"Lush Life" Inside the Songbook

Adam Levy, host of “Lush Life.” Photo...

Wed, 10 Nov 2010 09:27:00 -0500

Adam Levy, host of “Lush Life.”

Photo credit: http://www.coffman.umn.edu/whole/themes/images/AdamLevy.jpg

Adam Levy brings eras and genres together for “Lush Life”

Wed, 10 Nov 2010 09:25:20 -0500

By Allison Fingerett

Adam Levy is a well-versed idea man. As lead singer-songwriter for the Honeydogs, Levy is also a major player in the Minnesota music scene. His songwriting style is heavily influenced by his background in social work, as each Honeydogs album explores facets of the human psyche and the modern world.

Levy looks at music from a sociological perspective. His mind seems to overlay the timeline of musical evolution with corresponding elements of social change. He can wax poetic on mid-20th century American immigration, and the resulting mosaic of creativity. Levy’s enthusiasm for history and culture is contagious, and has developed into a three-part music series (Southern Songbook) that asks other songwriters to explore their roots during what he calls “a fertile time for music in Minneapolis.”

This Friday, at the Southern Theater, the first installment of the Southern Songbook, “Lush Life: Interpretations of the American jazz canon,” will focus on the influence of the Great American Songbook. Eight local musicians will perform songs from the jazz canon and discuss the era’s impact on the art of songwriting. Levy will serve as host, and wanted to round out the bill with a mix of established and emerging musicians who could tackle the Great American Songbook from a variety of angles. Genres represented range from hip-hop and spoken word to folk and indie pop.

Levy worked with music director, DeVon Gray, and manager of Invisible Button Entertainment, Lily Troia, to select the diverse and exemplary array of talent for the showcase. But Levy’s depth of knowledge and passion for the project made me curious to know why he chose each artist on the “Lush Life” roster, In a brief interview, I asked Levy why he choose each artists for "Lush Life."

AL on Mayda: She’s been creating a sense of newness for a while with what she’s doing. She’s a funky guitar player and a literate songwriter who defies genre categorization.

On Ill Chemistry (Carnage & Desdamona): I’m looking forward to Carnage doing some beat-boxing. I really like his vibe and I think he’s a really sharp guy. Desdamona is a ridiculously great poet, and though she won’t often tell you, she’s a fantastic soul singer. Together, they’re unstoppable.

On Omaur Bliss: He’s a longtime fixture in town and a great M.C. As simple as it may sound, I really like his singing voice.

On Janey Winterbauer: I know she can just nail this stuff in a traditional fashion. She has a phenomenal voice and just happens to know this music really well.

On Bethany Larson: She’s a charming musician with a lovable vibe who loves this music.

On Toki Wright: He’s a high profile M.C. and second generation Rhymesayers artist. I wanted to see what would happen if we gave him these old tunes and a chance to tie the genres together.

On Ashleigh Still: She’s a mindblowingly good soul singer and scholar of older African American gospel music. She brings racy lyrics about modern struggles to traditional musical styles and I can’t wait to see how she interprets the Great American Songbook.

Allison Fingerett is a senior at the University of Minnesota in the department of psychology.

Mayda performing...

Sat, 06 Nov 2010 11:25:00 -0400

Mayda performing “Focus”

http://www.youtube.com/watch?v=4c0HgcVThsc&feature=player_embedded

All Eyes on Mayda....

Sat, 06 Nov 2010 11:21:53 -0400

A Look at the Inspirations Behind Her Raw and Original Sound

By Caitlin Jagodzinski

Mayda, a Twin Cities pop/funk artist, is undeniably one of the most noteworthy musicians in the metro area. The Korean adoptee and St. Paul native has played both nationally and internationally, and her music’s been featured on the Kare 11 Morning Show, USA’s Good Morning America, and the Rachael Ray Show. She’ll be a guest artist in “Lush Life: Interpretations of the American jazz canon,” in which musicians deliver fresh takes on songs and styles from the Great American Songbook—an artistry with which Mayda’s quite familiar.

