Storytelling – telling a story with music by Lisbeth Neigaard / VINK

christian vuust tenor saxophone

aaron pa r k s piano

take

STORY TELLING

it ea sy

life

t el l i n g a s to r y with music

cd + book

story told by that which

deepest

aaron PA R K S

ST O R Y T E L L I N G chr istian v u u s t tenor saxophone 1. Månestrålen

(Aage Stentoft & Børge Müller) 7:32

2. Sænk kun dit hoved, du blomst 3. Foolin’ Myself 4. Eclipse

(Carl Nielsen & Johannes Jørgensen) 4:50

(Peter Tinturin & Jack Lawrence) 5:53

(Margarita Lecuona) 5:08

5. The Man I Love

(George & Ira Gershwin) 5:15

6. Man binder os på mund og hånd 7. En yndig og frydefuld sommertid 8. Vårvise

a aro n pa r k s piano

(Kai Normann Andersen & Poul Henningsen) 5:35 (Danish traditional) 3:56

(Sebastian) 5:02

9. Ghost of Yesterday

(Irene Wilson & Arthur Herzog Jr.) 5:54

10. Sig nærmer tiden, da jeg må væk 11. Gone with the Wind

(Oluf Ring & Steen Steensen Blicher) 3:21

(Allie Wrubel & Herb Magidson) 5:14

Recorded August 13, 2014 in Copenhagen, Denmark

inside1 each

© Christian Vuust 2015 Aero Music, Thunøgade 8, DK-8000 Aarhus C, Denmark www.christianvuust.com ISBN 978-87-998445-0-0 Graphic design www.vinkdesign.dk Printed at PR Offset First edition published October 2015 Printed in 500 copies 2

STORY TELLING of us

t elling a s t ory w i t h music

speaks

from

as deep

deepest

possible

Contents Storytelling – a CD album 0 Christian Vuust & Aaron Parks Introduction 6 Christian Vuust The Great Narrative – an essay Peter Laugesen

jazz – a poem 12 Peter Laugesen About the songs + The song lyrics Christian Vuust

Credits 44

in all

are

introduction “You’re technically hip. But what is your story?”

Lester Young

Jazz legend, tenor saxophonist Lester Young understood the importance of being able to tell a story with his music. That’s why he posed the above question to some younger musicians with an urge to play fast. I have increasingly learned to appreciate good musical storytellers. Musicians that know how to find and develop the story that lies hidden in every good song; that know how to make the story their own; and who invest themselves in the attempt to communicate the story to the listener. American pianist Aaron Parks is truly a great musical storyteller. I am very grateful that he accepted my invitation to record a number of songs together with me. This recording has resulted in the enclosed CD as well as this book. When naming this album, it felt obvious to choose the title Storytelling, simply because the theme and main focus of the project for me has been to tell good stories with music. I have selected songs that I believe have compelling lyrical as well as musical qualities. But first and foremost they are songs that I feel emotionally connected to – songs that move me, in some way, so that I can make the story my own and interpret it in a credible way. Something I find beautiful about good musical storytelling is when all parti cipants – the lyricist, the composer, the interpreter (musician/singer) and the listener – contribute to the song’s narrative with their own story. Everyone’s contribution to, and experience of the song is influenced by their personal experiences and life situation. The listeners identify themselves with 6

here

where

we are

the music and end up with a feeling that it is â&#x20AC;&#x153;their songâ&#x20AC;? - even though it might be written and performed by people from another time and another part of the world. The album includes six Danish and four American songs. The selection reflects my musical roots, which naturally are here in my home country, Denmark; but to a great extent also in the American jazz tradition, which has played a big role in my life the past 30 years. I am very inspired by the lightness and saudade (longing) which is a strong characteristic within Latin American music. For this reason there is also a Cuban song on the album. With this book I wish to expand the experience for the listener. Knowing the songsâ&#x20AC;&#x2122; lyrics and historical background inspires me to explore the music. I hope that the listener will feel the same way. I am very grateful to Kristian Stangerup for contributing to the book with photos from the recording session, to Lisbeth Neigaard for graphic design and to Danish poet Peter Laugesen for his words. I hope that you enjoy listening and reading! Christian Vuust Aarhus, Denmark, September 2015

because are

indledning “You’re technically hip. But what is your story?”

