Daily Dose Of Jazz…
Joe Gordon was born Joseph Henry Gordon on May 15, 1928 in Boston, Massachusetts and took up trumpet in his youth. His first professional gigs were in Boston in 1947 and he would later play with Georgie Auld, Charlie Mariano, Lionel Hampton, Charlie Parker, Art Blakey and Don Redman into the mid Fifties.
In 1956 he toured the Middle East with Dizzy Gillespie’s big band soloing on “A Night In Tunisia”. Following this Gordon played with Horace Silver and then moved to Los Angeles. During his California stay over the next five years he recorded with Barney Kessel, Benny Carter, Harold Land, Shelly Manne, Donald Byrd, Dexter Gordon and Thelonious Monk.
Trumpeter Joe Gordon would record two studio sessions and one live album as a leader prior to his death in a house fire on November 4, 1963 in Santa Monica, California.
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Daily Dose Of Jazz…
Philip Harper was born May 10, 1965 in Baltimore, Maryland but grew up in Atlanta, Georgia. He started played trumpet when he was ten under the tutelage of his brother Winard and then went on study at the Hartt School of Music with Jackie McLean.
At the age of 18 Philip moved to New York, where he started working and recording extensively, with such musicians as Little Jimmy Scott, Jimmy McGriff, Betty Carter, Etta Jones, Harry “Sweets” Edison, Bill Cosby and Cedar Walton. He became a member of Art Blakey’s Jazz Messengers, Charles Mingus’ Big Band and from 1988 to 1993 was an integral part of The Harper Brothers.
His discography includes The Harper Brothers, You Can Hide Inside The Music, Remembrance: Live at the Village Vanguard and Artistry, along with his two releases as a leader Soulful Sin and The Thirteenth Moon in addition to several live recordings with The Jazz Messengers. Trumpeter Philip Harper continues to perform and tour worldwide with various groups in conjunction to teaching and conducting workshops in several conservatories in Europe.
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Requisites
Royal Flush: This album was recorded by jazz trumpeter Donald Byrd and is notable for introducing pianist Herbie Hancock in his first Blue Note session.
Personnel: Donald Byrd – trumpet, Pepper Adams – baritone saxophone, Herbie Hancock – piano, Butch Warren – bass, Billy Higgins – drums
Record Date: Blue Note – 1961
Songs: Hush, I’m A Fool To Want You, Jorgie’s, Shangri-La, 6M’s, Requiem
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Requisites
The Cats: In the Fifties, Tommy Flanagan was one of the most highly valued pianists in jazz. His appearance on record was primarily as a sideman, well appreciated by his fellow musicians but not recognized for their display of his superior abilities by a wider audience.
This album contains a Flanagan trio track “How Long Has This Been Going On?” surrounded with the choice, empathetic soloists as Coltrane, Burrell and Sulieman. It is still a delight to hear their interaction to this day with Tommy and the all-Detroit rhythm section of Doug Watkins and Louis Hayes. Flanagan penned all of the originals on this album.
Personnel: Tommy Flanagan – piano, John Coltrane – tenor saxophone, Idrees Sulieman – trumpet, Kenny Burrell – guitar, Doug Watkins – bass, Louis Hayes – drums
Record date: Hackensack, New Jersey – April 18, 1957
Supervised by: Bob Weinstock
Songs: Minor Mishap; How Long Has This Been Going On; Eclypso; Solacium; Tommy’s Tune
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Requisites
Sarah Vaughan with Clifford Brown: When Two Geniuses Met for One Perfect Album
Sometimes magic happens when the right artists meet at exactly the right moment. Sarah Vaughan with Clifford Brown—originally released simply as Sarah Vaughan in 1954—is one of those rare, lightning-in-a-bottle collaborations that captured two towering talents at their creative peaks.
An Unlikely Pairing That Shouldn’t Have Worked—But Did
On paper, pairing the Grammy Award-winning vocal virtuoso Sarah Vaughan with the brilliant young trumpeter Clifford Brown might have seemed risky. Vaughan’s voice was an instrument unto itself, capable of operatic range, breathtaking improvisation, and emotional depths that could break your heart. Brown, meanwhile, was revolutionizing jazz trumpet with his warm tone, flawless technique, and lyrical approach that suggested both bebop fire and romantic elegance.
Together? Pure alchemy.
A Single Session, An Enduring Legacy
The album was released on the EmArcy label and remains the only collaboration between this extraordinary pair, a tantalizing “what if” for jazz fans who can only imagine what further recordings might have produced. The original release bore only Vaughan’s name, but when reissued, the title was changed to emphasize Brown’s participation, recognizing that this was a true partnership between equals.
Critical Reception and Personal Favorite
The album was well-received upon release, though not without some criticism—as is often the case with ambitious artistic statements that don’t follow predictable formulas. Some critics felt the arrangements were too lush, others wanted more interaction between the two principals. But Vaughan herself had no doubts: this remained her personal favorite among all her recordings through 1980, a remarkable statement from an artist with a discography spanning decades and hundreds of albums.
She knew what she’d captured in that studio—something special, something that transcended the usual vocalist-with-accompaniment formula.
Recognition and Immortality
History has vindicated Vaughan’s judgment. In 1999, the album was inducted into the Grammy Hall of Fame, joining the pantheon of recordings deemed “qualitatively or historically significant” and worthy of permanent preservation.
A Bittersweet Postscript
There’s an inevitable sadness knowing this was the only time these two artists recorded together. Just two years after this session, Clifford Brown died in a car accident at age 25, robbing jazz of one of its most promising voices. This album stands as both a celebration of what Brown achieved in his brief life and a poignant reminder of what was lost.
Why It Still Matters
Sarah Vaughan with Clifford Brown isn’t just a historical artifact or a completist’s curiosity—it’s a masterclass in musical communication. Listen to how Brown’s trumpet seems to converse with Vaughan’s voice, how they finish each other’s musical thoughts, how the space between their phrases breathes with meaning.
This is what happens when two artists at the top of their game truly listen to each other and respond with honesty, generosity, and brilliance.
For anyone who loves vocal jazz, trumpet playing, or simply the sound of two masters making something beautiful together, this album remains essential—a 1954 gift that keeps giving, seven decades later.
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