2024-02-13 03:34:49
Author: Teymur Ataev
Music lovers periodically encounter the next release of “Top 100 – One Hit Group” albums. Including one work of one or another group (performer), included in the treasury of world music. In other words, we are talking about singers who became famous due to one single composition. And although their arsenal was not limited to one single, they forever inscribed their name in the musical history of the world thanks to the only work that turned out to be famous and popular.
Naturally, the compositions presented on the albums of this series are constantly changing, because new performers of one hit appear, getting into the TOP 100. But there are songs that are always repeated on these discs. And, probably, they are unlikely to ever leave this composition. Unfortunately, among this contingent there is always the name of the outstanding vocalist, composer and conductor Bobby McFerrin. The author uses the concept “unfortunately” for the reason that Bobby created a lot of masterpieces. Indeed, a lot. Therefore, his presence in the cohort of those who became famous thanks to the “work of surprise” is a kind of nonsense.
“A drip” hit
Surely, music lovers realized that we are talking about the 1988 composition “Don’t Worry, Be Happy”, presented in a cappella form: vocals are superimposed on an “instrumental” part, consisting of various kinds of sounds produced by the singers. Thus, the effect of instrumental accompaniment arises, although there is not even one musical instrument in the play. In general, the concept of a cappella (Italian) is translated “as in a chapel,” implying polyphonic choral singing without instrumental support. The term arose at the end of the 17th century, and its origin is usually associated with the practice of papal worship in Rome’s Sistine Chapel. The style was also developed in secular singing art by Renaissance composers, in particular, in madrigals (in the primary sense – a single-voice song).
Of course, one cannot but agree that the song, which reveals Bobby’s talent, sounds phenomenal. And it is also impossible not to acknowledge that this hit ensured the international fame of Bobby McFerrin for all time. The song became the first drop composition to reach the top spot on the Billboard Hot 100 chart (it stayed for two weeks). The composition received three Grammy awards: “Song of the Year”, “Record of the Year”, “Best Male Vocal in Pop Music” (although jazz and reggae also overlap here). Another thing is that for many B. McFerrin, to this day, is known exclusively through the prism of “Don’t worry, be happy!” Including, thanks to the same disc of the Top 100 One Hit Group.
And this is one of the great “musical” injustices. “People think that this short trinket will explain everything about me to them,” says B. McFerrin, “but if you compare my musical life to a diamond, this song is just a tiny, barely noticeable facet in it.” This characteristic of your own hit is not accidental. “I don’t want to be just a pop artist, I don’t want to be just a jazzman or a classical performer,” reveals the Master, “I’m interested in everything at once, it’s interesting to be an inquisitive researcher in the world of music.”
In general, Bobby’s debut as a vocalist, by today’s standards, took place at an “old” age (at the turn of 27 years old, 1977). Following which he toured with the unique vocal jazz legend Jon Hendricks. And after moving to San Francisco, the famous comedian Bill Cosby organized a performance of Bobby’s vocal class at the jazz “summit” Playboy Jazz Festival (1980). He spent most of the concert at the piano. He then appeared in New York at the Kool Jazz Festival in 1981. At the same time, he got the opportunity to appear in solo albums.
The first of which, “Bobby McFerrin”, was born in 1982 and immediately found itself in the Top 40 of the jazz chart. Naturally, solo tours in Europe immediately took place. In 1984, his new album was published: “The Voice”. Included in the world history of jazz as the first solo vocal disc recorded a cappella. Experts recommend this disc as a manual for those studying the capabilities of the human voice. After which came the turn of collaboration with the famous Herbie Hancock and the brilliant quartet Manhattan Transfer.
B. McFerrin seemed to burst. He creates and creates masterpieces, performing the most famous hits and compositions of his own composition. Without repeating ourselves one bit. Just listing the works presented would take a lot of time and space. But it is simply impossible not to mention some projects. Let’s say the album Simple Pleasures, which features the song of the same name and the brilliant Good Lovin All I Want. Is it really possible to ignore the “Bang! Zoom” concert, where smooth jazz, often presented by critics as “very accessible” jazz, sounds very serious? In particular, the lyrical “Heaven’s Design” or My Better Half. Next to it is the most melodic a cappella “Mere Words” (the author of all compositions is Bobby himself).
Well, what about his masterpieces in a duet with the outstanding Chick Corea, first of all, Blues Connotation and the famous Armandos Rhumba, at the first and last notes of which he jokes impromptu with the audience?
Naturally, I remember projects that present a reading from a new angle of the most popular works from the Beatles’ repertoire – Come Together (two-voice with Robin Williams) or Drive My Car (Bobby’s “lonely” voice). In the same row is an incomparable interpretation of “Night in Tunisia”, which won in the categories “best vocal arrangement” and “best jazz male vocal”. Nobody imagined this great composition like that.
