Piano Sheets > Benny Golson Sheet Music > I Remember Clifford (ver. 1) Piano Sheet

I Remember Clifford (ver. 1) by Benny Golson - Piano Sheets and Free Sheet Music

  
About the Song
I Remember Clifford is the name of a jazz threnody written by jazz tenor saxophone player Benny Golson in memory of Clifford Brown, the influential and highly-rated jazz trumpeter who died in an auto accident when he was only 25 years old; he and Golson had done a stint in Lionel Hampton's band together. The song became an instant standard, as musicians paid tribute to Brown by recording their personal reading of it. Golson later said: [it] took me several weeks, but I'd never written a composition like it before. I wanted to create a melody that the public would remember, and associate it with [him]. I Remember Clifford is also the name of an album by Arturo Sandoval; the entire album is a tribute to Brown, who was a great influence on Sandoval, and features Golson's tune. Benny Golson (born January 25, 1929) is an American bebop/hard bop jazz tenor saxophonist, composer, and.    Download this sheet!
About the Artist
Benny Golson (born January 25, 1929) is an American bebop/hard bop jazz tenor saxophonist, composer, and arranger. While in high school in Philadelphia, Pennsylvania Golson played with several other promising young musicians, including John Coltrane, Red Garland, Jimmy Heath, Percy Heath, Philly Joe Jones, and Red Rodney. After graduating from Howard University Golson joined Bull Moose Jackson's rhythm and blues band; Tadd Dameron, whom Golson came to consider the most important influence on his writing, was Jackson's pianist at the time. From 1953 to 1959 Golson played with Dameron's band and then with the bands of Lionel Hampton, Johnny Hodges, Earl Bostic, Dizzy Gillespie, and Art Blakey and the Jazz Messengers. I Remember Clifford is the name of a jazz threnody written by jazz tenor saxophone player Benny Golson in memory of Clifford Brown, the influential and highly-rated jazz trumpeter who died in an auto accident when he was only 25 years old; he and Golson had done a stint in Lionel Hampton's band together. The song became an instant standard, as musicians paid tribute to Brown by recording their personal reading of it. Golson later said: .
Random article
Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)