10 August 2017

Out Of This World: Johanna Grussner

"You're clear out of this world
When I'm looking at you
I hear out of this world
The music that no mortal ever knew

You're right out of a book
The fairy tale I read when I was so high
No armored knight out of a book
Would find a more enchanted Lorelei than I

After waiting so long for the right time
After reaching so long for a star
All at once from a long and lonely night time
And despite time, here you are

I'd  cry, out of this world
If you said we were through
So let me fly out of this world
And spend the next eternity or two with you

After waiting so long for the right time
After reaching so long for a star
All at once from a long and lonely night time
And despite time, here you are

I'd cry, out of this world
If you said we were through
So let me fly out of this world
And spend the next eternity or two with you" 

  - Out Of This World, lyrics by Johnny Mercer, music by Harold Arlen.


Considering the warm reception her Naxos release No More Blues received from both the critics and listeners, Johanna Grussber should need no introduction to jazz fans.  A native of Finland, Grussner   lived  in the U.S for eight years,  attended the Berklee School of Music on scholarship and then earned a Master's degree in jazz performance from the Manhattan School of Music in 1998.   She then taught at Public School 86 in the Bronx where she developed a program of vocal and instrumental instruction and music theory.  Oh, and she was born on the Aland Islands, off the east coast of Finland in 1972.  She returned  home in May 2001 when she brought a group of fifth grade students to perform gospel concerts in Helsinki.  Since 2001 Grüssner has lived in Stockholm, Sweden.

Her musical ambitions are expansive.  As a child, Grussner and her sisters Ella and Isabella formed a folk group  Daughters Of The Wolf.   The year before graduating from Berklee she recorded her first cd; the year after she formed her own nineteen piece jazz orchestra which toured Scandinavia, performing at jazz festivals and clubs, sometimes joined by the New York Voices.   Since moving to Sweden, Grussner has recorded not only jazz but Swedish and Finnish folk songs and even a record of  songs for children based on the popular  characters created by Tove Jansson.

Out Of This World is usually classified as a ballad, because it is deemed to lack a pronounced rhythm.  Grussner turns this received wisdom upside down.   Her agile vocal technique and near perfect command of English paired with  work on both six and twelve-string guitars by her accompanist Ulf Karlsson, is impeccable.  Together they  give a rhythm to the song that it has not had before, something between a walking blues  and a bossa nova-ish lilt.  Unlike some singers with crystal clears voices, Grussner is also capable of adding colors to her phrasing.  Thanks to her version, I will never think of Out Of This World as a standard again.  It lives.

As to its mechanics, the song is structured  without a verse; it has four sections – A, a variation of A, B, and back to the A variation in conclusion.  The elegance of the lyrical conceit demands it:   the Lorelei of Germanic legend was a beautiful maiden who threw herself into the Rhine River in despair over a faithless lover.   In recompense, the gods turned her into a siren whose voice was irresistible to all who heard it.  Alec Wilder (in his History Of American Popular Song, 1972)  claimed that he heard   echoes of the mixolydian mode of Gregorian chant in Arlen's melody.   (Mixolydian was the seventh of eight modes, similar to modern key signatures, in  medieval church music.)  Arlen also used  melisma in Out Of This World, as when he scored two notes for the word “knew.”  

Melisma is a technique familiar from  its use in gospel music;  its use originated in early Christian plainsong.  Unlike  syllabic singing where  each syllable is accorded one note,  when a singer moves from one note to another on a single syllable, that’s melisma.  When Johnny Mercer came to write  the lyric to Out Of This World in 1944, he had been working in Hollywood for almost ten years and it shows in its style; this was no Tin Pan Alley show tune to be belted to the rafters for applause.  Rather, it existed on an altogether more  intimate emotional plane.   Wilder was certainly right to describe Out Of This World as not being typical of Harold  Arlen's songs, but then it is not typical of anyone else's that I can think of either.  Sui generis, anyone?

P.S. Other standouts on No More Blues are a sultry version of Hallelujah, I Love Him So and Desafinado.


Listen to Johanna Grussner sing Out Of This World
Visit Johanna Grussner's website
No More Blues, a recording by Johanna Grussner, Naxos Jazz: 2005.

Image:
Photograph of Johanna Grussner, 2010, courtesy of Allaboutjazz.com.

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