Two opposite visions of the same album:
Review
by Scott Yanow
There are two schools of thought regarding this Clifford Brown with strings session (which has been reissued on CD). Brownie plays quite beautifully and shows off his warm tone on such numbers as "Portrait of Jenny," "Memories of You," "Embraceable You" and "Stardust." But on the other hand the string arrangements by Neal Hefti border on muzak and Brown never really departs from the melody. So the trumpeter's tone is the only reason to acquire this disc which to this listener is a slight disappointment, not living up to its potential.
https://www.allmusic.com/album/clifford-brown-with-strings-mw0000602972
Automatic Translation of Excerpts from clasijazz.com:
Clifford Brows' With Strings takes pride of place among the most beautiful string jazz albums recorded to date. His luminous and lyrical voice, his melodic depth, is so subtly attached to the strings that it generates a sound framework similar to the fluttering of a butterfly over a flowery field. All this is thanks to Hefti's beautiful arrangements, but above all to Brown's magical way of reading the melodies.
Unlike Stan Getz's Focus - to which the next session will be devoted - this album was not geared to improvisation and in each of the 12 tracks Brown's solos are generally restricted to thematic embellishments during the second half of each cut.
Beautiful music and beautiful songs, great classics and true gems of the jazz repertoire. Three were written by Jerome Kern, two by Richard Rodgers and the rest by no less illustrious composers: George Gershwin, Eubie Blake, Bob Haggart, David Raksin, Ann Ronell and Joseph Russel Robinson and to close the album the impressive roundness of Hoagy Carmichael's "Stardust".
Clifford Brown with Strings is so close to perfection that rather than brushing against it, it draws a line so close to it, and this session in which a tribute is paid to it is not the mere reflection that returns the mirror, but as it happens in all artistic expression, it is a new sparkle, a new image/creation fruit of the individual personality of those who look into the mirror, of those who participate in the work, musicians and conductor.
https://clasijazz.com/clifford-brown-with-strings-swinging-strings-for-trumpet/
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Dos visiones opuestas de un mismo álbum:
Reseña
por Scott Yanow
Hay dos escuelas de pensamiento respecto a esta sesión de Clifford Brown con cuerdas (que ha sido reeditada en CD). Brownie toca muy bien y muestra su tono cálido en números como "Portrait of Jenny", "Memories of You", "Embraceable You" y "Stardust". Pero, por otro lado, los arreglos de cuerda de Neal Hefti rozan el muzak y Brown nunca se aleja realmente de la melodía. Así que el tono del trompetista es la única razón para adquirir este disco, que para este oyente es una ligera decepción, que no está a la altura de su potencial.
https://www.allmusic.com/album/clifford-brown-with-strings-mw0000602972
Extractos de clasijazz.com:
El With Strings de Clifford Brows ocupa lugar de honor entre los más hermosos álbumes de jazz con cuerdas grabados hasta la fecha. Su voz luminosa y lírica, su hondura melódica se ciñe a las cuerdas con tal sutileza, para generar un entramado sonoro semejante al revoloteo de una mariposa sobre un campo florido. Todo ello merced a los hermosos arreglos de Hefti, pero sobre todo a la mágica manera de leer las melodías de Brown
A diferencia del Focus de Stan Getz —al que se dedicará la siguiente sesión— este álbum no estaba dirigido a la improvisación y en cada una de las 12 canciones los solos de Brown quedan restringuidos, en general, a los adornos temáticos durante la segunda mitad de cada corte.
Hermosa música y hermosas canciones, grandes clásicos y auténticas joyas del repertorio jazzístico. Tres fueron escritas por Jerome Kern, dos por Richard Rodgers y el resto autoría de no menos preclares compositores: George Gershwin, Eubie Blake, Bob Haggart, David Raksin, Ann Ronell y Joseph Russel Robinson y para cerrar el álbum la impresionante redondez del “Stardust” de Hoagy Carmichael.
Clifford Brown with Strings está tan cerca de la perfección que más que rozarla traza una línea tanjente con ella y esta sesión en la que se le rinde sentido tributo no es el mero reflejo que devuelve el espejo, sino que como sucede en toda expresión artistica, es un destello nuevo, una nueva imagen/creacción fruto de la personalidad individual de cuantos se asoman al espejo, de cuantos participan en la obra, músicos y director.
