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273: The Necks, ‘Sex’

Posted by jeff on Nov 3, 2017 in A Cappella, Jazz, Nordic, Other, Rock, Song Of the week

The Necks, ‘Sex’

Rachael Price, ‘They All Laughed’  (the whole song)

Tarzan and Jayne

When I was 11, I wanted to be The Lone Ranger.
When I was 12, Mickey Mantle.
When I was 13, Mickey Hargitay (Jayne Mansfield’s husband).
When I was 14? A disk jockey on WSAI.
When I was 15? A disk jockey on WSAI.
When I was 16? A disk jockey… Well, I’ll leave it to you to extrapolate.

But I’ve matured. I no longer want to be a DJ on a Hit Parade station. I want to have a late-night slot on a very hip FM station, where I can wear shades (sunglasses) On Air and pick songs not by teeny-bopper sales (or by the $ of the distributor’s gift to the DJ) but by my very meandering rivulet of semi-consciousness.

So I’m going to fulfill my little fantasy this week, and present you with my personal Top Ten of the past fortnight or so, the best of the music that tracked its dirty little feet across my virtual turntable. In ascending order, just like at WSAI, to keep suspense at its peak.

Necks

[If you click on the What’s New tab on this page, you’ll see a chronological list of all SoTWs]

#10 Laura Nyro, ‘Stoney End’ (Seattle bootleg, 1971)

Yes, we dedicated SoTW 270 to this very cut, and SoTW 271 to a wider sampling of bootleg covers by Laura. I’ve been binge-ing on her bootlegs, and you’ll probably be hearing more about this inspiring music. But for a month now, I just can’t get enough of this thrilling, chilling treatment of a superb song I had previously not appreciated sufficiently.

#9 Barbra Streisand, ‘I Think It’s Gonna Rain Today’

I’ve listened to BS’s version of ‘Stoney End’ a couple more times, trying to figure out why that was a hit instead of Laura’s original, but to no avail. The world is not a fair place. I wrote a posting a long time ago (SoTW 20) about why I admired Barbra Streisand until she became famous at the age of 22, and never since. I listened to the “Stoney End” album. It’s not embarrassing, just a waste of vinyl. Or bytes or whatever. Barbra trying to be hip. She should just be Barbra.

Necks

But I did trip over this little gem—Randy Newman’s stunning ‘I Think It’s Going to Rain Today’, recorded for the “Stoney End” album (1971), released only in 2012 on her “Release Me” CD. It’s just Streisand with Randy accompanying her on piano. It doesn’t have a single electron of the sincerity of the original, from Randy’s masterpiece first album, which had its own posting in SoTW 85. But still. The girl’s got pipes.

#8 Cilla Black, ‘Alfie’

While we’re on the subject of chanteuses shouting, I happened to hear the original version of Burt Bacharach/Hal David’s ‘Alfie’, by Cilla Black, orchestrated and conducted by Burt himself. Coincidentally, this song also had its own dedicated SoTW 220.

There’s a great clip of that session, mucho recommended. And here’s the two of them reflecting back on that recording session years later.

Cilla Black (nee Cilla White) was born in Liverpool (1943), a pal of The Beatles, managed by Brian Epstein. They gave her ‘Love of the Loved’, ‘It’s For You’, and ‘Step Inside Love’. Like many non-Brits, I was surprised to learn that Cilla became a major media ikon in the UK, hosting her own TV variety shows and whatnot. You might enjoy the rather charming and unpretentious TV biopic, “Cilla”.

Värttinä

#7 Värttinä, ‘Lasetus’

Flowing along the ‘women singing strongly’ stream, Värttinä is a Finnish world music band that’s been around for 30 years. They started out as a youth group collective, and have morphed into a successful group with floating membership, which “revived the unique polyphonic music of the Finno-Ugric people of Karelia”, eschewing ‘the long-accepted cultural notion that women should sing unaccompanied’. Oh, those Finns!

Come on, give it a chance!. No dedicated SoTW to these gals (yet), but we have explored the Finnishish band Folk‘Avant in SoTW 264, Nordic Roots music in general in SoTW 71 about Lyy, and their cousins The Bulgarian State Radio and Television Women’s Choir (Le Mystere des Voix Bulgares) – SoTW 30.

