Elise – Page 60

Jacob Collier (feat. Lizzy McAlpine + John Mayer) | Never Gonna Be Alone

“For ‘Never Gonna Be Alone,’ his first single since the award-winning Djesse Vol. 3, Jacob Collier enlisted the help of Lizzy McAlpine and John Mayer to create a celestial soundscape that spans the depths of isolation, loss and memory,” (NPR).

“There’s much to experience over the course of this one multifaceted and emotional song. ‘It speaks to my experience of the world as a hugely beautiful and fragile place,’ Collier writes in a press statement, adding that the song ‘has helped me process some of the grief I think we’re all feeling for our pasts and futures, in a myriad of different ways.'”

From the video description on Collier’s YouTube channel: “After eighteen months of FaceTime and virtual collaboration, we got to play this song in real life! Performed live at Lizzy’s show at the Troubadour on October 7th 2022.” After a few verses and choruses in C major, 2:21 brings a masterful but understated guitar solo from Mayer. At 3:02, the end of the solo intersects with a few chords outside the key, but the overarching key is unchanged. McAlpine’s crystalline soprano leads a soft-spoken mid-phrase modulation up a half-step to Db major at 3:19.

Dakota Moon | Looking For a Place to Land

“Dakota Moon is an unusual urban R&B group, one that’s equally influenced by Boyz II Men and ’70s soft rock, such as Eric Clapton and James Taylor … The quartet met at a recording session in Los Angeles for producers Andrew Logan and Mike More. The musicians had such a chemistry that they decided to form a band,” (AllMusic). ” … Before they made their debut album, they toured as Tina Turner’s opening act in 1997. By the end of the year, they had recorded their debut … the resulting record, entitled Dakota Moon, was released in April 1998.”

A Place to Land (2002), the band’s second release, features a “somewhat uncanny synthesis of early-2000s urban pop and ’70s soft rock. The album-opening title track (sounds) like half Backstreet Boys and half Eagles.”

“Looking For a Place to Land” certainly does inhabit territory somewhere between pop, rock, and r&b — with even a few brief country touches thrown into the mix. The verses feature several singers taking turns on lead; the choruses are a mix of vocalists combining for richly stacked vocal harmonies. A short drum break hits the re-set button before a half-step modulation kicks in at 2:49.

Julian Lennon | Breathe

“Julian Lennon achieved stardom with ‘Valotte’ and ‘Too Late for Goodbyes,’ a pair of Billboard Top Ten hits from the mid-’80s,” (AllMusic). “At that point, the tragic death of Julian’s father John was still fresh in public consciousness and, from a certain angle, the son resembled the parent: the piano ballad recalled such John classics as ‘Imagine.’ As Julian Lennon’s career progressed, such Beatles comparisons didn’t disappear, but they did fade as Lennon built a career as a classicist pop/rocker.”

“Jude is Julian Lennon’s seventh studio album, and his first album of new material in over ten years,” (Spill Magazine). His last album, the brilliant Everything Changes, noted a change in Lennon’s music, which became more complicated, and grappling with a great many internal and external issues lyrically. Jude is the same. This is a much more mature, content, and reflective Julian Lennon.”

For all of the adjectives “Breathe” might conjure up, “Beatle-esque” likely wouldn’t make most listeners’ top 10; Lennon seems to have broken away from his father’s songwriting palette in favor of some sonic territory of his own.

The 2022 track features verses built on a relentless barrage of short melodic phrases. The phrases are only three or four words each, employing only a few repeating melodic shapes. Starting in C# minor, the spare accompaniment often uses colorless suspended chords, allowing Lennon’s prominently-mixed lead vocal to fill in the blanks. At 0:43, the pre-chorus alternates between C major and C minor. After pacing back and forth in a small space for what seems like an eternity, the track is transformed at the chorus (reverting to C# minor at 1:12) by the introduction of a insistent percussion track, longer phrases with more space between them, and finally — “breathe.”

Dave Koz | Show Me the Way

“By virtue of his many achievements, Dave Koz has long been considered the prime contender for the saxophone throne of contemporary jazz,” (AllMusic). “Active since 1990 when he arrived on the scene from seemingly nowhere to issue his self-titled leader debut, he climbed onto the Billboard contemporary jazz charts and stayed there for several weeks. The platinum-selling Koz was nominated for nine Grammys, hit the top spot on the contemporary jazz charts five times, placed 14 singles in the Top Ten, and earned a total of 20 cuts on the jazz songs charts. He is also a seasoned radio and television host … His sound is full of fire and intensity, often recalling that of his musical forebear David Sanborn, and which often crosses over to the adult contemporary R&B side of the genre line.”

Along the way, Koz has collaborated with guitar phenom Cory Wong, jazz fusion standard bearer Jeff Lorber, pop songwriter/performer Richard Marx, legendary bassist Marcus Miller, pop/R&B vocalist Jeffrey Osborne, vocalist/keyboardist songwriter extraordinaire Michael McDonald, and many others.

