Clifford Brown & Max Roach - "Study In Brown" (1955) & "Max And Roach Incorporated" (1954)

A 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 Brownie is brilliant), "Swingin"' and "Sandu." All of the group's recordings are well worth acquiring.


---------- Review By Scott Yanow





Tracklist:

1. "Cherokee" (Ray Noble) - 5:44
2. "Jacqui" (Richie Powell) - 5:11
3. "Swingin'" (Clifford Brown) - 2:52
4. "Lands End" (Harold Land) - 4:56
5. "George's Dilemma" (Brown) - 5:36
6. "Sandu" (Brown) - 4:56
7. "Gerkin for Perkin" (Brown) - 2:56
8. "If I Love Again" (Jack Murray and Ben Oakland) - 3:24
9. "Take the 'A' Train" (Billy Strayhorn) - 4:18

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Brown is--justifiably--a jazz icon, and this album [Max And Roach Incorporated] showcases his celebrated rapid-fire riffs and remarkably rounded and mellow tone.

The rapid bebop of "Sweet Clifford" and the closer," I Get A Kick Out of You," may have you shaking your head in awe, with fast but fully articulated soloing by Brown, and simply amazing bop sax by the (underrated?) Harold Land. The notes and lines are just right! Max Roach's astonishing drumming adds to the intensity and wonder of the experience.

Brown's long, almost haunting trumpet on "I Don't Stand a Ghost of a Chance With You" is one of the most beautiful and evocative trumpet solos I've ever heard. His voicing of the lyrics and tender/plaintive sound are superb.

Richie Powell is the force behind "I'll String Along With You," and recalls the tone of Tatum, the sentiment of Hoagie, and the chord emphasis of Nat Cole.
"Stompin' at the Savoy" grooves mellow, with light comping by Powell and bassist George Morrow, and warm burnished solos by Brown and Land. Max Roach slowly builds his solo teasingly, culminating in a bop tour de force.
Land is especially effective on "Darn That Dream" where his warm, lush, burnished playing recalls the John Coltrane/Johnny Hartman CD. Whether you're a longtime Clifford Brown fan, or are just making his acquaintance, I highly recommend this album!

----------- Review By M. Allen Greenbaum

 

 

 Tracklist:

 

1. "Sweet Clifford" (Clifford Brown) - 6:41
2. "I Don't Stand a Ghost of a Chance with You" (Bing Crosby, Ned Washington, Victor Young) - 7:19
3. "Stompin' at the Savoy" (Benny Goodman, Andy Razaf, Edgar Sampson Chick Webb) - 6:23
4. "I'll String Along with You" (Al Dubin, Harry Warren) - 4:09
5. "Mildama" (Max Roach) - 4:30
6. "Darn That Dream" (Eddie DeLange, Jimmy Van Heusen) - 4:02
7. "I Get a Kick out of You" (Cole Porter) - 7:36

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The Complete Blue Note Recordings Of Art Blakey's 1960 Jazz Messengers (1992)

Drummer Art Blakey goes down in jazz annals in several ways, including for artistry and energy on his instrument. But perhaps more lasting is the influence his group has had not only on the development of the hard bop idiom but also for his influence on the generations of young players who have gotten their on-the-job training with Blakey. The list includes such figures as Wynton Marsalis, Keith Jarrett, Jackie McLean, Benny Golson, John Hicks, Woody Shaw, Joanne Brackeen, Curtis Fuller and Steve Turre.

Each successive group had different qualities, which kept the Messengers growing all the time. While arguments rage regards which was his “best”, no doubt the 1960-1961 unit figures in the debate. To my own tastes the group in 1960 (and a little later, when Curtis Fuller joined on trombone), was the finest. Lee Morgan on trumpet, Wayne Shorter on tenor sax, Bobby Timmons on piano, these musicians were extraordinary. It was a dream band almost as luminous as Miles Davis`s group with John Coltrane, Cannonball Adderley Paul Chambers and Bill Evans.

This six-disc set covers studio and live sessions from March 6, 1960, to May 27, 1961, with the same personnel on all but two songs that were recorded on February 18, 1961, when Walter Davis had replaced Timmons.

