Clifford Brown

小简介
1954年，前几年从车祸中死里逃生的小号手克里夫.布朗（Clifford Brown）今年好事连连，不仅荣获权威爵士评论杂志《重拍》（Downbeat）乐评人票选最佳新人奖，而静养期间得到了“晕眩先生”迪兹.葛莱斯皮(Dizzy Gillespie)等多位波普（Bop Jazz）大师的秘传指导，一时间大放异彩，一举成为新波普乐的代言人。克里夫.布朗（Clifford Brown）承延了一项黑人小号手的伟大传统，冒险地将小号演奏的两大门派“晕眩先生”和“老迈”迈尔斯.戴维斯的风格加以调和，他尽情地释放和弦的全部精华，并以比迈尔斯.戴维斯更加嘹亮和致密的音色无与伦比地诠释了“后帕克”爵士乐的菁华。
Clifford Browns death in a car accident at the age of 25 was one of the great tragedies in jazz history. Already ranking with Dizzy Gillespie and Miles Davis as one of the top trumpeters in jazz, Brownie was still improving in 1956. Plus he was a clean liver and was not even driving; the up-and-coming pianist Richie Powell and his wife (who was driving) also perished in the crash.
Clifford Brown accomplished a great deal in the short time he had. He started on trumpet when he was 15, and by 1948 was playing regularly in Philadelphia. Fats Navarro, who was his main influence, encouraged Brown, as did Charlie Parker and Dizzy Gillespie. After a year at Maryland State University, he was in a serious car accident in June 1950 that put him out of action for a year. In 1952, Brown made his recording debut with Chris Powells Blue Flames (an R&B group). The following year, he spent some time with Tadd Dameron, and from August to December was with Lionel Hamptons band, touring Europe and leading some recording sessions. In early 1954, he recorded some brilliant solos at Birdland with Art Blakeys quintet (a band that directly preceded the Jazz Messengers) and by mid-year had formed a quintet with Max Roach. Considered one of the premiere hard bop bands, the group lasted until Browns death, featuring Harold Land (and later Sonny Rollins) on tenor and recording several superb sets for Emarcy. Just hours before his death, Brownie appeared at a Philadelphia jam session that was miraculously recorded, and played some of the finest music of his short life.
Clifford Brown had a fat warm tone, a bop-ish style quite reminiscent of the equally ill-fated Fats Navarro, and a mature improvising approach; he was as inventive on melodic ballads as he was on rapid jams. Amazingly enough, a filmed appearance of him playing two songs in 1955 on a Soupy Sales variety show turned up after being lost for 40 years, the only known footage of the great trumpeter. Fortunately, virtually all of his recordings are currently available, including his Prestige dates (in the OJC series), his work for Blue Note and Pacific Jazz (on a four-CD set), and his many Emarcy sessions (reissued on a magnificent ten-disc set). But the one to pick up first is Columbias The Beginning and the End, which has Browns first and last recordings.