic lines are in a league of their own. As they always say about Sinatra, listen to his phrasing--not only do his lines live and breathe, whether in the ensemble mix or playing solo, but the man simply does not waste a note. He sees the whole playing field and, like an elegant sailboat, opportunistically charts his course to consummate completion.
After 1970 Land would make some interesting sides with Hutcherson, but for the most part the scene was no longer hospitable to his kind of immaculate, logical but no-less soulful playing. He would find himself in unflattering contexts, and his tone seemed to lose vibrancy along with the breath support necessary to keep his pitches dead-center. Nevertheless, for those ten years Land, along with Hank Mobley, is the tenor player whose recordings I never grow tired of listening to (no offense to Coltrane, Dexter, Rollins, etc., but I'm more likely to reserve those guys for special occasions).
By Samuel Chell.
**
Brown is--justifiably--a jazz icon, and this CD showcases his celebrated rapid-fire riffs and remarkably rounded and mellow tone.
The rapid bebop of "Sweet Clifford" and the closer," I Get A Kick Out of You," may have you shaking your head in awe, with fast but fully articulated soloing by Brown, and simply amazing bop sax by the (underrated?) Harold Land. The notes and lines are just right! Max Roach's astonishing drumming adds to the intensity and wonder of the experience.
Brown's long, almost haunting trumpet on "I Don't Stand a Ghost of a Chance With You" is one of the most beautiful and evocative trumpet solos I've ever heard. His voicing of the lyrics and tender/plaintive sound are superb.
Richie Powell is the force behind "I'll String Along With You," and recalls the tone of Tatum, the sentiment of Hoagie, and the chord emphasis of Nat Cole.
"Stompin' at the Savoy" grooves mellow, with light comping by Powell and bassist George Morrow, and warm burnished solos by Brown and Land. Max Roach slowly builds his solo teasingly, culminating in a bop tour de force.
Land is especially effective on "Darn That Dream" where his warm, lush, burnished playing recalls the John Coltrane/Johnny Hartman CD. Whether you're a longtime Clifford Brown fan, or are just making his acquaintance, I highly recommend this album!
By M. Allen Greenbaum.
**
Clifford Brown- Trumpet
Max Roach- Drums,Snare
Harold Land- Tenor Saxophone
George Morrow- Bass
Richie Powell- Piano
**
01. Sweet Clifford Clifford Brown 6:42
02. I Don't Stand A Ghost Of A Chance With You Clifford Brown 7:22
03. Stompin' At The Savoy Max Roach 6:27
04. I'll String Along With You Clifford Brown 4:14
05. Mildama Clifford Brown 4:35
06. Darn That Dream Clifford Brown 4:04
07. I Get A Kick Out Of You Clifford Brown 7:37
**
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Clifford BROWN - Jam Session 1954

Clifford BROWN - Jam Session 1954

Jazz

August 14, 1954 jam session had left a fruitful result - MG-36000 features a number of tunes with Dinah Washington, and this MG-36002 contains other instrumental tunes, except one Dinah tune.

Listen carefully to A-1 and B-1 ... both are an awesome blowin' jam session; A-1 is a bit relaxed swinging sound and B-1 is unleashed excitement with great trumpet battles. Maynard Ferguson, known as a "high-note hitter", plays so brilliant and "not-so-high" here :) Clark Terry, few months before his leader recording on EmArcy, also plays beautifully and powerful. And of course Clifford Brown - all of his sound are inevitable. Nothing but awesome. Really awesome. Reeds players like Herb Geller and Harold Land digs a good job among finest trumpet battles.

A-2, featuring The Queen Dinah Washington, sounds so beautifully. A comfortable tension before her voice comin' in, and once she sings in, her awesome singing is overwhelming all around. Beautiful and moving song.

