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| The Complete Paris Sessions, Vol. 1 [Japan version] |
| Clifford Brown |
japán
első megjelenés éve: 1953
54 perc |
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| (2003)
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CD |
| 8.193 Ft
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| 1. | Brown Skins [Alternate Take]
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| 2. | Brown Skins [Master Take]
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| 3. | Deltitnu
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| 4. | Keeping up With Jonesy [Master Take]
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| 5. | Keeping up With Jonesy [Alternate Take]
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| 6. | Conception [Master Take]
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| 7. | Conception [Alternate Take]
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| 8. | All the Things You Are [Master Take]
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| 9. | All the Things You Are [Alternate Take]
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| 10. | I Cover the Waterfront
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| 11. | Goofin' With Me
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Jazz / Bop, Hard Bop
Clifford Brown - Trumpet
Al Hayse Trombone
Alan Dawson Drums
Anthony Ortega Sax (Alto)
Art Farmer Trumpet
Bill Tamper Trombone
Clifford Solomon Sax (Tenor)
Daniel Baumgarten Reissue Producer
Don Waterhouse Liner Notes
Fernand Verstraete Trumpet
Fred Gerard Trumpet
Gigi Gryce Sax (Alto)
Henri Renaud Piano
Henry Bernard Sax (Tenor)
Jean-Louis Viale Drums
Jimmy Cleveland Trombone
Jimmy Gourley Guitar
Pierre Michelot Bass
Quincy Jones Trumpet
Walter Williams Trumpet
Remastered limited edition Japanese pressing features 11 tracks.
Special 24bit K2 Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.
In a way, Brown was the Wynton Marsalis of his time; like Marsalis, Brown came on the jazz scene following a period of significant stylistic change. However, unlike Marsalis (who rejected the free jazz made famous by the generation just preceding his own), Brown chose to embrace the innovations of his immediate elders. In the process, Brown became one of the great post-Gillespie trumpeters, developing a voice that spoke the language of bebop with a distinct, personal inflection. In September 1953 -- having just recorded his first dates as a leader for Blue Note -- Brown went to Europe with Lionel Hampton. While in Paris, Brown recorded a series of sides with mostly French rhythm sections for the Vogue label, several of which are reissued here. Half the cuts feature Brown as a featured soloist with a big band comprised of Hampton's bandmembers and led by alto saxophonist Gigi Gryce. Gryce's tunes are solid, but the date would be unmemorable without Brown, whose flair for spontaneous invention elevates the banality of the context. The final tracks present Brown and Gryce in a sextet, and the results are more compelling. Gryce's Bird-derived improvisations are pleasant, and his tunes and arrangements seem to bear up better when written for a small group. Brown was one of the most technically accomplished trumpet players jazz had produced to that point, yet his solos never had that preconceived air that characterized the work of later chopsmeisters like Marsalis. Brown was an improviser par excellence, and his work here presents him in fine form. The rhythm section is blandly metronomic, but that's hardly an issue given Brown's consistent excellence. Considering the fact that his career was so short, this is a valuable document not to be missed. ~ Chris Kelsey, 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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