Almost Every Day

Pop music – and the song form – always embeds itself in a place, sentiment, disposition. A title can be considered as a poetics of location (in a similar way to a score, delineating the heart of a piece) – where these things solidify, can be reached (5AM in Toronto; Leaf in the Wind ; Sunshine on my Shoulder ; Evening Harmony).

The standard and the cover can be read as games of signature : what is glimpsed in a title shifts, becomes hushed, is transfigured in the likeness of someone else – the song changes. The music gives under the genesis of a new and personal location – a different kind of morning, another shade of melancholy, a private pleasure : one’s way of walking through things (Softly as in a Morning Sunrise ; I Fall in Love too Easily ; Guess I’m Dumb ; April in Paris ; Autumn Serenade).

As a compilation, Almost Every Day foregrounds the standard and the cover – not strictly as restagings of musical material, but also as forays into the poetics of a title and its musical implications.