Re: the warmer latitudes of North

[Jack of All Parades]

Following in a 'strong' tradition of broken heart/torch song albums, North, has continued to grow in my musical memory and appreciation for its many delights, both muted and felicitous, since its appearance in 2003. It has a firm hold in my musical memory along with predecessors like Billie Holliday's "Solitude" and "Lady in Satin", Abbey Lincoln's "Affair" and even my late mother in law's album, "Moody Marilyn Moore". They all share the fact that they are attempts by assured vocalist's to give voice to the vicissitudes of human emotions and longings. EC takes it further though by offering a song cycle that he has composed, orchestrated and played on. The ladies, in particular, are interpreters and are at the top of their game as they sing the songs of pain, dejection, and exhilaration and joy on their respective albums, something EC does as well in his cycle, though Ms. Lincoln in her later career will compose songs of equal emotional depth, but for me EC's cycle has an even headier personal feel.

Listening to songs like "Fallen", "Still", "When Green Eyes Turn Blue"[which I equate with my lovely bride] I am continuously struck by their demanding simplicity both in lyric and in melody. I love the way EC sings the lines as recitatives with their uneasy stresses on consonants. He makes the muted tones come alive for me with his beautiful, but complex, harmonies. These songs contain some of his best lyric writing of the past twenty years, in my estimation, because he consciously pared the line down, concentrating on sharp images and elemental rhymes which flow with an honesty and lack of pretense, avoiding cliche and sappiness and overkill. I am continuously impressed by the arc of the material as the mood switches from dark and claustrophobic feelings towards an exhilaration that is life affirming in the finale of "I'm In the Mood Again". The lyric to "Fallen", as I have expressed previously in another thread, approaches poetry for me. It does not hurt that the album features some very beneficial instrumental assistance from old jazz players like Lew Soloff and Lee Konitz. Their solos are assured, tasteful and give an understated support to the melodies.

I love this record. I find it strange that when he has an artistic success like this album he fails to follow through with any consistency. I would love to see him mine this type of writing with a greater regularity, in particular, as he ages. I think it is where he works best, where he offers the most interesting and long lasting compositions, and this is accentuated for me by the more successful songs from National Ransom like "You Hung the Moon" or "Jimmie Standing in the Rain". I, in my secret heart, wish that compositions from this album would appear on his current wheel. Probably will not happen, but I can hope. When he works in this manner, he holds my attention consistently. It is music with intelligence, feeling and humanity. It is also, I think, something that will last. It will be played on whatever musical playing device is around in the next century. At least I would like to think so.

[jardine]

I'm really with you on North and this sort of song in e.c.'s work. Even a great deal of Painted from Memory fits here, along, as you mentioned, with "you hung the moon" and Jimmie (and maybe even Voice in the Dark). I keep thinking, writing this, of "in the wee small hours of the morning" and other songs of that depth and era, and that e.c. is, I think, actually adding to, not just "covering" songs from, the so called American Songbook

[the_platypus]

Following in a 'strong' tradition of broken heart/torch song albums, North, has continued to grow in my musical memory and appreciation for its many delights, both muted and felicitous, since its appearance in 2003. It has a firm hold in my musical memory along with predecessors like Billie Holliday's "Solitude" and "Lady in Satin", Abbey Lincoln's "Affair" and even my late mother in law's album, "Moody Marilyn Moore". They all share the fact that they are attempts by assured vocalist's to give voice to the vicissitudes of human emotions and longings. EC takes it further though by offering a song cycle that he has composed, orchestrated and played on. The ladies, in particular, are interpreters and are at the top of their game as they sing the songs of pain, dejection, and exhilaration and joy on their respective albums, something EC does as well in his cycle, though Ms. Lincoln in her later career will compose songs of equal emotional depth, but for me EC's cycle has an even headier personal feel.

