Daahoud – Clifford Brown
Lead sheets plus Clifford Brown's Transcribed Trumpet Solo from his septet recording, and his Master and Alternate Solos from the quintet recording. Solos in B-flat and C editions. Also check out trumpeter Ryan Kisor's version, with Willie Jones III's transcribed drumming.
- Recording: Clifford Brown featuring Zoot Sims - Jazz Immortal
- Recorded on: July 12, 1954
- Label: Capitol (CDP 7 46850 2)
- Concert Key: E-flat
- Style: Swing (uptempo)
- Trumpet - Clifford Brown
- Valve Trombone - Stu Williamson
- Tenor Sax - Zoot Sims
- Baritone Sax - Bob Gordon
- Piano - Russ Freeman
- Bass - Joe Mondragon
- Drums - Shelly Manne
Video
- Live at Gregory's Jazz Club in Rome: Jeremy Pelt, trumpet; Roxy Coss, tenor sax; Danny Grissett, piano; Dezron Douglas, bass; Willie Jones III, drums
- Live in Italy 1961: Oscar Peterson, piano; Ray Brown, bass; Ed Thigpen, drums
- Don Braden
How well do you really know this song? The updated lead sheet has the melody, form, and rhythm section figures exactly as recorded by the classic Clifford Brown/Max Roach quintet. In particular, it presents all the rhythm section hits and breaks in the head, including several hits on the bridge that fit with the melody but are not commonly played. The interlude also has a specific set of hits.
Two details of this song are often overlooked. The pickups into the first and fifth measures of the B section are frequently played wrong: the first two notes of the pickup are often D and E♭ for the first one, and C and D♭ for the second. As the lead sheet shows, this is incorrect; these pairs of notes are both actually a whole step higher. The other frequent mistake in this song concerns the seventh measure of C, before the interlude. Often, the last note of the sixth measure, the D, is held over into the seventh measure. However, on the original recording it is short, and the seventh measure is a drum break. Though all this is indicated in the updated Hal Leonard Real Book, the lead sheet in the book does not contain any rhythm section figures or breaks, or a separate set of solo changes.
It should also be noted that the set of hits often played in the first measure of the A section, on the "and" of beat 1, beat 3, and the "and" of beat 4, does not appear on this classic recording. (The Jeremy Pelt and Oscar Peterson versions in the videos above have these hits.) A related set of hits, with the first one on beat 2 instead of the "and" of 1, occurs in the septet arrangement on Clifford's Pacific Jazz recording.
The print arrangements for both quintet and septet are available on musicdispatch.com. Clifford Brown's trumpet solos are available here from jazzleadsheets.com (click the Solos tab for description and audio clip).
Two details of this song are often overlooked. The pickups into the first and fifth measures of the B section are frequently played wrong: the first two notes of the pickup are often D and E♭ for the first one, and C and D♭ for the second. As the lead sheet shows, this is incorrect; these pairs of notes are both actually a whole step higher. The other frequent mistake in this song concerns the seventh measure of C, before the interlude. Often, the last note of the sixth measure, the D, is held over into the seventh measure. However, on the original recording it is short, and the seventh measure is a drum break. Though all this is indicated in the updated Hal Leonard Real Book, the lead sheet in the book does not contain any rhythm section figures or breaks, or a separate set of solo changes.
It should also be noted that the set of hits often played in the first measure of the A section, on the "and" of beat 1, beat 3, and the "and" of beat 4, does not appear on this classic recording. (The Jeremy Pelt and Oscar Peterson versions in the videos above have these hits.) A related set of hits, with the first one on beat 2 instead of the "and" of 1, occurs in the septet arrangement on Clifford's Pacific Jazz recording.
The print arrangements for both quintet and septet are available on musicdispatch.com. Clifford Brown's trumpet solos are available here from jazzleadsheets.com (click the Solos tab for description and audio clip).
