A few months ago I wrote an article proposing that Norah Jones should record an album of Elvis Costello compositions, Norah Jones Sings the Elvis Costello Songbook or some such.
Recently though, MoreThings correspondent, Elvis fan, and jazz singer Valerie Tachecek wrote me an interesting rebuttal:
Dear Al,As a female jazz singer and a die-hard Elvis fan for 24 years, let me tell you the reason why I think the "Jones Sings Costello" proposal won't work.
Elvis' vocal range is three octaves. That is really remarkable for a singer of any style. Norah Jones' range is probably not much better than an octave, maybe an octave and a half. She has, at best, one half of his range.
His best songs are extremely rangy, i.e., "God Give Me Strength," "Kid About It," too many to list.
I have tried countless times over the years to incorporate some of his songs into my repertoire. So far I haven't come up with one song that I feel comfortable singing, or that I think works with my range. I have a two-octave range, a little more than Ms. Jones, but it still isn't enough to handle the vocal acrobatics required to do these tunes.
Aside from the range, they are just really hard tunes to sing! I suspect that is why we haven't seen ANY albums like "So-and-So Sings Elvis Costello" in all of these years. There is something about the way that he writes his tunes that truly only seem to work for his own voice. I'm sure this is completely unintentional on his part.
So, that is my theory, for all it is worth. I'd like to point out that even though he is best known and loved for his songwriting skills, the voice on this man is truly incredible. His range, his breath control, his power, the beauty ... he is really a remarkable vocalist.
Then again, maybe I'm such an Elvis "purist" that hearing anyone else do his tunes will never sound right to me. I had hoped when he and his wife, Ms. Krall, started collaborating that some great "female friendly" Elvis tunes would emerge, but it hasn't happened yet. But, I'll keep my fingers crossed and wait.
Article comments
1 - Gretchen
Bloody hell, it's about time someone started giving EC his due. I've been smitten since 1993; saw him perform on the Brutal Youth tour the night before my Contracts final, decided he was Probably God, and haven't changed my opinion since. He's incredibly fucking brilliant. I didn't know that about his range, not being a singer, but I have always adored the vocal style I once characterized as "perverse crooner".
2 - Zula
A full album of Elvis tunes was recorded in 2003 by Toronto jazz singer Bonnie Brett. You can hear bits of it here:
I believe it can also be purchased through 3 - Gordon Hauptfleisch
I think early on, Elvis displayed some range and vocal power with the live version of "Alison" (at Hollywood High: the single that cam with "Armed Forces."
I love the term "perverse crooner" and I would add to that two absolutlely gorgeous songs from "North": "Still" and "I'm in the Mood Again." And I always thought it was a shame that Sinatra didn't record "Always Blue" as intended.
As you can see, I am I huge fan, highly regarding Elvis' impecable melodic and lyrical intution and execution. New Album out in a few months!
4 - gypsyman
It's funny I've never really given his vocal abilities much thought. I've always been a big fan of his music, dating back to those early "whose this guy who looks like Buddy Holly days".
But thinking about it, and harkening back to even his older tunes, the things he's done with his voice is truely astounding. In spite of the rough edges he's able to launch upwards without nary a crack appearing anywhere along the line.
Thanks Al for giving me another reason for appreciating a fine singer and songwriter.
gypsyman
5 - Lisa McKay
Nice to feel the Elvis love, I must say.
Around the time that North was released, Elvis said in an interview that he's spent a lot of time in recent years working on his vocal delivery. I think he has one of the best voices going, made more special precisely because it's rather idiosyncratic. Unlike you, Al, I'm not in a really big hurry to hear other singers interpret the Costello catalogue.
6 - Gordon Hauptfleisch
I also like the "expect the unexpected" perverseness: right after "King of America," Elvis announced in an interview that from now on he would be focusing his efforts--like "King"-- on well-crafted songwriting with linear, detailed, story-like lyrics, more polished recording, etc.
OKAY FINE.
But what is his next release?: The gloriously raw, sloppy, rough-around-the-edges and one one my faves from him "Blood and Chocolate." If the stream-of-unconsciousness of "Tokyo Storm Warning" isn't the antithesis of anything on "King of America," I don't know what is.
Gotta love it.
7 - Nom De Plume
Although I don't believe that a whole album's worth of EC covers by either would be appropriate, to hear two examples of Costello covers by truly fantastic vocalists, whose versions, I think, even outshine the originals, seek out Robert Wyatt's cover of "Shipbuilding" and June Tabor's cover of "All This Useless Beauty".
Costello himself has the highest regard for each -- "Shipbuilding" was given to Wyatt to record before Costello's version came out (The Attractions even provide musical backing), and he once said of June Tabor, “If you don’t like listening to June Tabor, you should stop listening to music”.
8 - Gordon Hauptfleisch
One EC song that I think was improved upon was Dave Edmund's version of "Girl's Talk."
9 - hymns
Just a mention on kd lang, her octave range range is 4 1/2.
And, yeah, just imagine what she could do!
10 - Jeff Allen
Just one comment (though some might not agree): I am a huge Elvis Costello fan, but I happen to think his vocals have gotten awfully too mannered and overdone lately. The Delivery Man has some great songs, and musicianship, but in my opinion, he is over-singing (and over-sneering)in many of the tracks. Listen to it, and then go back to one of his early albums: less developed vocal technique, sure, but more effective communication of genuine emotion I would argue. In many ways, my favorite album is Trust: he's experimenting with styles more, and we're beginning to see his range, but that early straight-on sincerity (or despair?) is still there. Again, don't get me wrong: he's an amazing artist--and always has been a spectacular live performer--but I just think he sometimes tries a bit too hard to be--fill in the blank (Sinatra,Bachrach,Hank-Lucinda Williams, or Mr. Diana Krall)--instead of the amazing natural talent he is.
11 - Gordon Hauptfleisch
Jeff--I won't take issue with you except to mention his signing on another recent work, "North"--a beautiful voice, natural, no over-singing (listen especially to "Still" or "I'm in the Mood Again"). If there's a fault with "Delivery Man" I'd chalk it off to an isolated case and some disappointing production.
12 - Al Barger
Jeff, you raise an interesting point with the argument about Elvis becoming too mannered. Some of that is subjective perception, and I see you point, but I don't think so.
Now, there's some amount of mannerism on, most obviously, The Juliet Letters- but the (excellent) material calls for that. Other times- and I include The Delivery Man- he's getting in touch with his Hank muse.
Thing is, Elvis is a very self-conscious artist with a very strong grasp of his own strengths and weaknesses. I compare him to Paul Simon in that manner. Like Simon, he knows how to cast his line out into experimental waters- and when to reel it back in with stuff closer to home emotionally and stylistically.
As to The Delivery Man, I'll specifically pick "Either Side of the Same Town" as one of his finest vocal performances. That's beautiful, and pretty direct in the impact. It's not some mannered hothouse thing.
13 - JP
Just to clarify, for a casual fan, Delivery Man will be a much better choice. North requires multiple listens.