1. Deception
2. Fine and dandy
3. Unknown original tune
4. Crazeology
5. Old folks
6. There'll never be another you
7. Our love is here to stay

Personnel:
Clifford Brown (trumpet)
Eric Dolphy (alto saxophone)
Harold Land (tenor saxophone)
Richie Powell (piano)
George Morrow (bass)
Max Roach (drums)

The combination of Clifford Brown and Eric Dolphy together on any recording will likely have any serious jazz fan salivating. But this compilation, most of which was evidently recorded in the private studio that Dolphy had behind his parents' Los Angeles home, represents tapings of rehearsal sessions that were used to audition a new tenor saxophonist for the band that the trumpeter jointly led with drummer Max Roach. Evidently, Dolphy's participation was due to his friendship with Brown (not to mention providing the studio and, likely, the reel-to-reel recorder used), and he wasn't under consideration to join the band. Given that these tapes were only meant for Brown's use, the fidelity is not terrific and there are dropouts in places, no doubt from the age of the source material. But even though Dolphy's approach to the alto sax was still emerging (he was under the influence of Charlie Parker at the time and had not yet developed his distinctive style that often incorporated sudden interval leaps), it is interesting to hear him playing with what would become the working edition of the band (Brown, Roach, tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow) on two tracks, both of which are unusually long. The sound quality improves somewhat on another session, with Dolphy and Land joining Brown (playing piano) and an unknown drummer. On an unidentified track (credited to Dolphy and Brown, though that's at best a guess), the alto saxophonist's sound is more easily recognizable. Land shines in the Latin setting of Charlie Parker's "Crazeology," while Brown's prowess as a bop pianist might surprise some of his fans. The brief take of "Old Folks" is a bit labored, as if the musicians aren't very familiar with the tune; Brown plays most of it alone, with Dolphy joining in around its midpoint. The final two songs feature Brown on trumpet with an unknown pianist who obviously doesn't seem to be in his league as a performer. It would be interesting to learn who had these long hidden tapes in their possession before they made their way to the RLR label, as no details are provided within the liner notes. This is an interesting new chapter in jazz history that will be worth exploring for hardcore collectors of the works of Clifford Brown and Eric Dolphy, while the audio problems will be of minor concern. ---Ken Dryden, Rovi

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CD 1:
1. Introduction by Clifford Brown (1:28)
2. Take The "A" Train (13:39)
3. Darn That Dream / Intermission announcement by Clifford Brown (4:28)
4. Nice Work If You Can Get It (18:52)
5. Jordu (16:36)
6. Valse Hot (incomplete) (3:44)

CD 2:
1. Introduction by Max Roach into Get Happy (23:25)
2. Untitled Blues (14:09)
3. Delilah (13:27)
4. Lover (14:58)

CD 3:
1. Lover Man (6:01)
2. Daahoud (10:42)
3. What's New (3:48)
4. I'll Remember April (19:04)
5. Daahoud (6:53)
6. 'Round Midnight (8:27)
7. The Blues Walk (8:13)

Clifford Brown - trumpet
Sonny Rollins - tenor saxophone
Richie Powell - the piano
George Morrow - bass
Max Roach - drums

"I play the trumpet, my name is Clifford Brown." With these simple and unpretentious words, Brownie introduced himself to the audience of the Cotton Club in Cleveland, Ohio, on May 28, 1956. And indeed he played the trumpet, with a fire and excellence that has earned him renown worldwide. May 28 was the opening night of a week-long engagement for the Max Roach-Clifford Brown Quintet, featuring Sonny Rollins on tenor sax, Richie Powell (Bud Powell's younger brother) on piano, and George Morrow on bass. Despite the exceptional talent of the individual band members, the quintet proved to be more than the sum of its parts. The Cleveland Cotton Club performances contained on this package -issued here for the first time ever- were recorded on amateur equipment and include sets played by the quintet on May 28, May 29 and June 1, 1956. As a bonus to these amazing performances, we present another previously unissued set: a radio broadcast by the same quintet coming from the Town Casino, in Buffalo, New York, recorded on February 26, 1956. Lonehill Jazz. 2007. --- Editorial Review

