Written by Leslie Bricusse and Anthony Newley for the the 1971 film Willy Wonka & the Chocolate Factory, “The Candy Man” was recorded and released by Sammy Davis Jr. in 1972 for his album Sammy Davis Jr. Now. Davis himself did not like the song: “This record is going straight into the toilet,” he reportedly said. “Not just around the rim but into the bowl, and it may just pull my whole career down with it.”
Despite his misgivings, the track became his only #1 hit and was also nominated for Best Male Pop Vocal Performance at the 1973 Grammy Awards. The song has since been used in dozens of commercials and films, including a recent Apple promotion for the iPhone 12. Key change at 2:19.
The lead single from Buble’s 2007 album Call Me Irresponsible, “Everything” is a departure from Buble’s typical big-band style — driven by the piano and guitar rather than a horn section. The music is co-written by Alan Chang, a frequent Buble collaborator, and songwriter/author Amy Foster-Gilles (also the daughter of mega-producer David Foster.) Buble’s lyrics were written with his then-girlfriend, actress Emily Blunt, in mind, but have a broader reach as well. “I wrote the song about the great happiness of real love,” Buble said, “but at the same time I was making a statement about the world. We’re living in really crazy times, and I wanted to say that no matter what’s happening, this person in my life is what really makes it worthwhile.”
The music video has over 107 million views on YouTube, and features cameos by Whoopi Goldberg and Bono. A whole step modulation from D to E occurs at 2:29.
säje is a Grammy-nominated, jazz-inflected “vocal supergroup,” according to its website. “Born out of close friendship and incredibly deep admiration, these world-renowned artists, composers, and arrangers have come together to explore, create, and celebrate the music that moves them. As individuals, each artist has crafted their own notable solo career, and now are delighted to bring their collective voices to this union, traversing a vast array of compelling original material, beloved jazz standards, and contemporary re-imaginings (Alina Engibaryan, YEBBA, Johnny Cash, etc)”. säje received their first Grammy nomination in 2020, for their first composition “Desert Song” in the Best Arrangement Instruments and Vocals category. “The union of säje is rooted in the tradition of joy, curiosity, lush harmony, heart-felt expression, and profound sisterhood.”
The quartet’s cover of “Can’t Help It” was released in 2020. The track was originally intended for Stevie Wonder’s monumental Songs in the Key of Life (1976). It was co-written by Wonder and Susaye Greene, a singer and songwriter who was the final member to join The Supremes after Mary Wilson’s departure. Although Greene was a background singer for Wonder on Songs, the tune didn’t make it onto the album; it was instead featured on Michael Jackson’s 1979 album Off the Wall, Jackson’s first release with Quincy Jones as producer.
Unlike the original, with its textbook smooth funk feel aimed at the pop charts, säje‘s cover is full of unexpected percussion kicks, bass line flourishes, and the unpredictable magnetism of tightly clustered vocal lines. Sean Jones‘ trumpet solo further testifies to the ensemble’s jazz-centered pedigree. Forbes’ recent profile quotes säje member Johnaye Kendrick: “’We’re taught, as you’re coming up [as an artist], It’s a male-dominated field, you have to be one of the boys, and know how to hang, and what to say, and all of that … I didn’t think to immerse myself and surround myself with women … It’s amazing to be surrounded by powerful women with endless ideas and the desire to uplift; it has changed our lives.’”
The tune begins in Ab major, travels through a transition starting at 2:53, then dives downward to Gb major in a glissando-led modulation at 3:15, delivered as easily as a sigh. At 3:39, we’ve reverted to the original key. All is wrapped in the most polished of 2020-style socially distanced video packaging, leaving us waiting for the energy of a synchronous performance from this extraordinary ensemble, new in so many ways.
Jazz Times calls pianist/composer/arranger Christian Jacob “a post-bop modernist touched by the souls of Bill Evans and Keith Jarrett.” Jacob’s website outlines his multi-faceted resume: “Multi-Grammy nominated pianist and arranger Christian Jacob first gained widespread exposure as music director for Maynard Ferguson and later as leader of the Christian Jacob Trio and co-leader of the Tierney Sutton Band. Christian is also the musical director for both Broadway legend Betty Buckley and American icon Jack Jones.”
