He won the Down Beat critics' poll for the 'New Star of the Year' in 1954; he was inducted into the Down Beat 'Jazz Hall of Fame' in 1972 in the critics' poll. Sandoval described him as "one of what we call the mandatory trumpet players" who was "one of the greatest trumpet players of all time".
Wilmington, Delaware, (where Brownie was born and is buried), hosts an annual jazz fest in his honor. Sponsored by the cities arts commission known as Citifest, the Clifford Brown Jazz Festival is a FREE week long event held mostly in outdoor venues at various locations in Wilmington. The festival usually occurs the 3rd week in June of each year.
Noteable websites are:
The Clifford Brown Jazz Festival: http://www.cliffordbrownjazzfest.com
Wikipedia: http://en.wikipedia.org/wiki/Clifford_Brown and http://en.wikipedia.org/wiki/Clifford_Brown_Jazz_Festival
Brownie, the unofficial memorial website: http://cliffordbrown.net
Where or When?
Clifford Brown Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We looked at each other in the same way then
But I can't remember where or when
The clothes you're wearing are the clothes you wore
The smile you are smiling you were smiling then
But I can't remember where or when
Seem to be happening again
And so it seems that we have met before
And laughed before, and loved before
But who knows where or when
The lyrics to Clifford Brown's "Where or When" evoke a sense of deja vu and timelessness, questioning whether the moment we are experiencing is happening for the first time or if it has happened before. The singer reflects on a past encounter with someone, where they stood and talked like this before, looked at each other the same way, but cannot remember where or when it happened. They remark on the familiarity of the other person's clothing and smile, suggesting that they have met before, but the details are hazy. The lyrics go on to contemplate the possibility that some experiences seem to repeat themselves, leaving us wondering if we've encountered them before.
Overall, the song captures the essence of memory, love, and the passage of time. It reminds us that we are often unable to recall specific details from our past, yet certain people or moments can feel familiar and timeless, as if they are happening again.
Line by Line Meaning
It seems we stood and talked like this before
It appears as if we had this exact conversation in the past.
We looked at each other in the same way then
Our gazes at that time held the same emotion as we exchange now.
But I can't remember where or when
Although the memories are vaguely familiar, I can't recall the specific time and place.
The clothes you're wearing are the clothes you wore
The outfit that you're wearing now is the same as the one I recall you wearing then.
The smile you are smiling you were smiling then
The smile you have on your face brings back the memories of the same expression in the past.
Some things that happened for the first time
Seem to be happening again
Experiencing something familiar that happened previously for the first time feels like it's happening again in the present moment.
And so it seems that we have met before
And laughed before, and loved before
But who knows where or when
It looks like we have crossed paths before and might have experienced joyous and amorous moments. But it's uncertain when and where it happened.
Lyrics © Warner/Chappell Music, Inc.
Written by: LORENZ HART, RICHARD RODGERS
Lyrics Licensed & Provided by LyricFind
JazzTube
Review 1/1
Almost every jazz master at some point in his career feels the urge to record with strings. In most cases it isn't simply an attempt to be commercial. For the bebop pioneers, for instance, strings symbolized recognition by the world "legitimate" music. And as soloists, they loved the string-backgrounds added sheer beauty to their playing.
As early as 1946, trumpeter Dizzy Gillespie recorded,with a string orchestra — waxing four Jerome Kern songs backed by strings that were conducted by arranger Johnny Richards, But Gillespie's artistically satisfying project was denied a commercial outlet by Kern's estate. Abhorred by the radical sounds emanating from the recording, on the small Paramount label, the estate blocked its release. (In '80 this intriguing music final) became a'ailable on Phoenix Records.)
The other inventor of bebop, alto saxophonist Charlie Parker, expressed his desire to play with strings eve earlier, in 1941. Six years later he got his first shot at it, when he recorded "Repetition" with the Neal Hefti Orchestra for the legendary Norman Granz album The Jazz Scene (available on Verve 521 661-2). In '49 the first of several "Charlie Parker With Strings" 'sessions took place, again produced by Granz, yielding such classic performances as "Just Friends" (available on Verve 523 984-2).
Contrary to popular belief, it was Parker who urged Granz to let him record with strings, not the other way around according to Verve's founder "Charlie Parker wanted strings" Granz told me in 1984. Economically, I was horrified at strings; ma,, it was expensive! I said Charlie, "Why don't we do it with a trio?" Charlie said no, he wanted strings. He knew exactly what he wanted."
Likewise, when tenor saxophonist Stan Getz wanted to record Eddie Sauter's suite with strings, Focus (Verve 521 419-2), in 1961, Verve was very reluctant because it thought the project had little commercial appeal (1). Get got his way, however, and when I interviewed him in '79, he was still visibly proud of the album that is generally considered one of his best. "Focus is standing up there, naked," he said. "It will be_ difficult to exceed. Bu there was no plan behind it. I just find it interesting to make music, different kinds of music."
