A History Of Blue Note Records: 1953

Lou Donaldson - Clifford Brown Quintet – June 9 1953

Michael Cuscuna: Clifford Brown – More Memorable Tracks Liner Notes BNJ-61001 1984 (Also reproduced as part of BST 84428: Clifford Brown – Alternate Takes 1984)

Clifford Brown was certainly a master and a major link in the history of the trumpet. This instrument has always had two kinds of stars: those who advance the mainstream evolution of the instrument and those who are of such unique proportions that they remain phenomena unto themselves with perhaps a few disciples. Miles Davis is indicative of the latter, but Brown is certainly a prime example of the former. Without Brownie, it would be hard to imagine the existence of Lee Morgan or Freddie Hubbard or Booker Little or Woody Shaw or Wynton Marsalis.

Clifford Brown and Lou Donaldson at
rehearsal for the June 9 session
Photo by Francis Wolff

Like too many great trumpeters in jazz. Clifford's life was a short, but astonishingly productive one. This album includes material from Brownie's three Blue Note studio sessions during a very significant summer for his career. Bellarosa and Brownie Eyes were originally issued on 10" lps and did not make it to 12" issue until a mid seventies anthology (Blue Note BN-LA-267-G). That same anthology also introduced the alternate take of Get Happy, which is also included here.

A severe auto accident in 1950 cut short his college education and embryonic jazz career. But after a year of recuperation and encouragement from friends and musicians, he was able to resume both.

Philly Jo Jones and Elmo Hope
Photo by Francis Wolff

In 1952, he found steady work with an R & B group out of Philadelphia known as Chris Powell and His Blue Flames. It was during a New York engagement with them that the first Blue Note session on June 9, 1953 under Lou Donaldson's leadership occurred. On June 11, he recorded with Tadd Dameron for Prestige and, on June 20, with J.J. Johnson. After an Atlantic City gig with Dameron, Brownie returned to New York to make his first date as a leader on August 28 for Blue Note. During most of the autumn, he was a member of the Lionel Hampton Orchestra that toured Europe extensively. That band also included Gigi Gryce, Art Farmer, Quincy Jones, George Wallington and other notable friends and associates of his.

Brown was briefly a member of the first Art Blakey Quintet with Donaldson and Horace Silver. Fortunately, this short-lived group was captured live at Birdland by Blue Note on February 21, 1954. By June, he was in Los Angeles forming a quintet with Max Roach that would shake the jazz world. He also made an unusual, excellent album for Pacific Jazz that summer.

This album opens with the Donaldson date. This session belongs just as much to Clifford for his brilliant playing and to Elmo Hope for his wonderful compositions and performance. His Bellarosa is a happy, medium-paced line. Lou and Brownie are soulful and execute fresh ideas with clarity. Hope's solo is so full and rich and intriguing that his lack of recognition in jazz remains a real tragedy and mystery.

The first alternate take of Hope's fast, tricky Carvin' The Rock offers solos by the three principals that are very different from the original master, but equal to it in creativity and excitement. Of particular interest is Clifford's solo, which moves much further away from the ingredients of the melody than he dares on the master. The second alternate was done at the very end of the date. Lou and Elmo seem a bit tired and it takes them a while to get into it. But Brown attacks the tune with the same vigor and imagination that he did at the start of the date.

On both the alternate and the master of Cookin', Brown seems fascinated with the intervals that the tune implies, but he develops each solo along totally different contours. Lou is strong and firm, enunciating his ideas and avoiding the use of too many notes. Hopes solo on the master is clearly superior. This alternate has a minor flaw in the hesitation of the band in the first 12 bar theme statement after the solos.

Photo by Francis Wolff

Leonard Feather: Lou Donaldson/Clifford Brown – New Faces – New Sounds – BLP 5030 – 1953

THE five piece band on these eight performances is more than just a five piece band. By this I do not mean that, like every other small band in jazz history, it claims to sound twice its size. The quality rather than the quantity of the sound is what counts, in this or any other kind of music; but. in the particular instance at hand, the element that gives an added touch of excitement is the relative newness of all the artists provided.

