A great melody first, then lyrics,(only) THEN 'vocals'

[Mark Blackburn]

MAM'SELLE -- so nice, Frank did it twice!

 

Siriusly Sinatra satellite radio is playing MAM'SELLE – Frank's 1960 version (first recorded by my favorite singer the year of my birth – but I wasn't aware of that till a moment ago). YouTube has two versions by Frank: First, the one I've loved for decades, included as it was on the Nice 'N' Easy album -- with strings and flutes so beautifully (and economically) arranged by Nelson Riddle. It almost sounds like a "with the Hollywood String Quartet" recording (wonder if those string players included Mr. and Mrs. Felix Slatkin -- half of the 'Hollywood quartet'?)

 

 

 

The first offering this day at Youtube -- the earlier 'hit parade' recording.' Like me, you may be hearing it for the first time today! First, the Nice 'N' Easy sessions recording:

 

 

 

 

 

 

Frank's 72 year old version arranged by Axel Stordahl which, like the later Riddle arrangement, featured exquisite violin obligatos. A kindred spirit's “comment” below this video

 

 

 

Richard Whiteman Jazz4 years ago

 

Listen to the strings right after "a kiss became a sigh". . . Stordahl was a great arranger.

 

 

 

 

 

 

---

 

 

 

I always mean to start a thread on Mack Gordon who penned the lyric for this song – at the request of an English-born Hollywood film director Edmund Goulding (who died, age 68, Christmas Eve 1959). Mack Gordon was even younger (54) when he died that same year. His Wiki entry begins,

 

 

 

Mack Gordon (born Morris Gittler, June 21, 1904 – February 28, 1959)[1] was an American composer and lyricist of songs for the stage and film. He was nominated for the best original song Oscar nine times in eleven years, including five consecutive years between 1940 and 1944, and won the award once, for "You'll Never Know".[2]That song has proved among his most enduring, and remains popular in films and television commercials to this day. "At Last" is another of his best-known songs.

 

 

 

[The song has a one-line Wiki entry but a list of the artists who immediately recorded it to compete on the 1947 hit parade.]

 

 

 

"Mam'selle" is a bittersweet song about a rendez-vous with a "mam'selle" (mademoiselle) in a small café. The music for MAM'SELLE was written by Edmund Goulding, the lyrics by Mack Gordon. The song originally appeared in the movie, The Razor's Edge, with Tyrone Power in 1947.

 

 

 

Five versions of the song became top ten hits in 1947: by Art Lund, by Dick Haymes, by Frank Sinatra, by Dennis Day, and by The Pied Pipers. Frankie Laine had a hit jazz version, renowned for its vibe solo by Lou Singer.

 

 

 

The Art Lund recording was recorded on February 20, 1947 [which] first reached the Billboard magazine charts on April 11, 1947 and lasted 11 weeks on the chart, peaking at #1.

 

 

 

The Dick Haymes recording was recorded on March 6, 1947 and first reached the Billboard magazine charts on April 25, 1947 and lasted 8 weeks on the chart, peaking at #4.

 

 

 

The Frank Sinatra recording was recorded on March 11, 1947 and released by Columbia Records as catalog number 37343. The record first reached the Billboard magazine charts on May 10, 1947 and lasted 4 weeks on the chart, peaking at #6 on the Best Seller chart, and #1 on the Jockey chart.[1]

 

 

[Mark Blackburn]

[h=2](Still) our Favorite song for this day -- Happy Father's Day![/h]

"Always a partner, a playmate and a teacher

Ready with a joke when times were sad

And in my teens, sometimes he was a preacher

This song's not for you folks -- it's for my dad . . .

 

Awakened this Father's Day Sunday to Siriusly Sinatra satellite radio playing the perfect song for the occasion – Nancy's best-ever recording: First version offered to viewers this day at YouTube is this one (with 1.7 million views) posted by “ManyHandsWoman” with a headline reminding us that this song was . . .

 

“Recorded by Nancy as a tribute to her father Frank Sinatra in 1977, and re-released after his death. Written by Lana Chapel, as a Father's Day gift for her stepdad, Jeff Calongne. Visit Nancy's website to purchase this song . . .

 

 

[Comments below the video include heartfelt thoughts like these:]

 

 

Alison Lambert 5 years ago

 

THIS SONG BREAKS MY HEART EVEN MORE THAN IT IS ALREADY AS I HAVE LOST MY DAD AND MY BEST FRIEND.BUT THE WORDS SAY EXACTLY HOW I FEEL AND FELT ABOUT MY DAD. AND I AM VERY LUCKY TO HAVE TOLD HIM IN LIFE HOW SPECIAL THIS SONG MEANT TO ME.AND IT WILL REMAIN IN MY HEART JUST AS MY DAD WILL.ALWAYS . . .

 

Donna Gerhard 6 years ago

I too love this song. My Daddy died in 1983. And, when i heard this song and it was Nancy(The Special Lady who Changed My Life) I cried.this song is perfect in so many ways, Great Job.I Love it and it reminds me of My Dad...Thank You!

 

Monica Gibson 6 years ago

I danced with my dad to this song at my wedding. I love it. Not to mention when I asked him what he thought of the song before my big day he said it made him cry.

tender moments are the best

[Mark Blackburn]

Two "favorites" that elicit tears of joy (back-to-back on Sirius this day)

 

Before leaving for church this morning (guess what I listen to on the way there and back: You know, 'prepare the heart for thanksgiving' and all that,) I'd taken a moment at Sinatra Family's "Siriusly Sinatra" forum to say that,

 

 

 

“I was pleasantly surprised to be reminded of my favorite song (words & music) by Stephen Sondheim: GOOD THING GOING (Going, Gone).” [and that it sounded to me] “like a blend of the best of Joe Raposo and The Bergmans! But no. The 'Send in the Clowns' guy (who got to work with my favorite composer). Was this from one of Sondheim's Broadway Shows? I always mean to find out but something gets in the way. Wonderful tune, and what a lyric!”

 

 

 

So, I'm pulling up at my church (a few minutes early) and as if to say: “I see you, and raise you these two!” Siriusly Sinatra's programmer this day – Jersey Lou, or his 'designated hitter' who shares his great taste -- plays TWO consecutive songs, where great melodists, Joe Raposo and Neil Diamond, who usually composed their own lyrics, asked Hal David and 'The Bergmans' (Marilyn and Alan) to please, do these melodies justice.

 

 

 

The first was the definitive rendition of Joe Raposo's TO LOVE A CHILD – one for which he'd begun writing a lyric – but then turned to Hal David for the perfect words.

 

 

 

The very next track on Sirius this day was Barbra's definitive, solo rendition of YOU DON'T SEND ME FLOWERS ANYMORE; Neil Diamond had composed the wonderful melody (and a little bit of the lyric) for a TV special. But the song didn't get used; Neil knew his great melody deserved a great lyric – by the Bergmans, of course!

