Bobby McFerrin: Beyond words (2002 – Blue Note)

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 (All About Jazz)

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

Personnel:

Bobby McFerrin (vocals, keyboards);
Taylor McFerrin (vocals);
Keith Underwood (bass flute, wooden flute);
Gil Goldstein (accordion, Fender Rhodes piano, keyboards);
Chick Corea (piano);
Richard Bona (guitar, piano, percussion)

Original Release Date: March 12, 2002  –  Label: Blue Note Records

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Dexter Gordon – The Other Side of Round Midnight: (1985 – Blue Note)

 

After seeing “Round Midnight,” I knew I had to have the soundtrack, and if you too have seen the movie, you know what I mean. All the recordings on here were recorded live for the movie, which gives it a great intimate feeling. At the same time, the sound quality  is surprisingly good. If you haven’t seen the movie you should know that even though much of the soundtrack does features Dexter, the supporting cast is just as important, featuring Herbie Hancock, as well as occasional appearances by the likes of Cedar Walton, Bobby Hutcherson, Bobby McFerrin, Freddie Hubbard, Wayne Shorter, and others. But, as I see it,  apart from making allusion to Dexter’s genius, the other virtuoso performance on this album is Herbie Hancock playing Round Midnight. The realism of his piano is quite stunning. You can tell that the top of the piano is open. With each of the chords struck, you get that immediacy or sharp striking of the hammer to the string. The leading edge of the notes comes quickly. They don’t sound the least bit harsh or mechanical or worse yet, they don’t sound soft and mushy. There is also a completely believable sustain of the chords. The harmonic structure of the notes played, especially in the lower octaves, is very exacting. Overall, a very solid soundtrack with memorable versions of many standards and some of Dexter Gordon’s and Herbie Hancock’s finest playing.

Track List:

1. Round Midnight

2. Berangere’s Nightmare #2

3. Call Sheet Blues

4. What Is This Thing Called Love

5. Tivoli

6. Society Red

7. As Time Goes By

8. It’s Only a Paper Moon

9. Round Midnight – (solo piano)

Personnel:

Dexter Gordon (soprano & tenor saxophones)

Bobby McFerrin (vocals)

Wayne Shorter (soprano & tenor saxophones)

Palle Mikkelborg, Freddie Hubbard (trumpet)

Herbie Hancock, Cedar Walton (piano)

Pierre Michelot, Ron Carter, Mads Vinding (bass)

Billy Higgins, Tony Williams (drums)

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