Clifford Brown - Memorial Album (Remastered)

Styles: Trumpet Jazz
Year: 1953/2001
File: MP3@320K/s
Time: 71:12
Size: 165,1 MB
Art: Front

(4:14)  1. Bellarosa
(3:56)  2. Carvin' The Rock
(3:14)  3. Cookin'
(3:46)  4. Brownie Speaks
(4:51)  5. De-Dah
(4:19)  6. You Go To My Head
(3:51)  7. Carvin' The Rock (Alternate Take)
(3:08)  8. Cookin' (Alternate Take)
(4:05)  9. Carvin' The Rock (Alternate Take #2)
(4:02) 10. Wail Bait
(4:07) 11. Hymn Of The Orient
(3:56) 12. Brownie Eyes
(3:27) 13. Cherokee
(3:44) 14. Easy Living
(4:34) 15. Minor Mood
(4:07) 16. Wail Bait (Alternate Take)
(3:42) 17. Cherokee (Alternate Take)
(4:01) 18. Hymn Of The Orient (Alternate Take)

Clifford Brown emerged fully formed in 1953, a trumpeter gifted with an ebullient swing and technical skills that added polish and precision to fresh invention. Foregoing both the manic pyrotechnics of Dizzy Gillespie and the laconic introversion of Miles Davis, he also provided a stylistic model for jazz trumpeters that has never gone out of style. This CD combines Brown's first two recording dates as leader, placing him in quintet and sextet settings with some of the core musicians of the New York bop scene. The first nine tracks have Brown in an inspired quintet, prodded by the twisting, off-kilter solos and comping of the brilliant and underrated pianist Elmo Hope and the sparkling complexity of drummer Philly Joe Jones. While altoist Lou Donaldson is deeply in the sway of Charlie Parker, Brown sets his own course, whether it's the boppish "Cookin'" or the standard "You Go to My Head." 

The final nine tracks have Art Blakey's drums driving the sextet, while altoist Gigi Gryce's understated concentration acts as an effective foil to Brown's joyous, dancing lines. Taken at a medium up-tempo, "Cherokee" is one of Brown's most effective vehicles. The alternate takes from each session highlight Brown's spontaneous creativity, while Rudy Van Gelder's remastering adds fresh focus to both his gorgeous tone and the explosive drumming. ~ Stuart Broomer - Editorial Reviews https://www.amazon.com/Memorial-Album-Clifford-Brown/dp/B00005MIZ6

Personnel: Tracks 1-9: Clifford Brown - trumpet; Lou Donaldson - alto saxophone; Elmo Hope - piano; Percy Heath - bass; Philly Joe Jones - drums. Tracks 10-18: Clifford Brown - trumpet; John Lewis - piano; Gigi Gryce - alto saxophone, flute; Charlie Rouse - tenor saxophone; Percy Heath - bass; Art Blakey - drums

Memorial Album

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Clifford Brown - New Star On The Horizon

Styles: Trumpet Jazz 
Year: 2014
File: MP3@320K/s
Time: 23:32
Size: 55,0 MB
Art: Front

(3:25)  1. Cherokee
(3:42)  2. Easy Living
(3:59)  3. Wail Bait
(4:33)  4. Minor Mood
(4:05)  5. Hymn Of The Orient
(3:46)  6. Brownie Eyes

2015 reissue from Blue Note Records' 75th Anniversary Vinyl Initiative series. New Star On The Horizon compiles some of American jazz trumpeter Clifford Brown's best moments for Blue Note. Brown died in a car accident at the age of 25, leaving only four years of recorded material. Within his short career, he managed to influence many future jazz trumpeters, like Freddie Hubbard and Lee Morgan. New Star On The Horizon is a part of Blue Note's 10" reissue series. Originally released in 1953. https://www.forcedexposure.com/Catalog/brown-clifford-new-star-on-the-horizon-10-/BN.5032LP.html

Personnel:  Trumpet – Clifford Brown;  Alto Saxophone, Flute – Gigi Gryce ;  Bass – Percy Heath ;  Drums – Art Blakey ;  Piano – John Lewis ;  Tenor Saxophone – Charlie Rouse

New Star On The Horizon

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Clifford Brown - Clifford Brown Big Band in Paris

Styles: Trumpet Jazz
Year: 1953
File: MP3@320K/s
Time: 48:13
Size: 110,5 MB
Art: Front

(6:06)  1. Brown Skins (take 1)
(6:09)  2. Brown Skins (take 2)
(7:06)  3. Keeping Up with Jonesy (take 1)
(6:29)  4. Keeping Up with Jonesy (take 2)
(3:12)  5. Bum's Rush
(7:52)  6. Chez Moi
(5:20)  7. All Weird (take 1)
(1:58)  8. All Weird (take 2)
(3:56)  9. No Start, No End

Although Lionel Hampton forbid his sidemen from recording during their trip to France in 1953, many of the musicians fortunately ignored his orders; the band broke up soon anyway. Trumpeter Clifford Brown is heard on this LP mostly with a big band actually put together by Gigi Gryce. A few of these tracks are excerpts but the two takes of "Brownskins" and "Keeping up with Jonesy" are fairly long as is a nearly eight-minute "Chez Moi." The music is not essential but Brownie did not live long enough to record anything less than excellent. ~ Scott Yanow https://www.allmusic.com/album/clifford-brown-big-band-in-paris-mw0000199986