The music on these cds comes from some tapes that belonged to Clifford Brown's widow, LaRue who was a friend of mine. Many years ago she gave me a stack of reel to reel tapes to make copies of, some which had been in the trunk of clifford's car when it crashed. None of the tapes had any kind of information on them. So excepting the radio broadcast from Buffalo and the untitled blues, everything else on the three cd's is from ONE night, somewhere, starting with Take the A Train in the first set, and ending with get happy in the third set. The Cotton Club is a guess, and the recording dates are wrong, because all three sets are surely from the same night. They are issued out of order here. The untitled blues, [wee dot] is from another tape, and another night. Both of these tapes were used to make the record album, "Pure Genius". "Lover", [or Diggin' Diz] has a guest drummer sitting in. I think Max said Chuck Lampkin. My guess is that Clifford recorded most of this with his reel to reel. When he and Sonny finish their solos, someone moves the mike over to the piano.

Clifford's solos are a joy to behold, and the cd is worth buying just to hear what he plays on Lover! I guess the people who put this out felt they had to come up with a title and date to help sell it. The music is all that counts, and it is beautiful. ---Mark E. Lewis, amazon.com

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01. The Blues Walk 
02. I Get A Kick Out Of You 
03. It's Crazy 
04. Jordu 
05. Stardust 
06. Parisian Thoroughfare 
07. Joy Spring 
08. I'll Remember April 
09. I've Got You Under My Skin 
10. Daahoud 
11. Yesterdays 
12. Flossie Lou

Clifford Brown - Trumpet
Danny Bank - Bass, Flute, Trumpet
Joe Benjamin - Bass
Maynard Ferguson - Trumpet
Barry Galbraith 	- Guitar
Herb Geller - Sax (Alto)
Roy Haynes - Drums
Milt Hinton - Bass
Osie Johnson - Drums
Jimmy Jones - Piano
Quincy Jones - Arranger, Conductor
Harold Land - Sax (Tenor)
Junior Mance - Piano
Herbie Mann - Flute
George Morrow - Bass
Richie Powell - Piano
Paul Quinichette - Sax (Tenor)
Max Roach - Drums
Sonny Rollins - Sax (Tenor)
Clark Terry - Trumpet
Sarah Vaughan 	- Vocals
Dinah Washington – Vocals

One of most enthralling bodies of work from the post-bebop years, Clifford Brown's sides for the Verve and Blue Note labels deserve a spot in every serious jazz collection. But where to start? For those wanting to just sample the goods, there are a handful of fine budget discs out there, especially on Verve; this edition of their Compact Jazz series certainly ranks high, thanks to a balanced program of the trumpeter's varied output. Mostly cut in the few years before his tragic death in 1956, the 12 tracks include some of Brown's cornerstone combo work with drummer Max Roach ("Jordu") and sideman sessions for both Sarah Vaughan ("It's Crazy") and Dinah Washington ("I've Got You Under My Skin"). Add to that a taste of Brown's lovely strings date with Neil Hefti, more vocals (this time with Helen Merrill), and the solo contributions of Sonny Rollins, Clark Terry, Harold Land, and many others. A fine overview, indeed. --- Stephen Cook, Rovi

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1 	Daahoud 	4:11
2 	Finders Keepers 	3:49
3 	Joy Spring 	3:13
4 	Gone With The Wind 	3:37
5 	Bones For Jones 	4:13
6 	Blueberry Hill 	3:13
7 	Tiny Capers 	4:13
8 	Tiny Capers (Alternate Take) 	2:56
9 	Gone With The Wind (Alternate Take) 	2:58

Baritone Saxophone – Bob Gordon
Bass – Carson Smith, Joe Mondragon
Drums – Shelly Manne
Piano – Russ Freeman
Tenor Saxophone – Zoot Sims
Trombone – Stu Williamson
Trumpet – Clifford Brown

Recorded at Capitol Studios, Los Angeles on July 12 (#1-3) and August 12, 1954.

