An overdue MotD debut today for British “acid” funk band Jamiroquai, submitted by frequent contributor JB. According to AllMusic.com, the band has “amassed a steady stream of hits in the U.K. and experienced chart success in just about every other area of the world, with an irresistible blend of house rhythms and ’70s-era soul/funk…” The band explores themes of “rising technology and the deterioration of human interaction,” perhaps best demonstrated in its initial 1996 worldwide hit, “Virtual Insanity.”
Released on the album Dynamite in 2005, “Time Won’t Wait” is a dynamic dance blowout — reminiscent of some of the best 70s disco/funk jams, but with better chords! After an intro in D minor and a jump to F minor at 0:36, the tune alternates between these two keys. After the chorus starts with a familiar Fmin/Cmin/Bbmin/Gbmaj progression from 1:21 – 1:28, we’re treated to a cascade of new syncopated chords hitting every two beats, starting with a very prominent F major. At 1:51, the cycle starts again.
Gabriel Fauré | Élégie, Op. 24
Gabriel Fauré’s “Élégie”, Op. 24 for cello and piano has held a special place in my heart ever since I was first introduced to it and played it with a close friend in high school. Originally envisioned as the slow movement in an uncompleted cello sonata, Fauré published the piece as stand-alone work in 1883, and later orchestrated it as well.
Fauré scholar Jean-Michel Nectoux wrote that the Élégie was one of the last works in which the French composer allowed himself “such a direct expression of pathos,” noting further that he regards the piece as “one of the last manifestations of French musical Romanticism. From now on Fauré’s music was to be more introverted and discreet.”
A large scale ABA form begins and ends in C minor; Ab major is hinted at in the bass beginning at 2:24 before fully arriving when the piano takes the melody at 2:35. Performed here by Jacqueline du Pré and Gerald Moore, pianist.
Nate Wood | Stand By Your Man
Nate Wood is perhaps best known as the drummer for the modern electric jazz quartet Kneebody, which the New York Times calls “a resolutely un-pindownable band” using “a common jazz instrumentation to make a somewhat less common amalgam of urban-signifying genres, from electro-pop to punk-rock to hip-hop.”
In addition to working with Kneebody since 2002, Wood has balanced sideman stints with the likes of George Harrison, Sting, Chaka Khan, guitarist Wayne Krantz (Steely Dan), Armenian pianist Tigran Hamasyan, and Taylor Hawkins (Foo Fighters). Wood’s several solo releases (starting with 2003’s Reliving) showcase his writing and vocal abilities; he played and recorded every instrument on the debut album.
“Stand By Your Man” has a plodding groove, but features a dense harmonic tapestry. Starting in C major, the track shifts about mysteriously, its cadences far from expected. Near the end of the track (3:04) the tonality shifts, obscured by the unconventional harmonies and frequent inversions. At 3:30, the fog clears: the harmonies simplify as the first phrase is repeated, now unmistakably in D major.
Beautiful City (from “Godspell”)
“Beautiful City” is from Stephen Schwartz‘s musical Godspell, which opened in 1971 Off-Broadway, moving to Broadway in 1976. This song was originally written for the 1973 movie, and has since been inserted in the show in various locations, in both uptempo and ballad styles. The track seamlessly and beautifully alternates between Gb Major in the verses and Eb Major in the chorus, before an unexpected shift to D Major right at the end. Performed here by Hunter Parrish from the 2011 Broadway revival cast; key changes are at 0:47, 1:17, 1:52, 2:22, 2:45, and 3:11.
Ronnie Laws | Always There
Saxophonist Ronnie Laws, the younger brother of flutist Hubert Laws, started his career in the band of trumpeter Hugh Masekela. In 1972, Laws joined R+B/funk legends Earth, Wind + Fire and played on their album Last Days and Time before moving on to his solo career.
During 1975, Laws teamed up with jazz trumpeter Donald Byrd, known as one of the only jazz musicians from the Bebop era who also explored funk and soul while remaining primarily in the jazz genre. According to AllAboutJazz.com, with Byrd’s assistance, Laws “soon signed his first recording contract with Blue Note records, resulting in the impressive debut album Pressure Sensitive (1975)…The release rapidly emerged to become the longest-selling album,” to date, in the 42-year history of the storied record label, reaching #25 on the Billboard Soul chart and gaining extraordinarily broad rotation across R&B, Soul, Jazz, and Rock radio stations.
The track is built around slightly off-kilter tuning, but it’s closest to F# minor. What’s definitely clear is the bridge’s departure from the regular key, as well as from the otherwise all-pervasive groove, from 3:01 – 3:28.
Richard Marx | The Way She Loves Me
The lead track and second single from singer/songwriter Richard Marx‘s fourth album Paid Vacation (1994), “The Way She Loves Me,” reached the Top 20 on the Billboard Hot 100) and #3 on the Adult Contemporary charts. The track featured a jaw-dropping roster: Bill Champlin on organ, Leland Sklar on bass, and Lionel Richie and Luther Vandross (a longtime friend of Marx’s) on backing vocals.
Starting with a street corner-style a cappella arrangement in E major, the tune transitions to C# major before the groove even kicks in (0:18). From there, the expansive shuffle feel is in the driver’s seat, leading us to a shift to E major for the chorus (1:08), then back to C# major for the next verse; the pattern continues from there. At 4:01, the tune closes with the chorus, pared back to a sublimely blended a cappella sound.
Big Mountain | Baby, I Love Your Way
Peter Frampton‘s “Baby, I Love Your Way” was originally released in 1975 as a single, and when it didn’t gain any traction he included it on his live album Frampton Comes Alive the following year, helping the album become a huge hit. The track also appeared in the 2000 movie High Fidelity, performed by Lisa Bonet. The cover featured here, performed by the American reggae/pop band Big Mountain, reached #6 on the US Billboard Hot 100 chart and #2 on the UK Singles Chart. Key change at 3:16.
Empty Chairs at Empty Tables (from “Les Miserables”)
From Schönberg and Boubil’s musical Les Misérables, “Empty Chairs at Empty Tables” (2014) is performed here by Ramin Karimloo, who has appeared in productions of the show on both the West End and Broadway in multiple roles. Key change at 2:14.
Smokey Robinson + The Miracles | Baby Baby Don’t Cry
Via our frequent contributor JB:
“This 1969 tune is a classic. There’s only one big mod (at 3:15), but the bridge that builds to it begins at 2:40, generating a huge amount of tension. When the mod finally comes, it’s as cathartic as a dam bursting. A great example of how an artful mod can infuse an otherwise-sleepy melody with a lot of dramatic tension.”
Knower | Trust the Light
In a departure from its trademark uptempo jazz/funk sound, electronica duo Knower‘s “Trust the Light” (2010) is a gentle waltz. Full of harmonic pivots, the tune features a simple but compelling 5-note melodic motif, first heard at 0:06 – 0:08. The motif is the only constant as the harmonic ground falls from beneath our feet between 0:24 and 0:50. At 0:51, we’re back in the original key for a second verse of this engaging miniature; starting at 1:08, the motif echoes again over the outro. This tiny jewelbox of a tune runs for a total of only 1:40.
Many thanks to MotD fan Jonathan JHarms Harms for this submission!
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