Featuring pianist Greg Phillinganes, bassist Nathan East, and percussionist Lenny Castro, 1993’s “Show Me the Way” is a slow burn of a track. Building gradually from a soft-spoken ballad to a fully-fledged gospel-centered summit, it features a shift from C major to D major at 3:51. Many thanks to Christopher Fox for submitting this tune!

Jonatha Brooke | Steady Pull

“Jonatha Brooke first earned kudos during the mid-’90s as a member of the folk/rock duo The Story.” (Billboard) “Her reputation as a tunesmith of poetic proportions heightened when she went solo, issuing two deservedly revered discs on Refuge/MCA. The projects, largely folk/pop in tone, amassed an active cult following.”

“… Steady Pull (is) a recording that reveals a markedly different side to the often introspective artist. ‘I didn’t want to wallow in the drama and darkness any more. That would’ve been too easy, too comfortable. I wanted to get sexy. I wanted to romp.” … Steady Pull (2001) … is a blissful sonic marriage … the title track, an anthemic stomper … ”

After the track’s start in G minor, we’re led through an uprooting of the tonality via a dizzying B major note from the backing vocals (first at 1:12 – 1:15). After two verses and choruses, the bridge (2:12) brings a downward modulation to F# minor; the track’s strong percussion falls away except for a persistent hi-hat, but the intensity manages to keep winding up anyway. Temporarily abandoning its funk-tinged riffs, the electric guitar’s distant echoing siren lofts us back into G minor for the next verse at 2:36. Ambitiously surveying the landscape of a burgeoning new romance, the tune’s lyrics — tame on a per-word basis — seem anything but when taken in combination:

Now there’s evidence I’ve been here but no one knows how long
My change is in your pocket and the whisper of my song
My clothes are in your closet and my books surround your bed
Wonder what you expected, baby, and what you got instead … What you got …

… Where there is ruin there is hope for treasure
And out of the ashes come comfort and pleasure
This is the love that no one could measure
I have you, I hold you … We are birds of a feather

Loretta Lynn | Coal Miner’s Daughter

“When President Obama gave Loretta Lynn the Medal of Freedom in 2013 – the nation’s highest honour recognising significant achievements in politics, world peace, science and culture – he noted that she began writing her own songs with a $17 dollar guitar,” (Holler.Country). “‘With it,’ he said, ‘this coal miner’s daughter gave voice to a generation, singing what no one wanted to talk about and saying what no one wanted to think about.’ … (Lynn’s) career has always been about her humble life story, something that’s perfectly expressed in 1971’s Coal Miner’s Daughter, a record which might just represent the peak of her singular songwriting and creativity. When Loretta signed her first recording contract in 1960, she already had a handful of kids and an immoral husband who’d married her when she was just a teen … On ‘Coal Miner’s Daughter,’ every tiny, stark, heartfelt memory of Lynn’s life until that point came flooding to the fore. It’s an understated masterpiece of concision, drama and imagery – every verse a short story that’s rarely been equaled, even in a genre where storytelling and authenticity are the most prized assets.

Every song on Coal Miner’s Daughter would go on to hit home with Lynn’s fans, many of whom were women much like her, living near-identical lives. Throughout her career, she refused to be fenced in, kicking down country music complacency and putting up a flag for feminism (even if she was ambivalent about the label) with her honky-tonk directness … Infidelity, lechery, drunkenness – and even divorce – were grist to her mill … as fellow country legend Minnie Pearl simply put: ‘Loretta sang what women were thinking.'”

Lynn passed away this week at the age of 90. Of the 86 singles she released, “Coal Miner’s Daughter” might be her most memorable. It topped the Billboard country songs survey and becoming her first entry on the Billboard Hot 100 (AllMusic). Textbook half-step key changes hit at 1:04 and 2:00.

Piranhahead + Diviniti | The Beauty of Life

“House music is a genre of electronic dance music first created by club DJs and music producers in Chicago in the early 1980s,” (Linguazza.com). “Early house music was generally characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized bass lines. While house displayed several characteristics similar to disco music, which preceded and influenced it (as both were DJ and record producer-created dance music) house was more electronic and minimalistic. The mechanical, repetitive rhythm of house was one of its main components.”

Neo-Soul/r+b/hiphop duo The Foreign Exchange, the collaboration of American rapper/vocalist Phonté and Dutch producer Nicolay, have branched out to supporting other artists in addition to the Grammy-nominated work they’ve accomplished together. Diviniti is among those artists: “A true lady of Detroit house, she writes uplifting songs and has a distinctive vocal style which incorporates eloquent wordplay (ThisIsDiviniti.com) … She has collaborated with producers such as Louie Vega, Josh Milan, Pirahnahead, DJ Minx … and has performed live in Switzerland, Italy, Japan, Detroit, and New York … The highlight of her career thus far is receiving a Grammy nomination as a result of her contribution to Louie Vega’s album Louis Vega Starring…XXXVIII.”

