Chords for Sophie Milman: In The Moonlight

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_ _ [N] _ _ _ _ This [B] _ _ [Eb] _ _ [Bb] _ [B] _ [Eb] was 16 [Ab] completely new songs and it's been really [Gb] enriching and it's made me think
[B] I can be thrown in a [Ab] completely new situation [Eb] with big guys and carry [A] myself with confidence
[Bb] and grace and skill and [Gb] feel good.
_ [Db] _ _ [Ab] _ _ [Eb] _ _
[B] _ _ [B] _ _ [Ab] _ _ _ [B] _
_ _ [Eb] _ _ [Dbm] _ [A] _ [Ab] The first time I ever heard Sophie I was listening to jazz radio station, I forget I was out
of town I don't remember where, and there was [Gb] a version of a standard and I was really
struck by the [E] richness and the size [Cm] of her vocal instrument.
[Dbm] _ _ [Gbm] _ _ [C] _ _ _ [D] _
[Abm] _ _ _ [Bb] _ _ _ [Db] _ _
[Gb] _ _ _ _ _ _ [Dm] _ _
[B] _ _ [Eb] _ _ [Ab] _ _ [Db] _ _
[Ebm] _ [Eb] There's something about her [Db] voice that sounds her age [Eb] to me which is [Ebm] really special.
_ [Eb] There's [Ab] a retro element to it [A] but _
[Bb] when I heard it [B] and I thought well how old is that person
[F] when I first heard her she was probably 23.
[Bb]
[Dbm] She sounds like she's [C] in her 20s which [Dbm] was kind of nice.
[A] _ _
_ _ [Eb] _ _ [Ab] _ _ _ _
[Db] _ _ [Bbm] _ _ [Gb] _ _ The way [Db] this record is different is I think the [Dbm] scope of it.
[Em] I mean I have strings [Gbm] and I have _ [B] [Db] every single instrument imaginable _ [Eb] soloing and guesting
and blending colors [Db] and it was [Gb] extremely exciting.
It made it feel [Eb] way bigger [B] than anything else I've ever done. _
[Db] _ _ [B] _ _ [Ab] _ _ _ [F] _
[Dbm] _ _ [Ab] _ _ [A] _ I think of her [Gbm] records it's where she first [Ebm] felt really [Ab] comfortable in what she was as
an [Abm] artist and it felt like a really good statement as here I've arrived and this is my sound
and this is my point of view.
[B] _ _ [Ebm] _ _ [B] _ _ [Bb] _ _
_ _ [Gb] _ _ [Db] _ _ [Bb] _ _
[Gbm] _ _ _ _ [A] _ _ [Ab] _ _
[A] _ _ _ _ [B] _ _ _ _
The amazing thing about working with Matt is that [G] he really knows what he wants.
[F] _ _ _ _ _ _
[A] _ _ _ _ [Cm] I [Abm] would bring him lots of [Eb] songs and he would say you know what this particular word, [A] this
particular [D] line I can't [G] buy you singing it or [Eb] I can't, I don't believe let's say a [A] woman
singing it if [Gm] it's one of those tunes where we change you know [Ab] we make it from the female
perspective and [G] I'd be like you know what [Cm] this is a guy who goes deep into a song.
[D] _
_ _ [G] _ _ [Abm] _ _ [Gm] _ _
[C] With the right [E] song match with the right artist then you [Eb] can have some magic and I [A] think with
her [Ab] because there's so much [G] richness in her voice and there's so [D] much nuance that [Em] exotic
little bit [E] of accent coming from Russia to Israel to Canada [Abm] I think makes it possible
for [G] her to be that much more individual.
[Eb] _ _ [C] _ _
_ _ _ _ [Cm] _ _ [C] _ _
_ _ [Eb] _ _ _ _ _
I like to make records that take listeners on a journey that show different [G] aspects of
me that aren't boring that are interesting [Cm] and he really reads [F] into the lyric really
checks out [Cm] the melody and really is able to imagine what I [Eb] would sound like on it and
whether he buys it or not way before I even sing it.
So [Eb] selfish _ two words that could describe _ _ [G] all actions [Cm] of mine _ [Fm] when patience [Eb] isn't your _ _ supply.
_ _ _ What was important for me for [N] this record because we had a few different directions
we were going to go to arrangement wise was stability in the rhythm section.
One, two, one, two, three.
[Eb] _ _
[D] _ Calling Lyra Grenadier who's one [E] of the greatest bass players in the world who I've [Gb] worked
with for 15 years or so and Lewis Nash who's one of the greatest [A]
drummers not just a great
[Eb] drummer but an incredible all-around [Bb] musician and those [A] guys had played together a bit [Bm] so
we were able to play off [Ab] of both of [Bbm] their experience and [C] the diversity of their musical
palettes [Em] and to have them on the entire record so that [B] then when we change some of the [Cm] other
roles based on the [D] material that stability is going to [A] be there. _
[Em] _ _ [A] _ _ [D] There's an [Bm] added responsibility and thrill [Bbm] when you have [Ab] Larry Grenadier [Bb] and Lewis Nash
[A] and Gerald Clayton [Gbm] and Gil [D] Goldstein and Chris [A] Potter and I mean [Gb] I'm so starstruck.
_ _ [E] _ _ [A] _ _
_ _ [Ab] _ _ [G] _ _ [E] _ _
_ _ _ _ [Am] _ _ _ _
[Eb] _ _ [C] _ _ Speak Low. _
Speak Low really [Gm] surprised me.
I came in with kind of like a more [C] traditional [F] view on it [C] and then [Ebm] Julian started [Gm] plucking
his guitar and he just started making these sounds and the other [F] guys just came in and
[C] this thing was [A] born and I sing it completely differently than I've ever [G] sung it before.
You know I'm used to sort of [D] singing it big and speak low and whatever [Eb] but it wound up
being this like super [Ab] tender _ interesting kind of groovy track.
That was really surprising.
I'm ominous swift [G]
[C] like ships adrift we're swept [Bb] apart [G] too soon.
_ [Cm] _ [Gm] Like every 10 years there's [C] this conversation is jazz dead?
Like I remember reading articles from the 60s [Cm] is jazz dead?
[F] Jazz isn't dead.
It's [D] like asking if classical music is dead.
It's not dead.
[Gm] There will always be [Eb] an audience for it.
There will always be a market [Ab] for it and there will always be [Gb] people who want to play it
[Ab] because it's awesome.
That tomorrow [Bb] is near.
[Eb] Tomorrow is the [F] year and no ways to [Bb] sue.
_ _ [Bbm] I think this record is a great example of how [Gb] seasoned and [Bb] experienced musicians can
work together [Eb] with sort of the new guard or you know the young cats and I [Ebm] think it's really
up to us to take the music [Dm] out there and I think young people doing it is [C] really hopeful
and it's really inspiring.
_ Darling we're late curtain descends [F] everything ends.
[D] Too [G] soon, too [Dm] soon [Eb] I'll _ [Fm] wait.
Darling [D] I'll _ wait.
Will [Cm] you speak [C] loud to me?
[F] Speak