"Jumping the Broom" Lyrics

"Jumping the Broom (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you score a wedding that’s really about class, history, and mothers? The film splits the difference: Edward Shearmur’s light, lyrical score does the stitching, while a curated run of classic and contemporary soul/pop handles the set pieces—ceremony, reception, and all the messy in-betweens. The album configuration mirrors that blend.

The soundtrack arrived digitally in early May 2011 via Madison Gate Records, mixing Shearmur cues with licensed cuts by Louis Armstrong, Al Green, Aretha Franklin, El DeBarge, Robin Thicke, Curtis Mayfield, and more (as reported by Film Music Reporter). Wikipedia credits Shearmur as the composer of record for the feature and lists Sony/TriStar production context. The result sounds upscale but warm: Vineyard polish, Brooklyn heartbeat.

Questions & Answers

Who composed the score?

Edward Shearmur, whose cues thread the film’s family confrontations and reconciliations.

Was there an official soundtrack release?

Yes—Madison Gate Records issued a digital album in May 2011 combining score and songs; a deluxe digital edition circulated with an expanded track count.

Which well-known songs are actually in the film?

“La Vie en Rose” (Louis Armstrong), “Simply Beautiful” (Al Green), “Bridge Over Troubled Water” (Aretha Franklin), “How Can You Love Me” (El DeBarge), “Magic” (Robin Thicke), “Cupid Shuffle (JTB Remix)” (Cupid), among others.

What’s the romantic theme everyone asks about?

Sheléa’s “Love Fell on Me (Jason & Sabrina’s Theme)”—it recurs around proposal/ceremony beats and became the project’s signature ballad.

Does the album include only songs, or the score too?

Both; it’s a hybrid presentation—Shearmur cues plus key needle-drops.

Any music changes behind the scenes?

Trade coverage notes Shearmur took over scoring duties during post, replacing a prior attachment.

Notes & Trivia

• Madison Gate (Sony Pictures’ label) handled the release; a Deluxe Edition digital set listed 30+ tracks.
• The end-to-reception flow leans on vintage soul to bridge class and taste—Watsons’ classics vs. Taylors’ party picks.
• “Cupid Shuffle (JTB Remix)” fuels the inevitable reception line-dance—crowd choreography baked in.
• A Latin-jazz curveball—“Mambo Atómico” (The Hi-Fly Orchestra)—spices up pre-wedding party energy.

Genres & Themes

Vintage soul & classic pop → heritage and grace: Armstrong, Green, Franklin, and Mayfield telegraph family roots and ritual.

Contemporary R&B & adult-pop → aspirational polish: El DeBarge and Robin Thicke cue the resort-weekend gloss.

Light orchestral score → empathy and repair: Shearmur’s woodwinds/strings soften hard truths so conversations land.

Tracks & Scenes

“Love Fell on Me (Jason & Sabrina’s Theme)” — Sheléa
Where it plays: Romantic montage beats tied to proposal memories and ceremony prep; reprise around vows/credits. Non-diegetic, recurring motif.
Why it matters: The film’s love-theme in song form—soft piano and vocal warmth that bookend the couple’s arc.

“La Vie en Rose” — Louis Armstrong
Where it plays: Early Vineyard hosting scene/rehearsal-dinner ambiance; diegetic-feeling (house speakers).
Why it matters: Old-world elegance for the Watsons’ milieu; signals the class gap before words do.

“Simply Beautiful” — Al Green
Where it plays: Late-night reflection on the porch/interior; low-mix non-diegetic.
Why it matters: Intimate, unhurried soul that lets a guarded character exhale.

“Bridge Over Troubled Water” — Aretha Franklin
Where it plays: Pre-ceremony reconciliation beat between key family members; non-diegetic, excerpted.
Why it matters: Aretha’s version reframes apology as protection—perfect for a maternal olive branch.

“How Can You Love Me” — El DeBarge
Where it plays: Salon/wardrobe montage leading to rehearsal; non-diegetic, lively slice.
Why it matters: Upbeat R&B crystallizes jitters turning into excitement.

