You searched for jazz - Cover Me

May 292023
weyes blood when you're smiling

Weyes Blood (aka Natalie Laura Mering) is a professional singer-songwriter from Pennsylvania who is currently based in Santa Monica, CA. She is best known for her emotive, Baroque-pop-sounding album, Titanic RisingMering chose “When You’re Smiling” for the soundtrack of Nat Geo’s new series, titled A Small Light. The single-season show is about the life of Miep Geis, a Dutch writer who aided in hiding Anne Frank and her family. 

“When You’re Smiling” is an extremely popular jazz standard that was first written in the 1920s. It’s been done by jazz greats like Louis Armstrong, Billie Holiday, and Seger Ellis. The older versions have a heavy backbeat and brushes on the drums, vocal scatting, and oftentimes, understated muted trumpet. Weyes Bloods’ version is as light as a feather, with an elegant harp, and harmonically rich piano. But forget the instrumentals! It’s the vocals that bathe everything in beams of golden light. From the layered “mmm”s and “ooo”s that flow seamlessly from one to the other, to the plainspoken, floating verses, this cover is breathtaking. As the tune comes to a close, the harp and piano descend down the royal staircase of a scale.

Be sure to also check out these other classy jazz covers!

May 232023
a visit to harry's house

A decade or so ago, Beck would every so often convene a bunch of musicians to cover one album in full in a single day. The so-called Beck’s Record Club tackled everyone from The Velvet Underground to Yanni during its short run, but it hasn’t been a thing for years.

A new project, though, brings the same spirit from different people. Three prominent experimental musicians who straddle the worlds of indie rock and jazz — Dawn Richards collaborator Spencer Zahn, Nicolas Jaar collaborator Dave Harrington, and Albert Hammond Jr collaborator Jeremy Gustin — have come together to cover an entire Harry Styles album, his recent Album-of-the-Year Grammy winner Harry’s House.

These thirteen songs, which they’ve dubbed A Visit to Harry’s House, sound very little like the originals. For one, they’re all instrumental tracks, drawing on the melodies and harmonies to take the songs into very new directions. It’s one of the most ambitious and interesting covers records of the year, and a terrific listen whether or not you have any context for the original material.

Stream it below, alongside a long but quite interesting note from Zahn about how the project came together.

On a warm Sunday night in August 2022 I was playing bass in the pit for Moulin Rouge on Broadway. After the show I got on the A train downtown and after one stop, the subway car that I was on flooded with a bunch of very excited young people dressed in 70s style clothing. The atmosphere was pure bliss. There was an unbelievable amount of love and camaraderie amongst all of these folks and as I turned down my headphones to eavesdrop on their conversations, I realized they were all coming from the Harry Styles concert at Madison Square Garden. They didn’t know each other before, but now they do. Harry had brought them all together.

In February of 2023 I was sitting alone in a cabin in upstate New York, fresh off the most intense heartbreak of my life. My friend Dave Harrington called out of the blue and booked a couple of gigs for our trio with Jeremy Gustin in Los Angeles. A great excuse to have a change of scenery, play music with friends, and make a record. When Dave texted the group thread about what we should record during our three day session, he prompted the idea that we cover someone’s album, making our own “Harrington, Gustin, & Zahn” version of their music. Jeremy Gustin, having never heard the record before, offered up “Harry’s House” and we all agreed it sounded like fun.

To be honest, I had only heard the singles from Harry’s “Album of the Year” winning record. I didn’t have a real connection with the music but I knew that Harry was really into Haruomi Hosono and his album “Hosono House”. Hosono’s music has been consistently on rotation for me for years so I felt that was at least an initial way to jump into Harry Styles’ record.

I told Dave and Jeremy that I would make charts for all the songs. I would learn all the harmony, melodies, song forms and teach them to the guys during the recording session. This was hardly homework for me–learning music is something I often do to get to know the music I love, so I dove in.

I was quickly struck by how interesting the harmony is across “Harry’s House”. Harry and the other writers are making subtle but deep choices to carry the listener through the songs. Sure there are endless pop hooks that I will probably have in my head for the rest of my life, but the harmony is where I got excited. I will spare you all the details and the finer points of using the IV chord as the I or resolving a ii- V progression to the relative minor, but I was converted into a big Harry fan quickly.

The song forms are clever, clear, and concise. The lyrics are personal, yet universal. Less diaristic and more encapsulating the feelings that we all have when we fall in love and when heartbreak hits. I suddenly felt like Harry knew my life and I knew his. My life was his muse and now his was becoming mine.

When we got into Dave’s studio in LA, we all agreed that a playful yet respectful, and creatively divergent take on this record was the only way to cover it. Jeremy didn’t want to learn any of the songs so that his drumming, tempos, and rhythmic feels didn’t lean too closely to the original. Dave, with a 6- month old baby, didn’t have time to learn the music and at least once was seen doing an overdub on the electric sitar while watching the baby monitor. So it fell to me to steer the ship close enough toward the north-star of “Harry’s House”.

After tracking for three days, we had finished the initial arrangements of all thirteen songs from the album. Though our versions are drastically different, strangely, the run time of our album is the same as Harry’s album. Dave and I got together to mix it in his studio in April 2023 and when sharing it with some close friends and collaborators, it was brought to our attention that we are approaching the year anniversary of the original release. So to celebrate, we would like to share with you, “A Visit to Harry’s House”.

Feb 142023
the storm windows somebody to love cover

“Somebody to Love” is best known as Jefferson Airplane’s first and biggest hit. One of only a couple overtly psychedelic rock songs from their breakthrough album Surrealistic Pillow, it helped define their sound going forward, making them one of the bigger American psychedelic rock bands in the late ’60s. But it’s actually (sort of) a cover – it was originally written by singer Grace Slick’s brother for their band The Great Society. The original is more subdued (except for Grace’s singing) but it’s the louder Airplane version that everyone knows. Continue reading »

Oct 192022
Robyn Adele Anderson

At this point, “Seven Nation Army” is much bigger than the White Stripes – watching the baseball playoffs last week, I heard the crowd chanting the bassline. It feels like if you ever watch a baseball game, you’ll hear the crowd chanting the bassline. (It was my hometown team’s 8th inning rally song for years.) It has moved into a realm few songs reach, where it is played constantly at sports events all over North America. This makes it a hard song to love even if, once upon a time, many of us did indeed love it.

Robyn Adele Anderson, of Postmodern Jukebox fame, and her friends are here to save us from the sports arena ubiquity of Jack and Meg’s most famous song. Advertised as a bluegrass cover, her version of “Seven Nation Army” flirts with some of the retro jazz shtick of Postmodern Jukebox as well, given the very non-bluegrass rhythm section of a standup bass and full drum kit. Continue reading »

Aug 252022
nathaniel rateliff famous blue raincoat

The first taste of all-star tribute album Here It Is: A Tribute to Leonard Cohen, James Taylor’s “Coming Back to You,” felt a bit underwhelming. The second, Nathaniel Rateliff’s just-released “Famous Blue Raincoat,” holds more promise. It also showcases why this is coming out on revered jazz label Blue Note Records, as Rateliff is backed not by his usual rave-up soul band the Night Sweats, but by a tight combo, including Bill Frisell on guitar and some beautiful solos by Immanuel Wilkins on alto saxophone. Continue reading »