Bridge Over Troubled Water - JazzWax

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April 04, 2011


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Ed Leimbacher

Some cherce Myersisms this time: "urbanized Everlys," "knowing choirboys," but "extroverted introverts"? Naah.

But you end on a... hmmm... high note: "I rediscovered parts of myself that had gone missing for some time." Like Paul setting off "to look for America" and finding a huge solo career--from Graceland to the wide world--while Artie journeyed from Nichols to Webb to Artless.

I think Simon was lurking somewhere in my psyche when I went "on record" two days ago at --but more like the musings of Bookends: "Time it was, And what a time it was, It was... A time of innocence, A time of confidences."

Thanks for helping preserve our memories.

Jan Stevens

Also, let's not forget how many Simon's tunes (mostly S&G hits) recorded by jazzmen over the years. My favorite is Paul Desmond's "Bridge Over Trouble Water" on CTI. Herbie Hancock plays beautiful Fender Rhodes on it, Ron Carter and Airto also appear.Arranged by Don Sebesky! Then there is Bill Evans' version of "I Do it for Your Love" which he played steadily the last two years of his life.


Wow...Paul and Art!

T.K. Tortch

Well, there's at least one contemporary cover of "Mrs. Robinson" on Youtube by the charming musical couple that call themselves "Pomplamoose"; 2 million + views and counting:

Cha Cha

To show how universal Simon & Garfunkel's music could be, when Mark Murphy recorded the LP, "This Must Be Earth" during his years living in Europe, the song "Scarborough Fair" was included. (For the record (pun intended), it was sung absolutely straight, with no scatting, and kept very true to the spirit of the original version, albeit without "Canticle" being interspersed.


I don't know much about them however i always hear their songs in my father's favorite songs.

Jery Rowan

"...sporting tight vocal harmonies..."

More often than not their harmonies were so tight as to be in unison -- 'The Sound Of Silence' being an exception -- which is probably why I never appreciated Art Garfunkel's musicality as much as I did Paul's. And probably why I consider their early works lacking legs.

For me, Paul's En Vivo! period provided a whole new appreciation for his talent. Exciting kick-ass stuff. And certainly memorable.

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  • Marc Myers writes regularly for The Wall Street Journal and is author of "Anatomy of a Song" (Grove) and "Why Jazz Happened." Founded in 2007, JazzWax is a two-time winner of the Jazz Journalists Association's best blog award.

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