Tunes Du Jour Celebrates International Jazz Day

by with No Comment Uncategorized

Jazz is a genre that defies easy definition, yet its influence is undeniable across decades of music history. At its core, jazz represents freedom – freedom of artistic expression, freedom to improvise and venture into uncharted musical territory. From the early days of jazz pioneers like Louis Armstrong, Duke Ellington, and Billie Holiday, this artistic freedom has been the driving force behind the ever-evolving sounds of jazz.

The genius of jazz lies in its ability to seamlessly blend composition and spontaneity. Take Miles Davis’ seminal album Kind of Blue, where masterful musicians like John Coltrane and Cannonball Adderley were given a simple modal framework to build upon through their improvisations. The result was a transcendent exploration of space, melody, and emotion that still captivates listeners today. Similarly, Dave Brubeck’s “Take Five” broke new ground with its innovative use of quintuple meter, exemplifying jazz’s boundary-pushing spirit.

Yet jazz is more than just innovative time signatures and harmonic progressions. It’s a language of human experience, a means of conveying the full spectrum of emotions through sound. Billie Holiday’s haunting rendition of “Strange Fruit” transformed a song into a searing indictment of racism and injustice. Nina Simone’s stirring vocals on “My Baby Just Cares for Me” radiate warmth and playfulness. And Chet Baker’s rendition of “My Funny Valentine” captures the exquisite vulnerability of heartbreak with effortless cool.

As the genre evolved through the latter half of the 20th century, jazz continued to defy conventions and push creative boundaries. The modal jazz of John Coltrane’s “A Love Supreme” was a spiritual exploration unlike anything that came before it. Ornette Coleman’s pioneering free jazz broke down traditional concepts of melody and harmony. And the fusion era saw artists like Herbie Hancock, Weather Report, and Grover Washington Jr. incorporate elements of funk, rock, and R&B into their jazz foundations.

From its humble beginnings in New Orleans to its modern global influence, jazz has remained a quintessential expression of artistic freedom. Its ability to constantly reinvent itself while maintaining a deep reverence for its roots is what makes it one of the most vital and culturally significant art forms of our time. Jazz is more than just a genre – it’s a living, breathing embodiment of the human spirit’s endless capacity for creativity and innovation.

Follow Tunes du Jour on Facebook

Follow Tunes du Jour on Twitter

Follow me on Instagram

Winston + MJ

Throwback Thursday – 1983

by with No Comment playlists

Winston + MJ
MTV debuted on August 1, 1981. Back then it was a music video network. It positioned itself as a rock station. Most of the videos shown were of songs made by Caucasian performers, though rock-leaning black acts such as Joan Armatrading and the Bus Boys got some play.

Then came “Billie Jean.” The second single from Michael Jackson’s Thriller, “Billie Jean” was accompanied by a stylish video featuring a mesmerizing performance from Jackson. However, it wasn’t a rock song. It didn’t fit the format of rock radio stations, and it didn’t fit the format of MTV either.

But there is a big difference between radio and music television. There were plenty of radio stations and many different formats. You may not hear “Billie Jean” on the rock stations, but you could hear it on r&b stations and pop stations and dance-leaning stations. However, there was only one music television – MTV.

In his autobiography, Howling at the Moon, Walter Yetnikoff, head of CBS Records, for whom Jackson recorded (and where I worked in my first music business job), wrote “I screamed bloody murder when MTV refused to air [Jackson’s] videos. They argued that their format, white rock, excluded Michael’s music. I argued they were racist assholes – and I’d trumpet it to the world if they didn’t relent. I’ve never been more forceful or obnoxious. I’ve also never been as effective, threatening to pull all our videos. With added pressure from [Thriller producer] Quincy Jones, they caved in, and in doing so the MTV color line came crashing down.”

Jackson’s video for “Billie Jean” aired on MTV, followed just weeks later by his video for “Beat It,” a song whose guitar solo from Eddie Van Halen helped make it a hit on rock radio. These two videos made Jackson, already a superstar, a worldwide phenomenon with a humongous fan base that transcended race, age and location in a way never seen before. These two videos made MTV, a year and a half old and fairly popular in white suburban areas, a cultural institution. These two videos made the music video, then not something done for many singles, particularly those performed by artists of color, an art form and a necessary marketing tool.

Some people tuned in to MTV to see the Michael Jackson videos, and while watching the channel, discovered other acts. Some people tuned in to MTV to watch “white rock” videos, and while watching the channel, discovered Michael Jackson.

