2. Parisian thoroughfare
Max Roach Clifford Brown Lyrics

We have lyrics for these tracks by Max Roach Clifford Brown:

All God's Children Got Rhythm Chillun', listen here to me This is my philosophy To see m…
All God's Chillun Got Rhythm Chillun', listen here to me This is my philosophy To see me…
Cherokee Sweet Indian maiden, since first I met you, I can't…
Darn That Dream Darn that dream I dream each night You say you love…
I Don't Stand A Ghost Of A Cha I need your love so badly, I love you, oh,…
I Don't Stand A Ghost Of A Chance With You I need your love so badly, I love you, oh,…
I'll Remember April This lovely day will lengthen into evening We'll sigh goodby…
September Song Oh, it's a long, long while from May to December But…
Stardust And now the purple dusk of twilight time Steals across the…

These Foolish Things Oh! Will you never let me be? Oh! Will you never…
What's New What's new How is the world treating you You haven't changed…

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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!