Lester Young

Jazzlegenden, tenorsaxofonisten Lester Young forstod vigtigheden af at kunne fortælle en historie med sin musik. Derfor stillede han en dag ovenstående spørgsmål til nogle yngre musikere med trang til at spille hurtigt. Jeg har selv i stigende grad lært at værdsætte gode musikalske storytellere. Musikere der forstår at finde og udvikle den historie der ligger gemt i enhver god sang; som forstår at gøre historien til deres egen; og som investerer sig selv i forsøget på at formidle historien til lytteren. En sådan stor musikalsk storyteller er den amerikanske pianist Aaron Parks. Så jeg er meget taknemmelig for at han sagde ja til at indspille en række sange sammen med mig. En indspilning der har resulteret i den vedlagte CD, som denne bog er en udvidelse af. Da jeg skulle navngive dette album, var det oplagt at vælge titlen Storytelling, helt enkelt fordi projektets tema og primære fokus for mig har været at fortælle gode historier med musik. Jeg har udvalgt nogle sange der for mig har stærke tekstlige såvel som musikalske kvaliteter. Men først og fremmest har jeg valgt sange som jeg føler mig følelsesmæssigt forbundet med – sange, der på en eller anden måde rører mig. Det er forudsætningen for at jeg kan gøre sangens historie til min og dermed formidle den på en troværdig måde. Noget jeg finder smukt ved musikalsk historiefortælling er når alle aktører – tekstforfatter, komponist, fortolker (musiker/sanger) og lytter – bidrager til sangens fortælling med hver deres historie. Alles bidrag til og oplevelse af sangen er påvirket af deres personlige erfaringer og livssituation. Lytterne 8

here

explanation

without

further

identificerer sig med sangen og oplever at det er “deres sang” – selvom den måske kan være skrevet og fremført af mennesker fra en anden tid og en anden verdensdel. Albummet indeholder seks danske og fire amerikanske sange. Udvalget afspejler mine musikalske rødder, som naturligt er her i mit hjemland, Danmark; men i høj grad også i den amerikanske jazztradition, som har fyldt meget i mit liv i de sidste 30 år. Jeg er meget inspireret af både den lethed og saudade (længsel), som latinamerikansk musik ofte besidder. Derfor er der også kommet en cubansk sang med på pladen. Mit ønske med denne bog er at udvide lytterens oplevelse. Det at kende til sangenes tekster og historiske baggrund er noget der inspirerer mig til at gå på opdagelse i musikken. Jeg håber at lytterne vil have det på samme måde. Jeg er meget taknemmelig for at Kristian Stangerup har bidraget til bogen med fotografier fra pladeindspilningen, Lisbeth Neigaard med grafisk design og digteren Peter Laugesen med ord. God lytte- og læselyst! Christian Vuust Aarhus, september 2015

DEN STORE FORTÆLLING J a z z en fo rtælle r ikke bare historier, den fortæller historie. I store linjer har den fra begyndelsen af det tyvende århundrede fortalt de sorte amerikaneres historie, været deres fortælling, og i det mønster, der i den fortælling vokser frem og får endelig stemme i swingtidens store bigbands, bliver jazzen grobund for store dele af det moderne også i andre kunstneriske udtryksformer end musikken. Især poesien og maleriet tager efter Anden Verdenskrig impulser til sig af jazzens helt anderledes omgang med historien, dens rødder i andre kultursyn og dens leg med det kollektive og det individuelle, dens direkte adgang til det, der er så dybt privat, at det er alment. Jazzen er nu ikke bare de sorte amerikaneres historie, den er simpelt hen den nye verdens måde at fortælle historie på. Også den afro-amerikanske romans store forfattere, før krigen Richard Wright, efter den James Baldwin og Ralph Ellison, har naturligvis brugt energien fra bigbandenes store maskiner med deres begavede solister. Med dem som vejvisere brød de igennem til stof, der ellers lå skjult bag tilfrosne, klassicistiske prosabarrikader. Jazzen er historien nu, alles historie. “What did I do to be so black and blue?” spurgte den anonyme bluessanger for hundrede år siden, og jazzens svar på det spørgsmål har åbnet en række nye kilder. Jazzen fortæller oaser i sovende kulturs ørken. Den bygger broer mellem kulturer. Den genvækker håbet i sin blues, sin ragtime, sine worksongs, sin soul, sin rock and roll, sin Bessie, sin Lester, sin Monk, sin almægtige, sørgende, jublende universelle sjæl spruttende ud af fremtidens ældgamle horn. Peter Laugesen

THE GREAT NARRATIVE Ja z z do es not only tell stories, it tells history. Since the beginning of the 20th century, it has outlined the history of black Americans, has been their narrative, and in the pattern that emerges in that narrative and ﬁnally gains its own voice in the great big bands of the swing era, jazz becomes the fertile soil for large sections of the modern – also in other forms of artistic expression than just the musical. After the Second World War, poetry and painting in particular absorb impulses from the different way in which jazz treats history, its roots in other views of culture and its playing with the collective and the individual, its direct access to what is so profoundly personal that it becomes universal. Jazz though is not just the history of black Americans – it is quite simply the way in which the New World relates history. The great writers of the Afro-American novel – before WWII, Richard Wright, and after it James Baldwin and Ralph Ellison – have naturally tapped the energy from the great machines of the big bands with their talented soloists. With them as their signposts, they broke through to material that otherwise lay hidden behind ice-bound, classicistic barricades of prose. Jazz is history now, everybody’s history. ‘What did I do to be so black and blue?’ the anonymous blues singer asked a century ago, and the answer jazz gives to that question has opened up a range of new sources. Jazz narrates oases in the desert of a sleeping culture. It builds bridges between cultures. It rekindles hope in its blues, its ragtime, its worksongs, its soul, its rock’n’roll, its Bessie, its Lester, its Monk, its almighty, grieving, rejoicing universal soul sputtering out of the future’s ancient horn. Peter Laugesen