“The Beauty of Life,” featuring Diviniti and producer Piranhahead, was curated for the multi-artist compilation series Hide&Seek by The Foreign Exchange and Reel People Music in 2017. After lulling us into a trance with three minutes of gentle but insistent groove in F# major, the tune breaks away to modulate up a half-step to G (3:54).

Deniece Williams | Let’s Hear It For the Boy

“Deniece Williams’ ‘Let’s Hear It For The Boy,’ … was a last-second addition to the Footloose soundtrack, (Stereogum) … Like Michael Sembello, another relatively anonymous artist who scored a #1 single by soundtracking a dance montage in an early-’80s blockbuster, Williams had gotten her start backing up Stevie Wonder … Williams recorded (the tune) with the producer George Duke, a jazz-fluent polymath who’d made records with Cannonball Adderly and Frank Zappa … (and) gives a whole lot of room to backup singers George Merrill and Shannon Rubicam, who would go on to form the duo Boy Meets Girl and peak at #5 with ‘Waiting For A Star To Fall.’

As a singer, Williams is pretty great at conveying the idea of pure, overwhelming happiness. She’s the reason why ‘Let’s Hear It For The Boy’ doesn’t carry the immediate threat of doom for this couple. When she sings about this boy, hopeless schlub though he may be, she sounds utterly transported with joy … Putting a gospel singer like Williams on a giddy dance-pop track like this is a smart decision. Whitney Houston, someone who will be in this column a ton of times, first became famous singing songs like that. After ‘Let’s Hear It For The Boy,’ Deniece Williams never came anywhere near the top 10 again. Instead, she pulled a reverse Whitney Houston: After spending years as a successful pop singer, she became a full-time gospel singer. She’s won four Grammys, all in gospel categories, and she seems plenty happy in that world.”

After a start in C major for the intro and the verse, the chorus pivots up to D major for the chorus (0:43). From 1:06 to 1:15, some instrumental connective tissue provides some space for the tune to sidestep back down into C. The pattern continues from there. From 3:07 and onward, Williams seems to have fun effervescing at the very high end of her four-octave range through the extended outro.

JVA | Not Gonna Beg

Jim Walker was born in Los Angeles and performed with several bands before forming “the schizophrenic pop group, Lost Anthony, which existed in the late 80s,” (JvaMusic.com). Walker found success writing film and TV scores.

With musical Tim Ellis, Walker formed a Portland-based acoustic power duo, Tim & Jim, which later opened for Crash Test Dummies, Loverboy, The Temptations, The Four Tops, Little Feat, Karla Bonoff, Boz Scaggs, Warren Zevon and many others.

The textbook rock track “Not Gonna Beg” (2020) shifts up a half-step at 1:52. At 2:16, another key change hits — but it takes awhile to realize that it returned the tune to the original key!

Jaco Pastorius + Toots Thielemans | Three Views of a Secret

” … having played many of Jaco’s compositions while the bass player was part of Weather Report, (Weather Report bandleader Joe Zawinul) held the opinion that ‘Three Views of a Secret’ was Jaco’s best composition,” (JazzInEurope). “1981 was a critical year in Jaco Pastorius’ career. Musically he was held by many as the most innovative bass player in modern jazz. Five years have passed since he joined Weather Report, replacing Alphonso Johnson while the band was recording the album Black Market. During those five years, the band released its most successful albums and became well known beyond jazz audiences, performing at major festivals and large concert halls all over the world. The band’s appeal can be attributed to Zawnul’s compositions which became more melodic and structured (‘Birdland,’ ‘A Remark You Made’), but Pastorius played a major role in driving the band towards new audiences. His live performance showmanship, the incorporation of Hendrix licks like ‘Third Stone from the Sun,’ the feet work (enhanced by talc powder spread over the floor prior to the show), the rapid signature 16th-note runs and the wild harmonics, all found the adoration of younger folks, many of them introduced to jazz because of him.

… Pastorius was later diagnosed with bipolar disorder, but in 1981, his behavior was simply considered eccentric and unstable. Amazingly, through that period he was able to write and produce Word of Mouth, his major achievement as a bandleader, composer, and arranger … ‘Three Views of a Secret’ is a great piece of music, moving between calm and dramatic orchestral passages and truly utilizing the full impact of a combined orchestra and jazz big band …”

The studio version is a classic, but the 1985 live version, featuring Pastorius’ obvious joy and rapt attention in his able accompaniment of Thielemans, by then a musical elder statesman, is also required listening and is our focus here; both are included below. Shifting from E major to C# major at 1:38, the bouyant jazz waltz sneaks back into E at 2:22.

Lauded as “arguably the most important and ground-breaking electric bassist in history” by New Directions in Modern Guitar, Jaco died 35 years ago this month — at the age of only 35. His influence on the contemporary jazz and electric bass worlds continues to reverberate strongly.