While at the time Clifford Brown was associated with East Coast jazz and the burgeoning hard-bop movement, these 1954 Los Angeles recordings show that he was just as much at home and just as welcome in the midst of the West Coast's cool school. Jack Montrose wrote the arrangements for this septet, and the band is perfectly formed to showcase Brown's brilliant trumpet sound, contrasting it with the lower-pitched but lighter sounds of Zoot Sims's tenor saxophone, Bob Gordon's baritone, and Stu Williamson's valve trombone. Brown's best-known compositions, "Daahoud" and "Joy Spring," are heard in their debut recordings here, and they're well suited to the Montrose treatment, with Brown's scintillating bop lines moving fluidly within the developed ensemble harmony. The other horns have some fine solo moments, but it's Brown who stands out, the precision of his attack highlighting the subtlety and invention of his solos. Pianist Russ Freeman and drummer Shelly Manne contribute tasteful support throughout, and the new remastering by Rudy Van Gelder highlights both the brassy sheen of Brown's playing and the lightly grained reeds. ---Stuart Broomer, amazon.com

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01. Easy Living (3:43)
02. Wee Dot (7:00)
03. Jordu (7:45)
04. I Get a Kick Out of You (7:42)
05. Joy Spring (6:50)
06. Daahoud (4:04)
07. I've Got You Under My Skin (5:23)
08. He's My Guy (4:13)
09. Born to Be Blue (5:17)
10. Stardust (3:26)
11. Cherokee (5:47)
12. I'll Remember April (9:15)
13. The Scene Is Clean (6:05)

Clifford Brown - Composer, Primary Artist, Trumpet
Danny Bank - Sax (Baritone)
Joe Benjamin - Bass
Keter Betts - Bass
Art Blakey – Drums
Lou Donaldson - Sax (Alto)
Maynard Ferguson - Trumpet
Barry Galbraith - Guitar
Herb Geller - Sax (Alto)
Gigi Gryce - Flute, Sax (Alto)
Roy Haynes - Drums
Percy Heath - Bass
Milt Hinton - Bass
Osie Johnson - Drums
Jimmy Jones - Piano
Harold Land - Sax (Tenor)
John Richard Lewis - Piano
Junior Mance - Piano
Herbie Mann - Flute
Helen Merrill - Vocals
George Morrow - Bass
Richie Powell - Arranger, Piano
Paul Quinichette - Sax (Tenor)
Max Roach – Drums
Sonny Rollins - Sax (Tenor)
Charlie Rouse - Sax (Tenor)
Curly Russell - Bass
Horace Silver - Piano
Clark Terry - Trumpet
Sarah Vaughan 	- VocalsVocals

Trumpeter Clifford Brown had a brief career. He started playing jazz in the late '40s but was killed in a car accident in 1956 (along with pianist Richie Powell, younger brother of Bud). In that short time his interest in expanding the bebop medium is apparent on The Definitive Clifford Brown. Several of the legendary hard bop quintet sides he recorded with Max Roach for Emarcy are featured as well as his warm tone mixing beautifully with string arrangements and backing up vocalists Helen Merrill, Dinah Washington, and Sarah Vaughan. The Definitive Clifford Brown is a well rounded introduction providing a glimpse into the full spectrum of a career cut tragically short. --- Al Campbell, AllMusic Review

When Verve launched its Definitive series in 2002, the producers seemed to be faced with an embarrassment of riches. When one considers the possibilities, there is so much classic jazz material from the 1950’s and 1960’s that it would be impossible to pin down the greatest recorded sessions from those decades, let alone creating a set of CD’s that could be called "definitive." But Richard Seidel set himself to the task of choosing the most important recordings by artists who were available through their activity on Blue Note and Verve, and so artists who recorded on, say, Columbia, like Miles Davis or Thelonious Monk, are not represented in the Definitive series of reissued recordings.