https://clasijazz.com/clifford-brown-with-strings-swinging-strings-for-trumpet/
One of the greatest trumpeters of all time, Clifford Brown's death in a car accident at the age of 25 was one of the most profound losses to the jazz world. Yet, "Brownie" (as he was affectionately known) left behind one of the most impressive and lasting bodies of work, and it continues to hold sway on musicians decades after his passing. Brown was master of the trumpet, blessed with a warm, fat tone and deep grasp of bebop harmony. Influenced by his idol Fats Navarro, he quickly rose through the ranks of the leading trumpeters of his time, ascending to the top echelon alongside icons like Dizzy Gillespie and Miles Davis. Following his early work with Tadd Dameron and Art Blakey, Brown cemented his place in jazz history forming his landmark quintet with drummer Max Roach and recording a handful of classic albums in Clifford Brown & Max Roach, Brown and Roach Incorporated, and Study in Brown, all of which helped define the hard bop sound of the late '50s. It's hard to believe that he was still improving at the time of his death in 1956.
Born in 1930 in Wilmington, Delaware, Brown became interested in music at a young age and even sang in a family vocal group alongside his three brothers. By age 13, he was playing trumpet at school and taking private lessons with noted Delaware trumpeter and educator Robert "Boysie" Lowery. Jazz gigs followed and by 1948 Brown was playing regularly in the Philadelphia area, gaining encouragement from and even sitting in with players like Dizzy Gillespie and Charlie Parker. He enrolled as a math major at Delaware State College and in 1949 transferred to Maryland State College on a music scholarship. There, he learned writing and arranging. It was also during this period that he met two major figures in his life, drummer Max Roach and trumpeter Fats Navarro, the latter of whom quickly became a major influence on his playing.
In June 1950, Brown was injured in a serious car accident that forced him to stop performing. A month later, Navarro died of a drug overdose. Despite these setbacks, Brown recovered, returned to action in 1952 as a member of Chris Powell's R&B ensemble the Blue Flames. The following year, he joined pianist Tadd Dameron's group and toured Europe with Lionel Hampton's Orchestra. While overseas, he ignored Hampton's edict banning his musicians from recording, and led several of his own sessions alongside altoist Gigi Gryce. Upon his return to the states, he made his Blue Note debut with 1953's A New Star on the Horizon. Recorded just prior to his departure for Europe, the album featured a group with Gryce, tenor player Charlie Rouse, Modern Jazz Quartet's pianist John Lewis and bassist Percy Heath, and drummer Art Blakey. Other sessions followed, including a 1954 proto-Jazz Messengers quintet with Blakey recorded at Birdland.
By the middle of 1954, he had formed a quintet with drummer Max Roach. Largely considered one of the premiere hard bop bands of the era, the group also featured tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow. They made their debut with 1954's Brown and Roach Incorporated, followed several months later by Clifford Brown and Max Roach. In 1955, Brown released two more soon to be classic albums: the ballads-heavy session Clifford Brown with Strings and his third with Roach, Study in Brown. A fourth Brown and Roach record, At Basin Street, arrived in 1956 and found Land replaced by Sonny Rollins.
In June 1956, Brown, Richie Powell, and Powell's wife, Nancy, were killed in a car accident while driving to Chicago after a jam session in Philadelphia. Brown, who was 25 years old, was later buried in Mt. Zion Cemetery in Wilmington, Delaware. After his death, more albums were released that kept his legacy alive, including two compilation Memorial Albums and 1973's The Beginning and the End, which featured his early Blue Flames sessions, as well as a miraculous ad hoc recording of the final Philadelphia jam session. Amazingly, a filmed appearance of Brown performing two songs on comedian Soupy Sales' 1955 variety show was discovered after being lost for 40 years and is the only known footage of the trumpeter. There have also been superb box sets released by Mosaic, and collecting all of his work for labels like EmArcy, Blue Note, and Pacific Jazz. Already by the late '50s, Brown had already become a major influence on the next generation of players, and trumpeters like Freddie Hubbard, Woody Shaw, and Charles Tolliver would build upon his work. Even decades after his death, Brown's influence continues to be felt as successive generations look upon him as a paradigm for jazz excellence.
https://www.allmusic.com/artist/clifford-brown-mn0000789775#biography
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Nacido en 1930 en Wilmington, Delaware, Brown se interesó por la música a una edad temprana e incluso cantó en un grupo vocal familiar junto a sus tres hermanos. A los 13 años, tocaba la trompeta en la escuela y tomaba lecciones privadas con el destacado trompetista y educador de Delaware Robert "Boysie" Lowery. Siguieron conciertos de jazz y, para 1948, Brown tocaba regularmente en el área de Filadelfia, recibiendo aliento e incluso sentándose con músicos como Dizzy Gillespie y Charlie Parker. Se matriculó en matemáticas en Delaware State College y en 1949 se transfirió a Maryland State College con una beca de música. Allí, aprendió a escribir y arreglar. También fue durante este período que conoció a dos figuras importantes en su vida, el baterista Max Roach y el trompetista Fats Navarro, el último de los cuales rápidamente se convirtió en una gran influencia en su forma de tocar.
