Jazz

Bobby McFerrin & Chick Corea - The Mozart Sessions (1996)

2012-11-03T17:00:37Z

Bobby McFerrin & Chick Corea - The Mozart Sessions (1996)

Concerto For Piano And Orchestra No. 23 In A Major, K. 488
1a Prelude (A Capella Vocal & Piano Improvisation) 		
1b I. Allegro 	14:09 	
2   II. Adagio 	7:11 	
3   III. Allegro Assai 	8:16 	
Concerto For Piano And Orchestra No. 20 In D Minor, K. 466
4a Prelude (A Capella Vocal & Piano Improvisation) 		
4b I. Allegro 	16:15 	
5   II. Romance 	8:59 	
6   III. Rondo (Allegro Assai) 	8:46 	
"Song For Amadeus"
7 Improvisation On Mozart's Sonata No. 2 In F Major, K.280/189e: II. Adagio) 	2:29 	

Chick Corea – piano
Saint Paul Chamber Orchestra
Bobby McFerrin – vocals, conductor

The informal title says a great deal about the contents of The Mozart Sessions, which could have been called Concerti for Piano and Orchestra, Nos. 23 and 20, since that is, for the most part, what it is. But of course the conductors, vocalist Bobby McFerrin and jazz keyboard player Chick Corea, are not your average classical musicians. Nor is there any doubt about the non-traditional nature of the recording, when it starts with McFerrin's patented improvisational vocals followed by Corea's piano inventions under the title "Prelude." So, for a start, purists should be warned away. On the other hand, the more adventurous may be slightly disappointed, since after they get the preliminaries out of the way, McFerrin and Corea, aided and abetted by the St. Paul Chamber Orchestra, turn in pleasant but unexceptional readings of the concerti, with Corea especially eschewing any attempt at dazzle in what are usually showcase pieces. The piano work is fluid and the orchestral accompaniment delicate, but the principals seem sufficiently concerned about getting anything wrong not to really take off. At the end, as Corea once again improvises in tandem with McFerrin's voice, one longs for more of their interaction, perhaps in a less restrictive context. --- William Ruhlmann, Rovi

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Bobby McFerrin & Chick Corea – Play (1990)

2011-01-28T19:51:11Z

Bobby McFerrin & Chick Corea – Play (1990)


1 Spain 10:10
2 Even From Me 6:31
3 Autumn Leaves 11:37
4 Blues Connotation 7:09
5 Round Midnight 7:58
6 Blue Bossa 6:12          play

Bobby McFerrin: Vocals 
Chick Corea: Piano

PLAY is Bobby McFerrin and Chick Corea. PLAY features musical highlights from several concert appearances by the pair which proved to be as humorous as they were musically engaging. PLAY features incredible moments such as McFerrin's ability to switch effortlessly from soaring falsettos to intense basslines. Chick Corea acts as the perfect accompanist and partner to McFerrin, yet McFerrin often steals the show with his improvisational vocal mastery.

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Bobby McFerrin - Beyond Words (2002)

2011-08-24T10:35:36Z

Bobby McFerrin - Beyond Words (2002)


1.Invocation    
2.Kalimba Suite    
3.A Silken Road
4.Fertile Field    
5.Dervishes    
6.Ziggurat
7.Sisters    
8.Circlings    
9.Chanson    
10.Windows				play    
11.Marlowe				play    
12.Mass    
13.Pat & Joe    
14.Taylor Made    
15.A Piece, A Chord
16.Monks/The Shepherd

Personnel:

Bobby McFerrin- vocals, keyboards; 
Chick Corea- piano, electric piano; 
Gil Goldstein- accordion, keyboards; 
Keith Underwood- wood flutes, contrabass flute; 
Richard Bona- bass, guitar, percussion; 
Cyro Baptista- percussion; 
Omar Hakim- drums

How does one write about the ineffable? It is, after all, Beyond Words ... We must, however, reflect on Bobby McFerrin’s Beyond Words