While she’s chosen pop/funk as the sound that best expresses her musically, Mayda’s deft at musical exploration, and she mixes genres together as if they’d never been differentiated in the first place. Her new and unconventional sound combines groovy disco, bluesy acoustic guitar riffs and electric pop beats with a funky twist. Her vocal style, a mix of raw Janis Joplin with the soulful funk of Alicia Keys, should be no trouble for the Broadway and Ragtime songs of the Great American Songbook.

She also collaborates with drummer Michael Bland, notable for his work with Prince in the early ‘90s, who adds a pinch of the Minneapolis music icon’s flavor to her mix. What comes from all this edgy creativity is an emotional and honest sound so consuming it will leave fans and first time listeners alike begging for more after her two songs at “Lush Life.”

Mayda’s musical style, the only pop/funk angle in “Lush Life,” should make her performance that much more interesting. Curious about her musical influences, I spoke to Mayda about her music for “Lush Life” as well as her recordings. So what inspires such an imaginative and honest sound? Mayda discusses below.

CJ: What most influences your songs and recordings?

M: Most of it comes from personal experience with people, places, ideas and stories. I like to use my imagination a lot. I am also very drawn to theater, raw emotion and humor in any artistic fashion.

CJ: What musical training do you have? What about this training has influenced your musical style?

M: I have over 15 years of classical piano training that has definitely helped me with the technical side of music (keys, time signatures, scales, Italian words…) This kind of practice has not only refined my knowledge of music and sound, but it has also led me to explore other genres such as jazz and blues. These styles introduced me to a whole different world of music where there weren’t charts to follow, and the music had a more free and improvised aspect to it. I found this extremely liberating, which just made me want to explore as much music as I could. Through my investigations of musical fusion I found comfort, and identified with pop and funk music the most.

CJ: What songs did you choose from the Great American Songbook and what about these choices intrigued you?

M: The first song I chose was “Puttin’ on the Ritz,” which is a fun number that can easily be done tongue-n-cheek. The second song was “Lady Sings the Blues.” I have always been able to identify with Billie Holiday as a woman who wears her heart on her sleeve. Musically, I thought it would be easy for me to put my own spin on it.

CJ: What artists or musical styles shaped your interpretations for “Lush Life?”

M: I think for my first choice I heard a hard modern dance beat behind it, almost MIA or house-ish. When I heard the tune, I could hear it done my way. I thought a creepy interpretation would be awesome! With my second choice, I wanted to put a more funky Al Green swing on it.

CJ: What do you find most compelling about “Lush Life?”

M: What is most compelling about this project is the interpretation of the songs from one genre to another, one artist to another, one idea to another. I am really excited to see how artists in other genres reinterpret their choices, and then find out why. It is interesting to look at how close the songs are to the original.

For more on Mayda please visit the following:
http://www.mayda.us/
http://www.myspace.com/imaydasong

Caitlin Jagodzinski is a senior in the School of Journalism and Mass Communications at the University of Minnesota. She is currently majoring in Public Relations with a minor in General Management.

Ill Chemistry members Desdamona and Carnage the Executioner

Fri, 05 Nov 2010 10:37:18 -0400

Ill Chemistry members Desdamona and Carnage the Executioner

The Minnesota-based, hip-hop duo, Ill Chemistry, is perfect...

Fri, 05 Nov 2010 10:31:40 -0400

The Minnesota-based, hip-hop duo, Ill Chemistry, is perfect for Lush Life because Desdamona’s spoken word and Carnage the Executioner’s beat boxing already use jazz elements. To learn more about how jazz and hip hop converge, please listen to Cristeta Boarini’s audio post.

By Kiya Edwards, a University of Minnesota senior studying broadcast journalism and theater arts. She interns at Twin Cities Live and Washburn High School. She’s also co-founder and co-president of U Broadcast, a new student group, a singer in the Enchantments Acappella and an officer for the Nafula Foundation Student Support Group.

“My performance will be a lot less rap and a lot more of...

Thu, 04 Nov 2010 10:43:38 -0400

“My performance will be a lot less rap and a lot more of something else I’ll save for the performance.”