Lou Donaldson is probably already familiar to some of you through his superb work on Blue Note 5021, featuring his own quartet and quintet; yet this 27-year-old North Carolina alto sax wizard is emphatically a new star. In the present set he is featured both as soloist and as composer, the latter talent being very impressively represented by Cookin', a lightly swinging demonstration of his culinary capacities.

The three members of the rhythm section, who worked as a separate unit for Elmo Hope's piano solo LP, Blue Note 5029, furnish a cohesive undercurrent throughout all six numbers. Hope shines in both solo and sectional roles, while "Philly" Joe Jones' percussive persuasion and the faultless beat of Percy Heath's bass again furnish the elegant modern beat you would expect.

For Clifford Brown, this session is a first — his initial recording date as a soloist.

New trumpet players of quality in the modern jazz field have not been too numerous - so Brownie's advent is doubly welcome. A product of Wilmington, Del.. he received his first trumpet from his father on entering senior high in 1945 and joined the school band shortly afterward.

It was only a year or so later that the mysterious world of jazz chord changes and began to shed its veil for Brownie. A talented musician and jazz enthusiast named Robert Lowery is given credit by Brownie for the unveiling.

When he graduated in 1948. the teen-aged trumpeter began playing gigs in Philadelphia and around the Eastern seaboard. That same year, he entered Delaware State College on a music scholarship, but there was one slight snag: the college happened to be temporarily short of a music department.

He stayed there a year anyway, majoring in mathematics, and taking up a little spare time by playing some Philadelphia dates with such preeminent bop figures as Kenny Dorham, Max Roach, J. J. Johnson and Fats Navarro. He acquired considerable inspiration and encouragement from Navarro, who was greatly impressed with the youngster's potentialities.

After the year at Delaware State, Brownie had a chance to enter a college that did boast a good music department, namely Maryland State. They also had a good 16-piece band, and he learned a lot about both playing and arranging until one evil evening in June 1950, when he was involved in a car crash on his way home from a gig.

For a year after that. Clifford Brown had plenty of chances for contemplation but not many for improving his lip. It took almost a year, plus some verbal encouragement from Dizzy Gillespie, to set him back on the path from which he had been so rudely sideswiped.

He had his own group in Philly for a while. then joined the Chris Powell combo, with which he was working at Cafe Society when these sides were made. There followed a stint with Tadd Dameron in Atlantic City, after which he joined the band with which evert rising young star seems to work sooner or later, Lionel Hampton's.

Appropriately enough. it is on his own composition, Brownie Speaks, that this spirited youngster shines most brilliantly. After exposing his own theme to the usual opening chorus unison workout, he sets sail for three choruses of unflagging improvisation in a peppery, staccato style that have the stamp of an individual personality.

Clifford's melodic contours at times are reminiscent of Miles Davis', yet his tone and attack are blunter, more emphatic, and his harmonic imagination is in a class with that of the late, great Navarro. The continuity of his solo lines is astonishing, placing him at the very top rank of contemporary trumpet stylists.

The other five items in this set give Brownie Speaks plenty of competition. Each displays one facet or another of the style of this enterprising youth. just 23 years old, who already has escaped from the narrow channels of imitative playing into the wider stream of musical originality. Carving The Rock makes an interesting comparison with the version Elmo Hope recorded at another session, as a solo, also for Blue Note. And You Go To My Head illustrates how both Donaldson and Brown blend their ideas with those of the ballad-smiths.

De-Dah and Bellarosa, like most of these performances provide an overdue reminder of a fact that had escaped many musicians: the simple small-band format that made Dizzy and Bird famous — just trumpet and alto unison theme, solo choruses, and theme to close — is still not stale. If it's done right, it can be as fresh and stimulating as when bop brought it into being. And, with Lou Donaldson and Clifford Brown on the scene, it's certainly done right in this case.