MTV went to showcase more “non-rock” videos. In 1988, they launched their hugely popular program Yo! MTV Raps, something that would have been completely unexpected just five years earlier, pre-“Billie Jean.”

While MTV deserves credit for making “Billie Jean” and Thriller successful, the person most responsible is Jackson himself. He wrote the song. He sang the song. He danced the song. Quincy Jones did not want “Billie Jean” to appear on Thriller. He didn’t like the title. He didn’t like the bassline. He felt the song’s introduction was too long. Jackson argued “But that’s the jelly!…That’s what makes me want to dance.” Jones wasn’t ready for this jelly, but Jackson stood his ground.

In May of 1983, NBC aired a tribute to Motown Records. Motown: Yesterday, Today, Forever featuring many legends who recorded for the storied label performing their classics. We saw Diana Ross, the Temptations, Marvin Gaye, Smokey Robinson and the Miracles, Stevie Wonder, the Four Tops, Martha Reeves, Lionel Richie and the Commodores, Mary Wells, Junior Walker and then some. It was a terrific show, but the talk of the town following its airing was the performance of a song not from the Motown catalogue – Michael Jackson’s “Billie Jean.” The iconic performance, during which Jackson brought the famous moonwalk to the world at large, pushed him that much more ahead of any other performer working in music back then.

Following “Beat It,” CBS Records released four more singles from Thriller. All seven of the singles released (the album had only nine songs!) went top ten, breaking the record of most top ten hits from a single-artist album that was set a few years earlier by…Michael Jackson, whose Off the Wall gave us four. Before Thriller, four singles for one album was considered a lot. Thriller raised the bar for blockbuster albums, and subsequent releases such as Bruce Springsteen’s Born in the U.S.A., Prince’s Purple Rain, Def Leppard’s Hysteria and Janet Jackson’s Control each produced more than four hits.

“Billie Jean” changed everything.

On this week’s Throwback Thursday playlist, Tunes du Jour spotlights 1983, kicking off with Michael Jackson’s classic “Billie Jean.”


Click here to like Tunes du Jour on Facebook!
Follow me on Twitter: @TunesDuJour

RPJ + Winston

It’s Ray Parker, Jr.’s Birthday And I Need To Dance!

by with No Comment playlists

“Which song is better – ‘Ghostbusters’ or ‘Total Eclipse of the Heart?’”

That question was posed by a co-worker. Are you fudgetown kidding me? It’s like asking “Which movie is better – The Godfather or Paul Blart-Mall Cop 2?”

Okay. That comparison is unfair. “Total Eclipse of the Heart” is far more enjoyable than Paul Blart-Mall Cop 2. I haven’t seen Paul Blart-Mall Cop 2, but I’m confident that “Total Eclipse…” is funnier. “I don’t know what to do, I’m always in the dark / We’re living in a powder keg and giving off sparks.” Ha! And how ‘bout dem sleigh bells?!? How many other summer hits employed sleigh bells?

So yes, I love “Total Eclipse of the Heart,” because it’s so delightfully awful. “Ghostbusters,” on the other hand, is genius. If you were called to write the theme song for a Bill Murray/Ernie Hudson feature film entitled Ghostbusters, would you turn in “Ghostbusters” or “Total Eclipse of the Heart?” Exactly!

RPJ + Winston
“Ghostbusters” is so danged catchy. A lot of people thought so. Huey Lewis thought so. Lewis accused Parker, Jr. of ripping off the Huey Lewis and the News hit “I Want a New Drug” for the melody of “Ghostbusters.” I hear a similarity, but to me it’s like “Hey, Ray – there’s a shitty song called ‘I Want a New Drug.’ Can you make it better, please?” And he did.

“I Want a New Drug” isn’t even fun bad. “I want a new drug – one that won’t make me sick / One that won’t make me crash my car, or make me feel three feet thick.” Really? Did someone misplace their rhyming dictionary?

“Ghostbusters” has no clumsy lyrics. It’s all very efficient. “Who you gonna call? Ghostbusters! Who you gonna call? Ghostbusters! I think you better call. Ghostbusters! Ha ha. Who you gonna call? Ghostbusters! I can’t hear you. Who you gonna call? Ghostbusters! Louder! Ghostbusters! Who you gonna call? Ghostbusters! Who can you call? Ghostbusters! Who you gonna call? Ghostbusters! Ha ha ha. Uh, it likes the girls, too. Ghostbusters!” Then fade, way too soon if you ask me.