 

 

 

Let's enjoy both (with Wiki notes about each):

 

 

 

“To Love a Child is a 1982 popular song composed by Joe Raposo with lyrics by Hal David. It was released as a single by Frank Sinatra.[1][2][3] "To Love a Child" was arranged by Don Costa and featured Costa's daughter, Nikka Costa, on backing vocals.[4]

 

 

 

“To Love a Child was the theme song for the Foster Grandparents program initiated by Nancy Reagan in 1982, and was performed by Reagan and Sinatra at the program's White House launch. All profits from the song and Nancy Reagan's book about the program went to the Foster Grandparents program.”

 

 

 

 

 

 

And now the 1978 recording by Barbra – the first minute and 30 seconds with just solo piano accompaniment, before the hundred piece orchestra makes its subtle entrance! (Wiki note below)

 

 

 

 

 

 

 

 

[WIKI note]

 

 

 

"You Don't Bring Me Flowers" is a song that hit the top of the Billboard Hot 100 chart in 1978. It is a song about two lovers who have drifted apart while they "go through the motions" and heartache of life together.

 

 

 

The song was written by Neil Diamond with Alan and Marilyn Bergman for the ill-fated daily TV sitcom All That Glitters.[1] The song was intended to be the theme song, but Norman Lear, the show's creator, changed the concept of the show and the song was no longer appropriate. Diamond then expanded the track from 45 seconds to 3:17, adding instrumental sections and an additional verse. The Bergmans contributed to the song's lyrics.[2]

 

 

 

In 1977, Diamond released the album I'm Glad You're Here with Me Tonight, which included the track "You Don't Bring Me Flowers" as a solo performance. Early in 1978, Barbra Streisand covered the song on her album Songbird.

 

 

 

These solo recordings were famously spliced together by different radio stations, creating unofficial duets, the success of which led to the studio bringing the two performers together for an official duet recording.

 

 

[Mark Blackburn]

. . . a door marked 'Nevermore' -- that wasn't there before

 

 

When my own Father was nearing the age I am now -- 72 (Dad made it to 90) I recited to him from memory imperfect the two sentence poem that comprises the entire lyric of my favorite “Best Song” Oscar-winner – THE DAYS OF WINE AND ROSES. I remember Dad was particularly affected by Johnny Mercer's opening words -- about how the things of youth “laugh and run away like a child at play” through a “meadow land, toward a closing door, a door marked 'Nevermore' – that wasn't there before.” I could see that my father was deeply moved, almost close to tears.

 

 

 

Why? I asked. He said it reminded him of a moment when I was little – maybe six, when he and I were walking through a 'meadow land' --- in the middle of a farmer's forest land near our cottage – that opened into a sun-dappled stream, six feet below the surface of the surrounding land -- a sort of mini 'gorge' in which this lovely shallow brook could meander – with crystal clear water and light-colored sand – as picture perfect as a beach in Bermuda.

 

 

 

Apparently my six-year-old self said something that stayed with Dad a lifetime: With no one around but the two of us, amid the warmth of a perfect summer day, he'd told me to take off my clothes, if I wanted, and play in the stream. Which I did. I remember being surprised at my father for reasons I could never have expressed in words!

 

 

 

After which playtime-in-the-brook, that's when I turned to him and expressed the adult sentiment that “This moment will never happen again!” (The door marked Nevermore.)

 

 

 

My friend, fellow-Canadian (favorite social commentator & musicologist) Mark Styne just celebrated this song on his Facebook page. And he included a personal anecdote from his days as a radio interviewer. He shared his favorite 'live' performance of this song by Andy Williams -- introduced by Hank Mancini praising his great collaborator Johnny Mercer in 1987 for their consecutive Oscar-winning songs (this one, and "Moon River"). Mark Steyn writes:

 

 

 

'It wasn't only Andy Williams who loved "Days of Wine and Roses". Jack Lemmon told me about the first time Mercer and Mancini played it. It was after a long day's shoot of a grueling scene, and Blake Edwards insisted Lemmon accompany him to a big empty soundstage with a small upright piano in the middle. "I didn't want to go, but it turned out to be one of the greatest moments of my professional life," he said. "I'll never forget it. Hank began noodling just softly, softly, and Johnny pulls out an envelope and looks at the back just to remind himself, and Hank gives him the key note, and off he goes":

 

 

 

The Days Of Wine And Roses

 

Laugh and run away

 

Like a child at play...

 

 

 

'Sitting at the piano, Mancini had his back to Lemmon and Edwards. At the end of the song, there was silence. Mancini stared down at the keyboard. Still silence. Nothing. Eventually, he turned around to see what was going on, and there were his director and his star with tears streaming down their faces.'

 

 

 

 

 

[Mark Blackburn]

When Sammy Cahn 'hosts' “The Chairman's Hour” (sheer delight)

 

 

I've never tuned in to 'The Chairman's Hour' on Siriusly Sinatra satellite radio – “produced by Charles Pignone” -- and been able to turn off the car radio without hearing the show through to its conclusion. Special 'case in point' this day:

 

 

 

I was pulling up in my driveway this morning having listened with fascination to a ten-minute explanation of the history of “Three Coins in the Fountain,” told by my favorite romantic/humorous lyricist, the late Sammy Cahn – the featured host for today's entire “The Chairman's Hour.” I can't put into words the joy I felt listening to Sammy's endearing voice providing the sort of detail I crave, on how some of his best songs came into existence.

 

 

 

In this case, the details on "Three Coins" included Sammy's joyful recollection of how the producers of the movie of the same name, returned in desperation to Cahn & Van Heusen realizing that the two song writers owned 100 per cent of the rights "to the Number One Song in the Number One Movie in the world.” Sammy deadpans that, “decent chaps that we are, we gave back” (to the film studio) “50 per cent of the royalties.”

 

 

 

Throughout the hour Sammy expresses in various ways his gratitude to Frank Sinatra for his career-long friendship. Including this thought, before introducing “The Tender Trap.”

 

 

 

“I'll always be grateful for Frank putting me and Jimmy Van Heusen together in the first place, and giving us this – our initial assignment – 'The Tender Trap'.”

 

 

 

Sammy then spoke of his special admiration for the great Broadway composers, “Mr. Rodgers, Mr. Berlin, Mr. Styne,” recalling the day he was invited to team with Jimmy Van Heusen for a Broadway musical all their own – Skyscraper which ran for a respectable 248 performances in 1965/66 “Despite” according to Wikipedia “stiff competition from Hello, Dolly!, Mame, Man of La Mancha, and Sweet Charity, the production was nominated for five Tony Awards, including Best Musical and Best Actress in a Musical. featuring this (just about my favorite of the Cahn/Van Heusen collaborations) “I'll Only Miss Her When I think of Her.”

