GREAT MELODY, GREAT LYRIC, GREAT RENDITION

[Mark Blackburn]

Stop the presses!

A video outtake from the movie Take Me Out to the Ball Game – in glorious color. So beautiful I could cry. Who knew this existed? Informed comment below video:

Rob Lewis
11 months ago
Sinatra on the cusp of greatness as a singer. Displaying his famous breath control across bridges. Betty Garrett confessed later she had a crush on Frank making this movie.
 

Edited March 12, 2021 by Mark Blackburn

[Mark Blackburn]

DINAH SHORE - Buttons & Bows

When I was very young (still in diapers) my favorite Dinah Shore record was BUTTONS AND BOWS -- a song composed by the great songwriting team of “Livingston & Evans” (they won three Oscars) for the movie “Paleface” the year of my birth, and “Popularized by Dinah Shore.”

The song's inspired arrangement – with its clip-clop, clip-clop (horse's canter) rhythm – appealed to any child's imaginings of riding horses. Also the arrangement featured a guitar (my eventual 'favorite instrument') and, combined with Dinah's simply perfect delivery, it made my young heart sing with joy. But I didn't know until today who 'made it happen.' (There's always one person, right?)

His name was “Manie Sacks” – the little-known “Saint of Show Biz” – the subject of a new thread (today) at Sinatra Family Forum.

An informed on-line article on Manie's life says,

Early in 1950, the future 'Saint of Show Biz' producer Manie Sacks felt himself being overlooked by Columbia [and] when NBC and RCA heard that he was unhappy, they put together an offer – and hired Manie as vice president of the whole 'conglamorate' of NBC radio & TV, and RCA Victor. Dinah Shore switched from Columbia to stay with Manie. She told friends that she always thinks “of Manie sitting here helping me pick out a song, a dress, or a name for the baby.”

Shore related Sacks’s talent as a record producer. At her session for “Buttons and Bows” Sacks threw out a lush orchestration and insisted that she record it with just a rhythm section and guitar. This became the biggest-selling record of her career.
 

[Wonderful "comments" below video from kindred souls:]

Wilhelm Taylor
1 year ago
This came out the year I was born, '48. I heard it on the radio when I was young and then never again until today in a PBS video. I looked it up on youtube and am so happy to hear it again.

Peter Lambert
5 years ago
"and French perfume that rocks the room"_ a great lyric!.

百五十一黒
5 years ago
Thank you for uploading . Writing from Japan. My grandmother had this record. At that time, I was only 5 or 6 years old. But I liked this song and felt merry to hear this song . When my grandmother died about 20 years ago, I put this record by her . So the record don't exist now, but it is beautiful memory for me.

Filmboy1999
6 years ago
This song means a lot, my great grandmother died recently , this was here favorite song played at her funeral at our final goodbye  rip great gran).

 

[Mark Blackburn]

The movie that introduced millions to the voice of Johnny Hartman

Last night at the Clint Eastwood Facebook fans page someone asked, What's the worst movie Clint ever made? Someone responded: [The] Bridges of Madison County. I replied in its defense:

The actor with the most Academy Awards Meryl Streep would disagree. Obviously a different audience from any Clint Eastwood movie, before or since. But she raised his game and he rose to the occasion: his acting in Bridges was top-notch. As I liked to say "The best film never to have won an Academy Award" (though Meryl was nominated for the umpteenth time).

I wrote an Amazon review a decade ago singling out of a couple of scenes I found deeply affecting. (You too?) "The subtleties of Meryl's reading of an Italian-born mid-westerner "Francesca Johnson" grow ever-more-poignant, as the movie nears its end. We share her `heart-torn-in-two' agony at that moment, in the pouring rain, when her lover's battered, old green (59 GMC) half-ton is stopped ahead of them, at the light, directly in front of their red, (58 Chev) pickup truck.

As if sending one final signal to the "love that comes but once" to their lives -- one last, unspoken urging to "run away with me NOW!" . . . we share Francesca's view as Robert reaches into the glove compartment, then drapes that silver crucifix & chain on his rear view mirror.

Francesca inches her hand to the door handle, preparing to bolt and join her `one true love' . . . fatally delaying her move to the last possible moment. Her husband, noting the license plate on the truck ahead of him says, "That fella's far from home - Washington State! Must be that photographer everyone's been talking about."

Francesca's hand actually moves the door handle slightly. Her husband tentatively honks his horn because the light is green and asks, quietly, `Why is he not moving?' Soon the truck ahead turns left, the driver's rain-soaked hair evident through his still rolled-down, window.

They drive forward, Francesca looking back with such longing -- one last glimpse of Robert's truck as it disappears into the rain; then . . . the flood of tears.

"What's wrong?" asks her husband, as if he's never seen her cry like this - his dark eyes wary, with alarm.

"I need a minute," is all she can muster up, covering her face with her hands, dissolving in tears.

In the final scenes - and the very last one in which we get to see the gentle aging face of Francesca -- she gently, lovingly removes the contents of a box that has just been delivered to her farmhouse --- from the lawyer for Kincaid's estate.

She's inherited his early model Nikon camera, which she recognizes, and quickly sets aside, along with the silver crucifix and chain, before picking up a small red picture book with a dying sunset on its cover; it is the fruit of their few, joyful days together, and titled appropriately "Four Days by Robert Kincaid."

Francesca's lovely old hands open the book to the first printed page, inscribed to her "FOR F" -- below it, an introductory snippet of poetry, "by Byron" Inserted at that page, is a many-times-folded and yellowing note - the one she hand-wrote, after feeding him a home-cooked meal:

"If you'd like supper again
`When white moths are on the wing'
Come by tonight after you're finished.
Anytime is fine."

Beneath the printed page's inscription, "FOR F," is the poem by Byron. (I always mean to jot it down; this time I did!)

"There is a pleasure in the pathless woods
There is a rapture on the lonely shore
There is society where none intrude
By the deep sea, and music is to roar . . .
I love not Man the less, but Nature more.
From these our interviews, in which I steal
From all I have been before
To mingle with the universe and feel . . .
What I can n'ere express
Yet cannot all conceal."

NOTE for those who care about such things: the achingly-beautiful `love theme' vividly reminds us of Clint Eastwood's strengths as a musician: He co-wrote this one, calling it "Doe Eyes" -- "Love Theme from The Bridges of Madison County." (His co-composer was Lennie Niehaus.) And of course this was the movie that introduced millions to the voice of Johnny Hartman whose rendition of For All We Know (we may never meet again) is among the featured songs.

[Mark Blackburn]

SHIRLEY BASSEY – Too Late Now

“How could I ever close the door,
and be the same as I was before?
Darling – no! – no, I can't anymore
It's too late now.”

