To Paul Robeson, pianist and arranger Lawrence Dark brown had the same romantic relationship Baba Louie needed to Quick Pull McGraw, or Bullwinkle to Rocky: the faithful sidekick — or regarding Robeson and Dark brown, the ever present and often on the tag accompanist at concerts that took the duo all over the world and then again. One essential date is at June 1926, when Robeson and Dark brown presented the initial concert recital dedicated entirely to dark religious music in NEW YORK. If the pianist and lifelong friend from the questionable Robeson may also be recognised incorrectly as trombonist Lawrence Dark brown, it really is for once an instance of musical serendipity. The worlds of gospel and jazz, often following a sort of parallel orbit, occasionally find themselves stopped at by such a coincidental interloper. Due to his vast desire for religious music, Ellington himself performed items by both from the males. The trombonist, like lots of the bandleader’s experienced sidemen, also occupied an identical sort of sidekick part. The gospel Dark brown should also not really be puzzled with maker and songwriter Larry Dark brown, a behind-the-scenes mover and shaker at Motown and certainly more worried about secular matters. Among the great recordings of the Brown spiritual set up was made by vocalist Jeanne Lee with her rendition of “There’s a Balm in Gilead” around the recording Blasé by tenor saxophonist and bandleader Archie Shepp.