Necks

#6 The Real Group, ‘Li’l Darling’

Scandinavian singers. And in two weeks, Maestro Peder Karlsson is coming to our shores, so you know who I’m going to be listening to: the young The Real Group. Here they are in a favorite of mine, written by Neil Hefti for Count Basie’s seminal album “Atomic Basie”. Here’s SoTW 168 on ‘Girl Talk’, another great song by Hefti. And here’s SoTW 101, featuring Kurt Elling’s version of ‘Li’l Darling’.

The Real Group in its young days made a lot of pretty perfect music. I’ve written about them a lot, including SoTW 59 ‘Joy Spring’ and SoTW 209 ‘Waltz for Debby’.

The human voice. The only instrument created by God. You listen to the young The Real Group, and you know He really knew what He was doing.

Vocalocity

#5 Vocalocity, ‘Nueiba’

Well, that’s easy. The Real Group inspired the entire genre of Modern A Cappella, of which I’m a proud devotee. Four years ago, together with my partner and buddy Ron Gang, I formed Vocalocity, a 40-voice rock choir/power vocal ensemble. I’ve written about us in SoTW 207.

One of the many aspects of the group that I’m very proud of is that we sing pretty much only scores that were custom-written for us by the greatest arrangers of this genre in the world. We also get a big kick out of commissioning foreigners, especially them Nords, to revisit classic Israeli rock-pop standards.

So here’s a brand-new studio recording of Vocalocity singing ‘Nueiba’ by Shlomo Gronich. It’s arranged by the wonderful Ms Line Groth Riis. Here’s Gronich’s original.

The song is from 1982, when Israelis were feeling isolated and threatened militarily, politically, economically. Young people would take off for Nueiba for a few days, an oasis in the Sinai desert on the shore of the Gulf of Aqaba. It was an ultimate escape, an isolated, idyllic getaway from all the world’s stress (the first 8 bars of Line’s arrangement). I was there in 1971, the week before my wedding. Sand, sea, surf, quiet, peace. Unspoiled, peaceful, natural beauty (all the rest of the song).

Touché

#4 Touché, ‘But Beautiful’

Paddling along the a cappella stream, Jesper Holm is a great conductor of Modern A Cappella. We in Israel just brought him to teach a group of conductors as part of a course given by the Royal Academy of Music from Alborg/Aarhus, the only institution in the world (I believe) to offer a degree in conducting this music. His group, Touché, is the closest I’ve heard to vocal perfection. You hear a cut and say, ‘Okay, they gave it a face-lift in the studio’. But I’ve heard them live, twice. They’re perfect live on stage as well.

‘But Beautiful’ was written by Jimmy Van Heusen and Johnny Burke for Bing Crosby to sing to Dorothy Lamour in the movie ‘The Road to Rio’ in 1947. I think Jimmy and Johnny would be pretty darned pleased to hear what Jesper and Touché have done with it.

#3 Jacob Collier, ‘Human Nature’

If you want to know what’s new in music, listen to what Jacob has done in the last two months. Here’s a new live performance of his treatment of the Michael Jackson song. I think it’s pretty great.

I’ve sung Jacob’s praises in SoTW 236 and will probably continue to do so in the future. He’s been working with a singer I admire, Becca Stevens (I had the opportunity to ask her all my geeky questions.) Here’s their brand new clip together. They seem to be having a lot of fun.

I have some reservations. He’s an overwhelming genius, everyone agrees. But he has yet to touch my heart. Is he freakishly talented, but merely a millennial with a digital personality? Or is he being expressive, just in a language I don’t perceive, let alone understand? Ah, Jeff, why spoil the party?

Ooh-ooh-ooh

#2 Rachael Price, ‘They All Laughed’

Guesting on Chris Thile’s “Prairie Home Companion” (PBS) just two weeks ago. On the site you can find links to a whole bunch of really outstanding videos which I recommend highly.

Chris Thile is a great musician (see SoTW 131), and I saw a side of him I hadn’t seen before on clips here such as ‘Calvin and the Ghosties’ and Your Lone Journey / Hell Among the Yearlings , by Chris and Rachael and an all-star band. This (and a bunch of other clips from the show) are knockout music.

But it’s Ms Price who steals the show with the Gershwins’ standard ‘They All Laughed’. By all rights, this should be #1, but I wrote about Ms Price in collaboration with Vilray in my very last posting, SoTW 272, and previously about her band Lake Street Dive (SoTW 206), and you gotta give someone else a break with the headline.

She does the Peggy Lee ‘I Love the Way You’re Breaking My Heart’ and Simon’s ‘American Tune’.

