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. 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.
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