Customer Reviews

VOCAbuLarieS

5 star:		(27)
4 star:		(2)
3 star:		(1)
2 star:		(2)
1 star:		(1)

 

 

Over the course of a career spanning three decades, Bobby McFerrin has worn many hats. From fronting his band on his debut album, to the pyrotechnics of his amazing live solo performances, his choral work with Voicestra, duos with Chick Corea and Yo Yo Ma, (not to mention simultaneously singing with and conducting symphony orchestras,) McFerrin has demonstrated a restless and far ranging musical intelligence which is constantly in search of new musical turf to explore.

Seven years in the making, "Vocabularies" is certainly the most ambitious McFerrin project to date and may very well be his magnum opus. For it is on this album that virtually all of McFerrin's wide-ranging musical interests are brought together in perfect balance. In a way, all of McFerrin's prior output has led up to this moment, the realization of a lifetime of artistic achievement.

I have always felt that the one thing missing from McFerrin's writing was the ability to take his fresh ideas and fully develop them harmonically and compositionally. Fortunately for all of us, McFerrin has found the perfect collaborator in composer/arranger and conductor, Roger Treece, whose prodigious gifts give McFerrin's ideas the harmonic and developmental lift they so deserve. The two worked together closely, first gathering McFerrin's ideas from past albums, recorded improvisations etc, weaving them into substantial compositions that average about 10 minutes in length.

Each piece is a journey unto itself, in which African, Eastern European, jazz, Western classical, R&B and pop elements bump up against each other, blending and recombining in a constantly shifting kaleidoscope of harmony and rhythm. Singers were brought together from various disciplines including world, classical and R&B to form a versatile virtual choir, facilitating the ability to create unprecedented choral timbres. I'm told that there were over 1400 vocal tracks in all. Lyrics were written in everything from Arabic to Zulu, comprised of 15 languages. While there are moments of Bobby's signature playful improvisations, for the most part the album is comprised of through composed music.

Superficially, this album hearkens back to the vocal complexities of Medicine Music, one of Bobby's most satisfying efforts, in which he overdubbed his voice to create an a cappella chorus which employed a minimum of percussion to augment the grooves. In a way, " Vocabularies" is a sort of "Medicine Music" on steroids. In fact three of the seven tracks on this album are re-workings of songs off of that album. But it's as though they've gone from black-and-white to color, from animated short to epic film. Consider the opening track, "Baby." Conceived as an innocent nursery rhyme with an African folk feel in its original form, here it is turned into a convoluted harmonic maze, constantly modulating and playfully cavorting, yet always returning to its original motif and key. The result is a feeling of expansive and deep childlike joy that is the hallmark of McFerrin's best work. Throughout the album, McFerrin's voice can be heard weaving and ducking, sometimes coming to the foreground for a moment, but the focus on this outing is clearly on the compositions, not Bobby's virtuosity.

Other highlights include "Say Ladeo," a joyous romp with an infectious chorus that comes as close to a pop tune as anything gets on the album. It's a pretty thing that would be a pleasure to hear on the radio, although in this day and age it is unlikely that a gorgeous a cappella confection such as this will hit the top 40 (as "Don't Worry, Be Happy" once did,) even in the pared down version found on YouTube.

Another surprise is the elegiac "Brief Eternity", the album's closer. It is a serious piece of Western classical music, supported here by string orchestra, winds and harp. Treece's impressionistic orchestration evokes Debussy's Nocturnes, especially "Sirenes", occasionally bringing to mind contemporary composer John Tavener's chorale sonorities. A spiritual longing permeates this lush piece, rising to quiet ecstasy in its satisfying finale.

The most profound piece for this listener is "Messages," a tour de force which effortlessly serves up elements of Eastern European, Central Asian, Middle Eastern and Western classical in a rich contrapuntal stew, seasoned with odd meters and exotic percussion. It is in this sophisticated composition that one begins to hear what may be a glimpse into the future of music in the 21st century, a future in which separate world music traditions come together as equals, each having its own unique voice, blending into a unified chorus in perfect harmony.

Considering the state of the world today in which civil discourse is becoming archaic, a world in which nations squabble with one another like ill tempered children, where the heart of barbarism still shapes the body politic in many parts of the world, Bobby McFerrin has given us a profound vision of a utopian society in which all members are respected and valued, a future where beauty and peace reign supreme.

Bobby McFerrin is a musical genius, and this album continues to demonstrate that fact. His compositions and improvisations go beyond what anyone previously thought the human voice could do. Relative to the previous albums I've heard by him (Circlesongs, Beyond Words), this one has fuller orchestrations and a much larger chorus. I'm reminded of Bach, Mozart, and Manhattan Transfer, mixed with joyous African rhythms and harmonies (think Lion King) and scat singing. McFerrin's own solo vocals feature his clear, flutelike falsetto.

Listen to this album, but also make sure to watch clips of McFerrin's vocal improvisations on YouTube. Better yet, try to see him in concert. We saw his live performance last night in San Francisco, and it knocked our socks off. His musical improvisation reminds me a bit of Robin Williams playing the genie in Aladdin - the performance is eclectic, eccentric, surprising, joyous, virtuosic and beautiful. Kudos to McFerrin for finding his amazing voice, creating something entirely new, and moving us to pure ecstasy with his music.