My favorite song from “Royal Wedding” (1951) – set in 1947 when Queen Elizabeth and Prince Phillip were actually married . On the day that Phillip died – 73 years after their 'royal wedding' -- it came like a thoughtful tip of the hat from Siriusly Sinatra satellite radio to be playing, a moment ago, 'Dame' Shirley Bassey's lovely recording of TOO LATE NOW. Which I'd not heard before! My new favorite version of a great, if overlooked, song with words by Alan Jay (My Fair Lady) Lerner, set to a memorable tune by Burton (Finian's Rainbow) Lane.

Is it at YouTube? Yes. First version offered (with “comments” left on) – has a single comment, from a kindred soul who cares to ask, Who arranged that song?


Paul Vivian
( 1 year ago )
I love this song - the way Shirley sings it and the beautiful arrangement by Geoff Love.
 

Royal Wedding is a 1951 Metro-Goldwyn-Mayer musical comedy film starring Fred Astaire and Jane Powell, with music by Burton Lane and lyrics by Alan Jay Lerner. The film was directed by Stanley Donen; it was his second film and the first he directed on his own. It was released as Wedding Bells in the United Kingdom.[3]

The story is set in London in 1947 at the time of the wedding of Princess Elizabeth and Philip Mountbatten. Astaire and Powell play siblings in a song and dance duo, echoing the real-life theatrical relationship of Fred and Adele Astaire.
Royal Wedding is one of several MGM musicals that entered the public domain because the studio failed to renew the copyright registration in the 28th year after its publication.[4]

CAST
Fred Astaire as Tom Bowen
Jane Powell as Ellen Bowen
Peter Lawford as Lord John Brindale
Sarah Churchill as Anne Ashmond
Keenan Wynn as Irving Klinger / Edgar Klinger
Albert Sharpe as James Ashmond

Wikipedia singled out two of the most memorable numbers:

- "Too Late Now": Powell sings her third ballad, this time an open declaration of love, to Lawford.

- "You're All the World to Me": In one of his best-known solos, Astaire dances on the walls and ceilings of his room because he has fallen in love with a beautiful woman who also loves to dance. The idea occurred to Astaire back in the 1920s and was first mentioned by him in the MGM publicity publication Lion's Roar in 1945

[Mark Blackburn]

CARLY SIMON – Last Night When We Were Young

Today, the world is old
You flew away, and time grew cold
Where is that star? – that seems so bright
Ages ago, last night

Siriusly Sinatra satellite radio is playing a favorite song from Carly Simon's FILM NOIR album (1997) – Last Night When We Were Young – one of Carly's personal favorites from her all-time favorite Sinatra album, In The Wee Small Hours.

Carly's lush and lovely arrangement is more upbeat than the definitive original 50's recording by Sinatra; it incorporates along with an earthy 50's tenor sax solo, that evocative 'chink-chink-chink' piano riff that featured in so many popular 1950's recordings (trying in vain to compete with actual rock music) -- a sound that literally 'strikes an chord' with those of us 'of an age.'

'Last Night When We Were Young' was one of the longest, but lesser-known standards included on what is still my favorite of her albums. Carly Simon's “official version” at YouTube where “comments are turned off” (a pity).
 

Nice to see Carly's version listed among the “notable recordings” in the short Wiki entry, which reminds us that this was Harold Arlen's favorite musical 'child.'

"Last Night When We Were Young" is a 1935 popular song about nostalgia and young love [1] composed by Harold Arlen, with lyrics by Yip Harburg. Arlen regarded it as the favourite of the songs that he had written.[2]
Lawrence Tibbett recorded the song on October 9, 1935.[2] It was cut from his film Metropolitan but performed instrumentally behind the credits.[3]

"Last Night When We Were Young" was highly regarded by Judy Garland, who recorded it twice, and frequently performed it.[2] Composer Alec Wilder called it a "most remarkable and beautiful song" that "goes far beyond the boundaries of popular music." Continuing, he stated that "[i]t is unlike any other Arlen song that I have heard. However, it is unmistakably his."[3] Harburg did not know where he acquired the title, saying, "the juxtaposition of those two phrases is almost a whole world of philosophy".[2]

Notable recordings[edit]
Frank Sinatra - In the Wee Small Hours (1955), September of My Years (1965)
Peggy Lee - Dream Street (1956)
Judy Garland - Judy (1956)

----

Film Noir is the seventeenth studio album by American singer-songwriter Carly Simon and her third album devoted to standards. Jimmy Webb co-produced the album and contributed his vocals, orchestration and piano skills to the project which was filmed for an AMC documentary (which premiered in September 1997). He also co-wrote the title song "Film Noir" with Simon. John Travolta duets with Simon on the song "Two Sleepy People". Film director Martin Scorsese provided liner notes in the fold out booklet.

Track listing
1. "You Won't Forget Me" (Kermi Goel, F. Speilman) – 2:52
2. "Ev'ry Time We Say Goodbye" (Cole Porter) – 4:33
3. "Lili Marlene" (M. David, Norbert Schultze, H. Leip) – 3:41
4. "Last Night When We Were Young" (Edgar Yip Harburg, Harold Arlen) – 4:42
5. "Spring Will Be a Little Late This Year" (Frank Loesser) – 3:34
6. "Film Noir" (Jimmy Webb, Carly Simon) – 3:35
7. "Laura" (Johnny Mercer, David Raksin) – 4:44
8. "I'm a Fool to Want You" (Frank Sinatra, Joel Herron, John Wolf) – 3:32
9. "Fools Coda" (Torrie Zito) – 1:13
10. "Two Sleepy People" (Frank Loesser, Hoagy Carmichael) – 3:37
11. "Don't Smoke in Bed" (Willard Robison) – 2:54
12. "Somewhere in the Night" (Josef Myrow, Mack Gordon) – 3:29

Edited April 10, 2021 by Mark Blackburn

[Mark Blackburn]

CARLY & JOHN TRAVOLTA - Two Sleepy People

Frank (Guys & Dolls) Loesser, like Cole Porter, Irving Berlin and very few others, composed BOTH words & music for all his greatest songs – which included a 'Best Original Song' Oscar-winner, BABY, IT'S COLD OUTSIDE. But at the request of his friend Hoagy (Stardust) Carmichael, Loesser came up with the words for a most perfect Hollywood duet – TWO SLEEPY PEOPLE.

Best ever version? After the original by Bob Hope and Shirley Ross, I'd say Carly and John Travolta's retires the trophy! I'm certain Frank Loesser would have agreed with Carly's 'improvement' (more alliterative) to his original words, “gawky little fellow, dizzy little dame” which Carly – a truly great lyricist, elevated to “foggy little fella, drowsy little dame.”

