Joe Jackson Arrange This So It Would Be Different Than from the Royal Academy of Music, and I Was Anything I’Ve Heard Before
Total Page：16
File Type：pdf, Size：1020Kb
JUNE 2012 ISSUE MMUSICMAG.COM JUNE 2012 ISSUE MMUSICMAG.COM MUSICIAN How did this project begin? Can you rate his songwriting? ESSENTIAL JACKSON It’s strange—Ellington tunes started coming It’s difficult to judge him as a songwriter into my head about three years ago, and because most of his pieces were written LOOK SHARP! they were sort of asking to be rearranged as instrumentals, and then all kinds of (1979) and experimented with. It was sort of like different people wrote lyrics after the fact. Debuts don’t get much a mosquito buzzing in my ear. It started Many were really cheesy. I can only conclude stronger than this. An happening more frequently, to the point that Ellington didn’t care much about eclectic mix of punk, pop where I thought maybe this could be a whole lyrics, or didn’t have a great feeling for and ska, all wrapped in album project. Then I really got serious the human voice. But in spite of that he Beatle-esque melodies, darkly humorous about it, listening to a lot more Ellington still produced a huge list of hit songs. lyrics and restless energy. Packed with and experimenting with the tunes. It shows no matter how great lyrics can classics, including “Sunday Papers,” “One be, music is always more important. More Time,” “Is She Really Going Out With Was it intimidating? It’s the music that makes the emotional Him?” and “Fools in Love.” I just came to the conclusion that there was connection. I read a great quote recently nothing I could do to hurt Duke Ellington. about the difference between music and I’m THE MAN But I was definitely conscious of not lyrics. “Music is like sex, and lyrics are like (1979) wanting to do the songs like they’ve been getting to know each other.” With the same great done before. There are plenty of Ellington backing band, Jackson tribute records that for me don’t go far How has your songwriting evolved? flexes his songwriting enough away from sounding like Ellington. I’ve slowed down, but in a good way. Early muscles in compelling That’s one of the reasons I didn’t use on, as soon as I had an idea I bashed it into new directions. From the nerd anthem “On any horns on the record. When you limit some kind of shape, and when I thought it Your Radio” to the male-female role reversal yourself in one way, it forces you to stretch was recognizably a song, then it was ready ballad “It’s Different for Girls,” there’s not a your imagination in other ways. It gives to go. As time goes on I take a lot longer, weak track in the bunch. and I’m more likely to reject ideas because I think they’re not good or not original enough. NIGHT AND DAY And I’m more likely to rewrite—especially (1992) ‘If you try too hard lyrics. I often scrap a whole lyric and start Jackson ditches the over, something I never would’ve done electric guitars and to be fashionable 20 or 30 years ago. small combo settings to deliver a gorgeously acasi then it gets old How do you reflect on the mid-’70s orchestrated love letter to New York, via R punk period you came from? Brill Building-style weepers (“Breaking Us ortia P very quickly.’ It was just a lot of fun. I think I was in the right in Two”), Latino workouts (“Cancer”), chamber place and time to get swept along by it. It pop (“Real Men”) and an electro-jazz hit you freedom. I had a handle on a way to was strange, though, because I’d graduated (“Steppin’ Out”). JOE JACKSON arrange this so it would be different than from the Royal Academy of Music, and I was anything I’ve heard before. For better or going to hear bands who barely knew how BIG WORLD The master of musical eclecticism refuses to play it safe worse, I’d add. [laughs] to tune their guitars. Musically, I started off (1986) learning the rules but then I broke them. Recorded over three By Bill DeMain Any favorite stories about Duke? nights at New York’s One that I love is that when the band was Tell us about writing “Is She Really Roundabout Theatre EVEN FOR THE PAST 30 YEARS, JOE JACKSON HAS PAINTED There’s no danger of Jackson repeating himself with his latest on the road staying at hotels, apparently Going Out With Him?” before audiences who one of the biggest and most ever-changing pictures in pop music. album, The Duke. He doesn’t just cover the songs of the great Ellington