Kurt Elling: Divine jazz

 

Kurt

Elling was one credit shy of graduating from the University of Chicago Divinity

School when he dropped everything to do what he loved.

Now

a renowned jazz vocalist, Elling had sung in choirs all through childhood. And

he'd always had an affinity for jazz.

"I

remember some specific early times where it was a thrilling experience,

something that opened a door to possibilities, like individual virtuosity and

just a lot of emotional impact," Elling said of the form during a recent phone

interview.

While

in grad school, he moved furniture and bartended for income. But it was when

Elling began moonlighting in Chicago clubs, specifically with a weekly gig at

the Green Mill Jazz Club, that he first began to envision a career in music.

"I had been singing all my life and

singing jazz for a number of years before I even considered the possibility I

could make a vocation out of it," he said.

It

was at the Green Mill where Elling met pianist Laurence Hobgood, who has gone

on to be his collaborator on eight studio albums, including the newly-released The

Gate.

"None

of the projects I've been engaged in would sound the way that they do and with

the level of quality that they have without Laurence being there as a

collaborator and an arranger, and sort of helping out with quality control,"

Elling said of his associate.

It

isn't just Elling's dexterous vocal range (a baritone spanning four octaves)

that's earned him worldwide acclaim. It's also his emotional command of a song,

detached and introspective one moment, barnstorming the next. He's also a disciple

of vocalese, a style of jazz singing where lyrics are written for an existing

piece of instrumental music. Elling began to sing vocalese after hearing a

master of the technique, Jon Hendricks.

"I

had a number of solos in mind that I wanted to sing, I just didn't know that

one could do such a thing," he said.

Lyrical

inspiration can come from a variety of elements.

"Sometimes

the music itself is the chief motivator," Elling said. "An emotional resonance

I feel in what the musician played can lead to a very clear idea. Sometimes I

know the music well enough and I have a feeling for it, but I'll adapt a piece

of poetry to the contours of the jazz solo. Sometimes it'll be something that

echoes, paraphrases and otherwise amplifies the original lyric for a song in a

way that extends it and tells a more detailed or sort of left-handed story than

the original lyric had room for."

On

The Gate,

Elling has put his stamp on some popular standards, including Joe Jackson's

"Steppin' Out" and "Norwegian Wood" by The Beatles. It was produced by Don Was,

who's worked with the Rolling Stones and Bob Dylan, among many others. He

reached out to Elling a couple years ago when he was in the midst of a reunion

tour with Was Not Was. They met up on a Chicago tour stop, where Elling was

living at the time, and a friendship developed.

"It was a natural thing to reach out and

find out if he could squeeze me into his schedule, given the kind of record I

wanted to make and given his enthusiasm for what I was already about," Elling

said.

For

many of the tracks on The Gate, Elling and Hobgood worked up music charts that

were pretty specific. But the first song, King Crimson's "Matte Kudasi," had a

different feel and ultimately set the tone for the rest of the project.

"I really just invited the rhythm

section to create something that captured and transmitted the emotional

temperature that I had described to them," Elling said.

He

told them he didn't want to tell them what to play, he just wanted to hear what

they had in mind.

"(Bassist)

John Patitucci kind of looked at the chart, thought about it for a minute and

said 'OK, let's roll this.' Then he just started to play," Elling said. "With

that song, it was only really one or two takes and it was done."

Despite

giving these pop and rock songs the smooth treatment, Elling doesn't comb other

styles in search of examples ripe for his interpretation. Jazz is still his

favorite form to listen to as well as perform.

"Certain

elements of other genres percolate and stay with you," Elling said. "Mostly I

just try to pay attention to music."

It

could be the start to another great year. In 2010 he won his first Grammy for

the 2009 release, Dedicated to You, after being nominated eight previous times.

Elling admits it was a relief ("It's kind of like taking the Band-Aid off.

You're just happy to finally be on the other side of that") but isn't letting

it go to his head.

"It's

ups and downs," he said of everything. "You just try to hold on tight and play

the best music you can."

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