Maybe my favorite arrangement of all of the great orchestrations on Carly's FILM NOIR album. How could any orchestration improve on this? So evocative – so full of beautiful details. It's a beauty that reduces me to tears. When I was little, I thought my musical father had composed this one! It's so similar to a song, “Sleepy Peopledom” that Dad wrote for my Mom, while overseas in WWII. (S'cuse me, I have something in my eye.)
 

[Mark Blackburn]

Willie Nelson – Moonlight in Vermont

A late spring blizzard is dumping a foot of snow, here in Winnipeg Canada (the 'world's coldest major city' according to U.S. consular services). I'd just been thinking about moonlit 'ski trails in Vermont' -- the song MOONLIGHT IN VERMONT (and the fact that it was co-written by a Blackburn!) Sure enough, Siriusly Sinatra satellite radio just played Willie Nelson's recording from his multi-platinum selling "Stardust" album -- my 'other favorite version, after Frank's definitive recording. (Although, come to think of it, Ray Charles' rendition is mighty fine too!) But as he so often does, in his later years, the ageless Mr. Nelson manages to make it sound all his own.
 

Concerning the composers of MOONLIGHT IN VERMONT Wiki says

John M. Blackburn (October 19, 1913 in Massillon, Ohio – November 15, 2006 in Newport, Oregon) was a lyricist. He wrote the lyrics to "Moonlight in Vermont".

He was raised in Shaker Heights, a suburb of Cleveland, Ohio.
He traveled with a puppet theater that brought him to Vermont, inspiring the lyrics to "Moonlight in Vermont", the music was composed by Karl Suessdorf. It was introduced by Margaret Whiting in 1944.
In 1957, Oscar Peterson recorded Blackburn's "Susquehanna".

[Blackburn lived into his 90s, 24 years longer than his “Vermont” co-composer, according to Wiki]

Karl A. Suessdorf was born in Valdez, Alaska, United States, where his father operated from 1907 to 1917 the Copper Block Buffet, a hotel and saloon that offered electric lights, hot baths and steam, and served men only.[1] At the time of the 1920 U.S. Census (January 1920), Karl was living in Los Angeles with his grandmother.

Suessdorf was best known for his collaboration with lyricist John Blackburn in composing the jazz standard, "Moonlight in Vermont", which was first recorded in 1944 by Billy Butterfield's Orchestra featuring Margaret Whiting. He also composed "I Wish I Knew" (1945) and "Susquehanna" (1957) with Blackburn and "Sea at Monterey" (1957) with Blackburn and Steve Graham.

Suessdorf composed "Christmas Madonna" (1958) and "Coral Sea" (1965) with lyrics by Nick Cea; "Key Largo" (1948) (sung by Marian McPartland) and "She Doesn't Laugh Like You" (1964) with Benny Carter and Leah Worth; and a 1949 hit for Perry Como.

Apart from the many other performers who have recorded Suessdorf's compositions, including Billie Holiday and Frank Sinatra, Sarah Vaughan's compilation album Music of the Stars, Volume 2: Songs Recorded by Sarah Vaughan included both "Key Largo" and "Moonlight in Vermont".

Suessdorf died at the age of 70 of a heart ailment in Fallbrook, California in 1982.

[Mark Blackburn]

Background[edit]

The lyrics are unusual in that they do not rhyme.^[1] John Blackburn, the lyricist, has been quoted as saying, "After completing the first 12 bars of the lyric, I realized there was no rhyme and then said to Karl, 'Let’s follow the pattern of no rhyme throughout the song. It seemed right.'"^[2] The lyrics are also unconventional in that each verse (not counting the bridge) is a haiku.^[1]

The song is considered an unofficial state song of Vermont and is frequently played as the first dance song at Vermont wedding receptions.^[3]

[Mark Blackburn]

DORIS DAY - My Romance

I've not read it anywhere, but I am convinced that my favorite composer Dick Rodgers' most-recorded tune by great singers and jazz musicians alike, is MY ROMANCE. My 'boomer' generation was introduced to the song in the movie 'Jumbo' (1962). Almost 30 years later, Carly Simon made it the title track of her second (of three) 'standards' albums. And a moment ago, Siriusly Sinatra channel 71 played Doris Day's studio recording – a reminder of how Doris could 'make a song all her own.'

My Romance has a two sentence Wikipedia entry; a little research reminds us, it was introduced in a 1935 NYC extravaganza – “Jumbo” – that had “344-thousand dollars in production costs” (about ten million today). The cast included more than 1,000 (correct) animals [ ! ] And yet it flopped at the box office.

The show, starring Jimmy Durante, opened on November 16, 1935, at the massive Hippodrome Theater on 44th Street and although it received excellent reviews, it ran for only 233 performances, managing to pay back just half of its record-breaking $344,000 production costs.

Rodgers & Hart's involvement:

After spending three straight years in Hollywood (1932-1934) writing songs for musical motion pictures, Richard Rodgers was growing restless. According to David Ewen in 'Great Men of American Popular Song' the commissions from the Hollywood studios “were too intermittent, and Rodgers and Lorenz Hart were anxious to try out their visions for a new form of musical, that of a 'musical play' instead of a 'musical comedy.' Although writing the score for Billy Rose’s production of Jumbo was hardly what they had in mind, it was the ticket that facilitated their return to Broadway.”

“My Romance” appeared in the 1962 film 'Billy Rose's Jumbo' – a pet project of Doris Day and her then husband Martin Melcher. The song is considered a cornerstone of the production and is described as

“...(Doris) sings the lovely ballad, “My Romance” to (Sam). The camera lingers lovingly on Doris’ face, which is partly shadowed by the dark... she finishes the song just in time to kiss her lover passionately. Very beautiful.”

Although the cast included Day, Stephen Boyd, Martha Raye, Dean Jagger, and Jimmy Durante, the film was not a critical or box-office success. In his book, The Melody Lingers On: The Great Songwriters and their Movie Musicals Roy Hemming says: JUMBO “didn’t deserve to flop-and it remains unjustly underrated among MGM’s musical films of the ‘50s and early ‘60’s.” Hemming opined that “perhaps audiences had had their fill of circus movies at that time.”

It's a girl song and no one ever did it better. First Doris' studio version -- the one played by Siriusly Sinatra this hour. Then the film version -- still a joy to see, 59 years on.
 

Doris singing to Stephen Boyd in JUMBO, 1962. [I see someone who shares my name celebrated this one “1 year ago.”]
 

Edited April 12, 2021 by Mark Blackburn

[Mark Blackburn]

CAROL WELSMAN - Yesterday I Heard the Rain

“And I heard the steady rain, whispering your name . . . whispering your name.”