 

 

 

 

 

 

After playing that wonderful recording (with an arrangement featuring my life-long guitar-hero from Brazil, Laurindo Almeida) The Chairman's Hour programmer then played the other most memorable song from that show, “Everybody Has the Right to Be Wrong” (At Least Once!).

 

 

 

'These are the good old days,' I tell my eight grand kids. For reasons like this, 2019 is the best time in human history to be alive. The youngest granddaughters don't get it, but give me big indulgent smiles; my eldest grandson, a terrific musician "Thomas" (22) always smiles in agreement!

 

 

[Mark Blackburn]

[h=2]We miss you Doris -- every time we hear your 'best-ever' version of a song[/h]

 

Siriusly Sinatra satellite radio this morning played Doris Day's early signature song SENTIMENTAL JOURNEY. Not the original recording, but a much better, later version – with full orchestra and a glorious arrangement (wonder who orchestrated it?). THIS version (below) at YouTube, with nearly half a million 'views' (including more recent comments like these):

 

 

 

 

 

Joe Flash 4 (1 month ago)

 

R I P May 13, 2019 Doris Day. Now you have taken your Sentimental Journey up in the High Heavens

 

 

 

Penelope Sawyer (1 month ago)

 

Doris Day "Dont eat the daisies ."you were my introduction as a child to the love of Movies.I thank you for that . RiP

 

 

 

Dee Piper (1 month ago)

 

Doris, I have always loved you. You will be missed by many who listened to your beautiful one of kind voice, movies and TV shows. I have great respect for you and I know you have been welcomed home with open arms and tremendous love. Sad day..a legend has left us! But, we will never forget you Doris.My heart is heavy as are many who loved you through the years. R.I.P. Dear One!

 

 

 

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I'd forgotten that Doris introduced the song just after World War II ended in Europe –when it became the instant, unofficial 'anthem' for soldiers returning home to their wives and families. (See Wiki note below)

 

 

 

 

 

 

[says Wiki}

 

 

 

"Sentimental Journey" is a popular song, published in 1944. The music was written by Les Brown and Ben Homer, and the lyrics were written by Bud Green.

 

 

 

History[edit]

 

 

 

Les Brown and His Band of Renown had been performing the song, but were unable to record it because of the 1942–44 musicians' strike. When the strike ended, the band, with Doris Day as vocalist, had a hit record with the song, Day's first #1 hit, in 1945.[1] The song's release coincided with the end of WWII in Europe and became the unofficial homecoming theme for many veterans.[1] The recording was released by Columbia Records as catalog number 36769, with the flip side "Twilight Time".[2] The record first reached the Billboard charts on March 29, 1945 and lasted 23 weeks on the chart, peaking at #1.[3] . . .

 

 

 

[it] became something of a standard with jazz artists . . . Frank Sinatra recorded his version of the song in 1961 . . .

 

 

 

The song describes someone about to take a train to a place to which they have a great emotional attachment and their mounting anticipation while wondering why they ever roamed away. The opening verse is:

 

 

 

Gonna take a sentimental journey

 

Gonna set my heart at ease

 

Gonna make a sentimental journey

 

To renew old memories.[1]

 

[Mark Blackburn]

[h=2]Most poignant "Summer" song ever written . . .[/h]

 

"One last caress, it's time to dress for fall . . . "

 

 

 

My single favorite line by 'The Bergmans,' Marilyn & Alan, for my all-time favorite of their many great ballads:

 

 

 

On Siriusly Sinatra satellite radio this day "Nancy for Frank show #467" featured Sinatra's unsurpassed vocal version of "The Summer Knows" -- followed immediately by the composer/pianist's instrumental version of this, my all-time favorite "summer" ballad: film score genius Michel Legrand performing (with London symphony orchestra musicians) the best rendition of "The Summer Knows" that I could ever imagine.

 

 

 

Mr. Legrand left us at the start of the year: age 86 (at a Paris hospital at the end of January). He was nominated for more than a dozen Oscars – and won three, including “Best Original Dramatic Score” for Summer of '42 (1971).” Just listen to the closing orchestral flourishes and the exquisite pianistic grace of the composer playing what I'd like to believe was his personal favorite of his own compositions.

 

 

 

This version at YouTube has 1.3 million “views” -- in part because of heart-wrenching “comments” from kindred spirits, like these (below).

 

 

 

 

 

 

 

 

 

 

L. Steiner (1 year ago)

 

 

 

I Love this song. I chose it for my funeral. I only have a few days left. I thank my kids and my loving husband for the great years. My time has come to say sleep tight, God bless you.

 

 

 

 

 

 

 

tom funk (2 years ago)

 

 

 

this song reminds me of an older woman that i met,expecting it to be a casual short attraction. we went together for 4 yrs, and were married for 43 yrs.. she was the love of my life and always will be.

 

[Mark Blackburn]

CALABRIA FOTI -- The Man With The Horn

It's been 70 years since the death of song-writer Eddie DeLange – only 45 when he died, the summer of '49 in Los Angeles. (He has an unmarked grave at the Forest Lawn Memorial Park in Glendale.)

 

His brief Wiki entry notes that Mr. DeLange “was an American bandleader and lyricist. Famous artists who recorded his songs include Frank Sinatra, Ella Fitzgerald, Louis Armstrong, Nat King Cole, Duke Ellington, and Benny Goodman.”

 

The Wiki entry names a couple of his hits – including his first MOONGLOW “in 1932 with composer Wil Hudson” and that Eddie wrote lyrics for a number of early Jimmy Van Heusen hit songs “including DARN THAT DREAM.”

 

No mention of “The Man With The Horn” – perhaps because its tune was written by two friends “Jack Jenney and Bonnie Lake” who never had another hit. Calabria Foti (my favorite living singer) included this obscure but beautiful song on her latest album (just released) which has “Prelude to a Kiss” the Duke Ellington song as its opening, title track.

 

Earlier this hour, Sirius played Calabria's achingly beautiful rendition of WALTZ FOR DEBBY. Until today there was only one vocal version in my mind's ear – for more than 40 years now, since its inclusion on the iconic “Tony Bennett & Bill Evans” album of 1975.

 

My compatriot -- the late author and lyricist Gene Lees, (who left us nine years ago) wrote the poignant words for Bill Evans' most famous tune. Since Tony's definitive version I've always thought of this as a 'guy song' -- from the perspective of a Dad; Calabria Foti and her jazz-trombone virtuoso husband, Bob McChesney have two daughters. Which may be why her wonderful delivery of Waltz For Debby effectively transforms this into 'a girl song' – more emotionally convincing as a Mom singing about a daughter.

 

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Calabria's 30-piece orchestra was variously arranged by several giants of jazz orchestration: chief among them, Johnny Mandel, who orchestrated a lovely song composed by Calabria's musical father, Richard – I HAD TO FALL IN LOVE WITH YOU (featuring a solo by Calabria's gifted guitarist Larry Koonse).