And yet, in the subjective opinion of the author, his performance of some works from the album “Hush” (1992) stands out. Where he presents “classical classics,” so to speak, and even accompanied by the wonderful cellist Yo-Yo Ma (our great Alim Gasimov carried out a number of projects with him). Here are Vivaldi, Bach, and “Ave Maria” by Gounod. Shock. But, of course, the culmination of the disc is the famous “Flight of the Bumblebee” by N. Rimsky-Korsakov, uniquely presented as a dialogue between voice and cello. It is impossible to determine from the first notes where the voice is and where the instrument is. And soon even the semblance of desire to understand these subtleties disappears. Because you are left alone with the sound emanating from a bumblebee flying very close.
Those who have heard Bobby understand perfectly what he is talking about. He knows how to not only sing, albeit professionally, a composition (and any composition). And not only to convey her inner world. He creates the work as if anew. Moreover, the presentation style can vary, which is not sensational for B. McFerrin. Because he uniquely combined the talent of a brilliant feeling for jazz, classical, and pop. Realizing perception through vocal delivery, and even through changes in octaves. The volume of the vocal range allows for a fantastic modification of singing.
At the same time, he is able to “voice” any member of the orchestra – from flute and double bass to percussion. “Firing” either an operatic soprano or the squeak of a small child. And a plus – amazing opportunities for imitating sounds familiar to us all, right down to bird sounds.
However, we agree that this talent could not be fully experienced if Bobby had stopped only at technical voice imitation or demonstration of other phenomenal capabilities. Or rather, it could have played a role, being received with a bang by the listener. But it would not lead to the perception of the singer as a complete Master. But Bobby is an artist. In the highest understanding of the meaning of this word.
Performance man
Once, when asked about the principle of constructing a concert program, B. McFerrin said that there was no initial programming. Because the most important thing for him is improvisation. Thus, it is clearly seen that the vocal gift, even if it can exist on its own, is impossible to become a Stage Master through it alone. Here the talent of the improviser must also coexist (if not prevail). When a performer varies not just by the sequence of numbers or by unexpectedly inserting a song into the program that was not even visible at first. But it regulates the form of approach to presenting the composition.
Of course, if a thread of mutual understanding with the audience exists, then it turns (following the example of the contact of theater masters with the audience) into a mini-performance. And sometimes…in a one-man performance. The same McFerrin. Often appearing on stage alone, without musicians. Preparing the next performance both depending on the inner state of the soul and the reaction of the audience. Therefore, jazz may be followed by classical, African rhythms or something else: “I perform what seems appropriate to me at this particular moment.”
Another thing is that his touring experience led him to the following conclusion. The European public, brought up on the classics, perfectly perceives “long plays with a complex structure.” Because she is always interested in the development of a musical idea. Listeners in the USA are accustomed to short things, to hits, and with a tendency towards rhythm: “They want everything at once,” i.e. immediate entertainment, not wanting to “invest your patience in my music.”
In any case, the show he demonstrates for more than one hour becomes so not thanks to artificial moves. And due to her majesty of music. In Bobby’s vocal transformation; with an extravaganza of sounds and rhythms. But not just “in the name” of the public’s interest, but as part of the overall conceptual basis of the musician’s approach to the program. Where the idea dominates. Thought. Rush. Internal mood. Allowing you to convey an idea to the listener in various forms. Clearly. Effective. Not strained. And tastefully. With variations of music from ethnic to academic. Moreover, he gets into the role so much that he interrupts the audience’s attempts to distract him with applause from his brilliant improvisations in the middle of one or another part. Thus protecting the integrity of the work and a neat transition to a new sound (to the next composition).
However, no matter how paradoxical it may sound, a mono-performance of this kind is not the “voice of one”. Quite the opposite. Bobby tries to communicate with the audience. Unite all viewers. With yourself, with the stage and with each other. Therefore, in recent years, no one is surprised by the Master’s know-how when he can invite those from the audience to dance to his unusual accompaniment. Or encourage the audience to sing along. And often to support him by creating an impromptu choir, born from amateurs right on stage. Here, by the way, B. McFerrin’s talent is revealed in a new form – the ability to erase the embarrassment of those entering a “public situation”. Allowing everyone to kind of come to self-expression.
Conclusion
Surely, we will enjoy dozens more brilliant stories and conversations of the musician through music. In addition, at the turn of the 1990s, the artist began to master a new specialization – conducting. And he succeeded in this. Including, thanks to Leonard Bernstein. Today he has already conducted symphony orchestras of the New York, London, Vienna Philharmonic and many other groups.
The most important thing is his desire not to lose himself, his “I”. “Success has a lot of dangers. You can get hooked on fame, like a drug. So every day I sit down, open the Bible and ask for the strength to make this journey the best I can,” Bobby says, “I try very hard to be a good person. In life, in love, in the family. This is what is important, not all these ratings, stars, charts and so on.”
Let us wish him further creative success, and we wish him the opportunity to enjoy the creativity of this personality!