Clifford Brown's composition Daahoud is a true jazz standard, having been recorded by many different artists over the past 50-plus years. The recordings of Clifford Brown playing it are also classics. His first three recorded takes of Daahoud were done on two quite different sessions. First, Clifford recorded Daahoud on a septet session on July 12, 1954, for Pacific Jazz, with arrangements by Jack Montrose. Then, less than a month later, the Clifford Brown - Max Roach Quintet recorded two takes of Daahoud at the end of their August 6, 1954, session.
As you'll hear in our teaser septet arrangement audio clip, arranger Jack Montrose created a very interesting, unique environment for the melody, starting right off with a modulating introduction.
The septet and quintet arrangements are both classics, and the printed arrangements are available from Second Floor Music. They're accurate and complete. Arranger Jack Montrose gave us a copy of his score for the septet recording session.
Purchase the Daahoud arrangements online from Music Dispatch:
As you'll hear in our teaser septet arrangement audio clip, arranger Jack Montrose created a very interesting, unique environment for the melody, starting right off with a modulating introduction.
The septet and quintet arrangements are both classics, and the printed arrangements are available from Second Floor Music. They're accurate and complete. Arranger Jack Montrose gave us a copy of his score for the septet recording session.
Purchase the Daahoud arrangements online from Music Dispatch:
Transcribed Trumpet Solo: Clifford Brown's first recorded solo of this classic composition trumpet.
- Recording: Clifford Brown and Max Roach - Clifford Brown And Max Roach
- Recorded on: August 6, 1954
- Label: EmArcy (MG 36036)
- Concert Key: E-flat
- Style: Swing (uptempo)
- Trumpet - Clifford Brown
- Tenor Sax - Harold Land
- Piano - Richie Powell
- Bass - George Morrow
- Drums - Max Roach
Video
- Live at Gregory's Jazz Club in Rome: Jeremy Pelt, trumpet; Roxy Coss, sax; Danny Grissett, piano; Dezron Douglas, bass; Willie Jones III, drums
- Live in Italy 1961: Oscar Peterson, piano; Ray Brown, bass; Ed Thigpen, drums
- Don Braden and student group
For many years we've had the this classic quintet arrangement available (printed full score and parts). Lead sheets of Daahoud have been floating around at least since the first illegal Real Book (which contained lots of mistakes). When Hal Leonard put out the legal edition of the Real Book a number of years ago, they contacted us and we gave them the correct melody. They elected, however, like the illegal book, to just print the melody with the solo changes above it, which can add confusion because some of the chords in the solo section aren't used in the melody. Our two page editions have separate solo sections. More importantly, our editions also show all the rhythm section hits and piano set up lines that are truly part of the composition, which you won't find in the Real Book.
In particular, our editions show all the rhythm section hits and breaks in the head, including several hits on the bridge that fit with the melody but are not commonly played. The interlude that sets up the solo sections looks strange without hits and rests for the rhythm section.
Two details of this song are often overlooked. The pickups into the first and fifth measures of the B section are frequently played wrong: the first two notes of the pickup are often D and E♭ for the first one, and C and D♭ for the second. As the lead sheet shows, this is incorrect; these pairs of notes are both actually a whole step higher. The other frequent mistake in this song concerns the seventh measure of C, before the interlude. Often, the last note of the sixth measure, the D, is held over into the seventh measure. However, on the original recording it is short, and the seventh measure is a drum break. Though all this is indicated in the updated Hal Leonard Real Book, the lead sheet in the book does not contain any rhythm section figures or breaks, or a separate set of solo changes.
It should also be noted that the set of hits often played in the first measure of the A section, on the "and" of beat 1, beat 3, and the "and" of beat 4, does not appear on this classic recording. (The Jeremy Pelt and Oscar Peterson versions in the videos above have these hits.) A related set of hits, with the first one on beat 2 instead of the "and" of 1, occurs in the septet arrangement on Clifford's Pacific Jazz recording (see the first album cover).
The print arrangements for both quintet and septet are available at musicdispatch.com. Clifford Brown's trumpet solos are available here from jazzleadsheets.com (click the Solos tab for description and audio clip).