But it’s ‘They All Laughed’ that’s been keeping me awake at night. I’d like to tell you what Rachael Price does to me when she does that thing with her shoulders and her hands on “Ooh-ooh-ooh, who’s got the last laugh now?”—it’s like… it’s like… Well, there might be kids reading this, so I’m not going to write it.

Isn’t the suspense killing you? Drum roll, fanfare, and–

Necks

#1 The Necks, ‘Sex’

Some of my friends and I have been listening to The Necks pretty much non-stop for the last few weeks. They’re an Australian jazz-rock minimalist piano trio that’s produced about 20 distinguished but indistinguishable albums over the past 20 years.

Most of the albums, like “Sex”, contain one single hour-long cut droning along timelessly on only two chords, or even one, with miniscule changes. It’s hypnotic, it’s a trip. I really enjoyed writing SoTW 86 about Steve Reich and Minimalism, because I learned an awful lot doing the research.

The Necks “Sex”

One needs music like this. Intelligent entertainment. I need music all the time. But you can’t listen to ‘Visions of Johanna’ or ‘Crescent’ when you’re just waking up, or when you’re trying to fall asleep. Or when you’re trying to concentrate. Yeah, sometimes The Real World raises its ugly little head and demands the focus of our attention. Like Work, or Wife, or just mental Weariness. But I still need music. And The Necks are so darned useful for sharp, convincing, meaty background music.

All of The Necks’ albums sound pretty much alike (and I’ve been listening to all 20, over and over). Full disclosure: I chose “Sex” just to catch your eye, because I’m pleased to promulgate obscure music which deserves to be heard. I admit, they’re not the most inspiring music I’ve ever heard, but one can’t be inspired all the time.

They keep me going. But when I’ve caught my breath, I keep going back to #2, Rachel (‘Ooh-ooh-ooh, who’s got the last laugh now?’) Price. She takes my breath away. She tries harder.

That’s all for now, folks. See you again next week, same time, same imaginary station.

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236: Jacob Collier, ‘Hideaway’

Posted by jeff on May 14, 2017 in A Cappella, Jazz, Rock, Song Of the week

 

jacobcgreg_gormanThere’s this kid from London, Jacob Collier. He’s 22.

Since achieving majority, he’s been releasing videos he’s produced and recorded all by himself. In his room in his parents’ home. Alone, as it were.

At least that’s his cover story. I don’t believe a word of it. I’ve been watching his videos, and I’m convinced he’s an alien. He displays musical and visual abilities way beyond the ken of Homo sapiens from Planet Earth. It wouldn’t surprise me if he turns out to be the front man for some nefarious intergalactic conspiracy to invade our minds.

Skeptical? Watch ‘Hideaway’, the first video for his debut album “In My Room”, due July 1.

See what I mean? The superhuman, multi-octave, mind-bogglingly rich vocals? His prowess on every instrument you’ve heard of and a few he seems to have invented (a miniature acoustic bass)?  The outlandishly inventive visuals?

The humans I’ve encountered, even the musically gifted ones, can’t conceive of stuff like that, let alone execute it. By themselves. At the age of 22. Alone in their room in their parents’ house.

I remember, for example, hearing The Beatles’ ‘Rain’ and ‘Strawberry Fields Forever’ for the first time. I remember the quantum shock in my brain experienced witnessing the leap of imagination those recordings presented:
This is something new.
This is a new world of aural and conceptual possibilities.
Jacob Collier brings to mind that degree of innovation.

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Jacobs

One of his favorite formats has been multitracked videos of jazz and pop standards, driven by (by his own account) Brian Wilson-inspired vocals, often a cappella but occasionally garnished with a knockout lead instrument or five. I wanna tell you, this is seriously impressive stuff.

But he’s also been venturing out into the big world, starting at the top – here he is guesting with the hottest, coolest band in the world today, Snarky Puppy:

QuarterMaster’, a live performance in which he solos on the melodica. Seriously.

Don’t You Know’, from Snarky Puppy’s new DVD/CD “Family Dinner – Volume Two” in which he plays piano and sings multi-tracked, live!!, using a device he invented with a team at MIT, the ‘harmoniser’ – a thingie that enables him to sing in chords that he’s playing on a keyboard. Huh? Did we mention that he’s 22?

L2R: Jacob, Herbie Hancock, Quincy Jones, Chick Corea

L2R: Jacob, Herbie Hancock, Quincy Jones, Chick Corea

But he’s also been starting to appear live, using another home-made invention in collaboration with the MIT guys, a  one-man, multi-instrumental, multi-visual tool that allows him to simulate on stage the multi-track vocals/videos.