Ira Gitler: The Complete Blue Note And Pacific Jazz Recordings of Clifford Brown – Mosaic Records – MR5-104 Brownie was still working with Chris Powell (at Cafe Society in Greenwich Village) when this co-leader date with Lou Donaldson was done The alto saxophonist had already recorded as a leader for Blue Note, and the other main soloist of the date, pianist Elrno Hope was in the process of completing a trio album—using the same bassist and drummer (Percy Heath and Philly Joe Jones—who rounded out the rhythm section on this date.

Although he does not play on the session, Sonny Rollins' presence is felt through two written collaborations with Hope, Bellarosa and Carvin' The Rock. The first has that sad-happy quality with Donaldson, whose allegiance to Charlie Parker was well recognized, displaying a recognizable Rollins influence as well. Brownie's fat sound and style spiced with grace notes is an immediate delight. Hope's style is a quirky, oblique version of Bud Powell, sometimes falling halfway between Bud and Monk. The bridge by Brownie on the out-chorus is a gem. Carvin' The Rock, first of seven previously unissued tracks, has an ominous feeling in its minor key. "The Rock” refers to Riker's Island and its infamous prison. The flow of Brownie's playing calls attention to itself in a most artistic way, and listen to Philly Joe digging in behind Elmo. In 1948 he, Heath and Hope had been the rhythm section for trumpeter Joe Morris' R&B band. The master take of Carvin' The Rock finds everyone a bit more alert and it snaps along with an extra bite of the bit into the rock. Brownie plays the type of phrases that seemed to come ripping from his lips and Elmo is more sure-fingered including the last, isolated bridge. Hope also did this song in his trio album mentioned earlier. Philly Joe, Roach-like, ushers in the second of the unissued tracks, Donaldson's Cookin', a symmetrical melody on augmented blues changes. Brownie "sings" out and employs a quote from Harry James' Music Makers. There’s a short, simple solo by Heath and an abrupt ending. The master of Cookin' finds Jones, in his intro, accenting and general accompaniment, reminding me more of Blakey than he has at any other time. Donaldson makes a blues statement and Brownie, as he so often did, combines delicacy and strength. Heath is a bit more improvisatory in his solo spot. Clifford's Brownie Speaks is a tour de force for the trumpeter. On his second bridge he really begins to fine tune his engine and when he whizzes into his third chorus he is flying. Tadd Dameron always used to talk about "turnbacks" - going in and out of the bridge—and Brownie demonstrates his understanding of this and how he used it as an artistic tool. Hope’s De-Dah, which gets its name from the repeated figure in its theme, has an opening solo by the composer, followed by Donaldson and Clifford's sculpted lines. You Go To My Head has a two-horn intro and then Lou states the melody, becoming more decorative as he goes. Brownie picks it up on the bridge of the second chorus and stretches it out. Lou plays obligatos as Clifford soars to a close. Philly Joe once again the band into action on the second alternate (and third of the unissued tracks) of Carvin' The Rock. The soloists, taking their cue from the drummer, invest their improvisations with great intensity.

Leonard Feather: Clifford Brown – Brownie Eyes Liner Notes – BNLA-267-G 1974

Brownie Speaks was recorded at the Lou Donaldson Quintet session, June 9, 1953, with Brownie and Donaldson constituting the front line. In the rhythm section were Elmo Hope, piano; Percy Heath, bass; and Philly Joe Jones, drums. The tune, composed by Brownie, is straight ahead bebop, based on the I Got Rhythm pattern and illustrative of how much a musician of Brownie's caliber could extract from those few basic changes.

Donaldson and Hope are in good form, the latter playing some downward spirals that suggest a heavy Bud Powell influence. Philly Joe spans the bridge on the out-chorus.

Leonard Feather: Clifford Brown – Memorial Album – BLP 1526 – July 1956

On the second side are the products of a session featuring Clifford with Lou Donaldson, the alto sax wizard, who was born in 1926 in Badin, N. C. The rhythm section is made up of Elmo Hope, who has been heard in his own LP, New Faces - New Sounds; Philly Joe Jones, a favorite drummer of most modern jazzmen, and Percy Heath again on bass.