 

Jeremy Lubbock – a particular hero of mine for decades -- one of the greatest, living arrangers, orchestrated Calabria's (to my ears 'unsurpassed') rendition of Kern & Hammerstein's THE FOLKS WHO LIVE ON THE HILL. Yes, suddenly Calabria's version is my all-time favorite (excluding of course, our mutual hero Peggy Lee's definitive recording: the one with the Nelson Riddle orchestra “conducted by Frank Sinatra”).

 

Johnny Mandel's most distinguished protege, Jorge Calandrelli (who has collaborated on many Tony Bennett recordings) arranged this one track at Spotify, “The Man With The Horn.”

 

 

 

Almost forgot to add . . . Calabria's principal accompanist throughout, the brilliant pianist / arranger Roger Kellaway contributes several gorgeous piano solos. [We first heard of him in 1971 when Kellaway was listed on the closing credits, as the the pianist playing the song he wrote as closing theme for “All in the Family” – REMEMBERING YOU.]

 

Oh yes -- my “other favorite track” from this album (played recently on Sirius radio) – is quite simply one of the best duets I've ever heard: jazz giant John Pizzarelli soloing on guitar and harmonizing with Calabria on, “It's the Mood I'm In” – arranged by Calabria and her hubby Bob McChesney.

 

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Calabria Foti has one of those rare singing voices I will never tire of hearing. I can't stop playing her new album, PRELUDE TO A KISS. I must concede a prejudice: My favorite living singer has known me for several years as her “biggest fan in the world's coldest major city.” She graciously inscribed my copy of her new CD (in silver ink)

 

“To Mark,

 

Blessings to you my Friend!

 

Love,

 

Calabria"

 

[Mark Blackburn]

Still my favorite recording of "All My Tomorrows" (yours too?)

 

 

Google the name “Peter Marino” – to learn which lucky Sinatra fan got to host today's 'Playing Favorites' show on Siriusly Sinatra satellite radio: the first note is the Wiki entry for a prominent American architect – who outbid other Sinatra fans, at a recent charity auction, for the chance to host the one-hour program.

 

 

 

Mr. Marino took the chronological approach to his selections – beginning with “the earliest Sinatra, like 'All or Nothing At All' -- through to the most recently recorded of his favorites, “Don Costa's inspired arrangement of ALL MY TOMORROWS” -- for Frank's “My Way” album.

 

 

 

Just as an aside: recently I switched my allegiance to the 'original' Nelson Riddle arrangement of “All My Tomorrows” after Sirius played it immediately following the Sammy Cahn hosted “Chairman's Hour” -- “the way the composers Cahn & Van Heusen had envisioned it in 1959 – as a classic, mid-tempo swing version. Riddle's take is brilliant. But then . . . just now, listening to the Don Costa arrangement, with its evocative, inspired, gorgeous 'strings & horns' opening and closing orchestral flourishes, I remember why I've long considered this my favorite Don Costa chart!

 

 

 

The Wiki entry for this song quotes Charles Granata as preferring the "later recording." (Don Costa isn't named in the article, but nor is Nelson Riddle!)

 

 

 

First offering this day at YouTube is this one (with 74,000 'views') and few comments:

 

 

 

 

 

[Mark Blackburn]

[h=2]I'LL BE SEEING YOU -- favorite version AFTER Sinatra's (two) in '61[/h]

 

My favorite musicologist / social commentator (and yes, fellow Canadian) Mark Steyn just celebrated I'LL BE SEEING YOU -- noting that Sinatra was among the first to popularize the song and loved it enough to “record it twice in four months” in 1961. A link to his delightful reflection on this, my favorite song by Sammy Fain (below).

 

 

 

Last night before bed I listened to a dozen different versions on YouTube and the last one (and most recent) was a recent duet – Barbra Streisand with actor Chris Pine. The lovely (large yet subtle) orchestration is my favorite since . . . well, Axel Stordahl's arrangement (for our favorite singer's last album at Capitol). Can't pin down which great arranger did this chart, though the late Pat Williams did some terrific late-in-life orchestrations for Barbra.

 

 

 

Guess what Siriusly Sinatra satellite radio played, earlier this day! If I didn't know better I'd say What a coincidence!

 

 

 

At YouTube, this version's slide show consists entirely of publicity stills of the actor; its merits include this excellent summary about the song itself (performed in medley with one of those great ballads Sinatra "should have recorded -- but didn't).

 

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“This beautiful medley of "I'll Be Seeing You/I've Grown Accustomed To Her Face" was recorded on Barbra Streisand's 2016 Album "Encore: Movie Partners Sing Broadway". She chose to do this duet with Chris Pine after watching him as Cinderella's Prince in "Into The Woods". I'll Be Seeing You" was written by Sammy Fain and Irving Kahal. for the 1938 musical "Right This Way". It has since become a jazz standard recorded by many greats including Billie Holiday, Frank Sinatra, Jo Stafford and Tony Bennett. "I've Grown Accustomed To Her Face" was written by Frederick Loewe and Alan Jay Lerner for the 1956 musical "My Fair Lady". Other versions of this standard have been recorded be Rosemary Clooney, Johnny Mathis, Nat King Cole, Tony Bennett, Peggy Lee and Matt Monroe. This is a collection of photos of the gorgeous and extremely photogenic Chris Pine. Enjoy! Thanks For Your Comments. (two).

 

 

 

 

 

 

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Mark Steyn's appreciation of I'LL BE SEEING YOU – was shared on his own website a day ago. Wish I could have written these words!

 

 

 

https://www.steynonline.com/9502/ill...UZIeYp__i8nXA8

 

[Mark Blackburn]

[h=2]In case you can't spare 5 minutes to read Mark's I'LL BE SEEING YOU column[/h]

 

As he always does, when he writes a song appreciation, Mark Styne shares nuggets of fun information most of us were not aware of: In singling out our favorite stanza of lyric, Mark informs us . . .

 

 

 

“Irving Kahal's lyric is an accumulation of treasured places where love will always linger:

 

 

 

I'll Be Seeing You

 

In that small café

 

The park across the way

 

The children's carousel

 

The chestnut tree, the wishing well . . .

 

 

 

“Most couples have done these things - sat in cafés, walked in parks. But one of the few who almost certainly hadn't were the Queen Mother and King George VI [and] When the Queen Mum died in 2002 (for non-Commonwealth readers, that's the mother of the present Queen), it was said to have been one of Her Majesty's favorite songs, although its catchpenny sentiments - that small café, the chestnut tree - are a virtual laundry list of experiences denied to a king and queen . . .

 

 

 

[The lyricist Irving Kahal] “was 38 when he died of uremia on February 7th 1942, still convinced that the obscure, forgotten "I'll Be Seeing You" was the greatest song he and Sammy Fain had written together . . .

 

 

 

"He truly loved that song," Irving Kahal's widow Edna said, decades after everyone else had come to love it, too. "Of course, I always felt that it was deserving. I just pray that somewhere, somehow, he knows."