Listening to songs like "Fallen", "Still", "When Green Eyes Turn Blue"[which I equate with my lovely bride] I am continuously struck by their demanding simplicity both in lyric and in melody. I love the way EC sings the lines as recitatives with their uneasy stresses on consonants. He makes the muted tones come alive for me with his beautiful, but complex, harmonies. These songs contain some of his best lyric writing of the past twenty years, in my estimation, because he consciously pared the line down, concentrating on sharp images and elemental rhymes which flow with an honesty and lack of pretense, avoiding cliche and sappiness and overkill. I am continuously impressed by the arc of the material as the mood switches from dark and claustrophobic feelings towards an exhilaration that is life affirming in the finale of "I'm In the Mood Again". The lyric to "Fallen", as I have expressed previously in another thread, approaches poetry for me. It does not hurt that the album features some very beneficial instrumental assistance from old jazz players like Lew Soloff and Lee Konitz. Their solos are assured, tasteful and give an understated support to the melodies.

I love this record. I find it strange that when he has an artistic success like this album he fails to follow through with any consistency. I would love to see him mine this type of writing with a greater regularity, in particular, as he ages. I think it is where he works best, where he offers the most interesting and long lasting compositions, and this is accentuated for me by the more successful songs from National Ransom like "You Hung the Moon" or "Jimmie Standing in the Rain". I, in my secret heart, wish that compositions from this album would appear on his current wheel. Probably will not happen, but I can hope. When he works in this manner, he holds my attention consistently. It is music with intelligence, feeling and humanity. It is also, I think, something that will last. It will be played on whatever musical playing device is around in the next century. At least I would like to think so.

I agree with every word in this post. Except for the words about your lovely bride. I've never met her. I am sure she's a fine woman.

[Jack of All Parades]

My favorite photo of Lisa (2).jpg (82.21 KiB) Viewed 13096 times

Here is my bride of twenty five some years and she has the most beautiful green eyes that I constantly get lost in and never want to make blue. She is a wonderful woman.

[Poor Deportee]

Following in a 'strong' tradition of broken heart/torch song albums, North, has continued to grow in my musical memory and appreciation for its many delights, both muted and felicitous, since its appearance in 2003. It has a firm hold in my musical memory along with predecessors like Billie Holliday's "Solitude" and "Lady in Satin", Abbey Lincoln's "Affair" and even my late mother in law's album, "Moody Marilyn Moore". They all share the fact that they are attempts by assured vocalist's to give voice to the vicissitudes of human emotions and longings. EC takes it further though by offering a song cycle that he has composed, orchestrated and played on. The ladies, in particular, are interpreters and are at the top of their game as they sing the songs of pain, dejection, and exhilaration and joy on their respective albums, something EC does as well in his cycle, though Ms. Lincoln in her later career will compose songs of equal emotional depth, but for me EC's cycle has an even headier personal feel.

Listening to songs like "Fallen", "Still", "When Green Eyes Turn Blue"[which I equate with my lovely bride] I am continuously struck by their demanding simplicity both in lyric and in melody. I love the way EC sings the lines as recitatives with their uneasy stresses on consonants. He makes the muted tones come alive for me with his beautiful, but complex, harmonies. These songs contain some of his best lyric writing of the past twenty years, in my estimation, because he consciously pared the line down, concentrating on sharp images and elemental rhymes which flow with an honesty and lack of pretense, avoiding cliche and sappiness and overkill. I am continuously impressed by the arc of the material as the mood switches from dark and claustrophobic feelings towards an exhilaration that is life affirming in the finale of "I'm In the Mood Again". The lyric to "Fallen", as I have expressed previously in another thread, approaches poetry for me. It does not hurt that the album features some very beneficial instrumental assistance from old jazz players like Lew Soloff and Lee Konitz. Their solos are assured, tasteful and give an understated support to the melodies.

I love this record. I find it strange that when he has an artistic success like this album he fails to follow through with any consistency. I would love to see him mine this type of writing with a greater regularity, in particular, as he ages. I think it is where he works best, where he offers the most interesting and long lasting compositions, and this is accentuated for me by the more successful songs from National Ransom like "You Hung the Moon" or "Jimmie Standing in the Rain". I, in my secret heart, wish that compositions from this album would appear on his current wheel. Probably will not happen, but I can hope. When he works in this manner, he holds my attention consistently. It is music with intelligence, feeling and humanity. It is also, I think, something that will last. It will be played on whatever musical playing device is around in the next century. At least I would like to think so.

Chris, your wife is indeed lovely. Great photo.

I've boldfaced two points that struck me especially. This may be Philistine of me, but I cordially dislike the 'uneasy stresses on consonants' that marks the first track in particular. I realize this is considered suave in some circles, but to my ear it invariably comes off as mannered.