Personnel:  Trumpet – Art Farmer, Clifford Brown, Quincy Jones, Walter Williams;  Alto Saxophone – Anthony Ortega, Gigi Gryce;  Baritone Saxophone – William Boucaya;  Bass – Pierre Michelot;  Drums – Jean-Louis Viale;  Piano – Henri Renaud;  Tenor Saxophone – Andre Dabonneville, Clifford Solomon;  Trombone – Al Hayes, Benny Vasseur, Jimmy Cleveland

Clifford Brown Big Band in Paris

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Clifford Brown, Max Roach - Study In Brown

Bitrate: MP3@320K/s
Time: 39:41
Size: 90.9 MB
Styles: Bop, Trumpet jazz
Year: 1955/2017
Art: Front

[5:40] 1. Cherokee
[5:07] 2. Jacqui
[2:53] 3. Swingin'
[4:57] 4. Lands End
[5:36] 5. George's Dilemma
[4:52] 6. Sandu
[2:53] 7. Gerkin For Perkin
[3:24] 8. If I Love Again
[4:15] 9. Take The A Train

Bass – George Morrow; Drums – Max Roach; Piano – Richie Powell; Tenor Saxophone – Harold Land; Trumpet – Clifford Brown. Recorded between February 23 & 25, 1955.

Study in Brown features the 1955 version of the Clifford Brown/Max Roach Quintet, a group also including tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow. One of the premiere early hard bop units, this band had unlimited potential. Highlights of this set are "Cherokee" (during which trumpeter Brown is brilliant), "Swingin'," and "Sandu." All of this group's recordings are well worth acquiring. ~Scott Yanow

Study In Brown mc
Study In Brown zippy

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Clifford Brown - Brownie Speaks: The Complete Blue Note Recordings (3-Disc Boxset)

The 2014 Clifford Brown anthology Brownie Speaks: The Complete Blue Note Recordings compiles all of the recordings the influential jazz trumpeter made for the storied jazz label during the '50s. These are albums he recorded after his initial Powell sessions and before his Mercury dates. Included here are 1953's Jay Jay Johnson with Clifford Brown, 1953's New Star on the Horizon, 1956's New Faces New Sounds with Lou Donaldson, and the fiery 1954 live album A Night at Birdland with the Art Blakey Quintet. Also included throughout are the various bonus tracks attached to each session.

A mere 22 years old when he embarked on this short four-year stint with Blue Note, Brown was already a jazz titan. Technically dazzling on the trumpet and blessed with a wealth of improvisational creativity steeped in the traditions of his forebears (namely Fats Navarro and Dizzy Gillespie), Brown was a man unparalleled on the jazz scene in the 1950s. Whether playing at burning speeds, as he does on "Cherokee," or digging deep into a slow ballad like "Easy Living" (both off New Star on the Horizon), Brown could articulate his ideas with devastating clarity. While all of the albums featured here are superb, must-hear examples of Brown's work, it is his live Birdland date as a member of drummer Art Blakey's group that reveals the most of what would become his legacy. The first incarnation of what would soon be known as Blakey's Jazz Messengers, the group included such influential players as the bluesy saxophonist Donaldson and the gospel-tinged pianist Horace Silver. From the pyrotechnic bop opener "Wee Dot" through Brown's gorgeous rendition of "Once in a While" and the rollicking Silver original "Quicksilver," the album is a masterful display of untethered artistry, bristling with a primordial energy that heralded the birth of the hard bop era. Unfathomably, only two weeks later, the group would disband for lack of bookings. Brown would, of course, go on to join drummer Max Roach in their legendary quintet, only to die in a car crash in 1956 at the age of 25. Ultimately, though there is implicit tragedy in his death at such a young age, with endless creative possibilities ahead of him, Brown had long found his voice, as evidenced by the work collected on Brownie Speaks. ~Matt Collar

Album: Brownie Speaks: The Complete Blue Note Recordings (Disc 1)
Bitrate: MP3@320K/s
Time: 74:10
Size: 169.8 MB
Styles: Bop, Trumpet jazz
Year: 2014

[4:53] 1. Get Happy
[3:56] 2. Lover Man
[3:42] 3. Capri
[4:28] 4. Sketch 1
[4:21] 5. Turnpike
[4:47] 6. It Could Happen To You
[3:50] 7. Capri (Alternate Take)
[4:13] 8. Turnpike (Alternate Take)
[4:13] 9. Get Happy (Alternate Take)
[4:22] 10. You Go To My Head
[3:49] 11. Brownie Speaks
[4:15] 12. Bellarosa
[3:16] 13. Cookin'
[3:58] 14. Carvin' The Rock
[4:52] 15. De-Dah
[3:53] 16. Carvin' The Rock (Alternate Take)
[4:06] 17. Carvin' The Rock (Alternate Take #2)
[3:08] 18. Cookin' (Alternate Take)

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Album: Brownie Speaks: The Complete Blue Note Recordings (Disc 2)
Bitrate: MP3@320K/s
Time: 73:01
Size: 167.2 MB
Styles: Bop, Trumpet jazz
Year: 2014

[3:27] 1. Cherokee
[3:43] 2. Easy Living
[4:02] 3. Wail Bait
[4:34] 4. Minor Mood
[4:07] 5. Hymn Of The Orient
[3:56] 6. Brownie Eyes
[4:06] 7. Wail Bait
[3:43] 8. Cherokee
[4:05] 9. Hymn Of The Orient
[0:57] 10. Announcement By Pee Wee Marquette
[6:54] 11. Wee-Dot
[8:19] 12. Now's The Time
[9:26] 13. Confirmation
[5:18] 14. Once In A While
[6:17] 15. Mayreh

