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Clifford Brown & Max Roach - Study in Brown (1955) Genre: Jazz

Amazon.com:

When these nine sides were cut in February 1955, trumpeter Clifford Brown was not even 25 years old, but he'd already emerged as jazz's greatest trumpeter this side of Miles Davis. Whereas Davis made his mark through conception, composition, and cool tones, Brown was a blowing, blaring, blistering fire who navigated chord changes without a second's pause. This record will give listeners plenty of chance to marvel at his fleet improvisations and sharp tone, which remarkably never lost its fullness at any speed. The m.o. of the quintet was pretty well set at this point: reinvigorated standards augmented by crafty introductions and taken at full bore; sprite originals with complex melodies; and an urgency unmatched in jazz before or since. Pianist Richie Powell and tenor Harold Land admirably keep pace with the leaders. --Marc Greilsamer



Jazz reviewer Samuel Chell:

One of the three most important (not to mention brilliant) trumpet players in the history of jazz, Clifford Brown adds to his luster on this varied program of nine engaging tunes. The 1950's were indeed a "golden age" for jazz, offering up many such recorded programs by trumpet-tenor frontlines plus rhythm section. In the early sixties, modal harmonies began to prevail along with simple melodic riffs played over a single interminable rhythmic pattern. The shift can be heard not only in the musical transformations of Roach-led groups but the ensembles of Miles, Blakey, Silver, and Adderley.

"A Study in Brown" isn't a perfect session, but it would be hard to fault not just Clifford but the equally sublime Harold Land. Perhaps the man never got his due because his tenor is so completely in synch with Clifford's horn that the two speak as a single voice during the ensemble sections, uncannily so during the unison passages. It's not just the tightness but the phrasing and "contouring" of their lines. In fact, it's Land, more than Clifford, whose attention to dynamics and the "swelling" of phrases assures that the ensemble choruses take on a breathing, living quality (subtleties such as this, incidentally, would be lost, or "flattened out," were this a Blue Note rather than Emarcy recording).

Land has the unenviable task of following Brown on most of the solos, and he's invariably up to the challenge. His fluid technique, purposeful melodic ideas, and expressive use of dynamics constitute a musical voice that is no less inimitable and personal than Clifford's. The primary anticlimax occurs during the Richie Powell piano solos that follow Land's inventions. On "Land's End," Harold takes not only the first but the best of the solos. On a couple of the tunes (e.g. "Take the A Train") the disappointment is that he's given less solo time than Clifford.

The trumpet-tenor sax format of hundreds of jazz combos and thousands of recordings certainly was overdone, soon becoming tiresomely limited and repetitious. But not with this pair. The combination of Brown and Land provides a study in colors and textures that's all but inexhaustible.



Personnel:

Clifford Brown, trumpet;

Max Roach, drums;

Harold Land, tenor saxophone;

Richie Powell, piano;

George Morrow bass

Tracks:

1. Cherokee

2. Jacqui

3. Swingin'

4. Lands End

5. George's Dilemma

6. Sandu

7. Gerkin For Perkin

8. If I Love Again

9. Take The 'A' Train

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