Cole Porter stated " I Get A Kick Out Of You."" In 1934, Cole Porter introduced one of his most famous Broadway scores. "Anything Goes" , in addition to the title song he also provided " All Through The Night" Blow, Gabriel Blow" "You're The Top" as well as " I Get A Kick Out Of You."
This song is comprised of a series of step-wise statements, a technique also favored by Richard Rodgers and it is one of Porter's best known and performed songs. Like many of Porter's songs, it is as popular as much for the witty lyrics as for the melody .Jazz musicians favor this song for its looseness and a structure that encourages improvising by jazz instrumentalists.
Frank Sinatra had a natural affinity for the lyrics of Cole Porter-they were sexy, saucy and often impudent, qualities that were quite natural for Sinatra to enact.. This version is an easy-going swinging arrangement with a smaller ensemble. The way Frank stretches out the word " fabulous" at the end of the verse singing " Your " ....FABULOUS face is indicative of what is to follow inn the main chorus. Every time Sinatra sings the word " kick" as in " I get a kick" out of you" there is a loud drum accent right after the word. It helps further emphasize Porter's desire to show how much the singer really gets an emotional boost out of the person to whom the song is directed.
This is Sinatra after his signing by Capitol Records and beginning to work with Nelson Riddle and Billy May whose arrangements were much more contemporary and swinging than those of Gordon Jenkins and some earlier arrangers from the Columbia years.
LINK http://www.youtube.com/watch?v=s-62MuHsQBk
Sunday, 17 November 2013
Saturday, 16 November 2013
MEL TORME & GEORGE SHEARING -JAZZ MAGIC ON " PICK YOURSELF UP"
Mel Torme & George Shearing-Jazz Magic on " Pick Yourself Up"
Torme and Shearing performed as a duet team for a number of years and demonstrated complete compatibility and a marvellous interplay of ideas and technique. They thought and played as one voice as evidenced in the is Berlin concert version of Jerome Kerns and Dorothy Fields classic " Pick Yourself Up." Torme acts out both the Astaire and Rogers parts , including the verse before beginning the main chorus.
Then Shearing morphs into a J.S.Bach-like improvisational solo that takes off into the stratosphere before Torme joins into a spectacular series of improvised lyrics and melodic interplay.Near the end, Torme hits such a height of inspired jazz singing that Shearing throws up his hands in delight applauding Torme's inspired singing. This is singing and playing of the highest order and two jazz giants combining their talents in the same way that Dave Brubeck and Paul Desmond would unite in lengthy improvised passages as in their classic performance of Kern's " All The Things You Are."
The Torme /Shearing performance also includes a sensitive performance of " Stardust" by Hoagy Carmichael and Mitchell Parish that demonstrates the versatility of the two musical partners to both swing hard and serenade ever so sweetly.
LINK
http://www.youtube.com/watch?v=q97ho7npMcU
Torme and Shearing performed as a duet team for a number of years and demonstrated complete compatibility and a marvellous interplay of ideas and technique. They thought and played as one voice as evidenced in the is Berlin concert version of Jerome Kerns and Dorothy Fields classic " Pick Yourself Up." Torme acts out both the Astaire and Rogers parts , including the verse before beginning the main chorus.
Then Shearing morphs into a J.S.Bach-like improvisational solo that takes off into the stratosphere before Torme joins into a spectacular series of improvised lyrics and melodic interplay.Near the end, Torme hits such a height of inspired jazz singing that Shearing throws up his hands in delight applauding Torme's inspired singing. This is singing and playing of the highest order and two jazz giants combining their talents in the same way that Dave Brubeck and Paul Desmond would unite in lengthy improvised passages as in their classic performance of Kern's " All The Things You Are."
The Torme /Shearing performance also includes a sensitive performance of " Stardust" by Hoagy Carmichael and Mitchell Parish that demonstrates the versatility of the two musical partners to both swing hard and serenade ever so sweetly.
