Ice Cream is the only remotely tolerable Sarah McLachlan song because its underlying groove is a hip jazz waltz

Snobs like me consider Sarah McLachlan to be offensively inoffensive, like a too-sweet-smelling aromatherapy candle. But Ice Cream is a whole different story, and though I've always liked it, I only just now figured out why: it's the drum part.

Sarah McLachlan - Fumbling Towards Ecstasy - Ice Cream Ice Cream

Most S McL songs are based around different bland grooves in four-four time. But Ice Cream is in three-four, and a syncopated, swinging three-four at that. While your conscious mind tends to focus on the lyrics and such, your monkey brain starts happily tapping its toes to the tune's happening beat.

A little history is in order here. A common nickname for three-four is waltz time, and the waltz used to be one of the dominant styles of popular music (think Blue Danube, its era's memetic equivalent to Thriller.) But somewhere around the beginning of the twentieth century, the waltz got played out, and has since been regarded mostly as corny. Country music does still use a lot of waltz time, but it tends to pride itself on its atavistic corniness. The blues shuffle common in rock and roll has kind of a three feel, but it's part of a larger twelve-eight, actually a very slow and triplet-heavy four-four. With few exceptions, American music has been a waltz-free zone for the past half-century.

In the late fifties and early sixties, bebop musicians started to investigate three-four time in earnest, for them an exercise in exotica. They quickly discovered that three sounds better if you play it slower, looser and with more surprises in it. The jazz waltz as perfected by the John Coltrane quartet with Elvin Jones is a different animal entirely from the "oom-pah-pah oom-pah-pah" used by Strauss. The canonical example is Coltrane's version of My Favorite Things, off the classic album by the same name.

John Coltrane - My Favorite Things My Favorite Things

You can hear some other Coltrane quartet facemelters in waltz time on his 1961 Village Vanguard recordings.

John Coltrane Quartet - The Complete 1961 Village Vanguard Recordings dig any version of Spiritual or Greensleeves

Here's a typical Elvin Jones three-four ride cymbal pattern:

This is two bars of three-four time (some people count it as one bar of six-eight.) Beats one, two and three are called the strong beats, the ones where you're expecting something to happen. Beat one is the strongest of the strong beats. The 'ands' in between the strong beats are the weak beats, the ones where's you're not expecting things to happen. The 'and' of one is the weakest of the weak beats, and by insistently hammering on it, Elvin transforms it into a new strong beat. This is the kind of thing that you hear a lot in music originating in Africa and the Caribbean, and not so often in music originating in Western Europe. The dead white guys would accent the 'and' of one occasionally, but it would have never occurred to them to do it for ten or twenty minutes on a stretch like Elvin did during the more extended Coltrane performances.

Guy Nadon, the Canadian jazz drummer on Sarah McLachlan's track, mentions on his web site that he knew and played with Elvin, which comes as no surprise at all when you hear him play. On Ice Cream, Guy doesn't play as intense or complex as Elvin would, but he does slip those hip Afro-Cuban touches in here and there. It's enough to rescue the song from its gooey lyrics, chords, melody, arrangement and production. Mr Nadon had a great session that day, it's a really relaxed, swinging performance, and I salute him for it. Whatever he charges an hour, he's worth it.

© ethan hein 2007 | back to memebase | back to top