“Teach Me Tonight” was written by Gene De Paul (music) and Sammy Cahn (lyrics) in 1953, and has since become a jazz standard, recorded by Dinah Washington, Diana Krall, Sarah Vaughan and Aretha Franklin among others. Jarreau’s cover is featured on his Grammy-nominated 1981 album Breakin’ Away.
Beginning in Db, Jarreau shifts up a half step to D at 2:34.
“I Hope You Dance,” written by Mark D. Sanders and Tia Sillers, was originally recorded by American country singer Lee Ann Womack as the title track for her 2000 studio album. The song, which won the Grammy award (and many others) for Best Country song, became Womack’s signature hit and has sold over 2 million copies in the US.
American singer/songwriter Gladys Knight covered the tune for her 2013 album Another Journey. After beginning in G, Knight modulates up a whole step to A at 3:08.
Thanks to MotD contributor Carlo Migliaccio for this submission!
Phoebe Katis is a British artist whose work spans from folk to funk. She released her debut album, Honesty, in 2019, which despite Covid time dilation making it feel like centuries ago, is far more recent than the extent of her career would suggest. Across the four albums that she has now produced, her music runs the gamut from intimate ballads such as “Songbird” (Sweet Reunion, 2022) to the raucous bop that is “Touches” (Honesty, 2019). She has displayed that musical versatility not just through solo music, but also through collaborations with Scary Pockets, Vulfpeck, and Cory Wong, the last of whom produced several of her albums and accompanied her on many recordings.
Katis composes many of her own tunes and has cowritten several others. She is a capable pianist, with a voice that blends a slight breathiness with soulful clarity. All of this is to say that she has produced some extraordinary music. Of course, her greatest work has to be “Make Believe” – a soulful ballad off of Honesty – as it provides us with today’s modulation.
The song begins with Cory Wong delivering a sweet Latin ballad rhythm in the key of D major. However, the tune quickly settles into a laid back pop/soul feel as the full band joins in to accompany Katis’ smooth vocals. A short build beginning at 2:17 culminates in a whole step modulation upwards into E Major, where the tonic remains until the end. Enjoy!
“‘Up the Ladder to the Roof’ was the first Supremes single without Diana Ross, who left the group to start a solo career,” (Songfacts). “Her replacement was Jean Terrell, who sang lead on this track. In this new-look Supremes, Mary Wilson, the only original member, split lead vocal duties with Terrell, the sister of heavyweight boxer Ernie Terrell. Though Jean Terrell’s vocals sounded similar to Tammi Terrell’s, they weren’t related.
After Ross’ January 1970 departure from the group, “The Supremes were no longer a priority at the label, but ‘Up the Ladder to the Roof’ proved they could land a hit without Ross … The Supremes had just one more Top 10 hit (‘Stoned Love‘ at #7) before disbanding in 1977. The Supremes performed (“Ladder”) on Ed Sullivan Show on February 15, 1970, the last of their 16 appearances on the show and only one without Ross; the group appeared on the show more than any other Motown artist.” Al Green covered the tune in 1984 after Bette Midler recorded it in 1977.
1:58 brings a whole-step modulation after the initial key fades somewhat during a percussion-centric break.
“Right now the world is full of opinions, which is always fine, and full of agendas and people making things out to be a certain way and they aren’t listening to each other,” Day said upon recording this 1965 Burt Bacharach song. “That requires love and that requires selflessness.” Day’s cover was used for Hyatt Hotels’ World of Hyatt campaign, and premiered in an ad during the 89th Academy Awards in 2017.
The track begins in A and shifts up to Bb at 1:54.
“‘Quincy Jones was looking for artists for his new label, Qwest Records,” jazz/pop vocalist and guitarist George Benson remembered in a Guardian interview). ‘I’d started to cross over from jazz and Quincy asked: Do you want to make the world’s greatest jazz record – or go for the throat? I laughed and said: Go for the throat! … He said: George, put yourself in my hands. I know more about you than you do yourself. I was insulted at first, but calmed down, and things started happening.’
