Before I had the language to understand why, I just knew that I never quite resonated with January 1st as the new year. It always felt forced and honestly, a tad bit depressing. “Auld Lang Syne” (Should Old Acquaintance Be Forgot) is perhaps the most unceremonious song in history, and standing in the freezing cold to watch the ball drop in the middle of the most uninteresting part of New York City never appealed to me. With the exception of Dick Clark’s annual special (when he was still living), and the fact that my beloved grandmother’s birthday was just the day after New Year’s Day, I just couldn’t get excited about it.
When I was in my 20s, I began to see my own birthday as New Year’s Day (and still do to a great degree). I think the moment we each take our unique breaths into this life, is the start of our personal new year.
If you’ve struggled with connecting to January 1 as a symbol of newness and fresh starts, you’re not alone. I, along with many others, believe that if there is an event that collectively marks the beginning of a new year (for a particular hemisphere) in a way that feels more in alignment with Mother Earth and more attuned with the ancestors, it would be the Spring Equinox. The term “equinox” translates to “equality of night and day.” At this point in time, the Sun is directly above the hemisphere, and both halves of the Earth are receiving equal light, and the length of day and night are also equal. John Coltrane famously wrote a piece for the Autumnal or Fall Equinox, which also happens to land around his birth date (Trane, always ahead of us all!)
The first day of Spring season also kicks off Aries season (or vice-versa). Aries is the first sign of the zodiacal wheel. It is a cardinal sign associated with new beginnings, the first buds of growth, and initiation. In the ways that we notice the first blooms on the trees, this is a prime time to initiate newness in our own lives. I personally resonate with this a whole lot more than January 1st. You probably do, too, even if not fully conscious of it!
In celebration of the Spring Equinox and the astrological new year, here are 5 spring-inspired songs that I LOVE. I hope you enjoy!
Clifford Brown And Max Roach
“Joy Spring”
Clifford Brown And Max Roach (1954)
Emarcy
This is one of my favorite songs of all time, for any season, reason or occasion. But most certainly, opening up the windows wide on a bright spring day with this tune fluttering in the air is bliss. Clifford Brown and Max Roach — one of the most essential duos in the history of jazz. It was a short lived alliance, tragically truncated by the passing of Clifford Brown in 1956 at just 25 years old. However, the quintet they co-led and formed with pianist Richie Powell, saxophonist Harold Land and bassist George Morrow was creatively trailblazing and brilliant. Brown’s masterful “Joy Spring” starts with Land playing a two-handed arpeggio that is pretty much the opening melody. The chords that answer this arpeggio stopped me in my tracks when I was a child and they still do. I notice that when a lot of people teach this tune, they leave that part out, which is just criminal in my opinion. This call and answer between the unison lines and these dark harmonic responses in the opening really set the tune up and it’s just majestic to the ears. The changes throughout are beautiful, and the use of modulation and Max’s incredible rhythmic accents heighten and elevate the tune to a space that embodies its title and then some. It is such a buoyant, brilliant, beautiful piece. Brown’s solo from 2:55 — 3:09 can bring a tear of elation every time.
Freddie Hubbard
“Up Jumped Spring”
Backlash (1967)
Atlantic Records
I was torn between which version to post about, so I’ll just recommend you listen to both this version of Freddie Hubbard’s “Up Jumped Spring” and the one from Art Blakey and the Jazz Messengers’ Three Blind Mice Vol. 1. Although the latter might be my personal favorite for nostalgic reasons, this 1967 version is an absolute gem, especially with the addition of James Spaulding’s flute on the chorus. Hubbard’s solo is a lot more tempered on this version but his gorgeous fluid lines, and tone are exquisite. The B section of this song is simply delicious.
Carmen McRae
“Spring Can Really Hang You Up the Most”
Bittersweet (1964)
Focus Productions
“Now a spring romance doesn’t stand a chance…
Promised my first dance to winter…
All I’ve got to show’s a splinter… for my little flame.”
Whew… this one. Now, this one is not a frolic through the flowers. It is a bit gut-wrenching, equal parts haunting and absolutely splendid, detailing the juxtaposition of the associations of spring and the process of reckoning with heartache. Carmen McRae’s version includes this opening channel that imbues all the mystique and depth conceivable, and features McRae and the under-celebrated pianist and arranger Norman Simmons. The audio mix of this recording adds to the magic as McRae’s voice sits out front so untainted and organic that she sounds like she’s singing this on your shoulder. Simmons plays these beautiful, dark, clustery changes underneath and eventually bassist Victor Sproles layers in this weeping bowed bass and… sheesh! It’s one of the most incredible things I’ve ever heard. Throughout, Simmons sprinkles these absolutely gorgeous harmonic trills along the path almost like roses for McRae to walk upon and she responds with some of the greatest singing you could hope to ever hear. Just when you think you can’t take another moment. The change Simmons plays on the last time Carmen says the word “spring” will just melt you where you stand (provided you’re still standing at almost 6 minutes in). Incredible.
Teena Marie
“You Make Love Like Springtime”
Irons in the Fire (1980)
Motown
Teena Marie’s early catalogue is most certainly in the pocket when it comes to the popular music of the time — namely funk and disco. This album (my personal favorite) is a prime example of her ability to write huge hits in those genres (Sidebar: I don’t care where I am: I hear that opening glissando and Marie’s long “Heeeeeee” and it’s an instant dance party wherever I am). Yet, she always had songs in her repertoire that were reflective of the music that influenced her – early Motown, jazz, and Brazilian in particular. “You Make Love Like Springtime” from her Irons in the Fire LP is like a sunset on the beach. It has a samba feel with this awesome oscillating major-to-minor groove and arranged with her signature horn section front and center. Reflective of the merging of Brazilian music, soul and disco that we saw in the previous decade but with a Lady T Twist. A delectable, seductive warm spring night jam. The great bassist, Allen McGrier, once again knocks it out of the park.
Sarah Vaughan
Sarah Vaughan with Percy Faith and His Orchestra (1953)
“Spring Will Be a Little Late This Year”
Phillips
The only album I know this song to be on that would probably be easiest to find is Sarah Vaughan in Hi-Fi. Subsequently recorded by other greats like Ella Fitzgerald, Ray Charles and Abbey Lincoln, Vaughan first recorded it in 1953 with Canadian orchestrator and arranger Percy Faith. It’s my favorite version: the arrangement is understated and Vaughan’s phrasing enraptures. It doesn’t get much better than this.
Happy Spring!
Header image photography credit: Herman Leonard