Tag: jazz

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.

Lyle Mays | Long Life

We’re very saddened to hear of the death, at age 66, of keyboardist, composer, and arranger Lyle Mays yesterday. From the archive at University of North Texas, whose conservatory Mays attended: Starting in the 1970s, as part of the Pat Metheny Group, Mays “provided arrangements, orchestration, and the harmonic and metric backbone of the group’s musical signature.” Jazz Times reports: “While the band bore the guitarist’s name, Mays was a crucial factor in their success. He and Metheny co-wrote most of the music, including the 1985 score for the film The Falcon and the Snowman. Mays … was responsible for the synthesizer sound that gave their music its distinctive contemporary fusion aesthetic.”

The Metheny Group’s site features a tribute from Metheny: “Lyle was one of the greatest musicians I have ever known…From the first notes we played together, we had an immediate bond. His broad intelligence and musical wisdom informed every aspect of who he was in every way. I will miss him with all my heart.”

Mays’ solo albums Lyle Mays (1986) and Street Dreams (1988) branched out from the Metheny Group’s trademark sound; Fictionary (1993), a more traditional jazz trio recording, featured Marc Johnson on bass and Jack DeJohnette on drums. The enigmatic “Long Life,” from Mays’ final release Solo (Improvisations for Expanded Piano) (2000), features near-constant harmonic pivots. Starting in Eb major, the track goes on a profound yet meandering trip, returning back to its Eb “home” at 2:56 and 5:44.

Enrico Pieranunzi | Jona Che Visse Nella Balena

Italian jazz pianist Enrico Pieranunzi, who has played with the likes of Chet Baker, Paul Motian, and Charlie Haden, released the trio album Play Morricone (2002) with bassist Marc Johnson and drummer Joey Baron. The album’s focus is the broad discography of composer Ennio Morricone, who has written over 400 scores for film and TV.

“Jona Che Visse Nella Balena” (Jonah Who Lived In The Whale), a solo track, modulates at 1:18, 2:36, and 4:10.

Kirk Whalum | Love Is the Answer

Although the original 1977 version by Todd Rundgren‘s Utopia wasn’t a charting single, a cover by England Dan and John Ford Coley attained a #10 position on the Billboard Hot 100 chart in 1978, as well as a #1 on the Adult Contemporary chart. Rundgren’s original featured cascading hybrid chords in a few spots; Dan & Coley’s version was slightly simplified harmonically. Here, R&B/Jazz crossover artist, tenor saxophonist Kirk Whalum, leads a big band in a 2015 version that is even further smoothed out harmonically, but features a gorgeous modulation that the other versions lack!

Many thanks for a great 2019, and to MotD follower, musician, and Rundgren fan Ari Shagal for this submission. All the best for 2020, Modulation Nation!

Mike Stern | Slow Change

Guitarist Mike Stern is described by AllMusic as “one of the finest electric guitarists of his generation, well-versed in the jazz tradition fusion, hard rock, and blues. His style combines phrasing normally attributed to saxophonists, innovative chord voicings pioneered by Jim Hall, and the sonic approach of a rock musician and the soulful, emotive expression of a bluesman.”

On 2001’s “Slow Change,” the A section (0:48) is in E minor; the B section jumps to G minor (1:41); we’re back to the A section at 2:16. The two sections continue to alternate throughout.

McCoy Tyner | When Sunny Gets Blue

First recorded in 1956 by vocalist Johnny Mathis and bandleader Roy Conniff, “When Sunny Gets Blue” quickly became a jazz standard. This version was performed by piano legend McCoy Tyner and his trio in 1962, after his stint as sideman for John Coltrane. Tyner, a 4-time Grammy winner, was named a National Endowment for the Arts Jazz Master in 2002; after 80 albums, he still continues to record.

The 32-bar form modulates at the start of the middle 8 (heard for the first time at 1:04), modulates halfway through the middle 8 at 1:20, then back to the original key at 1:36. The form starts again at 2:07, as we hear a solo from Tyner.

George Benson | On Broadway

Another mod from frequent contributor JB: “On Broadway” was first a hit for The Drifters in 1963. In 1978, guitarist/vocalist George Benson covered the tune, which is part of his smash hit album Weekend in LA. Benson’s version became a sustained adult contemporary and smooth jazz radio mainstay and won a Grammy for Best R&B Vocal Performance.

The several modulations couldn’t be clearer (there’s a mini-“intro” after each one before the lyrics of the next verse start!), so we won’t timeslate them.

Barry Manilow and Bette Midler | (I’d Like to Get You on a) Slow Boat to China

“(I’d Like to Get You on a) Slow Boat to China” is a Frank Loesser tune, originally published in 1948. It has been covered by pop artists ranging from Ella Fitzgerald to Miss Piggy. Today we feature Barry Manilow and Bette Midler in a 2005 performance on The Today Show. The easy rapport resulting from Barry and Bette’s longterm status as accompanist/music director and vocalist/touring artist (respectively) is clearly on display here. The first of two key changes is at 1:40, and it’s even announced!