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Paula Kimper: I believe in you my soul

This week’s Song of the Day is hosted by Jesse Blumberg and Donna Breitzer, the Artistic Director and Executive Director, respectively, of Five Boroughs Music Festival.

Are you ready for Walt Whitman’s birthday next weekend?  We hope you got him something nice, because he’s turning 200 — kind of a big one.  Dear Walt is such a big part of our American cultural fabric, especially in NYC, and we’re so happy to see so many artists and organizations celebrating his year. One of such artist is composer Paula Kimper, whose passion for Whitman has inspired her current “Melody Book” for Song of Myself project, in which she shares new settings of Leaves of Grass texts every week.  A huge undertaking, we applaud Paula for celebrating Whitman’s depth and impact in such a extensive and thoughtful way. 

Paula has also assembled quite an artistic team to perform her Whitman settings, including the very talented young baritone Nathaniel Sullivan, who is featured here singing this gorgeous setting of “I believe in you my soul” — Enjoy!

OH – have we mentioned that Paula Kimper is one of the composers for the new song cycle “After Stonewall”, commissioned by 5BMF and NYFOS, and curated by Laura Kaminsky?  Don’t miss this incredible World Premiere on June 11 in Manhattan!

Laura Kaminsky & Leah Maddrie: Right to Life

This week’s Song of the Day is hosted by Jesse Blumberg and Donna Breitzer, the Artistic Director and Executive Director, respectively, of Five Boroughs Music Festival.

Every five years or so, we at 5BMF like to go all out and commission twenty composers to write a new song each about this wild, wonderful, gritty, overwhelming city we call our home. For our Five Borough Songbook, Vol. II we were delighted to have the amazing Laura Kaminsky on the roster, and she decided to work with her friend and fellow Bronx resident, poet Leah Maddrie. It was such a pleasure to get to know Leah, who came to several performances and participated in our Creator Chats as well.

The result of Laura and Leah’s collaboration was “Right to Life”, an intensely thought-provoking glimpse into some of the less glamorous parts of city life. Through Leah’s words and Laura’s setting, we come upon a seemingly mundane scene on a subway platform, but are soon forced to consider how unavailable the ‘American Dream’ is to so many. These women created a truly stirring work here, and we’re so grateful to have this song in our collection.

Coincidentally (or is it??), the baritone featured here is none other than Jorell Williams, who will appear in Laura’s NYFOS Next show on June 11 (got your tickets yet??).  Thomas Bagwell was the pianist, at the Brooklyn Premiere of our Songbook’s Volume II, a couple years back:

Pharrell Williams: Happy

This ecstatic song needs no introduction. The text for “Happy” is itself an irrepressible extended metaphor for the title, a song built on similes “like a room without a roof”.  “Happy” sold 6.45 million copies in the U.S., alone, in the year after its release in 2013, at the top of the Billboard’s hot 100 chart, and “covered” by over 1,500 You Tube videos in 2014. The first mime of the song I’d ever heard was a You Tube sent to me from a cousin in Paris, a hilarious version made by the staff of Air France

That year these video celebrations seemed to be everywhere at once, everywhere in the world from New Zealand to Poland to Iran. Sometimes with dire political consequences. 

I’ll close my week as guest blogger with a stunning version of “Happy,” one that Williams performed live with pianist Lang Lang for the 57th Grammy Awards. Suffice it to say, the devastating death of Eric Garner (whose trial is being held now in New York as I write this), had taken place a few months before. Watching this performance alerts us to the privilege happiness is, and how powerful each interpretation of the lyrics to a song can be.  

Leonard Cohen: Take this Waltz

“This poet ruined my life,” Leonard Cohen said of the Spanish poet Federico Garcia Lorca.  Cohen, a singer/songwriter and poet, himself, took great liberty with the original text of the haunting poem it is based on,”Pequeño vals vienés” (Little Viennese Waltz). The poem is from Lorca’s  Poet in New York, a collection written after a difficult year in depression era New York (1929-30) studying at Columbia University. One can see how Cohen would be drawn to Lorca, with ideas like this, from “New York: Office and Denunciation”:

‘What shall I do now? Align all the landscapes?/ Muster the lovers who turn into photographs/ and later are splinters of wood, and mouthfuls of blood?’

After returning to Spain, Garcia Lorca sided with the anti-fascist Republicans when Civil War broke out there in 1936. He was by then famous, liberal, and gay, all of which made him a target. He was shot and killed in the custody of the nationalist militia. He was 38. A version of Lorca’s ideas live on in Cohen’s homage, “Take This Waltz”. Cohen, who died in 2016, lives, too, in this poem/song, this waltz with its heartbreaking entreaty to: “take its broken waste in your hand”.