Michael Cuscuna (Producer) uses only first-issue dates and while he includes some alternate takes, he does not litter the discs with second-rate vault material. They smoothly detail the band’s evolution, cohesion and maturation. Shorter is at his fiery best on tenor sax, while Morgan is either a furious note-bending acrobatic or a mellow, dynamic ballad stylist. Timmons excels at soul/gospel voicings and accompaniment but also demonstrates a flexibility and melodic and harmonic variety sometimes overshadowed by the popularity of such compositions as “Dat dere” and “Moanin’”. Merritt brings a rock-solid pulse and consistent edge to the group on bass, and Blakey himself offers his patent “bombs” on drums, driving and pacing the band without dominating it.

The Jazz Messengers as always are effective playing in either a surging or soothing manner on waltzes, standards or originals, personifying the mix of emotion and skills that are the essence of great jazz.

This set goes beyond essential. Get it post haste.

(It has been pointed out to me that I should start putting up a video link so as people who maybe unfamiliar with some of this music can get an idea before downloading specific things.)

Tracklist:

1.1 It's Only A Paper Moon (Alternate)
1.2 It's Only A Paper Moon
1.3 Dat Dere
1.4 The Chess Players
1.5 Lester Left Town
1.6 Sakeena's Vision
1.7 Politely
1.8 When Your Lover Has Gone
1.9 Noise In The Attic
1.10 Sleeping Dancer Sleep On (Alternate)

2.1 Sleeping Dancer Sleep On
2.2 Sincerely Diana
2.3 Sincerely Diana (Alternate)
2.4 Yama
2.5 Kozo's Waltz
2.6 Giantis
2.7 Johnny's Blue
2.8 So Tired
2.9 Like Someone In Love

3.1 A Night In Tunisia
3.2 United
3.3 Ping Pong
3.4 Blue Ching
3.5 Pisces
3.6 Look At The Birdie
3.7 Master Mind
3.8 Ping Pong
3.9 Petty Larceny
3.10 Roots And Herbs

4.1 United
4.2 The Witch Doctor (Alternate)
4.3 Those Who Sit And Wait
4.4 A Little Busy
4.5 Joelle
4.6 Afrique
4.7 Lost And Found
4.8 The Witch Doctor
4.9 The Back Sliders (Alternate)

5.1 The Back Sliders
5.2 The Freedom Rider
5.3 Tell It Like It Is
5.4 El Toro
5.5 Blue Lace
5.6 Uptight
5.7 Announcement By Pee Wee Marquette
5.8 The Opener
5.9 What Know
5.10 Theme And Announcement By Pee Wee Marquette

6.1 Announcement By Art Blakey
6.2 'Round About Midnight
6.3 The Breeze And I
6.4 Announcement By Pee Wee Marquette And Art Blakey
6.5 High Modes
6.6 Night Watch
6.7 Announcement By Art Blakey
6.8 The Things I Love
6.9 The Summit
6.10 Theme And Announcement

Download Link - Mediafire (Disc 1)
Download Link - Mediafire (Disc 2)
Download Link - Mediafire (Disc 3)
Download Link - Mediafire (Disc 4)
Download Link - Mediafire (Disc 5)
Download Link - Mediafire (Disc 6)

Thellonious Monk - Brilliant Corners (1957)

Thelonious Monk (1917 – 1982) was an American jazz pianist and composer, considered like Art Blakey to be one of the giants of American music. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "Epistrophy", "'Round Midnight", "Blue Monk", "Straight, No Chaser" and "Well, You Needn't". Monk is the second-most recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed over 1,000 songs while Monk only wrote about 70.

Brilliant Corners was the 3rd album monk recorded after being signed to the Riverside Records label (his 2nd label), Monk was highly regarded by his peers and by some critics, but his records remained poor sellers, and his music was still regarded as too "difficult" for the mainstream audience. Indeed, with Monk's consent, Riverside had managed to buy out his previous contract for only $108! On the LP which recorded in late 1956, Monk mainly performed his own music. The complex title track, which featured saxophonist Sonny Rollins, was so difficult to play that the final version had to be edited together from multiple takes. The album, however, was largely regarded as the first success for Monk; according to Orrin Keepnews, "It was the first that made a real splash."