George was under pressure to have a crossover hit. Nobody yelled at each other but there was tension, because he wouldn’t always do what Quincy told him to. (The sessions for 1980’s ‘Give Me the Night’ were) a clash of the titans at first. ‘I asked for the same musicians he’d used on (Michael Jackson’s) Off the Wall. The sound they made inspired me. Quincy also brought in Rod Temperton, formerly of the band Heatwave … Rod was always in the background except for when something went wrong. He didn’t mind saying: George, you’re singing in the wrong key.” Patti Austin, now known for her own R+B, jazz, and pop material, was the accomplished background singer Jones hired. Austin remembers: “‘When I went into the studio, the tracks were already recorded. I used to be a jingle singer; you have to be able to walk in, sight-read, and make whatever product the jingle is plugging sound orgasmic. So I worked very quickly.'”
Built in F minor overall, the tune shifts to Ab minor for the chorus at 1:19 – 1:42, later repeating the pattern. The track crossed over with a vengeance; it wasn’t a smash hit, but managed to become a solid global presence (see below) while hitting top five on the US Pop, Soul, and Disco charts.
Written and released at the height of the AIDS epidemic, “One Sweet Day” is about the sadness of losing loved ones, regret about taking them for granted, and faith that we can be reunited in heaven. “When you lose people that are close to you,” Carey said discussing the message of the song, “it changes your life and changes our perspective.”
Co-written by Boyz II Men and Carey, the song originally appeared on Carey’s 1995 album Daydream. Widely praised by critics, it was the most successful single ever on the Billboard chart up to that point, sitting at the number 1 spot for a record 16 weeks. “On ‘One Sweet Day,'” wrote New York Times music critic Stephen Holden, “the singer joins forces with Boyz II Men, those masters of pleading post-doo-wop vocal harmonies for a tender eulogy that suggests that the singers have been personally touched by the AIDS crisis.” In a readers poll conduct by Rolling Stone, the track was heralded as the Best Collaboration of All Time.
The song begins in Ab and modulates to B for the final chorus at 3:23.
“Dawn (2021) doesn’t sound like the debut of a burgeoning pop sensation hopping onto trends,” (New York Times). “The album has a rich retro palette, draws deeply from jazz and R&B and is set in a dusky register that gives Yebba’s flexible voice room to roam … The album’s title doesn’t just refer to the break of day; it was her mom’s name, too.” Yebba’s mother died by suicide just as the artist was rising towards her current prominence. “’I feel like now I get to be 26, instead of always being so immersed in grief … I no longer feel like my life is some chore that I haven’t completed — that my mom is hanging over my head. There are new ways to honor her.’”
“The retro and the contemporary find a nice equilibrium throughout Dawn, but the draw is still Yebba’s voice and the way she massages every note into a sigh,” (The New Yorker). “She possesses an explosive melisma on par with some of the great power-pop divas of the past, but finesse is her strength. She allows the depth and purity of her tone to reverberate, even in the quieter moments. The album’s opener, ‘How Many Years,’ lets threads of whisper-song fray into a gossamer veil, mirroring her apprehension and her doubtfulness … The greatest triumph of Dawn is that Yebba never loses her sense of self in remembrance. A tragedy of this magnitude threatens to overwhelm a début’s statement of identity, but Yebba won’t allow her story to be defined only by what happened. Instead of romanticizing her grief, she pushes through it, untangling a mess of emotions in search of closure.”
“How Many Years,” co-written by Yebba, seems to embody its lyric Where can I run when the ground moves beneath my feet? After the music begins at the 0:50 point, the verses change harmonic direction every phrase or two, all the more profoundly because the shifts happen during phrases rather than between them. However, the melodic shape of the choruses is constant — stated and re-stated with increasing emphasis, perhaps in an attempt to counteract shifting tonalities. The first chorus (1:31) is in Bb major; the second (2:37), in E major; the third (4:04) is something of a harmonic question mark, augmented and artfully blurred by subtle reharmonization.