Toki Wright, from “Classic Meets Contemporary”

Photo credit:

http://www.myspace.com/tokiwrightmusic/photos/albums/my-photos/78997

“The art of songwriting is to convey a message in the...

Thu, 04 Nov 2010 10:34:00 -0400

“The art of songwriting is to convey a message in the simplest and easiest way possible and the songs that I have chosen are that: eloquent, simple and stoic.”

Omaur Bliss, from “Classic Meets Contemporary”

Photo credit: http://media.avclub.com/images/articles/article/29304/omaurbliss_IMG_2440_300wide_jpg_300x1000_q85.jpg

Classic Meets Contemporary: Omaur Bliss and Toki Wright

Thu, 04 Nov 2010 10:27:00 -0400

by Maddy Hughes

Toki Wright and Omaur Bliss are icons in the local Minneapolis rap and hip-hop community. Singers with Rhymesayers Entertainment--the independent, Minneapolis-based hip-hop record label that’s gained national and international attention since its establishment in 1995-- Wright and Bliss write music that seeks to empower listeners, whether politically or emotionally.

While each musician maintains his own distinctive musical style (Wright's loyal to rap, while Bliss veers into R&B with hip-hop on the side), these two artists are compelling choices for "Lush Life." Since the music of "Lush Life" is based on jazz standards from the Great American Songbook, which emerged from the struggles of new immigrant populations in the early 20th century, musicians from the rap/hip-hop genre are prime candidates for this show as their music also deals with romance, loss and changes in American society.

Q&A with Omaur Bliss

MH: Your music leans more toward R&B than hip-hop. What about the Great American Songbook appealed to you?
OB: Jazz has been a great influence in my life—especially old R&B, which is a direct derivative of jazz. So to interpret these songs for a modern palate is not only paying homage to those who have allowed me to do what I do, but I’m making connections for a newer generation that may not see the direct influence that jazz still has on popular music.

MH: Which songs from the Great American Songbook affect you the most, and why?
OB: One song I chose was "Autumn Leaves" by Nat King Cole. I am a huge fan of his and this song is amazing and his voice is so soothing. The other one I chose was "Ain't Misbehavin'." It’s just a really fun song and I think that's important in music, especially how jazz was fun and free a lot of times.

MH: Out of all the artists from the jazz canon era, which one(s) do you identify with or find inspiration in?
OB: Nat King Cole, Lena Horn, Duke Ellington. Their music has influenced so many people as well as their style. They were all amazing songwriters as well.

MH: What from your musical career as a singer/songwriter will influence your performance in "Lush Life?"
OB: Definitely all of the years of singing backups and lead vocals. Also the art of songwriting is to convey a message in the simplest and easiest way possible and the songs that I have chosen are that: eloquent, simple and stoic.

MH: What aspects or characteristics of R&B are you using to reinvent the defining music in American history?
OB: The sultriness as well as the heartfelt emotion that R&B, especially older R&B, has, as well as the lightness and the fun of it.

MH: What about performing in "Lush Life" excites you the most?
OB: The concept is a really cool one. I think for those who want an education in jazz this will be a great experience for them. I personally am excited to work with all of the fabulous artists that are on the bill. I have so much respect and admiration for all of them. For me, since I no longer live in the Twin Cities area, this is in some cases a family reunion for me. To see some friends perform and to have the experience of sharing these phenomenal songs will be a big joy for me.

Q&A with Toki Wright

MH: Your music leans more toward hip-hop than R&B. What about the Great American Songbook appealed to you?
TW: I have never been familiar with the Great American Songbook, but I have been a fan of the great musicians’ work that has been preserved. There is something about the jazz greats and the environment in which they created their work that has always intrigued me—struggle, hardship, pain, love; all universal concepts.

MH: Which songs from the Great American Songbook affect you the most, and why?
TW: That would be too many to count but the selections I chose for "Lush Life" are Louis Armstrong's "Black and Blue" and Thelonious Monk's rendition of "I Should Care." Both songs spoke directly to me internally.

MH: Out of all the artists from the jazz canon era, which one(s) do you identify with or find inspiration in?
TW: Way too many to count, but I would say either Miles Davis or Louis Armstrong.