En junio de 1950, Brown resultó herido en un grave accidente automovilístico que lo obligó a dejar de actuar. Un mes después, Navarro murió de una sobredosis de drogas. A pesar de estos contratiempos, Brown se recuperó y volvió a la acción en 1952 como miembro del conjunto de R&B de Chris Powell, The Blue Flames. Al año siguiente, se unió al grupo del pianista Tadd Dameron y realizó una gira por Europa con la Orquesta de Lionel Hampton. Mientras estaba en el extranjero, ignoró el edicto de Hampton que prohibía a sus músicos grabar, y dirigió varias de sus propias sesiones junto a la altoista Gigi Gryce. A su regreso a los Estados unidos, hizo su debut en Blue Note con A New Star on the Horizon de 1953. Grabado justo antes de su partida a Europa, el álbum incluía un grupo con Gryce, el tenor Charlie Rouse, el pianista de Modern Jazz Quartet John Lewis y el bajista Percy Heath, y el baterista Art Blakey. Siguieron otras sesiones, incluido un quinteto de proto-Jazz Messengers de 1954 con Blakey grabado en Birdland.
A mediados de 1954, había formado un quinteto con el baterista Max Roach. Ampliamente considerada como una de las principales bandas de hard bop de la época, el grupo también contó con el saxofonista tenor Harold Land, el pianista Richie Powell y el bajista George Morrow. Hicieron su debut con Brown and Roach Incorporated de 1954, seguidos varios meses después por Clifford Brown y Max Roach. En 1955, Brown lanzó dos álbumes más que pronto serían clásicos: la sesión de baladas Clifford Brown with Strings y su tercero con Roach, Study in Brown. Un cuarto disco de Brown y Roach, At Basin Street, llegó en 1956 y encontró a Land reemplazado por Sonny Rollins.
En junio de 1956, Brown, Richie Powell y la esposa de Powell, Nancy, murieron en un accidente automovilístico mientras conducían a Chicago después de una sesión improvisada en Filadelfia. Brown, que tenía 25 años, fue enterrado más tarde en el monte. Cementerio Zion en Wilmington, Delaware. Después de su muerte, se lanzaron más álbumes que mantuvieron vivo su legado, incluidos dos álbumes Conmemorativos recopilatorios y The Beginning and the End de 1973, que presentaban sus primeras sesiones de Blue Flames, así como una grabación milagrosa ad hoc de la última sesión improvisada de Filadelfia. Sorprendentemente, se descubrió una aparición filmada de Brown interpretando dos canciones en el programa de variedades del comediante Soupy Sales de 1955 después de perderse durante 40 años y es el único metraje conocido del trompetista. También ha habido excelentes box sets lanzados por Mosaic y recopilando todo su trabajo para sellos como EmArcy, Blue Note y Pacific Jazz. Ya a fines de los 50, Brown ya se había convertido en una gran influencia para la próxima generación de músicos, y trompetistas como Freddie Hubbard, Woody Shaw y Charles Tolliver se basarían en su trabajo. Incluso décadas después de su muerte, la influencia de Brown continúa sintiéndose a medida que las generaciones sucesivas lo ven como un paradigma de la excelencia del jazz.
https://www.allmusic.com/artist/clifford-brown-mn0000789775#biography
Tracks:
1 - Yesterdays - 2:58
2 - Laura - 3:25
3 - What's New? - 3:24
4 - Blue Moon - 3:13
5 - Can't Help Lovin' Dat Man - 3:43
6 - Embraceable You - 3:00
7 - Willow Weep For Me - 3:24
8 - Memories Of You - 3:31
9 - Smoke Gets In Your Eyes - 3:13
10 - Portrait Of Jenny - 3:24
11 - Where Or When - 3:27
12 - Stardust - 3:23
Credits:
Arranged By, Conductor – Neal Hefti
Double Bass – George Morrow
Drums – Max Roach
Guitar – Barry Galbraith
Liner Notes [January 1998] – Bert Vuijsje
Mastered By – Kevin Reeves
Photography By [Cover] – Herman Leonard
Piano – Richie Powell
Producer [Original] – Bob Shad
Trumpet – Clifford Brown
Recorded 18-20 January 1955 in New York City.
Genre: Jazz
Style: Bop
Year: 1955
https://www.discogs.com/master/269219-Clifford-Brown-Clifford-Brown-With-Strings
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