 

 

 

“It's traveled a long way," Mark concludes: "Just a few month ago - February 13th 2019 - the last piece of data, transmitted by NASA down on earth to the robotic space rover 'Opportunity' way out there on Mars, was Billie Holiday's version . . . ”

 

 

 

[And yes, this is "my favorite version -- yours too?"]

 

 

 

 

[Mark Blackburn]

KENNY RANKIN (live) – "Berimbau"

 

 

“But I do have a song to sing . . .

 

and a love for a bow and string . . . ”

 

 

 

What's a Berimbau? Why, a single-string musical instrument from Brazil. The song of that name, was written by one of my (several) Brazilian jazz guitar bossa nova heroes, "Baden Powell de Aquino" who died young, age 63 in Rio, his hometown.

 

 

 

On one of those random shuffle offerings at YouTube – as if to say, “You love Kenny Rankin, and you love jazz sambas – especially the ones with a funky beat – so . . . bet you never heard this before!”

 

 

 

As I've noted earlier on this thread, my favorite strings arranger the late Don Costa gave Kenny Rankin his first set of guitar strings; years later, Don – who did all his arranging with a guitar in his lap – orchestrated Kenny Rankin's greatest album with 'House of Gold' – my favorite, obscure Hank Williams song.

 

 

 

Kenny was a great guitarist/song writer but his recordings featured even greater soloists – including a few as little known as Kenny. Like the featured soloist on this video. Thankfully a “comment” from a fellow picker anticipates my question, “Who IS that electric guitar soloist? (and) Why don't I recognize him? He is so gifted!”

 

 

 

Turns out, like Kenny Rankin, he's another guitar great who has left us:

 

 

 

 

 

EarGuitar (3 years ago)

 

 

 

At the 2:50 mark, that is my late acquaintance Joe (not Jeff) Beck. I sat near him a few times a week and I didn't know he was a guitar player. I saw him on TV one day and realized he was the same guy voted Playboy's Jazz guitarist of the year in the 60's.. A quiet, nice guy. Wow, explosive hands, wish we had a chance to play together. RIP fellows.

 

 

 

 

 

[Mark Blackburn]

[h=2]Steve Tyrell – STARDUST[/h]

 

Siriusly Sinatra satellite radio just played my favorite version of STARDUST (apart from Sinatra's unique recording for “Sinatra & Strings” (1961) – where Frank sang just the opening verse, none of the main body of the song, to an extended orchestral arrangement by Don Costa).

 

 

 

Yes, "my favorite recording of the entire song" – from an album of standards Steve Tyrell recorded eleven years ago which features, on the instrumental bridge, Belgian-born harmonica giant Toots Thielemans (who left us, age 94 three summers ago).

 

 

 

I'm a guitarist and am partial to song's opening notes featuring Bob Mann my favorite studio musician EVER. Bob is playing (to my ears) a 'Wes Montgomery' model Gibson L-5, electric archtop (15 thousand U.S. dollars for a new one; friends or loved ones who win the lottery please take note.)

 

 

 

Yes, maybe my favorite Steve Tyrell recording. Yours too?

 

 

 

 

 

 

His extensive Wiki reminds us of Toots Thielemans' impact on the lives of millions who may never have known his name. (Remember Sesame Street's theme?)

 

 

 

Jean-Baptiste Frédéric Isidor, Baron Thielemans (29 April 1922 – 22 August 2016), known professionally as Toots Thielemans, was a Belgian jazz musician. He was known for his harmonica playing, as well as his guitar, whistling skills, and composing. According to jazz historian Ted Gioia, his most important contribution was in "championing the humble harmonica", which Thielemans made into a "legitimate voice in jazz".[4] He eventually became the "preeminent" jazz harmonica player.[5]

 

 

 

His first professional performances were with Benny Goodman's band when they toured Europe in 1949 and 1950. He emigrated to the U.S. in 1951, becoming a citizen in 1957. From 1953 to 1959 he played with George Shearing, and then led his own groups on tours in the U.S. and Europe. In 1961 he recorded and performed live one of his own compositions, "Bluesette", which featured him playing guitar and whistling. In the 1970s and 1980s, he continued touring and recording, appearing with musicians such as Oscar Peterson, Bill Evans, Dizzy Gillespie . . .

 

 

 

Among the film soundtracks that Thielemans recorded are The Pawnbroker(1964), Midnight Cowboy (1969), Cinderella Liberty (1973), The Sugarland Express (1974) and Looking for Mr. Goodbar (1977). His harmonica theme song for the popular Sesame Street TV show was heard for 40 years. He often performed and recorded with Quincy Jones, who once called him "one of the greatest musicians of our time."[6] In 2009 he was designated a Jazz Master by The National Endowment for the Arts, the highest honor for a jazz musician in the United States . . .

 

[Mark Blackburn]

[h=2]I'M HOME – an overlooked, 50 year old gem of a song[/h]

 

Baby, you walk in and then, I'm home! Makes no difference where – if you're there, I'm home.

 

Poets say that 'Home is Where the Heart Is' – and in my heart I know it's true . . . that,

 

anywhere I'm with YOU . . . I'm home!

 

 

 

I'M HOME is the last track (of eleven) on my favorite living singer Calabria Foti's new CD, “Prelude to a Kiss.” The opening and closing 30 seconds of the arrangement (by Calabria and her virtuoso trombonist husband Bob McChesney) are lush and lovely orchestral 'quotes' from Aaron Copeland's magnificent symphonic work, “Letter from Home.”

 

 

 

Composer/arranger/conductor – and jazz pianist extraordinaire -- Roger Kellaway plays a solo on the musical bridge that is take-your-breath-away beautiful. Wish all the Family here could hear it. But you won't unless you obtain a copy of Calabria Foti's latest CD, “Prelude to a Kiss.”

 

 

 

Concerning “I'M HOME” Calabria writes in her liner notes:

 

 

 

“The final song was written by my friend, singer Michael Dees. I hope [this music] touches your heart deeply and makes you feel closer to loved ones. Because, as Dorothy Gale once said, 'There is no place like home'.”

 

 

 

Her friend Michael Dees (the only version at YouTube) performs his otherwise overlooked gem – for which he composed both words & music.

 

 

 

 

 

 

According to WikiSimpsons (which has every available fact about every Simpsons episode)

 

 

 

Michael Dees (born August 30, 1941) is an American singer. He serves as an occasional singer and vocalist for The Simpsons [His singing voice is heard on nine Simpsons episodes including:]

 

 

 

Episode – "Hurricane Neddy"

 

Episode – "The City of New York vs. Homer Simpson" ("Theme from New York, New York")

 

Episode – "She Used to Be My Girl"

 

Episode – "The Seemingly Never-Ending Story"

 

Episode – "That '90s Show"

 

[Mark Blackburn]

[h=2]Who Can I Turn To? HARRY CONNICK JR.[/h]

 

Harry Connick Jr. is one of those 'favorite singers' I forget to mention when asked 'Who ARE your favorites? (among the living). I take his greatness for granted. From time to time, Siriusly Sinatra satellite radio (just before playing one of his songs) has an audio clip of Harry, praising the “phrasing” and other aspects of greatness that Sinatra brought to songs, “better than any other singer.”