MH: What from your musical career as a songwriter will influence your performance in "Lush Life?"
TW: I want to take my opportunity to delve into deeper discussion than I often get to in a 30-minute mashed together assortment of songs.

MH: What aspects or characteristics of rap and/or hip-hop are you using to reinvent the defining music in American history?
TW: My performance will be a lot less rap and a lot more of something else I'll save for the performance.

MH: What about performing in "Lush Life" excites you the most?
TW: The influence of jazz and its relationship to the American experience.

Maddy Hughes is a junior in the School of Journalism and Mass Communication at the University of Minnesota.

“Really, it’s just about creating energy. These are all dynamic...

Wed, 03 Nov 2010 14:08:03 -0400

“Really, it’s just about creating energy. These are all dynamic performers, and they’re going to bring that energy with them to anything that they do. So it’s really just trying to steer the lightning bolts.”

—DeVon Gray, a.k.a. dVRG, Southern Songbook musical director, talking about the musicians and process of putting together “Lush Life.”

Photo Credit: Heiruspecs blog—http://heiruspecs.wordpress.com/about/

Heiruspecs band members Sean McPherson (Twinkie Jiggles) and...

Wed, 03 Nov 2010 13:59:00 -0400

Heiruspecs band members Sean McPherson (Twinkie Jiggles) and DeVon Gray (dVRG) talk about why “Lush Life” is a unique vehicle for the convergence of jazz and hip hop.

Cristeta Boarini created this audio post as a member of the class, “Covering the Arts: New Media, New Paradigms from Criticism to Communications.” She’s an intern with MPR and works with Radio K’s arts & culture program

Painted on the brick facade of the Schmitt Music building in...

Wed, 03 Nov 2010 10:25:00 -0400

Painted on the brick facade of the Schmitt Music building in downtown Minneapolis, this mural celebrates Minneapolis’ vibrant music community - a place where The Dakota Jazz Club and Orchestra Hall can be found within a few blocks of each other.

http://www.waymarking.com/gallery/image.aspx?f=1&guid=1eb45204-2e20-46d8-9834-f2e6d5a67574&gid=3

Ashleigh Still At “Lush Life,” Still will be performing “Alfie”...

Tue, 02 Nov 2010 18:08:56 -0400

Ashleigh Still

At “Lush Life,” Still will be performing “Alfie” because, in her words, “the sentiment of the lyrics and the music are so gorgeously aligned… also, the IV # minor seventh chord slays me.” She’ll also be singing “Big Spender,” “because of the sexy bass line and sneaky responsive chords.”

Photo from: http://www.first-avenue.com/performer/ashleigh-stll

The Heart of Jazz is “Still” Beating

Tue, 02 Nov 2010 18:05:00 -0400

How Singer Ashleigh Still Brings the Personal Edge Back to the Jazz World

By Scott Berman

It’s pretty darn difficult to make it in the music biz—just about everyone knows that. In the world of jazz, achieving financial success is even harder; the genre’s not exactly selling like Lady Gaga dance pop. Thus, many jazz and blues artists resort to manufacturing music for mass appeal, packing their songs full of bells and whistles and melodrama in order to draw attention. However, the truth is,fans know shtick when they hear it.

That’s one thing that makes “Lush Life” performer Ashleigh Still so refreshing. The singer-songwriter/multi-instrumentalist excels at intimate, soulful music that always maintains a sense of unwavering honesty. She cites Jerry Lee Lewis, Chuck Girard, Jeff Buckley, James Taylor, Whitney Houston and Alison Krause as some of her chief influences. However, Still says she recalls her “earliest soul-shattering/soul-healing experiences with music in Pentecostal churches or in the confines of my bedroom, playing Debussy or Chopin on the piano.”

Still’s been compared to Eva Cassidy because of her tone, general roots music style, and intangible bluesy depth. However, her genre, while in the jazz/blues/folk/R&B realm, is hard to pin down as her material ranges from traditional blues with jazz sprinklings (“She’s A Good Time”) to folk Bossa Nova (“Violet Dress”). She delivers her vocals with a nu-jazz inflection and Etta James-esque clarity. The core of Still’s style is crisp melodic phrases wrapped in breathiness, each delivered with purpose and a sensual, spine-tingling vibrato.

