This week, I’ve had Natalie Cole and Whitney Houston’s version of “Bridge Over Troubled Water.” As some of you may have heard, Natalie Cole passed away on New Year’s Day, so I’ve been reminiscing and listening to her music for the past couple days.

I know that for many, names like Natalie Cole and Whitney Houston need no introduction, but this post is for those who are unaware of who these great performers are. Natalie Cole is a singer-songwriter, who is also the daughter of the famous crooner, Nat King Cole. Natalie recorded many of her father’s classic hits, including, “Unforgettable,” and also had some of her own well-known songs, like “This Will Be,” “Our Love,” and “Inseparable.” Whitney Houston is also a singer as well as an actress, model, and producer. I remember Whitney Houston from her role in the movie, The Bodyguard, and her single from the soundtrack, “I Will Always Love You.” However, she is also well-known for songs like “How Will I Know” “I Wanna Dance With Somebody,” “I’m Your Baby Tonight,” and “I Wanna Run to You.”

This version of the Simon & Garfunkel song was improvised; not planned. However, these two women make the performance seem rehearsed. This simplistic song has a gospel hymn vibe with lyrics that have a universal appeal. Cole and Houston’s vocal licks, their musical dynamics, and projection cause anyone who listens to feel inspired. Natalie Cole’s natural R&B style of singing brings a nice contrast to Whitney Houston’s “powerhouse singing” (wide range, dynamics, and almost melismatic singing), providing a unique blend for this classic song.

Listen below:

Is there a song, musician, or group that you can’t stop listening to? Leave a comment below!

This week, I’ve had Leon Redbone and Zoey Deschanel’s version of “Baby, It’s Cold Outside” #OnRepeat. Christmas is in two days and I’ve been watching the movie, Elf, non-stop for the past couple days, so I can’t get this song out of my head.

Zoey Deschanel is an American singer-songwriter and actress who started gaining attention after her role in The Hitchhiker’s Guide to the Galaxy. Some of her other well-known films are Bridge to Terabithia, Surf’s Up, Yes Man, and Elf. I first took notice of her voice in the movie, Elf, because it reminded me of jazz singers from the 1940’s and 1950’s–Zoey’s voice is very reminiscent of Billy Holiday and Rosemary Clooney.

Leon Redbone is a Canadian American singer-songwriter who performs mostly jazz and blues standards. I wasn’t aware of Redbone until his work with Zoey Deschanel, but he has also performed the theme song for the television sitcom, Harry and the Hendersons and voiced the character of Leon the Snowman in the movie, Elf, as well

This version of “Baby, It’s Cold Outside” just makes you want to cuddle up in front of a fireplace with a coffee and a book–at least it does for me. Zoey and Leon’s voices compliment each other very well while the drummer plays brushes at a slow pace with bass and piano. It’s a Christmas classic given a Jazz spin. Take a listen below:

Are there any actresses/actors that you know that have shed new light on an old standard? Leave a comment below!

This week, I’ve had Josh Groban’s song, “Believe,” #OnRepeat. Yes, this is a holiday song ( I can already hear the groans) and it is that time of the year, but I’ve been stuck on this song because I believe the message in the words transcends Christmas and feelings about Santa Clause. Plus, I happen to really like Josh Groban’s voice.

For those of you who aren’t familiar with Josh Groban, he is a singer, songwriter, and actor who gained attention when he served as a stand-in for Andrea Bocelli’s duet with Celine Dion on the song, “The Prayer,” during the 1999 Grammy Awards. Some of his most well-known songs are “You Raise Me Up,” “You Are Loved (Don’t Give Up), and “To Where You Are.”

The song,”Believe,” is the theme song from the 2004 film, The Polar Express, a movie about a little boy who doubts the existence of Santa Clause and takes a ride on a magical train to the North Pole. “Believe” is a great song for the holidays, but also delivers a message that can be applied to any aspect of life: anything is possible if you just believe. Groban’s voice has the unique, innocent-like quality–apparent even when he belts the higher notes–that delivers this message in the perfect way. Take a listen below:

Though the video is not the best quality, you can see and hear Groban’s powerful, yet intimate vocal timbre and performance style.

Is there a holiday song whose message you feel can be applied to any part of the year? Leave a comment below!

So this week, I’ve had Jessie J’s song, “Masterpiece,” #OnRepeat. I know I’m extremely late, but I’ve just recently discovered Jessie J. I think she has the same potential as Bruno Mars in terms of making mainstream American popular music substantial again (this is a hefty statement to make, but once you hear her voice, you might agree).

