For the legal edition, Hal Leonard did check with us to get the correct notes, but like the former edition, it's just a one-chorus melody lead sheet, devoid of any of the important rhythm section hits or Clifford's Coda, which he felt was part of the composition. You may have already seen a lead sheet of Joy Spring in "The Real Book." The original (illegal) Real Book contains mistakes. For many years we have had the this classic quintet arrangement available (full score and parts). To avoid any confusion, our lead sheet editions also contain a separate solo section. We're now making the lead sheets from the original quintet recording available so everyone can play and solo on this classic. Joy Spring Septet arrangement (product HL00000772) Joy Spring Quintet arrangement (product HL00000550) To immediately purchase the arrangements from Music Dispatch: Joy Spring - Brown, Clifford - Septet - Arranged by Jack Montrose They're accurate and complete: years ago, arranger Jack Montrose gave SFM a copy of his score from the septet recording session, and Don Sickler transcribed the quintet arrangement so it's complete with introduction, etc.Ĭlick on these links for information about these two print arrangements at :
![joyspring music joyspring music](https://m.media-amazon.com/images/I/71H7yWtZB9L._SS500_.jpg)
They've been available from Second Floor Music for a number of years. The printed septet and quintet arrangements are both classic charts, fun to play and always popular with audiences. Even if you know the song well in F concert, it can still throw you a loop to suddenly have to play it in a different key.
#Joyspring music full
Joy Spring is full of movement, both melodically and harmonically. Seeing this, Montrose quickly suggested that they record the piece later on, but Brownie said, 'No problem, let's do it in this key,' and that's how the record was made." When Brown stepped up to play the arrangement, he was surprised at the key change. "Montrose lowered the key to E♭ because he enjoyed Brownie's lower register improvisations. During the days of this engagement, Jack got to spend time with Clifford going over his originals.Īuthor Nick Catalano has some interesting quotes from Jack about Clifford, in his book "Clifford Brown, The Life and Art of the Legendary Jazz Trumpeter." Discussing the Joy Spring key change: In the spring of 1954, tenor saxophonist Jack Montrose, who Bock chose to write the arrangements for the session, had a group with Art Pepper that played on the same bill at the Tiffany Club opposite Clifford and Max's group. Unfortunately, we only have Clifford playing Joy Spring on these two recording sessions, unlike his other "jazz standard" Daahoud, which is on those two sessions, but was also recorded on JFebruand June 1, 1956.īefore Clifford recorded with Max Roach, he had to fulfill a commitment he had made to Dick Bock at Pacific Coast Jazz Records. Then, less than a month later, Clifford, with drummer Max Roach and the rest of the Clifford Brown - Max Roach quintet, started off their August 6, 1954, recording session with two takes of Joy Spring. He recorded Joy Spring three times on two quite different recording sessions.įirst, Clifford recorded Joy Spring on a septet session for Pacific Jazz on July 12, 1954, with arrangements written by Jack Montrose.
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Clifford's own recordings of Joy Spring are classics. Note: The printed arrangements (quintet and septet) are available from and other music distributors.Ĭlifford Brown's composition Joy Spring is a true jazz standard and has been recorded by many different artists over the past 50-plus years. I always remember fellow trumpet player Jack Walrath's comment, 'If you really think you have your technique together, try to play Joy Spring through ALL the keys. For the lead sheets, we've kept the last section to eight measures, Clifford's normal coda.ĭon Sickler: "Being able to play and solo fluently in different keys is challenging, fun and very important. Montrose added an extension, making what is normally an eight-measure last section into a ten-measure section. You'll see that you can play the melody of our edition with the recording, and it works great, until you get to the solo break. Our E♭ concert lead sheets are not what Clifford plays on this recording, rather, they show the whole melody intact in E♭ concert. The Montrose arrangement weaves the melody back and forth between Clifford and the other instruments of the ensemble in some places this is notated in the septet arrangement (see below for availability). You can see (and hear) that Clifford is more than comfortable in either key from his solos (solos from both dates are available, click the album covers above). If you already know this "jazz standard" in F concert, Clifford's preferred key, now you can get it together in E♭ concert, the key Clifford first recorded it in, thanks to arranger Jack Montrose's key choice.