A not-so-quick-guide to my new CD release’s ‘whys and wherefores’
Previously: ROUND SUNDOWN – ETHOS & DESIGN [[(BACK)]]
NOW: ‘Round Sundown - TRACK-BY-TRACK
The tracklist of the album was put together to reflect a range of jazz-influenced music from the 1940s, 50s and 60s, ranging from more intimate ‘jazz club’ quartet arrangements through to jumpin’ Big Band and even sweeping & melodramatic orchestral arrangements.
It’s a mix of easily accessible popula standards alongside lesser know numbers. Track 6, at halfway point, is placed to be deliberately obtuse and eclectic. It’s a number I’m very proud of, in the style of some of the music world’s under-rated musical innovators, Scott Walker - complete with challenging chords, structure and dissonance. The this album’s ‘Marmite’ track if anything is!
Others, as you will see & hear, are more common... but not always typical.
1. That Ole Devil Called Love
I have used the Alison Moyet arrangement of that ole Billie called Holiday arrangement of this superb number to ease the listener in with the first sip of their cocktail. I love the way the double bass opens up into soft brushes and muted brass – the recording is really crisp, which meant my vocal could be warm with lots of intimacy with the mic (!). I particularly enjoyed mixing up the lines in the second bridge which seem to propel the song forward just where it might start to flag.
2. East Of The Sun (And West Of The Moon)
Another ‘recent’ arrangement of a wonderful song, by the gorgeous Diana Krall, and although not so familiar to the casual listener, one with a wistful yet hopeful lyric I hope listeners will respond to. Since this is the song I’ve lulled my youngest song Aiden to sleep with for several years, it has special meaning for me particularly, and is dedicated to him.
I chose this arrangement as the 2nd track of the album as it has a wonderful instrumental, taking the listener all through the ‘dots’ and back again. I was thinking of the album being played as background music, where sometimes the instrumentation needs to speak for itself. Breathing room: space for my audience to chat and relax. And buy more cocktails....bar managers seem to like that too. ;-)
3. Fly Me To The Moon (In Other Words)
My engineer worked hard to re-master this recording I originally made back in the early years of the century...LOL. The classic Nelson Riddle-esque arrangement works to lift the tempo and energy of the track list, to catch the ear with something familiar.
4. Autumn Leaves
This old French melody is a staple of jazz ‘fake-books’, and was given English lyrics by Jonny Mercer. This pacey trio arrangement adds a skip to an otherwise melancholic song and another wide break that allows me to improvise a fun scat-melody in answer to a superb guitar instrumental. It turns out this was also my Nan’s favourite all-time song...although not the one I remember her for. (See 8.)
What I also love about this track is the live ambience of the take of musicians’ part. Listening carefully you can not only hear the faint creak of a drum/piano stool but even pick up the pianist humming part of the opening hook line as he plays it... can’t get a more genuine live-recording take than that! :-D
5. The Way You Look Tonight
Love him or loath him, it seems you can’t get away from Michael Buble’s arrangements these days. This bossa-nova take on another jazz standard is sweet and romantic, but the intricate percussion (for me) prevents it slipping into something too saccharine.
For me, the vocal needed shades of light and dark, with powerful sustained notes answering the sweeping strings and softer tones to compliment them.
6. Didn’t We Have It All? (original)
This is probably the least easy-listening song for listeners on this album, but one I was compelled to include at the half-way marker... not offended that this is the track most listeners will skip, if any! J
I was very much complimented to be approached by a local musician and song-writer who’d written this number specifically for me to sing & record. The epic full orchestral arrangement is designed as a nod to the music of Scott Walker - very much in the style of his seminal Scott 3 album.
This song is about looking back with regret and loss in the winter of a failed relationship. Not ‘wedding cocktail-hour’ in the slightest! But one I was instantly drawn to both musically and lyrically. Not one for everyone, but designed to showcase the work of my friend and collaborator, the excellent Richard Cook, and add a tinge of ‘somethin different’ to an erstwhile simply-covers album!
7. Do You Know What It Means To Miss New Orleans?
As the ‘bluesy-est’ track of the album, this is also a bespoke arrangement of classic number. Myself and my band (The Semantics) originally recorded this for an American charity organisation, where it was used within an educational fundraising event that toured the US following Hurricane Katrina.
The track includes live Hammond organ, Fender Rhodes (again by Richard Cook) and a zinging jazz-blues guitar part by my fellow muso Richard Braithwaite, which far outshines anything I’ve attempted with the vocal part here. I count myself privileged to have been able to record with these superb musicians on an entirely original backing.
8. Cheek To Cheek
A total ‘dedicated-to-my-Nan’ song here: Fred & Ginger gave us this fabulous Irving Berlin song in 1935’s Top Hat and it was one of her favourites... I can even remember her dancing me on her feet in the kitchen as she sang it.
In this arrangement I love the almost raw swing of the band in the recording and think I can even hear my smile when I’m singing it! I’ll also be the first to admit the influence of Eva Cassidy’s version in my second chorus, and hope this track lifts the album’s mood again after two subdued and atmospheric tracks.
9. From Russia With Love
For me, possibly the best ‘classic-Bond’ theme song, known best from Sinatra’s favourite singer Mr Matt Monro. The strings are huge and dramatic as any good Bond-song should be, but the details are what makes the music magical.
Listen out for the precision of the guy playing the tambourine (yes really!) in this track. Alongside vocals, I played 2nd percussion in a jazz quintet for a while, so really appreciate his concentration & effort... ‘little things mean a lot’ (to quote another lyric popular with my Nan!)
10. Satin Doll
We return to a simple jazz-club trio work-through for this wonderfully cheeky Duke Ellington number all about going “out cattin’ “ – or “going out on the pull” as some might say today! After the intensity of two big arrangements I wanted a track to introduce some breathing space for the listener, but also a change to listen to a lesser known number.
11. I’ve Got You Under My Skin
Written by my favourite American Songbook composer, Cole Porter, this is a well-know staple among those ‘songs for swingin’ lovers’, and the influence of Nelson Riddle/Sinatra on the instrumentation is clear. The piano part in this recording is a particular delight for me. Always great fun to sing.
11. The Good Life
As a long-time admirer of Tony Bennett, I had to include one of his classic hits. Particularly I love the bluesy flourishes on the piano....and quite appropriately, for the final track, my voice fades on my soft “goodbye” in the closing lyric.
And before I bid my goodbye here, I wanted to thank you for your time reading this...I hope it’s been an interesting accompaniment if you have purchased the CD, and at least an insight into how my li’l ole mind works when selecting songs for my listeners.
If you don’t have a copy of the album in your collection yet, it can be ordered for £6 + £1 p&p – contact me via info@phataahs.com for your personal copy. (Or book me to sing at your event and get a copy free (while stocks last.))
Take care, and have fun...
Jon Paul
Not every entertainer has the right skills to do this with sophistication & aplomb. Check what makes up the majority of their work, as interaction skills can vary greatly according the type of venues/audiences artists mainly perform for. 