At this moment Siriusly Sinatra satellite radio is playing Canada's other greatest jazz singer/pianist Carol Welsman accompanying herself on a ballad I've only ever heard Tony Bennett sing (my other favorite version) of YESTERDAY I HEARD THE RAIN. Carol and her jazz trio and she sings the second chorus in Spanish. Pray that it's at YouTube. Nope. But it's at Spotify! Last track on her Dance With Me album. Really, isn't she luverly?
 

The song has a brief Wikipedia entry that acknowledges the best-ever recording [that]

'Yesterday I Heard the Rain' is a studio album by Tony Bennett, with orchestra arranged and conducted by Torrie Zito, released in 1968.[1]

Track listing[edit]
1. "Yesterday I Heard the Rain (Esta Tarde Vi Llover)" (Gene Lees, Armando Manzanero) - 3:42

Thanks to a dear friend at Sinatra Family . com "Bob in Boston" for finding what I could not! [Alas, "Comments are turned off."  A pity.]

 

 

Edited April 15, 2021 by Mark Blackburn

[Mark Blackburn]

BETTE MIDLER - The Folks Who Live On The Hill

At this moment on his Playing Favorites show Barry Manilow is sharing his own recording of Irving Berlin's masterwork HOW DEEP IS THE OCEAN -- my favorite song composed (words & music) by Berlin. The recording engineering features a perfect level of 'reverb' (to my ears) creating a take-a-deep-breath sound stage; that, and the jazz piano musical bridge – lean, but lovely. [Is that Barry accompanying himself, I wonder? I know he does a lot of his own arranging.]

Barry then introduced his favorite version of The Folks Who Live on the Hill – by the Lady who first employed him, in his younger days, as her musical director.

“This is Barry Manilow on Siriusly Sinatra Playing Favorites. I had an opportunity to produce and arrange a few albums for my friend Bette Midler. One was called a Rosemary Clooney Songbook, and the next one was called a Peggy Lee Songbook. One of the songs happens to be my favorite song of all time: It was written in 1937 by Jerome Kern and Oscar Hammerstein the second – for a film called 'High, Wide and Handsome'. Bette is one of the great [pause to choose words with care] 'acting vocalists' of all time. And hearing her sing this song just . . . made my knees weak. Here's Bette Midler singing The Folks Who Live On The Hill.”

An Official version from Bette Midler is the first offering at YouTube. Alas “comments are turned off” (a pity).
 

Barry M's 'How Deep is the Ocean' – a song lyricist Alan Jay (My Fair Lady) Lerner said was his own “all time favorite” because of its unique achievement – with (almost) "every line, a question.”]
 

Edited April 22, 2021 by Mark Blackburn

[Mark Blackburn]

SINATRA - Bonita

Playing at this moment on Siriusly Sinatra satellite radio my favorite 'obscure' Sinatra/Jobim collaboration – BONITA.

A lesser-known song some of us never heard before we heard it first on 'Channel 75 (now 71) Sirius/XM' radio; it finally has a Wikipedia entry of its own (that wasn't there the last time I'd checked) -- thanks in part to a controversy involving my compatriot the late Gene (Quiet Nights) Lees who wrote the English lyrics for several of the A.C. Jobim songs Frank Sinatra recorded. “Six,” Lees would say, “counting Bonita.” A hauntingly beautiful orchestration by Brazilian composer, arranger, producer Eumir Deodato.

"Bonita" (meaning "Pretty" in English) is a bossa nova song composed by Antônio Carlos Jobim, with lyrics in English credited to Gene Lees and Ray Gilbert.

According to Brazilian author Ruy Castro, Jobim composed the song in 1963, after being inspired by "a young woman, Candice Bergen, whom he had the pleasure of meeting at the home of the president of Atlantic Records, Nesuhi Ertegun. The pleasure, by the way, was mutual."[1]

Jobim made the first recording of the song in 1965, for his album, The Wonderful World of Antonio Carlos Jobim. In 1969, Frank Sinatra performed the song with Jobim for their planned album SinatraJobim, but at the last minute, Sinatra stopped release of the record. Seven of the ten songs from those sessions were eventually released as Side A of Sinatra & Company (1971), but "Bonita" was not included. It finally appeared in 1977 on a Reprise UK album entitled, Portrait of Sinatra – Forty Songs from the Life of a Man, and was later included on Sinatra–Jobim Sessions (1979) and Sinatra/Jobim: The Complete Reprise Recordings (2010).[2]

Gene Lees, who had written several other English-language lyrics for Jobim, claims that "Jobim gave my lyric to Bonita, which I had written in New York, to Ray Gilbert, who altered a phrase or two and put his name on it. If you look at the credits on the back of the album titled The Wonderful World of Antonio Carlos Jobim ... you'll find that the writer credit on Bonita reads Jobim/Gilbert.

"Gilbert produced an album for Warner Brothers in which he again used the song, again taking credit for the lyric.... I was furious at both records and took the matter up with the American Guild of Authors and Composers. A hearing was organized, with Sheldon Harnick as its chairman, and I presented the evidence of my authorship. The committee ruled that it was indeed my lyric, solely or largely.... The contretemps over Bonita was one of the reasons I parted company with Jobim."[3]

Edited April 23, 2021 by Mark Blackburn

[Mark Blackburn]

SINATRA – I Concentrate on You (1961)

At this moment Siriusly Sinatra satellite radio is playing one of my favorite tracks from my all-time favorite 'swing' album – “Sinatra's Swingin' Session!!!” – I CONCENTRATE ON YOU. Talk about an inspired arrangement by Nelson Riddle – speeded up a little, at Sinatra's request, apparently. Our favorite singer was never in better voice. This one can still give me goosebumps. You too?

First offering at YouTube (“comments are turned off”) is a “digital remaster of 1998.”
 

Had to look up the song (it has only a one-sentence Wikipedia entry) to get some history from over 80 years ago: There's a link to a Turner Classic Movies article by film historian Roger Fristoe about “Broadway Melody of 1940” – the film that introduced this and a few other classic Cole Porter songs, including “Begin the Beguine” – which provided audiences with arguably, the most amazing dance sequence in film history: Eleanor Powell and Fred Astaire at the peak of their powers.

The TCM article notes that Fred Astaire had just left RKO, and Broadway Melody of 1940 was his first starring role [for MGM and that] Astaire was reportedly “slightly intimidated” by Powell, as she was considered one of the few female dancers capable of out-performing him.

According to Eleanor, in her introduction to the book, The MGM Story, the feeling was somewhat mutual. Powell recalled finally saying to Astaire: "Look, we can't go on like this. I'm Ellie; you're Fred. We're just two hoofers!" After which, they got along well, and “rehearsed so much they wore out their pianist.”

