Elise – Page 19

Jeff Goldblum + the Mildred Schnitzer Orchestra (feat. Scarlett Johansson) | The Best Is Yet to Come

Having starred “as The Wizard of Oz with Ariana Grande and Cynthia Erivo in the critically acclaimed global box office smash Wicked, Jeff Goldblum’s storied career now spans six decades of award-winning work as a starring actor in film, television, and theater,” (Atlanta Symphony Orchestra). “He has also produced both film and television projects and is an Oscar nominated director for his short feature film, Little Surprises. Goldblum’s many cinema credits include The Big Chill, The Grand Budapest Hotel, and The Fly— and box office behemoths Independence Day, Jurassic Park, and Thor Ragnorak. As a pianist, “… Goldblum launched the Mildred Snitzer Orchestra 30 years ago. Since then, he and his band have performed for delighted audiences … playing contemporary arrangements of classic jazz and American Songbook standards.

“Speaking to the New York Times, Goldblum explains that he picked up the piano at a young age: ‘I’m from Pittsburgh and was one of four kids, so our parents got us music lessons, very wisely and nicely and life-changing-ly,’ he says. ‘I had a facility for it. But I didn’t yet know the joys of discipline.’ After a couple of years of vague commitment to lessons, it took an intro to jazz to really focus our Jeff.” (Classic FM) … “’That did something to my innards. That’s when I got better, because I wanted to learn that thing.'”

“The Best Is Yet To Come” (1959) was written by the team of Cy Coleman and Carolyn Leigh, who also wrote Frank Sinatra’s 1957 classic “Witchcraft.” (Songfacts). The tune is perhaps most associated with Sinatra; the phrase “The Best Is Yet To Come” is etched into the singer’s gravestone. But Goldblum’s version 2025 version takes a very different approach, with its bossa nova feel complimenting the vocals of actor Scarlett Johansson. The chromatic exactitude of the melody turns each long phrase its own little world, making the frequent key changes almost an afterthought. The intro is built in Bb minor, but as verse 1 starts at 0:17, there’s a shift to D major; verse 2 shifts to F# major at 0:42. More shifts continue throughout.

Lou Christie | Lightnin’ Strikes

“’Listen to me, baby, you gotta understand / You’re old enough to know the makings of a man.’ That’s how Lou Christie opens ‘Lightnin’ Strikes,’ his one #1 hit,” (Stereogum). “He sounds like an early-’60s teenybopper crooner, slick and composed. But as the song builds and unfurls, he comes more and more unhinged before jumping into a wild Frankie Valli falsetto on the chorus.

… Christie, born Lugee Sacco in Pittsburgh, was a gifted classical musician and singer when he was a teenager. When he was 15, he met the 37-year-old classical concert pianist Twyla Herbert, and the two of them started a long and presumably pretty unconventional songwriting partnership. Just out of high school, Christie recorded a few singles that he’d written with Herbert, and one of them, 1963’s ‘Two Faces Have I,’ made it to #6 in 1963. Soon afterward, he was drafted into the Army. After being discharged, he signed with MGM Records, but the label didn’t like ‘Lightnin’ Strikes,’ so Christie paid out of his pocket to get radio DJs to play it. The scheme worked out, and ‘Lightnin’ Strikes,’ another Christie/Herbert collaboration, made it to #1 a couple of months after it came out.

… The producer, Four Seasons member Charles Callelo, used New York session musicians to chase the Phil Spector sound. It’s full of pounding pianos and stabbing guitars and howling backing singers, and there’s a wild and borderline avant-garde bass solo in there, too.”

After the gentle verse starts in Eb major, the tune shifts to C major for the first pre-chorus section at 0:22, intensifies through another pre-chorus section at 0:36, and then opens into the huge chorus in F minor at 0:44. After all of that, the second cycle through the form starts at only 0:58! The pattern continues from there. The lyrics were bordering on NSFW for the era, but the novelty of the wildly contrasting sections seemed to carry the day.

Pretenders | Message of Love

“Over their 44-year career, the Pretenders have never chased trends or followed fashions to stay relevant,” (The Guardian). “But they didn’t need to. Their influential jangling sound – helpfully described on their T-shirts as ‘two guitar, bass and drums’ – has become timeless. It’s also still the perfect vehicle for (Chrissie) Hynde’s voice, an instantly recognisable mix of sand and honey, attitude and yearning … “

Seeing this singular band in its prime reveals what a huge blast they were having. Little wonder that Pretenders benefited — more than most bands — from a nascent MTV, accelerating their career via video.

“Message of Love,” from Pretenders’ sophomore release Pretenders II (1981), is built in an up-tuned A major overall, its gears rotating around clanging syncopated guitar chords. A profoundly different extended bridge starts at 1:22; the bassline has shifted to a smooth walking line and the key shifts to C mixolydian and then D mixolydian at 1:55. At 2:09, we’ve fallen back into line for the next verse in the original key. 2:45 brings a mostly instrumental outro in F major.