jazz

tag det roligt livet er en fortĂŚlling fortalt af det der dybest i hver af os taler fra sĂĽ dybt som dybest muligt i alt vi er her hvor vi er fordi vi er her uden anden forklaring

take it easy life is a story told by that which deepest inside each of us speaks from as deep as deepest possible in all we are here where we are because we are here without further explanation

og musikken vi er og digtet vi er

and the music we are and the poem we are

at det er hele tiden altid nu

that it is the whole time always now

på tribunen som dansende disede ligesom fjerne fingre så nære som intet som intet før nu

on the bandstand as dancing hazily like some distant fingers as near as nothing as nothing before now

den fortælling er nu

that story is now

den fortælling er her

that story is here

den fortælling er længsel mod det øjeblik hvor i frasering af det der sker livs fortælling lyser som indsigt

that story is longing for the moment when in the phrasing of that which happens life’s story lights up like insight

sand og vores i fortællings musiks mørke og lys

true and ours in the story’s music’s darkness and light

Peter Laugesen

and the music

1. Månestrålen Moonbeam Music: Aage Stentoft (1939) Lyrics: Børge Müller (1939) English lyric by Lisa Freeman

This is a really fine example of a Danish popular song composed in the style of an American Broadway tune. It was written for a Danish revue and was first performed in Copenhagen in 1939. It is a bittersweet song about broken illusions and memories of lost love. I love this tune for its long form, with harmonic modulations - and, of course, its beautiful melody and chords. Aage Stentoft (1914-90) wrote numerous songs that became classics in Denmark. He was also a pianist and a very entrepreneurial theatre director. Månestrålen became his theme song. Børge Müller (1909-63) was one of the great lyricists on the Danish revue and movie scene for more than three decades, starting in the late 1920s. The English lyrics are written by Lisa Freeman, an American jazz lyricist living in Denmark. She has worked with numerous jazz composers, among them Niels-Henning Ørsted Pedersen.

are

and

Månestrålen Jeg var bare atten år, og du kom mig imøde, månen lo - vi dansed’ til den yndigste musik, og dine løfter var så mange og så søde, og jeg tro’de på dem, til du gik. Alt var kun en drøm, en flygtig illusion, der bare kom og svandt. Der stod jeg tilbage, hjælpeløs forladt, i lyset af en månestråle. Hjertet slog lidt tungt, jeg græd vist osse lidt, jeg var kun atten år og så lillebitte i den store nat, jeg havde kun min månestråle. Alle dine kys og alle dine ord, alle de løfter jeg fik, hvad var de vel værd, betød de ikke spor? Nej, det var bare lidt stemningsmusik. Alt var kun en drøm, en flygtig illusion... Jeg var bare atten år, og jeg har danset siden, ingen, der har bedt mig, har jeg svaret med et nej. Men der er noget, der har fulgt mig hele tiden: Mindet om den ene dans med dig.

Den var kun en drøm, en flygtig illusion, der bare kom og svandt. To minutters lykke, tusind dages savn og mindet om en månestråle. Hvergang det bli’r nat, så drømmer jeg igen, at det, du sa’ var sandt. Ved mit åbne vindu hvisker jeg dit navn, jeg hvisker til min månestråle. Som en natlig gæst, der kommer til mit hus og sendt af himlen herned, flagrer den herind på nattevindens sus, dansende – jeg danser med, skønt jeg ved. Alt er kun en drøm, en flygtig illusion, der er forbi om lidt. Så står jeg tilbage, hjælpeløs forladt, i lyset af en månestråle. Copyright © 1939 Edition Wilhelm Hansen AS, Copenhagen. Printed by permission

the poem we

Moonbeam

are

I was just a young girl when I saw you for the first time Underneath the laughing moon we danced the night away And you whispered those sweet-nothings in my ear And I believed them till you were gone It was just a dream – like mist before the dawn That came then disappeared There I stood with nothing, helpless and alone Under the light of one small moonbeam With a heavy heart, I cried into the night I was so new to love Standing in the darkness, small and broken-hearted in the glow of one small moonbeam

that it

Ev’ry little kiss and ev’ry little word They made my young heart take wing Promises of love – that never meant a thing How could I know what tomorrow would bring?

