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2 x CD |
| 5.421 Ft
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| 1. CD tartalma: |
| 1. | September Song
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| 2. | Lullaby of Birdland
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| 3. | I'm Glad There Is You
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| 4. | You're Not the Kind
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| 5. | Jim
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| 6. | He's My Guy
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| 7. | April in Paris
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| 8. | It's Crazy
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| 9. | Embraceable You
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| 10. | Lullaby of Birdland [Alternate Take]
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| 11. | Don't Explain
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| 12. | Born to Be Blue
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| 13. | You'd Be So Nice to Come Home To
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| 14. | 'S Wonderful
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| 15. | Yesterdays
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| 16. | Falling in Love with Love
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| 2. CD tartalma: |
| 1. | What's New
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| 2. | I've Got You Under My Skin
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| 3. | No More
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| 4. | Darn That Dream
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| 5. | You Go to My Head
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| 6. | Lover Come Back to Me
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| 7. | Ballad Medley: Alone Together / Summertime / Come Rain or Come Shine
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| 8. | Crazy He Calls Me
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| 9. | There Is No Greater Love
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| 10. | I'll Remember April
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| 11. | Ballad Medley: My Funny Valentine / Don't Worry About Me / Bess, You Is My Woman Now / It Might As Well Be Spring
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Jazz
Clifford Brown (tp)
Sarah Vaughan, Helen Merrill, Dinah Washington (vcl)
Clark Terry, Maynard Ferguson (tp), Herbie Mann, Danny Bank (fl), Paul Quinichette, Harold Land (ts), Jimmy Jones (p), Barry Galbraith (g), Joe Benjamin, Milt Hinton (b), Roy Hayne
CD 1, tracks #1-10 from "Sarah Vaughan Featuring Clifford Brown" (EmArcy MG-36004). Personnel: Sarah Vaughan (vcl), Clifford Brown (tp), Herbie Mann (fl), Paul Quinichette (ts), Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (d). Ernie Wilkins (arr, cond). Recorded in New York, on December 16-18, 1954.
CD 1, tracks #11-16 & CD2, track #1 from "Helen Merrill with Clifford Brown" (EmArcy MG-36006). Personnel: Helen Merrill (vcl), Clifford Brown (tp), Danny Bank (fl), Jimmy Jones (p), Barry Galbraith (g), Milt Hinton (b) and Osie Johnson (d), Quincy Jones (arr, cond). Recorded in New York, on December 22 [CD 1 #11-14] & on December 24 [CD 1 #15-16 & CD 2 #1], 1954. On December 24 Oscar Pettiford (b, cello) replaces Milt Minton and Bobby Donaldson (d) replaces Osie Johnson.
CD 2, tracks #2-11 from "Dianh Jams" (EmArcy MG-36000). Personnel: Dinah Washington (vcl), Clifford Brown, Clark Terry, Maynard Ferguson (tp), Herb Geller (as), Harold Land (ts), Richie Powell, Junior Mance (p), Keter Betts, George Morrow (b) and Max Roach (d). Recorded in Los Angeles, on August 14, 1954.
The great trumpeter Clifford Brown produced only three albums backing singers during his tragically short career. All of his exquisite 1954 recordings as accompanist to Sarah Vaughan, Helen Merrill and Dinah Washington are included on this superlative 2CD collection.
While the albums by Sarah Vaughan and the Helen Merrill (still virtually unknown at the time) are standard studio sessions - the Dinah Washington date was recorded in the studio before a live audience in an attempt to recreate the spirit of a jam session.
Total time: 78:04 + 78:15 min.
