Bobby Mcferrin

This album was originally released in 1988 as "Bobby McFerrin - Don't Worry, Be Happy". Vocal virtuoso Bobby McFerrin ranks among the most distinctive and original singers in contemporary music – equally adept in jazz, pop, and classical settings, his octave-jumping trademark style, with its rhythmic inhalations and stop-on-a-dime shifts from falsetto to deep bass notes often sounds like the work of at least two or three singers at once, while at the same time sounding quite unlike anyone else.

Vocalist Bobby McFerrin, best known for his pop hit, "Don't Worry, Be Happy," is a talented vocalist and all-around musician. This recording is a true reflection of his genius, and it takes jazz-fusion to another level. Joining McFerrin is the great pianist Chick Corea, with Gil Goldstein on accordion, Cameroonian bassist Richard Bona, Brazilian percussionist Cyro Baptista, and drummer Omar Hakim. Their music is a 21st-century blend of Return to Forever and Weather Report. McFerrin's superhuman vocalese investigates and invigorates a number of musical genres. Corea's spellbinding piano motifs grace the calypso-like "Invocation."

Bobby McFerrin is the debut album by Bobby McFerrin, released in 1982. Vocal virtuoso Bobby McFerrin ranks among the most distinctive and original singers in contemporary music – equally adept in jazz, pop, and classical settings, his octave-jumping trademark style, with its rhythmic inhalations and stop-on-a-dime shifts from falsetto to deep bass notes often sounds like the work of at least two or three singers at once, while at the same time sounding quite unlike anyone else.

We can always expect something new from Mr. McFerrin. Circlesongs is a recording of eight spontaneous vocal improvisations sung by twelve singers and Bobby. Three basses, three tenors, three altos and three sopranos create the vocal textures around which Bobby weaves his lilting solos. The songs are very like chant because of the repeating and rhythmic sounds which truly have a circular sound. Words are eschewed in favor of syllables of sound, a style McFerrin explains, "I've always felt that singing a song without words makes one song a thousand songs because the people who hear it can bring their own stories to it."