Though employing a trumpet to shadow a singer has long been a regular device only on a few notable occasions has it truly enhanced a performance. I’m sure readers will have their own preferences, but for me, four examples automatically spring to mind: Ella and Louis, Harry Edison with Sinatra, Bobby Hackett in the company of Tony Bennett and Pete Candoli helping to make Peggy Lee's ‘Black Coffee’ session into such a genuine classic. Here are a couple more for your consideration. Brownie was fortunate that Mercury already had three great vocal stylists on their books and so he was quickly enlisted to appear on albums by newcomer Helen Merrill as well as established stars Sarah Vaughan and Dinah Washington.

For many the album that Sassy recorded with a small unit that, aside from Brownie, include tenor man Paul Quinichette is universally regarded as one of her finest moments in a studio. No argument there. Together, Vaughan and Brownie displayed their intent by first offering a stunning reimagining of ‘September Song’ before generously sprinkling the same magic over a further nine familiar songs. Game, set and match.

The encounter with the abrasive Washington was a live-in-the-studio jam where the Brown-Roach quintet was augmented by label mates Clark Terry, Maynard Ferguson and Herb Geller (among others) who were then instructed to get on with it. At times a ramshackle affair, but lengthy treatments of ‘You Go To My Head’ and ‘Lover Come Back To Me’ almost save the day. Note, I said almostl

At the time of these recordings Helen Merrill was practically unknown, but this handful of tracks are most rewarding for both the singer's cool, immaculate approach to songs that include ‘What's New’, ‘Born To Be Blue’ and ‘You'd Be So Nice To Come Home To’ and Brownie's sensitive response. Two out of three ain't too shabby.