Clifford Brown • The Complete Paris Session

 

He was the most brilliant trumpet player of his generation, an original and memorable composer, a dynamic stage presence and one of the authentic legends of modern jazz.

Clifford Brown was born October 30, 1930 in Wilmington, Delaware. As a young high school student Brown began playing trumpet and within a very short time was active in college and other youth bands. By his late teens he had attracted the favorable attention of leading jazzmen, including fellow trumpeters Dizzy Gillespie, Miles Davis and Fats Navarro.

At the end of the 40s he was studying music at Maryland University and in 1952, following recovery from a serious road accident, he made his first records with Chris Powell and Tadd Dameron. In the autumn of 1953 he was a member of the big band Lionel Hampton took to Europe. Liberally filled with precocious talent, this band attracted considerable attention during its tour. Contrary to contractual stipulations, many of the young musicians moonlighted on various recordings and Brown in particular was singled out for such sessions. Back in the USA, Brown was fired along with most of the rest of the band when Hampton learned of the records they had made. Brown then joined Art Blakey and in mid- 1954 teamed up with Max Roach to form the Clifford Brown- Max Roach Quintet. The quintet was quickly recognized as one of the outstanding groups in contemporary jazz and Brown as a major trumpeter and composer.

At a time when many modern jazz trumpeters sought technical expertise at the expense of tone, Brown, in common with his friend and paradigm, Navarro, had technique to spare but also developed a rich, full and frequently beautiful tone. At the same time, whether playing at scorching tempos or on languorous ballads, his range was exhaustive. He was enormously and brilliantly inventive but his search for original ideas was never executed at the expense of taste. In all his work, Brown displayed the rare combination of supreme intelligence and great emotional depths. His playing was only one aspect of his talent; he was also a fine composer, creating many works that have become modern jazz standards. Although his career was brief, Brown's influence persisted for a while in the work of Lee Morgan and throughout succeeding decades in that of Freddie Hubbard. Fortunately for jazz fans, Brown's own work persists in the form of his recordings, almost any of which can be safely recommended as outstanding examples of the very best of jazz. Indeed, all of his recordings with Roach are classics.

During his remarkable three year run, Brown made more than a dozen albums among the ones on the EmArcy label are Brown & Roach Inc (1954), Study in Brown (1955), Clifford Brown With Strings(1955), A Study in Brown(1955) Clifford Brown All Stars (1956), Memorial Album (1956), Clifford Brown & Max Roach at Basin St. East (1956), and Pure Genius (1956) these are prime models of the art of jazz trumpet. There are many compilations available, as are box sets as the Complete Blue Note-Pacific Jazz (Mosaic) and the EmArcy 10 disc set Brownie: The Complete Clifford Brown.

Many of his compositions became standards, including the uptempo “Daahoud,” reflective “Joy Spring”, and “Sandu.” His version of “Cherokee” though not his composition, is still considered the definitive one. Benny Golson did a memorable “I Remember Clifford,” a moving tribute to the young trumpeter, and is a perennial jazz favorite.

Clifford Brown had established himself as the most potent trumpeter in jazz to arrive on the scene since Dizzy Gillespie. Equally influenced (and encouraged) by Fats Navarro and Gillespie, Brown possessed both a remarkable technique for high-speed playing, with every note perfectly placed and formed, and also a beautiful lyrical ballad style. He developed an innate sense of solo form, a rich tone, and a virtuoso technique in all trumpet ranges. His style included brilliant high notes, high rhythmic detail, and a generous incorporation of grace notes and varied inflections, all of which he played with rare grace and ease. He was especially noted for the melodic qualities of his improvising, which often flowed in long phrases. His impact and influence on the jazz world is only matched by his artistry on the trumpet.

On June 26th, 1956, while driving between engagements during a nationwide tour, Brown and another quintet member, pianist Richie Powell, were killed in a road accident. Clifford Brown was twenty five years old.
Source: James Nadalhttps://www.allaboutjazz.com/musicians/clifford-brown/

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Fue el trompetista más brillante de su generación, un compositor original y memorable, una presencia escénica dinámica y una de las auténticas leyendas del jazz moderno.

Clifford Brown nació el 30 de octubre de 1930 en Wilmington, Delaware. Siendo un joven estudiante de secundaria, Brown empezó a tocar la trompeta y en muy poco tiempo participó activamente en bandas universitarias y otras bandas juveniles. Al final de su adolescencia ya había atraído la atención de los principales músicos de jazz, como los trompetistas Dizzy Gillespie, Miles Davis y Fats Navarro.

A finales de los años 40 estudiaba música en la Universidad de Maryland y en 1952, tras recuperarse de un grave accidente de tráfico, grabó sus primeros discos con Chris Powell y Tadd Dameron. En otoño de 1953 formó parte de la big band que Lionel Hampton llevó a Europa. Llena de talento precoz, esta banda atrajo una considerable atención durante su gira. En contra de las estipulaciones contractuales, muchos de los jóvenes músicos trabajaron como pluriempleados en varias grabaciones y Brown, en particular, fue elegido para esas sesiones. De vuelta a Estados Unidos, Brown fue despedido junto con la mayoría del resto de la banda cuando Hampton se enteró de las grabaciones que habían hecho. Brown se unió entonces a Art Blakey y a mediados de 1954 formó equipo con Max Roach para formar el Clifford Brown- Max Roach Quintet. El quinteto fue rápidamente reconocido como uno de los grupos más destacados del jazz contemporáneo y Brown como un trompetista y compositor importante.