Counting Crows | Bulldog (demo)

“Counting Crows have enchanted listeners worldwide for more than two decades with their intensely soulful and intricate take on timeless rock and roll,” (BendConcerts.com). Exploding onto the music scene in 1993 with their multi-platinum breakout album, August and Everything After, the band has gone on to release seven studio albums, selling more than 20 million records worldwide, and is revered as one of the world’s most pre-eminent live touring rock bands.

… Over the last 30 years, the masterful songwriting from frontman Adam Duritz put the band at #8 on Billboard‘s 2021 “Greatest Of All Time: Adult Alternative 25th Anniversary Chart.” After nearly seven years, the award-winning rockers announce their highly anticipated new project, Butter Miracle, Suite One. Produced by Brian Deck, the four-track, 19-minute suite is set for worldwide release this spring.”

Starting in E minor, the unreleased demo track “Bulldog,” featuring an insistent energy throughout, shifts at 0:55 to a chorus that shifts to an alternating B major and B minor. At 1:23, verse 2 returns to E minor. The pattern continues from there until the tune’s end, which features an unresolved F major chord at the end of a chorus — an unsettling tri-tone away from the tonic of the key.

for Kelli

Rusty Kershaw | Fisherman’s Luck

“Musician Russell Lee ‘Rusty’ Kershaw, brother of fiddler Doug Kershaw and former member of the Rusty & Doug, passed away in 2001 at the age of 63,” (CMT.com). “Kershaw, who was born in Louisiana Feb. 2, 1938, joined his brothers Doug and Nelson (“Pee Wee”) in 1948 to form the Cajun band Pee Wee Kershaw & The Continental Playboys.” They later appeared on KPLC-TV in Lake Charles, Louisiana, Louisiana Hayride, and the Wheeling Jamboree on radio station WWVA in Wheeling, WV.” As a duo, Rusty & Doug released several top 20 Country singles. “Rusty & Doug joined the Grand Ole Opry in 1957. Over the next three years, the Kershaws charted three more singles … ‘Louisiana Man’ went to #10. The duo signed to RCA Records in 1963. The next year, however, Rusty left the duo.

Continuing to record and perform on his own, Rusty Kershaw released the album Cajun in the Blues Country (1970). He figured prominently in Neil Young’s 1974 album, On the Beach, playing fiddle and slide guitar and also providing the liner notes. Young later returned the favor by performing on eight tracks of Kershaw’s … 1992 album, Now and Then.”

One of the tunes from Cajun in Blues Country, featuring Charlie Daniels on fiddle, was “Fisherman’s Luck.” After the tune begins in D major, there’s a shift up to A major for the chorus (0:56), then a fall back to the original key for the next verse. The pattern continues from there.

Mily Balakirev | Islamey (Boris W. Berezovsky, piano)

“Reputed to be the hardest work for piano, Balakirev’s 1869 work Islamey saved many a pianist’s weary wrists when it was orchestrated in 1907 by Alfredo Casella,” (Interlude.hk). “Its reputation ensured that both Rubinstein and Liszt had the piano work in their concert repertoire.

… The work as a piano piece is important in Russian musical history because it was the first Russian work to become established in the mainstream repertoire other than as a salon piece. Putting it on the European stage under the fingers of Franz Liszt made the work one of the stars of the new exoticism coming out of Russia. Making it into an orchestral piece extended its reach … Islamey, taking its themes from the Caucasus and Armenia, again brings the remote reaches of Russia back to its main cities. The dedicatee of the piano work, Nikolai Rubinstein, gave the premiere of the work in St. Petersburg in late 1869.”

This landmark composition undergoes many changes in key. But perhaps the most profound occurs at 7:44, when the modulation is also accompanied by a transition in both tempo and time signature — from a frantic 12/16 to to a luxurious Andantino in 6/8.

The Jam | Beat Surrender

“In May 1977, a three-piece rock group from Woking appeared on Top Of The Pops,” (TheJamOfficial). ” … the energy and sense of purpose that was firing what had been called punk and was now mutating into New Wave, but it had a lot more: a melodic charge … that betrayed its makers’ love of classic British pop, and the clear sense that the band’s main creative force was already thinking like an accomplished songwriter. Between 1977 and 1982, the band released an incredible array of music. In the UK, there were five albums and 17 singles, a stack of number 1s, and a journey which encompassed no end of influences, styles, and textures.

“The final single by The Jam, one of those rare cases where a band really did quit at the top, made its UK chart debut on December 4, 1982.” (UDiscoverMusic). “‘Beat Surrender’ debuted at #1 to give the band their fourth and final bestseller, and within a few days The Jam were effectively no more. The Paul Weller composition had a distinct soul flavor which, with hindsight, can be seen as a preview of the direction he would take with his new band, the Style Council. The horn-filled sound spoke of Weller’s love of classic R&B, on a high-energy swansong to The Jam’s five years of unbroken success.”

After an opening chorus in (approximately!) A major, the first verse starts in D major at 0:17. At 1:27, the groove shifts into a bridge in C# minor, followed by an instrumental verse and then a vocal verse, both in D major, at 1:52. At 2:14, the chorus returns and repeats to the end — this time in a more conventional version of A major.