LINK
http://www.youtube.com/watch?v=q97ho7npMcU
Friday, 15 November 2013
MEL TORME'S FINE SONG " BORN TO BE BLUE"
Mel Torme's Own Song- Born To Be Blue" As virtuoso a singer as he was, Mel Torme was also an excellent songwriter with his Christmas Song a perennial favourite starting with " Chestnuts roasting on an open fire.....") His song Born To Be Blue with lyrics by Robert Wells is excellent and to quote Jenness & Velsey " It's closer to real blues style than most pop songs, in that it uses the flatted 3 and 6 ( intervals) a lot and also has the pattern roughly, of the blues syllogism: two short declarative phrases followed by one long summative phrase." They also conclude that " The lyric is well-integrated invoking a range of color terms that renders blue more poignant."
If there is someone who comes closer to technically perfect singing than Torme, please let me know.
First of all, he has more musical training than most singers-he can arrange songs for orchestras, play piano and is also an excellent drummer. He is the only "scat" singer in the same league as Ella Fitzgerald and as his friend and intrepid scholar Will Friedwald recounts in A Biographical Guide ToThe Great Jazz and Pop Singers, no other singer could embody the tenderest poetry of Cole Porter one minute and then a song later, ditch the words altogether to fly off into the scatosphere."
Although Torme was a perfectionist, he may have lacked the emotional and dramatic
power of Sinatra or the happy "goomba" warmth of Tony Bennett. As a jazz singer he leaves both Sinatra and Bennett in the dust , especially in his thrilling improvisational flights of fancy with George Shearing which will be featured in the next post.
Listen and enjoy vocal artistry that your unlikely to hear again.
http://www.youtube.com/watch?v=wJkdMMrIyRs
If there is someone who comes closer to technically perfect singing than Torme, please let me know.
First of all, he has more musical training than most singers-he can arrange songs for orchestras, play piano and is also an excellent drummer. He is the only "scat" singer in the same league as Ella Fitzgerald and as his friend and intrepid scholar Will Friedwald recounts in A Biographical Guide ToThe Great Jazz and Pop Singers, no other singer could embody the tenderest poetry of Cole Porter one minute and then a song later, ditch the words altogether to fly off into the scatosphere."
Although Torme was a perfectionist, he may have lacked the emotional and dramatic
power of Sinatra or the happy "goomba" warmth of Tony Bennett. As a jazz singer he leaves both Sinatra and Bennett in the dust , especially in his thrilling improvisational flights of fancy with George Shearing which will be featured in the next post.
Listen and enjoy vocal artistry that your unlikely to hear again.
http://www.youtube.com/watch?v=wJkdMMrIyRs
Thursday, 14 November 2013
W.C.HANDY' AND HIS " St. LOUIS BLUES"
W.C.Handy and his" St. Louis Blues" Alec Wilder , writing in American Popular Song: The Great Innovators; 1900-1950" concluded that " No American song is better known or has had more performances than St. Louis Blues. It most certainly is one of the most notable of popular music landmarks. Handy's many blues are a marvellous contribution to the body of American popular song." It is also is instructive to quote Isaac Goldberg writing about Handy's important blues development role in his book Tin Pan Alley.
" Willian Christopher Handy " the father of the blues" is not the inventor of the genre: he
is its Moses, not its Jehovah. It was he who, first of the musicians, codified the new spirit
in African (Negro) music and sent it forth upon its conquest of the North.
The " rag" has sung and danced the joyous aspects of Negro life.
The "blues," new only in their emergence, sang the sorrows of secular existence
Goldberg also said " Handy was the first to set jazz down upon paper-to fix the quality of the various 'breaks" as these wildly filled in pauses were named. With a succession of " blues' he fixed the genre."
The " blues " undoubtedly is the most purely indigenous American popular music invention. Other innovations in popular song were also created through harmonic and melodic devices which essentially were drawn from European and formal compositional roots. Even Duke Ellington's jazz pieces drew heavily upon the modern " French" harmony of Ravel and Debussy.