The second point: 'Fallen' is indeed a little masterpiece and sadly neglected at that. You really feel yourself to be among those leaves that serve as the principal metaphor - 'beginning to fall...' When a song evokes 'Autumn Leaves' and gets away with it, that is really saying something. Other highlights for me include the closer, 'Let Me Tell You About Her,' 'Can You Be True,' 'Still.' There's really not a duff track on here, though.

For all of that the album ultimately leaves me somewhat cold. Respectful of its obvious mastery craft and unity of tone, yes, but not terribly inclined to spend much time with it. Part of it is precisely that tonal sameness; I find myself tiring of the gentle piano riff that opens so many of these songs, the songs lack the elements of surprise and/or variety that keeps me ensnared, and as a general rule I'm not an admirer of albums that take you to one single place lyrically and sonically and leave you there for an hour. (I can handle one or the other - c.f. PJ Harvey's White Chalk, which combines a gothic tonal coherence with greater lyrical range and is a stunner in consequence). In fact, the relentless discipline of this record always comes off to me as a sort of protective shell within which EC could safely explore these themes - rather the opposite of his soul-wrenching expiations on albums like King of America, which I prefer.

I don't know, I think perhaps it comes down to what one thinks of formalism in music. You, Christopher, with your extensive immersion in jazz and music of all sorts, seem more profoundly fond of formal mastery than I am. I like my music messier, more eclectic and less disciplined - and I think this album is almost a test case for the degree to which one enjoys formalist writing and execution. It's akin to PFM in that sense, although that record is more varied in its musical and lyrical concerns, if not as beautifully sung.

[wardo68]

Yup. I love this album. I never understood the complaints about it.

[jardine]

i mentioned this in another thread, but i would love to hear k.d.lang cover this album, all of it. i think that the strength and oddness of these songs would help challenge that bit voice of hers. her latestsongs are very bland and tuneless.

i'm interested in what folks think of e.c's vocals on North compare to pfm. I find that, except for a few occasions, his singing on North is almost demo like--"here's the tune", without much stretch, pausing, unanticipated phrasing etc., almost as if he doesn't quite fit into these songs yet. there's exceptions, of course, but overall, quite straight. pfm seems to have more adventurousness voicals in and around the melodies...?????

[Poor Deportee]

i mentioned this in another thread, but i would love to hear k.d.lang cover this album, all of it. i think that the strength and oddness of these songs would help challenge that bit voice of hers. her latestsongs are very bland and tuneless.

i'm interested in what folks think of e.c's vocals on North compare to pfm. I find that, except for a few occasions, his singing on North is almost demo like--"here's the tune", without much stretch, pausing, unanticipated phrasing etc., almost as if he doesn't quite fit into these songs yet. there's exceptions, of course, but overall, quite straight. pfm seems to have more adventurousness voicals in and around the melodies...?????

I much, much prefer the understated, plain-spoken vocals of North. EC has had an awful lot of trouble getting out of his own way vocally over the last 20 years. Stressed consonants notwithstanding - really an issue of composition more than delivery - he succeeds admirably on this record.

[Jack of All Parades]

Jardine, I too much more prefer the vocals on North. There is an intimate quality to them that very often reminds me of the interior monologue that one might hold in one's mind late at night in private time. They mirror the muted piano notes and lines of the songs almost as if EC is sounding them out in his head, seated at the piano and mapping out the notes on the keyboard and playing the notes and words which give voice to his mental and emotional state at the time. Too often on PFM there is an awkward straining for vocal effects he is not capable of achieving in the songs. Perhaps it is a product of the Bacharach/EC melodies that too frequently tax his vocal talents. It is the one major flaw I find with that album. Whereas with North the vocals to my ears are pitched in a relaxed and conversational style I find better suited to the material.

I also like the photo on the cover and rear which pictorially captures the mood of the album. I like that he is willing to go naked, sans headgear, and let his receding hairline 'down', just as he seemingly lets his guard down in the songs on this album. It has always seemed one of the few moments where I thought he was most vulnerable on a record.

