Clifford Brown’s Improvisational Style: Sequence Throughout His Career David Aaberg, University of Central Missouri (aaberg@ucmo.edu) 1) The Inspiration: Large scale non-diatonic sequences from A Night in Tunisia recorded May 31, 1955 at a jam session at Music City (Philadelphia), which appeared on the Clifford Brown album The Beginning and the End. Seven statements of the descending figure begin at measure 1, beat 1.5. The extra note added to the sequence at measure 2, beat 2 (the root of the chord), slightly disguises the whole tone basis of the sequence. An ascending form of the sequence appears in measures 5 – 6 (three statements). This is the only example of an ascending form of the sequence found thus far (example 1).

Example 1: A Night In Tunisia, May 31, 1955 On the same recording of A Night In Tunisia, Clifford Brown plays another similar lengthy sequence, this time including a total of nine statements (example 2)

& 44 ‰ Jœ œ œb œn œ œ œb œb œ œ œ œ œ# œ# ‰ ‰ . rœF 9(#11)

.œ œ# œ œ œ œ# œ œ# œ ŒEm6

œ œ œ œb œ œ œb œ œ# œ# œœ Œ

F 9(#11)

&5 Ó œ œb œb œ œ œ œ œbEm6 œ œb œ œb œ œ œ œ œ œ œb œ œ# œ œb œF 9(#11)

œ œ œb œ œ œ œ œb œn œ œ œ# jœ ‰Em6

&8 ‰ œ œ œ œ œ œb œn œ# œ# œ œ# œ œ œF#m7(b5) B7 œ œ ‰ Œ ÓEm6

Example 2: A Night In Tunisia, May 31, 1955

3 5 6 M7 b9 #11 11 #5 b9 B? 3 1 3 M7 3 (R) 7 3

9 1 3 3 5 7

based on whole tone except passing tones indicated in parentheses ( )

sequences in brackets based on whole tone scale except those notes in parentheses ( )

5 6

M7 9 #11

11 #5 b9

(whole tone)

3 b9 G?

11 #5

M7 9 1

b9 3 5

7

Aaberg – page 2

2) The Mistaken Imprint: Although a few other examples of similar large scale non-diatonic sequences of a similar nature (primarily outlining the whole tone scale) were found, few other kinds of examples seem to exist. Having been introduced to Clifford Brown’s playing via this recording of A Night In Tunisia, the assumption was (incorrectly) made that large scale sequences (especially chromatic sequences) are commonly found in Clifford Brown’s solos. 3) The Approach: Assuming that the sequences mentioned above are an integral component of Clifford Brown’s style, a survey of Clifford Brown recordings (representing many groups and settings from his professional career) looking for examples of large scale chromatic sequence (LSCS) was done. It soon became apparent that the survey was becoming more of a “holy grail” search. As a result, the search parameters were broadened. In addition to the appearance of LSCS, similar large scale diatonic sequences and smaller scale sequences were noted. Of approximately 160 selections reviewed, only 6 actually included Clifford Brown playing examples of the LSCS originally sought. 4) A Look At A “Typical” LSCS: Although the sample size is very small, some characteristics of how LSCS’s were used may still be apparent. These include: a) LSCS examples are all from live recordings (none were from studio sessions). b) LSCS figures are associated primarily with dominant quality chords. c) Tempo does not appear to be a factor (LSCS’s appear at fast, medium, and slow tempos). d) LSCS figures commonly appear at, or close to, the end of a section, contributing momentum toward the next section. e) Although a number of LSCS figures appear to start on the root or third of the chord, scale degree does not appear to be a limiting factor (some of the examples place stress on less consonant notes, such as the lowered ninth on a minor quality chord). 5) Examples: The earliest recorded example found of Clifford Brown playing a LSCS is the ballad Once in a While, recorded February 21, 1954 on A Night At Birdland, Vol. 1 (Art Blakey Quintet). The LSCS appears in Clifford Brown’s cadenza, very near the end of the track. A total of nine sequence statements are played. The last three statements include an extra two-note neighbor figure, which may serve to increase the forward direction of the line (example 3).