There is a certain degree of serendipity in the fact that this recording is being capitalized upon, in the best economic system the world has ever known, through the marketing efforts of both Blue Note and Angel Records as in Classical music, the "grace note" is what in Jazz is known as a "blue note." Beyond Words is an album from the world to the world, encompassing the fleeting hallowedness that structures the allure and effect of a graceful blue note. Hence, it is not for the faint of sensibility and intelligence. Although not a difficult work, without recurring to popish sentimentality or facility in its accessibility, it does require a certain level of engagement in order to disengage the listener from preconceptions and expectations that would mar the delight on musical idioms beyond any evocative or explanatory measure. McFerrin’s latest is “deep,” as musicians are fond of saying when referring to outstanding music.

It would be rather tempting to play a game of “Where’s Waldo?” when trying to document the various musical, cultural or aesthetic influences present in this compact disc, although that would be infelicitous and beside the point. As mentioned before, this is an album from the world to the world. Creative, or so-called creative endeavors, nonetheless, often times end up as mere masturbatory efforts that have more to do with inbred narcissism than true originality. McFerrin is not affianced in self-pleasure in this Blue Note/Angel release. He wants to gratify his audience with an anointing dipped into one of the widest palettes available for worldwide consumption in contemporary musical markets.

Beyond Words has a wide and fun emotional range that swings in saintly depth. The arrangements, vocalizations, and compositions, as well as the performances of the musicians, have a refreshing sense of cultural innocence and curiosity in their tales. With the exception of “Windows,” a Chick Corea composition, reinterpreted here in historical fashion by McFerrin, the rest of the oeuvre was penned by him. Having Corea playing in this recording was a prudent decision as he has an authentic and imaginative record of accomplishment in various musical worlds. The same is true of most of the rest of the crew that gave rise to the beautiful blessing that is Beyond Words.

McFerrin’s latest also hits the mark with the integrity of the 16 pictorials poured in this recording. From the short-lived “Circlings,” to the beefier “Invocation,” Beyond Words manages to say what needs saying without recourse to vocal or instrumental logorrhea. The whole of Beyond Words is known through its wholesome parts, duration notwithstanding. All told, Beyond Words says a lot. You had better listen...---Javier Aq Ortiz, allaboutjazz.com.

Creative vocalist Bobby McFerrin's return to Blue Note after a nearly ten-year absence indicates a possible desire for a return to improvised jazz, and in a way distancing himself from the classical works he had become increasingly associated with. Working again with pianist Chick Corea and producer Linda Goldstein, his 2002 album, Beyond Words, is reminiscent of the other McFerrin/Corea collaborations (Play, The Mozart Sessions), but somehow these mostly improvised works lack the spark that their previous partnerships have created. Ably backed by Corea's bright piano, Omar Hakim on drums, and Richard Bona on bass, the songs feel to be all the same texture for the most part, never reaching any kind of a peak throughout the album. Beyond Words is a moody and dark affair, with subtle layers of McFerrin's undulating vocals weaving in and out of the musical bed, but instead of sounding earthy and natural, the album is punctuated by synthesized instruments that pull the recordings dangerously close to smooth jazz territory. Unfortunately, by taking one of the most articulate players of man's earliest instrument and layering it in slick, fretless basslines and synthetic Roland XP-80 chords, it almost defeats the purpose of hearing his voice altogether. Still, it is an excellently performed and cleanly produced document of both McFerrin and Corea's abilities, ideal for gentle background textures on a night in alone. ---Zac Johnson, allmusic.com

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Bobby McFerrin - Simple Pleasures (1988)

2011-01-20T10:00:16Z

Bobby McFerrin - Simple Pleasures (1988)


1. Don't Worry, Be Happy
2. All I Want                      play
3. Drive My Car
4. Simple Pleasures
5. Good Lovin
6. Come To Me
7. Suzie Q                         play
8. Drive
9. Them Changes
10. Sunshine Of Your Love

Bobby McFerrin - all vocals

Simple Pleasures is the fourth studio album by American singer and musician Bobby McFerrin. It was his commercial breakthrough album, containing the hit single "Don't Worry, Be Happy," also featured in the film Cocktail. Simple Pleasures has gone triple platinum, with "Don't Worry, Be Happy" winning the 1988 Grammy Awards for Song of the Year, Record of the Year and Best Pop Vocal.