It was just a dream – like mist before the dawn That came then disappeared There I stood with nothing, helpless and alone Under the light of one small moonbeam Lyric by Lisa Freeman. Printed by permission.

the

2. sænk kun dit hoved, du blomst bow down your head, you flower Music: Carl Nielsen (1903) Lyrics: Johannes Jørgensen (1903) English translation by James Manley

To me, this epitomizes a beautiful song from my homeland, Denmark. There is nothing “dangerous” about the lyrics – it’s a night-time song about a flower, as a metaphor for a little child sleeping in his mother’s arms. But the chromaticism and the unusual dominant chord at the end of the third line add something slightly disturbing and gloomy to the song. I hear it as a sort of Danish romantic blues. Carl Nielsen (1865-1931) is considered Denmark’s national composer. Besides his orchestral and chamber works, he wrote the music for numerous beautiful songs and hymns, for which he is highly revered in Denmark. Sænk kun dit hoved, du blomst was composed in connection with Nielsen’s collaboration with Johannes Jørgensen on the cantata Søvnen in 1903. I highly appreciate many of Carl Nielsen’s songs – but this is probably my favorite. Johannes Jørgensen (1866-1956) was a Danish author from the island of Funen, like Carl Nielsen. In his younger years, he was a leading figure in Danish literary symbolism. He converted to Catholicism in 1896, lived in Italy for many years, and wrote a popular biography about Saint Francis of Assisi.

whole time

Sænk kun dit hoved, du blomst

Bow down your head, you flower

Sænk kun dit hoved, du blomst, bøj det i bladene ned, vent kun med lukket krone nattens livsalige fred.

Bow down your head, you flower, bow it down among the leaves. Wait with petals closed, for night-time’s balmy peace. The gentle night, the silent, is coming – bow and sleep. Sleep beneath the golden stars, to wake blissful and fresh. Sleep, like a child who’s rocked asleep, soft in his mothers arms. Half-awakening, sighing, smiling his mother’s name.

Natten, den milde, den tyste, kommer, o, bøj dig til blund. Sov under gyldne stjerner, sov dig salig og sund. Sov som et barn, der vugges blidt i sin moders favn, vågner kun halvt og sukker smilende moders navn. Printed by permission of the heirs of Johannes Jørgensen

Printed by permission of the heirs of Johannes Jørgensen, and of translator James Manley

always 19

now

3. Foolin’ myself Music: Peter Tinturin (1937) Lyrics: Jack Lawrence (1937)

This song was the first jazz standard that Aaron Parks and I played together, during my residency in New York City in 2013. During my time there, I started considering the idea of us making a duo recording. Foolin’ Myself is one of my favorite songs played by some of the greatest storytellers in the history of jazz: Billie Holiday (1915-59) and Lester Young (1909-59). In 1937, they made a magical recording of the song which displays their fragile tenderness and their joint and separate artistry. I was introduced to this tune by a friend, Danish bass player Klaus Nørgaard, who has a great talent for digging up musical gems from the Great American Songbook. You can say that he passed on the story to me. Composer Peter Tinturin (1910-2007) was born in Ukraine, but emigrated to the USA. Lyricst Jack Lawrence (1912-2009) was born in Brooklyn, New York, in a orthodox Jewish family. His parents had emigrated from Ukraine in 1904.

FOOLIN’ MYSELF I tell myself I’m through with love And I’ll have nothing more to do with love I stay away, but every day I’m just foolin’ myself I tell my friends that I don’t care I shrug my shoulders at the whole affair But they all know it isn’t so I’m just foolin’ myself And every time I pass And see myself in the looking glass I tip my hat and say How do you do, you fool You’re throwing your life away I’m acting gay, I’m acting proud And every time I see you in a crowd I may pretend, but in the end I’m just foolin’ myself © Chappell & Co., Inc. Tryckt med tillstånd av Warner/Chappell Music Scandinavia AB/ Notfabriken Music Publishing AB

the bandstand

as dancing 21

hazily

like some

4. eclipse Eclipse of the Moon Music and lyrics by Margarita Lecuona (1943)

I first heard this song as it was performed by Brazilian bossa nova pioneer JoĂŁo Gilberto, who is one of my musical heroes. I immediately fell for the tuneâ&#x20AC;&#x2122;s richness in harmony and melancholic lyrics â&#x20AC;&#x201C; to which Gilberto had added his inverted guitar chords as well as an intimate, effortless and unsentimental vocal interpretation. Margarita Lecuona (1910-81) was a Cuban composer and singer. The daughter of a diplomat, she studied music in Havana, lived for many years in Buenos Aires, and in 1969 moved to the USA, where she lived the rest of her life.

distant fingers

ECLIPSE

ECLIPSE OF THE MOON

Eclipse de luna en el cielo  Ausencia de luz en el mar  Muy solo con mi desconsuelo  Mirando la noche me puse a llorar   Pensaba que ya no me amabas  Con honda desesperación  Y en algo que siempre eclipsaba  La luz de tu amor