Aaberg – page 3

Example 3: Cadenza from Once In A While, February 21, 1954 The April, 1954 recording of Tenderly, performed by an early version of the Clifford Brown/Max Roach Quintet at the Pasadena Civic Auditorium (Pasadena, CA) is another ballad setting on which Clifford uses large scale sequence figures. The first example occurs near the end of the bridge, helping to give motion toward the last A section. This figure might be more accurately labeled as chromatic use of what is essentially a diatonic sequence (example 4).

Example 4: Tenderly (bridge), April, 1954

sequence indicated by brackets based on whole tone scale except passing tones indicated in parentheses ( )

LSCS…

LSCS with added lower neighbor figure…

diatonic/chromatic sequences in brackets (each begins on 11th of chord)

(bridge)

Aaberg – page 4

In the same performance of Tenderly, LSCS’s appear at the end of the track, during Clifford Brown’s cadenza. A total of six sequence statements are played. In this example, the LSCS begins on the raised fifth, a bit farther from the basic harmony that some of the examples (example 5).

Example 5: Tenderly (cadenza), April, 1954 The selection Clifford’s Axe, a long Clifford Brown improvisation on the chord changes to The Man I Love, was recorded at the same performance as Tenderly (above). It includes a number of examples of LSCS’s as well as diatonic sequences and a couple of interesting quotes. Clifford’s Axe will be presented in its entirety later. Moving chronologically, the next recorded example of Clifford Brown employing LSCS’s is A Night In Tunisia recorded May 25, 1955 at a jam session at Music City in Philadelphia (presented earlier). The last two examples of LSCS come from a live recording from The Cotton Club in Cleveland, OH from June 1, 1956. On Lover, the LSCS (a total of five statements) appears at the end of the bridge, providing motion toward the return of the A section (in a similar fashion as the large scale diatonic sequences were used in Tenderly previously). As in Clifford Brown’s solo on Tenderly, some large scale diatonic sequences are employed. In this case they appear in an A section, mirroring the chromatic root movement (example 6).

sequences in brackets based on whole tone scale except passing tones in parentheses ( )

3 1 #11 #5 3 1 #11 #5 9 9 7 7

Aaberg – page 5

Example 6: Lover (bridge and last A section), June 1, 1956 In Get Happy (from the same June 1, 1956 performance as Lover above), the LSCS figures occur late in the piece (at about 17’47”) as Max Roach trades eights with Clifford Brown and Sonny Rollins. The tempo is quite fast (around 340 beats per minute). Again the figure appears during the bridge (six full statements plus two fragments), on dominant quality chords. Unlike the other examples, both whole tone scales are employed. The final full sequence statement at measure 4 is based on the opposite whole tone scale from the other sequence statements (example 7).

(extended)

(abbreviated)

#11 #5 (sequence loosely based on whole tone scale - gaining momentum toward last “A” section) 3

Bb?

1 #5

(diatonic/chromatic sequence)

Aaberg – page 6

Example 7: Get Happy (bridge), June 1, 1956 6) Possible Sources: Although Clifford Brown himself indicated that Fats Navarro was his primary trumpet influence, I have yet to find any recorded instances of Navarro playing large scale chromatic sequences that might appear to relate to those performed by Clifford Brown. He did, however employ whole tone scale fragments in some figures, as did Dizzy Gillespie, another trumpet influence of Clifford Brown. Larger scale whole tone based sequences were used, however, by a number of players performing with Clifford Brown from early in his recording career. Most notable were passages played by pianist Horace Silver and alto saxophonist Lou Donaldson. Following is an excerpt from Lou Donaldson’s solo on You Go To My Head, recorded June 9, 1953, Clifford Brown’s first commercial jazz recording session (example 8).

Example 8: Excerpt from Lou Donaldson’s solo on You Go To My Head, June 9, 1953

(first two notes of sequence) (shift to the other whole tone scale)

B? sequences built on whole tone scale except notes in parentheses ( )

1 #5

(brackets indicate sequences based on whole tone scale)

9 7

(transposed to trumpet key)