In particular, our editions show all the rhythm section hits and breaks in the head, including several hits on the bridge that fit with the melody but are not commonly played. The interlude that sets up the solo sections looks strange without hits and rests for the rhythm section.
Two details of this song are often overlooked. The pickups into the first and fifth measures of the B section are frequently played wrong: the first two notes of the pickup are often D and E♭ for the first one, and C and D♭ for the second. As the lead sheet shows, this is incorrect; these pairs of notes are both actually a whole step higher. The other frequent mistake in this song concerns the seventh measure of C, before the interlude. Often, the last note of the sixth measure, the D, is held over into the seventh measure. However, on the original recording it is short, and the seventh measure is a drum break. Though all this is indicated in the updated Hal Leonard Real Book, the lead sheet in the book does not contain any rhythm section figures or breaks, or a separate set of solo changes.
It should also be noted that the set of hits often played in the first measure of the A section, on the "and" of beat 1, beat 3, and the "and" of beat 4, does not appear on this classic recording. (The Jeremy Pelt and Oscar Peterson versions in the videos above have these hits.) A related set of hits, with the first one on beat 2 instead of the "and" of 1, occurs in the septet arrangement on Clifford's Pacific Jazz recording (see the first album cover).
The print arrangements for both quintet and septet are available at musicdispatch.com. Clifford Brown's trumpet solos are available here from jazzleadsheets.com (click the Solos tab for description and audio clip).
Unlike Joy Spring, for which we only have the performances Clifford recorded on the two releases above, live concert and club performances of Clifford playing Daahoud have surfaced over the years. This same group performed it at the Newport Jazz Festival, July 16, 1955. With Sonny Rollins replacing Harold Land, other performances have surfaced: a radio broadcast "Town Casino," Buffalo, NY; February 26, 1956, a "live" at Basin Street, New York; May 6, 1956, with Willie Jones replacing Max Roach; and, again with Max, live at the "Cotton Club," Cleveland, OH, June 1, 1956.
Clifford Brown's composition Daahoud is a true jazz standard, having been recorded by many different artists over the past 50-plus years. The recordings of Clifford Brown playing it are also classics. His first three recorded takes of Daahoud were done on two quite different sessions. First, Clifford recorded Daahoud on a septet session on July 12, 1954, for Pacific Jazz, with arrangements by Jack Montrose. For details, click the album cover on the left. Then, less than a month later, the Clifford Brown - Max Roach Quintet recorded two takes of Daahoud at the end of their August 6, 1954, session.
Don Sickler: "The septet and quintet arrangements are both classics, and the printed arrangements are available from Second Floor Music. They're accurate and complete. Years ago, arranger Jack Montrose gave me a copy of his score for the septet recording session. The quintet arrangement is complete with all the nuances in the rhythm section parts."
Purchase the Daahoud Quintet arrangement online from Music Dispatch.
Clifford Brown's composition Daahoud is a true jazz standard, having been recorded by many different artists over the past 50-plus years. The recordings of Clifford Brown playing it are also classics. His first three recorded takes of Daahoud were done on two quite different sessions. First, Clifford recorded Daahoud on a septet session on July 12, 1954, for Pacific Jazz, with arrangements by Jack Montrose. For details, click the album cover on the left. Then, less than a month later, the Clifford Brown - Max Roach Quintet recorded two takes of Daahoud at the end of their August 6, 1954, session.
Don Sickler: "The septet and quintet arrangements are both classics, and the printed arrangements are available from Second Floor Music. They're accurate and complete. Years ago, arranger Jack Montrose gave me a copy of his score for the septet recording session. The quintet arrangement is complete with all the nuances in the rhythm section parts."
Purchase the Daahoud Quintet arrangement online from Music Dispatch.
