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VARIOUS ARTISTS - A DAY IN THE LIFE: IMPRESSIONS OF PEPPER
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ARTIST:
TITLE:
A Day In The Life: Impressions Of Pepper
LABEL:
CATNO:
7700879
STYLE:
Jazz /
FORMAT:
Vinyl record
DESCRIPTION:
Jazz Fusion Reworks of Beatles - Some of today's most meaningful up and coming and established jazz artists pay homage to the iconic Beatles record "Sgt. Pepper's Lonely Hearts Club Band". Musicians were given the challenge to create loose interpretation of these classic songs, and the result is impressionistic, original, avant-garde takes on legendary tracks like "With A Little Help From My Friends", "Lucy In The Sky With Diamonds", "Getting Better", and "A Day In The Life".
It’s a good thing, that A Day in the Life: Impressions of Pepper is not actually a Beatles cover album. Sure, its 13 tracks sync with the sequence of Sgt. Pepper’s, and you can hear traces of that totemic record in every piece here. But A Day in the Life is instead a full-length interpretation of Sgt. Pepper’s, rendered by some of the most captivating young musicians in the modern jazz orbit. Rather than offering obvious renditions of these standards, the likes of Makaya McCraven, Mary Halvorson, Shabaka Hutchings, and Sullivan Fortner reimagine them in the grandest jazz tradition—as fodder and grist, inspiration for making something else entirely. From sweeping solo piano vamps to cinematic takes bordering on post-rock, these versions treat the originals like colorful clothes worn by today’s most electrifying jazz musicians, who give these old chestnuts a new body and vitality.
Halvorson exemplifies the idea early “With a Little Help from My Friends.” She often plays the guitar in rhythmic and melodic tangles, so that a simply stated theme begins to fold onto itself until it shapes a dense thicket. As she mimics Ringo Starr’s voice with her inimitable tone, the phrases split and tumble until she seems to lose the line. Each time it happens, though, drummer Tomas Fujiwara rushes in to reaffirm the shape. Likewise, harpist Brandee Younger passes on the obvious, harp-laced “She’s Leaving Home” for a complex, intimate arrangement of “Being for the Benefit of Mr. Kite!” Using the original only as a suggestive framework, Younger turns her harp into the lace between darting flutes and skittering drums. Her take ferries mystery.
urrounded by a lissome mix of vibraphone, electric guitar, and keyboard, McCraven powers through “Lucy” like he’s trying to find the peak for one of his fabled jam sessions, his kit an escape vehicle for his band’s collective transcendence. For his dazzling spin through “When I’m Sixty Four,” Fortner harnesses the same mix of erudition and élan heard on his tremendous work with Cécile McLorin Salvant. Recognizing that tabla and sitar are dated signifiers for rock bands hoping to convey a worldly sense of exotica, New York’s Onyx Collective reimagines the hovering drone of “Within You Without You” as a patchwork of astral synthesizers and distorted bass. Saxophonist Isaiah Barr toys with George Harrison’s vocal line, slowing it down and examining its contours in search of more than novelty. It is hypnotic, beautiful, and—you wish—infinite.
The interpretive nature of A Day in the Life eclipses mere musical form, too, with some of the best pieces here working as emotional transformations—a risky but thrilling proposition for pieces so deeply lodged in our culture. After half a century, “Getting Better” has grown bathetic from the cheery ubiquity of television commercials and grocery-aisle soundtracks, the equivalent of a Lifetime movie playing on a loop in another room. So the savvy London trio Wildflower furrows its brow at McCartney’s wide-eyed grin, the muscle-bound rhythm section and Idris Rahman’s exasperated saxophone tone asking when, exactly, it all gets better. They turn the song inside out, looking for an answer that has yet to appear. And every time the melody of “Fixing a Hole” begins to flicker too brightly, pianist Cameron Graves stomps out the flame either with a pounding left hand that lands like heavy boots on concrete or discursive right-hand fantasies that spin like a ceiling fan. He wordlessly emphasizes th
It’s a good thing, that A Day in the Life: Impressions of Pepper is not actually a Beatles cover album. Sure, its 13 tracks sync with the sequence of Sgt. Pepper’s, and you can hear traces of that totemic record in every piece here. But A Day in the Life is instead a full-length interpretation of Sgt. Pepper’s, rendered by some of the most captivating young musicians in the modern jazz orbit. Rather than offering obvious renditions of these standards, the likes of Makaya McCraven, Mary Halvorson, Shabaka Hutchings, and Sullivan Fortner reimagine them in the grandest jazz tradition—as fodder and grist, inspiration for making something else entirely. From sweeping solo piano vamps to cinematic takes bordering on post-rock, these versions treat the originals like colorful clothes worn by today’s most electrifying jazz musicians, who give these old chestnuts a new body and vitality.
