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Several of my choices, like the classic 'On Broadway'' were foregone conclusions some, like that hip lick recorded by The Coasters, 'Shoppin' For Clothes,' gradually percolated to my attention.” And, indeed, the reworking of that novelty “B-Side” falls right into Elling's penchant for spoken-word fun, games and hipster jive.Īnother surprise choice is the Goffin-King exercise in social satire, “Pleasant Valley Sunday.” As Elling recounts, “I had summarily dismissed that one until it had time to simmer on its own, and I found an idea on how to handle it.” This version mixes John McLean's retro-lectric guitar, authentic-sounding sound clips of the '60s, and an audio profile that recalls Ken Nordine's classic “Word Jazz.” The result is a trippy and darker-than-the-original ride through a neighborhood that the Monkees first visited in 1967. Phil did a masterful job of codifying first-tier, second-tier, third-tier choices. “We must have touched on a couple hundred songs before we narrowed it down. For help, he turned to a friend: hit songwriter and educator Phil Galdston (“Save The Best For Last”). It became a fertile and competitive hothouse of cross-influence and collaboration.Įven as Elling began researching this material, he “knew this would be a challenge, because the Brill is so much associated with doo-wop” – not his usual neighborhood. Such teams crafted hit after hit while working in a physical environment with paper-thin walls that allowed the writing teams to hear and learn (or steal) from each other. These instantly recognizable songs came from such songwriting teams as Leiber and Stoller (“Stand By Me”), Goffin and King (“Will You Still Love Me Tomorrow?”), Mann and Weil (“You've Lost That Lovin' Feeling”), and Bacharach and David (“Walk On By”). The term “Brill Building Sound” describes the string of rock-and-roll masterpieces that defined the genre and signaled its first maturing.
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From the mid-1930s through the early 1970s, the architects of the “Brill Building Sound” churned out a preponderance of the popular songs that three generations of America grew up hearing and singing. Of these, the vast majority were composers and lyricists. The vast collection of songs coming out of The Brill Building seemed like a gold mine.”Ī honeycomb of offices and claustrophobic studios at 1619 Broadway, in the heart of midtown Manhattan, the fabled Brill Building at its peak served as the creative home for more than 160 tenants associated with the pop-music industry. “I didn't want to cover any of the New York songwriters jazz people usually go to: the Gershwins, Rodgers and Hart, Cole Porter, all of whom I love I wanted to reach out for something different.
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(All told, every one of Elling's nine albums has been nominated for at least one jazz Grammy – a streak unequalled in Grammy history.)īut in fact, Elling and his family have lived in Manhattan since 2008, and 1619 Broadway – The Brill Building Project is his response to that experience. Elling developed his craft in Chicago, and recorded his early albums there, including his 1995 debut, Close Your Eyes, which catapulted him onto the national stage and earned the first of his many Grammy nominations. “Having done so many projects about my love for Chicago,” he says, “I wanted to make something that spoke of my love for New York.”
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1619 Broadway – The Brill Building Project honors a locale that the London Telegraph called “the most important generator of popular songs in the Western world.” Even for the ceaselessly inventive Elling it's a hugely unexpected step, and one guaranteed to further solidify his reputation for bold innovation and superb craftsmanship. With this new album, Elling celebrates a legendary legacy outside the jazz world.
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This eleven-track collection features renditions of classic songs that came out of the Brill Building. Kurt Elling: 1619 Broadway – The Brill Building ProjectĬoncord Jazz is proud to announce the release of 1619 Broadway – The Brill Building Project, the newest album from the foremost jazz male vocalist, Kurt Elling.