1955 album by the Clifford Brown and Max Roach Quintet, described by The New York Times as "perhaps the definitive bop group until Mr. Brown's fatal automobile accident in 1956". The album was critically well-received and includes several notable tracks, including two that have since become jazz standards. The album was inducted into the Grammy Hall of Fame in 1999. It is included in Jazz: A Critic's Guide to the 100 Most Important Recordings at #34, where it is described by New York Times jazz critic Ben Ratliff as "one of the strongest studio albums up to that time". Originally released on the EmArcy label, it has been multiply re-issued, including in a 2000 edition by Verve Records that contains additional tracks.
Other than a trio set with the legendary pianist Hasaan Ibn Ali, this set was Max Roach's only recording as a leader during 1963-67. Three of the six numbers ("Nommo," "St. Louis Blues" and "In the Red") find Roach heading a group that includes trumpeter Freddie Hubbard, altoist James Spaulding, pianist Ronnie Mathews, bassist Jymie Merritt and, on "St. Louis Blues," Roland Alexander on soprano. Their music is essentially advanced hard-bop with a generous amount of space taken up by Roach's drum solos. The other three selections ("The Drum Also Waltzes," "Drums Unlimited" and "For Big Sid") are unaccompanied features for Max Roach and because of the melodic and logically-planned nature of his improvisations, they continually hold on to one's attention.
Although Clifford Brown did a phenomenal amount of commercial recordings during his all too brief lifetime (he died prior to his 26th birthday in a car crash that also took the life of his quintet's pianist Richie Powell, Bud's younger brother), relatively few of the recordings he made were on stage. Fortunately, this CD includes performances from two 1956 broadcasts from the old Basin Street club in New York City, and two tracks from a Carnegie Hall concert the previous year…
Study in Brown features the 1955 version of the Clifford Brown/Max Roach Quintet, a group also including tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow. One of the premiere early hard bop units, this band had unlimited potential. Highlights of this set are "Cherokee" (during which trumpeter Brown is brilliant), "Swingin'," and "Sandu." All of this group's recordings are well worth acquiring.
Live recording of two jazz legends Max Roach (drums) and Mal Waldron (piano), at the concert held to celebrate Mal Waldron's 70th birthday. Recorded at the Desingel Arts Centre, Antwerp, Belgium, 20 September 1995. Featuring a comfortable duo between one of the kings of bebop, Max Roach, and master genre-bender Mal Waldron, this two-CD set contains a complete concert in honor of the pianist's 70th birthday. (Actually, there is also a bonus track of a cut recorded before the concert.) The 30 pieces are mostly fully improvised and flow into one another flawlessly.
“What was immediately striking was the fresh sound of the quintet. The remarkable empathy within the group, the careful selection of material and the exciting arrangements by Powell all contributed mightily to that sound. Clifford Brown had come into his own as composer as “Sweet Clifford,” “Joy Spring” and “Daahoud” demonstrate. It didn’t hurt that Roach and Brown were complete originals and among the greatest performers on their instruments.
This CD reissue brings back a classic album, one of the finest of drummer Max Roach's very productive career. The illustrious sidemen (trumpeter Booker Little; trombonist Julian Priester; Eric Dolphy on alto, bass clarinet, and flute; tenorman Clifford Jordan; pianist Mal Waldron; and bassist Art Davis, in addition to some guest percussionists) all have opportunities to make strong contributions and Dolphy's pleading alto solo on "Mendacity" is particularly memorable. Abbey Lincoln has two emotional and very effective vocals, but it is the overall sound of the ensembles and the political nature of the music that make this set (along with Roach's Freedom Now Suite) quite unique in jazz history.