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Album: Brownie Speaks: The Complete Blue Note Recordings (Disc 3)
Bitrate: MP3@320K/s
Time: 67:05
Size: 153.6 MB
Styles: Bop, Trumpet jazz
Year: 2014
Art: Front

[3:41] 1. If I Had You
[8:33] 2. Split Kick
[3:57] 3. Lou's Blues
[9:45] 4. A Night In Tunisia
[6:44] 5. Quicksilver
[8:37] 6. Blues
[6:54] 7. Wee-Dot (Alternate Take)
[9:58] 8. The Way You Look Tonight
[8:52] 9. Quicksilver


Brownie Speaks:The Complete Blue Note Recordings(Disc1),(Disc2),Disc 3)

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Gigi Gryce, Clifford Brown - Jazz Time Paris Vol 11

Bitrate: MP3@320K/s
Time: 53:36
Size: 122.7 MB
Styles: Bop
Year: 1998/2016
Art: Front

[ 4:15] 1. Strictly Romantic
[ 5:44] 2. Baby (Master Take)
[11:44] 3. No Start, No End
[ 5:25] 4. Minority
[ 5:41] 5. Salute To The Band Box
[ 4:56] 6. It Might As Well Be Spring
[ 2:43] 7. You're A Lucky Guy
[ 2:49] 8. The Song Is You
[ 4:08] 9. Come Rain Or Come Shine
[ 2:57] 10. I Can Dream, Can't I
[ 3:09] 11. Blue And Brown

An incredible pairing of two of the most important modern jazz talents of the 50s  trumpeter Clifford Brown and altoist Gigi Gryce whose sense of structure on these tunes really gives Brownie a whole new space in which to shine! Gryce really seems to get at the mixture of sweetness and bite that Clifford can deliver when he's at his best which comes through brilliantly in his solos, which are then matched by these raspy, soulful lines from Gryce on his alto. The group's a French one and swing, but really let the American horn players take the lead with Henri Renaud on piano, Jimmy Gourley on guitar, Pierre Michelot on bass, and Jean Louis Viale on drums. Tracks include "Baby", "Minority", "Salute To The Band Box" and "Strictly Romantic". CD also features a full second 10" album a quartet date with Brown's trumpet in the lead in front of a Parisian trio that features Henri Renaud on piano, Pierre Michelot on bass, and Benny Bennett on drums.

Jazz Time Paris Vol 11

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Clifford Brown - The Emarcy Master Takes (4-Disc Boxset)

Clifford Brown, the jazz trumpeter affectionately known as Brownie, partnered with drummer Max Roach in a memorable quintet in the mid-1950s. Over a few short years he quickly rose from astonishing prodigy to pioneering master -- a stunning trajectory cut short when Brownie died tragically at age 25 in 1956. His amazing story and the amazing music the quintet made takes front and center on Clifford Brown: The EmArcy Master Takes, a new limited edition four-CD set.

The EmArcy Master Takes includes the 49 master takes the Brown-Roach Quintet recorded for the EmArcy label, an 18-month collaboration that resulted in some of the most enduring jazz of all time. The tracks, which eventually made up the classic albums Clifford Brown and Max Roach, Clifford Brown With Strings, Brown and Roach Incorporated, Study In Brown, Best Coast Jazz, and At Basin Street, as well as tracks featured on several posthumous releases, from Caravan to More Study In Brown and others, are presented in chronological order of recording. All tracks are newly remastered from original sources, many of them for the first time since their original CD reissue in the late 1980s.

Playing with Brown and Roach are regular members of their quintet -- Harold Land (tenor saxophone), Richie Powell (piano), George Morrow (bass), and Sonny Rollins, who replaced Land -- plus a slew of other star players, as well as a Los Angeles string section beautifully arranged and conducted by Neal Hefti. EmArcy's Bob Shad produced the sessions.

Album: The Emarcy Master Takes (Disc 1)
Bitrate: MP3@320K/s
Time: 78:15
Size: 179.1 MB
Styles: Trumpet jazz
Year: 2009

[8:03] 1. Delilah
[4:01] 2. Darn That Dream
[7:16] 3. Parisian Thoroughfare
[7:42] 4. Jordu
[6:39] 5. Sweet Clifford
[7:18] 6. I Don't Stand A Ghost Of A Chance With You
[6:23] 7. Stompin' At The Savoy
[7:36] 8. I Get A Kick Out Of You
[4:09] 9. I'll String Along With You
[6:49] 10. Joy Spring
[4:31] 11. Mildama
[3:39] 12. These Foolish Things
[4:01] 13. Daahoud

The Emarcy Master Takes (Disc 1)

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Album: The Emarcy Master Takes (Disc 2)
Bitrate: MP3@320K/s
Time: 73:40
Size: 168.6 MB
Styles: Trumpet jazz
Year: 2009

[19:43] 1. Coronado
[17:12] 2. You Go To My Head
[15:09] 3. Caravan
[21:34] 4. Autumn In New York

The Emarcy Master Takes (Disc 2)

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Album: The Emarcy Master Takes (Disc 3)
Bitrate: MP3@320K/s
Time: 70:53
Size: 162.3 MB
Styles: Trumpet jazz
Year: 2009