 

 

 

Sirius just played my favorite version (from ten summers ago) of WHO CAN I TURN TO? – with featured soloist, New Orleans' trumpet great, Wynton Marsalis. The song itself has an interesting Wiki entry (below). So does the album from which Sirius selected this -- my favorite version (apart from the 'original' hit recording by Tony Bennett, 55 years ago).

 

 

 

 

 

 

 

 

[from] “Your Songs – a studio album by American jazz singer Harry Connick Jr. that was released by Columbia on a limited edition double vinyl LP on August 25, 2009 . . .

 

 

 

“Most of the songs were chosen by record producer Clive Davis, who aimed towards classic, familiar songs, as contemporary as possible. Davis had expressed an interest in working with Connick. Connick had an idea of bringing in a famous arranger for the album, but Davis suggested Connick do the arrangements himself.

 

 

 

“The song 'Bésame Mucho' was suggested by Connick's father, Harry Connick Sr., a former district attorney for the Parish of Orleans. They sang a duet on the album New Orleans...My Home Town (1998). Branford and Wynton Marsalis contribute to the album. Both are multiple Grammy winners. Both are childhood friends of Connick.

 

 

 

“Connick said in a radio interview that 'Smile' was dedicated to a girl named Nicola. She and her mother attended one of Connick's shows in Paris, France, several years before. Nicola was seven at the time, and Connick took her on a tour of Paris. They stood under the Eiffel Tower. Although she was blind, she knew where she was and had a smile on her face.”

 

 

 

---

 

 

 

[the song's Wiki entry:]

 

 

 

"Who Can I Turn To?" (alternatively titled "Who Can I Turn To (When Nobody Needs Me)") is a song written by English lyricists Leslie Bricusse and Anthony Newley and first published in 1964.

 

 

 

The song was introduced in the musical The Roar of the Greasepaint – The Smell of the Crowd, which struggled in the United Kingdom in 1964 and then made a tour of the United States later that year. In 1964 Shirley Bassey recorded the song and released it as a single, however it failed to chart. Recorded by Tony Bennett, "Who Can I Turn To?" became a hit, reaching number 33 on the US pop singles chart and the top 5 of the Adult Contemporary chart. So fuelled, the musical arrived on Broadway for a successful run, and the song became one of Bennett's staples. He later re-recorded the song as a duet with Queen Latifah in 2011 on Duets II and with Gloria Estefan for his 2012 album, Viva Duets.[1]

 

[Mark Blackburn]

[h=2]YOU WILL SEE – Rosa Passos (one good musical thing leads to another)[/h]

 

Siriusly Sinatra just played Chris Botti's version (from a dozen years ago) of Burke/Van Heusen's best song – HERE'S THAT RAINY DAY. Google for “Who is Chris's female vocalist?” and learn she is “Rosa Passos” – Brazil's foremost living interpreter of songs by Antonio Carlos Jobim. (Wiki note below)

 

 

 

Rosa's first offering at YouTube this day – a Jobim song I never heard before (not many of those!) but I cannot imagine a lovelier rendition: a live performance with musicians from Berklee College of Music listed by name by the song's poster:

 

 

 

“Antonio Carlos Jobim's "Você Vai Ver" performed by Rosa Passos with Berklee College of Music students, featuring Anggie Obin on flute and Gustavo Del Pino Mendoza on piano.”

 

 

 

Google for a translation of the Brazilian Portuguese song title, “Voce Vai Ver” – and learn it's by “Elias Muniz and Carlos Colla.” English title: YOU WILL SEE whose opening words are these:

 

 

 

You can find many loves but no one will give you what I gave you

 

They may even give you some pleasure, but I swear, you will see

 

no one will love you like I loved you . . .

 

 

 

Yes, my favorite living Brazilian performer I never heard of before this hour!

 

 

 

 

 

 

According to her Wiki entry:

 

 

 

Rosa Passos (Brazilian Portuguese: [ˈʁozɐ ˈpasus]; born April 13, 1952) is a Brazilian singer and guitarist.

 

 

 

Passos began playing piano at age thirteen, but after listening to Dorival Caymmi and João Gilberto she abandoned the instrument to become a singer. In the late 1960s, she began appearing on television and at music festivals. In 1972 she submitted the song "Mutilados" under a pseudonym to the Globo Network's Festival Universitario and won first prize.

 

 

 

[1] She recorded her debut album in 1978, working with poet Fernando de Oliveira. A follow-up effort, Amorosa, followed nine years later, in 1988. In the 1990s she recorded several albums of songs by her major influences. She toured Europe in 1999 with Paquito D'Rivera and on her own in Europe and Japan in 2000.[1]

 

 

 

In 2004, Amorosa was re-released, and attracted notice in the United States, reaching No. 7 on the Billboard World Music album chart.[1] In 2008, Passos was awarded an Honorary Doctorate of Music from Berklee College of Music along with Philip Bailey and Maurice White of Earth, Wind & Fire, British musician Steve Winwood, and Berklee alumnus Howard Shore.

 

[Mark Blackburn]

[h=2]SINATRA – Fly Me To The Moon – Live 1969[/h]

 

Until Sinatra and the Basie Band recorded it in 1964, approximately none of us had ever heard the song that would be “played on the moon” – five years later -- and 50 years ago this week: The only hit composed (words & music) by songwriter Bart Howard – back in 1953, under the title “In Other Words.” In his latest song appreciation, Canadian musicologist and social commentator Mark Steyn reminds us: it was Peggy Lee (at her recording in 1960) who suggested renaming the song with its unforgettable, first five words. Mark wrote (yesterday):

 

 

 

“Peggy Lee recorded "In Other Words" at the very beginning of a new decade: February 1960. And shortly afterwards, being a skilled and shrewd songwriter in her own right, she suggested re-naming it "Fly Me To The Moon" - because that's the obvious hit title "In Other Words" was never going to be. The space race was underway, and [it] suddenly seemed in tune with the times . . . ”

 

 

 

Mark Steyn reminds us that “a few years later” Frank played producer (as he so often did):

 

 

 

“Sinatra and Basie found themselves in the studio making their second album, It Might as Well Be Swing, and with Bart Howard on the set list.