The moon was a silvery lantern That shone on the golden lagoon Our two hearts had blended But shadows descended There was an eclipse of the moon

Eclipse de luna en el cielo Ausencia de luz en el mar  Muy solo con mi desconsuelo  Mirando la noche me puse a llorar   Eclipse de amor en tus labios  Que ya no me quieren besar  Quisiera olvidar sus agravios  Y luego soñar Copyright © Peer International Corporation Peermusic AB. Trykt med tilladelse af Edition Wilhelm Hansen AS, København

We both shared a moment of magic A moment that ended too soon Oh why did it happen That sudden eclipse of the moon? The quarrel we had is the shadow That’s hiding the moon from our view The darkness would break up If you’d only make up So we could start romance anew A bright moon will shine in the heavens And light up a world that’s in tune Your kiss on my lips Will end the eclipse of the moon Copyright © Peer International Corporation Peermusic AB. Trykt med tilladelse af Edition Wilhelm Hansen AS, København

near

before

as nothing as nothing

now

5. the man i love Music: George Gershwin (1924) Lyrics: Ira Gershwin (1924)

Originally entitled ‘The Girl I Love’, this tune was written for the Gershwin brothers’ first Broadway collaboration, the musical Lady, Be Good. The Man I Love is one of the most cherished American standards, sung by many great jazz artists. My main sources of inspiration are the interpretations by Billie Holiday (recorded 1939, featuring a fine Lester Young solo) and Ella Fitzgerald (recorded 1959, featuring beautiful arranging by Nelson Riddle). The song tells you a story about a longing for love, for belonging with someone. You sense that the main character is a lonely person, who has been waiting too long for the right one to come along. To the extent that finding the one and only has become a little unrealistic. Which to me makes it a quite heartbreaking song. The mood of despair is accentuated by the way the bluesy motive is repeated and variated, accompanied by some of the most beautiful, melancholic chord changes that I know of.

George Gershwin (1898-1937) and Ira Gershwin (1896-1983) were brothers. Together they wrote more than a dozen Broadway shows, and some of the greatest American songs of the 20th century: I Got Rhythm, Someone To Watch Over Me, But Not For Me and many others. They were born of Russian and Lithuanian Jewish descent, and grew up in the East Village in New York City. Besides his songs, George composed notable classical works such as Rhapsody In Blue and An American In Paris, as well as Porgy and Bess – which he called a ‘folk opera’. Ira also cooperated with other recognized composers such as Kurt Weill, Harold Arlen and Jerome Kern.

that

THE MAN I LOVE Someday he’ll come along The man I love And he’ll be big and strong The man I love And when he comes my way I’ll do my best to make him stay

Maybe I shall meet him Sunday Maybe Monday maybe not Still I’m sure to meet him one day Maybe Tuesday will be my good news day

story

He’ll look at me and smile I’ll understand Then in a little while He’ll take my hand And though it seems absurd I know we both won’t say a word

now

He’ll build a little home That’s meant for two From which I’ll never roam Who would, would you And so all else above I’m dreaming of the man I love © 1924 Chappell & Co., Inc/New World Music Ltd/WB Music Corp. Tryckt med tillstånd av Warner/Chappell Music Scandinavia AB/ Notfabriken Music Publishing AB

that story

6. man binder os på mund og hånd our hands are tied, our lips are sealed Music: Kai Normann Andersen (1940) Lyrics: Poul Henningsen (1940) English lyrics by Andrew John Huddleston

Man binder os på mund og hånd was first performed by Liva Weel at a comedy revue in Copenhagen in May 1940, about a month after the onset of Nazi-German occupation of Denmark. The song is a hidden critique of the Nazi oppression. To avoid problems with the German censorship, the protest was camouflaged as a song about love and marriage. The song has an almost iconic status in Denmark, because it was a symbol of resistance during the five years of Nazi-German occupation. But later on, it has also become a timeless song about freedom and oppression, and has been reinterpreted and sung for generations.

Poul Henningsen (1894-1967). Also known as PH. Architect, lamp designer, lyricist and film director. A major figure in Danish arts and cultural debate, he advocated free thought (frisind, in Danish) and gender equality, and was critical of sentimentality and conservatism. In 1943 he had to escape from the Nazis and flee to Sweden, because he realized that his life was in danger. He can still stir up a debate even now, so many years after his death. He has been a great source of inspiration to many – and a nuisance to some – because of his fearless urge to engage in public debate, to provoque the bourgeoisie, his enormous creativity, and his strong humanistic point of view. Kai Normann Andersen (1900-67). One of the most important Danish composers of revue and movie music in the 20th century, many of his songs have obtained status as classics in the Danish song tradition.

