‘Blackbird’: My Top Three Versions

One of the most well-known Paul McCartney numbers is ‘Blackbird’, from the White Album; a song that was inspired by race relations in the US during the 1960s. As well as this, it can be interpreted as nature or love song. The compositional nature of the song drew influence from popular lute piece, called ‘Boureé in E minor’ by Johann Sebastian Bach. A most noticeable element of the song is the bass notes of each chord played in unison, interpreted as the harmonic basis for the majority of ‘Blackbird’. After it’s release, ‘Blackbird’ eventually became one of the most recorded songs of all time, with artists from a great number of genres paying tribute; from folk, rock, and jazz to name a few. For jazz, in particular, there have been many wonderful renditions of ‘Blackbird’, so here is my top three analysed by their compositional nature and how they provide their own perspective of the song.

The first version is off the 1997 album The Art of the Trio Volume One by American pianist Brad Mehldau. Larry Grenadier begins with a soft simultaneous pedal note on the bass for two bars, joined by the all familiar harmonic progression by Mehldau. The sudden leap of a compound major third suddenly invites a space for Jorge Russy to enter with a delicate shuffle on the brushes, altogether creating a peaceful coherence. The significance of the D pedal note brings tension for building to Mehldau’s solo. The solo jumps between variations of motifs within the ‘Blackbird’ melody, such as transposing parts that still fit within the given key. Soulful licks convey a Keith Jarrett influence, whilst juicier voicings illustrate similarities to the playing of Bill Evans. Throughout Mehldau’s solo, the trio’s interaction significantly shows the artistry behind the expansion of a simple melody and harmonic progression. And how it can be stretched and re-arranged to form an entirely new perspective. After Mehldau’s solo, the trio return to the same progression as in the introduction, supposedly bringing the piece to a unified ending. Except Mehldau continues to expand on the melody subtly, then eventually breaking out into a funky gospel-like groove, which gradually fades away. The groove perhaps signifies a blackbird flying away to continue a journey of discovery; drawing similarities to McCartney’s repeated lyric “blackbird fly” heard in the original chorus.

The second rendition is a cappella by vocalist and conductor Bobby McFerrin off his 1984 live album titled, The Voice. It begins with an ostinato gradually fading in until Bobby releases the first phrase ‘blackbird singing in the dead of night’, which then breaks out into a whistle, stating a feeling of happiness and content. McFerrin then transcends into the harmonic progression, keeping the simultaneous ostinato prominent throughout, perfectly hitting each bass note, whilst leaping effortlessly leaping up an octave and beyond. This rendition brilliantly showcases McFerrin’s technical ability, with his vocal range spanning four octaves. Each section of his range seems to have a certain personality, which creates a feeling of a one man band. The interpretation of the lyrics in this cover shows a mix of scatting and changes of pitch, with McFerrin indicating blue notes, especially in the higher register. This perhaps signifies the struggle in the imperfect progress of American race relations, almost as if the blackbird is singing the tune. This can also be enhanced by McFerrin’s astonishing sound effects of fluttering wings; also bringing a comical side to the performance. Overall the combination of comicality and the blues-like phrases creates two sides to the cover- peace and struggle. To finish the piece, McFerrin then creates a captivating and chilling echo over the phrase ‘Into the light of the dark black night’; sounding like a soulful blackbird flying off into the unknown.

Finally, the third (and most recent) version is by British pianist and songwriter Jason Rebello off his new solo piano album of 2016 called, Held. The piece, like the other two versions, starts softly, with a delicate re-harmonisation of the original chord sequence, played freely and setting a cheerful tone. And then with a graceful cascading passage, Rebello falls effortlessly into a captivating, funky gospel- tinged groove, breathing new life and energy into the composition. Whilst interpreting the melody in the right hand, Rebello beautifully ties in a rampant call and response styled bass line in his left hand whilst also seamlessly adding various harmonies in between, showing similarities to Brad Mehldau’s outro in his version. The rhythmic and harmonic complexities of the rendition also show influences of Keith Jarrett who has done similar styles in his own versions of popular songs, such as Gershwin’s ‘Summertime’. And perhaps like the two other versions, Rebello is creating a different character, providing a different perspective of the prominent relations between the chord sequences and lyrics. The most remarkable side to Rebello’s playing is his ability to instantly change the dynamic of the piece, depending on whether he’s in the higher or lower registers. This is shown particularly after the peak of his flawless solo break, which dies down and spaces out until suddenly he continues the groove; gradually building from one note into a rich complex of wonderful colours. After returning to the melody, Rebello finishes on a simple IV-V-I cadence; illustrating a blackbird landing calmly on a branch after a memorable journey.

From listening and analysing the three versions, it is clear how such a simple melody line and harmonic progression can be explored in so many wonderful and adventurous ways. To various artists, McCartney’s song can be interpreted in any way they wish, and yet it will be instantly recognisable.