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Bobby McFerrin - Spirityouall (2013)

2013-05-18T16:06:21Z

Bobby McFerrin - Spirityouall (2013)


01 – Everytime
02 – Swing Low
03 – Joshua
04 – Fix Me Jesus
05 – Woe
06 – I Shall Be Released
07 – Whole World
08 – Gracious
09 – 2515
10 – Wade
11 – Glory
12 – Jesus Makes It Good
13 – Rest Yes Indeed

Personnel: 
Bobby McFerrin: vocals; 
Esperanza Spalding: bass, vocals (1, 2, 7, 11, 13); 
Larry Campbell: guitars; 
Gil Goldstein: keyboards; 
Charley Drayton: drums (1, 2, 7, 11, 13); 
Ali Jackson: drums (3, 4, 5, 6, 8, 9, 10, 12, 13); 
Larry Grenadier: bass (3, 4, 5, 6, 8, 10, 12).

Bobby McFerrin, Al Jarreau and Jon Hendricks are the most innovative jazz voices of the past 50 years. Our current subject, McFerrin, took the technical capabilities of the human voice, remolding them into the fantastic and delightful forms we recognise as his genius today. spirityouall is McFerrin's celebration of both his father, Robert McFerrin, Sr., the first African-American to sign a contract with the Metropolitan Opera Company and the American musical vernacular called the Spiritual.

McFerrin's father was also an historic interpreter of the American Negro Spiritual, having recorded "Deep River" and Other Classic Negro Spirituals in 1957 (which is curiously unavailable digitally or as a compact disc). The younger McFerrin resculpts three timeless pieces that appeared also on his father's release—"Every time I Feel the Spirit," "Swing Low Sweet Chariot" and "Fix Me Jesus"— making these time-tested songs shine like liquid mercury exploding. McFerrin takes old songs and new originals, even a Dylan tune, melding them in the organic fashion of 1990s Cassandra Wilson, only completing Wilson's evolution in concept and execution. This is fully realized music.

First, no song is allowed a "standard" treatment. No, not one of the thirteen songs here. McFerrin digs in the Delta Dirt with guitarist Larry Campbell's talents with dobro, slide guitar, steel guitar conjuring blues and deep country mojo on "Fix Me Jesus," "Whole World" and an Eddie Son House "Death Letter" stomp on the singer's original take on Psalms, "25:15:" Blind Willie Johnson meets Tommy Johnson at the crossroads of canned heat and the Yazoo river. McFerrin transforms "Wade in the Water" into a steel-guitar rag jazz piece quite unlike anything else. Bob Dylan's "I Shall Be Released" has never been so transformed, sounding like it belongs to McFerrin and his father's spirit.

The riches that make up spirityouall cannot be overestimated. McFerrin is well-inspired and supported on this disc, where he really does something both unique and special. This is music that heals. ---C. Michael Bailey, allabout.jazz

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Bobby McFerrin – Vocabularies (2010)

2010-04-16T12:08:50Z

Bobby McFerrin – VOCAbuLarieS (2010)


1. Baby [08:04]
2. Say Ladeo [08:44]
3. Wailers [10:26]
4. Messages [11:22]
5. The Garden [08:34]
6. He Ran To The Train [10:29]
7. Brief Eternity [06:13]
Bobby McFerrin - Alto, Alto (Vocals), Bass (Vocal), Composer, Soprano, Tenor (Vocal), Vocals

