#OnRepeat: Madeleine Peyroux's "Smile"

This week, I've had Madeleine Peyroux's version of "Smile" #OnRepeat. The song is commonly associated with Charlie Chaplin (the musical composer), but John Turner and Geoffrey Parsons composed the lyrics and gave the song its name in the early 1950s.

Madeleine Peyroux is a Jazz singer, guitarist, and songwriter from the United States. Her singing style is compared to Billie Holiday, yet you can also hear influences of Patsy Cline, Bob Dylan, Edith Piaf, and even Bessie Smith in her performance style.  Some of her most well-known songs are "Don't Wait Too Long," "You Can't Do Me," and "Dance Me to the End of Love."

The song, "Smile," was originally an instrumental theme song composed for the 1936 film, Modern Times, with Charlie Chaplin. Later, when the lyrics were added, the message behind the lyrics was centered around themes from the film--remain positive (or smile) through everything. One of the most heart-breaking parts of the song is when it says: "Light up your face with gladness/Hide every trace of sadness/Although a tear may be ever so near [ . . . ]" Madeleine Peyroux's performance of the song captures the message of the lyrics perfectly. Her voice has all the tenderness and soul of Patsy Cline, yet still slips into melancholic moments like that of Billie Holiday.  Take a listen below:

Do you have a new song or musician that you can't stop listening to? Leave a comment below!

The Importance of Communication in a Band

Communicating is something that we, as people, do on a daily basis. When you were small and you were hungry, you would say to your mom, "Mom, I'm hungry. What's for dinner?" With your friends, if you got mad for whatever reason, you would say, "I'm mad," or "I'm upset," and then list the reasons why you were mad, hoping that you could find a solution to the problem. The reason why I'm giving you everyday examples of how we communicate everyday is to illuminate how similar it is to communicating in a band and why you should do more of it in a musical setting.

There's two important times to make sure you're communicating with your bandmates: during rehearsal (preparation) and actual gigs (performances). Both are equally important because, at any time unexpected things can happen--the pianist comes in a measure early, you forget the lyrics to the second verse, a band member shows up late or not at all, etc.  Getting to know your band members and how they operate before, during, and after a gig will help you to better prepare for those really important performances.

Types of Communication

Something that develops with your bandmates are gestures or looks that are exchanged during gigs and/or rehearsals, and can either be verbal or non-verbal. Some of these are:

-making eye-contact with a particular band member
-either subtle or exaggerated nodding of the head
 -holding up a small fist or a finger
-looking back at other musicians (for soloists or times when vocalist sings without music)
 -giving verbal cues, like, "head," "solo," or "verse."

All of these can be done to cue a certain section of a song or when you want to add or change something at the last minute.

I tend to be unsure when to come in with the verse or bridge of a song after another musician takes a solo, so I always ask the soloist to give me a nod when they are finishing their solo. Some musicians would argue that a good musician always knows where they're at in a song, at all times, but I have seen some really great players either lose themselves in the moment because of the music or they just mess up. It's always better to be prepared for when those "uh-oh" moments happen, so you can transition out of them smoothly.

Learning how to communicate with other musicians helps you connect better with those other musicians, in turn creating better musical experiences. Don't feel bad asking one of your bandmates to help you with your starting note for a song or asking the drummer to give you a cue when to come in after a solo. You all are supposed to be helping each other out so that that musical experience can not only sound good to the audience, but be a fun experience for those performing as well

#OnRepeat: "All About That Bass" Postmodern Jukebox (2015 European Tour Cast Version)

This week I've had Postmodern Jukebox's European Tour Version of the song, "All About That Bass," #OnRepeat. This is actually one of those times where the group that does the cover of a hit pop song gets just as much attention as the actual pop singer who performed it.