Appropriately, it was on Brownie Speaks that the gifted youngster shone most brilliantly during this session. After exposing his own theme to the usual opening chorus workout, he set sail for three choruses of unflagging improvisation in a peppering staccato style that bore the stamp of an individual personality.

At the time of the original release of Brownie Speaks, I commented in the notes: ”Clifford's melodic contours at times are reminiscent of Miles Davis, yet his tone and attack are blunter, more emphatic, and his harmonic imagination is in a class with that of the late, great Navarro. The continuity of his solo lines is astonishing, placing him at the very top rank of contemporary trumpet stylists."

The other five items in this set give Brownie Speaks plenty of competition. Each displays one facet or another of the style of this enterprising youth, then just 23 years old, who already had escaped from the narrow channels of imitative playing into the wider stream of musical originality.

De-Dah, like most of these performances, provides an overdue reminder of a fact that had escaped many musicians: the simple small-band format that made Dizzy and Bird famous just trumpet and alto unison theme, solo choruses, and theme to close - is still not stale. If it's done right, it can be as fresh and as stimulating as when bop brought it into being.

Cookin', after an introduction featuring Philly Joe, offers a 12-bar theme that departs from the conventional harmonic structure of this formula before easing into the solo passages. During the latter Donaldson, Hope, Brownie and Heath all show in turn that they are indeed "cookin'".

You Go To My Head illustrates how both Donaldson and Brown managed to blend their ideas with those of the writers of this timeless ballad. Finally Carving The Rock makes an interesting comparison with the version Elmo Hope recorded at another session, as a solo, also for Blue Note. Whether you heard it or not, you'll hear for yourself that this quintet version swings madly right up to the final flatted fifth.

Bob Blumenthal – RVG CD Reissue Liner Notes 2001

The June 9, 1953 date was originally issued under the joint leadership of Brown and Lou Donaldson. The alto saxophonist had made his debut on Blue Note in the previous year, charting a course that Brown would follow on the label by appearing first with more established players (in Donaldson's case, Milt Jackson and Thelonious Monk) and then getting his own date. Donaldson was a good match for Brown in both his fluency and his avoidance of the drug-and-alcohol-related problems that plagued far too many musicians in this period.

This was also both the Blue Note debut and the first jazz recording session for pianist Elmo Hope, who like Brown had previously been heard in an r&b context. Hope's musical dues had been paid in the combo of trumpeter/vocalist Joe Morris, whose working group at one time or another also contained the remainder of the present rhythm section, Percy Heath and Philly Joe Jones. Since Hope was not the clean liver that Brown and Donaldson were, he had paid non-musical dues as well, which are alluded to in the composition "Carvin' The Rock" (i.e., doing timee in the Riker's Island jail where New York City's drug offenders were frequently incarcerated). The Hope/Heath/Jones trio was back in the studio for Blue Note when it recorded Hope's debut LP in the label's "New Faces New Sounds" series.

"Bellarosa" is the first of three Hope compositions, a memorable medium-tempo melody with a strong written bridge. Donaldson plays a personal chorus primarily free of Parker references before Brown displays his strong time, expert tonguing and fertile imagination. Hope is out of Bud Powell, but with more jagged edges. On the final chorus, Brown blows again at the bridge.

"Carvin' The Rock" was co-composed by Hope and Sonny Rollins, and has an uncommon 16-8-12 blowing chorus. It is heard here in three versions, with the first alternate having been cut immediately before the master, while the second alternate was done after the other material at the session had been recorded. Hope clearly was most familiar with the form, and gets two full solo choruses as well as the bridge of each theme chorus. Donaldson does his most provocative harmonic work on the master take, which also has Jones's best drumming and extremely agile playing from Brown. Note how strong Brown's lip remained on the second alternate from the session's end. Another version was also cut at Hope's trio session.

"Cookin'," like the previous tune, is introduced by Jones; but this time the form is the more familiar 12-bar blues, albeit with a Latin kick. Donaldson's tune is heard in two takes, with the master cut after the alternate. The composer and Brown get three choruses each, separated by two from Hope, with Heath following the trumpet with one chorus. Brown upstages everyone on the master with his affirmative lines. The two horns are in total synch here and throughout on theme choruses - this was clearly a well-matched unit.