" St. Louis Blues" is quite unique since it is written in four distinct segments. It starts with the
usual 12 bar sections each with different lyrics. The third section is in the form of a tango reflecting early Spanish New Orleans. with the lyric stating" St. Louis Woman, wid her diamin' rings" . This "Spanish" segment is most unusual and instantly memorable.The final section is another 12 bar blues chorus. Not all recorded versions follow the sheet music since the song does inspire performers to take liberties with both the music and lyrics.
Bessie Smith, known as the" Empress of The Blues" is featured in a dramatized filmed segment in which she portray a sad and broken woman, living example of what Isacc Golberg had said what the blues were all about " The sorrows of secular existence" especially for Afro-Americans before and during W.C Handy's era.
Bessie is accompanied by an small orchestra and a chorus which lends an essence of the spiritual tradition in a song that is anything but spiritual in tone or intent. Bessie Smith's own life was filled with the sadness and despair echoed in the song and her performance does reflect what the blues is all about.
A more reflective version is provided by Maxine Sullivan who led a much different life than Bessie Smith which is evident in her more relaxed yet poignant style.. Two black women with different histories find commonality in an immortal W.C.Handy composition.
BESSIE SMITH LINK:
http://www.youtube.com/watch?v=8Who6fTHJ34
MAXINE SULLIVAN LINK http://www.youtube.com/watch?v=a_aai_ItJ7E
" Willian Christopher Handy " the father of the blues" is not the inventor of the genre: he
is its Moses, not its Jehovah. It was he who, first of the musicians, codified the new spirit
in African (Negro) music and sent it forth upon its conquest of the North.
The " rag" has sung and danced the joyous aspects of Negro life.
The "blues," new only in their emergence, sang the sorrows of secular existence
Goldberg also said " Handy was the first to set jazz down upon paper-to fix the quality of the various 'breaks" as these wildly filled in pauses were named. With a succession of " blues' he fixed the genre."
The " blues " undoubtedly is the most purely indigenous American popular music invention. Other innovations in popular song were also created through harmonic and melodic devices which essentially were drawn from European and formal compositional roots. Even Duke Ellington's jazz pieces drew heavily upon the modern " French" harmony of Ravel and Debussy.
" St. Louis Blues" is quite unique since it is written in four distinct segments. It starts with the
usual 12 bar sections each with different lyrics. The third section is in the form of a tango reflecting early Spanish New Orleans. with the lyric stating" St. Louis Woman, wid her diamin' rings" . This "Spanish" segment is most unusual and instantly memorable.The final section is another 12 bar blues chorus. Not all recorded versions follow the sheet music since the song does inspire performers to take liberties with both the music and lyrics.
Bessie Smith, known as the" Empress of The Blues" is featured in a dramatized filmed segment in which she portray a sad and broken woman, living example of what Isacc Golberg had said what the blues were all about " The sorrows of secular existence" especially for Afro-Americans before and during W.C Handy's era.
Bessie is accompanied by an small orchestra and a chorus which lends an essence of the spiritual tradition in a song that is anything but spiritual in tone or intent. Bessie Smith's own life was filled with the sadness and despair echoed in the song and her performance does reflect what the blues is all about.
A more reflective version is provided by Maxine Sullivan who led a much different life than Bessie Smith which is evident in her more relaxed yet poignant style.. Two black women with different histories find commonality in an immortal W.C.Handy composition.
BESSIE SMITH LINK:
http://www.youtube.com/watch?v=8Who6fTHJ34
MAXINE SULLIVAN LINK http://www.youtube.com/watch?v=a_aai_ItJ7E
Wednesday, 13 November 2013
TONY BENNETT & CARRIE UNDERWOOD DUET " IT HAD TO BE YOU"
Tony Bennett & Carrie Underwood Duet-" It Had To Be You" Reputed to be Johnny Mercer's favorite song, " It Had To Be You" was written over 90 years ago by Isham Jones and lyricist Gus Kahn. I mention the age of the song because here we have Tony Bennett, an almost 90 year old
singer, pairing with a twenty-something young singer coming from a country/pop tradition to sing a 90 year old song.
