1955, version in the studio album Arranged by Montrose of Jack Montrose.In 1985 Jon Hendricks wrote a lyric to Brown's music and the song was performed and published by Manhattan Transfer on their album Vocalese with the title Sing Joy Spring.
Absent any knowledge of jazz theory – and in particular, absent any knowledge of bebop articulations, phrasing, and the use of half-step progressions, tritone substitutions, and other musical features of the style – she began writing a thesis titled "Jazz versus the Arts." Max Roach, her friend who introduced her to Brown, took her aside and said: "Honey, the whole world is not built around tonic / dominant." He convinced her to the point that she became a jazz devotee. Larue Anderson, before marrying Brown, had been a classical music student at the University of Southern California. That take has been issued on several albums, including Jazz Messages ( Jazztone J-1281), Clifford Brown & Max Roach ( Pacific Jazz CDP 7 46850 2), and Jazz Imortal – Featuring Zoot Sims (1988 Pacific Jazz CDP 7 46850 2). Six days later (August 12, 1954), at the same studio, Brown, as leader, recorded Jack Montrose's arrangement of it with Stu Williamson ( valve trombone), Zoot Sims ( tenor sax), Bob Gordon ( baritone sax), Russ Freeman (piano), Joe Mondragon ( bass), and Shelly Manne (drums). Known as the “James Joyce of Jive”, Hendricks currently teaches at the University of Toledo.Brown first recorded "Joy Spring" in a studio session led by him on August 6, 1954, at Capitol Recording Studios, in Los Angeles, with Harold Land (tenor sax), Richie Powell (piano), George Morrow ( bass), and Max Roach (drums). In 1985 he provided lyrics for Manhattan Transfer’s album “Vocalese”, which went on to win an Oscar. He moved his family to London in 1964, largely to provide a better education for his children. Jon Hendricks, strongly associated with “vocalese”, the art of using voices to sing instrumental parts, added lyrics to “Joy Spring” during his time with the trio Lambert, Hendricks & Ross. Tributes include The Clifford Brown Jazz Festival in Wilmington DE, a scholarship fund and Twyla Tharp’s dance “I Remember Clifford”, which incorporated Golson’s music. His genius, kindness and the warmth of his personality led to a number of memorial songs, including “Praise for a Martyr” by colleague Max Roach and “I Remember Clifford” by Benny Golson. He died in a car accident while on his way to a musical engagement, along with fellow performer Richie Powell and Powell’s wife Nancy. Drug-free at a time when drug use was widely regarded as a prerequisite for playing jazz, he demonstrated that great music did not require drugs. Despite having only four years available for recording, Brown greatly influenced jazz the focus on chord progressions, the clarity and richness of his trumpet playing and quality of his life all proved seminal to generations that followed. In 1950 a car wreck led to a year of recovery time and he found it necessary to switch to piano for a part of that time. He had studied mathematics at Delaware State College, but transferred to Maryland State College which had a stronger music program. Having played with Dizzy Gillespie as a 19-year-old he was encouraged to go on the road, but chose college instead, where he met Fats Navarro and Max Roach, who greatly influenced his compositions. His wife LaRue said “Music was his first love I was his second, and math was his third.” Clifford Brown became fascinated with the trumpet when performing as a child with his family his father gave him a trumpet of his own when Clifford was a young teenager. While the relationship between mathematics and music is well-known, artists who are both are rare. “Joy Spring” (1954) by Clifford Brown (1930 – 1956), with lyrics by Jon Hendricks (1921 – present), features many of the qualities that made Brown’s music so memorable. Tune in to First Take with Lando and Chavis – weekdays from 6-9 am MT – for Stories of Standards to hear our favorite versions of this song all week long!
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