“Ghostbusters” was nominated for an Oscar for Best Original Song, but it lost to Stevie Wonder’s “I Just Called to Say I Love You,” a far shittier song than “Total Eclipse of the Heart” and “I Want a New Drug.” I’m not going to quote any lyrics from “I Just Called…,” as I’m pissed off that someone wrote and recorded that atrocity and then Motown stuck Stevie Wonder’s name on it. There’s no way the man who wrote “Maybe Your Baby” also wrote “I Just Called….” By the way, who plays guitar on Stevie Wonder’s “Maybe Your Baby?” Ray Parker, Jr.

Today is Ray Parker, Jr.’s 61st birthday. His hits, solo and with his band Raydio, include “A Woman Needs Love (Just Like You Do),” “Jack and Jill,” “You Can’t Change That” and “The Other Woman.” He also wrote or co-wrote hits for Rufus featuring Chaka Khan and New Edition and has appeared on records by Aretha Franklin, The Carpenters, Barry White, Bill Withers, Deniece Williams, yes I said The Carpenters, The Temptations, Spinners, Boz Scaggs, Gladys Knight and the Pips, Tina Turner, Herbie Hancock, Diana Ross, Cheryl Lynn, LaToya Jackson and Jack Wagner. Jack Wagner. Hey, Jack Wagner – who you gonna call? Ray Parker, Jr.

Our weekly dance party kicks off with Parker, Jr.’s most beloved song, “Ghostbusters.” Try dancing to Bonnie Tyler’s “Total Eclipse of the Heart.” You can’t! Another point for “Ghostbusters.” (Let’s not discuss Nicki French’s hi-NRG remake of “Eclipse” at this time.)


Click here to like Tunes du Jour on Facebook!
Follow me on Twitter: @TunesDuJour

Ringo + Quincy 001

Twenty Facts About And Thirty Songs Produced By Quincy Jones

by with No Comment playlists

Ringo + Quincy 001

1) He’s had a record 79 Grammy Award nominations. He’s won 27.
2) He arranged the Frank Sinatra/Count Basie version of “Fly Me to the Moon,” which astronaut Neil Armstrong played when he first landed on the moon.
3) Jones produced the soundtrack of the motion picture The Wiz. He later said he hated working on it, as he didn’t like most of the songs nor did he like the film’s script. However, on the set on The Wiz he got to know the singer who played the scarecrow, Michael Jackson. Jackson asked him to recommend a producer for his next album. Jones threw out a few names and also offered to produce it himself. Jackson took him up on his offer, though his record label thought it was a bad idea. The album, 1979’s Off the Wall, went on to sell 20 million copies and won Jackson his first Grammy Award.
4) While widely known as the producer of Michael Jackson’s Thriller, Bad and Off the Wall albums, Jones is also the producer of the hit records “We Are the World” by USA for Africa; “It’s My Party,” “You Don’t Own Me” and “Judy’s Turn to Cry” by Lesley Gore; “Angel” by Aretha Franklin; “I’ll By Good to You,” “Stomp” and “Strawberry Letter 23” by The Brothers Johnson; “One Mint Julep” by Ray Charles; and “Love is in Control (Finger on the Trigger)” by Donna Summer, among others. He also worked with Bono, Stevie Wonder, Miles Davis, Little Richard, Paul Simon, Duke Ellington, Ella Fitzgerald, Herbie Hancock, Billie Holiday, B.B. King, Louis Armstrong, Dizzie Gillespie, Sarah Vaughan, Diana Ross, Dinah Washington, Peggy Lee, Chaka Khan, Tony Bennett, George Benson, Luther Vandross, Sammy Davis Jr., Johnny Mathis, James Ingram and Patti Austin, plus plenty more.
5) “Quincy Jones is one of the most versatile and potent figures of popular culture….When you listen to his impressive and monumental body of work, it’s easy to understand how and why he’s touched such a broad audience of music lovers. He’s done it all.” – Michael Jackson
6) Time magazine named him one of the most influential jazz musicians of the 20th century.
7) In the early 1960s he became the Vice President of Mercury Records, the first African-American at a major record company to reach that executive level.
8) His middle name is Delight.
9) Along with Bob Russell, he became the first African-American to be nominated for an Oscar for Best Original Song for “The Eyes of Love” from Banning.
10) With seven Oscar nominations, he is tied with sound designer Willie Burton as the African-American with the most Oscar nominations.
11) Jones produced the film The Color Purple, his first foray into film production. He asked Steven Spielberg to direct it, which he did. It was nominated for eleven Academy Awards.
12) Among his 33 movie scores are the ones for The Color Purple, In the Heat of the Night, In Cold Blood, and Bob & Carol & Ted & Alice.
13) He has a daughter with actress Nastassja Kinski as well as six other children.
14) He’s the father of actress Rashida Jones. She’s pretty.
15) In 1988 he formed Quincy Jones Entertainment, who produced the television program The Fresh Prince of Bel-Air.
16) He never learned how to drive.
17) Among the charities Jones supports are American Foundation for AIDS Research (AmfAR), Global Down Syndrome Foundation, Gay and Lesbian Alliance Against Defamation (GLAAD), MusiCares, Elton John AIDS Foundation, Rape Foundation, UNICEF, NAACP, Nelson Mandela Centre of Memory, and Barbara Davis Center for Childhood Diabetes.
18) In 1974 Jones suffered a brain aneurysm. He was given a 1 in 100 chance of surviving. Family and friends, including Richard Pryor, Marvin Gaye and Sidney Poitier, planned a memorial service for him, which he got to attend.
19) Today he turns 82 years old.
20) “The thing is to find your lightning – and ride your lightning.” – Quincy Jones