Bennett has been on a life-long mission to present and preserve the best of what he and others have called America's classical music. By partnering in duets with a wide range of younger singers from pop, rock, country and blues, he and his duet partners explore different ways of performing the standards that come from The Great American Songbook. Bennett does not impose a rigid stylistic format on anyone with whom he sings . Rather he encourages duet partners to bring their own style and perspectives to the repertoire which has been chosen by Bennett.
A number of the singers have commented on how open and encouraging Bennett has been in the planning and recording session and this has made their collaboration memorable and enlightening.
In the video, Carrie Underwood expresses her appreciation of Bennnett's nurturing approach and it seems to always produce great performances from a highly diverse group of younger singers.
NOTE: Who would have ever thought that as provocative as performer like Lady Gaga would ever succcesfully record a classic Irving Berlin song with Bennett. " Steppin' Out With My Baby" is a delight and Tony visibly is turned on by her presence and outrageously hip style and persona.
" It Had To Be You" LINK: http://www.youtube.com/watch?v=dspLgqlPMmk
singer, pairing with a twenty-something young singer coming from a country/pop tradition to sing a 90 year old song.
Bennett has been on a life-long mission to present and preserve the best of what he and others have called America's classical music. By partnering in duets with a wide range of younger singers from pop, rock, country and blues, he and his duet partners explore different ways of performing the standards that come from The Great American Songbook. Bennett does not impose a rigid stylistic format on anyone with whom he sings . Rather he encourages duet partners to bring their own style and perspectives to the repertoire which has been chosen by Bennett.
A number of the singers have commented on how open and encouraging Bennett has been in the planning and recording session and this has made their collaboration memorable and enlightening.
In the video, Carrie Underwood expresses her appreciation of Bennnett's nurturing approach and it seems to always produce great performances from a highly diverse group of younger singers.
NOTE: Who would have ever thought that as provocative as performer like Lady Gaga would ever succcesfully record a classic Irving Berlin song with Bennett. " Steppin' Out With My Baby" is a delight and Tony visibly is turned on by her presence and outrageously hip style and persona.
" It Had To Be You" LINK: http://www.youtube.com/watch?v=dspLgqlPMmk
Monday, 11 November 2013
JEROME KERNS LAST SONG " NOBODY ELSE BUT ME"
Jerome Kern's Last Song " Nobody Else but Me." Jerome Kern and Oscar Hammerstein created " Showboat" in 1927. It was a landmark development in musical theatre and a distinctive departure from the European influenced shows that marked Kern;s earlier theatrical ventures. " Can't Help Lovin' That Man of Mine," " Make Believe " " Bill" " Why Do I Love You?" and, of course " Old Man River" are songs that are still well known and performed.
In 1946, there was another revival of " Showboat" for which Kern and Hammerstein wrote a new ( and which was to be Kern's last melody) called " Nobody Else But Me." Alec Wilder described it as " Avery beautiful song though far from simple. It was characteristic of Kern, Wilder relates " To undertake unusual melodic innovations and he raised song writing to the level of highly distinguished melodic composition." Comparing Kern;s later compositions with the operetta style of his earlier career demonstrates the extraordinary advancement in composition. Wilder notably concludes that " I must note that to me perhaps the most striking quality of " Nobody Else But Me" is its " American soundingness." It serves as a perfect epitaph to his career."
I have heard a great many jazz instrumental and vocal interpretations of this song which is further testament to the rich melodic and harmonic elements that jazz players are always seeking.
Betty Bennett, a little-known but excellent singer provides an interpretation of the song as it would have been performed in a musical theatre performance.
Pianist Brad Mehldau, in vivid contrast to a formal stage performance,, demonstrates the jazzman's improvisational delight in the dramatic chord changes of Kern's last song.
vOCAL LINK:
http://www.youtube.com/watch?v=khc7TaBtd20
Instrumental LINK: http://www.youtube.com/watch?v=S9QF5hFYt4c
In 1946, there was another revival of " Showboat" for which Kern and Hammerstein wrote a new ( and which was to be Kern's last melody) called " Nobody Else But Me." Alec Wilder described it as " Avery beautiful song though far from simple. It was characteristic of Kern, Wilder relates " To undertake unusual melodic innovations and he raised song writing to the level of highly distinguished melodic composition." Comparing Kern;s later compositions with the operetta style of his earlier career demonstrates the extraordinary advancement in composition. Wilder notably concludes that " I must note that to me perhaps the most striking quality of " Nobody Else But Me" is its " American soundingness." It serves as a perfect epitaph to his career."