Broadway Melody of 1940 was in production from early September until late November 1939. The set for the "Begin the Beguine" number cost $120,000 to construct. It utilized a sixty-foot multi-paneled mirror mounted on a revolving track to change backgrounds. In THAT'S ENTERTAINMENT Volume 1, Frank Sinatra said in his voice-over introduction to their 'Beguine' performance, that "You can wait around forever, but you'll never see the likes of this again."

[Fast forward one minute to where they begin their 'Beguine']
 

Edited April 24, 2021 by Mark Blackburn

[Mark Blackburn]

DIANA KRALL – East of the Sun (West of the Moon)

Just thinking (to coin an aphorism) that "To be human, is to be 'sidetracked'." And in the Age of Google – when one good link often leads to something better, being sidetracked can be an endless, occasionally joyful, learning experience.

A moment ago I searched for some history on an old (1930s) American Songbook standard, East Of The Sun (West of the Moon) and learned this is also the English title of an “ancient Norwegian folk tale" first published in the 1800s:

“The Norwegian folktale, 'East of the Sun and West of the Moon' [concerns] “a white bear that comes to take a poor girl away, [and is] part of a huge cycle of folklore and myth that has spanned Eurasia in the last 2500 years – first published in 'Norwegian Folktales' (1844).”

During the search, Siriusly Sinatra is playing my favorite latter-day recording by Diana Krall's jazz trio -- with a particularly brilliant guitar solo on the musical bridge by Anthony Wilson. Search for it and the first offering this day with 2.1 M views, is – even better – a joy-filled 'live' performance. (I defy you not to smile and laugh as Diana ad-libs the lyrics.)
 

The song has a very brief Wiki entry, but a long list of important “Recorded Versions” -- beginning with Frank, ending with Diana.
----

- Frank Sinatra recorded it in 1940 (with backup slang lyrics) with the Tommy Dorsey Orchestra.
- Sarah Vaughan recorded it in a 1949 Columbia session for the album Sarah Vaughan in Hi-Fi.,[3] and also her 1953 EP "Hot Jazz (album)"
- Charlie Parker recorded it on six separate dates, the earliest being a live recording at the Royal Roost in New York City on New Year's Day, 1949, and the last a live recording from Birdland in New York City on August 27, 1954. It is featured on numerous albums, including two renditions on The Complete Legendary Rockland Palace Date 1952.[4]
- Benny Goodman recorded a memorable version with his sextet, also in 1952; this performance is included on Benny Goodman Sextet.[5]
- Stan Getz recorded it in 1955, and it was featured as the first track on his seminal double album West Coast Jazz.[6]

One of the most popular recordings was by Louis Armstrong, featured in his 1958 album Louis Under the Stars.
The Four Freshmen recorded it on their album Four Freshmen and Five Saxes (1957).[7]
Keely Smith recorded it in 1958 for her Capitol album, Politely[8] with Billy May & His Orchestra.
Lee Wiley recorded it for West of the Moon (1958).

- Ella Fitzgerald included this on her 1959 Verve release Ella Fitzgerald Sings Sweet Songs for Swingers with the Frank De Vol Orchestra and Harry "Sweets" Edison on trumpet.
- Frank Sinatra recorded it on I Remember Tommy (1961).
- Al Hirt released a version on his 1962 album, Trumpet and Strings.[9]
- Cal Tjader recorded the song on his 1964 album, Breeze from the East.[10]
- Ellis Marsalis recorded the song in the Wynton Marsalis album of 1991, Standard Time Vol. 2.
- Tony Bennett recorded the song on his 1992 tribute to Sinatra Perfectly Frank.
- Betty Carter recorded the song on her 1996 album I'm Yours, You're Mine.
- Diana Krall recorded the song on her album When I Look in Your Eyes (1999).

Edited April 24, 2021 by Mark Blackburn

[Mark Blackburn]

BULEE GAILLARD – Cement Mixer (putti putti)

Speaking of 'one good link leading to another' . . .

The Sinatra Family Forum's “Bob in Boston” just posted his regular daily note, that "On this date Frank Sinatra recorded…

April 24

1946 (Radio): Who’s Sorry Now? / Cement Mixer

Coincidentally (or not) I'd been thinking just this week of a song my musical sister used to sing, when I was young, at least the first few words of the refrain: “Cement mixer – putti- putti” – this, while wondering if the song had any actual lyric (and, naturally, who wrote it?).

Two links to share – the original 1946 recording by BULEE GAILLARD – born in Cuba, who grew up in Detroit and died “in London England February 26, 1991 age 80.” The man's Wikipedia entry is simply incredible, ending on the note that when Duke Ellington came to Detroit, Gaillard went backstage and met his hero. Determined then to become a musical entertainer, he moved to New York City and entered the world of show business as a 'professional amateur.'

As Gaillard recalled much later:

The MC would say, "Here they come, all the hopefuls!" Well, we may have been hopefuls but we weren't amateurs. Of course, you had to be a little bad in spots. If you were too good you'd lose the amateur image. I would be a tap dancer this week, next week I'd play guitar, two weeks later some boogie-woogie piano. They paid us $16 a show. I did one with Frank Sinatra I got $16 and he got $16. Every time I see him I say, "Got a raise yet, Frank?"

—Tony Russell, Jazz Greats, Issue #57

TWO links then – the first, to his original 'Cement Mixer' recording; then, a 'serious' instrumental classical/jazz piano rendition, – revealing Mr. Gaillard to be a giant of an entertainer – a virtuoso pianist -- possessed of an 'artless' physical humor the Marx Brothers would have applauded! All this, from our Bob's citing Frank's same year recording of "Cement Mixer" (putti putti).

Cement Mixer (vocal 1946)
https://www.youtube.com/watch?v=bSOn5gQFDpE

CEMENT MIXER (genius instrumental version 'live' TV with orchestra: followed immediately by his guitar vocal of same)
 

[Mark Blackburn]

Bob in Boston provided a subsequent link "to the song I referenced."  I defy you not to laugh out loud.

 

[Mark Blackburn]

CAROLE KING – 'Anyone at All' (from You've Got Mail)

I don't think I have ever seen my favorite romantic comedy, YOU'VE GOT MAIL, from the very beginning. But a moment ago, I watched my favorite movie ending -- for about the hundredth time! That magic moment when Meg Ryan's character -- looking around in bright sunlight at NYC's “91st street garden” hears Tom Hanks' character's offscreen voice calling loudly after his dog: “Brinkley!” And then the quick range of emotions (including, for just a fraction of a second, a hint of anger) on her expressive young face, allowing him to dab away her tears with his hankie: “Don't cry. Don't cry, shop girl.” Tears of happiness, when she says: "I wanted it to be you. I wanted it so bad."