A French native, Jacob “fell in love with classical music at age 4 and discovered jazz at age 9.” After winning top honors at the Paris Conservatory, Jacob continued his studies at Berklee College of Music in Boston. Jacob went on to teach at Berklee, tour with Maynard Ferguson, and win an accolade from The Japan Times as one of the best-selling foreign jazz pianists in the Japanese market. He is a multi-time Grammy nominee for his work with vocalist Tierney Sutton, drummer Ray Brinker, and bassists Trey Henry and Kevin Axt.
As an arranger, Jacob received a Grammy nomination as an arranger with The Phil Norman Tentet; his arrangements have been performed by John Scofield, Billy Cobham, Charlie Haden, Phil Woods, Joe Lovano, Ron Carter, Gary Burton, the Swiss Youth Jazz Orchestra, and the Scottish National Jazz Orchestra. In 2016, he composed the score for director Clint Eastwood’s film Sully; the next year, Eastwood again hired Jacob to score The 15:17 to Paris.
Jacob’s composition “Little Eyes” was recorded in a live 2007 trio performance in Japan. Jacob recounts the performance: “In 2007 I was invited to tour and record in Japan. I always loved Japanese audiences, and to make this recording special, I chose four Japanese melodies that every Japanese person would recognize, and arranged them for trio. They were the highlight of the tour … I was happy to bring my two longtime partners: Trey Henry on bass and Ray Brinker on drums.” The tune begins simply and peacefully in G major. But after a restless transition through several keys of the moment (1:30 – 1:49), we land in G minor. The cycle begins again at 2:05.
“The Tide Will Rise,” co-written by Bruce Hornsby and his brother John, is featured on the 1993 album Harbor Lights. The lyric focuses on the rhythms in particular of a fisherman’s life at sea, but the sentiments are universally applicable to the ups and downs of life. Key changes from F to G at 2:08.
KNOWER, an enigmatic American duo with a sound somewhere between funk, pop, and electronica, is long on action and a bit short in the written bio department. Instead, its online presence features short posts of a few sentences, plenty of videos, and download links. Multi-instrumentalist, vocalist, and songwriter Louis Cole and vocalist and songwriter Genevieve Artadi met while studying jazz in Los Angeles. When they’re not collaborating, they often feature each other on solo projects. The duo has collaborated with Youtube titans Pomplamoose, performed with jazz/rock drummer Nate Wood and jazz/funk standard bearers Snarky Puppy, and opened for the Red Hot Chili Peppers. Knower was presented by legendary producer Quincy Jones as part of a LA-based concert series, whose program attempted to pin down the band’s sound as “an indescribable mix of virtuosic musicianship and pop sensibilities.”
“Gotta Be Another Way,” originally released by Knower in 2011, was arranged for big band for this 2019 performance with the WDR Big Band, whose story AllMusic summarizes: “A top European jazz group, Germany’s WDR Big Band is a sophisticated ensemble, featuring an evolving line-up of some of the country’s best musicians. A function of the German public broadcasting institution Westdeutscher Rundfunk Köln based in Cologne, the WDR Big Band are musical ambassadors charged with promoting jazz and culture at home and around the world … featuring such guest artists as Ron Carter, Paquito D’Rivera, Arturo Sandoval, and others.”
The tune’s original version blossoms out into a lushly orchestrated big band collaboration. But despite the added textures from the expanded orchestration, the frenetic groove remains at the center of both renditions. Starting in B minor underneath Artadi’s opening rap, there’s a change of key mid-phrase between 0:55 and 0:57 as Artadi begins the sung melody. After that, it’s more or less a question of returning to the B minor section or just holding onto your hat for the rest.
Saxophonist, composer, and former Tonight Show with Jay Leno bandleader Branford Marsalis has long been a proponent of musical egalitarianism. Born into one of the most prominent families of jazz artists in the US, he’s kept a foot in that style while also performing R&B, classical, rock, and more. From Marsalis’ website: ” … there will be those who insist on sorting even the most adventurous music into neat and compact categories. Fortunately, Branford Marsalis will always be around to shove his square pegs into their round little pigeonholes.” Marsalis has collaborated with Sting, the Grateful Dead, Bruce Hornsby, his brothers Wynton and Delfeayo and his father Ellis, Dizzy Gillespie, Bela Fleck, and dozens of others; won a Grammy in 1993 for Best Jazz Instrumental Performance, Individual or Group for his album I Heard You Twice the First Time; and released a trio album, Bloomington (1993), which was hailed as a landmark in contemporary jazz.
