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| Brownie Lives! - Live at Basin Street & In Concert at Carnegie Hall [ ÉLŐ ] |
| Clifford Brown |
| első megjelenés éve: 2005 |
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| (2005)
[ LIMITED DIGIPACK ]
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CD |
| 5.546 Ft
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| 1. | Valse Hot
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| 2. | I Feel A Song Comin' On
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| 3. | What's New
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| 4. | Daahoud
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| 5. | Sweet Clifford
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| 6. | I Get A Kick Out Of You
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| 7. | The Blues Walk
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Jazz / Bop; Hard Bop
Clifford Brown (tp)
Sonny Rollins (ts on #1-5), Harold Land (ts on #6-7), Richie Powell (p), George Morrow (b), Max Roach (dr on #1-2 and 6-7), Willie Jones (dr on #3-5)
Horace Silver Liner Notes
Jordi Pujol Producer
Quincy Jones Liner Notes
Tracks 1-2: Clifford Brown (tp), Sonny Rollins (ts), Richie Powell (p), George Morrow (b), Max Roach (d)
Live broadcasts at the Basin Street Club, NYC, April 28, 1956
Tracks 3-5: Same personnel but Willie Jones (dr) replaces Max Roach who was indisposed
Live broadcasts at the Basin Street Club, NYC, May 6, 1956
Tracks 6-7: Same personnel but Harold Land (ts) replaces Sonny Rollins
Live in Concert at Carnegie Hall, NYC, May 6, 1955
Although Clifford Brown did a phenomenal amount of commercial recordings during his all too brief lifetime (he died prior to his 26th birthday in a car crash that also took the life of his quintet's pianist Richie Powell, Bud's younger brother), relatively few of the recordings he made were on stage. Fortunately, this CD includes performances from two 1956 broadcasts from the old Basin Street club in New York City, and two tracks from a Carnegie Hall concert the previous year.
Rollins' "Valse Hot" is a loping but swinging waltz, while the wild ride through the oldie "I Feel a Song Comin' On" is rekindled as a prime bop vehicle. Willy Jones replaces an ailing Max Roach on the next three tracks: a gorgeous rendition of Bob Haggart's timeless ballad "What's New" (a feature for Brown with some lush accompaniment by Powell); a sparkling version of one of Brown's best-known compositions, "Daahoud"; and another work by Brown, "Sweet Clifford," which is introduced by the MC as "Sweet Georgia Brown" (the piece it was based upon). Harold Land preceded Rollins in the tenor sax chair and is present on the Carnegie Hall material, including a version of "I Get a Kick Out of You" that starts out as a waltz before cutting loose into a bop firestorm. The trumpeter's "Blues Walk" is stretched out to give the soloists a little extra space to work their magic.
Although Clifford Brown did a phenomenal amount of commercial recordings during his all too brief lifetime (he died prior to his 26th birthday in a car crash that also took the life of his quintet's pianist Richie Powell, Bud's younger brother), relatively few of the recordings he made were on stage. Fortunately, this CD includes performances from two 1956 broadcasts from the old Basin Street club in New York City, and two tracks from a Carnegie Hall concert the previous year. Although the MC talks over some of the music and the fidelity is typical for Airchecks preserved from the era (distorted rhythm section, barely audible piano and bass), the strong playing of both Brown and tenor saxophonist Sonny Rollins still comes through the noisy clutter. Rollins' "Valse Hot" (incorrectly listed as "Waltz Hot") is a loping but swinging waltz, while the wild ride through the oldie "I Feel a Song Comin' On" is rekindled as a prime bop vehicle. Willy Jones replaces an ailing Max Roach on the next three tracks: a gorgeous rendition of Bob Haggart's timeless ballad "What's New" (a feature for Brown with some lush accompaniment by Powell); a sparkling version of one of Brown's best-known compositions, "Daahoud"; and another work by Brown, "Sweet Clifford," which is introduced by the MC as "Sweet Georgia Brown" (the piece it was based upon). Harold Land preceded Rollins in the tenor sax chair and is present on the Carnegie Hall material, including a version of "I Get a Kick Out of You" that starts out as a waltz before cutting loose into a bop firestorm. The trumpeter's "Blues Walk" is stretched out to give the soloists a little extra space to work their magic. This CD should be an automatic purchase for fans of Clifford Brown, even considering the sound flaws. ~ Ken Dryden, 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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