En una época en la que muchos trompetistas de jazz moderno buscaban la pericia técnica a expensas del tono, Brown, al igual que su amigo y paradigma Navarro, tenía técnica de sobra, pero también desarrolló un tono rico, pleno y a menudo hermoso. Al mismo tiempo, tanto si tocaba a tempos abrasadores como en lánguidas baladas, su registro era exhaustivo. Era enorme y brillantemente inventivo, pero su búsqueda de ideas originales nunca se llevó a cabo a expensas del gusto. En toda su obra, Brown mostró la rara combinación de una inteligencia suprema y una gran profundidad emocional. Tocar era sólo una de las facetas de su talento; también era un excelente compositor, creador de muchas obras que se han convertido en estándares del jazz moderno. Aunque su carrera fue breve, la influencia de Brown persistió durante un tiempo en la obra de Lee Morgan y, a lo largo de las décadas siguientes, en la de Freddie Hubbard. Afortunadamente para los aficionados al jazz, la obra de Brown perdura en forma de grabaciones, casi todas las cuales pueden recomendarse como ejemplos sobresalientes de lo mejor del jazz. De hecho, todas sus grabaciones con Roach son clásicos.

Durante su notable carrera de tres años, Brown grabó más de una docena de álbumes, entre los que se encuentran los del sello EmArcy Brown & Roach Inc (1954), Study in Brown (1955), Clifford Brown With Strings (1955), A Study in Brown (1955), Clifford Brown All Stars (1956), Memorial Album (1956), Clifford Brown & Max Roach at Basin St. East (1956) y Pure Genius (1956), que son modelos de primer orden del arte de la trompeta de jazz. Hay muchas recopilaciones disponibles, así como juegos de cajas como el Complete Blue Note-Pacific Jazz (Mosaic) y el EmArcy 10 disc set Brownie: The Complete Clifford Brown.

Muchas de sus composiciones se convirtieron en estándares, como la uptempo «Daahoud», la reflexiva «Joy Spring» y «Sandu». Su versión de «Cherokee», aunque no es una composición suya, sigue considerándose la definitiva. Benny Golson hizo un memorable «I Remember Clifford», un emotivo homenaje al joven trompetista, y es un eterno favorito del jazz.

Clifford Brown se había consolidado como el trompetista más potente del jazz que llegaba a la escena desde Dizzy Gillespie. Influido (y alentado) a partes iguales por Fats Navarro y Gillespie, Brown poseía tanto una técnica notable para tocar a gran velocidad, con cada nota perfectamente colocada y formada, como un hermoso estilo de balada lírica. Desarrolló un sentido innato de la forma solista, un tono rico y una técnica virtuosa en todos los rangos de la trompeta. Su estilo incluía notas altas brillantes, gran detalle rítmico y una generosa incorporación de notas de gracia e inflexiones variadas, todo ello interpretado con una gracia y una facilidad poco comunes. Destacaba especialmente por las cualidades melódicas de su improvisación, que a menudo fluía en largas frases. Su impacto e influencia en el mundo del jazz sólo son comparables a su arte con la trompeta.

El 26 de junio de 1956, mientras conducía entre los compromisos de una gira nacional, Brown y otro miembro del quinteto, el pianista Richie Powell, murieron en un accidente de tráfico. Clifford Brown tenía veinticinco años.
Fuente: James Nadalhttps://www.allaboutjazz.com/musicians/clifford-brown/

cliffordbrown.net ...

Tracks:
1-1 - Brown Skins (Take 1)
1-2 - Brown Skins (Take 2)
1-3 - Deltitnu
1-4 - Keepin' Up With Jonsey (Take 1)
1-5 - Keepin' Up With Jonsey (Take 2)
1-6 - Conception (Take 1)
1-7 - Conception (Take 2)
1-8 - All The Things You Are (Take 1)
1-9 - All The Things You Are (Take 2)
1-10 - I Cover The Waterfront
1-11 - Goofin' With Me
1-12 - Minority (Take 1)
1-13 - Minority (Take 2)
2-1 - Minority (Alternate Take 3)
2-2 - Salute To The Band Box (Take 1)
2-3 - Salute To The Band Box (Take 2)
2-4 - Strictly Romantic
2-5 - Baby
2-6 - Baby (Alternate Take)
2-7 - Quick Step
2-8 - Quick Step (Alternate Take 2)
2-9 - Quick Step (Alternate Take 3)
2-10 - Bum's Rush
2-11 - Bum's Rush (Alternate Take 2)
2-12 - Bum's Rush (Alternate Take 3)
2-13 - No Start No End
3-1 - Venez Donc Chez Moi
3-2 - All Weird (Take 1)
3-3 - All Weird (Take 2, Extract)
3-4 - All Weird (Take 2)
3-5 - Blue And Brown
3-6 - I Can Dream Can't I? (Take 1)
3-7 - I Can Dream Can't I? (Take 2)
3-8 - I Can Dream Can't I? (Take 3)
3-9 - The Song Is You (Take 1)
3-10 - The Song Is You (Take 2)
3-11 - Come Rain Or Shine (Take 1)
3-12 - Come Rain Or Shine (Take 2)
3-13 - It Might As Well Be Spring (Take 1)
3-14 - It Might As Well Be Spring (Take 2)
3-15 - You Are A Lucky Guy (Take 1)
3-16 - You Are A Lucky Guy (Take 2)
3-17 - You Are A Lucky Guy (Take 3)


Credits:
Clifford Brown (trumpet),
Art Farmer (trumpet),
Quincy Jones (trumpet),
Henri Renaud (piano),
Walter Williams (trumpet)

This is the complete collection of all recordings made in Paris by Clifford Brown, in chronological order.

Label:    Kaleidoscope Jazz – 668001
Country:    France
Released:    1991
Genre:    Jazz
Style:    Bop, Hard Bop

https://www.discogs.com/release/12350496-Clifford-Brown-The-Complete-Paris-Sessions

 

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