Whether she’s singing an ethereal ballad (“A Little Present”), a backbeat groove (“Be”) or a folksy, acoustic blues tune (“Tiger”), Still ties her music together with consistent phrasing and tone. Most songs are slow-to-mid tempo and her instrumentation is usually pretty minimalist; often just a guitar, bass and/or piano for accompaniment. This leaves space for her vocals to resonate, especially on ballads.

Sample some of her music here:

http://www.myspace.com/ashleighstill

Another of Still’s endearing qualities is how she experiments with taking the music in new directions while maintaining a clear sense of self. Her track “Unspeakable” is a perfect example of how, even when playing with electronic vocal effects and song structure, her distinct, feminine voice and soul shine through. She also experiments with the recording process. Some artists try to create a dry, sometimes noisy quality to mimic the sounds of the past. Still keeps her effects subtle and pleasant, sometimes adding a low background static (“MMagnum” and “March no.31”) to lend an old-school, vinyl feel to a modern sounding tune.

Her latest album, Firefly,consisting of duets with local bassist Nick Salisbury, thoroughly showcases her personal touch and move toward more traditional pop-music. Songs like the title track capture her rounded, airy sound. Also, rather than just singing genteelly about love and the pretty morning sun like many of today’s jazz artists, Still is willing to perform material with edgier lyrics. A perfect example is her cover of Radiohead’s “Creep,” which contains expletives. Still’s strong desire to find both joy and independence in life is explicitly conveyed and an underlying message of the album.

Expect a somewhat “straight” performance of these tunes at “Lush Life,” but “Still-ified” by her unique, bluesy vocal swagger. On the future of the jazz standard, Still believes that while “the jazz standards and tributes to the founders of the art will remain, the heartbeat and heartbreak that inspired those first chords and melodies will continue to become stronger and less confined.”

To hear musical samples and find more information, you can visit Ashleigh Still on MySpace, Twitter, Facebook, and her website. Firefly is available on Itunes.

Scott Berman is a Strategic Communications major at the University of Minnesota.

Bethany Larson. On November 14, Larson will have the...

Mon, 01 Nov 2010 19:16:14 -0400

Bethany Larson.

On November 14, Larson will have the opportunity to perform songs from the jazz canon that brought her the standard song structure and soul with which she now writes and sings. As one of seven local singer-songwriters in the Southern Theater’s show Lush Life, Larson will reinterpret two songs of her choosing from the Great American Songbook: “My Funny Valentine” and “Someone to Watch Over Me.”

Bethany Larson: It’s all about the words

Mon, 01 Nov 2010 16:55:46 -0400

By Allison Hall

Something about Bethany Larson’s music embodies the classic nature of jazz. The sound of her rich, honest voice can ease anxiety and get feet tapping all in the same breath. Her charming lyrics and catchy, indie-folk songs follow the ol’ verse/chorus structure that just works. Larson’s music is sincere, likeable and timeless, an obvious choice for the Southern Songbook series.

Don’t believe me? Take a moment and listen to her band, Bethany Larson and the Bees Knees’ EP “Sticks and Stones.”

This blending of new and old music traditions will be a new experience for Larson. “I appreciate this kind of music because it is beautiful and very real; there is no pretense,” Larson says. “I was raised listening to it so I’ve been accustomed to the style. and I think that shows in the type of music that I sing and write.”

While making song selections, Larson based her decisions on how she felt about the words and what they convey. “I wanted to choose songs whose lyrics I enjoyed as much as their melody,” she says. Both songs carry a sense of honesty that is endearing to Larson.

Her favorite lyrics in “Funny Valentine” are:

Is your figure less than greek? / Is your mouth a little weak? / When you open it to speak / are you smart? / …but don’t you change one hair for me

“I just love Rufus Wainwright’s version of it; his voice is so perfect,” Larson says.