Alex Acuña - Bongos, Percussion
Sandra Anderson - Soprano (Vocal)
Sandy Anderson - Soprano
Ryland Angel  - Tenor (Vocal)
Thom Baker - Tenor (Vocal)
Joey Blake - Bass (Vocal), Tenor (Vocal)
Theo Bleckmann - Tenor (Vocal)
Kristina Boerger - Alto, Alto (Vocals), Soprano, Soprano (Vocal)
Everett Bradley - Tenor (Vocal)
Lincoln Briney - Tenor (Vocal)
Bonnie Denise Christiansen - Soprano
Pierre Cook - Tenor (Vocal)
Cole Davis - Soprano (Vocal)
Daniel Abraham DeVeau - Soprano (Vocal)
Sussan Deyhim - Alto
Judi Donaghy - Alto
Michele Eaton - Soprano, Soprano (Vocal)
Gary Eckert - Bass (Vocal), Engineer, Tenor (Vocal)
Rosana Eckert - Soprano
Peter Eldridge - Bass (Vocal)
Pedro Eustache - Duduk, Woodwind
Elizabeth Farnum - Alto, Soprano
Andrea Figallo - Bass (Vocal)
Lisa Fischer - Alto, Alto (Vocals), Featured Artist, Soprano, Soprano (Vocal), Vocals
Carol Friedman 	Photography
LaTanya Hall - Alto, Alto (Vocals), Soloist, Soprano, Soprano (Vocal)
Albert Hera - Bass (Vocal), Soloist, Tenor (Vocal)
Datevik Hovanesian - Alto
Aubrey Johnson - Soprano
Katie Campbell 	- Alto, Alto (Vocals), Soprano, Soprano (Vocal)
Kevin Osborne - Bass (Vocal)
Curtis King - Tenor (Vocal)
Lauren Kinhan - Alto, Alto (Vocals), Soprano, Soprano (Vocal)
Josephine Lee - Alto
Michelle Mailhot-Valines - Alto, Soprano, Soprano (Vocal)
Don McCaslin - Saxophone
Bobby McFerrin - Alto, Alto (Vocals), Bass (Vocal), Composer, Lyricist, Primary Artist, Quotation Author, Soprano, Tenor (Vocal), Vocals
Darmon Meader - Tenor (Vocal)
Alexandra Montano - Alto, Alto (Vocals), Soprano, Soprano (Vocal)
Gayla Morgan - Alto, Soprano
Kim Nazarian - Alto, Alto (Vocals), Soprano, Soprano (Vocal)
Darren Percival - Tenor (Vocal)
Beth Quist - Soprano
Rhiannon - Alto, Alto (Vocals), Soloist
David Root - Tenor (Vocal)
Marlon Saunders - Tenor (Vocal)
Fletcher Sheridan - Tenor (Vocal)
Janis Siegel - Alto, Alto (Vocals), Soloist, Soprano, Soprano (Vocal)
Richard Slade - Tenor (Vocal)
Luciana Souza - Alto, Alto (Vocals), Soloist, Soprano, Soprano (Vocal)
Michael Steinberger - Tenor (Vocal)
Darryl Tookes - 	Tenor (Vocal)
Roger Treece - Alto, Alto (Vocals), Bass (Vocal), Percussion, Pre-Mixing, Producer, Soloist, Soprano, Synthesizer Programming, Tenor (Vocal)
Amelia Watkins - Alto, Soprano, Soprano (Vocal)
Michele Weir - Alto
David Whitworth - Tenor (Vocal)
Dave Worm - Tenor (Vocal)