here

story that

MAN BINDER OS PÅ MUND OG HÅND Gribe efter blanke ting vil hvert et lille grådigt barn. Binde andre med en ring gør man som helbefar’n. Tænk, hvor har man stået tit og delt et vindusparadis. Helle, helle, det er mit! Og livet går på samme vis. Man binder os på mund og hånd, med vanens tusind stramme bånd, og det er besværligt at flagre sig fri. Vi leger skjul hos en, som ved at skærme os mod ensomhed med søde kontrakter, vi luller os i. Kunne vi forbyde de tre ord: Jeg lover dig, var vi vist i kærlighed på mere ærlig vej. De ord, vi svor med hånd og mund, de gælder kun den korte stund, til glæden er borte og alting forbi. Kærlighed og ægteskab hva kommer de hinanden ved? Kedsomhedens tomme gab, til kæben går af led. Elskov er den vilde blomst. I gartnerhænder går den ud. Skærmet får den sin bekomst, men blomstrer hedt i storm og slud. Man binder os på mund og hånd, med vanens tusind stramme bånd, men ingen kan ejes. Vi flagrer os fri. I alle kærtegn er en flugt, de røde sansers vilde flugt

fra pligternes tvungne fortrampede sti. Du må ikke eje mig. Jeg ejer ikke dig. Alle mine kys er ikke ja og ikke nej. De ord, vi svor med hånd og mund, de gælder kun den svimle stund, det netop er kysset fra dig, jeg ka’ li. Møde hvad der venter os, og ingen véd, hvordan det går. Bære skæbnen uden trods, hvad der så forestår. Glad ved hver en venlighed, men uden tro, at det blir ved. Søge fred, idet vi véd, at vi har ingen krav på fred. Man binder os på mund os hånd, men man ka ikke binde ånd, og ingen er fangne, når tanken er fri. Vi har en indre fæstning her, som styrkes i sit eget værd, når bare vi kæmper for det, vi ka li. Den, som holder sjælen rank, ka aldrig blie træl. Ingen ka regere det, som vi bestemmer sel. Det lover vi med hånd og mund, i mørket før en morgenstund, at drømmen om frihed blir aldrig forbi. Lyrics by Poul Henningsen. Copyright © 1940 Edition Wilhelm Hansen AS, Copenhagen. Printed by permission.

OUR HANDS ARE TIED, OUR LIPS ARE SEALED Romance sets your heart aglow But as for marriage – what’s the point Boredom starts you yawning so Your jaw goes out of joint Love is like a soaring bird When caged it pines away and dies Tame it and no song is heard Yet in the wild it sings and flies Our hands are tied, our lips are sealed From force of habit we’ve concealed That no one can own us, we’ll always be free We find escape in each embrace And fool ourselves so we can face The lonely existence a marriage can be If we could forget the three small words “I promise you” Maybe we could find a love more honest and more true The vows we make with mouth and pen We keep a little while and then Slowly the smiles fade and everything ends

is longing

Our hands are tied, our lips are sealed Our right to think we’ll never yield And we are not captive when our spirit is free We have an inner fortress here No sign of hate, no trace of fear As long as we’re dreaming of what has to be No one can decide for us what thoughts are in our soul Even though the endless years of silence take their toll And now a solemn oath is sworn In darkness just before the dawn We’ll never stop fighting for our liberty Lyrics by Andrew John Huddleston. Copyright © 1940 Edition Wilhelm Hansen AS, Copenhagen. Printed by permission.

Face the future come what may Who can say what lies in store Fate surprises us today Tomorrow even more Signs of friendship please us even though We fear they’ll vanish every one Search for peace because we know It’s not our right, it must be won

7. en yndig og frydefuld sommertid a joyous and beautiful summertide Danish traditional English translation by Holger Scheibel

Also known as The Love Rose, this folk song to me is the sound of Danish summer. It is believed to originate from my home region, Eastern Jutland. This inspires me further, knowing that it has been sung here for many generations. I love the simple and rustic beauty of this traditional tune. Holger Scheibel did a fine English translation in the spirit of the original Danish version.

for the

EN YNDIG OG FRYDEFULD SOMMERTID

A JOYOUS AND BEAUTIFUL SUMMERTIDE

En yndig og frydefuld sommertid i al sin herlighed, den glæder og trøster så mangen én, alt ved Guds kærlighed. Den fører blomsterskaren frem, og rosen rød, så dejlig og sød, den ser du da igen.

A joyous and beautiful summertide, in all its loveliness, may gladden and soothe anyone inside, just like God’s love may bless. It brings the crowd of blooms along, the red rose, then, delightful and sweet, you see right here again.

Blandt alle disse blommer véd jeg én, en rose for dem alle, udsprungen af en dejlig gren, ud af en yndig stamme. Vel er der mange smukke til, men jeg for sandhed sige vil: han overgår dem alle.

From all the flowers here of one I know, a rose before all others. In bloom it stems since long ago, from all the earthly wonders. The beauteous ones I don’t dismiss, but shall most truly tell you this: He outshines all the others.