We’re including a live track as well as the heavily produced studio track, simply because they stand in such stark contrast to each other.
You watched the Grammy Awards recently, and wondered how Billie Eilish and Olivia Rodrigo, barely out of high school, could be sitting alongside veterans like Lady Gaga and Bonnie Raitt.
But consider Stevie Wonder. When Where I’m Coming From was released in 1971, it was his thirteenth album, dating back to 1962, and he’d already had a string of hits. If you’ve seen the documentary Summer of Soul, you’ll know he appeared at the Harlem Cultural Festival in 1969 along with other A-list acts, like Nina Simone and Gladys Knight. All that — and he’d not yet turned 21 when the album was released.
“Where I’m Coming From” marks a bridge between Stevie’s previous releases, which were imbued with the Motown Sound (you know it when you hear it), and his later “classic” albums of the 1970s, where exercised freedom in songwriting and production. The song here from that album, “If You Really Love Me”, was the last he recorded with the Funk Brothers at Motown’s Hitsville studio in Detroit. Even then, Stevie played drums, synth bass, and piano on the track. Like the other songs on the album, it was written with his then-wife Syreeta Wright, who also sings on the track. The production is by David Van De Pitte, who’d had other hits for Motown. The song reached #8 on the Billboard 100 chart.
The song features distinct A and B sections. The A section is sprightly, uptempo, featuring a contemporary-sounding brass lead-in. Stevie’s vocal is layered with overlapping overdubs. Just when we got going, the slower, almost *rubato* B section begins at 0:36. Besides the vocal, there’s just the synth bass, and a bit of piano. At 1:08, we’re *a tempo* back to the happy A section. Again, it’s a short-lived delight: we’re back to the B section at 1:36. We return to the A section at 2:05 (with hand-claps this time) for the remainder of the song.
Harmonically, the A section is in F major; the B section begins with D
major, and shifts to D minor.
A more complete analysis is here:
Robert Glasper’s Black Radio III, released in February 2022, features heavy-hitting guest artists on each track, including Common, Esperanza Spalding, Jennifer Hudson, Killer Mike, Q-Tip, Ty Dolla $ign, Yebba, and many more. It’s the third release in the Black Radio franchise; The New Parish describes the concept in its review of Black Radio (2012), which has continued throughout its subsequent chapters:
“’Real music is crash protected,’ state the liner notes of Black Radio … (it) boldly stakes out new musical territory and transcends any notion of genre, drawing from jazz, hip-hop, R&B, and rock, but refusing to be pinned down by any one tag. Like an aircraft’s black box for which the album is titled, Black Radio holds the truth and is indestructible …
Robert Glasper has long kept one foot planted firmly in jazz and the other in hip-hop and R&B,” (working with Q-Tip, Mos Def, Maxwell, and many others). “The Los Angeles Times once wrote that ‘it’s a short list of jazz pianists who have the wherewithal to drop a J Dilla reference into a Thelonious Monk cover, but not many jazz pianists are Robert Glasper,’ adding that ‘he’s equally comfortable in the worlds of hip-hop and jazz,’ and praising the organic way in which he ‘builds a bridge between his two musical touchstones.’”
After starting in F major for the first verse and chorus (PJ Morton, lead vocals), “Forever” shifts up to F# major at for vocalist India Arie’s feature at 1:11. By now showing its colors as an earnest love song, the tune continues with an almost trance-like repeating chorus. Arie and Morton create a subtly shifting tapestry of sound, alternating between tightly coordinated parallel leads and soaring ad libs. By 4:30, the tune has faded out entirely, but then fades back in, its focus completely shifted, in a brief reprise — a Glasper trademark. The reprise explores a few strands of the harmony and textures over a subdued but complex drum solo before fading out again.
for Kym and Marcus
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