Freddie Crump - another forgotten genius

It seems as though I am always trying to track down forgotten drummers (Manzie Campbell, the drummer whom Papa Jo Jones proclaimed to be the best in the world, and John Kornfeld - the man who is credited with teaching Louis Cottrell sr. who may actually be the real root of US drum kit playing.) My quest to learn more about Crump started when a friend emailed this clip to me:

Unlike Cambell and Kornfeld, there is a wealth of information about the drummer, including personal reminiscences from those who remembered and played with him posted in response to the clip, to icons such as Duke Ellington, Count Basie and Victor Feldman. However, there are still gaps, such as when he was born, where he died, and the other details - personal and professional - that provide a portrait of a man's life.

Information provided with the clip included, Freddy Crump was with Gonzelle White's band 23-25 (with Count Basie). Thomas and Crump moved to Britain in 1937 and became a fixture in the Music Halls. In 1944 Crump joined the excellent Johnny Claes Big Band and did regular radio work on the BBC including his own comedy routines.

Comments by other viewers clearly indicated that Crump was well know in Europe up until his death in 1980. I managed to get that date from this Jazz Professional page.

He is also mentioned by the great Victor Feldman (see this article written by Michael Cerra.) Some research indicates that Crump was born in Richmond, VA (where I grew up), and judging from his age in the 1929 clip, he was born circa 1910.

A brief mention of him is in an August 20, 1938 article in The Afro American and Richmond Planet about his brother, Pleasant R. Crump. At that time, according to the article, Freddie was already in Europe. We know from other sources, including comments on the video, that Crump was a popular fixture in the UK. Also, he may have been based out of Denmark by the mid-1960s. This information is extrapolated from this document, which contains this tantalizing tidbit talking about Duke Ellington: Duke then introduced Freddie Crump, an American drummer who apparently had lived in Denmark for some time, known by Duke but unknown to us and not listed in any of the jazz encyclopedias.

Count Basie (who was with him in Gonzelle White's band from 1923 to 1925) mentioned him in his biography, Good Morning Blues, further indicating that Freddie was well known and remembered when you consider that Duke Ellington remembered him in the mid 1960s. Here is what Basie had to say:

I stumbled across these personal reminiscences in
JARS Issue 111 - March/April 1998 (Jazz at Ronnie Scott's newsletter):

Also, a very diminutive Mr. Crump had an uncredited role in a 1942 movie titled King Arthur Was a Gentleman (with a very young Victor Feldman also on drums.) Here is a clip:

One final photo I managed to track down:

We have some information about this remarkable (and from the accounts listed highly regarded and respected) man. There are still many pieces missing. If you can fill in the blanks, please do contact me or provide what information you may have in comments.

Oh, and how may of you were so focused on Freddie in the first clip that you failed to be stunned by the pianist starting around 4:10? My jaw dropped. He was as good on piano as Mr. Crump was on drums in my opinion.

I remember Clifford Part 3

In the previous posts about Clifford Brown - Part 1, Part 2 and an Part 1, addendum - I provided a list of albums on which he was leader or featured performer. This post will conclude with some albums on which he was a sideman or among other featured musicians.

I'll start with Sarah Vaughan's Complete Recordings with Clifford Brown. This was originally released with nine tracks in December 18, 1954 as Sarah Vaughan. Later a tenth track, an alternate version of Lullaby of Birdland was added to the original, then this expanded album with an additional ten tracks:
11. Lover Man (Bonus Track)
12. Shulie A Bop (Bonus Track)
13. Polka Dots & Moonbeams (Bonus Track)
14. Body & Soul (Bonus Track)
15. They Can't Take That Away From Me (Bonus Track)
16. Prelude To A Kiss (Bonus Track)
17. You Hit The Spot (Bonus Track)
18. If I Knew Then (What I Know Now) (Bonus Track)

Although Clifford Brown receives co-billing in the title (and his playing is beautiful), this album is all about Sarah and her own instrument: one of the most beautiful voices in jazz. That is not to say that having Clifford in the ensemble is not important because he will forever remain one of the most influential trumpeters. His performance on this album is simply beautiful.

However, the other musicians on this album and the arrangements and conducting (by Ernie Wilkins) all contribute to what I consider to be one of Sarah's best albums and one I recommend to friends who want a good starting point into her music. Those musicians are: Paul Quinichette on tenor, Herbie Mann on flute, Jimmy Jones on piano (with John Malachi on track 12), Joe Benjamin on bass and Roy Haynes on drums.

Some tracks from that album:

Dinah Washington was backed by Clifford and an all star ensemble in August 1954 in Hollywood. This session was performed before a studio audience and captured on Dinah Jams (with some additional material from the same recording sessions on Jam Session. My personal favorite track is:

The above is also on Compact Jazz album that is worth checking out if you are a Dinah Washington fan. Why I love that album is her rendition of I Remember Clifford - Benny Golson's moving tribute to Brown who died at a young 25 - is so soulful that it evokes tears. I digress. Back to the album - here is another great track:

The above ensemble consists of the core Brown-Roach group consisting of Clifford on trumpet, Max Roach on drums, Richie Powell on piano, George Morrow on bass and Harold Land on tenor.
Other musicians in the jam included Herb Geller on alto Junior Mance on piano and Keter Betts on bass. Fellow trumpeters Maynard Ferguson and Clark Terry also sat in, and Dihah Washington handled vocals.

Helen Merrill recorded an album with Clifford in December 1954 that is worth tracking down: Helen Merrill with Clifford Brown. Arranged by Quincy Jones with Helen Merrill on vocals, Clifford Brown on trumpet, Milt Hinton on bass, Danny Bano on flute, bass clarinet and baritone sax, Osie Johnson on drums, Barry Galbraith on guitar, and Hank and Jimmy Jones on piano. Some tracks which make this album worhtwhile:

A bonus is this jam at Eric Dolphy's home in Los Angeles in the summer of 1954. Eric Dolphy on alto, Clifford Brown on trumpet, Harold Land on tenor, Richie Powell on piano, George Morrow on bass and Max Roach on drums.

Parting notes. Clifford's son, Clifford Brown, Jr. is an announcer at KCSM Jazz 91.1 FM in San Mateo, CA. Also, for die hard fans Brownie: The Complete EmArcy Recordings Of Clifford Brown contains over 14 hours of Clifford's recordings.

Addendum to I remember Clifford Part 2

In my haste to wrap up my last post I overlooked this gem: Clifford Brown All Stars: Caravan. This was recorded August 11, 1954. The All Stars are Clifford (of course), with Herb Geller and Joe Maini jr. on alto, Walter Benton on tenor, Curtis Counce on bass, Kenny Drew on piano and Max Roach on drums. The album consists of two tracks: Caravan (clocks in at 15:17) and Autumn in New York (clocks in at 21:45). Here is a truncated clip from Caravan to give a taste of what is on the album:

From a review I posted on another site: This is one of the most energetic albums to come from the Brown and Roach collaboration. Caravan, as performed by the ensemble, is at a tempo that I am sure was never envisioned by Juan Tizol and Duke Ellington when they wrote it. That it maintains that tempo and sense of energy for over fifteen minutes is a marvel in itself, but the real treat is Brown whose tone any ability to articulate every note at the tempo is why he will always be remembered as one of the greatest trumpeters ever born.

Autumn in New York has long been one of my personal favorite tunes, with Billie Holiday's rendition at the top of my list. This rendition is my second favorite. Brown's intro and one exquisite chorus after another provides 21 minutes of sheer joy.