Click here to like Tunes du Jour on Facebook!
Follow me on Twitter: @TunesDuJour

Brandeis ID

It’s Friday And I Need To Dance! – College Reunion Edition

by with No Comment playlists

Brandeis ID
On the Facebook page for my thirty-year college reunion, which is coming up this June, someone brought up the music that reminds them of our college days. Many posts followed, naming songs that remind us of shared experiences at Brandeis University in the first half of the 1980s.

That post inspired today’s playlist. Friday is dance day at Tunes du Jour, and today I present 50 songs we danced to in the Usdan Ballroom at Brandeis University between the fall of 1981 and the spring of 1985. It was a great time for popular music. These songs have stood the test of time.

Have a great weekend!

Click here to like Tunes du Jour on Facebook.
Follow me on Twitter: @TunesDuJour

Beck, Kanye and Beyoncé

by with No Comment playlists

“I just know that the Grammys, if they want real artists, to keep coming back, they need to stop playing with us. We ain’t gonna play with them no more. And Beck needs to respect artistry and he should’ve given his award to Beyoncé. Because when you keep on diminishing art and not respecting the craft and smacking people in their face after they deliver monumental feats of music, you’re disrespectful to inspiration. And we as musicians have to inspire people who go to work every day, and they listen to that Beyoncé album and they feel like it takes them to another place.” – Kanye West on the Grammy Award for Album of the Year going to Beck’s Morning Phase rather than Beyoncé’s self-titled release

“I thought she was going to win. Come on, she’s Beyoncé! You can’t please everybody, man. I still love [West] and think he’s genius. I aspire to do what he does.” – Beck

“I wasn’t saying Beck; I said the Grammys. Beck knows that Beyoncé should have won; you know that. Come on, man. I love Beck! But he didn’t have the Album of the Year.” – Kanye West

Kanye West, official spokesperson for the Bey Nation, gave his opinion and the Internet blew up! It was a repeat of 2009, when West announced that Taylor Swift stole the MTV Best Female Video Award that should have gone to Beyoncé. The American people were up in arms! So much vitriol was sent West-ward and his detractors found plenty of reasons to go after him the ensuing years. As the wise trophy thief said, “the haters gonna hate hate hate hate hate.”

Kanye’s point was about creating art and reaching new heights in one’s craft. The only intelligent responses to further this discourse, per the many comments I saw on Facebook and Twitter, are “You’re classless” and “You’re garbage.” One person who didn’t call Kanye garbage was Shirley Manson, the lead singer of the band Garbage. She called him “a complete twat.”

At least all of us can sleep better knowing that Kanye loves Beck. They are two of my favorite all-time artists for many of the same reasons. They seldom repeat themselves, making each album they release different than the previous one. Neither follows trends. Both challenge themselves. Both are masters of their craft. Both can be sincere. Both can be funny. Neither has released a bad record.