I have heard a great many jazz instrumental and vocal interpretations of this song which is further testament to the rich melodic and harmonic elements that jazz players are always seeking.
Betty Bennett, a little-known but excellent singer provides an interpretation of the song as it would have been performed in a musical theatre performance.
Pianist Brad Mehldau, in vivid contrast to a formal stage performance,, demonstrates the jazzman's improvisational delight in the dramatic chord changes of Kern's last song.
vOCAL LINK:
http://www.youtube.com/watch?v=khc7TaBtd20
Instrumental LINK: http://www.youtube.com/watch?v=S9QF5hFYt4c
Saturday, 9 November 2013
" YESTERDAYS" and " YESTERDAY"--JEROME KERN MEETS PAUL McCARTNEY
" Yesterdays" and " Yesterday"--Jerome Kern meets Paul McCartney" In 1933, Jerome Kern and lyricist Otto Harbach wrote "Yesterdays" for the musical Roberta. It is an very evocative, sombre song with a straightforward, overall structure but unforgettable for its ingenious harmonic progressions. The lyrics are a little old -fashioned rhyming " forsooth " with " truth" and " chaffed" with " laughed." I'm sure " forsooth" has not been part of regular English language use for at least 300 years. ( Cole Porter could have legitimately used in as part of his Shakespeare segments in Kiss Me Kate. ) Nonetheless, instrumentally the song has a somewhat brooding quality that is very compelling.
Frank Sinatra provides a performance of " Yesterdays" that is quite in keeping with the formal nature of the melody and the lyrics that lament of " Days that I knew as happy, sweet sequestered days" His performance transcends the archaic language which he does his best to downplay. After all, Frank was from Hoboken, New Jersey -not Stratford-On-Avon.
In 1965, Paul McCartney wrote both music and lyrics for " Yesterday." It deals with the break=up of a relationship, perhaps autobiographical and adorned only by a guitar and a string quartet. His lyrics are the everyday speech of the common man who sadly confesses that " I'm not half the man I used to be, There's a shadow hanging over me -------- and now I long for yesterday." This is a much more personal story being told by McCartney , especially when compared with the high flown sentiments provided by Otto Harbach.
Both songs are famous for their different reasons and I believe that the Kern composition is superior to McCartney's rather straightforward tune. However, McCartney's words are more heartfelt and compelling and reflect the emotional language of an ordinary man while avoiding the archaic and stilted vocabulary of Mr. Harbach.
Kern Link: http://www.youtube.com/watch?v=XXjreu_32YE
McCartney Link: http://www.youtube.com/watch?v=Ho2e0zvGEWE
Frank Sinatra provides a performance of " Yesterdays" that is quite in keeping with the formal nature of the melody and the lyrics that lament of " Days that I knew as happy, sweet sequestered days" His performance transcends the archaic language which he does his best to downplay. After all, Frank was from Hoboken, New Jersey -not Stratford-On-Avon.
In 1965, Paul McCartney wrote both music and lyrics for " Yesterday." It deals with the break=up of a relationship, perhaps autobiographical and adorned only by a guitar and a string quartet. His lyrics are the everyday speech of the common man who sadly confesses that " I'm not half the man I used to be, There's a shadow hanging over me -------- and now I long for yesterday." This is a much more personal story being told by McCartney , especially when compared with the high flown sentiments provided by Otto Harbach.
Both songs are famous for their different reasons and I believe that the Kern composition is superior to McCartney's rather straightforward tune. However, McCartney's words are more heartfelt and compelling and reflect the emotional language of an ordinary man while avoiding the archaic and stilted vocabulary of Mr. Harbach.
Kern Link: http://www.youtube.com/watch?v=XXjreu_32YE
McCartney Link: http://www.youtube.com/watch?v=Ho2e0zvGEWE
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