“There is something almost superhuman about the range and technique of Bobby McFerrin,” says Newsweek. “He sounds, by turns, like a blackbird, a Martian, an operatic soprano, a small child, and a bebop trumpet.”
Back in the early 1980s, I had heard of this a capella singer who performed in the jazz mode, making near orchestral sounds with his voice and body, named Bobby McFerrin. I was familiar with him mostly because every album had a some pop music covers. [Here is a live cover version of the Beatles’ Blackbird.]
Almost every season of the popular sitcom called Cosby Show had a different version of the theme to open the show. For Season 4 (1987-1988), the opening was performed by McFerrin.
In the summer of 1988, I was in San Diego, riding in the car of my sister’s friend Donald, when I heard a song called “Don’t Worry, Be Happy” for the first time. I thought, “That could be a big hit in southern California, but I don’t know if anyone else will buy it.” Of course, it hit the national charts on July 30, and went to #1 for two weeks, starting on September 30. (Here’s one video, and this the video featuring McFerrin and Robin Williams.
Skip to in 1989, when he he formed a ten-person ‘Voicestra’ which he featured on his 1990 album Medicine Music. I happened to catch McFerrin and Voicestra one morning on NBC-TV’s Today show. After a couple songs, I recall that Bryant Gumbel, then the co-host of the show, noted that McFerrin had said in an interview that he would no longer perform “Don’t Worry, Be Happy”, his only #1 hit, and that now he (Gumbel) understood why.
Sweet in the Morning from Medicine Music, featuring Voicestra.
Discipline, Featuring Robert McFerrin & Voicestra
I bought about a half dozen copies of that album to give as Christmas presents in 1990.
I was watching that episode with our brand-new new church choir director, Eric, who was crashing at our apartment until he found a place of his own. A couple years later, he arranged the McFerrin version of the 23rd Psalm for three guys in the choir to sing, Bob, Tim, and with me singing the highest part, all falsetto. On the recording, McFerrin sings all three vocal tracks, overdubbed, himself, which you can hear HERE.
McFerrin has also worked in collaboration with instrumental performers including pianists Chick Corea, Herbie Hancock, and Joe Zawinul, drummer Tony Williams, and cellist Yo-Yo Ma; this is Ma and McFerrin’s version of Ave Maria.
My wife and I had the great good fortune to see bobby McFerrin live at the Saratoga Performing Arts Center on August 6, 1999. Here’s the review, from which I want to highlight the following:
Whether conducting the classics, improvising on an original tune plucked from thin air or cavorting within the ranks of the Philadelphia Orchestra, the affable McFerrin charms all in his wake.
Finding descriptive labels for the multitalented McFerrin seems futile. His talent is so broad and diverse that there seems to be nothing he can’t do well, including stand-up comedy. There’s a serious side, too, as the wunderkind leads the likes of the Philly through compositions by major composers such as Sergei Prokofiev and Felix Mendelssohn.
McFerrin’s uncanny ability to do “voices” put the audience on the floor with
all the characters from “Oz,” the most memorable of which was Margaret Hamilton’s Wicked Witch line — “Come here, my little pretty!”
[This was HYSTERICAL.]
McFerrin invited singers in the audience who knew the Bach-Gounod “Ave Maria” to sing along. McFerrin sang every note of Bach’s rippling arpeggios for accompaniment, while several audience soloists sang Gounod’s wonderful melody over the top.
[This was absolutely extraordinary. One of the soloists was only a few rows in front of us.]
The Philly sang (yes, sang) the “William Tell Overture,” for encore.
Listen to CircleSong Six from the CircleSong album.
As an Amazon review says:
“Despite the undeniable uniqueness of his gift, Bobby’s music is always accessible and inviting. When he invites his fans to sing along, as he almost always does, few can resist. Inclusiveness, play, and the universality of voices raised together in song are at the heart of Bobby’s art. Bobby McFerrin was exposed to a multitude of musical genres during his youth–classical, R&B, jazz, pop and world musics. ‘When you grow up with that hodgepodge of music, it just comes out. It was like growing up in a multilingual house,’ he says. Bobby McFerrin continues to explore the musical universe, known and unknown.”