jazz

Robert Glasper Experiment | No One Like You

“For almost a decade, Robert Glasper has been the standard-bearer for jazz music’s fusion with hip-hop, soul, and rock, turning songs like Nirvana’s ‘Smells Like Teen Spirit’ and Radiohead’s ‘Packt Like Sardines in a Crushd Tin Box’ into kinetic electro-funk mashups,” (Pitchfork). “With his Experiment band, Glasper (tends) to leapfrog different genres, making music that’s rooted in jazz and R&B and impossible to peg. ‘My people have given the world so many styles of music,’ Glasper declares at the top of ArtScience (2016), the Experiment’s new album. ‘So why should I just confine myself to one? We want to explore them all.’

ArtScience follows Black Radio 2, the band’s guest-heavy 2013 LP featuring rappers Common, Snoop Dogg and Lupe Fiasco, and singers Jill Scott and Norah Jones, among many others. On it and the band’s first Black Radio album, the Glasper Experiment mostly stayed in the background, giving room to their guests to shine atop the group’s instrumentals. The formula worked: Black Radio won the 2012 Grammy for Best R&B Album, and ‘Jesus Children’—a Stevie Wonder remake from Black Radio 2, featuring vocalist Lalah Hathaway and actor/poet Malcolm-Jamal Warner—won the 2014 Grammy for Best Traditional R&B Performance.

For ArtScience, the Experiment keeps things in-house, handling all the vocal work themselves … ArtScience doesn’t play like an R&B or jazz record; it pulls in ’80s funk and ’90s soul without landing any place in particular. For the first time, we get to hear the Experiment let go for a full project, not just on a few songs here and there … ArtScience is the Robert Glasper Experiment’s most realized effort, mainly because they’ve stopped relying on outside talent to get their point across. They’ve created their own vibe, one that needed their own voices to truly resonate.”

“No One Like You,” a track from ArtScience, begins in C minor. For its chorus, first heard from 0:36 – 0:53, the tonality shifts to Eb minor before returning to the original key. The two sections continue to alternate throughout the tune.

Stan Getz | Crazy Chords

“Saxophonist Stan Getz came up at the very end of the swing era, a star soloist with Woody Herman’s orchestra in the late 1940s,” (NPR). “From the start, Getz was known for his rapturously beautiful ballad playing, much admired by peers like John Coltrane … It’s hard to overstate what a terrific tenor saxophonist Stan Getz was because there’s nothing dated about his style. He had a light, gorgeous tone that might convey great tenderness. He made swinging sound utterly natural and necessary. And he had an enviable melodic imagination as an improviser. His inspiration Lester Young famously said a good solo tells a story. And Getz could spin a tale.

Stan Getz fell into a lucrative career as the American standard bearer for a new musical fad, Brazil’s bossa nova, even before he scored big with “Girl From Ipanema.” Suddenly, Steaming Stanley really was out of step, replaced by his own more laidback self. He still improvised solos like a poet. But with so many tenors and others jumping on the bossa nova wagon, now everyone was copying him. So much for being old-fashioned.”

Well before Getz’s fame as an interpreter of bossa nova, his track “Crazy Chords” was released in 1951. After a short intro, the tune starts in earnest at 0:07. The 12-bar blues blazes by so fast that the second chorus hits at 0:17 — and the third at 0:28 and so on. Each chorus brings the tonality up by a half step, but Getz’s ideas (and those of his pianist, Al Haig) routinely bridge the borders between each chorus.

George Benson | This Masquerade

“Originally recorded by singer-songwriter Leon Russell, ‘This Masquerade’ comes from George Benson’s 1976 album Breezin’, which was a major critical and commercial success for the guitarist,” (JazzIz). “Benson’s first ever single … (featured his) intricate guitar work” combined with his “now-famous overlaid vocals.”

Benson “transformed the song into a masterpiece of crossover jazz-pop. Benson, at the time, had never even heard of the song—or Leon Russell,” (TheChurchStudio.com). “He later revealed that producer and manager Tommy LiPuma pushed him to record it. But once he did, Benson called it ‘one of the finest tunes of our time, with a beautiful melody and a great story.’ He later discovered that the song’s harmonic structure was loosely based on the jazz standard ‘Angel Eyes,‘ which, he said, is why ‘so many jazz musicians dig playing it … Leon did us all a great favor when he wrote it.’

That recording made music history. ‘This Masquerade’ became the first song ever to simultaneously top the Jazz, Pop, and Rhythm & Blues charts, a groundbreaking achievement that reflected its universal appeal. The track went on to win the Grammy Award for Record of the Year in 1977, solidifying the song as an American classic.”