However…

Beyoncé should have gotten the Album of the Year Grammy. Her self-titled album was a revelation. Following up her uneven 4, she took a giant leap forward and strived to make something more artistic than what we were used to from her. She succeeded. The Beck record, Morning Phase, sounds beautiful, but there were no surprises. It was announced early in 2014 that Beck would be releasing a new album that was in a mellow vein. I got what I expected. It was as fine as I thought it would be, and stronger than his last couple of releases. I like Morning Phase very much, more than the other nominated Albums of the Year performed by Ed Sheeran, Sam Smith and Pharrell Williams, but it’s nothing we haven’t heard Beck do before. Ironically, in Beyoncé’s quest to be more artistic, her album outsold its predecessor. Like Kanye said, she had the Album of the Year.

Enough of the Grammy voters felt otherwise and awarded Beck. That’s fine. There have been worse slights in the Grammy Album of the Year category than Beyoncé losing to Beck. What about the 1996 awards, when Beck’s Odelay lost to Celine Dion’s Falling into You? Or in 2000, when Beck’s Midnight Vultures lost to Steely Dan’s Two Against Nature? Or in 2005, when U2’s Hot to Dismantle an Atomic Bomb beat Kanye’s Late Registration and in 2004, when Ray Charles & Friends’ Genius Loves Company beat Kanye’s The College Dropout and Green Day’s American Idiot? Steely Dan, U2 and Ray Charles have released many albums deserving of Album of the Year. These weren’t them. U2 should have won 1992’s Album of the Year for Achtung Baby. They lost to Eric Clapton Unplugged. In 2007, Kanye’s Graduation and Amy Winehouse’s Back to Black both lost Album of the Year to Herbie Hancock’s River: The Joni Letters, a record that literally nobody has ever heard. In 1980, Christopher Cross’ self-titled debut beat Pink Floyd’s The Wall. In 1966, The Beatles’ Revolver lost to Frank Sinatra’s A Man and His Music. In 2012, Mumford & Sons’ Babel beat albums by Frank Ocean, Jack White and The Black Keys. The nominees for 1984’s Album of the Year Grammy were Prince’s Purple Rain, Bruce Springsteen’s Born in the USA, Tina Turner’s Private Dancer, Cyndi Lauper’s She’s So Unusual, and Lionel Richie’s Can’t Slow Down. Four classic albums plus one by Lionel Richie. The winner? Lionel Richie! WTF on a stick?!?! In 1991 the Album of the Year Grammy didn’t go to R.E.M., nominated for Out of Time. It went to Natalie Cole’s Unforgettable…with Love. Eligible but not nominated that year? A little album called Nevermind by a band named Nirvana. Oh well, whatever. In 1982, Toto IV beat…it doesn’t matter who else was nominated. It’s Toto Fuckin’ IV, people.

It looks like Beyoncé will have to wait longer before she is in the same hallowed company as Toto.

In less contentious news this week, ISIS killed U.S. hostage Kayla Mueller, Boko Haram killed thirteen soldiers and 81 civilians in Chad, and the Chief Justice of Alabama’s Supreme Court forbade probate judges in that state to issue marriage license to same-sex couples, despite a judge’s ruling that such unions are legal and the U.S. Supreme Court refusing to issue a stay on that ruling.

Congratulations, Beck!

Click here to like Tunes du Jour on Facebook!
Follow me on Twitter: @TunesDuJour

Ringo + Sheila E

It’s Sheila E’s Birthday And I Need To Dance!

by with No Comment playlists

Prince wrote the song “The Glamorous Life” for the Apollonia 6 album. According to Apollonia, he wrote the song about her. Per Nilsen, who has written a couple of book about Prince, quotes Apollonia as saying “He used to make all these stupid jokes, ‘You’re the kind of chick who would wear a mink coat in the summertime.’ To this day I don’t have my own mink coat!”

Prince ended up giving the song to Sheila E. for her debut solo album. Prior to meeting Prince Sheila worked with Marvin Gaye, Diana Ross, Lionel Richie, Herbie Hancock, George Duke, Billy Cobham, Jeffrey Osborne, Con Funk Shun, and her dad, Pete Escovedo.

In 1984 “The Glamorous Life” hit #7 on the pop chart, #9 on the r&b chart, and #1 on the dance chart.

Ringo + Sheila E
Today Sheila E. turns 57 years old. We kick off our weekly dance party with her first hit single.

Click here to like Tunes du Jour on Facebook!