The closing credits remind us that Harry Nilsson performed four of the featured songs – including three of his own compositions: The Puppy Song, Remember, I Guess The Lord Must Be in NYC and, for the closing scene of their first kiss, as the camera pans skyward – and Harry sings my favorite version of Over The Rainbow.

The song commissioned for the movie – co-written by Carol Bayer Sager -- performed by Carole King with the refrain, “(You Could have been) ANYONE AT ALL (so glad it was you).” It has such a beautiful bridge/release. I only ever get to hear it at moments like this.

First version offered at YouTube this night, featuring snippets of favorite scenes -- posted with an informed note: “Hard to find official music video for, 'Anyone At All' by Carole King featured in the 1998 movie, 'You've Got Mail' starring Tom Hanks and Meg Ryan, directed by Nora Ephron. [All copyrights owned by Warner Bros. Entertainment Inc]
 

 

 

 

Edited April 29, 2021 by Mark Blackburn

[Mark Blackburn]

RAY CHARLES – Yours

Hit the 'back 1 hour' button (the novelty will never wear off!) and Siriusly Sinatra satellite radio is playing Ray Charles' recording of YOURS – an obscure tune with a Spanish lyric from 1911 that the Tommy Dorsey turned into a hit exactly 80 years ago – with a then- new English lyric. [Like another obscure song which Ray rescued from oblivion -- “Ruby” – YOURS gets Sirius airplay perhaps once or twice a year.]

Like Sinatra, Ray Charles drew public attention to gems that might otherwise have simply disappeared from public consciousness. Ray's straight-up, modest delivery of YOURS is quite unlike his greatest R&B hits – where Charles' unique vocal athleticism is at its best.

----

[re “Hit versions” Wiki says:]

"Yours" became popular due to the recordings by the Jimmy Dorsey Orchestra, and Vera Lynn . . . The recording by Jimmy Dorsey featured vocals by Bob Eberly and Helen O'Connell[19] and reached the Billboard Best Seller chart on May 23, 1941, and lasted 13 weeks on the chart, peaking at #2. The recording by Vera Lynn reached the Billboard Best Seller chart on October 17, 1952, and lasted 8 weeks on the chart, peaking at #8.

Is Ray's recording of YOURS at YouTube? One version. This one.
 

Since the last time we checked Ray Charles' Wiki entry there is some newly-entered, erudite analysis of what made Ray's vocal stylings so 'uniquely great':

Ray Charles possessed one of the most recognizable voices in American music. In the words of musicologist Henry Pleasants:

"Sinatra, and Bing Crosby before him, had been masters of words. Ray Charles is a master of sounds. His records disclose an extraordinary assortment of slurs, glides, turns, shrieks, wails, breaks, shouts, screams and hollers, all wonderfully controlled, disciplined by inspired musicianship, and harnessed to ingenious subtleties of harmony, dynamics and rhythm...

It is either the singing of a man whose vocabulary is inadequate to express what is in his heart and mind or of one whose feelings are too intense for satisfactory verbal or conventionally melodic articulation. He can't tell it to you. He can't even sing it to you. He has to cry out to you, or shout to you, in tones eloquent of despair—or exaltation. The voice alone, with little assistance from the text or the notated music, conveys the message."

Pleasants continues: "Ray Charles is usually described as a baritone, and his speaking voice would suggest as much, as would the difficulty he experiences in reaching and sustaining the baritone's high E and F in a popular ballad. But the voice undergoes some sort of transfiguration under stress, and in music of gospel or blues character he can and does sing for measures on end in the high tenor range of A, B flat, B, C and even C sharp and D, sometimes in full voice, sometimes in an ecstatic head voice, sometimes in falsetto.

In falsetto he continues up to E and F above high C. On one extraordinary record, 'I'm Going Down to the River'...he hits an incredible B flat...giving him an overall range, including the falsetto extension, of at least three octaves."

Edited April 28, 2021 by Mark Blackburn

[Mark Blackburn]

RAY CHARLES  –  How Deep is the Ocean

Re-reading that last paragraph (above) about Ray's use of “falsetto” -- while listening to a 1967 double-LP album that received little or no critical acclaim – precisely because Ray had dared to “go feminine” in the way “musicologist Henry Pleasants” described so well:

“ . . . sometimes in full voice, sometimes in an ecstatic head voice, sometimes in falsetto. In falsetto he continues up to E and F above high C. On one extraordinary record, 'I'm Going Down to the River'...he hits an incredible B flat...giving him an overall range, including the falsetto extension, of at least three octaves."

The album has been posted to YouTube by audiophile Steve Schmidt who says it's a “Vinyl to digital [transfer] of an “album that was pretty dirty and with no sleeve. After a thorough cleaning it came out sounding well. I did use some click/pop software from DAK to clean that up. Hope you enjoy.”

Track two is Ray's take on my favorite Irving Berlin song, HOW DEEP IS THE OCEAN. See what you think. The long-overlooked album (with a title that “invites you to listen,” has its own well-earned Wikipedia entry (below) full of interesting facts, for those of us who still care to ask 'Who wrote that song?' and 'Who arranged it?'.
After the opening track SHE'S FUNNY THAT WAY (I've Got a Woman Crazy for Me) comes HOW DEEP IS THE OCEAN: at exactly the 5:00 minute mark.
 

Ray Charles Invites You to Listen (sometimes referred to as Invites You to Listen or Listen) is a studio album Ray Charles released in June 1967. Featuring several standards – with Charles experimenting with falsetto. The album received mixed response from music critics, some noting that the style of music was "old fashioned".

As Charles' 1967 greatest hits album, A Man and His Soul, was released, he returned to the recording studio to begin work on Ray Charles Invites You to Listen. The album was produced by Joe Adams.[2] Charles used falsetto on the album "for no other reason than self-satisfaction". Ray Charles Invites You to Listen consists mostly of standards.

Sid Feller chose ten songs for the album, and wrote their arrangements. A big band provided instrumentation for two of the songs, while the others were backed with fourteen string instruments, eight brass instruments, guitar, bass and drums; Feller conducted the strings, and Adams engineered the record. Ray Charles Invites You to Listen contains a cover version of The Beatles' "Yesterday"; Charles purposely recorded the song with a hoarse voice so that the title lyric sounded as "yeshh-terday". Charles also re-recorded Jule Styne's "People" with a trombone vamp.