After a 30-second intro, the tune is built primarily in F minor for the first one-third of the form. The tune shifts to a less melancholic sound (though the lyrics refuse to follow suit) when it switches to Db major at 1:14, then C major at 1:36. For the final third, there’s a return to a doleful F minor.

Don Blackman | Since You Been Away So Long

“Pianist/singer/songwriter Don Blackman, born in 1953 in Queens, New York, grew up surrounded by jazz influences; a cousin was McCoy Tyner’s friend and saxophonist Charles McPherson — a Charlie Parker disciple — was Blackman’s neighbor,” (Qobuz). “Blackman played with McPherson’s group in 1968 alongside Sam Jones and Louis Hayes when he was 15 years old. He switched to electric piano and toured with Parliament/Funkadelic in the early ’70s. He later became an original member of Lenny White’s Twennynine (‘Peanut Butter’), a key piece in Jamaica Queens’ ’70s jazz-funk explosion.

A deal with GRP/Arista birthed the solo LP Don Blackman (1982), a good set saddled by poor promotion. His extensive résumé included Kurtis Blow sessions and singing ‘Haboglabotrin’ on Bernard Wright’s ‘Nard album. A fixture in New York studios, he worked on sessions for a long list of artists including Najee, David Sanborn, and Roy Ayers, and his composition ‘Live to Kick It’ graced 2Pac’s R U Still Down? (Remember Me) release. Don Blackman died on April 11, 2013 after battling cancer; he was 59 years old.”

A track from Blackman’s eponymous 1982 album, the ballad “Since You Been Away So Long” draws from R&B and jazz influences. The tune starts in Bb minor, shifts to A minor at 0:29, then B minor at 0:46. More shifts continue from there. Complex backing vocals, etherial instrumental countermelodies which seem to float down from the skies, and a flighty vocal/guitar duo feature are among a few of the intricate facets on offer with this sadly overlooked release.

Sure Fire Soul Ensemble | Out on the Coast

“Sure Fire Soul Ensemble, from San Diego, is one of the most talented new bands on the West Coast. Mixing funk, soul, jazz, and Latin & African influences to create unique, exciting music… their ‘cinematic soul’ is like a cross between the music from Jim Jarmusch movies & Blacksploitation films of the 1970s,” (AllAboutJazz). “If you like Snarky Puppy, The Beastie Boys’ instrumentals, Quantic, The New Mastersounds, Karl Denson and Greyboy Allstars… then you’ll love Sure Fire Soul Ensemble.

The title track (of the band’s 2016 release), ‘Out on the Coast,’ is a cover version of a rare-groove classic by Larry Willis from 1973 — one of the very finest examples of electrifying jazz-funk from the ’70s. Sure Fire Soul Ensemble updates it to become a contemporary jazz funk jam you can’t resist. It’s a little meaner than the original—Peter “D” Williams attacks the drums & Tim Felten takes a brief, yet nasty organ solo on this one. The horn section plays the refrain spot-on and tremendous tone on the guitar all make this tune sound more modern and stimulating than the original.”

The track starts in C minor, but then the emphasis flips over to the parallel Eb major for the off-kilter chorus, first heard at 0:41-0:48. The contrast between the two sections is magnified further by a shift in groove from the verse’s gritty, syncopated funk to a sophisticated swing on the chorus.

Herbie Mann | Insensatez

“Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the ’70s became so immersed in pop and various types of world music that he seemed lost to jazz,” (Qobuz). “However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann began on clarinet when he was nine, but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews’ Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse.

… After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader’s flute. He toured Africa (1960) and Brazil (1961), had a hit with “Comin’ Home Baby,” and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962) … he had among his sidemen such top young musicians as Willie Bobo, Chick Corea, Attila Zoller, and Roy Ayers … As the ’70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the ’70s, Mann had his own label for awhile and gradually came back to jazz … He passed away on July 1, 2003.”

Mann’s version of the Brazilian standard by Antonio Carlos Jobim, “Insensatez” (“How Insensitive”), released on 1964’s Latin Fever, is built in a slightly de-tuned C minor overall. The middle chorus, where the melody passes to the trombone while the Mann’s flute provides a harmony line (1:07 – 1:48), is in D minor .

Nat King Cole | L-O-V-E

In the 1950s, “the studios had been trying to get (Cole) from behind the piano and sing more … despite being hailed as one of the key greats,” (PSAudio) ” … As this played out there was an outcry from the diehard jazz community, especially jazz publications like Downbeat and Metronome. (Cole reported): ‘For years we did nothing but play for musicians and other hip people,’ he said. ‘…we practically starved to death.’

