Clifford Brown-Max Roach: Blues Walk


Blues Walk


Max Roach-Clifford Brown Quintet


Brownie: The Complete EmArcy Recordings of Clifford Brown (EmArcy 838 315-2)

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Clifford Brown (trumpet), Max Roach (drums), Harold Land (tenor sax), Richie Powell (piano), George Morrow (bass).

Credited to Clifford Brown, but is actually the 1952 tune “Loose Walk” by Sonny Stitt


Recorded: New York City, February 24, 1955 for EmArcy Records


Rating: 100/100 (learn more)

When the Max Roach-Clifford Brown Quintet formed in the spring of 1954, Sonny Stitt was its first saxophone player. Not able to support three leaders, this group as such only lasted a few weeks, with Stitt being replaced initially by Teddy Edwards, and he by Land. Sonny left behind a wonderful blues riff tune for the quintet’s repertoire, one that he recorded under the title “Loose Walk” in 1952. Why it has been attributed to Brown is a mystery, since he would never have knowingly taken credit for another’s creative contribution. This particular arrangement, albeit simple, gets to the heart of what the Max Roach-Clifford Brown aggregation was all about—excitement, dynamics, hearty swing and coherence of improvisational thought. It offers the listener the true spirit of jazz in such a way that tugs at their emotions by organizing well-placed moments of tension and release into the overall presentation. It wasn’t to be just a ‘blowing session’ left to chance.

The arrangement is simple enough in its execution, but what the players do within that framework is the true genius. The medium-up punchy riff tune is repeated twice, and Brown has the break into the first solo. He intermixes blues-inflected passages with those that take the twists and turns of a studied bebop master. He builds tension to his fourth and fifth choruses where Land plays a background riff that adds to the tension. Relief comes on the sixth chorus, as Brown backs down again and builds toward the next climax. His seven choruses lead into Land’s eight, where a similar approach is employed, Brown riffing on the fifth and sixth choruses. Land has a wonderful ‘barking’ quality to his tone and, complements Brown’s phrases wonderfully. Powell builds his six-chorus solo to a polyrhythmic frenzy by the final chorus, then hands it to the ensemble which plays a four-bar send off to Roach’s drum solo. The sendoff happens again and Max takes another five solo drum choruses that lead smoothly into a series of trading by the horns. These interchanges are some of the most exciting in recorded jazz. Two choruses of fours lead into a chorus of twos, a chorus of ones, and a chorus of half-bar improvisations. It is a tremendously difficult task for an improviser to coordinate these short interplays into coherent, flowing lines, but these musicians do it admirably. If you compare this to the alternate take, you can hear how things can go quickly awry if the timing happens to get away from you! Clifford misses the downbeat of the melody out, but it in no way detracts from the excitement of the moment. This is recorded jazz done in a brilliant and thrilling fashion.

Reviewer: Al Hood

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