[3:24] 1. Portrait Of Jenny
[3:25] 2. What's New
[2:58] 3. Yesterdays
[3:27] 4. Where Or When
[3:43] 5. Can't Help Lovin' Dat Man
[3:14] 6. Smoke Gets In Your Eyes
[3:26] 7. Laura
[3:32] 8. Memories Of You
[3:01] 9. Embraceable You
[3:14] 10. Blue Moon
[3:25] 11. Willow Weep For Me
[3:23] 12. Stardust
[2:54] 13. Gerkin For Perkin
[4:16] 14. Take The A Train
[4:54] 15. Lands End
[2:50] 16. Swingin'
[5:33] 17. George's Dilemma
[3:22] 18. Clifford Brown - If I Love Again
[6:44] 19. The Blues Walk

The Emarcy Master Takes (Disc 3)

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Album: The Emarcy Master Takes (Disc 4)
Bitrate: MP3@320K/s
Time: 66:25
Size: 152.1 MB
Styles: Trumpet jazz
Year: 2009
Art: Front

[3:07] 1. What Am I Here For
[5:41] 2. Cherokee
[5:09] 3. Jacqui
[4:53] 4. Sandu
[4:11] 5. Gertrude's Bounce
[3:33] 6. Step Lightly (Junior's Arrival)
[3:28] 7. Powell's Prances
[9:17] 8. I'll Remember April
[5:06] 9. Time
[6:06] 10. The Scene Is Clean
[3:56] 11. Flossie Lou
[7:36] 12. What Is This Thing Called Love
[4:15] 13. Love Is A Many Splendored Thing

The Emarcy Master Takes (Disc 4)

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Clifford Brown, Max Roach - Clifford Brown And Max Roach At Basin Street

Bitrate: MP3@320K/s
Time: 39:24
Size: 90.2 MB
Styles: Bop
Year: 1956/1990/2012
Art: Front

[7:36] 1. What Is This Thing Called Love
[4:14] 2. Love Is A Many Splendored Thing
[9:15] 3. I'll Remember April
[3:36] 4. Powell's Prances
[3:29] 5. Time
[5:05] 6. The Scene Is Clean
[6:06] 7. Gertrude's Bounce

Clifford Brown and Max Roach at Basin Street (aka At Basin Street) is a 1956 album by the Clifford Brown and Max Roach Quintet, the last album the quintet officially recorded. It is also one of the last major albums Brown recorded before his untimely death in 1956. The album was identified by Scott Yanow in his Allmusic essay "Hard Bop" as one of the 17 Essential Hard Bop Recordings.

"The last official album by the Clifford Brown/Max Roach Quintet is the only one that featured the great Sonny Rollins on tenor. With pianist Richie Powell and bassist George Morrow completing the group, this date is a hard bop classic. Brownie and Rollins fit together perfectly on memorable versions of "What Is This Thing Called Love," "I'll Remember April," and a witty arrangement of "Love Is a Many Splendored Thing." Highly recommended." ~Scott Yanow

Clifford Brown And Max Roach At Basin Street

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Various - Down At The Jazz Club (2-Disc Set)

A jazz club is a venue where the primary entertainment is the performance of live jazz music. Jazz clubs are usually a type of nightclub or bar, which is licensed to sell alcoholic beverages. Jazz clubs were in large rooms in the eras of Orchestral jazz and big band jazz, when bands were large and often augmented by a string section. Large rooms were also more common in the Swing era, because at that time, jazz was popular as a dance music, so the dancers needed space to move. With the transition to 1940s-era styles like Bebop and later styles such as soul jazz, small combos of musicians such as quartets and trios were mostly used, and the music became more of a music to listen to, rather than a form of dance music. As a result, smaller clubs with small stages became practical.

In the 2000s, jazz clubs may be found in the basements of larger residential buildings, in storefront locations or in the upper floors of retail businesses. They can be rather small compared to other music venues, such as rock music clubs, reflecting the intimate atmosphere of jazz shows and long-term decline in popular interest in jazz.[1] Despite being called "clubs", these venues are usually not exclusive. Some clubs, however, have a cover charge if a live band is playing. Some jazz clubs host "jam sessions" after hours or on early evenings of the week. At jam sessions, both professional musicians and advanced amateurs will typically share the stage.

Album: Down At The Jazz Cluib (Disc 1)
Bitrate: MP3@320K/s
Time: 70:45
Size: 161.9 MB
Styles: Assorted styles
Year: 2014
Art: Front

[ 9:15] 1. Tommy Flanagan - Birdsong
[12:15] 2. Grant Green - Windjammer
[ 3:48] 3. Gerry Mulligan Quartet - Poinciana
[10:24] 4. Pat Martino - El Hombre
[ 8:15] 5. Sonny Rollins - A Night In Tunisia
[ 8:44] 6. Eric Dolphy - God Bless The Child
[ 3:36] 7. Charlie Parker - Light Green
[ 8:29] 8. Gene Harris - Put On Train
[ 3:49] 9. Buddy Rich - Buddy Buddy
[ 2:05] 10. Mark Taylor - No Trouble Livin'

Down At The Jazz Club (Disc 1)

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Album: Down At The Jazz Club (Disc 2)
Bitrate: MP3@320K/s
Time: 101:21
Size: 232.0 MB
Styles: Assorted styles
Year: 2014
Art: Front