- Recording: Ryan Kisor - Kisor
- Recorded on: January 26, 2000
- Label: Video Arts Music (VACZ 1149)
- Concert Key: E-flat
- Style: Swing (medium up)
- Trumpet - Ryan Kisor
- Piano - Peter Zak
- Bass - John Webber
- Drums - Willie Jones III
Trumpeter Ryan Kisor's version of Clifford Brown's classic Daahoud is in the same key and around the same tempo as Brown's 1954 versions. It starts right at the top of the head like the Max Roach version without the intro found in the Zoot Sims version. On this one you'll hear solos from Kisor and Zak as well as some amazing eights from drummer Willie Jones III which we have transcribed (see Drum Corner tab)! The ending on the Roach version has a 4-bar drum break while Jones only takes two bars in the same spot for this arrangement.
Ryan Kisor has been a part of The Jazz Lincoln Center trumpet section and has recorded with many notable musicians including Wynton Marsalis, Clark Terry, Pat Metheny, Phil Woods and Chris Potter to name only a few. On January 11, 1998, the same quartet playing on this record recorded two Kisor-led projects entitled "The Usual Suspects" and "Point of Arrival." On "Point of Arrival" the group recorded bassist Webber's original Smoke Signal. In May of 2001, the quartet was joined by tenorist Eric Alexander to record Kisor's "The Dream."
Drum Transcription: A six-page detailed drum transcription of Willie Jones III, including sticking patterns, comping samples entering the solo section, as well as his soloing (trading 8s)
-- everything Jones plays on the in and out melodies
-- horn melodies written above the drum staff
-- comping and time for first eight bars of Ryan Kisor's trumpet solo
-- two choruses of trading eights, including sticking patterns CLIP
Daahoud has been interpreted by many great drummers, including Shelly Manne and Max Roach. Willie Jones III's approach is another, and it's definitely worth checking out. Despite the song's strong melody, Willie's musical intuition and his use of quick and smooth phrasing allows him to fill in and complement any gap in the melody. Included in our drum transcription are sticking patterns and accents throughout the solo sections, which highlight Willie Jones III's attention to detail and sound. His approach to playing this song is rather different than that of Max Roach who breaks his ride cymbal groove during the melody to play most of the melodic figures on his drums. You can see Willie playing Daahoud live in Amsterdan here.
Check out our Drum Corner for more transcriptions by Willie Jones III and other masters.
-- everything Jones plays on the in and out melodies
-- horn melodies written above the drum staff
-- comping and time for first eight bars of Ryan Kisor's trumpet solo
-- two choruses of trading eights, including sticking patterns CLIP
Daahoud has been interpreted by many great drummers, including Shelly Manne and Max Roach. Willie Jones III's approach is another, and it's definitely worth checking out. Despite the song's strong melody, Willie's musical intuition and his use of quick and smooth phrasing allows him to fill in and complement any gap in the melody. Included in our drum transcription are sticking patterns and accents throughout the solo sections, which highlight Willie Jones III's attention to detail and sound. His approach to playing this song is rather different than that of Max Roach who breaks his ride cymbal groove during the melody to play most of the melodic figures on his drums. You can see Willie playing Daahoud live in Amsterdan here.
Check out our Drum Corner for more transcriptions by Willie Jones III and other masters.
Clifford Brown
October 30, 1930 – June 27, 1956
Clifford Brown was a legendary and influential trumpet player who had everything going for him: an incredible sound, dazzling technique and ideas, and a great compositional gift. Brown was in the limelight for just five years (he died in a car accident at age 25) yet his mark on jazz is indelible. Early performances at jam sessions with Dizzy Gillespie, Charlie Parker and Fats Navarro (his major influences) led to work with R&B bandleader Chris Powell, which included his first commercial recording (March 21, 1952). His second commercial recording was with Lou Donaldson for Blue Note Records (June 9, 1953), a session that also included Philly Joe Jones and Elmo Hope (Carvin' The Rock, De-Dah and Bellarosa). On this session, Clifford also got to record one of his own compositions (Brownie Speaks), which became his first recorded composition. Read more...