Yes, this is a cover of Meghan Trainor's original "All About That Bass." Yes, I know that the lyrics are considered somewhat cheesy (although one would argue that the lyrics promote ideas about positive body image) and the original has influences of R&B, Doo-Wop, Country, and Hip-Hop, creating a mixture that may be catchy but is somewhat hard to get through. I admit that I actually didn't completely listen to Meghan Trainor's version of this song until after I heard the Postmodern Jukebox version.

Which is why I think that this group's version of this song is so great--it takes a mainstream song and makes it relatable for everybody. The group is lead by Scott Bradley on piano, followed by Chip Thomas on drums, Ben Golder-Novak on saxophone, James Hall on trombone, Adam Kubota on bass with Ariana Savalas, Morgan James, and Haley Reinhart on vocals, and Casey Abrams on bass and vocals. This is a big group, but when you hear the music, you will understand why. This version has elements of Big-Band Jazz, Swing, and some New Orleans-style horn playing. The singing-style and vibe of the group and video feels as if you would see them perform in a club in Paris during the 1930's or 1940's. The singers each have their own strengths: sassiness, power, and intonation, and stage-presence; the harmonies that the girls create are iconic of the era in which they are trying to recreate, not to mention that they blend very well together.

Here is Meghan Trainor's version and the Postmodern Jukebox European Tour Cast version below:

Is there a cover version of a song that helped you discover and/or appreciate the original more? Let us know in the comments below!

#OnRepeat: Nat King Cole's "That's All"

This week, I've had the standard, "That's All" #OnRepeat. I actually first heard it as an instrumental, but looked it up later to find the lyrics because I remembered that it had words (my mom used to play this song a lot when I was younger). 


"That's All" is a song written in 1952 by Alan Brandt and Bob Haymes and was recorded by Nat King Cole a year later. The lyrics are simple, honest and sincere, and the melody is just as simple and catchy. Here are the lyrics from the Michael Bublé version: 

I can only give you love that lasts forever,
And a promise to be near each time you call.
And the only heart I own
For you and you alone
That´s all,
That´s all.

I can only give you country walks in springtime
And a hand to hold when leaves begin to fall,
And a love whose burning light
Will warm the winter night
That´s all,
That´s all.

There are those I am sure who have told you,
They would give you the world for a toy.
All I have are these arms to enfold you,
And a love time can never destroy.

If you´re wondering what I´m asking in return, dear,
You´ll be glad to know that my demands are small.
Say it´s me that you´ll adore,
For now and evermore
That´s all,
That´s all.

Below, are two different versions of the song, "That's All"--one by Sam Cooke, and the other by Nat King Cole. This is done to show the differences in personal performance style and the styles, themselves (early R&B and jazz/crooner-style). Both are intimate in their own way, but Nat King Cole has that timeless element to his performance style; one that has kept people listening to his recordings to this day. Take a listen below:

Have you heard a classic jazz standard lately? Who was the musician or group that performed it? Let us know in the comments below!

#OnRepeat: Bill Wither's "Grandma's Hands"

This week, I've had Bill Withers' "Grandma's Hands," stuck #OnRepeat.  I grew up listening to Bill Withers, but was reminded of his music once again when I was listening to Gregory Porter's music. I came across this song several days ago and have been hooked ever since.

Bill Withers is an American singer-songwriter and musician who was big during the 1970's and early 1980's. Some of his most well-known songs are "Ain't No Sunshine," "Lovely Day,""Use Me," and "Lead On Me." In my opinion, Withers is a versatile musician--his guitar-playing is musical and sophisticated, yet simple and his voice can be brash and powerful, but at the same time intimate.

In the video below, Withers explains the song, "Grandma's Hands," to the audience before he performs the song. This song really struck a chord with me because of my memories of my own grandmother. The similarities between my own grandma and the woman he sings about in the song are uncanny--protective yet sweet behavior, religion--which are characteristics that, I assume everyone can identify with in their own family members.  My point is that Wither's lyric writing is so good that anyone can relate to it. What makes it even more impressive is that the song is only two minutes long! Take a listen below:

Do you have a new artist or group that you can't stop listening to? Let us know in the comments below!