Ja, var jeg nu så lykkelig, jeg kunne rosen få! Mit hjerte brænder ret inderlig med længsels stor attrå. Mit hjerte ler, hver gang jeg ham ser, og det ud af stor kærlighed la’r ikke ro mig få.

Yea, could I live so happily, this very rose to earn! My love is yearning quite heartily, its wish turns out to burn. My heart will laugh each time I him see, from that and from my utter love, no calm of mind I earn.

Går jeg om dagen ud eller ind, ihvor det være må, da er du stedse i mit sind, om natten ligeså. Og når jeg sover sødelig, om dig jeg drømmer lykkelig, ret som du hos mig lå.

Where’er I go the whole lengthy day, whate’er my lot will be, you’re never from my mind away, all night I’m feeling free. And as I’m sleeping peacefully, ‘bout you I’m dreaming happily, as if you lay with me.

Danish traditional

8. vĂĽrvise spring ballAD Lyrics and music: Sebastian (1987) English translation by Indra Rios-Moore

This song goes straight to my heart. It basically has everything that you want in a good tune. Both the lyrics, the melody and the chord changes are of high class. I love the way the minor verse modulates into a major chorus, to make a radical change of atmosphere. I hear it as a sort of modern folk song. The tune was written by Sebastian (born 1949), one of Denmarkâ&#x20AC;&#x2122;s best songwriters ever.

moment

when

VÅRVISE

SPRING BALLAD

Sangen om sol og syrener våren i eksplosion. Alt hvad der lever og forener os i en egen komposition.

The song about sun and lilacs  Spring in explosion  Everything that lives and unites  us in a unique composition

Gi’ mig kun en sang så ingen vinter går uden at den minder os om hvor dejligt det var og dejlig du var.

Give me just one song  So that not one winter passes  Without it reminding us of How lovely it was  How lovely you were

Du var så smuk som en rose midt i den lyse vår. Jeg var som i konstant narkose elskede dig med hud og hår.

You were as beautiful as a rose  In the middle of the bright spring  I was as if in a constant daze Loved you, with your skin and your hair

Gi’ mig kun en sang...

Give me just one song...

Gi’ mig et pust. Før vi aner er vi så langt på vej. Tiden har lagt helt andre planer. Her får du min forglemmigej.

Give me a breath, before we know it We will be far on our way  Time has made quite different plans  For you, here is my forget-me-not

Gi’ mig kun en sang...

Give me just one song...

in the phrasing

of that

9. ghost of yesterday Music: Irene Wilson (1940) Lyrics: Arthur Herzog Jr. (1940)

A melancholy song about a failed love affair that is still haunting the main character. I first heard the song on a 1940 recording by Billie Holiday. The tune was written for her by her friend, pianist and composer, Irene Wilson (1908-75). Lyricist Arthur Herzog Jr. (1900-83) wrote the somber lyrics, which I think fit really well with the quirky chord changes. Together with Holiday, Herzog also co-wrote God Bless the Child, one of Holiday’s most popular songs.

GHOST OF YESTERDAY Ghost of yesterday Stalking ’round my room All night long you stay Walk around in profound gloom When the darkness falls When I’ve gone to bed Weirdly come your calls Mournfully scornfully dead Folly of a love I strangled Pulsing heart I thought was gone Gives no peace Will not cease Prowling ’round till dawn Ghost of yesterday Every night you’re here Whispering away Might have been, might have been, oh my dear Foolish heart must pay Ghost of yesterday Ghost of yesterday © Edward B. Marks Music Company Tryckt med tillstånd av Warner/Chappell Music Scandinavia AB/ Notfabriken Music Publishing AB.

which

happens

10. sig nærmer tiden, da jeg må væk the time is near when i must depart Music: Oluf Ring (1922) Lyrics: Steen Steensen Blicher (1837) English translation by Søren Damgaard Rodholm

A monumental song – and one of my favorites – in the Danish tradition of popular communal singing. The lyrics are from the 1837 poem cycle, The Migratory Birds (in Danish, Trækfuglene) by Danish poetpriest Steen Steensen Blicher. This heartbreaking poem describes the journey of life, a yearning for more, a yearning for change, but also the painful certainty of the irreversible endpoint. Blicher knew what he was talking about. He was a quite poor man of ill health, living in the countryside, most of his life longing to travel abroad and to get recognition for his work. He didn’t really succeed in achieving any of those dreams.

life’s 85 years after Steen Steensen Blicher (1782-1848) wrote the text, composer Oluf Ring (1884-1946) wrote the music, which was true to the poem: A strong and simple melody in a minor key. The English translation, very faithful to the Danish original, was done by Søren Damgaard Rodholm (1877-1951). He was a priest and teacher from Mørke, near Aarhus, in Denmark. He emigrated to the USA and lived in Des Moines, Iowa.