She chose “Someone to Watch Over Me” not only because of the song’s range and that it’s fun to sing; she also finds the lyrics charming:

Although he may not be the man / some girls think of as handsome / to my heart he carries the key.

“The words carry that same idea [as in “Funny Valentine”] of loving someone because you love them, not just because the other person is attractive,” Larson says. “The words do that in an endearing way for me.”

Listen to Ella Fitzgerald sing a beautiful version to get a feel for what Larson is talking about.

The instrumentalists from local hip-hop group Heiruspecs will serve as the evening’s house band. Larson looks forward to this collaboration and feels it will be a challenge for her. “I am used to playing my songs and accompanying myself,” she explains. “[In Lush Life] I don’t have a guitar to hide behind…I can focus more on singing.”

Larson’s song selections represent her own simple and honest songwriting. So it’s safe to say she’ll sing a traditional rendition of her two songs, leaving the more adventurous interpretations to the other artists. Celebrating the jazz canon by focusing on lyrics and melodies is just her style.

Allison Hall is a senior undergraduate studying journalism and graphic design at the University of Minnesota.

Heiruspecs, the “Lush Life” houseband. photo from...

Sat, 30 Oct 2010 19:25:50 -0400

Heiruspecs, the “Lush Life” houseband.

photo from http://wudmusic.com/2009/04/07/heiruspecs/

"The Great American Songbook is part of what my high-school humanities teacher used to call our..."

Fri, 29 Oct 2010 10:42:00 -0400

““The Great American Songbook is part of what my high-school humanities teacher used to call our ‘free lunch’.””

- “It is a vast cultural inheritance shaping not only our notions of American music and the popular song, but our very ideas of romance, love and morality….We hope you enjoy our performance and reflections on this rich musical ‘free lunch’ in “Lush Life: Interpretations of the American Jazz Canon.”

Adam Levy, musician, songwriter and host of “Lush Life”

“Lush Life” Why here? Why now? -- 5 Reasons Why “Lush Life” Could Only Happen in Minneapolis

Fri, 29 Oct 2010 10:20:00 -0400

by Ann B. Erickson

Detroit had Motown. Seattle had ‘90s grunge rock. New Orleans gave birth to jazz and Nashville has hosted every big name in country music. But anyone who knows Minneapolis knows it has a music scene defined not by a single genre, but rather by a convergence of styles and cultures. “Lush Life: Interpretations of the American jazz canon” is then the quintessential Minneapolis concert. Overlapping classic American jazz (think Gershwin and Sinatra) with local hip-hop and indie music makes a strong statement about our fair city: It’s the one place that has enough cultural prowess to produce a concert of this nature.

Here are the top 5 reasons why “Lush Life” could only happen right here in Minneapolis:

1. Holding Up the Mirror

Minneapolis has historically been and continues to be a beacon for immigrant populations. The Great American Songbook was largely created from immigrants formulating a new, uniquely American identity through songwriting. Now eight local musicians are taking those songs and applying them to life in 2010. “Lush Life” offers Minneapolis audiences a glimpse back in time as a means of looking forward, as the concert celebrates our own diverse past, present and future.

2. The Perfect Atmosphere

Despite being second only to New York in fine-arts seats per capita, Minneapolis is, as “Lush Life” creator Adam Levy puts it, “a mini cosmopolitan environment”–not too small, but not overwhelming. Levy adds, “Minneapolis musicians don’t just play in one band, in one genre. We see lots of artists and groups crossing genres.” Minneapolis’ tight-knit music scene allows for an open dialogue between artists. “Lush Life” is just one result of these ongoing musical cross-pollinations, bringing together artists from all walks of life for one powerful concert.

3. Hip-hop: Minneapolis Style

“Lush Life” brings together some of Minneapolis’ finest local hip-hop musicians (including Toki Wright, Omaur Bliss and Ill Chemistry). Minneapolis, like the rest of the country, saw a hip-hop boom in the last decade, but what distinguishes Minneapolis from the rest of the country is the level of craft practiced by its hip-hop artists. Levy notes, “They’re a very literary group; very intelligent. They really reach out with their content.” As these artists bring their craft to a whole new realm—the world of jazz standards—they continue to create new meaning with their music. “Lush Life” wouldn’t be possible without this innovative, forward-thinking hip-hop scene.

