"Clifford Brown was incredibly influential for someone who died so young. The Fats Navarro-minded trumpeter was only 25 when a car accident claimed his life in 1956, but his influence remained: Freddie Hubbard, Lee Morgan, Woody Shaw, Donald Byrd, and Carmell Jones were among the many trumpet titans who were heavily influenced by Brown. In the early to mid-'50s, Brown kept getting more and more exciting, year by year. That means that when it comes to Brown's CDs, excellent doesn't necessarily mean essential. Recorded in 1953, the material on this 18-track CD isn't quite as essential as some of Brown's work with drummer Max Roach in 1954 and 1955, but is still superb. The trumpet icon is heard at two different sessions. Brown's solos are consistently expressive; he swings unapologetically hard on up-tempo fare, but is quite lyrical on the ballads. One thing all of the performances have in common is a strong Fats Navarro influence." (Alex Henderson, Allmusic)
"Vergeten en jong overleden hardboppianist en -componist In de schaduw van Thelonious Monk en Bud Powell, maar met een volkomen eigen geluid en melodieën die in je hoofd blijven hangen." (Bert Broere, Heaven) "During the early years of the bop revolution, few of its younger pianists recorded unaccompanied solos. Even by 1961, solo albums by the bop musicians were considered a bit unusual, but Elmo Hope (an underrated composer and pianist) fares quite well during this Riverside set. Hope is joined by his wife Bertha on second piano during three of the eight numbers, most notably on a swinging "Blues Left and Right." Of the solo pieces, Elmo Hope is at his best on "When Johnny Comes Marching Home" and a cocktailish, but appealing, version of "Liza."" (Scott Yanow, Allmusic)
"Vergeten en jong overleden hardboppianist en -componist In de schaduw van Thelonious Monk en Bud Powell, maar met een volkomen eigen geluid en melodieën die in je hoofd blijven hangen." (Bert Broere, Heaven) "Of the collections of Elmo Hope's '50s recordings, Trio and Quintet is the one to get. It includes his prime Blue Note sessions and features a stellar cast of hard bop musicians including Art Blakey, Frank Foster, Philly Joe Jones, and Harold Land. The majority of the tunes are Hope originals which, in their angular introspection, bear the influence of both Bud Powell and Thelonious Monk. Things begin with ten mostly hard bop swingers from a trio date in 1953. Prominently featured is Hope's Powell like, single line attack. The Quintet tracks start with an East Coast session featuring Foster and Blakey. The remainder of the session impresses with a series of rhythmically rich Hope compositions which, like the majority of Monk's tunes, stay memorable in spite of their complexity." (Stephen Cook, Allmusic)
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