Spring Cannon – Kenny Dorham
Not a canon but a Cannon! This uptempo swinger was originally written as a feature for saxophonist Cannonball Adderley. Our lead sheets derive from the quintet recording by jazzleadsheets.com's Don Sickler.
- Recording: Kenny Dorham - Blue Spring
- Recorded on: January 20, 1959
- Label: Riverside (RLP 12-297)
- Concert Key: F
- Style: Swing (medium up)
- Trumpet - Kenny Dorham
- French Horn - David Amram
- Alto Sax - Cannonball Adderley
- Bari Sax - Cecil Payne
- Piano - Cedar Walton
- Bass - Paul Chambers
- Drums - Philly Joe Jones
For a detailed description of this song, click on the second album cover. Our septet Concert Condensed Score shows the arrangement as it is on this original recording. It's an alto feature for Cannonball Adderley (hence the title), who plays the melody throughout the head. The other horns harmonize at the same points where the second part plays in our quintet arrangement; in the head, the baritone sax only doubles the bass in the last two measures. The rhythm section activity is different from the quintet version; the second time through the head goes to 4-feel after the pedal point. The first repeat of the head adds an extra chord, Fmaj7 in the fourth measure, instead of staying on the C pedal; this breaks the contour of the form even further. The rhythms of the melody are slightly different in the two times through the in head.
On the solos, the rhythm section plays with a 4-feel throughout. There is no D.S.; the out head is notated, as it differs slightly from the first repeat of the in head—particularly due to the rhythm section staying on the pedal point in the fourth measure instead of going to Fmaj7. There is an eight-measure coda which does not appear in the quintet arrangement, with rhythmic hits responding to the melody. The changes here descend chromatically and then resolve in fourths, ending on a mysterious-sounding C7sus(♭9).
The concert Condensed Score is available for this version; see the next album cover for parts.
On the solos, the rhythm section plays with a 4-feel throughout. There is no D.S.; the out head is notated, as it differs slightly from the first repeat of the in head—particularly due to the rhythm section staying on the pedal point in the fourth measure instead of going to Fmaj7. There is an eight-measure coda which does not appear in the quintet arrangement, with rhythmic hits responding to the melody. The changes here descend chromatically and then resolve in fourths, ending on a mysterious-sounding C7sus(♭9).
The concert Condensed Score is available for this version; see the next album cover for parts.
Drummer Philly Joe Jones played on only two of the six songs on this album. The other songs, recorded a month later, have Jimmy Cobb on drums; they include the title track, which is a variant of Blue Spring Shuffle. "Blue Spring" was also pianist Cedar Walton's second full album, after another Dorham recording for Riverside, "This Is The Moment."
Cannonball Adderley did not otherwise record with Kenny Dorham. Between the two sessions for this album, Adderley played on two very important albums: bassist Paul Chambers' "Go", also with Jimmy Cobb and a guest appearance from Philly Joe, as well as the quintet album with John Coltrane originally released as "Cannonball Adderley Quintet In Chicago." The second "Blue Spring" session was followed, for Cannonball, by the ultimate classic: Miles Davis' "Kind Of Blue." Chambers and Cobb, also among the hardest-working players of that scene, found time to record a Wynton Kelly-led session in between.
Cannonball Adderley did not otherwise record with Kenny Dorham. Between the two sessions for this album, Adderley played on two very important albums: bassist Paul Chambers' "Go", also with Jimmy Cobb and a guest appearance from Philly Joe, as well as the quintet album with John Coltrane originally released as "Cannonball Adderley Quintet In Chicago." The second "Blue Spring" session was followed, for Cannonball, by the ultimate classic: Miles Davis' "Kind Of Blue." Chambers and Cobb, also among the hardest-working players of that scene, found time to record a Wynton Kelly-led session in between.
- Recording: Don Sickler - The Music Of Kenny Dorham
- Recorded on: November 12, 1983
- Label: Uptown (UP27.17)
- Concert Key: F
- Style: Swing (medium up)
- Trumpet - Don Sickler
- Tenor Sax - Jimmy Heath
- Piano - Cedar Walton
- Bass - Ron Carter
- Drums - Billy Higgins
Though the title seems to indicate that this song is (or contains) a canon, there is in fact no counterpoint in either of the recorded arrangements. However, the melody would work well in such a format. Spring Cannon has an unusual 16-measure form, beginning with four measures of C (dominant) pedal point with a descending, triadic melody. The next six measures ascend, melodically and harmonically, back to the C pedal point in the 11th measure; this continues for four measures again, but only the last two have the triadic melody as at the beginning, with a turnaround concluding the form. Thus the form could be divided into 4-, 8-, and 4-measure sections based on the melody, or 4-, 6-, and 6-measures based on the harmony—the latter is easier to hear during the solos. The form is even further obscured by the intro, which is only two measures long and consists of the same phrase as the first two measures of the head, with the melody a third higher; the head thus feels like a logical extension of the intro.
About the arrangement: This quintet arrangement by jazzleadsheets.com's Don Sickler has the trumpet playing the melody throughout the head. The tenor adds some harmony notes, more in the second time through the head than the first. The melody is shown as cues in the second part wherever that part is not playing. Unlike the original recording, the rhythm section plays the pedal points in the solo choruses where they are in the head. There is no coda; the out head ends at the last note of the melody.
Rhythm section players should read the Concert Condensed Score.
About the arrangement: This quintet arrangement by jazzleadsheets.com's Don Sickler has the trumpet playing the melody throughout the head. The tenor adds some harmony notes, more in the second time through the head than the first. The melody is shown as cues in the second part wherever that part is not playing. Unlike the original recording, the rhythm section plays the pedal points in the solo choruses where they are in the head. There is no coda; the out head ends at the last note of the melody.
Rhythm section players should read the Concert Condensed Score.
"The Music Of Kenny Dorham" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Don Sickler's first record as a leader was recorded by Rudy Van Gelder at his Englewood Cliffs studio. Don had been working for the owner of Uptown Records (and his partner, who later formed Reservoir Records) as a producer since 1982, when they wanted to record "Dameronia," the band formed by drummer Philly Joe Jones to promote the music of Tadd Dameron. Don was the transcriber and musical director for that band.
Philly Joe was scheduled to be on Don's record, but an unexpected gig made that impossible, so Billy Higgins took over.
Don Sickler's first record as a leader was recorded by Rudy Van Gelder at his Englewood Cliffs studio. Don had been working for the owner of Uptown Records (and his partner, who later formed Reservoir Records) as a producer since 1982, when they wanted to record "Dameronia," the band formed by drummer Philly Joe Jones to promote the music of Tadd Dameron. Don was the transcriber and musical director for that band.
Philly Joe was scheduled to be on Don's record, but an unexpected gig made that impossible, so Billy Higgins took over.
Kenny Dorham
August 30, 1924 – December 15, 1972
August 30, 2025, is Kenny Dorham's 101st birthday: jazzleadsheets.com has added many new K.D. compositions. Jazz At Lincoln Center has dedicated three late-night sets to Kenny's music, played with love by young musicians who want his music to live on. Join in, play K.D. music! Read more...