B-2 is a medley, featuring Richie Powell, Clark Terry, Herb Geller and Clifford Brown respectively. We must be deeply moved by their beautiful and soulful play.
**
The contents of this Trip LP have been reissued on CD. The lineup of this jam session is quite remarkable: Trumpeters Clifford Brown, Clark Terry and Maynard Ferguson, altoist Herb Geller, tenor-saxophonist Harold Land, Richie Powell or Junior Mance on piano, Keeter Betts or George Morrow on bass and drummer Max Roach. A nearly 15-minute "What Is This Thing Called Love" gives one the opportunity to compare the three very different trumpeters, "Darn That Dream" is a ballad feature for singer Dinah Washington, "Move" is taken at an incredible tempo which holds up for 14½ minutes and this set concludes with a four-song ballad medley; Brownie's playing on "It Might as Well Be Spring" is classic. A brilliant set that is highly recommended (and included in full on Clifford Brown's ten-CD EmArcy box).
By Scott Yanow, All Music Guide.
**
Clifford Brown- (Trumpet)
Clark Terry- (Trumpet)
Maynard Ferguson- (Trumpet)
Herb Geller- (Alto Sax)
Harold Land- (Tenor Sax)
Richie Powell- (Piano)
Junior Mance- (Piano)
Keter Betts- (Bass)
George Morrow- (Bass)
Max Roach- (Drums)
Dinah Washington- Vocals (# 2)

A1. What Is This Thing Called Love (Cole Porter) 14:45
A2. Darn That Dream (DeLange - Van Husen) 5:05

B1. Move (Densil Decosta Best) 14:20
B2. Medley 11.21
             My Funny Valentine
             Don't Worry 'Bout Me (Rube Bloom - Ted Koshier)
             Bess, You Is My Woman Now (Gershwin - Heyward)
             It Might As Well Be Spring (Hammerstein - Rodgers)
**
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Clifford BROWN - Brownie Speaks 2001

Clifford BROWN - Brownie Speaks 2001
Label: Past Perfect / Proper

Jazz

Clifford Brown (October 30, 1930 – June 26, 1956), aka "Brownie," was an influential and highly rated American jazz trumpeter. He died aged 25, leaving behind only four years' worth of recordings. Nonetheless, he had a considerable influence on later jazz trumpet players, including Donald Byrd, Lee Morgan, Booker Little, Freddie Hubbard, Valery Ponomarev, and Wynton Marsalis.

He won the Down Beat critics' poll for the 'New Star of the Year' in 1954; he was inducted into the Down Beat 'Jazz Hall of Fame' in 1972 in the critics' poll.
**
01. Carvin’ The Rock
02. Bellarosa
03. Cookin’
04. Brownie Speaks
05. De-dah
06. You Go To My Head
07. Wail Bait
08. Hymn Of The Orient
09. Brownie Eyes
10. Cherokee
11. Easy Living
12. Minor Mood
13. Philly JJ
14. Choose Now
15. Stockholm Sweetni’
16. Scuse These Blues
17. Lover Come back To Me
**
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Clifford BROWN - Clifford Brown with Strings 1955

Clifford BROWN - Clifford Brown with Strings 1955
Label: Emarcy
Audio CD: (May 19, 1998)
Recorded at Fine Sound, New York on January 18, 19 & 20, 1955

Jazz

Several jazz musicians have tried "with strings" albums (e.g., Bird) to varying effect. I'm happy to report that this works extremely well. The strings, (arranged by Neal Hefti) never overpower Brownie's playing. Rather they set down a background against which one hears the extraordinary ideas and famous round tone of Brown. Only on a few songs (for example, "Laura") did I feel that the strings were too much in the foreground.
Nothing challenging here... but this is an album that soothes and nourishes. Aside from the strings, there is excellent understated accompaniment by Max Roach on drums, Richie Powell (piano), George Morrow on bass (i.e., the great Brown group of the era), and Barry Galbraith on guitar.