-Sarah Vaughan Featuring Clifford Brown
This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards "April in Paris," "Jim," and "Lullaby of Birdland." As touching as Vaughan is, however, Brown almost equals her with his solos on "Lullaby of Birdland," "Jim," and "September Song," displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices. Quinichette's solos are magnificent as well, his feathery tone nearly a perfect match for Vaughan's voice. Ironically though, neither Brown nor Quinichette or Mann appear on the album's highlight, "Embraceable You," which Vaughan performs with close accompaniment from the rhythm section: Jimmy Jones on piano, Joe Benjamin on bass, and Roy Haynes on drums. Vaughan rounds the notes with a smile and even when she's steeping to reach a few low notes, she never loses the tremendous feeling conveyed by her voice. In whichever incarnation it's reissued, Sarah Vaughan With Clifford Brown is one of the most important jazz-meets-vocal sessions ever recorded.
---John Bush -All Music Guide
-Helen Merrill
Every recording by the short-lived trumpeter Clifford Brown is worth exploring, including his three dates with singers Dinah Washington, Sarah Vaughan, and this CD reissue with Helen Merrill [...] Trumpeter Brown is joined by Danny Bank on baritone and flute, and a four-piece rhythm section including pianist Jimmy Jones and guitarist Barry Galbraith. Quincy Jones provided the arrangements. The music is essentially straight-ahead bop, yet the seven standards (which include "Don't Explain," "You'd Be So Nice to Come Home To," and "Falling in Love With Love") are uplifted by the presence of Merrill (in top form) and Brown.
---Scott Yanow -All Music Guide
-Dinah Jams
Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time - tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow - trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session. Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" - all including a round of solos - there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown. Other solo highlights include Land's fine tenor solo on "Darn That Dream" and Geller's alto statement on the disc's standout Washington vocal, "Crazy." And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers.
---Stephen Cook -All Music Guide
Clifford Brown
Active Decade: '50s
Born: Oct 30, 1930 in Wilmington, DE
Died: Jun 26, 1956 in Pennsylvania
Genre: Jazz
Styles: Bop, Hard Bop
Clifford Brown's death in a car accident at the age of 25 was one of the great tragedies in jazz history. Already ranking with Dizzy Gillespie and Miles Davis as one of the top trumpeters in jazz, Brownie was still improving in 1956. Plus he was a clean liver and was not even driving; the up-and-coming pianist Richie Powell and his wife (who was driving) also perished in the crash.
Clifford Brown accomplished a great deal in the short time he had. He started on trumpet when he was 15, and by 1948 was playing regularly in Philadelphia. Fats Navarro, who was his main influence, encouraged Brown, as did Charlie Parker and Dizzy Gillespie. After a year at Maryland State University, he was in a serious car accident in June 1950 that put him out of action for a year. In 1952, Brown made his recording debut with Chris Powell's Blue Flames (an R&B group). The following year, he spent some time with Tadd Dameron, and from August to December was with Lionel Hampton's band, touring Europe and leading some recording sessions. In early 1954, he recorded some brilliant solos at Birdland with Art Blakey's quintet (a band that directly preceded the Jazz Messengers) and by mid-year had formed a quintet with Max Roach. Considered one of the premiere hard bop bands, the group lasted until Brown's death, featuring Harold Land (and later Sonny Rollins) on tenor and recording several superb sets for Emarcy. Just hours before his death, Brownie appeared at a Philadelphia jam session that was miraculously recorded, and played some of the finest music of his short life.
Clifford Brown had a fat warm tone, a bop-ish style quite reminiscent of the equally ill-fated Fats Navarro, and a mature improvising approach; he was as inventive on melodic ballads as he was on rapid jams. Amazingly enough, a filmed appearance of him playing two songs in 1955 on a Soupy Sales variety show turned up after being lost for 40 years, the only known footage of the great trumpeter. Fortunately, virtually all of his recordings are currently available, including his Prestige dates (in the OJC series), his work for Blue Note and Pacific Jazz (on a four-CD set), and his many Emarcy sessions (reissued on a magnificent ten-disc set). But the one to pick up first is Columbia's The Beginning and the End, which has Brown's first and last recordings.
---Scott Yanow, All Music Guide |
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