What is important are the memories of the good times that summer brought, how it made us feel.Īnd so, the clarity of Poso’s arrangement makes us feel more connected to the present moment, whilst the haziness of Keifer’s track makes us feel more reflective and reminiscent. Timing and rhythm are less important here.
The instruments are more selective about which parts of the track to accentuate with sentimental overtones and phrasings. Keifer’s rhythm is much slower, perhaps because he is digesting the summer fruits enjoyed earlier in the day or perhaps because Keifer wants to make every second of the summer last. If Poso’s sunshine is of the midday sun, then Keifer’s sunshine is of the setting sun. The flute and xylophone bring out the youthful nature of this rendition, reinforced by the singer’s voice that heralds summer flowers in full blossom. Poso’s sunshine is that of a clear summer’s day when the sun is almost at its peak in the day and the air is very fresh. It has a pulse, an energy that propels the piece forward.
Poso is an percussionist and so quite rightly, the track is driven by the rhythm section. There are so many versions of this track I like, but there are two renditions I heard recently that got me thinking about how two genius composers were able to create arrangements that evoke a distinct impression of a certain time of day. This track is practically a Jazz Standard, and for good reason, the lyrics are as close to universal as you can get, and the instrumental sections leave plenty of room for the kind of free-flowing interpretation musicians love. “Everybody Loves The Sunshine”, Roy Ayers first crystalized this fact into Jazz Lore in 1976. Here is Roy Ayer’s 1976 original version.
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