In the case of Clifford Brown, the process of researching and compilation may not be as hard as it seems, especially when compared to the "definitive" recordings of McCoy Tyner, for example, who is still shaping his own legend by continuing to record. Some creations of Brown’s imagination, such as his composition, "Joy Spring," have become indelible additions to the jazz canon, so much so that Jon Hendricks put words to his and Harold Land’s solos.

In addition, Brown’s years of recording activity were foreshortened by his death on the Pennsylvania Turnpike in June 0f 1956. So, the choices for inclusion in The Definitive Clifford Brown are not as extensive as they would be for Sonny Rollins, who recorded with Brown in Max Roach’s quintet after Land moved back to California. That’s not to say that they aren’t effective, though, for Clifford Brown cast a long shadow over the jazz scene, leaving those who heard him agog at his talent.

The Definitive Clifford Brown covers in chronological order some of Brown’s best-known recordings, starting with the first recording he led with Art Blakey and John Lewis, "Easy Living," in 1953. Despite the overflowing energy of Blakey’s group, which the drummer generated throughout his career, Brown found his place in jazz history when he joined Max Roach in 1954, and their Los Angeles recordings, after Land joined the quintet there, became some of their most well known. Not only that, but the jam session with Dinah Washington that followed the studio dates for Clifford Brown and Max Roach became justifiably famous for the availability of top-notch musicians from Roach’s group, Maynard Ferguson’s band and Duke Ellington Orchestra. Represented by "I’ve Got You Under My Skin" on The Definitive Clifford Brown, that session includes Brown’s breakaway trumpet session after the Latin rumble of Washington’s first time through the song. But also it includes a young and powerful Ferguson trading choruses with the equally powerful, but in his own style, Brown.

After a middle section of Brown’s recordings with Sarah Vaughan and Helen Merrill to the more conventional studio band arrangements by Ernie Wilkins and Quincy Jones, The Definitive Clifford Brown concludes with some of Brown’s final sessions with Max Roach’s quintet that included Sonny Rollins--and Richie Powell, who died in the same automobile crash with Brown.

The Definitive Clifford Brown provides a short lesson in the fact that neither age (for Clifford Brown was only 25 when he died) nor length of career is a vital ingredient in the importance of an artist’s influence. Rather, the fertility of ideas and the ability to communicate inspirationally with an audience, as exemplified by Brown’s talent, are what count. --- Don Williamson, jazzreview.com

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1- Daahoud
2- Finders Keepers
3- Joy Spring
4- Gone With the Wind
5- Bones for Jones
6- Blueberry Hill
7- Tiny Capers

Clifford Brown (tp) 
Stu Williamson (vtb, tp) 
Zoot Sims (ts) 
Bob Gordon (bars) 
Russ Freeman (p) 
Carson Smith (b)  (4-7)
Shelly Manne (d) 
Jack Montrose (arr)

Capitol Studios, Melrose Avenue, Los Angeles, CA, July 12, 1954 (1-3)
Capitol Studios, Melrose Avenue, Los Angeles, CA, August 13, 1954 (4-7)

"Brownie," was an influential and highly rated American jazz trumpeter. He died aged 25, leaving behind only four years' worth of recordings. Nonetheless, he had a considerable influence on later jazz trumpet players, including Donald Byrd, Lee Morgan, Booker Little, Freddie Hubbard, Valery Ponomarev,etc.

There is no use my naming the tunes because Amazon has the list of samples. Clifford died at age 25 in a car accident after only 4 years of recording. My favories on this album were written by Brownie himself. "Joy Spring" & Daahoud", now jazz standards of all pro jazz musicians including myself. ---Jerlaw, amazon.com

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