[12:02] 1. Elvin Jones - New Breed
[ 4:45] 2. Cannonball Adderley - What Is This Thing Called Love
[ 6:53] 3. Clifford Brown - Wee Dot
[ 9:29] 4. Kenny Dorham - K.D.'s Blues
[ 8:16] 5. Ornette Coleman Trio - Morning Song
[ 7:18] 6. Mel Lewis - Don't Git Sassy
[17:21] 7. Dexter Gordon - Easy Living
[ 5:37] 8. Charlie Hunter Quartet - Lively Up Yourself
[19:24] 9. Freddie Hubbard - Walkin'
[10:09] 10. Dr. Lonnie Smith - Layin' In The Cut

Down At The Jazz Club (Disc 2)

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Clifford Brown - Jazz Immortal

Bitrate: MP3@320K/s
Time: 32:19
Size: 74.0 MB
Styles: Bop, Trumpet jazz
Year: 1954/1990/2011
Art: Front

[4:09] 1. Daahoud
[3:48] 2. Finders Keepers
[3:13] 3. Joy Spring
[3:37] 4. Gone With The Wind
[4:12] 5. Bones For Jones
[3:13] 6. Blueberry Hill
[4:12] 7. Tiny Capers
[2:56] 8. Tiny Capers
[2:55] 9. Gone With The Wind

Baritone Saxophone – Bob Gordon; Bass – Carson Smith (tracks: 4 to 8), Joe Mondragon (tracks: 1 to 3); Drums – Shelly Manne; Piano – Russ Freeman; Tenor Saxophone – Zoot Sims; Trumpet – Clifford Brown; Valve Trombone – Stu Williamson. Recorded at Capitol Recording Studios, Los Angeles in July (#1-3) and August (#4-8) 1954. #8 does not appear on LP configuration and was originally issued on Pacific Jazz (JWC 500). #1-7 were originally issued on 10" LP - PJ19 and later 12" LP - PJ3.

Clifford Brown recorded this album in 1954 in California with a great band, including Zoot Sims on Tenor Sax and Russ Freeman on Piano. Clifford Brown was a masterful trumpet player at a very young age and soon achieved a high stature in the jazz world in the early 50's. He played with Charlie Parker and Tadd Dameron, as well as leading his own bands. I think this recording is one of his best, with original songs and arrangements done by Jack Montrose. Clifford Brown's alternatively sweet, tough and complex trumpet playing integrates wonderfully with Zoot Sims saxophone. The song 'Tiny Capers' is a brilliant excursion in jazz improvisation and playfulness, while retaining a beautiful melody. ~Jostein Berntsen

Jazz Immortal

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Max Roach, Clifford Brown - Alone Together: The Best Of The Mercury Years (2-Disc Set)

Verve's two-disc collection of the best recordings from the Clifford Brown-Max Roach Quintet recorded for Mercury/Emarcy between 1954 and 1956 includes a parade of Brown-Roach classics -- "Parisian Throroughfare," "Cherokee," "Jordu," "Daahoud." The second disc, which doesn't include Brown at all, reels through a highlight film of Max Roach's varied quintets of the late '50s after the death of Brown in 1956. Of course, Roach's sessions during that time feature many great recordings -- trumpeter Booker Little is a competent replacement for Brown, and tenors Sonny Rollins, Hank Mobley, and Stanley Turrentine all have great spots -- but record buyers expecting this set to live up to its title might be disappointed. To get the full treatment, get this plus any one or two of the other duet LPs, like Brown and Roach Incorporated. ~John Bush

Album: Alone Together: The Best Of The Mercury Years (Disc 1)

Bitrate: MP3@320K/s

Time: 73:01

Size: 167.2 MB

Styles: Hard bop, Trumpet jazz

Year: 1995

Art: Front

[5:42] 1. Cherokee

[6:50] 2. Joy Spring

[3:24] 3. What's New

[4:34] 4. Mildama

[5:46] 5. September Song

[3:08] 6. What Am I Here For

[4:54] 7. Sandu

[4:01] 8. Daahoud

[5:14] 9. Born To Be Blue

[7:45] 10. Jordu

[4:10] 11. Gertrude's Bounce

[3:23] 12. Stardust

[7:18] 13. Parisian Thoroughfare

[6:46] 14. The Blues Walk

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Album: Alone Together: The Best Of The Mercury Years (Disc 2)

Bitrate: MP3@320K/s

Time: 78:57

Size: 180.8 MB

Styles: Hard bop, Trumpet jazz

Year: 1995

[ 2:07] 1. Dr. Free-Zee

[ 7:20] 2. Just One Of Those Things

[14:28] 3. Valse Hot

[ 7:45] 4. Tune-Up

[ 3:53] 5. Yardbird Suite

[ 8:14] 6. A Night In Tunisia

[ 6:16] 7. La Villa

[ 2:20] 8. Max's Variations

[ 5:07] 9. Prelude

[ 5:42] 10. Juliano

[ 5:37] 11. Lotus Blossom

[ 3:14] 12. The Left Banke

[ 6:48] 13. Never Leave Me

Alone Together-The Best Of The Mercury Years(Disc 1),(Disc 2)

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Dinah Washington - Sings The Standards