Author Mike Evans wrote that Ray Charles Invites You to Listen is "one of the most remarkable recordings of his career." The use of falsetto received a mixed response from critics: it was called "grating and unpleasant" by Down Beat's Carol Sloane (who also described Feller's arrangements as "vapid," and Charles' performance on the whole as "lacking in depth and feeling" while others praised its femininity.[3]

Track listing

1. "She's Funny That Way (I Got a Woman Crazy for Me)" (Neil Moret, Richard Whiting) – 4:53
2. "How Deep Is the Ocean (How High Is the Sky)" (Irving Berlin) – 3:58
3. "You Made Me Love You (I Didn't Wanna Do It)" (James V. Monaco, Joseph McCarthy) – 3:20
4. "Yesterday" (John Lennon, Paul McCartney) – 2:48
5. "I'll Be Seeing You" (Irving Kahal, Sammy Fain) – 5:34
6. "Here We Go Again" (Don Lanier, Red Steagall) – 3:17
7. "All for You" (Robert Scherman) – 5:05
8. "Love Walked In" (George Gershwin, Ira Gershwin) – 4:26
9. "Gee, Baby, Ain't I Good to You" (Andy Razaf, Don Redman) – 2:56
10. "People" (Bob Merrill, Jule Styne) – 5:09

Edited April 28, 2021 by Mark Blackburn

[Mark Blackburn]

The King of Recording Engineers -- Al Schmitt has died, age 91

Over the past 50 years I lost count of the recordings I considered "my favorites" that were engineered by Al Schmitt. A friend at Sinatra Family Forum, 'Bob in Boston' just alerted us to Mr. Schmitt's death two days ago.

It's no exaggeration to say that Al Schmitt was the most important recording engineer of them all – his work revered by the greatest artists – classical, jazz and pop – of the last 70 years, as well as by lesser-known singers and musicians who were thrilled to find Mr. Schmitt at the sound board, supervising their recording sessions. (“Who is that in the booth?” “That's Al Schmitt. Aren't you lucky!”)

After he reached his 90th birthday in 2019, his Wikipedia entry expanded nicely, to include some precious details – like these:

Schmitt grew up in New York City and lived in Brooklyn until the late 1940s. He bought his first 78 at the age of 10, Jimmie Lunceford's record "White Heat." Schmitt's favorite band was Jimmie Lunceford & His Orchestra.[1] He had a younger sister, Doris, and two younger brothers, Richie and Russell, both of whom became audio engineers. His family was poor so some Saturdays he worked at a shop doing shoe repairs.

On the weekends, Schmitt would spend time at his uncle's recording studio, Harry Smith Recording (Smith had changed his name from "Schmitt" to "Smith" because of the anti-German sentiment of the era).[2] From the age of 8, Schmitt would ride the subway himself from Brooklyn to Manhattan to go to the studio.

Smith's studio was the first independent recording studio on the East Coast, engineered sessions for Brunswick Records including with Bing Crosby, and the Andrew Sisters. Smith was his father's brother and also Schmitt's godfather. Schmitt considers Smith one of his mentors for recording along with Tom Dowd.

Smith was friends with Les Paul, who became "like another uncle" to Schmitt. Schmitt and Paul remained friends for life.[2]

After serving in the U.S. Navy, he began working at Apex Recording Studios at the age of 19 as an apprentice.
One Saturday afternoon, Schmitt had a recording session with Duke Ellington and his Orchestra — not the small demo recording he was expecting. Schmitt was the only one at the studio and couldn't get the owner or engineer Tom Dowd on the phone so he did the session in person. Schmitt said he told Ellington many times, "Mr. Ellington, I’m not qualified to do this". Ellington responded by patting him on the leg, looking him in the eye and saying, "It’s okay sonny, we are going to get through this". They cut three songs in four hours.

In 1958, Schmitt moved to Los Angeles and became a staff engineer at Radio Recorders on Santa Monica Blvd in Hollywood.

In 1963, he moved to RCA in Hollywood as a staff engineer,[4] the first engineer hired for the studio. While at RCA he engineered albums for Henry Mancini, Cal Tjader, Al Hirt, Rosemary Clooney, Liverpool Five, The Astronauts, Sam Cooke ("Bring It On Home to Me," "Cupid," "Another Saturday Night") in 1961. He also did a lot of motion picture scoring work for Alex North and Elmer Bernstein.

In addition, Schmitt worked with Jascha Heifetz's "Million Dollar Trio", which comprised Heifetz himself, Arthur Rubinstein on the piano, and Gregor Piatigorsky or Emanuel Feuermann on cello. Schmitt once stated that "Mr. Heifetz was very temperamental in the Studio." He has also stated that Heifetz would have angry fits during recording sessions.
Schmitt engineered the recording sessions held at RCA Hollywood for Elvis Presley's first post-army motion picture for Paramount Pictures, titled G.I. Blues. These recording sessions were held on April 27–28, 1960.

In 1966, Schmitt left RCA and became an independent producer. He produced albums for Jefferson Airplane, Eddie Fisher, Glenn Yarborough, Jackson Browne and Neil Young. In the mid 1970s he began spending more time engineering again, recording and mixing artists from Willy DeVille to Dr. John.

Other career highlights include engineering both Frank Sinatra Duets albums, Ray Charles' Genius Loves Company and some of Diana Krall's albums. Much of his work in his last years was with producer Tommy LiPuma. He also recorded Sammy Davis, Jr., Natalie Cole, Thelonious Monk, Elvis Presley, Tony Bennett, Madonna, Michael Jackson, and many others.

In 2014, Schmitt worked on Bob Dylan's album, Shadows in the Night, which was released on January 30, 2015.

Since moving to Hollywood, Schmitt almost exclusively worked at Capitol Studios, with occasional sessions at United Recording Studios and EastWest Studios, formerly Western Recording. He made an advertisement for AMS Neve's 88R console at Capitol's Studio A, which currently holds an 88R.

Schmitt also appeared on the online internet television series "Pensado's Place", hosted by Dave Pensado and Herb Trawick. During one of the segments he mentioned that his favorite microphone was the Neumann U 67 tube (valve) condenser microphone, and explained that he used it on numerous sources.

---

How do you pick just one favorite recording by Al Schmitt. Well, just now, I reached across my desk to pick up the closest, most recently listened-to, album by Natalie Cole -- my favorite of her 'standards' albums ASK A WOMAN WHO KNOWS: "Produced by Tommy LiPuma, executive producer Natalie Cole, recorded by Al Schmitt and Elliot Scheiner."

Track 1 -- I Haven't Got Anything Better to Do
 

[Mark Blackburn]

BOB DYLAN – Why Try to Change Me Now (2015)

It's a song that gets airplay on Siriusly Sinatra satellite radio -- Bob Dylan's cover of a favorite by Sinatra, Why Try to Change Me Now -- from an album engineered and 'mixed' to perfection by Al Schmitt. At his request, in 2015, Bob Dylan finally got to record -- at the legendary Capitol studios that Mr. Schmitt called his 'home' -- his Grammy-winning 'Shadows in the Night' album.

