Highest Mountain – Clifford Jordan
One of Clifford Jordan's best-known compositions, this intricate yet catchy medium-up song has been recorded in a wide variety of settings. The first version we're presenting is a quartet recording from Clifford's album of the same title from 1975, with a transcription of his solo. Other arrangements will be added soon.
- Recording: Clifford Jordan - The Highest Mountain
- Recorded on: April 18, 1975
- Label: SteepleChase (SCS 1047)
- Concert Key: G minor
- Style: Swing (medium up)
- Tenor Sax - Clifford Jordan
- Piano - Cedar Walton
- Bass - Sam Jones
- Drums - Billy Higgins
Video
- Clifford Jordan's Big Band performing THE HIGHEST MOUNTAIN at the Montreux Jazz Festival, 1985. Clifford Jordan, tenor sax, leader; saxes - Jerome Richardson, Sue Terry, Lou Orensteen, Willie Williams, Charles Davis; brass - Dizzy Reece, Dean Pratt, Don Sickler, Stephen Furtado, Kiane Zawadi, Brad Shigeta; piano - Ronnie Mathews; bass - David Williams; drums - Charli Persip
Our audio excerpt begins with the 12-measure intro, as shown in our lead sheet which reflects this specific recording. Clifford Jordan starts by himself, with a rhythmic line based on the B section changes. After eight measures, the rhythm section comes in with four measures of hits as the tenor sax melody continues—the same as the C section—which set up the melody chorus.
The Highest Mountain is Clifford Jordan's most recorded composition, and once you hear it you'll see why—this one is truly a delight to play. The extended form is an adventure full of catchy melodic themes and exciting rhythm section activity. There is a strong blues feeling nearly throughout, at times approaching gospel territory. Though some sections have irregular lengths, they are all very clearly defined.
The form begins with an 11-measure A section, which can be further divided into a six-measure opening phrase and a five-measure variation. In this section the key center is slightly ambiguous, with a "suspended" sound focusing on Dmaj7 and Cmaj7. Rhythmic hits set up the eight-measure B section, which establishes the G minor key center with long notes in the melody. This is followed by a four-measure C section with more rhythm section hits. At D (eight measures), the bass starts walking and the melody becomes a gospel-esque blues shout. E is a variation of D, only seven measures long going straight to F, the final eight-measure section which starts like a shortened version of B and ends the same as C.
In his many recordings, Clifford Jordan explored a variety of paths through this song in terms of phrasing, arrangement, and often reharmonization. Our lead sheet for this quartet version shows the rhythm section arrangement. The piano and bass follow the A section melody, but split up: the bass plays with the melody on beats 1 and 3, with piano chords on the "ands." At B the bass has a rhythmic figure on the roots; some other versions have a bass ostinato here which is the same as what Clifford plays on the intro of this recording, with a variation at F. This version vamps the last four measures of the melody for an ending, with a diminished tonic chord.
The solo changes shown on this lead sheet are based on the head. However, this is one of two different solo choruses used on this recording, which are alternated throughout the tenor and piano solos. The second set of solo changes is not included in the lead sheet but can be seen in our transcription of Clifford Jordan's solo. Click on the Solos tab for more details.
The Highest Mountain is Clifford Jordan's most recorded composition, and once you hear it you'll see why—this one is truly a delight to play. The extended form is an adventure full of catchy melodic themes and exciting rhythm section activity. There is a strong blues feeling nearly throughout, at times approaching gospel territory. Though some sections have irregular lengths, they are all very clearly defined.
The form begins with an 11-measure A section, which can be further divided into a six-measure opening phrase and a five-measure variation. In this section the key center is slightly ambiguous, with a "suspended" sound focusing on Dmaj7 and Cmaj7. Rhythmic hits set up the eight-measure B section, which establishes the G minor key center with long notes in the melody. This is followed by a four-measure C section with more rhythm section hits. At D (eight measures), the bass starts walking and the melody becomes a gospel-esque blues shout. E is a variation of D, only seven measures long going straight to F, the final eight-measure section which starts like a shortened version of B and ends the same as C.
In his many recordings, Clifford Jordan explored a variety of paths through this song in terms of phrasing, arrangement, and often reharmonization. Our lead sheet for this quartet version shows the rhythm section arrangement. The piano and bass follow the A section melody, but split up: the bass plays with the melody on beats 1 and 3, with piano chords on the "ands." At B the bass has a rhythmic figure on the roots; some other versions have a bass ostinato here which is the same as what Clifford plays on the intro of this recording, with a variation at F. This version vamps the last four measures of the melody for an ending, with a diminished tonic chord.
The solo changes shown on this lead sheet are based on the head. However, this is one of two different solo choruses used on this recording, which are alternated throughout the tenor and piano solos. The second set of solo changes is not included in the lead sheet but can be seen in our transcription of Clifford Jordan's solo. Click on the Solos tab for more details.
"The Highest Mountain" was recorded live in Munich, Germany. The other two recorded concerts from this quartet's tour, from Paris (released on "Night Of The Mark VII") and Amsterdam ("On Stage, Vol, 1, 2, & 3"), also include versions of The Highest Mountain.
This quartet first recorded together on Clifford's 1973 album "Glass Bead Games." His 1976 album "The Pentagon" features the same lineup with Ray Mantilla added on congas. Also in 1976, Clifford joined the same rhythm section for Art Farmer's "Live At Boomer's," Art's first album as a leader with Clifford in the front line.
This quartet first recorded together on Clifford's 1973 album "Glass Bead Games." His 1976 album "The Pentagon" features the same lineup with Ray Mantilla added on congas. Also in 1976, Clifford joined the same rhythm section for Art Farmer's "Live At Boomer's," Art's first album as a leader with Clifford in the front line.
A six-page transcription is available, in B♭ and C transpositions, for Clifford Jordan's solo on this recording. This solo is a definitive example of Clifford's unique style. His lines are clear, expressive, exciting and memorable throughout. There is a lot of melody in this solo. Check out the way he plays the D section - you could make a whole new song out of what he plays here in each chorus.
CLIPClifford's solo is five choruses long. These choruses use two different sets of solo changes, alternating between a variation (played in the first chorus) and the original changes based on the head, which start on his second chorus. The alternate changes take the descending pattern of major chords from the beginning of the A section and extend the sequence further down in the third through sixth measures. The B and C sections of this chorus also feature a descending cycle, ultimately resolving to G minor for the D section at which point the changes are the same as the other solo chorus. This alternate set of changes was used for a shout chorus in some later arrangements.
CLIPClifford's solo is five choruses long. These choruses use two different sets of solo changes, alternating between a variation (played in the first chorus) and the original changes based on the head, which start on his second chorus. The alternate changes take the descending pattern of major chords from the beginning of the A section and extend the sequence further down in the third through sixth measures. The B and C sections of this chorus also feature a descending cycle, ultimately resolving to G minor for the D section at which point the changes are the same as the other solo chorus. This alternate set of changes was used for a shout chorus in some later arrangements.
Clifford Jordan
September 2, 1931 – March 27, 1993
One of the great tenor saxophone stylists of the hard bop scene, Clifford Jordan lent his unique sound and heartfelt soloing to a wide variety of bands and recordings for over 30 years. Read more...