 

 

 

“Frank knew what he wanted that day. Quincy Jones' arrangement didn't build: It started with the band at full strength, and there they stayed. "I dunno," said the singer, after the run-through. "Up there at the beginning, it sounds a little dense, Q." So Jones told most of the guys to sit out the first bars and leave it to Frank and the rhythm [section]. Sonny Payne's brushes set the tempo, Basie provides a couple of plinks an octave apart, and there's Sinatra:

 

 

 

"Fly Me to the Moon . . . "

 

 

 

And suddenly Bart Howard's sideways cabaret ballad is head on and literal: it flies to the moon, a love song for the space age, a wild ride with a well-stocked bar.”

 

 

 

Mark included a YouTube link to an early live version some of us may not have seen before (I hadn't – and wonder what it's from?)

 

 

 

 

[Mark Blackburn]

THESE FOOLISH THINGS -- Rick Astley

 

 

Once a year (just for me) Siriusly Sinatra satellite radio plays THESE FOOLISH THINGS – Rick Astley's latter-day (2005) recording – my favorite version of this ballad from long ago 1938 -- apart from Sinatra's studio recording for his final "Point of No Return" album at Capitol (1962).

 

 

 

 

 

When my youngest son Ben was little, he had a single Rick Astley casette tape to play on his portable stereo – his first such 'purchase.' I remember listening with him and admiring Rick Astley's appealing, deep baritone voice – and his employment of a very good guitarist – as Rick does once again on THESE FOOLISH THINGS, played this morning by Siriusly Sinatra radio. A small jazz band arrangement that for the first minute is just Rick alone together with an acoustic guitar. One of the reasons this version remains my favorite. From an album “Portrait” that Rick Astley recorded 14 summers ago.

 

 

 

 

 

 

His substantial Wiki entry reminds readers of Rick's significance in pop music history:

 

 

 

Richard Paul Astley (born 6 February 1966) is an English singer, songwriter and radio personality. His 1987 song "Never Gonna Give You Up" was a number 1 hit single in 25 countries and won the 1988 Brit Award for Best British Single.[1][2] By the time of his retirement in 1993, Astley had sold approximately 40 million records worldwide.[3][4][5]

 

 

 

Astley made a comeback in 2007, becoming an Internet phenomenon when the music video for "Never Gonna Give You Up" became integral to the meme known as "rickrolling".[6] Astley was voted "Best Act Ever" by Internet users at the MTV Europe Music Awards 2008,[7] and his 2016 album 50 debuted in the UK at No. 1.

 

 

[Mark Blackburn]

[h=2]My favorite (most recent) recording of I'LL BE SEEING YOU[/h]

 

I'm pulling up in my driveway a moment ago, listening to Siriusly Sinatra satellite radio, playing someone who sounds a little like Petula Clark (one of my life-long musical heroes). But no, it's Trisha Yearwood . . . with a full symphony orchestra, performing my “new favorite” orchestral version of I'LL BE SEEING YOU.

 

 

 

At the start of this year Jersey Lou Simon hosted one of his rare 'town hall' events and -- taking questions from the live, studio audience -- Trisha hesitated to stipulate her “favorite” track on the album. But after the death of her Mom she said the closing track, I'LL BE SEEING YOU, was the most emotionally affecting for her to sing.

 

 

 

Academy Award winning arranger Vince Mendoza wrote all the beautiful charts for these songs; he outdid himself on I'LL BE SEEING YOU – the opening and closing orchestral flourishes would make any great arranger proud.

 

 

 

[An approved version at YouTube]

 

 

 

 

 

 

Back in February, Rolling Stone interviewer Steven L. Betts spoke with Trisha just before her “Lets Be Frank” album was released, noting that,

 

 

 

“Recording the entire album in just four days at Capitol Records studios in Hollywood, the legendary spot where Sinatra cut many of his best-known tunes, Yearwood sang into Sinatra’s vintage (Neumann) microphone and was accompanied by a 55-piece orchestra.

 

 

 

“Along with familiar material from the Great American Songbook, Let’s Be Frank features “For the Last Time,” an original song Yearwood wrote with her husband Garth Brooks . . .

 

 

 

[Later in the interview, in answer to a question, Trisha paid tribute to her late Mom's musical influence]

 

 

 

"Up until now, you’ve been known primarily as a country singer, but these standards are just as much a part of your musical DNA as Patsy Cline and Linda Ronstadt, right?

 

 

 

"The very first influence here was my mom because she was born in ’37, so she loved that music. She loved those movies, and all those musicals. So when I was a kid in the Seventies, that was one of our things. We would sit and watch these old movies together. So I learned this music through her and loved it all. I always wanted to do that standards record.”

 

 

 

“You’re singing these vocals live, with 55 musicians – a high-pressure situation. How did you deal with that?

 

 

 

“I’m confident when it comes to singing, but I was so nervous that first day I forgot my charts at the hotel. We had to go back and get my charts. I was about to throw up the whole time. It’s 55 people, and if you don’t know the arrangements and you mess up, 55 people have to start over.

 

 

 

“After you sing the first song with the musicians, if they like you, they don’t clap — they tap their music stands with their bows. So, you’re waiting the whole first song to see if you get the tap. I guess I would have gone home if they didn’t tap, but they did! . . . This was a very live record, and it happened fast. We recorded 12 songs in four days, and then mixed it the next four days. So, really, in a week, we were done.”

 

[Mark Blackburn]

[h=2]I'll find you in the morning sun . . .[/h]

 

. . . and when the night is new

 

I'll be looking at the moon . . .

 

but I'll be seeing YOU

 

 

 

75 years ago this month Bing Crosby had a No. 1 hit with 'I'LL BE SEEING YOU' -- same year the song was rescued from obscurity to become the title song of a movie directed by Dore Schary (who would go on to become head of MGM pictures).

 

 

 

That same year, 1944, Frank's version reached No. 4 on the charts. Without those three, the song might never have been heard from again. What a thought! [According to Wiki]

 

 

 

"I'll Be Seeing You" is a popular song about nostalgia, with music by Sammy Fain and lyrics by Irving Kahal.[1] Published in 1938, it was inserted into the Broadway musical Right This Way, which closed after fifteen performances.[2] The title of the 1944 film I'll Be Seeing You was taken from this song at the suggestion of the film's producer, Dore Schary. The song is included in the film's soundtrack.

 

 

 

The resemblance between the main tune's first four lines and a passage within the theme of the last movement of Gustav Mahler's Third Symphony (1896) was pointed out by Deryck Cooke in 1970.[3] Billie Holiday's 1944 recording of the song was the final bit of data sent by NASA to the Opportunity rover on Mars when its mission ended on 13 February 2019.[4]

 

 

 

The recording by Bing Crosby became a hit in 1944, reaching number one for the week of July 1.[5] Frank Sinatra's version with Tommy Dorsey and His Orchestra from 1940 charted in 1944 and peaked at No. 4.[6]

 

 

 

----

 

 

 

Best-ever recording? Frank's re-make for his 1962 album “Point of No Return” – perhaps the last song arranged by Axel Stordahl before his death a few months later from cancer. The brilliant, subtle details of the Stordahl arrangement – so evocative of the images being sung so perfectly. Really, how could anyone improve upon this?