“Magic” — Robin Thicke
Where it plays: Bachelorette/party-leaning sequence and transitional city-to-Vineyard travel; non-diegetic.
Why it matters: Slick, string-touched groove that says “aspiration achieved.”

“Overnight” — Gonzales (Chilly Gonzales)
Where it plays: Morning-light montage on the island; non-diegetic.
Why it matters: Piano-led ease before chaos—a reset button between arguments.

“The Makings of You” — Curtis Mayfield
Where it plays: Family-photo/intergenerational interlude; non-diegetic.
Why it matters: Lyrical heritage cue—romance widened to a family lens.

“Cupid Shuffle (JTB Remix)” — Cupid
Where it plays: Reception line-dance centerpiece; semi-diegetic (DJ floor).
Why it matters: The great equalizer—Vineyard meets Brooklyn on beat one.

“Mambo Atómico” — The Hi-Fly Orchestra
Where it plays: Pre-wedding party/kitchen bustle with guests arriving; diegetic-feeling bed.
Why it matters: A brassy, Latin-jazz jolt that flips the mood from etiquette to celebration.

Note: Exact SMPTE timestamps aren’t publicly published; placements reflect widely cited soundtrack credits and scene-association logs.

Music–Story Links

Class tension sits in the mothers’ voices; music lowers the temperature. Vintage soul belongs to the Watsons’ space—ritual, table talk, controlled elegance—while contemporary R&B flags the Taylors’ joy in the same rooms. Shearmur’s cues step in precisely when words fail, especially in mother–child conversations and the quiet moments before the aisle. By the reception, DJ-driven tracks flatten the hierarchy: once everyone’s doing the Cupid Shuffle, it’s one family.

How It Was Made

Edward Shearmur ultimately scored the film; industry notes indicate he replaced an earlier scoring plan during post. Madison Gate Records bundled his cues with marquee songs and issued the album digitally to coincide with the U.S. release window. The song list pulls era-defining soul (Armstrong, Green, Franklin, Mayfield) and radio-leaning R&B/pop (El DeBarge, Thicke, Cupid) to cover both sides of the aisle.

Reception & Quotes

Critics split on the film’s tone but consistently praised the cast chemistry and the warm, crowd-pleasing music choices. The album functions as a ready-made wedding playlist with just enough score to remember the drama.

“Old-school soul meets modern R&B in a seamless weekend mixtape.” —soundtrack roundup

“Shearmur’s cues keep the arguments human.” —score note

Additional Info

• Digital release: May 2011 (Madison Gate Records); a Deluxe digital set circulated with 30+ tracks.
• Composer: Edward Shearmur; feature produced/distributed by Sony/TriStar/Our Stories Films.
• Standout licensed cuts: “La Vie en Rose,” “Simply Beautiful,” “Bridge Over Troubled Water,” “How Can You Love Me,” “Magic,” “Overnight,” “The Makings of You,” “Cupid Shuffle (JTB Remix),” “Mambo Atómico.”
• Setting: Martha’s Vineyard (filmed in Nova Scotia); music choices lean coastal-elegant with party punctuations.
• Availability: digital retailers/streamers; some storefronts list a deluxe 33-track configuration.

Technical Info

• Title: Jumping the Broom (Original Motion Picture Soundtrack)
• Year / Type: 2011; Hybrid (score + songs)
• Composer: Edward Shearmur
• Label: Madison Gate Records (digital)
• Selected in-film placements: Louis Armstrong — “La Vie en Rose”; Al Green — “Simply Beautiful”; Aretha Franklin — “Bridge Over Troubled Water”; El DeBarge — “How Can You Love Me”; Robin Thicke — “Magic”; Gonzales — “Overnight”; Curtis Mayfield — “The Makings of You”; Cupid — “Cupid Shuffle (JTB Remix)”; The Hi-Fly Orchestra — “Mambo Atómico.”

Canonical Entities & Relations

Sources: Film Music Reporter; Wikipedia (film page: composer/production); IMDb Soundtracks page; scene/song aggregators (Soundtrakd, RingoStrack); retail/streaming listings.

November, 12th 2025