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“[‘Star Eyes’
is] a piece that Brooks was born
to play.” |
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- Lawrence
Kart
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Helen O’Connell and
Bob Eberly, with Jimmy Dorsey
and His Orchestra, introduced “Star
Eyes” in the 1943, MGM musical,
I Dood It. Before they could
make a recording of “Star Eyes”
O’Connell left the band to get married
and was replaced by Kitty Kallen.
So it was Eberly and Kitty Kallen
who sang on the Dorsey Orchestra’s
recording of “Star Eyes,” which
was on the pop charts for 16 weeks
in 1943, peaking at number three.
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I Dood It (aka By Hook
or by Crook in Great Britain)
starred Red Skelton and Eleanor
Powell and was a remake of Buster
Keaton’s
Spite Marriage (1929). In
Vincente Minnelli’s opinion, it
was the worst movie he ever directed.
Part of the problem was that he
was hired after production had already
begun, and the producer would not
let him discard any of the previous
work. Also included in the cast
were Lena Horne and Hazel Scott,
appearing as themselves. The high
points of
I Dood It were the performances
of “Jericho,” “Taking
a Chance on Love,” “One
O’Clock Jump,” and “Star Eyes.”
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Usually performed at a relaxed tempo, “Star Eyes”
is often characterized as “dreamlike” or as a “dreamy
ballad.” Jazz musicians appreciate its irregular
chord progression. Don Raye’s lyrics have complimentary
appeal as an expression of love and the hope that
it will be returned. Not sophisticated or urbane,
the lyrics are reasonably modern for 1943, avoiding
the archaic and overly sweet operetta style found
in romantic songs of the previous decades. Interestingly,
the last section of the song includes the lines,
Makes no difference where
you are,
Your eyes still hold my wishing star
which are obviously derived from
When you wish upon a star,
Makes no difference who you are
sung by Jiminy Cricket and written by
Ned Washington for the Academy Award-winning
song, “When
You Wish Upon a Star.”
Cliff Edwards voiced the part of the animated
cricket in the 1940 film,
Pinocchio. -JW
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Musical analysis of
“Star Eyes”
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| Original
Key |
F major;
brief forays into Eb major, Bb major, and
Ab major as well |
| Form |
A – A – B
– A with four measure tag |
| Tonality |
Major throughout |
| Movement |
“A” section
uses primarily ascending steps. “B” jumps
around a bit for four measures before descending
stepwise into the last “A”section. |
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Comments
(assumed
background)
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Originally a ballad, this tune lends itself
to a wide variety of treatments. The “A”
section starts out I – ii7 – V7 – I. The
I then turns into a minor ii7 for the chord
a step below it, returning to the tonic
via a tri-tone leap up and circle-of-fifths
variation using a iiø7 – V7 sequence that
forms a nice descending, common-tone, chromatic
line. The flatted fifth of the iø7 becomes
the flatted ninth of the dominant chord
that follows, naturally descending a half
step to become the fifth of the next “tonic-of-the-moment.”
This fifth degree than descends another
half step as the tonic of the moment becomes
the iiø7 of the chord a step below it.
This type of voice leading (similar to
the harmonic progression used in “How
High the Moon”) is repeated in the “B”
section as well. The tag, however, ends
the song with a simple, chromatic, descending
progression (essentially, the old Dixieland
favorite of a I – VI7 – II7 - I turnaround).
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K. J. McElrath - Musicologist for JazzStandards.com
Check out K. J. McElrath's book of Jazz Standards Guide Tone Lines at his web site (www.bardicle.com). |
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“Star Eyes”
was included in these films:
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Click on a CD for more details
at Amazon.com
Charlie Parker
The Essential Charlie Parker
1992, Polygram 517173
Compilation
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| This CD features the alto saxophonist
in a variety of formats and provides a great
place to become acquainted with Parker.
Excellent version of “Star Eyes.” |
Cal Tjader
La Onda Va Bien
1990, Concord 4113
Original recording, 1979
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| Vibraphonist Tjader launched the
new Concord Picante label dedicated to Latin
Jazz with this superb CD featuring Latin
percussionist Pancho Sanchez in the sextet.
“Star Eyes” swings seductively, and “Speak
Low” is also marvelous. |
Lorez Alexandria
Star Eyes
1996, Muse 5488
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| Vocalist Alexandria is a subtle
interpreter, commanding the sort of attention
that makes her recordings more delicious
on each listening. This is a fine version
of “Star Eyes” with top-notch personnel. |
Roy Hargrove
Parker’s Mood
1995, Polygram 527907
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| These once young lions, trumpeter
Hargrove, pianist Stephen Scott, and bassist
Christian McBride, have matured into virtuoso
players. But they still show a lot of the
playful cubs in their vibrant approach to
the music. |
Bobbe Norris
Out of Nowhere
2000, Four Directions
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| The warm-voiced Norris opens a beautiful
“Star Eyes” a cappella. She welcomes several
guests to join her and husband/pianist Larry
Dunlap, including Mark Murphy who sings
a duet with her on “Invitation.” |
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It’s undoubtedly due to Charlie Parker that “Star
Eyes” became a jazz standard. Three recordings illustrate
the influence Parker had on other saxophonists,
but their playing also reflects his influence, tenor
saxophonist Lester Young.
Alto saxophonist/arranger Lennie Niehaus’ recording
from 1955 is interesting not only musically but
instrumentally, with a group including a small string
section, tenor and baritone sax, and rhythm.
Lee Konitz, whose primary instrument was alto,
plays tenor on his recording from 1956, perhaps
to avoid comparison to Parker.
Altoist Art Pepper, on arguably one his best
recordings (made in 1958 in Los Angeles), is accompanied
by Miles Davis’ rhythm section of Red Garland (piano),
Paul Chambers (bass) and Philly Joe Jones. Supposedly
Pepper hadn’t played his horn in six months, but
if that was the case his playing doesn’t reflect
it.
Chris Tyle - Jazz Musician and Historian
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This section shows the jazz standards
written by the same writing team. Click on a name
to see all of a writer's jazz standards.
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Additional information on “Star Eyes” may be found in:
1 paragraph including the following types of information: summary.
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