story

lights up

SIG NÆRMER TIDEN, DA JEG MÅ VÆK

THE TIME IS NEAR WHEN I MUST DEPART

Sig nærmer tiden, da jeg må væk, jeg hører vinterens stemme; thi også jeg er kun her på træk og haver andensteds hjemme. Jeg vidste længe, jeg skal herfra; det hjertet ikke betynger, og derfor lige glad nu og da på gennemrejsen jeg synger. Jeg skulle sjunget lidt mer måske – måske vel også lidt bedre; men mørke dage jeg måtte se, og stormen rev mine fjedre. Jeg ville gerne i Guds natur med frihed spændt mine vinger, men sidder fast i mit snævre bur, det alle vegne mig tvinger. Jeg ville gerne fra højen sky udsendt de gladere sange; men blive må jeg for kost og ly en stakkels gældbunden fange. Tit ligevel til en smule trøst jeg ud af fængselet titter og sender stundom min vemodsrøst med længsel gennem mit gitter. Lyt og, o vandrer, til denne sang, lidt af din vej du hidtræde! Gud ved, måske det er sidste gang, du hører livsfangen kvæde. Mig bæres for, som ret snart i kvæld at gitterværket vil briste; thi kvidre vil jeg et ømt farvel; måske det bliver det sidste.

The time is near when I must depart, the leaves are fading and falling. The touch of winter is on my heart, eternal summer is calling.

Lyrics by Steen Steensen Blicher

I cannot stay, I have known it long; without regret I am leaving. A bird of passage, I sing my song for someone lonely and grieving. Down in the valleys my songs were born; perhaps they should have been bolder. But many storms have my feathers torn, my days grew darker and colder. To sing sweet songs from a clear blue sky has been my fondest ambition, but life to me was a cage and I have nothing left but submission. Yet when at evening the shadows fall, I gaze above from my prison and sing a sad little song for all who sit in darkness and listen. I feel the bars of my prison cell will soon break down, so I sing you this simple song as a fond farewell, my last kind greeting to bring you. Translation by Søren Damgaard Rodholm. Reproduced by permission of Augsburg Fortress

11. gone with the wind Music: Allie Wrubel (1937) Lyrics: Herb Magidson (1937)

This song tells the story of a love affair that has ended, “just like a leaf that has blown away”. It is inspired by the bestselling book of the same name, and was written the year after the book’s release. Together with The Masquarade Is Over, it is one of Allie Wrubel (1905-75) and Herb Magidson’s (1906-86) most popular songs. And a very beautiful one, in my opinion. To me, the lyrics, melody and chord progression are really inspiring to use for interpretation and improvisation.

GONE WITH THE WIND Gone with the wind Just like a leaf that has blown away Gone with the wind My romance has flown away Yesterday’s kisses are still on my lips I had a lifetime of heaven at my fingertips But now all is gone Gone is the rapture that thrilled my heart Gone with the wind The gladness that filled my heart Just like a flame Love burned brightly then became An empty smoke dream that has gone Gone with the wind © Tryckt med tillstånd av Bourne Co./ Notfabriken Music Publishing AB

true

like insight

and

credits CD Produced by Christian Vuust Recorded by Thomas Vang on August 13, 2014 at The Village, Copenhagen, Denmark Mixed and mastered by August Wanngren in 2014-15 Book Edited by Christian Vuust Essay and poem written by Peter Laugesen Essay and poem translated into English by John Irons Other English texts proofread by Indra Rios-Moore Graphic design by Lisbeth Neigaard Cover photo by Caroline Stucky All other photos by Kristian Stangerup Special thanks to Charlotte Skadhauge Vuust, Benjamin Trærup, Indra Rios-Moore, Jakob Buchanan, Hans Esbjerg, Klaus Nørgaard, Tobias Sjögren, Søren Dahl Jeppesen, Dorte Søholm, Ulrik Bisgaard, Lisa Freeman, Flemming Jerk and James Manley Financial support from City of Aarhus Danish Actors’ Association and Danish Musicians’ Union

This album is dedicated to my parents, Lise and Jens Vuust

ours

the

storyâ&#x20AC;&#x2122;s

mu sic’s darkness

S to r y t elling

Telling a s to r y wi t h m u s ic

Storytelling is an album in the form of a CD. It is also a book. It is a jazz tribute to beautiful songs. The CD consists of a collection of classic Danish, American and Cuban popular songs; interpreted by two highly acclaimed jazz musicians – Danish saxophonist Christian Vuust and American pianist Aaron Parks. They share the joy of playing a good song, of singing through their instruments – of telling a story with music. The book is intended to expand the listening experience. It contains an essay and a poem by Danish poet and jazz lover Peter Laugesen, Vuust’s presentation of each of the songs, all the songs’ lyrics (including translations into English), as well as photos from the recording session. Storytelling was made out of a wish to pass on the love of a good song and the story behind it.

c h r i s ti a n v u u s t

piano

1. Månestrålen

7. En yndig og frydefuld sommertid