(1) Donald Maggin, in his Stan Getz: A Life in Jazz (William Morrow and Company, New York City, 1996), states, "MGM (the company that ha recently acquired Verve) people believed that the Sauter project had almost no commercial appeal but reluctantly acceded to [Getz]'s wishes."
Probably no such great ambitions were harboured by Clifford Brown when he recorded with strings for EmArcy on January 18, 19, and 20, 1955, in New York. Neal Hefti, the arranger and conductor on the session, remembers it as a quickly executed project.
"Producer Bobby Shad called me up and told me (that) he wanted me to do it. Maybe two weeks before the session he gave me the twelve songs, all ballads, with the keys that Clifford wanted to play them in written in pencil on the top of the page by the title, and that was it. I had never met Clifford Brown, and I don't think he and I talked about the project beforehand."
Since August 1954, when the Clifford Brown-Max Roach Quintet first recorded for EmArcy, the trumpeter had been kept pretty busy by his record label. In August alone he recorded in Los Angeles with the quintet, with the Clifford Brown All-Stars, and with vocalist Dinah Washington. In December, in New York, he accompanied two other vocalists, Sarah Vaughan and Helen Merrill, on albums that are among their most celebrated. (With Merrill, Brown recorded one song, "What's New?", that he interpreted again three weeks later on the strings session.) In February 1955 the trumpeter returned to the studio for the final Brown-Roach recordings with tenor saxophonist Harold Land.
There is little doubt that it was Shad's policy to feature Brown as often as possible. Within seven months they had recorded material for ten LPs.
In 1954, Brown had been hailed as the new star on trumpet in down bears International Jazz Critics Poll. Initially known as "the new Dizzy", the 24-year-old trumpeter quickly made it clear that he was a stylist in his own right — actually influenced more by Miles Davis's relaxed phrasing and Fats Navarro's stately solo construction than by Gillespie's pyrotechnics.
Brown established his style almost immediately as the new norm for jazz trumpet playing. His warm sound, his long, flowing lines, and his impeccable intonation were admired by trumpeters of every generation. Younger colleagues such as Lee Morgan, Donald Byrd, and Freddie Hubbard started out by emulating his style. Yet Brown's playing projected a joyous spirit and effected a self-aware perfection that nobody ever equalled and which was lost with his untimely death in a June 1956 automobile accident.
In January 1955, Neal Hefti was a 32-year-old freelance arranger in New York. Formerly a trumpeter in Woody Herman's band, he would gain great recognition in '57 for composing and arranging all of the music on the landmark Roulette album The Atomic Mr. Basie. Even though Hefti had never met Clifford Brown, he was well aware of his qualities. "Being a trumpet player to begin with, I was very alert to trumpeters from the time I was in high school. So I knew Clifford's work. Every trumpet player knew who Clifford Brown was and what he sounded like."
Still, when Bob Shad approached Hefti to do Clifford Brown With Strings, the arranger's first thought was an album by a trumpeter of a rather different style.
"There was a very popular record at the time of Jackie Gleason with strings, featuring Bobby Hackett, on Capitol. The whole record industry was talking about it, because it defied what everyone thought would sell well. You know what I mean? (People used to say,] 'It's not gonna sell unless it's Mitch Miller.' So, when something real pretty would come along and sell, you said, 'Aaahh, we have a chance!'
"I think that Bobby Shad just thought, 'Well, we will do this, too, only with Clifford's playing — more on the jazz than on the pop side. Although in those days they didn't really separate jazz from pop.... Clifford Brown could be played on prime-time radio stations just as much as could Bobby Hackett."
To make the session as comfortable as possible for Brown, it had been decided that he would be accompanied by his own rhythm section (Richie Powell, George Morrow, and Max Roach), filled out by studio guitarist Barry Galbraith. It was up to Hefti to select the nine string players. "They were the top studio string players in New York. Five or six of those people were steady players on the Perry Como Show, so they could easily assimilate any style that the conductor wanted."
Of course, the album was recorded the old-fashioned way: The soloist, the rhythm section, and the strings were all in the studio at the same time. "In fact, union rules wouldn't allow you to record separately in those days," Hefti recalls. "It was much better for the music, too; everyone could hear the others."
Brown proved well prepared for his task. "It was sensational," says Hefti.
"He certainly knew the tunes, he knew them very well. Maybe he even played them with his own group. I was conducting the orchestra, but I was really conducting Clifford. My eye contact was more with him than with anybody else. I looked at him the same way I would look at a singing soloist. In a situation like that, I'm playing a supporting role. But so are the string players. So is his trio. And we were all playing a supporting role to the recording company!
miee lapies
夭折したクリフォードブラウンの哀愁をたたえた美しい演奏が切々と伝わってきます😢✨✨✨💛✨✨✨💛✨✨
Eunhwan Kim
가사를 하나하나 음미하며 연주
jazzhd1
Clifford died young to give Gabriel a break