
When I'm 69 (and Sounding It)

I’ll take issue with at least one assertion of Stephen Holden’s in his New York Times review of Paul McCartney’s new release, Kisses on the Bottom, where he says that Paul’s voice is “almost as youthful as in the Beatles’ glory days.” I beg to differ. It’s not without its charms, but the voice of 69-year-old Sir Paul sounds more like an aging English Music Hall veteran trying out a new show than a mop top from Liverpool.
The new show is a set of standards Paul remembers his parents dancing to in the 40’s and 50’s. Perhaps it’s his association of the tunes with something so personal, not to mention their ties to World War II, that adds a touch of vulnerability to his singing and a feeling of wistfulness to these interpretations. In any case, it’s a different voice than we know from his "glory days," and three of my colleagues, all Beatles fans, drew a blank when I gave them a sample earlier today.
Kisses on the Bottom (Concord Music) is McCartney’s first recording of standards (besides his own, of course), and if it’s OK for jazz musicians to play Beatles tunes, then why shouldn’t he take a shot at Arlen and Berlin and Charles Brown, “Bye Bye Blackbird" and “It’s Only a Paper Moon”? McCartney’s chosen well, not only the material, but his arrangers, Alan Broadbent and Johnny Mandel, and his accompanists, who include Diana Krall, bassist John Clayton, drummer Jeff Hamilton, and guitarists John Pizzarelli, Anthony Wilson, and Eric Clapton. They keep things short, simple and sweet.
We’ll hear a few by Sir Paul in tonight’s Jazz à la Mode and wrap them around jazz takes on Beatles tunes by Brad Mehldau, Ernie Watts, Lee Morgan, Gretchen Parlato, and Toots Thielmans. Tune in and let me know what you think.
Meanwhile, enjoy this film clip of Al Bowlly, the legendary English crooner who toured with Ray Noble's Orchestra and introduced several Noble classics, including this 1933 performance of "The Very Thought of You." Bowlly was killed in The Blitz in 1941. Young Paul probably heard Al Bowlly around the house, and come to think of it, wasn't Paul the real crooner among The Beatles?









Comments
Thanks for the Beatlemania
I keep thinking, OK time to turn off the radio and practice my own singing, but the renditions of the Beatles tunes you have played tonight, including "Blackbird" now, are so delightful to hum to, to sing to, to reminise to, that I just don't want to step away. Nice selections. Thanks from someone who was dreading this "Beatlemania" set tonight for the disappointment that Beatles jazz can surely be......
>Ruth
When I'm 69....
Totally agree with you that Sir Paul does not sound *anything* like his old self, maybe with the exception of the slower songs like when he sings "Get Yourself Another Fool".
The Meldau rendition of "She's Leaving Home" is actually a rare good take on a Beatles classic. Somehow, I have not experienced jazz artists able to bring the life of the Beatles songs (we remember too well) back to life. For example, while I adore Bill Frisell, he butchers the Beatles.
Brad's composition has the soul we need to hear to believe it's the Beatles.....
>Ruth
While I think of Paul more as
While Paul was more the crooner and John the shouter in the Fab Four, I wasn't surprised to hear Paul's voice sounding a little more like its younger self on Charles Brown's blues, "Get Yourself Another Fool," than on the standards by Mercer and Yip Harburg.
Kisses on the Bottom
Tom--I agree with your evaluations of Paul's now-voice and past role re/ John Lennon. Paul's sweeetness was cut by John's edge; John's edge was softerned by Paul''s sweetness. Here, on his two new songs, there is a bit of treacle. But all the same I really appreciate the frankly older and creakier voice that comes with endurance and heart.
Sherrill Harbison
Nice take, Sherrill. I like
Nice take, Sherrill. I like that notion of older and creakier equalling endurance and heart. Thanks for writing. Tom