This is a brilliant vocal album. The arrangements by Bobby McFerrin and Roger Treece are stunning. The time and effort put into making this project come to life brings wonderful rewards for the listeners. The sound quality is amazing. Hearing these voices sing these arrangements is thrilling. The level of excellence in their intonation and musicianship is inspiring. I would recommend this recording to anyone in music education at any level. I would recommend this to anyone who simply enjoys the sound of the human voice. This CD has passion, commitment to excellence, and pure musical joy.

How stunning is this disc?

Put this disc into your c.d. changer, and press it to track 7, "Brief Eternity." Now, picture this scenario: You have been battling cancer for a year. You have finally reached the end, where you don't drink, you don't eat, and your grip on life has reached the subconscious terminus. As you feel your spirit going to the light, as you begin to climb Jacob's ladder, imagine this as the music you hear.

Needless to say, buy this c.d. for that track alone.

Yet, what that track really is is the final exclamation point on what is a choral masterpiece.

In the period of 1986-1998 or so, Bobby McFerrin was one of the finest working jazz singers in the world. Although the pop culture knows him for probably the most annoying one-hit wonder ever, "Don't Worry Be Happy," the rest of the world knew him as one with an incredible vocal range and even more incredible imagination. For all the great work he did during that time frame, my favorite album by far was "Medicine Music." There, Bobby McFerrin multi-tracked his voice and created a chant that was an intoxicating blend of swing, classical, and African elegy that was both unique and intoxicating.

Then, McFerrin left the performing world for a brief while and explored the world of classical music in St. Paul, Minnesota.

This is his first recording in 8 years, but it's a showcase for him as conductor and arranger more than as singer. With the incredible efforts of singer, arranger and co-producer, Roger Treece, he (they) have created a choral masterpiece. It is an extension of "Medicine Music," but with even more layers of sound and more complexities. Hence, I call it "neo-chantical."

And they have reprised and recast 3 of the best songs from "Medicine Music" -"Baby" (track 1), "The Garden" (track 5) and "He Ran (before "All the Way," now "To the Train," track 6), into multiple-layered, multiple-keyed and multiple tempi works of art.

Any recording with a chorus of singers such as those from The New York Voices, Moss and the Manhattan Transfer, just for starters, is bound to be special. But for the 50-voiced extravaganza this is, I could imagine an honor choir of a number of colleges with 100 or more voices doing an even more inspired rendition of this album under a baton such as Maestro McFerrin.

This c.d. is truly special. There just aren't enough stars in the universe to give it. I can't imagine what c.d. in 2010 will top it - and so far, this has been a pretty good year. RC

p.s.: 6/4/10 - I received the July 2010 issue of Down Beat, and was shocked. Their "big 4 critics" rate this between 2 and 3 and 1/2 stars. They use words and phrases like "bland arrangements," "ambiguously originated world music vibe," "unlistenable spiritual quest," "More a construction project than a performance," "a record that does seem to spill on and on and on," "off-putting," and "I know I'll never listen to this music again." I don't usually think of myself missing the boat that badly, but I guess according to these experts, I did. I've listened to this numerous times since writing my initial review, and I still think it's a masterpiece; but maybe the way to reconcile the divergent opinions is to say that it's a choral masterpiece, and Down Beat isn't very in to choral music. I do note that like me, Christopher Loudon of Jazz Times raved about this c.d. RC

My teenage-daughter and I totally enjoy this cd! Bobby McFerrin has such an amazing voice and artistic talent. You can't feel blue when hearing this modern, fantastic interpretation of a capella music. Enjoyable and entertaining, classy and jazzy. Can't wait to listen to it in my car!

A work of art that will transcend it's time. It has it all. Flawless performance and sound, beautiful tunes & arrangements, but more importantly, it speaks to the heart & soul. That most rare moment where a work of art cracks open the door and let's us view "Brief Eternity".

Heard selections from the album on WBGO FM radio 88.3. Had to have it.
It's different as vocal music goes, but then Bobby M. is a different cat! Worth getting. Turn up the volume and let the rhythms sink in.

One of his best (if not the best) CD's.
At last GREAT MUSIC from a GREAT ARTIST!!!!!!!

Bobby Mcferrin and all the other singers that contribute in this CD are breathtaking....
GONGRATULATIONS to all of you!
Ethnic with classical influences, jazz harmonies with ambience and heartfull gospel singing by all the singers.

His techique is out of this earth !!!!!!!
I had the chance and honor seeing him live in Greece and he was PERFECT in every way.

I'm sooooooo happy that in 2010 there are still REAL ARTISTS making REAL MUSIC.

Thank you all for this musical journey.
Also a big BRAVO for producer Roger Treece for this incredible production.

He deserves an 11th Grammy for this CD.

The most magnificent and uplifting of all Bobby McFerrin's albums. A masterpiece. By tuning in to the core of the Universe, Bobby has created and passed on to us an enormous amount of cleansing love.

Thank you, Bobby, and congratulations on VOCAbuLarieS being nominated for three Grammy Awards, including Best Classical Crossover Album!

I love this CD - no matter what mood I'm in when I start listening, I'm grinning with joy and dancing and singing (badly) along by the the 2nd track.