Jessie J (Jessica Ellen Cornish) is a singer-songwriter from London, England. She studied at the BRIT School for Performing Arts and Technology before later getting a record deal and writing several songs for performers like Miley Cyrus and Chris Brown. Her music blends Soul, Gospel, and R&B-style vocals with Electro-pop, Hip-Hop, Pop, and R&B, creating a unique sound that is all her own.  Some of her most well-known songs are “Domino,””Bang Bang,” and “Who You Are.”

“Masterpiece” is from Jessie J’s third studio album, Sweet Talker, and is a song about living up to your potential and empowering yourself. The song has a Hip-Hop/Electronic feel and the words give the impression that it should be an anthem. Although “Bang Bang” definitely makes you move more, Jessie J’s powerhouse vocals are really exemplified in this song. Some have criticized Jessie J for not trying to belong more to a particular musical niche, but I truly admire singers who have that chameleon-like quality–meaning they have the ability to fit in several different styles of music, comfortably–and Jessie J is one of those singers. The level of confidence present in her performances is also something that many singers, both beginning and advanced, aspire to have.

Take a listen below:

Is there a group or musician that you can’t stop listening to? Leave a comment below!

This week, I’ve had Nina Simone’s version of “Feelin’ Good” #OnRepeat. I actually have been listening to this song a lot because one of my students brought in this song to work on, so I figured I might as well learn more about the song while I work on it with my student.

Anthony Newley and Leslie Bricusse composed the song, “Feelin’ Good,” for the 1960s musical, The Roar of the Greasepaint – The Smell of the Crowd. It was originally sung by Cy Grant during the U.K. tour of the musical and it was sung by Gilbert Price in 1965 for the Broadway version. The play’s plot is basically a metaphorical representation of how differences between upper and lower-economic classes in Britain during the 1960s are maintained. The song, “Feelin’ Good,” is sung by the role of “the Negro,” who wins a game while two other characters are arguing, and sings this song at the moment that he wins.

Nina Simone recorded her version of this song in 1965 on her album, I Put A Spell On You. For those of you not familiar with Nina Simone, she is an American singer, songwriter, pianist, and civil rights activist. She is known for fusing Pop, Jazz, Classical, and Gospel influences in her music. Some of her most well-known songs are “I Loves You, Porgy,” “I Put A Spell On You,” and “Don’t Let Me Be Misunderstood.” Nina’s contralto voice, powerful vocal timbre, and jazz-like vocal licks are showcased perfectly in this song. Her version of this song set the standard for vocalists afterward, in both performance and technique. You can listen to her version of “Feelin’ Good” below:

Do you have a new song, artist, or group that you’re listening to? Let us know in the comments below!

This week, I’ve had Kristin Chenoweth’s version of “Maybe This Time” #OnRepeat. This is one of those cases where you are introduced to a song by a modern artist or group, which in turn, leads you to research the original version (if you’re anything like me).

I’ve also been listening to musical theater a lot lately and, from what I hear, Kristin Chenoweth is a lover of all things Broadway and is also a theatrical performer, herself. My first introduction to Chenoweth was through the movie, Bewitched, and the comedy, RV, but she was performing long before that, having originated the role of Glinda the Good Witch in the musical, Wicked. Growing up she sang Gospel music, studied Opera, and went on to pursue a career in musical theater. She has won several awards, including three Tony awards for her performances in You’re a Good Man, Charlie Brown, On the Twentieth Century, and Wicked.

The song, “Maybe This Time,” is from the 1966 musical and 1972 film, Cabaret, made famous by the singer and performer, Liza Minelli. The play is set in early 1930’s Berlin, following the story of Sally Bowles and Brian Roberts, and their odd love affair. Chenoweth’s version of this Broadway classic captures all the melancholy, desperation, and longing that is found in Sally Bowles’ character. When I first heard Chenoweth sing, I wondered how such a big voice could come out of such a small person. She has the ability to be intimate and sultry one minute, and the next, become brash and gaudy, all the while maintaining a clear, bright vocal timbre. Although she does adopt some of Liza’s mannerisms for this performance, Chenoweth has her own performance style that is unique and intriguing to watch.

Here is the video of her version of “Maybe This Time” below:

What do you guys think? Are there any other songs that Kristin Chenoweth has performed that you like? Let us know in the comments below!

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!

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!

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!