In the fall of 1953, while on tour in North Africa with Lionel Hampton, trumpeter Clifford Brown and the band stopped in Algeria. There, it is assumed the essence of his composition Daahoud came together. It's unclear who Daahoud was, Daahoud being Arabic for David. When Brown returned to the States and began to record as a leader, starting with the Pacific Jazz label in July 1954, his new composition Daahoud was part of the session with Stu Williamson (v-tb) Zoot Sims (ts) Bob Gordon (bar) Russ Freeman (p) Joe Mondragon (b) Shelly Manne (d) and Jack Montrose (arr).,,
Brown, of course, would re-record the song with his famous quintet a month later in August '54, with Max Roach (d), Harold Land (ts), Richie Powell (p) and George Morrow (b)...
I give you this background so you can more fully appreciate a version of the song by tenor saxophonist Warne Marsh. In October 1957, Marsh appeared at the Galleon Room in Dana Point, Calif., with Joe Albany (p) Bob Whitlock (b) and Red Martinson (d). During the set, the group played a splendidly dry and sensitive version of Dahoud (the spelling that Marsh used).
Brown, of course, would re-record the song with his famous quintet a month later in August '54, with Max Roach (d), Harold Land (ts), Richie Powell (p) and George Morrow (b)...
I give you this background so you can more fully appreciate a version of the song by tenor saxophonist Warne Marsh. In October 1957, Marsh appeared at the Galleon Room in Dana Point, Calif., with Joe Albany (p) Bob Whitlock (b) and Red Martinson (d). During the set, the group played a splendidly dry and sensitive version of Dahoud (the spelling that Marsh used).
This story appears courtesy of JazzWax by Marc Myers.
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