Bitrate: MP3@320K/s
Time: 52:23
Size: 119.9 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[2:08] 1. I Left My Heart In San Francisco
[2:04] 2. Baby Won't You Please Come Home
[2:17] 3. Call Me Irresponsible
[3:11] 4. For All We Know
[3:30] 5. The Man That Got Away
[2:26] 6. Fly Me To The Moon
[2:52] 7. Coquette
[2:15] 8. Do Nothin' Till You Hear From Me
[4:05] 9. There Must Be A Way
[2:38] 10. Let Me Be The First To Know
[2:31] 11. Destination Moon
[2:44] 12. You're Nobody 'til Somebody Loves You
[2:30] 13. Red Sails In The Sunset
[2:59] 14. Lover Man
[2:53] 15. I'll Be Around
[3:07] 16. Say It Isn't So
[2:04] 17. What Kind Of Fool Am I
[3:27] 18. These Foolish Things
[2:31] 19. Don't Say Nothing At All

Creating yet another series to justify reissuing material from its vaults, this Verve Jazz Masters entry raids albums Dinah Washington recorded for the Mercury label from 1952 through 1958. This is the second Dinah Washington compilation in this series. Although advertised as an album of standards, Washington avoids making these tunes come across as the romantic warhorses most of them are. Rather, her gospel-inspired voice conveys the song's message with a blues, funky tinge that always distinguished her from the rest of the crowd since she began her career at the age of 15. On these tracks, Washington is joined by the crème de la crème of jazz musicians who were part of the Mercury stable during these years. While some of the arrangements were not all that creative, Washington's inimitable style and the playing of her fellow musicians make up for any shortcomings. "I'll Remember April" is an 11-plus minute jam session spotlighting solos by Clifford Brown, Harold Land, Herb Geller, and Junior Mance (or Richie Powell). Washington swings hard on "They Didn't Believe Me" in front of a big band led by Quincy Jones and then goes sentimental on "You Go to My Head" before seguing into a second chorus behind a Latin beat. On the latter track Washington and the unknown group backing her is energized by the urging of a live audience. There's more Latin on "I've Got You Under My Skin" built around the trumpet trio of Clifford Brown, Clark Terry, and Maynard Ferguson. (The liner notes listing of personnel for this track are incorrect). While the album has several excellent instrumental solos, none is better than Rick Henderson's extended alto sax work on "Blue Skies." There's a relaxed traditional jazz atmosphere underlying "All of Me" with Washington chatting away in the background during solos by vibist Terry Gibbs and trombonist Urbie Green. Whatever style or beat, each tune is delivered by Washington's instantly recognizable penetrating but tender voice, buttressed by her consistently precise enunciation. This more than an hour long album is a worthy tribute to the one of a kind vocal skills of Dinah Washington. ~Dave Nathan

Sings The Standards

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Clifford Brown & Max Roach - Brown & Roach

Bitrate: MP3@320K/s
Time: 40:40
Size: 93.1 MB
Styles: Hard bop, Trumpet jazz
Year: 1954/2004
Art: Front

[6:39] 1. Sweet Clifford
[7:19] 2. I Don't Stand A Ghost Of A Chance With You
[6:23] 3. Stompin' At The Savoy
[4:09] 4. I'll String Along With You
[4:30] 5. Mildama
[4:01] 6. Darn That Dream
[7:36] 7. I Get A Kick Out Of You

In 1954, months before the Jazz Messengers, spearheaded by Art Blakey and Horace Silver, formed serendipitously at a Blue Note recordings session, Max Roach was forming his own quintet with Clifford Brown in Los Angeles. It would become the first defining group in the music that would soon be known as hard bop. There was some trial and error in landing on the perfect combination of players. But by August, the group's line-up with Harold Land, Richie Powell and George Morrow and a major label deal with Emarcy Records were secured. Four marathon sessions that month yielded "Brown And Roach Incorporated" and most of the second album "Clifford Brown And Max Roach."

What was immediately striking was the fresh sound of the quintet. The remarkable empathy within the group, the careful selection of material and the exciting arrangements by Powell all contributed mightily to that sound. Clifford Brown had come into his own as composer as "Sweet Clifford," "Joy Spring" and "Daahoud" demonstrate. It didn't hurt that Roach and Brown were complete originals and among the greatest performers on their instruments.

Six months later, the ensemble went into the studio to cut 11 gems, two of which were used to complete "Clifford Brown And Max Roach" while the rest formed the third album "Study In Brown." Their growth as a band is evident and, by this time, Powell and Land were also composing for the group.

Brown & Roach

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Clifford Brown - The Definitive Clifford Brown

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 75:58
Size: 174,4 MB
Art: Front

(3:40)  1. Easy Living
(6:57)  2. Wee Dot
(7:43)  3. Jordu
(7:38)  4. I Get A Kick Out Of You
(6:48)  5. Joy Spring
(4:01)  6. Daahoud
(5:21)  7. I've Got You Under My Skin
(4:09)  8. He's My Guy
(5:14)  9. Born To Be Blue
(3:22) 10. Stardust
(5:43) 11. Cherokee
(9:12) 12. I'll Remember April
(6:04) 13. The Scene Is Clean

Trumpeter Clifford Brown had a brief career. He started playing jazz in the late '40s but was killed in a car accident in 1956 (along with pianist Richie Powell, younger brother of Bud). In that short time his interest in expanding the bebop medium is apparent on The Definitive Clifford Brown. Several of the legendary hard bop quintet sides he recorded with Max Roach for Emarcy are featured as well as his warm tone mixing beautifully with string arrangements and backing up vocalists Helen Merrill, Dinah Washington, and Sarah Vaughan. The Definitive Clifford Brown is a well rounded introduction providing a glimpse into the full spectrum of a career cut tragically short. ~ Al Campbell  http://www.allmusic.com/album/the-definitive-clifford-brown-mw0000223919

