The bridge of the song showcases an instrumental section featuring an extended sax solo from Henry and one from Adams on Rhodes before all the horn charts fade out the song following an extended chorus. The chords on the chorus have a brighter tone to them. John Adam’s Fender Rhodes also provides a solo that plays the exact counterpoint to Winhouse’s main guitar rhythm.
Winhouse’s vocals are accompanied by Vincent Henry’s punchy sax solos. Winehouse starts out the song with steady jazz guitar strumming-with Remi’s drums playing an in the pocket beat right along with her strumming. And one number that illustrates this well is called “Mr Magic”. My friend Henrique and I have talked to some level about the significance of her musical legacy-especially in regard to her breakout album Back In Black. Upon hearing her debut album however, it became clear to me just how vital her jazz/funk/soul sound was even at the start of her career. Sadly, she joined the 27 club in 2011 from a culmination of her self destruction. And a lot of resulted drug abuse and eating disorders. Winehouse’s career was marked by a dysfunctional family and love life. In 2006, she took the world by storm with her Back In Black album, recorded with the Dap Kings. At 20, she released her debut album Frank, a rather neo soul oriented album produced by Salaam Remi. She began playing guitar and writing songs at age 14. And her father sang her Frank Sinatra songs as a child. Her mother was a singer for a time who dated UK jazz sax player Ronnie Scott. Born to a English Jewish family, her exposure to jazz came early in life. Amy Winhouse is quite possibly THE popularly successful jazz oriented female vocalist during my adult years who wasn’t strictly a balladeer.
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