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John Minnock | Every Day Blues

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Jazz: Jazz Vocals Blues: Jazzy Blues Moods: Type: Acoustic
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Every Day Blues

by John Minnock

John Minnock, resident Jazz and Blues performer at New York City's 'the Metropolitan Room', and winner of '2016 HotHouse Jazz/Metropolitan Room Special Award', has created an album of the great Jazz, Blues, Funk, and R&B music he performs in his live show
Genre: Jazz: Jazz Vocals
Release Date: 

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  Song Share Time Download
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1. Every Day I Have the Blues
3:40 $0.99
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2. All in Love Is Fair
4:42 $0.99
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3. Take the a Train
3:58 $0.99
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4. Manhattan
4:52 $0.99
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5. Use Me
4:59 $0.99
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6. New York State of Mind
5:17 $0.99
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7. I've Got the World on a String
3:49 $0.99
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8. This Masquerade
5:09 $0.99
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9. December
4:47 $0.99
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10. Spring Can Really Hang You up the Most
5:17 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
About two years ago, I asked a friend why I sing blues, instead of something more common in a Cabaret setting, like show tunes or the great American songbook. He said “because that’s how you communicate.” He was right, and I never realized it before – what I perform is an extension of what I’ve experienced, felt, and thought. And my goal for this album has been to continue this direction, while at the same time establish something for everyone – diverse and inclusive of all.

The material I perform – both live and in the studio – has to be faithful to myself, my background, my lifestyle. In Jazz & Blues there can be some oppression, a little anger, a little sexual innuendo, and some defiance. There’s an aspect that is counter-culture (or as Peter Schickele of ‘P.D.Q. Bach’ fame might say, ‘bargain-counter-culture’). I think I can find something in there for myself, and hopefully, for you as well.

Every Day I Have the Blues – A classic blues tune. A few years ago, I was performing in a bar in Boston, when a drummer on the gig said “I get your style; it’s blues with ‘camp.’” The style stuck with me, and we included it in this arrangement.

All in Love is Fair – This is a great Stevie Wonder song; the lyrics are poetry. We added a ‘Melancholy Blues' aspect. I feel much better about performing this song after the fight for marriage equality, as the lyrics refer to marriage vows and commitment. And I’ll continue performing this, as the fight continues.

Take the ‘A’ Train – This classic song was famously written by Billy Strayhorn. The lyrics are about directions to get to Harlem by subway. And we’ve re-worked it here: the overall idea is someone in a subway station or on the train, rambling directions out-loud, to absolutely no one listening. And on many weekend nights … on the subway between bars in Chelsea and Hell’s Kitchen in Manhattan…that rambling person….is me. This song actually took two months for me to phrase. It began with having the players, Carlos Mena (bass) and Pablo Eluchans (drums) play it however they wanted. Then work on the vocal line began, and the challenge here was to check my phrasing (by re-listening to the original recording) to ensure I didn't stray too far from the structure initially intended by the composer. Also, I was thinking of calling this version 'Take a Train' (as many jazz musicians refer to the tune), but compromised by leaving the 'A' lower case in the album title of the song.

Manhattan – Sara Bareilles is a wonderful composer; she comprises jazz elements in her work, to me the same as Burt Bacharach did in the 60’s. ‘Manhattan’ has become a signature for me, and I’m really happy to present it here.

Use Me – I really enjoy performing funk tunes. And ‘Use Me’ became even more ‘cool and sassy’ in this studio version.

New York State of Mind – I have a lot of friends around New York City, and I have say, as much as I always liked this song, I didn’t fully understand until I traveled all the footfalls of its references.

I’ve Got the World on a String – This arrangement is really an homage to the great blues singer Ruth Brown. I saw her literally 20 times, and in small room ‘Cabaret’ settings. Many folks know her as either the Tony award winner for the show ‘Black and Blue,’ or as originating the role of ‘Motormouth Maybelle’ in the John Waters film ‘Hairspray.’

This Masquerade – This arrangement is a collaborative effort with the players. Carlos Mena (bass) said, ‘hey why don’t we try this…’ and it came out very cool. Jazz includes improvisation and collaboration, even in the studio, as evidenced here.

December – Another great, wonderful Sara Bareilles song.

Spring Can Really Hang You Up the Most – Of the classic jazz songs, this is and always has been one of my favorites.

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