When I am seated in the audience this Friday night in Boston, I hope that when I first look upon the stage that I will see inserted as spokes upon the wheel the titles "Fallen", "Still" or "I'm In the Mood, Again". I would find that very special; even more so if a random spin of the wheel should cause it to stop on one of those titles.

PD- you read me right- I fall on the side of that demarcation which favors 'formalism'. Though a child of the late 60's and early 70's immersed in the culture of upheaval and no constraints, I find myself regularly drawn to form and function, rules and discipline as I age. If I had to give it a poetry analogy, I suppose I am Ms. Dickinson to your Whitman. If I were to apply a jazz analogy, I much more prefer the constrained yet lyrical approach of Lester Young to the 'sheets of sound' tone of latter Coltrane or Ornette Coleman. I have always liked what Frost said about free verse that it seemed to him like playing tennis without a net. I will take the discipline of form any day.

[Poor Deportee]

Jardine, I too much more prefer the vocals on North. There is an intimate quality to them that very often reminds me of the interior monologue that one might hold in one's mind late at night in private time. They mirror the muted piano notes and lines of the songs almost as if EC is sounding them out in his head, seated at the piano and mapping out the notes on the keyboard and playing the notes and words which give voice to his mental and emotional state at the time. Too often on PFM there is an awkward straining for vocal effects he is not capable of achieving in the songs. Perhaps it is a product of the Bacharach/EC melodies that too frequently tax his vocal talents. It is the one major flaw I find with that album. Whereas with North the vocals to my ears are pitched in a relaxed and conversational style I find better suited to the material.

I also like the photo on the cover and rear which pictorially captures the mood of the album. I like that he is willing to go naked, sans headgear, and let his receding hairline 'down', just as he seemingly lets his guard down in the songs on this album. It has always seemed one of the few moments where I thought he was most vulnerable on a record.

When I am seated in the audience this Friday night in Boston, I hope that when I first look upon the stage that I will see inserted as spokes upon the wheel the titles "Fallen", "Still" or "I'm In the Mood, Again". I would find that very special; even more so if a random spin of the wheel should cause it to stop on one of those titles.

PD- you read me right- I fall on the side of that demarcation which favors 'formalism'. Though a child of the late 60's and early 70's immersed in the culture of upheaval and no constraints, I find myself regularly drawn to form and function, rules and discipline as I age. If I had to give it a poetry analogy, I suppose I am Ms. Dickinson to your Whitman. If I were to apply a jazz analogy, I much more prefer the constrained yet lyrical approach of Lester Young to the 'sheets of sound' tone of latter Coltrane or Ornette Coleman. I have always liked what Frost said about free verse that it seemed to him like playing tennis without a net. I will take the discipline of form any day.

Well, I do like form and craft, and tend to be disappointed when artists seem oblivious to these requirements. (I'm particularly finicky about rhyme; off-rhymes like 'fracture' and 'statue' bug me). My ideal is - again - someone like Dylan, who in his later work shows both a fearsome sense of form AND a wonderful willingness to shatter it to bits: e.g., he'll write lines which have a ridiculous amount of syllables and then somehow squeeze them effortlessly into the metre. The latter is so much fun precisely because it's informed by the requirements of form and so knowingly breaks them.

Anyway, not to bore anyone, but I think my real diffidence regarding North stems less from its formalism per se and more the narrowness of its lyrical concerns. This is actually a recurring beef I have with EC. He doesn't just make albums that explore a single musical style (Juliet Letters, PFM, North); those albums usually seem also to have a single overmastering lyrical theme (letter songs; romantic love; a song cycle about falling out of love and back into it). In short, EC often adds an extra layer of rigid lyrical constraint atop the musical formalism. This tires me out. I'd prefer to have had a range of subject material explored on JL and PFM in particular.

In any case...North is a good record. Playing it back yesterday in honour of this thread, I found it was really the first two songs that left me cold, for whatever reason. Indeed, it really only gets going at 'Fallen,' but it's very strong thereafter.

[watercamp]

Can someone post the missing tracks on the "green site" or somewhere where I can get my hands on them, FLAC would be nice but mp3 is welcomed.
-Too Blue from North Japan CD
-North from iTunes

Speaking of the song "North" is the iTunes version the same as on the bonus DVD that came with the CD?

[watercamp]

Thanks for the tracks.

you know who you are.