The Definitive American Songbook: George Gershwin Pt. 2
We’re back with part two of The Definitive American Songbook: the music of George Gershwin with five more must-have recordings. This week we’re focusing on Gershwin’s later Broadway years, when he had hit after hit on the stage. Shows like Funny Face, Girl Crazy and Of Thee I Sing solidified Gershwin’s place among America’s best composers.
“But Not For Me” Chet Baker from The Best of Chet Baker Sings
Chet Baker is almost always referred to as a trumpet player, but it’s his singing that made him a star. As a young man Baker was a pop sensation. His boyish good looks and incredible musical talent transcended the west coast jazz scene he was a part of in the 1950’s. The way Baker sings is influenced more by his own trumpet playing than any other vocalist. In both his vocal parts and his trumpet playing, he holds out notes without any vibrato until the very end. His recording of “But Not For Me” is a work of art, capturing the laid back lifestyle of mid-century Los Angeles, and the childlike quality of his singing fits perfectly with the lyrics about about lost love.
“Embraceable You” Jane Monheit from Taking a Chance On Love
This performance of “Embraceable You” by Jane Monheit is a study in subtlety. It’s a love song about that special, huggable someone. Monheit’s version is a duet with acoustic guitar, arguably the most intimate instrument after the human voice. Two instruments working together, like two bodies embracing. Her delivery of the verse is sublime; innocent, introspective and filled with longing. She sings the opening line of the song, “embrace me my sweet embraceable you,” so delicately, it’s as if she’s not sure her love will say yes.
“I Got Rhythm” John Pizzarelli from Kisses in the Rain
There are thousands of songs based on the harmonies to George Gershwin’s “I Got Rhythm” and ‘rhythm changes’ are harmonies every young jazz musician learns early in their studies. John Pizzarelli delivers a spectacular performance on the record Kisses in the Rain. He sings the lyrics, plays the guitar, scats in unison with his solo, and it all happens at 110 mph. In a fun moment at the end of his solo, Pizzarelli plays a few notes from “A Ticket, A Tasket” as he cedes the floor to the pianist, Ray Kennedy. In turn, Kennedy hands things off to the bass player quoting Thelonious Monk’s “Rhythm A Ning,” which was written using the chords to… you guessed it… “I Got Rhythm.”
“‘S Wonderful” Stacey Kent from Let Yourself Go
Many have tried to create something wonderful with this song, but few have been as successful as Stacey Kent. For the definitive version of “‘S Wonderful” we turn to the ex-pat American vocalist. Her voice is playful on this recording and you get the sense that she is truly impressed and grateful her special someone cares for her. Kent recorded this as a Bossa nova, adding a touch of the exotic to the arrangement.
“How Long Has This Been Going On” Louis Armstrong Meets Oscar Peterson
Hearing Louis Armstrong sing the opening verse of “How Long Has This Been Going On” is worth the price of the album alone. “As a tot when I trotted in little velvet panties, I was kissed by my sisters, my cousins and my aunties. Sad to tell it was hell, an inferno worse than Dante’s.” He then goes on to an absolutely masterful performance following the verse. It’s not the showboating, over-the-top Satchmo that if often resurfaced in popular culture today. He sings with such tenderness and empathy, you can almost see his salty tears. It’s a song about realizing something is one way after a lifetime of seeing it another way and Louis captures it perfectly.
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