Asked to name his favorite track, Mr. Schmitt singled out WHY TRY TO CHANGE ME NOW, definitively recorded by Sinatra for one of Dylan's favorite albums 'NO ONE CARES' ("arranged by Gordon Jenkins, conducted by Nelson Riddle") in 1959.

'Why Try to Change Me Now' was another 'should-have-been-a-standard' that Frank Sinatra (almost) rescued from obscurity: To this day the song is not listed in the Wikipedia entry for its lyricist -- Cy Coleman's first collaborator “Joseph A. McCarthy - born September 27, 1885 – died December 18, 1943”).

When asked about his favorite recording with Bob, Al Schmitt said,

“Why Try to Change Me Now -- that’s one I really liked a lot! But God, there’s just so many great ones: out of those 10 songs, five of them were my [lifelong] favorites – songs I loved that were around when I was a kid growing up; I knew them so well because I had recorded so many of them with other people!”


Is Dylan's recording of 'Why Try to Change Me Now' at YouTube? Not yet. Not that I can find. But it's at Spotify! 
 

“It was great” said Al Schmitt, "working with Bob Dylan. We would work from three to six, and then we’d take a two-hour dinner break, and we worked from 8 to maybe 10:30, Monday through Friday; we took the weekend off. It was great, just great. And he was just a kind, considerate guy. It was cool.

"The first day – he’s a very private guy – we would talk, but there wasn’t a lot of conversation going on; but at the end, when he knew I was on his side, and [wanted] to do the best for him, he started to loosen up. At the end of the first day, we had two or three things that we did that were really, really nice. I gave him a big hug. I don’t think people do that to him too often, but I just put my arms around him, gave him a big hug. And he kind of stiffened for a second and the next thing I know he relaxed. There was a big smile on his face, and that was it. From then on, it was a walk in the park. It was just so much fun.

"He would often say, 'Well, what does Al think?' [or] 'Al, what do you think of that?” It was a joy for me, I had a great time!

"I've always had a great admiration for Bob Dylan – always been a fan. Anybody that could write 'Like a Rolling Stone,' or 'Blowing in the Wind, those kinds of things -- I was always a fan. But to get to actually be quite intimate with him was really pretty great!"

Edited April 30, 2021 by Mark Blackburn

[Mark Blackburn]

TONY AND GEORGE – How Do You Keep The Music Playing?

Now in his 95th year, the world's greatest living singer has outlived several of his celebrated “Duets” partners – including George Michael: At this moment Siriusly Sinatra is playing their duet of 'How Do You Keep The Music Playing?' I confess to getting goosebumps hearing the power of two great voices intertwined in unison and in harmony – in a demonstration of restrained power. Like a couple of muscle cars, old and new, their engines at idle, until the 'full-throated' roar' of their final crescendo together – at the words “. . . the music never never ends.”

An Oscar-nominated song by the 'The Bergmans' that has a brief Wikipedia entry (below). I've been thinking of Tony Bennett a lot lately and am just so grateful that Sirius programmer-extraordinaire 'Jersey Lou' Simon included this one on his playlist tonight.
 

"How Do You Keep the Music Playing?" is a song composed by Michel Legrand, with lyrics by Alan and Marilyn Bergman for the 1982 film Best Friends, where it was introduced by James Ingram and Patti Austin. It was one of three songs with lyrics by Alan and Marilyn Bergman that were nominated for the Academy Award for Best Original Song at the 55th Academy Awards.

Tony Bennett recorded it three times — The Art of Excellence (1986), Duets: An American Classic (with George Michael) (2006) and Duets II (with Aretha Franklin) (2011)
 

[Mark Blackburn]

TRISHA YEARWOOD - I'll Be Seeing You

From her "Perfectly Frank" album. Left a note of appreciation this day at Trisha Yearwood's Facebook page:

Yours is the best (heartfelt, anecdotal yet concise) appreciation of AL SCHMITT that I have read. Thought of your Sinatra tribute album -- that it would have been the last truly 'symphonic' recording session that Al supervised. Sharing this precious note with friends this day:

"What a joy and a privilege to know and work with this man. It has been said of Al Schmitt that he was already mixing the song when he was placing the microphones in the studio. I found that to be true while recording Let’s Be Frank at Capitol in 2018.

Along with Don Was, Steve Genewick, and 55 musicians, we recorded and mixed 13 songs in 8 days. The entire experience was magical. I am one of the many, many people who will miss him greatly. Thank you for being a part of our lives, Al. I’ll be seeing you…

love, Trisha."

 

Edited May 1, 2021 by Mark Blackburn

[Mark Blackburn]

DIANA KRALL – How Deep is the Ocean

Just listening to Diana Krall's terrific rendition of HOW DEEP IS THE OCEAN – from one of her favorite recordings with Al Schmitt, the “Love Scenes” (1997) album. Track 10 on her “fourth studio album” with these credits:

Diana Krall – piano, lead vocals, liner notes
Russell Malone – guitar
Christian McBride – bass
Tommy LiPuma – production
Al Schmitt – recording, mixing

At her Facebook page Diana has posted this photo along with a message to fans.

[Diana wrote:]

“I am so heartbroken at the passing of my dear friend, Al Schmitt. I have no words that could express my love better than these lines by Irving Berlin ....

How much do I love you
I’ll tell you no lie
How deep is the ocean
How high is the sky
How many times in a day
Do I think of you
How many roses are sprinkled with dew
How far would I travel
Just to be where you are
How far is the journey
From here to a star
And if I ever lost you
How much would I cry
How deep is the ocean
How high is the sky.”

Diana included a new jazz trio version of How Deep is the Ocean on her most recent album, 'This Dream of You' (2020). Which to play? Let's go 'traditional' – the earlier 'trio' recording. Al Schmitt recorded them both. At YouTube, the “official” upload with “comments turned off” (a pity).
 

 

Edited May 1, 2021 by Mark Blackburn

[Mark Blackburn]

No one does 'crazy' like Bruce Dern

Last night I saw a promo for Bruce Dern's latest movie (or TV series?) and he is, to borrow from Paul Simon STILL crazy after all these years. Nearly 50 to be exact.

Had to thank an old friend Gary G -- for sharing on his Facebook page the original (1972) poster for SILENT RUNNING. [I responded]

Saw it at the 'Rosebank Theater' in Bermuda -- the year I fell in love with the girl next door -- "Irene" from Winnipeg.

So many memorable things, from the adorable robots (Huey, Duey and Louie) to Joan Baez singing two songs.

There was a balance to the casting -- Bruce Dern as the hero is hug-a-tree crazy, and his co-workers are normal guys -- each with a sense of humor. The scene in the 'kitchen' with Bruce eating a melon "that I grew!!! -- not this artificial stuff" that [everyone's] eating. I loved this movie so much! Thanks, old friend, for sharing.

["Last Remaining Forests' - 3:45]