jazz – Page 12

Jimmy Dorsey and His Orchestra | Star Eyes

Written by Don Raye and Gene de Paul, “Star Eyes” was initially recorded by Stephane Grappelli, praised by NPR as “one of the jazz world’s greatest violinists. Grappelli first found fame in France with Django Reinhart’s Quintette du Hot Club. He went on to an illustrious career playing with everyone from Oscar Peterson to Paul Simon to Yo-Yo Ma.”

In 1943, the tune became part of the soundtrack for the movie I Dood It. IMDB summarizes the plot of the wartime film: “A bumbling pants presser at an upscale hotel’s valet service nurses an unrequited crush on a Broadway star. He gets more than he bargained for when she agrees to marry him, to spite her womanizing fiance, and encounters Nazi saboteurs.” Variety gave the film a tepid review: “Metro has wrapped Red Skelton and Eleanor Powell, among other names, around a popular Skelton radio phrase that’s used for the film’s title, and the net result is moderate entertainment. I Dood It is, by Metro’s usual standards, not one of its best musicals, but that’s due mostly to the screenplay. While the plot of a musical can generally be accepted only as a cue for the song-and-dance, the failing is particularly apparent in Dood It.”

Other than the soundtrack, a redeeming facet of the film is that it managed to feature jazz pianist Hazel Scott and triple-threat Lena Horne, two pillars of the African-American arts community (though Scott was born in Trinidad). Both women later became known for their civil rights activism.

After the tune starts in Db major with Bob Elberly on vocals, 1:32 brings a quickening tempo and a harmonically unsettled transition. At 1:52, the big band’s conductor, the one and only Jimmy Dorsey, stops keeping time and delivers an all-too-short alto sax solo in G major. At 2:19, it’s Helen O’Connor’s turn to shine, with a section in Bb major.

A big thanks to Jamie A. for another wonderful submission!

Modern Jazz Quartet | Over the Rainbow

” … it seems improbable that a group which came together as the rhythm section for one of the hottest players in Bebop’s genesis era, trumpeter Dizzy Gillespie, could morph into a standalone group that was the epitome of grace, elegance and cool dignity,” AllAboutJazz.com concludes. “But that’s exactly what happened when Gillespie recruited pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown, and drummer Kenny Clarke, giving the quartet an opportunity to shine as a discrete unit when it came time, during his sextet’s exhausting sets, to give the horns a break, calling, ‘OK, band off!’

The pairing of Lewis and Jackson proved an ideal tension, demonstrating how different musical interests can, indeed, come together to create something altogether new, the pianist’s interest in classical music dovetailing perfectly with the more overtly jazz-centric and grounded vibraphonist … A duo version of ‘Over the Rainbow’ (1956) focuses on Lewis and Jackson’s adept skill at reshaping music from external sources with Modern Jazz Quartet‘s classically informed modus operandi.”

After a piano-led intro in C major, Jackson’s vibes are the focus at 0:15 as the tune shifts to Eb major. At 1:03, we seem to retroactively discover that we’ve stumbled into Db major, but at 1:32, we’ve returned to Eb major for the balance of the tune. There’s plenty of evidence here of the ensemble’s understated yet pioneering sound: “For those operating under the misconception that the African-American jazz tradition was monolithically linked to the blues …” AllAboutJazz continues, “As far back as the 1930s, clarinetist Sidney Bechet was liberally quoting from Italian operas in his solos, but it was perhaps less obvious, less visible, than when John Lewis began looking at ways to bring the intimacy of classical chamber music to a jazz context. In direct contrast to bebop’s fire and unbridled energy, MJQ was one of the earliest examples of cool jazz.”

for Travis

Postmodern Jukebox | We Can’t Stop

Founded by arranger and pianist Scott Bradlee in 2011, Postmodern Jukebox is a music collective, featuring a rotating group of instrumentalists and vocalists, that is known for reworked and inventive takes on popular modern songs, focusing particularly on swing and jazz. The group originated with Bradlee jamming and shooting videos in his basement with his friends, and took off with the release of a cover of Macklemore & Ryan Lewis’ “Thrift Shop,” featuring Robyn Adele Anderson on vocals, which clocked a million views the first week after its release in 2012.

“We Can’t Stop,” originally released by Miley Cyrus, was given a doo-wop treatment by the group in 2013, again featuring Anderson on vocals as well as the NYC-based TeeTones. “I think everyone on some level loves doo-wop,” said Bradlee when discussing why he thought his cover was so successful. “It’s feel-good music. It’s easy to listen to. It has a strong melody. It’s simple…And sure, it’s funny that the lyrics are ridiculous by ’50s standards, too.”

The track modulates at 3:09.

Ella Fitzgerald | Body and Soul

JazzStandards.com describes “Body and Soul” as an all-time great: ” … In Easy to Remember: The Great American Songwriters and Their Songs, William Zinnser describes ‘a bridge unlike any other. The first four bars are in the key that’s a half-tone above the home key… the next four bars are a half-tone below the home key.’”

Many covers of the tune have been recorded, but trumpeter Louis Armstrong and saxophonist Coleman Hawkins’ signature versions are perhaps the most widely known. But the addition of lyrics — particularly as delivered with Ella Fitzgerald’s unforgettable style and vocal timbre — surrounds the listener with an additional layer of beautiful storytelling.

The tune, written by pianist/music director/composer Johnny Green, was first performed in 1930. The bridge is first heard from 1:18 – 1:55.

George Michael | Cowboys and Angels

After his breakthrough as 1980s pop/dance royalty with his duo Wham!, UK artist George Michael later released the smash hit 1987 solo release Faith. The album became Billboard‘s #1 Album of 1988 and won multiple top industry awards in the UK, the US, Japan, and more, selling more than 20 million copies worldwide. The album also spawned the iconic black-and-white video for the single “Father Figure,” which went on to win many more awards of its own.

In the wake of the mammoth success of Faith, Michael released the unexpectedly understated Listen Without Prejudice, Volume 1 in 1990. Michael didn’t officially come out as a gay man until 1998, but his sexual orientation was nonetheless an open secret. Pitchfork reported: “Something was happening that autumn to gay artists closeted from their fans … In its original form, Listen Without Prejudice Vol. 1 was the follow-up that Faith demanded; in this new incarnation, it’s a miscellany unruffled by notions of coherence, an attempt to make art out of George Michael’s quarrels with himself. Never again would these quarrels work to such bounteous ends.” Michael went on to release several more albums through 2004, but was felled by heart failure on Christmas Day 2016 at the age of only 53.

The fast jazz waltz feel of “Cowboys and Angels” beautifully supports Michael’s broad harmonic sense, lyrical melody, and adroit arranging. Meanwhile, the lyrics traverse one of his favorite themes: the possibility of finding true romance and companionship despite great odds. The barely submerged subtext: spiking HIV fatalities, which wouldn’t see a peak for a few more years, muddied the waters yet further. The track was the first of Michael’s singles to miss the UK top 40 charts, peaking at #45.

Starting in Bb minor, the tune shifts to C minor at 2:37, reverts to Bb minor at 3:01, and drops into a clear emphasis on the relative major (Db) for a bridge at 4:57. More repetition of sections follows, ending in C minor.

Sammy Davis Jr. | The Candy Man

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.

Michael Buble | Everything

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 | I Can’t Help It

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.

Christian Jacob | Little Eyes

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.

Bruce Hornsby | The Tide Will Rise

“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.