Spring can really hang you up the most

[JazzPadd]

[nevershouldhavesoldit]

Oooh yeah! That’s been one of my favorite tunes since I discovered it in the early ‘60s. Nice, nice, nice!

[marcwhy]

[Can anyone share a good lead sheet version of this, please? All I've found are "$$" versions, etc. Thx!]

@jazzpadd -- real nice stuff!!


[Edit: Someone sent one -- thanks!!]

[nevershouldhavesoldit]

[Can anyone share a good lead sheet version of this, please? All I've found are "$$" versions, etc. Thx!]

@jazzpadd -- real nice stuff!!


[Edit: Someone sent one -- thanks!!]

Beat me to it! Here's a jpeg for everyone else. I don't see a way to post pdfs:

[Mark Kleinhaut]

I enjoyed this rendition quite a bit.

[JazzPadd]

Oooh yeah! That’s been one of my favorite tunes since I discovered it in the early ‘60s. Nice, nice, nice!

Thank you! It’s been one of my fave tunes, too! But I only discovered it several years ago. After a NGD brought a Kalamazoo Johnny Smith into the fold, I started listening to his albums. When Spring… came on I was immediately enchanted by it, and ever since.

[JazzPadd]

@jazzpadd -- real nice stuff!!

Thank you, I appreciate it!

[JazzPadd]

I enjoyed this rendition quite a bit.

Thank you very much, I’ve been enjoying your playing, too!

[JazzPadd]

Beat me to it! Here's a jpeg for everyone else. I don't see a way to post pdfs:

Thanks for this lead sheet! I never saw that one with the lyrics before; Betty Carter’s vocal rendition is achingly beautiful.

The chart I used was in one of the old Real Books, which omits the intro. In Japan, the Jazz Standard Bible has a chart similar to the RB, but which includes the intro. After playing through these charts and listening to several versions, and after initially using the original intro, I decided to omit it and developed my own.

Joe Diorio retains the original intro. Johnny Smith uses his own, in which he plays off the #11 of both the CM7 and the BbM7. Very nice, though his use of a drop D made the voicings difficult for me.

However, the real ear opener was Kenny Burrell. Besides omitting the intro and adding his own, he alters the original BbM7 to a Bb13. It really opened up the tune for me, and I’ve played it that way ever since.

Thanks again for listening!

BTW, someone recently posted a transcript of Burrell’s version on YouTube, though I haven’t played through it yet.

[Mick-7]

Beat me to it! Here's a jpeg for everyone else. I don't see a way to post pdfs:

The first turn around is interesting, in C Major I'd play Fm7-Bb7 (IVm7-bVII7) rather than The bVIImaj.7 in this lead sheet. The bVII9, a.k.a., V7b9sus (D-Ab-C-F), resolving a half step down to the Imaj.7 (C-G-B-E) sounds great.

Or if you want to go with a Rachel Carson "silent spring" sound, try bVII7#9 (D-Ab-C#-F) > I Maj.7#5. (C-G#-B-E).

[PMB]

Thanks for your performance, JazzPad.

Another killer rendition of this tune is from Irene Kral's album, Where I Love? with Alan Broadbent on piano:

[JazzPadd]

Thanks for your performance, JazzPad.

Another killer rendition of this tune is from Irene Kral's album, Where I Love? with Alan Broadbent on piano:

My pleasure, thank you for listening.

And thanks for sharing such a lovely vocal version. Truly beautiful!

[JazzPadd]

Here’s an acoustic version, played on a Gibson Johnny Smith direct into the venue PA. It’s a similar arrangement to the more electrified one I posted previously but I used the original intro / verse this time and a shorter ending.