 

 

 

 

[Mark Blackburn]

[h=2]DORIS DAY – My Romance[/h]

 

I'm pulling up in my laneway and Siriusly Sinatra is playing the world's favorite Richard Rodgers ballad – the version by Doris Day that introduced my baby boomer generation to this, Dick Rodgers' “most recorded song.”

 

 

 

Just as an aside: for most of my adult life (since my late 20's) I've loved Carly Simon and James Taylor and the one great ballad they recorded (separately, a few years apart, after their divorce) was MY ROMANCE. Carly to a full symphonic orchestra accompaniment – my favorite version after Doris Day's; while James Taylor performs to a minimalist but lovely arrangement featuring – mostly electronic piano, with James whistling the musical bridge (a world class whistler!)

 

 

 

The movie was “Jumbo” and Doris re-introduced the world to a song Rodgers & Hart had composed decades earlier for a Broadway show – a 'girl song' sung with an artless perfection that Doris alone could deliver. To borrow an Oscar-winning line from Carly, “Nobody does it better.”

 

 

 

Since the last time I checked YouTube someone has uploaded that moment in the movie when, in Stephen Boyd's arms, Doris “makes my most fantastic dreams come true.” S'cuse me, I have something in my eye.

 

 

 

 

 

 

[Comments below the movie clip include this one]

 

 

 

Grant T (1 year ago)

 

 

 

"This is right up there with any operatic performance, right up there with any classical art song. Her lovely way with holding a note, so soft and warm is not to be put off as something sentimental. Check her out in the movie about Gus Kahn " I'll see you in my dreams". I love you Doris and so does GOD."

 

[Mark Blackburn]

[h=2]Lisa Addeo -- LET'S DO IT[/h]

 

“Argentines without means do it; people say in Boston even beans do it . . . ”

 

 

 

At this moment Siriusly Sinatra satellite radio is playing Lisa Addeo and her jazz trio's recent take on what is arguably Cole Porter's wittiest song.

 

 

 

With an attractive breathiness reminiscent of Marilyn Monroe, Miss Addeo delivers my favorite lines, with what Porter himself might term “disarming charm” (especially these):

 

 

 

“Electric eels, I might add, do it (though it shocks them I know!). Why ask if Shad do it? – Waiter! Bring me Shad roe.”

 

 

 

Lisa's version, posted to YouTube five years ago, still has no thumbs-up, and zero "comments." Shouldn't we change that? Let's do it!

 

 

 

 

 

 

I needed to Google “What is Shad roe?” to be reminded again it's an American dish, best served “fried in bacon fat.” (What isn't?)

 

 

 

"Shad roe is the egg sac of the female American Shad fish, a member of the Herring family. Each female Shad produces a pair of lobe-shaped egg sacs. Although the fish itself is quite bony, Shad roe is full of rich flavor similar to sweetbreads . . . "

 

[Mark Blackburn]

Favorite musical moments in Film History -- STYLE!

 

 

"If you've got it, you stand out a mile!"

 

 

 

At this moment Siriusly Sinatra is playing Frank, Dean & Bing's trio rendition of STYLE.

 

 

 

It's a lyric only Sammy Cahn could have composed (probably to an "urgent" film studio deadline) for an instantly-memorable melody that is classic Jimmy Van Heusen.

 

 

 

There's still no Wikipedia references to this wonderful song. Fortunately we live in the age of YouTube: The best time in history for those who would never care to ask: 'Who wrote that song?'

 

 

 

From “WarnerArchive” an authorized, visually perfect rendition -- complete with introductory dialog. Don't you love the moment (at 2:26) when the sliding doors of the walk-in closet magically open . . and Bing emerges with his alternate fashion statement.

 

 

 

 

 

[Mark Blackburn]

[h=2]A favorite waltz from my favorite Danny Kaye movie musical[/h]

 

In 1952 my parents brought home a recording (78 rpm) of Danny Kaye -- performing a waltz (one of my all-time favorites) WONDERFUL COPENHAGEN – from his “Hans Christian Andersen” movie musical of that same year. Every single song by Frank (Guys & Dolls) Loesser was brilliant. Like Porter, Berlin and few other great songwriters, Loesser wrote both words & music.

 

 

 

The movie's melodies were so strong, I can still recall a few bars of each of my favorites -- like the song about Anderson's famous story, 'The Emperor's New Clothes.' (“The King is in his altogether, but altogether, but altogether as naked as the day that he was born . . . ”)

 

 

 

But it was the waltz Danny Kaye asked his good friend Gord Jenkins to arrange, (“orchestra and chorus”) that has stayed with me (every note) for sixty years. In which regard, it's a melody like every one of the “50 best” by my favorite composer, Richard Rodgers. I only needed to hear a melody like “It Might As Well Be Spring” – once or twice – to recall, in my mind's ear, for a life time.

 

 

 

Rodgers, by my calculation, composed 16 of the 20 best waltzes of the 20th century; the short list of others includes LeRoy Anderson's “Belle of the Ball” and Loesser's best: “Wonderful Copenhagen.”

 

 

 

 

 

 

When I wasn't looking, someone uploaded to YouTube the film clip (with French sub titles) which I last saw in a movie theater with my musical parents, sixty years ago!

 

 

 

 

 

 

p.s. When I was two or three years old my favorite composer was Leroy Anderson (The Typewriter Song, Bugler's Holiday, Syncopated Clock, The Waltzing Cat). It would be years later that I realized my musical hero composed "Belle of the Ball" I think my favorite waltz containing as it does umpteen musical bridges providing symphonic variations; which someone has kindly uploaded to YouTube, with the most wonderful slide show of beautiful women in gowns preparing to waltz.

 

 

 

 

 

 

[Mark Blackburn]

[h=2]Don't you know, Little Fool, you never can win![/h]

 

My "favorite Cole Porter standard" (right this minute) is . . . I'VE GOT YOU UNDER MY SKIN. This version by Monty Alexander. Offered to my ears through the random shuffle feature at YouTube: as if to say, "Remember seeing him live and thinking he's the best since Oscar Peterson?"

 

 

 

Monty is a Jamaican-born jazz giant with a most endearing style – deceptively simple, yet the most harmonically rich chord progressions -- that flow like water!

 

 

 

Mr. Alexander impressed Frank Sinatra when our favorite singer heard him for the first time, 'live' at Jilly's in NYC: Monty mentioned the moment with pride – hearing Frank's words of appreciation. Monty 'live' at our jazz festival here in Winnipeg was the last jazz concert my wife and I attended together, a dozen years ago; my Irene recalled tonight that she "really enjoyed" Monty's “trio” performance – with these same fine fellows (whose names escape my increasingly feeble memory).

 

 

 

So. Tell me: is this your new favorite instrumental version of the song that “repeats and repeats in my ear”? It is mine.