Toki Wright: http://www.djbooth.net/index/news/C103/P10/

4. A Minneapolis Jazz Renaissance

Minneapolis’ traditional jazz scene can be seen downtown any given night at The Dakota and other jazz clubs. But there’s a new generation of jazz artists in town who have taken an active interest in paying homage to jazz standards while bringing them into the next generation–-what Levy calls “the Minneapolis Jazz Renaissance.” While other music scenes might see the “Lush Life” concert as something of a novelty item, for the Twin Cities the performance is right in step with the musical pulse of the city.

5. The Right People

Levy talks about the Minneapolis arts community with a certain fondness, noting its open artistic climate and patrons in search of adventurous art. Only in a place like Minneapolis would a collaboration such as “Lush Life” be welcomed by artists and audiences alike. A city that celebrates its past as much as its future, Minneapolis continues to welcome events like “Lush Life” that are innovative, original and that strive toward new forms of expression.

Ann B. Erickson is a senior undergraduate student, studying Strategic Communication and Theatre Arts at the University of Minnesota.

Great American Songbook 101—“Lush Life” and the Jazz Standard

Tue, 26 Oct 2010 14:41:00 -0400

By Mercy Lo

“‘Lush Life:’ Interpretations of the American jazz canon” kicks off the Southern Theater’s new yearlong three-part series, Southern Songbook. “Lush Life” revisits the Great American Songbook, as local musicians offer fresh interpretations of classic jazz standards. This post is an introduction to the jazz standard and its implications for jazz musicians.

Play this YouTube video to help you get into the mood for jazz.

Frank Sinatra – Someone to watch over me

First, what is the Great American Songbook? It’s not a physical book; it represents the best 280 American songs of the 20^th century, created roughly from the 1920s to 1960. At the beginning of that period, a large number of Eastern Europeans, many of them Jews, immigrated to the U.S., to escape rising anti-Semitism in countries like Germany. As they were exposed to American society—which emphasized freedom of speech and was becoming more culturally diverse, in part due to the growing presence of African Americans—these immigrants became fascinated with and began participating in a new songwriting tradition. “The music blurred the distinctions between ‘high’ and ‘low’ cultural musical traditions,” says Adam Levy, host of “Lush Life,” “and explored themes of love and loss at the dawning of a new era that was more morally permissive.”

About 80 percent of the works in the Great American Songbook were written for and featured in Broadway musicals; the remaining were introduced through American and European musical theater and Hollywood musicals. These songs played a significant role in the repertoires of jazz singers and musicians, who continually interpreted these songs and described them as jazz standards. When rock-and-roll emerged, however, many rising musicians considered the Great American Songbook passé. The new trend was for musicians to write their own songs and control their publication. Still, the structures, chord progressions, and melodies of the songs in the Great American Songbook continued to influence their songwriting, as arguably they continue to influence songwriters today.

The song “Lush Life” is a classic example of a jazz standard:

Nat King Cole – Lush Life

“Lush Life” was written by Billy Strayhorn in the 1930s and was not recorded for public release until Nat King Cole sang it in 1949. The lyrics of the song describe the author’s night after a failed romance, wasting time with “jazz and cocktails” at “come-what-may places” and in the company of girls with “sad and sullen gray faces.” Strayhorn wrote the majority of his songs when he was only 16, including “Lush Life.” Many singers at that time recorded a version of the song and they largely stayed with Strayhorn’s original arrangement.

Not this version, though: a contemporary remix by Cee Lo Green (play this).

This is what the jazz standard is about today: Taking cherished and timeless jazz songs and creating new arrangements that speak to contemporary audiences with current music stylings.

Now do you have a better idea of the Great American Songbook and the tradition of the jazz standard? Welcome to “Lush Life.”

Mercy Lo is a senior professional-journalism major in the School of Journalism and Mass Communication at the University of Minnesota.