Someone Else’s Story (from “Chess”)

Chess The Musical is a musical stage production with a very interesting story line that captures the essence of the Cold War … Tim Rice, the legendary British musical theater lyricist, and writer, became hooked on the epic chess match between world chess champions Bobby Fischer and Boris Spassky. It was during the Cold War that tension between the US and the USSR led to his thinking, “Hey, this would be a great backdrop for a story.”

Tim was a regular collaborator with Andrew Lloyd Webber for a while and he wanted to work with him again. Unfortunately, Andrew was busy with Cats, so Tim (worked with) ABBA’s Björn Ulvaeus and Benny Andersson. We can say Chess The Musical is about the rivalry between the American and Russian players with a romantic subplot … Even before it hit the stage, it was clear that the soundtrack for Chess was a total game-changer. Released as a double LP concept album in 1984 by RCA Records, it quickly became a worldwide hit. The show later had its West End debut in 1986 and its Broadway opening in 1988.

The New York Times called the album “a sumptuously recorded…grandiose pastiche that touches half a dozen bases, from Gilbert and Sullivan to late Rodgers and Hammerstein, from Italian opera to trendy synthesizer-based pop, all of it lavishly arranged for the London Symphony Orchestra with splashy electronic embellishments.” The standout single, “One Night in Bangkok,” performed by Murray Head, ranked #3 on the US Billboard Hot 100 list.” Other standouts from the soundtrack include “I Know Him So Well,” “Pity the Child,” “The Arbiter,” and “Nobody’s Side.” The ballad “Someone Else’s Story” begins in F major; after a a bridge starting at 2:16, the key shifts up a full step to G for the balance of the tune.

Christopher Cross | Think of Laura

“‘Think of Laura‘ is a popular song by the American Grammy Award-winning singer-songwriter Christopher Cross,” (SessionDays). “Released as a single in late 1983 from Cross’ second studio album, Another Page, ‘Think of Laura’ became the singer’s fourth (and, to date, final) single to reach the Top 10 on the Billboard Hot 100 chart, where it peaked at #9 in early 1984. The song spent eleven weeks in the Top 40. In addition, the song became Cross’ third single to hit #1 on the adult contemporary chart, following ‘Never Be the Same’ and ‘Arthur’s Theme (Best That You Can Do).’ It remained at #1 on this chart for four weeks. The song was written by Cross and produced by Michael Omartian.

The song became popularized when the American television network ABC began playing ‘Think of Laura’ in reference to a character on the soap opera General Hospital … Cross allowed ABC to use his song in this context; however, he has stated that he wrote ‘Think of Laura’ … to mourn the death of Denison University college student Laura Carter, who was killed when she was struck by a stray bullet during an altercation among four men over a block away. Cross had come to meet Laura through her college roommate Paige, whom Cross was dating at the time … he wrote the song as a way of offering comfort to Paige and honoring Carter’s memory … The lyrics express the sorrow felt by those who knew the woman, but ask that she be remembered with happiness.”

The tune begins with a verse in D major; at 0:29, with the help of a common tone in the vocal melody, the key shifts to B major. The pattern continues from there. The focus throughout is on the heartfelt lyrics and Cross’ instantaneously recognizable (counter?)tenor and distinctive phrasing. Many thanks to regular contributor Rob P. for yet another wonderful addition to MotD!

Elis Regina | O Cantador

“To really appreciate Elis Regina, start with the lowly half-step,” (NPR). “It’s the penny of the music world — the smallest interval on the piano. Some vocalists treat half-steps as annoying afterthoughts. They smush them together into a blur. Regina’s art happens inside the half-steps, in the tiny increments that make up a melody. When Regina sings, half-steps seem to expand. Partly, that’s a reflection of her exacting technique: When she wants to, she can nail the most challenging intervals. At the same time, she’s not at all fussy. Her lazy, endlessly sloping phrases magnify the sometimes hidden shades of meaning in a lyric. She’s the rare singer who can conjure an ocean of love trouble in the space between C and C-sharp.

Like so many Brazilians, she learned her craft by interpreting the intricate, half-step-rich songs of Antonio Carlos Jobim. One of her career milestones, recorded in the early ’70s, is an intimate duo recording with the great composer — Jobim backs Regina on piano — titled Elis and Tom … Regina brought a mischievous streak and a jazz singer’s taste for adventure to everything she did. She reimagined samba and bossa nova classics. And in the late ’60s, she became a champion of the young Brazilian songwriters who were integrating elements of British and American rock. Her interpretations of songs such as ‘Nada Sera Como Antes,’ by Milton Nascimento, helped bring attention to this new generation of talents — the movement known as Tropicalia.”

Regina’s version of “O Cantador” by Nelson Motta and Dori Caymmi, was first released in 1967. At 2:59, the key is raised by a half-step with a syncopated kick, only to come back down again at 3:06. But as the tune fades, the higher key prevails (3:13). Many thanks to our regular Brazilian contributor Julianna A. for this tune — her seventh wonderful MotD submission!