These are all standards, taken at a relaxed pace: Highlights include the power and tone of "Yesterdays," the interplay between strings and trumpet on "Cant's Help Lovin' Dat Man," the lyrical, fluid playing on "Embraceable You," the yearning sounds and short fast riffs of "Memories of You"

Those who like Brownie's playing should check out his more famous (and typical) hard bop efforts-all excellent. Very highly recommended-as long as you don't mind some orchestra (and some sentimentalism) in your jazz.
By M. Allen Greenbaum.
**
Clifford Brown- Trumpet
Max Roach- Drums
Barry Galbraith- Guitar
George Morrow- Bass
Richie Powell- Piano
**
01. Yesterdays 3:01
02. Laura 3:28
03. What's New 3:27
04. Blue Moon 3:16
05. Can't Help Lovin' Dat Man 3:46
06. Embraceable You 3:03
07. Willow Weep For Me 3:27
08. Memories Of You 3:34
09. Smoke Gets In Your Eyes 3:15
10. Portrait Of Jenny 3:26
11. Where Or When 3:30
12. Stardust 3:22
**
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Clifford BROWN & Max ROACH - Clifford Brown & Max Roach 1954-55

Clifford BROWN and Max ROACH - Clifford Brown and Max Roach  1954-55 
Label: EmArcy / Polygram
Audio CD: (February 29, 2000)
Recorded at Capitol Studios, Hollywood, California on August 2, 3 & 6, 1954
And at Capitol Studios, New York, New York on February 24, 1955.

Jazz

Clifford Brown's story is a breath of fresh air in jazz. When it seems that so many musicians got bogged down with drugs and booze, etc. you have Clifford Brown as the example that one doesn't have to be tortured, or a victim or addict to be a great artist. His music is so positive. This album is great and no serious jazz collection should be without it, same with Study in Brown, w/ Sarah Vaughn, with Strings. I would put Brownie up against ANY jazz trumpeter. He was that good. The tragedy is that his life was so short. He died, along with his pianist Richie Powell, in a a car wreck when he was just 25. Many people say, "Had he lived longer ...." It's true, I certainly wish he were still around. However, he is, to me, the greatest jazz trumpeter and a real hero not because of his short life or "what could've been" but because of what he did. Listen to Joyspring and Daahoud and see what I mean. Enjoy Brownie, and enjoy life! God is good!
By Christoph K. Bennett.
**
Brilliant work by the team of Clifford Brown and Max Roach  a seminal hardbop album that was one of the few to bridge the east and west coast scenes! The set was recorded in LA under the joint leadership of Brown and Roach  and features the classic quintet lineup that included Harold Land on tenor, Richie Powell (Bud's brother!) on piano, and George Morrow on bass. The mix of Roach's heavy full-on drumming and Brown's lyrical beauty is beyond compare  and Land's angular and sensitive tenor lines provide a perfect link between the two. Titles include classics like "Parisian Thoroughfare", "The Blues Walk", "Daahoud", "Jordu", and "Joy Spring".
From Dusty Groove.
**
The pairing of trumpeter Clifford Brown and pioneering jazz drummer Max Roach on this 1955 release was a momentous one; theirs was a fruitful partnership ended by Brown's untimely death in '56. At a time when much of the jazz audience was looking toward the sounds of cool jazz, Brown and Roach reminded everyone that there was still plenty of life left in bebop. Roach's exploratory, colorful, masterfully swinging approach proves to be the perfect companion to Brown's dexterous, inventive trumpet work. The darting piano fills of Richie Powell and the vivid, fulsome sax lines of Harold Land fill out the picture, and the whole group matches a searching spirit with a lovingly bluesy warmth every step of the way.
From CD Universe.
**
Clifford Brown- Trumpet
Max Roach- Drums
Harold Land- Tenor Sax
Richie Powell- Piano
George Morrow- Bass
**
01. Delilah  8:06
02. Parisian Thoroughfare  7:18
03. Daahoud n 4:05
04. Joy Spring  6:50
05. Jordu  7:50
06. The Blues Walk  6:47
07. What Am I Here For?  3:11
08. These Foolish Things  3:48
09. The Blues Walk  6:54
10. Daahoud  4:09   
11. Joy Spring  6:44
**
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