This is the kind of impression he’s been making on people:

“Talent oozing out of every pore”— Jamie Cullum
“Fucking unbelievable” — David Crosby
“The most talented kid on Earth today” — K.D. Lang
“Magnificent!” — Chick Corea
“Blown away” — Steve Vai
“I have never in my life seen a talent like this… Beyond category. One of my favourite young artists on the planet – absolutely mind-blowing” — Quincy Jones
“Wow!! Jacob, your stuff is amazing” — Herbie Hancock
“Staggering and unique… Jazz’s new messiah” — The Guardian

Conquering the world

Conquering the world

I don’t know how far he’ll go, this alien whippersnapper.

His guiding light is Brian Wilson. His new album is named after the Beach Boys’ song, ‘In My Room’. Here’s Jacob’s ruminative piano treatment of the Brian song. (For comparison, check out Paul Simon’s solo treatment of ‘Surfer Girl’).

Gary Usher, co-writer of the lyrics with Brian: “‘In My Room’ found us taking our craft a little more seriously. I played bass and Brian was on organ. The song was written in an hour… Brian’s melody all the way. The sensitivity… the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers’ father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers’ mother], who was putting her hair up before bed, and we played it for her. She said, ‘That’s the most beautiful song you’ve ever written.'”

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Brian at 22

Brian: “I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you’re not afraid when you’re in your room. It’s absolutely true.”
Jacob echoes not only Brian’s harmonic and orchestrational genius. He also speaks of ‘his room’ as his natural environment.

One of the innumerable talents of Squire Jacob that I find profoundly unsettling is his self-assurance. He’s out there doing mind-bogglingly new and exciting stuff with folks like Quincy Jones and Herbie Hancock and Jamie Cullum, and he behaves with aplomb and confidence as if  as if he’s been selling tens of thousands of copies of this stuff for 10 years.

Let’s step for a moment into the form/content dichotomy.

Jacob at 22

Jacob at 22

In purely musical terms, at 22 Jacob is way beyond Brian. He’s not churning out the original surfing/hot rod hits that Brian was at that age; but he is going to town harmonically in a way Brian would only begin to attempt several years and several albums later in “Beach Boys Today!” But as an innovator of sound, technique, tools? Jacob is standing on Brian’s shoulders. The Wilson brothers had a midnight curfew, and the personal computer was 30 years away. I don’t know if Brian even had a reel-to-reel machine when he wrote ‘In My Room’. Jacob really does create a new world every three or four days (that’s how long it takes him to make a multitracked ‘cube’ vocal video).

I see Jacob potentially playing in a league with Brian Wilson, even John and Paul, some day. Why maybe? At the same time that they were creating new worlds of options, they were creating indelible, lasting music. Jacob’s not doing that yet. My sense is that he’s still rather overwhelmed by the tools and techniques he’s inventing as he goes along.

‘Hideaway’ is a big step forward. It’s an original song, although I admit that I thought at first it was penned by that prolific songwriter Trad, sort of like James Taylor’s ‘That Lonesome Road’. (I don’t think I was thinking of Bing Crosby’s 1933 ‘In My Hideaway’.) After you’ve amazed your brain a few times watching the video of ‘Hideaway’, try listening to it without the carnival of lights and images and personae and invention.

The song. It’s almost as good as the video.

imageBrian Wilson’s genius goes beyond those harmonies and that orchestration. Both serve to celebrate the core, the song. As brilliant as is the whole of each of the worlds contained on the Beach Boys’ finest songs, it’s all finally in service of the song, even “Pet Sounds”, even ‘Good Vibrations’.

As a musician, Jacob Collier is still a kid, albeit a prodigiously gifted one. He’s just beginning to venture outside his room, almost literally. If he has the focus, the fiber, the soul, to concentrate on core values – melody, lyric, song structure – Jacob Collier could well be one of the major musical voices of his generation.

Here’s a fine video of Jacob explaining how and why you should consider reaching into your pocket and supporting him. Know what? I did. It makes me a patron of the arts, to kick in a little dough for a kid I have so much respect and hopes for. Think about joining me in supporting him.

If you liked this post, you may like enjoy these previous Songs of The Week:

230: The Beach Boys, ‘Here Today’ (“Pet Sounds” Unsurpassed Masters Vol. 14)

118: Brian Wilson, ‘Surf’s Up’ (“SMiLE”)

004: The Beach Boys, ‘Kiss Me Baby’

158: Paul Simon, ‘Surfer Girl’

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