Max Roach-Clifford Brown: Love Is A Many Splendored Thing
Love Is A Many Splendored Thing
Clifford Brown And Max Roach At Basin Street (EmArcy MG 36070)
Composed by Sammy Fain and Paul Webster.
Recorded: New York, February 16, 1956
Rating: 100/100 (learn more)
Clifford Brown And Max Roach At Basin Street is one of the albums that I played along with the most when I was younger, and—along with Round Midnight by Miles with Philly, Wayne Shorter’s Speak No Evil, John Coltrane’s Crescent, and Horace Silver’s Silver’s Serenade, among others—it’s one of the classic albums that anybody who is interested in pursuing a career in the music really needs to check out. Even though it was only together for about a year, it’s one of Max’s most important bands, with Sonny Rollins and Clifford Brown on the front line. I love the arrangements and the way that band played together. The stuff was tight. It was a true band—a perfect example of the best. I hate to use that sort of terminology, but that’s the way I feel about it. These cats were executing at such a high level, and the music was so refreshing. It’s still refreshing, to this day.
This one starts off with a little, one-bar intro on the bell of the cymbal, and then they go into five, and then come the solos—Clifford, Sonny, Richie Powell, and Max. One thing that attracts me to this take is the way Richie Powell plays coming out of Max’s solo going back into the top of the song. It’s a seamless transition, like they’re coming together from different places, right into the theme.
It’s important that they were playing in 5/4 in 1956. In American culture most music is in four. It’s just those 5 beats, but with a little lopsided feeling. Now, if we were raised in India or Iraq, we would be accustomed to feeling those rhythms—but we’re not. So the fact that they were using it in “popular music” meant something in pushing the music forward—initiating something that hadn’t been widely accepted, as happened when Dave Brubeck did did “Take Five” a few years later. So this is an important document in terms of recorded history. Once an idea is documented, it becomes a possibility. If you were a younger musician in 1956 listening to this for the first time, it may have been the first time you’d heard someone do it, or play a different time signature—and the presentation is so beautiful. Max was part of so many movements where he was ahead of his time, or pointing to the future, part of the vanguard of musicians who always did something challenging.
Reviewer: Nasheet Waits