Personnel: Clifford Brown (trumpet); Dinah Washington, Helen Merrill, Sarah Vaughan (vocals); Barry Galbraith (guitar); Gigi Gryce (flute, alto saxophone); Herbie Mann (flute); Herb Geller, Lou Donaldson (alto saxophone); Harold Land, Paul Quinichette, Sonny Rollins, Charlie Rouse (tenor saxophone); Danny Bank (baritone saxophone); Clark Terry, Maynard Ferguson (trumpet); John Richard Lewis, Horace Silver, Jimmy Jones , Junior Mance, Richie Powell (piano); Max Roach, Osie Johnson, Roy Haynes, Art Blakey (drums).

The Definitive Clifford Brown

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Clifford Brown - Clifford Brown With Strings

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 39:55
Size: 91,9 MB
Art: Front + Back

(2:57)  1. Yesterdays
(3:24)  2. Laura
(3:23)  3. What's New
(3:12)  4. Blue Moon
(3:42)  5. Can't Help Lovin' Dat Man
(2:59)  6. Embraceable You
(3:22)  7. Willow Weep For Me
(3:30)  8. Memories Of You
(3:11)  9. Smoke Gets In Your Eyes
(3:22) 10. Portrait Of Jenny
(3:26) 11. Where Or When
(3:22) 12. Stardust

Recordings setting soloists alongside string ensembles were not a staple of the bop years, but, when trumpeter Clifford Brown recorded With Strings, he had two illustrious predecessors. In 1946, trumpeter Dizzy Gillespie recorded four Jerome Kern standards with an ensemble arranged by Johnny Richards. Kern's estate, horrified at the "desecration," blocked their release (they were finally issued in 1980 on Phoenix Records). In 1949, saxophonist Charlie Parker recorded with strings arranged by Jimmy Carroll, returning to the idea a year later, this time with arranger Joe Lipman. In 1955, Brown's string ensemble was arranged by Neal Hefti, on a session which also employed Brown's regular touring band Richie Powell (piano), George Morrow (bass), Max Roach (drums) augmented by guitarist Barry Galbraith. Brown's With Strings may not have been the first album in the field, but it is surely among the most beautiful of jazz discs ever to be made with strings or, come to that, without them. It benefits, too, from the advances in studio technology made in the 1950s, after the Gillespie and Parker recordings: the sound is deep and lush, and the six violins, two violas and a cello sound like an ensemble larger than its actual size.  

Brown's sunny, lyrical style was as well suited to a strings setting as that of tenor saxophonist Stan Getz, whose Eddie Sauter-arranged masterpiece, Focus (Verve), was recorded in 1961. Unlike Getz, Brown's approach was not improvisation-focused; the 12 tracks on With Strings are all around three minutes long and Brown's solos are restricted, in the main, to theme embellishments during the second half of each performance. Hefti's gorgeous arrangements aside, the magic comes from the way Brown reads the tunes. What great tunes they are. Three composed by Jerome Kern, two by Richard Rodgers, and others by George Gershwin, Eubie Blake, Bob Haggart, David Raksin, Ann Ronell and Joseph Russel Robinson. The disc closes with Hoagy Carmichael's "Stardust." Every one of the tracks is a gem, but "Stardust," by a neck, is the most lustrous, a reading to set alongside Carmichael's own privately made, intensely poignant solo piano recording of 1944. If any criticism can be leveled at With Strings, it is a small one. Had the number of tracks been limited to ten, allowing a chorus or so of full-on trumpet improvisation, with the album still coming in at the then-maximum 40 minutes' playing time, we would, perhaps, have perfection. But that is to cavil. With Strings is as close to perfection as makes no difference. A year after the album was made, Brown (along with Richie Powell) was killed in an auto crash, aged 26. ~ Chris May  http://www.allaboutjazz.com/clifford-brown-with-strings-clifford-brown-by-chris-may.php#.U2u69CiwVOk 

Personnel: Clifford Brown: trumpet; Richie Powell: piano; Barry Galbraith: guitar; George Morrow: bass; Max Roach: drums; uncredited string nonet arranged by Neal Hefti.

Clifford Brown With Strings

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Art Blakey Quintet - A Night At Birdland, Vol.1 And Vol.2 [Live]

Styles: Straight-ahead/Mainstream

Year: 1954

File: MP3@320K/s

Time: 53:10

Size: 122,0 MB

Art: Front

Disc 1

(0:58)  1. Annoucement By Pee Wee Marquette

(8:44)  2. Split Kick

(5:18)  3. Once In A While

(6:58)  4. Quicksilver

(9:20)  5. A Night In Tunisia

(6:19)  6. Mayreh

(6:53)  7. Wee-Dot [Alternate Take]

(8:37)  8. Blues (Improvisation)

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Disc 2

Styles: Straight-ahead/Mainstream

Year: 1954

File: MP3@320K/s

Time: 52:01

Size: 119,3 MB

Art: Front

( 7:16)  1. Wee-Dot

( 3:30)  2. If I Had You

( 8:46)  3. Quicksilver [Alternate Take]

( 9:00)  4. Now's The Time

( 9:10)  5. Confirmation

(10:14)  6. The Way You Look Tonight

( 4:00)  7. Lou's Blues

We should all stand up right now and applaud Alfred Lion and Rudy Van Gelder of Blue Note Records for rolling the tapes at Birdland on a February night in 1954. Lion and Van Gelder captured drummer Art Blakey's quintet at the New York nightclub on a night when they were really cooking. Because of their efforts, listeners have been able to relive A Night at Birdland whenever they wanted to. Now, Van Gelder has digitally remastered the two-volume set. Originally, nine songs recorded that night were released on three 10-inch records. Two years later, an alternate take of Horace Silver's "Quicksilver" had been added to the expanded 12-inch format. In 1975, three additional songs and an alternate track of "Wee-Dot" were added to the two albums. Volume Two features the quote from Blakey that became the credo for what would become the Jazz Messengers: "I'm going to stay with the youngsters. 