"Brownie Speaks" is a brisk, tricky original by the trumpeter that inspires his best work of the session. He sails nimbly through the chord changes, linking stanzas with ingenious turnbacks that are the mark of the harmonically sophisticated modernist. The rhythm section is also a major contributor, especially while Hope is feeding those rich chords behind the horn soloists.

Hope's melodic idea yielded the title "De-Dah," which features wonderfully demonstrative Jones drumming on the ensemble choruses and an excellent opening solo by the composer. The strong medium groove of this piece finds each soloist in a relaxed and highly melodic frame of mind, with Brown taking the extra chorus in this instance.

A written introduction weaves the horns together briefly before Donaldson takes over and states the theme of "You Go To My Head." He quickly moves into boppish flourishes, broken by reflective moments on the bridge, and his sense of drama ties the alto chorus together nicely. Trumpet enters at the second bridge, with the rhythm section suggesting double time; but Brown holds the lyrical focus, and proceeds to blow even more brilliantly once Donaldson returns with an obligato.

The Complete Blue Note and Pacific Recordings – Blue Note CD Liner Notes 1995 (8 34195 2) In 1953, the Blue Note stable was a logical point of entry for jazzmen in pursuit of steady work. After signing Thelonious Monk in 1947, the label somehow missed bebop's other pioneers, and played catch-up by documenting the work of a large group of younger, bop-influenced players. The leaders changed depending on the day, but the quality of musicianship and the spirit of the sessions remained consistently high. It made sense for an emerging artist like Clifford Brown, then just entering the close-knit circuit of New York musicians, to get a call from Blue Note. Alto saxophonist Lou Donaldson, who co-led a June 9 session with Clifford that was the trumpeter's first appearance on the label, remembers the atmosphere this way: "Everybody was real compatible, both personally and musically. It just happened that in New York at that time, there were a lot of like-minded musicians—situations where it almost didn't matter who you got, everybody could play." Donaldson remembers the first date, June 9, 1953, as one he co-led with Clifford; after Brown's death it was issued as a Brown title. It was an ordinary Blue Note amalgam—with pianist Elmo Hope, bassist Percy Heath, and drummer Philly Joe Jones—that tackled some extraordinary music, including a tune written by Hope and Sonny Rollins, "Carvin' The Rock," referring to the prison On Riker's Island. On both the master take and a slightly more diffuse alternate, Brown shows why he was held in such esteem: Where others "skate" through "The Rock's" tricky harmonic progression, Brown attacks it head on, combining tight arpeggios with tricky bebop phraseology to deftly outline the changes. Also noteworthy: a treatment of "You Go To My Head" in which Donaldson covers the opening melody and Brown, after an expansive solo turn, provides a sterling, hauntingly focused final statement of the theme.

Down Beat 30 December 1953 Volume 20 Issue 26

Congratulations again to Alfred Lion for giving a hearing to new jazz talent. Donaldson has already had his own LP, and now he joins with a major new trumpet star, Clifford Brown, who is currently with Lionel Hampton. Brownie was also heard on Prestige’s recent Tadd Dameron set. Donaldson is a birdman but an individual one, and his chorus building can sometimes be close to astonishing (You Go to My Head);

Brown has roots in Gillespie and especially Navarro, but has his own crisp, recognizable identity. Not since Miles Davis’ promise began to dim has there been as exciting a hornman in this tradition. Philly Joe Jones, Percy Heath, and pianist Elmo Hope are an able rhythm section with Hope contributing or collaborating in three beguiling originals. Hope’s work here leads to anticipation of his own forthcoming LP. (Bluenote 5030)

Cash Box September 1953

Cash Box 16 January 1954

Bluenote Records Al Lyon hitting Harlem hard and heavy with a new easy to take LP. The first highlights the golden toned alto sax of sparkling newcomer Lou Donaldson, bright new trumpet star Clifford Brown, pianist Elmo Hope, drumming Joe Jones of Philly and the steady thud-thud of bassist Percy Heath.