As you'll hear from our audio excerpt, composer Kirk Nurock has created a compelling melodic and harmonic framework for this evocative poetry by Emily Dickinson. This intimate Theo Bleckmann recording, with Nurock on piano, is currently only available on jazzleadsheets.com.
Lyric Description: A setting of "Will there really be a 'Morning'? (101)" by Emily Dickinson, this poem addresses topics of the afterlife and religion through the symbol of an elusive morning. The speaker, a "Pilgrim," wonders what the nature of this "morning" will be like. This pondering of the sublime is heightened by Nurock's addition of a stanza from "Sleep is supposed to be (38)" that describes day break as "east of eternity."
No-vocal version: The no-vocal version begins with a four-measure rhythm section introduction. On the last bar of the intro, the vocals come in with the pick-up to A. The accompaniment goes through the form one time. At B, the tenor sax comes in with a counter-line. Take the coda out.
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Instrumental editions for all instruments plus an MP3 track, with melody by trumpeter
Don Sickler, are also available, along with a Minus Melody MP3. Click
here.
"The Kirk Nurock Songbook" was recorded at the legendary
Van Gelder Studio in Englewood Cliffs.
Will There Really Be A Morning? is from the side of Emily Dickinson one might call "wonder at the universe." A glowing ballad of hope, it was performed by the Brooklyn Philharmonic and Youth Chorus, on the first 9/11 Commemorative Concert of New York City along with
Come Sunday, Climb Every Mountain and
God Bless America. It fit perfectly in that spiritual company yet works as beautifully in a jazz setting.
There have been other melodies written to this Emily Dickinson poem, but none so at home with the poetry as this Nurock version. The Blossom Dearie and Judy Collins settings, for example, have entirely different melodies, and their musical directions are not so closely tied to the rhythms of the poetry as Kirk's interpretation. It is sung here by the remarkable Theo Bleckmann, known as both pioneering innovator and cool balladeer, and was recorded by legendary jazz recording engineer Rudy Van Gelder. Bob Kindred is the tenor sax soloist.