Laura Nyro: Save the Country

Save the people, save the children
Save the country, everybody save the country
Save the country, save the country, save the country now

The Pollyanna in me reaches for something hopeful today. The political climate we are living in certainly calls for more protest songs like this one. And if ever we needed a positive rallying cry, it is now.  Nyro, an acclaimed songwriter, singer, pianist, who lamentably died young, at the age of 49, was inspired to write this optimistic, almost buoyant song after the assignation of Robert Kennedy June 5, 1968. Even as she wrote of fury, she went on to assert: 

We could build the dream with love, I know
We could build the dream with love

Mavis Staples & The Staple Singers: I’ll Take You There

When commissioned to compose a sequence of poems to be set to music to commemorate the 50th Anniversary of the Stonewall Uprising the song “I’ll Take You There,” from the same era, was among the first that came to mind. A kind of anthem first performed and recorded in 1972 by The Staple Singers, “I’ll Take You There” was a protest song that reflected a kind of optimism, an instant and uplifting hit. Al Bell’s lyrics are a call and response echoing the text of the title, building power on repetition, responding to an idea of hope for a future with: “Ain’t no smilin’ faces / Lyin’ to the races”.  The original recording features Mavis Staples as the lead singer. Mavis joined her family’s gospel singing group at the age of 11. The r& b soul singer/civil rights activist, turns 80 this summer––on tour, still singing this still necessary song.

Antônio Carlos Jobim and Elis Regina: Águas de Março (1974)

The first opera I ever experienced live was at New York’s Metropolitan Opera, the great Verdi soprano Leontyne Price’s last performance of “Aida”. In those days (1985) there were no super titles, no digital text translating the words in real time. The thrill that shuttled between my body and mind that night had little to do with the libretto (as I am not fluent in Italian), and everything to do with her voice, the composition, the orchestra. All of it, combined.

As a word-worker, it takes an extra bit of effort to let go of what was literally being said, to give myself over to the sway of a song performed in a language I don’t speak or clearly understand. But some songs take no effort at all, and need no translation. In the spirit of letting go, and celebrating that which floods in that space of not knowing, I offer this joyful  documentary recording of Antônio Carlos Jobim and Elis Regina studio performance of “Águas de Março,” (1974).  

Note:  That said, I can’t help but offer a few lines of the lyrics, which are pure poetry. Listen to the song first, then take a look at the lyrics. “Waters of March,” from the Portuguese, is composed as a litany of what “it is” to feel joy, what the composition, the voices, the instrumentation, all of it, combined, enacts:  …. “it is the knob in the wood”  “it is the fall of the bluff”  “it is end of the slope,/it is the beam, it is the span” “it is the end of tiredness”.

Beyoncé: Run the World

With so many possibilities, I decided to use the themes of Fierce Grace: Jeannette Rankin as the themes of my “Song of the Day.” Women’s rights. Civil rights. Women’s suffrage. Pacifism. And a whole lot of Fierce Grace.

The title of “Fierce Grace” is no joke­– it’s fierce on every level, from Jeannette Rankin herself to the all-female creative team of the cycle (Kitty Brazelton, Laura Kaminsky, Laura Karpman, Kimberly Reed and Ellen Reid) to the mindset Heather Johnson and I have to embody in order to perform this non-stop forty-minute work. And who shall put the final stamp of Fierceness on my “Song of the Day” narration? None other than Sasha Fierce herself, who even transcended that name to achieve her reign as Queen…BEYONCÉ. Girl power at its finest.

Nancy Sinatra: These Boots Are Made for Walking

With so many possibilities, I decided to use the themes of Fierce Grace: Jeannette Rankin as the themes of my “Song of the Day.” Women’s rights. Civil rights. Women’s suffrage. Pacifism. And a whole lot of Fierce Grace.

Given that the third song of the cycle is titled “10,000 Go-Go Boots” (text by Kimberly Reed, music by Laura Kaminsky), how could I NOT include this iconic song recorded by Nancy Sinatra? In 1966, Nancy made her boots for walkin’, and in 1968, Jeannette stepped, stepped, stepped to the Capitol to protest the war in Vietnam, surrounded by the boots of another generation.

Joan Jett: Bad Reputation

With so many possibilities, I decided to use the themes of Fierce Grace: Jeannette Rankin as the themes of my “Song of the Day.” Women’s rights. Civil rights. Women’s suffrage. Pacifism. And a whole lot of Fierce Grace.

Rankin didn’t care whether she fit into the public’s expectation of her, or into “the boys club” of Congress– she was going to vote for what she believed in. She voted against World War I, and was the lone voice of dissent against the declaration of war on Japan in 1941. Following the vote, she was pursued by a mob of reporters, forcing her to take cover in a phone booth until the Capitol Police arrived to escort her to her office. “As a woman I can’t go to war,” she stated, “and I refuse to send anyone else.” As an ode to Jeannette’s resolution and Kitty Brazelton’s rock ‘n’ roll past (which you can hear hints of in the second song of Fierce Grace), I give you this gem by Joan Jett.

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