Using a name which served as a pseudonym for jazz saxophone great Cannonball Adderly when he was moonlighting on pop and R&B records in the 50s, Buckshot LeFonque “blends rock, hip-hop, jazz, reggae, and African elements. In summing up his thoughts on what has been one of the most musically diverse projects he has yet undertaken, Marsalis says, ‘We took some interesting left turns… which is what I expected.’ The members come from widely diverging backgrounds yet find common ground … ‘You might get on the tour bus one day and hear Italian opera; the next day you’re hearing hip-hop.’ Singer Frank McComb agrees. ‘Everybody gets to stretch out in his own way. Everybody is an artist in this band and not just a backer. We’re all loose, free and easy.'”
McComb, a solo artist in his own right, covers the vocals on “Phoenix,” a slow ballad from the band’s second album, Music Evolution (1997). The track ramps up its energy gradually — at first. With a seemingly devastating breakup in the rear view mirror, the protagonist unflinchingly revisits the pain, then gathers strength to move on. The transition in point of view is matched by a brightening of the tonality: starting in F# minor, a huge shift to to F# major declares itself at 4:46, leading to an ending on an unresolved yet hopeful IV/V.
Expatica.com notes that the French composer and lyricist Hubert Giraud, whose works were recorded by vocalists from Edith Piaf to Tom Jones, “started out as a musician playing with the likes of Django Reinhardt’s jazz group the Quintette du Hot Club de France in the 1930s and on Ray Ventura’s big-band tour of South America.” He also wrote the theme for the 1951 film Sous le Ciel de Paris (Under the Sky of Paris); the song was later recorded by Edith Piaf, Yves Montand, Juliette Greco, and more. Giraud died in 2016 at the age of 95.
Starting in E minor, the waltz progresses to E major at 1:03, reverting back to the original key at 1:49. Utilizing rubato as more of a rule than an occasional flourish, Palma throws in a last-minute whole-step modulation at 2:20 — quickly leading to an unexpected ending.
Many thanks to our frequent contributor JB for this submission!
Written in 1957 by Jimmy Van Heusen and Sammy Cahn, “All The Way” was made famous by Frank Sinatra, both as a single and in the film The Joker Is Wild, for which it won the Academy Award for Best Original Song. The tune was later covered by Bing Crosby, Same Cooke, Brenda Lee, Etta James, and Billie Holiday among others. Key change at 2:15.
Alice Coltrane Turiyasangitananda was a versatile musician and composer. An adept harpist, pianist, organist and vocalist, she had an extraordinary career spanning many genres and six decades. According to the biography on her official website, “Her interest in music blossomed in early childhood. By the age of nine, she played organ during services at Mount Olive Baptist Church.” She collaborated with the likes of Carlos Santana, Charlie Haden, and John Coltrane, the last of whom she married in 1965.
After her husband’s death in 1967, she embarked on a solo musical career, which merged with her quest for spiritual enlightenment. Her religious exploration took her to India, whose musical influences manifest in much of her work. Her albums display her virtuosity, and a mastery of a wide array of musical genres. Coltrane’s biography on AllMusic – authored by Chris Kelsey – remarks that her first seven albums “wove together the strains of her musical thinking: modal jazz, gospel hymns, blues, Hindi devotional music, and 20th century classical sonorities.”
From the late 70s to the early 2000s, Alice Coltrane stepped back from music, focusing instead on the creation and operation of the Vedantic Center outside of Los Angeles, though her biography states that she continued to play music regularly for services at the Center. She died in 2007 after returning to the recording studio for her final album in 2004. That album, entitled Translinear Light, features the tune “Walk With Me.” Coltrane displays her talent for arrangement as she weaves the melody of a gospel hymn (“I Want Jesus to Walk With Me”) throughout. The piece begins with some brief noodling around Bb minor before the hymn’s theme emerges at 0:30. She then explores the primary melody, pausing momentarily to meditate on a few motifs and ideas. The first modulation occurs at 2:14, launching into a joyful bridge, firmly rooted in the relative major. Coltrane’s soaring improvisations move effortlessly between gospel and jazz, evoking feelings of praise and spiritual elation. She brings it back home to Bb minor with a modulation beginning at 4:55, after which she weaves the original melody around meditative contemplation once again, through to the piece’s end.
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