Bobby McFerrin has always been a wildly restless talent, continually looking to develop fresh ideas for the human voice and place it in -- sometimes wildly -- different contexts from simple folk and pop songs to improvisational settings to strident compositional frameworks. His productions include duet records with instrumentalists Chick Corea and Yo-Yo Ma, as well as the creation of a virtual a cappella choir from his own vocal overdubs. All of this said, there has always been “something missing” from his recorded works that shows itself in concert, outside recording studio confines. On VOCAbuLarieS he seems to have found it. This is the work that anyone remotely interested in McFerrin needs to hear. Collaborating with composer, arranger, and conductor Roger Treece over seven years, McFerrin’s been given a foil who not only understands his previous output, but can focus his ideas and take them to the next developmental peak. The pair employed over 50 vocalists from different genres and nations to create a virtual choir in the studio. According to a press release, they cut over 1,400 vocal tracks. The music here is “fusion” in the most seamless and beautiful sense of the word: classical, pop, soul, Middle Eastern, African, and Eastern European vocal traditions all move together, and encounter one another head-on. They meld into a whole where the seams show, but are elegantly aurally tailored to create something entirely new -- even if the material always isn’t. Three selections here come from the controversially beautiful Medicine Music album, from 1996. But the versions here are radically different than the originals; the voices, rhythms, textures, and even ambiences of these voices have a more muscular quality, much more forceful and complex while simultaneously being more "listenable." The opener, “Baby,” provides proof. In the original it was a simple folk song, a lullaby with African roots; here is it a harmonically challenging, intricate labyrinth where 22 singers accompany McFerrin as well as a rhythm section. ”Wailers” is a pulsing chant with Middle Eastern, African, and Eastern European harmonies woven together by singers who include Sussan Deyhim, Luciana Souza, and Janis Siegel. ”He Ran to the Train” combines -- in a wholly new way -- two tracks from Medicine Music in an explosively knotty, compellingly emotional call-and-response piece that is as rhythmically complex as it is harmonically. The set closes with “Brief Eternity,” a new piece of modern sacred music that evokes everything from Gregorian chant and polyphony to John Tavener and Arvo Pärt. VOCAbuLarieS is easily McFerrin’s finest moment on record as well as his most ambitious, and should win him some new fans even among cynics. ---Thom Jurek, Rovi

VOCAbuLarieS to muzyka XXI-ego wieku. Muzyka zaskakująco inna od płyt, które kiedykolwiek McFerrin nagrywał, dziesięć razy zdobywając nagrodę Grammy. Album Vocabularies, który powstawał latami ujawnia nowe oblicze znanego na całym świecie wokalisty. Nowa płyta kieruje jego dotychczasowe muzyczne podróże ku nieznanym, nieodkrytym terytoriom. Album skonstruowany tak nienagannie jak symfonia Mozarta, w całości złożony z niezliczonych elementów stylistycznych jest odmienny od wszystkich albumów kiedykolwiek nagranych przez Artystę. Do trwających ponad siedem lat prac nad płytą, zatrudniono kompozytora, aranżera i wokalistę Rogera Treece, zwerbowano członków Voicestra i znakomitych wokalistów ze świata jazzu, opery, sztuki scenicznej, kabaretu, rock and rolla. Roger spędził lata w studio nagrywając McFerrina oraz zdobywających Grammy artystów R&B takich jak np. Lisa Fischer, brazylijska innowatorka jazzu Luciana Souza czy Janis Siegel z Manhattan Transfer. Połączono głosy o różnych stylach, barwach i typach uzyskując w ten sposób nowe brzmienie. To uniwersalna muzyka, która istnieje na różnych poziomach. Na VOCAbuLarieS każdy słuchacz usłyszy coś innego: "Jedna piosenka staje się tysiącem piosenek" - jak śpiewa Bobby.

Siedem piosenek utrwalonych na VOCAbuLarieS "utrzymuje słuchacza w stanie zaskoczenia" - mówi Roger Treece. Słowa pochodzą z języków: łacińskiego, włoskiego, antycznego hinduskiego, zuluskiego, hiszpańskiego, rosyjskiego, hebrajskiego, portugalskiego, mandaryńskiego, japońskiego, francuskiego, arabskiego, niemieckiego, angielskiego, celtyckiego jak i własnego języka stworzonego przez Bobby'iego.

Począwszy od otwierającego Baby aż po ostatnie nuty Brief Eternity, McFerrin, Treece i ich wirtualny chór przenoszą nas w nieznany teren. To tak, jakby przyjechać do nieznanego miasta, ale czuć się jak w domu. To uniwersalna muzyka, która istnieje na różnych poziomach. Na VOCAbuLarieS każdy słuchacz usłyszy coś innego: "Jedna piosenka staje się tysiącem piosenek" - jak śpiewa Bobby. ---merlin.pl

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