{"title":"音乐和歌词","authors":"S. A. Crist","doi":"10.1093/oso/9780190217716.003.0007","DOIUrl":null,"url":null,"abstract":"Although Time Out is a purely instrumental album, several of its cuts either originated as songs or later were supplied with words. Two singers—Claude Nougaro in the 1960s and Al Jarreau in the 1970s and 1980s—rose to fame largely on the basis of their vocal renditions of tunes from Time Out. This chapter examines the interplay between music and lyrics in the origins and history of these numbers. It begins with examination of the interdependence of “Everybody’s Jumpin’ ” and “Everybody’s Comin’ ” (the latter a song from The Real Ambassadors). The vocal versions of “Strange Meadow Lark” and “Take Five,” with lyrics by Dave and Iola Brubeck, and their recordings by Carmen McRae, are considered next. The chapter concludes with discussion of Nougaro’s “À bout de souffle” and “Le jazz et la java,” and Jarreau’s “(Round, Round, Round) Blue Rondo à la Turk” and “Take Five.”","PeriodicalId":115971,"journal":{"name":"Dave Brubeck's Time Out","volume":"81 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Music and Lyrics\",\"authors\":\"S. A. Crist\",\"doi\":\"10.1093/oso/9780190217716.003.0007\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Although Time Out is a purely instrumental album, several of its cuts either originated as songs or later were supplied with words. Two singers—Claude Nougaro in the 1960s and Al Jarreau in the 1970s and 1980s—rose to fame largely on the basis of their vocal renditions of tunes from Time Out. This chapter examines the interplay between music and lyrics in the origins and history of these numbers. It begins with examination of the interdependence of “Everybody’s Jumpin’ ” and “Everybody’s Comin’ ” (the latter a song from The Real Ambassadors). The vocal versions of “Strange Meadow Lark” and “Take Five,” with lyrics by Dave and Iola Brubeck, and their recordings by Carmen McRae, are considered next. The chapter concludes with discussion of Nougaro’s “À bout de souffle” and “Le jazz et la java,” and Jarreau’s “(Round, Round, Round) Blue Rondo à la Turk” and “Take Five.”\",\"PeriodicalId\":115971,\"journal\":{\"name\":\"Dave Brubeck's Time Out\",\"volume\":\"81 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-10-24\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Dave Brubeck's Time Out\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780190217716.003.0007\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Dave Brubeck's Time Out","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190217716.003.0007","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
虽然《Time Out》是一张纯粹的器乐专辑,但它的一些剪辑要么源于歌曲,要么后来加入了歌词。20世纪60年代的克劳德·努加罗(claude Nougaro)和70、80年代的阿尔·贾罗(Al jarau)这两位歌手的成名很大程度上是基于他们对《Time Out》曲调的演唱。本章探讨了这些数字的起源和历史中音乐和歌词之间的相互作用。它首先考察了“Everybody’s Jumpin”和“Everybody’s Comin”(后者是the Real Ambassadors中的一首歌)之间的相互依存关系。《奇怪的草地云雀》(Strange Meadow Lark)和《Take Five》的人声版本,由戴夫和伊奥拉·布鲁贝克(Iola Brubeck)作词,卡门·麦克雷(Carmen McRae)录制。本章最后讨论了努加罗的“À bout de souffle”和“Le jazz et la java”,以及雅罗的“(Round, Round, Round) Blue Rondo la Turk”和“Take Five”。
Although Time Out is a purely instrumental album, several of its cuts either originated as songs or later were supplied with words. Two singers—Claude Nougaro in the 1960s and Al Jarreau in the 1970s and 1980s—rose to fame largely on the basis of their vocal renditions of tunes from Time Out. This chapter examines the interplay between music and lyrics in the origins and history of these numbers. It begins with examination of the interdependence of “Everybody’s Jumpin’ ” and “Everybody’s Comin’ ” (the latter a song from The Real Ambassadors). The vocal versions of “Strange Meadow Lark” and “Take Five,” with lyrics by Dave and Iola Brubeck, and their recordings by Carmen McRae, are considered next. The chapter concludes with discussion of Nougaro’s “À bout de souffle” and “Le jazz et la java,” and Jarreau’s “(Round, Round, Round) Blue Rondo à la Turk” and “Take Five.”