When these get too old, I'm going to get some younger ones. It keeps the mind active." The two discs (sold separately) have some amazing performances from Blakey's quintet, including their interpretations of classics like "A Night in Tunisia," "Now's the Time" and "Confirmation" (also, check out the drum break on "Mayreh" and "The Way You Look Tonight"). "Once in a While" features the incredible talent of Brown, who's able to create a gentle melody, then weave in and out of the chords in the cut-time section with the greatest of ease. Meanwhile, Lou Donaldson and Clifford Brown lay down monster solos behind Silver's chords on the improvised tune simply titled "Blues," the backbone of what would be coined hard bop. Silver even takes a romp around the keys. "Wee-Dot" and "Quicksilver" each have alternate takes, but the master version of “Wee-Dot” has more prodding from Blakey, as well as the alternate version of "Quicksilver," which has a faster tempo. Curly Russell is given a chance to solo on both alternates. Listening to these two songs side-by-side with their alternate tracks shows the quintet's amazing ability to create something new for the same tune. To put it simply, Blakey and company had clicked that night at Birdland. ~ Michael Fortuna   http://www.allaboutjazz.com/php/article.php?id=8511#.Uzg6fFdSvro

Personnel: Clifford Brown, trumpet; Lou Donaldson, alto saxophone; Horace Silver, piano; Curly Russell, bass; Art Blakey, drums

A Night At Birdland, Vol. 1 [Live]

A Night At Birdland, Vol. 2 [Live]

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Helen Merrill - With Clifford Brown & Gil Evans

Styles: Vocal Jazz
Year: 1987
File: MP3@320K/s
Time: 59:34
Size: 144,3 MB
Art: Front

(5:13)  1. Don't Explain
(4:22)  2. You'd Be So Nice To Come Home To
(5:01)  3. What's New
(3:56)  4. Falling In Love With Love
(6:01)  5. Yesterdays
(5:15)  6. Born To Be Blue
(3:16)  7. 'S Wonderful
(3:04)  8. He Was Good To Me
(3:36)  9. I've Never Seen
(4:10) 10. I'm A Fool To Want You
(3:17) 11. Troubled Waters
(3:25) 12. By Myself
(2:36) 13. People Will Say We're In Love
(3:28) 14. You're Lucky To Me
(2:52) 15. Dream Of You

Though she eventually came to be known as a "singer's singer," Helen Merrill's 1954 debut is an unmitigated success of mainstream jazz. Besides introducing the uniquely talented young singer, the date also featured small-group arrangements by Quincy Jones and marks the introduction of another future star, trumpeter Clifford Brown. Formidable as his playing is, Brown never overshadows Merrill. She is fully up to the challenge on all fronts and enthusiastically tackles uptempo numbers such as "You'd Be So Nice to Come Home To" and "Falling in Love with Love" with aplomb. A winning stylistic combination of cool jazz and hard bop, Merrill particularly excels on Mel Tormé's "Born to Be Blue," making the sophisticated tune her own as she revels in Tormé's down-and-out lyric. ~ Richard Mortifoglio  http://www.allmusic.com/album/release/helen-merrill-with-clifford-brown-gil-evans-mr0001164321

With Clifford Brown & Gil Evans

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Dinah Washington - Dinah Jams

Bitrate: 320K/s
Time: 61:17
Size: 140.3 MB
Styles: Blues-jazz vocals
Year: 1954/1990
Art: Front

[ 9:54] 1. Lover, Come Back To Me
[ 2:25] 2. Alone Together
[ 2:27] 3. Summertime
[ 2:29] 4. Come Rain Or Come Shine
[ 3:22] 5. No More
[ 5:26] 6. I've Got You Under My Skin
[ 2:15] 7. There Is No Greater Love
[11:08] 8. You Go To My Head
[ 5:14] 9. Darn That Dream
[ 4:47] 10. Crazy He Calls Me
[11:46] 11. I'll Remember April

DINAH JAMS is a specially imported, limited-edition reissue. All tracks have been digitally remastered (24-bit). Recorded in Los Angeles, California on August 14, 1954. All tracks have been digitally remastered. 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. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like The Swingin' Miss D or The Fats Waller Songbook, both of which feature top arrangements by Quincy Jones. ~ Stephen Cook

Dinah Washington (vocals); Herb Geller (alto saxophone); Harold Land (tenor saxophone); Clark Terry, Clifford Brown , Maynard Ferguson (trumpet); Junior Mance, Richie Powell (piano); Max Roach (drums).

Recording information: Los Angeles, CA (08/15/1954). Unknown Contributor Roles: Paul Ramey; Richard Seidel.

Dinah Jams

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