was in the habit of composing in It was just a line that I heard somewhere were instructed to remain quiet, Jackson New wave, jumpin’ jive, big band, reggae, cocktail jazz, movie Duke Ellington, he makes them sound as if he wrote them. “I think it’s the bathtub. Meanwhile, he had a valet who and thought it could be a song about succeeds in capturing the spontaneity and soundtracks, orchestral suites—the British-born artist has threaded as much a Joe Jackson record as any of the others,” says the 57-year- would bring him whiskey and ice cream and beautiful girls walking around with creepy excitement of a live performance, sans his gift for melody and lyric through all these styles. Along the old musician. “It’s just more about everything except songwriting— keep the tub filled with hot water. As he looking guys. I thought it could be quite crowd noise. One of his most emotionally way he’s racked up five Grammy nominations (with one win for arranging, producing, band leading, singing. Not to compare myself was composing, someone else would be funny. There was no more thought than direct collections, featuring fan faves his classical work Symphony No. 1) and eight Top 40 singles, to Ellington, but I think I’m a similar kind of musician who’s maybe not transcribing it and passing the sheet music that. Never imagined it would be a hit. Then “Right and Wrong” and “Home Town.” including early signature hits “Is She Really Going Out With Him?” brilliant at one specific thing but has a talent for seeing the big picture.” down the hall to various musicians’ rooms. I was surprised when people interpreted it and “Steppin’ Out.” Jackson’s fiercely independent spirit and musical imagination I find that a fantastic image. as being angry. People missed the humor in VOLUME 4 But for Jackson, the misses are as meaningful as the hits. “First, flows through The Duke, reinventing “I Got It Bad (And That Ain’t a lot of my songs, and that always surprised (2003) I don’t believe in obsessing over how many records or number of Good)” as a jewel of string quartet chamber pop, and “Caravan” How did he inspire you as a bandleader? me. That’s the biggest misinterpretation of After 23 years, Jackson tickets you sell,” he says. “And second, I’ve tried to avoid repeating as a wild Middle Eastern-meets-fusion jaunt, with Farsi lyrics. From It’s the brilliant way he was in control of the my work—they take it too seriously. reunited his original myself. I don’t work at creating a style. I work at trying to create a his home in Berlin, Joe Jackson discussed breaking rules, musical big picture, but he was able to share the quartet. What could’ve good tune, or a good marriage of lyric and melody.” integrity and why he still loves touring. spotlight with the musicians as well. He What inspired “Steppin’ Out?” been an exercise in chose his musicians very carefully and knew That song was very much a case of trying nostalgia became something far more them very well. It’s still Ellington’s music, to create a mood of anticipation and fulfilling—and the result is a rare collection ‘When you limit yourself in one way, it forces you though the individual players really shine and expectation. It’s kind of a romantic feeling, of mature pop songs. Standouts include are allowed to improvise. I’ve always tried a rather idealized notion of city life. The bright “Take It Like a Man,” “Still Alive” and to stretch your imagination in other ways.’ to do that as a bandleader and arranger. lights, the nightlife, the taxis. “Awkward Age.” 64 65 M mag 20_cs6.indd 64 7/9/12 12:43 AM M mag 20_cs6.indd 65 7/9/12 12:43 AM JUNE 2012 ISSUE MMUSICMAG.COM JUNE 2012 ISSUE MMUSICMAG.COM MUSICIAN Inset: David Gans Frank Hoensch/Getty Images Frank Hoensch/Getty Onstage in Berlin, Germany, 2010 ‘No matter how great lyrics can be, music is always Jackson, 1982 more important.’ TOOLS OF THE TRADE Do you have a style? dark theater with thousands, I was up close Joe Jackson spends most of his time playing Actually, I probably do—but it’s not apparent in a brightly lit room. I could see the audience acoustic piano onstage and in the studio—but to me. I guess whatever I do, I do it in a way for once. I started laughing because it was that doesn’t mean he’s averse to electronics. that no one else would. So, therefore I must everyone from teens to people in their 60s. It “When I use electric keyboards, I tend to go have a style.