Despite Cole’s disdain for his voice, he was a classic crooner, a beautiful master of a phrase with flawless enunciation and perfect pitch. His recordings during the late 40s and the 50s are some of the most perfect and iconic love songs ever recorded … Nat Cole’s career barely lasted 20 short years, but in that time he collected 28 Gold Record awards and was inducted into every Hall of Fame imaginable, including the Rock and Roll Hall of Fame as an Early Influence. Cole was an inspiration as a man and a performer.”

“L-O-V-E,” the title track from a 1965 album of the same name, was released by Cole shortly before his death and became his final release. The tune begins in G major, shifts up to Ab major for an instrumental verse at 0:57, then changes keys again to A major at 1:21, remaining there for the balance of the track. Many thanks to Scott, a new visitor to MotD, for this submission!

The Summarily Dismissed | Limerent Buzz

“Ari Shagal’s … bold, brash, electrifying album, To Each! channels Laura Nyro, Donald Fagen, jazz in general, Broadway, and a lot more,” (Soundstage Experience). Songwriter Ari Shagal “proves to be a triple-threat performer, singer, and composer/arranger.

Though there are up- and down-tempo songs on this set, it’s full of swagger and confidence — the same feelings I get from a Steely Dan album. Shagal’s music is chic, cool, and invigorating, even when it’s the blues. It goes down easy while leaving a lasting impression.”

“Limerent Buzz,” a track from 2014’s To Each! by the Shagal-led band The Summarily Dismissed, starts in Bb major, but shifts to Db major for all but the tail end of its chorus, first heard between 0:50-1:14). At 1:21, we return to the original key for the next verse; the pattern continues from there.

Artie Shaw | Alone Together

“Jean Sargent introduced “Alone Together” in the Broadway musical Flying Colors … (which) opened at the Imperial Theater on September 15, 1932, produced by Max Gordon and directed by Howard Dietz,” (JazzStandards.com).

“The late Artie Shaw had impeccable musical taste. He was an obsessive perfectionist, and his clarinet playing and the bands he led performed exceptional, quality music. Many of the tunes he selected for his big bands of the 1930s and 40s became standards years after he recorded them. Shaw was the premier jazz musician to record “Alone Together.” The first reading was with his standard “reeds, brass, rhythm” band in 1939. He recorded it again in 1940 with a group including strings and with a different arrangement. Although both versions lean towards the smooth, instrumental, dance band style of that era, it’s Shaw’s brief clarinet expositions that reveal the improvisational potential of the song.”

The AABA tune, built primarily in D minor, shifts to the closely-related key of G minor for the B section before returning to the original key for the final A section.

Michael Brecker | The Nearness of You (feat. James Taylor)

“Listening to a note perfect song is one of the many small joys afforded us by life. Of course, it’s an entirely subjective experience because music comes in all different flavors and we listeners have a wide variety of palates,’ (HistoricAmerica.org). “Be that as it may, I would argue that the Great American Songbook ranks among this nation’s greatest gifts to the world, and within this wealth of tunes there’s an absolute abundance of musical perfection.

… Hoagy Carmichael was a multi-talented man. A bandleader, singer and actor, Carmichael was best known as a pianist and composer. Originally from Indiana, he’s responsible for memorable songs like ‘Heart & Soul,’ ‘Georgia on My Mind,’ and ‘Stardust.’ For ‘The Nearness of You’ Carmichael wrote the music while the words were work of lyricist Ned Washington, who also gave us ‘When You Wish Upon a Star,’ ‘Wild is the Wind’ and ‘Do Not Forsake Me Oh My Darlin” (the theme song from High Noon). Originally, the song was intended to be featured in a film version of Shakespeare’s A Midsummer Night’s Dream but the production fell through and the song didn’t find wide release until it was picked up and popularized by the Glenn Miller Orchestra in the 1940s.”

James Taylor did an admirable job as a guest among the stellar jazz quintet convened by the late tenor saxophone legend Michael Brecker for the 2001 album Nearness of You: The Ballad Book. The band: Pat Metheny (guitar), Herbie Hancock (piano), Charlie Haden (double bass), and Jack DeJohnette (drums). Starting in F major, the AABA-form tune shifts up to G major at 1:56 for a partial instrumental verse featuring Brecker, leading to Taylor’s return for the B section. But the last A section doesn’t quite arrive, at least not as expected: it leads instead to a slightly rubato feature for Brecker at 2:54, then a downward shift to Eb major — and a delayed final A section leading to an outro — starting at 3:04.