Louis Smith
Here Comes Louis Smith

In the second half of the '50s, the world of Jazz was left orphaned by a fundamental figure like Clifford Brown, who died in a car accident in the summer of 1956. When a point of reference is lost, after the initial period when the general emotion leads to statements like "he will remain unique, there will never be anyone like him," it doesn't take long to attribute real or supposed heirs to him.

Now, I don't know if Tommy Flanagan was right when he said "the next Clifford Brown" talking about Smith, also because this "obscure" figure of Jazz trumpet, due to the most disparate circumstances, unfortunately never managed to establish himself. However, this certainly did not prevent him from carving out a little place in Jazz history, much of the credit undoubtedly goes to his debut album, "Here Comes Louis Smith."

The characters enlisted for the album are of undisputed quality: Cannonball Adderley on alto sax (credited as "Buckshot la Funke" for obvious contractual issues), Doug Watkins on double bass, Art Taylor on drums, and Duke Jordan and Tommy Flanagan sharing the piano sessions. Returning to Clifford Brown, a character definitely recurring in the conceptual and musical genesis of the album, the first piece is dedicated to him: everyone knows "I Remember Clifford," Benny Golson's famous and stirring ballad dedicated to the unfortunate trumpeter; but in those years another musical tribute of fine quality was written in his honor, namely "Tribute to Brownie" written by the great Duke Pearson (elsewhere credited as co-author Nat Adderley) and that Cannonball, during the February 1957 sessions of Smith's album, was also recording for his "Sophisticated Swing." The piece is undoubtedly the highlight of the album: it has a stunning harmony, Cannonball's phrasing is clear, sparkling, without smudges or uncertainties. The technical quality showcased in the theme by Smith and Adderley is pure spectacle, with a counterpoint perfectly molded with the harmonic dynamics created by Jordan's piano and the Watkins-Taylor duo on double bass and drums.

It may seem cynical, but without Brown's death, Jazz might have kept hold of the future and undisputed champion of the coming years, yet probably there wouldn't have been the emotional drive to write pieces like this one or like Golson's. Words in the wind, leaving the time as they find it. Returning to the album, the technical-compositional standards remain high, even though the peak is reached with "Tribute to Brownie": for instance, in the second track, "Brill's Blues," a beautiful Blues written by Smith that toys with the mid & slow rhythm, the two manage to pour into it all that magnificent black avalanche coming directly from their blacky essence. As one can easily intuit, a lot of Bop will peek through the album's fabric, as in the case of "Ande", also written by Smith and another testament to the technical camaraderie of the two professors (both Smith and Cannonball were teachers). There is no good album without a ballad to represent that relaxed sigh that allows for catching one's breath after moving full steam ahead, and thus arrives a heartfelt version of "Star Dust" in which Smith demonstrates the feeling of which a "dizzy" trumpet player like him was capable. The last two pieces, "South Side," an anthem to Hard Bop, and "Val's Blues," an anthem to Bop, also by Smith, close this little gem unjustly left in the shadows. Now, I don't know if he was the next Clifford Brown, perhaps not, but I like him.

Buy it without hesitation, it's quite affordable.