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).

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

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

5 7
9 1 3 3

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)
( ) ( )
F 9 #11 F 9 #11
œœ
& 44 ‰ œJ œ b œ n œ œ œ b œ b œ œ œ œ œ # œ # œ ‰ ‰ . r œ . # œ œ œ œ #œ œ #œ œ Œ œ œ œ bœ œ œ bœ œ #œ
#œ
E m6

Œ
(whole tone) œ
œ b œ b œ œ œ œ œ b œF 9œ( 11b)œ
#

œ bœ œ œ œ œ œ œ bœ œ #œ œ bœ œ œ œ b œ œ œ œ œ b œ n œ œ œ # œ œj ‰
E m6 E m6

&Ó
5

5 G? b9 11 M7 9 #5 1
#11 7 3 #5

F # m7 (b 5)
9 5 b9 11 b9
M7 3
6

#œ œ #œ œ œ œ œ œ
B7 E m6

&‰ œ œ œ œ œ bœ nœ #œ ‰ Œ Ó
8

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

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

 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
LSCS…

LSCS with added lower neighbor figure…

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

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).
(bridge)

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

Example 4: Tenderly (bridge), April, 1954

 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).

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

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

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).
 Aaberg – page 5

Bb?

1 #5 #5 #11
(sequence loosely based on whole tone scale - gaining momentum toward last “A” section) 3

(extended)

(diatonic/chromatic sequence)

(abbreviated)

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).
 Aaberg – page 6

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

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

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).

(transposed to trumpet key)

9 1 7 #5

(brackets indicate sequences based on whole tone scale)

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