The album was recorded in three sessions in late 1956 with two different quintets. "Ba-lue Bolivar Ba-lues-Are" and "Pannonica", on which Monk played the celeste, were recorded on October 9 with saxophonists Ernie Henry and Sonny Rollins, bassist Oscar Pettiford, and drummer Max Roach.

On October 15th, Monk attempted to record the title track with the same band during a four-hour session. However its complexity proved to be a challenge for Monk's sidemen, who attempted twenty-five takes, and led to tension between himself and both Henry and Pettiford, who exchanged harsh words with Monk during the session. Monk tried to make it easier on Henry by not playing during his alto solo. During one of the takes, producer Orrin Keepnews and others in the control room could not hear Pettiford's playing and checked his bass microphone for a malfunction, but ultimately realized that he was pantomiming his playing. Without a completed single take, Keepnews ultimately pieced together the album version from multiple takes. "Bemsha Swing" was recorded on December 7th with Paul Chambers on bass and trumpeter Clark Terry, who replaced Henry, and Monk recorded a solo piano version of "I Surrender, Dear" at this session.

Tracklist:

1. Brilliant Corners (7:42)
2. Ba-Lue Bolivar Ba-Lues-Are (13:24)
3. Pannonica (8:50)
4. I Surrender, Dear (5:25)
5. Bemsha Swing (7:42)

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Art Blakey & The Jazz Messengers - Drum Suite (1957)

1956 was an important year in the musical life of Art Blakey, for during that year he introduced a new edition of his Jazz Messengers. Blakey (1919-1990), whose drumming powered the Messsengers. Hard bop's foremost band, for more than three decades, introduced a new edition of the band on Drum Suite. The front line consisted of trumpeter Bill Hardman and Jackie McLean, he of the searing sound on alto saxophone, with Philadelphians Sam Dockery and 19-year old James 'Spanky" DeBrest, piano and bass, respectively, joining the leader in the rhythm section. These fresh, young Messengers continued what would become the group's established tradition of blues-saturated originals, first-rate soloists, and blazing attack. 

The new Messengers are heard to excellent advantage on three selections "D's Dilemma," "Just For Marty." and Gigi Gryce's "Nica's Tempo," the latter being one of the three originals herein that have become modern jazz perennials (the other two being Ray Bryant's "Cubano Chant" and Oscar Pettiford's "Oscalypso"). But before the December 1956 sessions that yielded "Nica's Tempo," as well as "D's Dilemma" and Hardman's "Just For Marty" we hear another side of Blakey: the dynamic, three-part "Drum Suite." From February 1957 comprising "The Sacrifice," pianist Ray Bryant's "Cubano Chant" and "Oscalypso," with the latter featuring bass giant Oscar Pettiford on cello. "Cubano Chant" and "Oscalpyso" are now like "Nica's Tempo." considered modern jazz perennials. 

From the first bars of "The Sacrifice" which opens these proceedings with tympani and an authentic Swahili chant. One is instantly aware that Blakey and company — in this case the Art Blakey Percussion Ensemble, including five percussionists. plus Bryant and Pettiford — mean to transport us to Africa. In the stellar percussion section are Jo Jones. the innovative drummer of the classic Count Basle orchestras of the 1930s and '40s. as well as Charles -Specs" Wright. Candid° Camero. and Sabu Martinez, all of whom recorded extensively in the '50s.

The rest of this expanded edition of Drum Suite features three rare, but prime, bonus cuts from June 1956 by a short-lived edition of the Messengers. with ace trumpeter Donald Byrd partnering on the front line with the legendary multi-instrumentalist Ira Sullivan. The alternate take of Byrd's "The New Message" has like "The Sacrifice" been restored to its full length here. And in another notable addition. Kenny Washington. one of the finest drummers to emerge in the past 25 years, has written an exhaustively-researched, extensive essay.

Tracklist:

01. The Sacrafice
02. Cubano Chant
03. Oscalypso
04. Nica's Tempo
05. D's Dilemma
06. Just For Marty
07. Lil' T (aka The Third)
08. The New Message (aka Little T) - (take 1)
09. The New Message (aka Little T) - (take 3)

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