Halvorson exemplifies the idea early “With a Little Help from My Friends.” She often plays the guitar in rhythmic and melodic tangles, so that a simply stated theme begins to fold onto itself until it shapes a dense thicket. As she mimics Ringo Starr’s voice with her inimitable tone, the phrases split and tumble until she seems to lose the line. Each time it happens, though, drummer Tomas Fujiwara rushes in to reaffirm the shape. Likewise, harpist Brandee Younger passes on the obvious, harp-laced “She’s Leaving Home” for a complex, intimate arrangement of “Being for the Benefit of Mr. Kite!” Using the original only as a suggestive framework, Younger turns her harp into the lace between darting flutes and skittering drums. Her take ferries mystery.
urrounded by a lissome mix of vibraphone, electric guitar, and keyboard, McCraven powers through “Lucy” like he’s trying to find the peak for one of his fabled jam sessions, his kit an escape vehicle for his band’s collective transcendence. For his dazzling spin through “When I’m Sixty Four,” Fortner harnesses the same mix of erudition and élan heard on his tremendous work with Cécile McLorin Salvant. Recognizing that tabla and sitar are dated signifiers for rock bands hoping to convey a worldly sense of exotica, New York’s Onyx Collective reimagines the hovering drone of “Within You Without You” as a patchwork of astral synthesizers and distorted bass. Saxophonist Isaiah Barr toys with George Harrison’s vocal line, slowing it down and examining its contours in search of more than novelty. It is hypnotic, beautiful, and—you wish—infinite.
The interpretive nature of A Day in the Life eclipses mere musical form, too, with some of the best pieces here working as emotional transformations—a risky but thrilling proposition for pieces so deeply lodged in our culture. After half a century, “Getting Better” has grown bathetic from the cheery ubiquity of television commercials and grocery-aisle soundtracks, the equivalent of a Lifetime movie playing on a loop in another room. So the savvy London trio Wildflower furrows its brow at McCartney’s wide-eyed grin, the muscle-bound rhythm section and Idris Rahman’s exasperated saxophone tone asking when, exactly, it all gets better. They turn the song inside out, looking for an answer that has yet to appear. And every time the melody of “Fixing a Hole” begins to flicker too brightly, pianist Cameron Graves stomps out the flame either with a pounding left hand that lands like heavy boots on concrete or discursive right-hand fantasies that spin like a ceiling fan. He wordlessly emphasizes th
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Last FM Information on Various Artists
Please note the information is done on a artist keyword match and data is provided by LastFM.
Warning! Deleting this artist may remove other artists and scrobbles from your library - please handle this with caution! Note: You can view albums tagged as 'Various Artists' in your library here.
The term Various Artists is used in the record industry when numerous singers and musicians collaborate on a song or collection of songs. Most often on Last.fm, compilation album tracks appear under the name of Various Artists erroneously because the individual artist is not listed in the album's ID3 information.
Compilation albums, for example.
Sometimes, single releases may be credited to Various Artists when their profits are going to charity and, usually in high-profile cases, are sometimes known by a group name. Examples include Band Aid with their releases of Do They Know It's Christmas? and USA for Africa with We Are The World.
Various Artists is also an actual performance name for Torsten Pröfrock, who runs the German DIN label. Torsten performs also as Dynamo, Erosion, Resilent, Traktor besides some others. He's a good friend of Robert Henke and since the Fall of 2004, he is a member of Monolake.
Various Artists was also a short-lived Bristol punk band formed by brothers Jonjo and Robin Key (originally from Birmingham). Other members were also simultaneously in Art Objects who went on to become The Blue Aeroplanes, the latter the Key brothers also co-wrote some songs and were involved in. When Various Artists imploded, the Key brothers went on to form Either / Or.
Various Artists also appear on tracks from musical theater soundtracks, due to the nature of having many cast members on one song, as well as an ensemble in some cases. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.