GREAT MELODY, GREAT LYRIC, GREAT RENDITION

[Mark Blackburn]

STEVE TYRELL – All Of You

“More volumes of 'Reprise Rarities' are set to be released in the coming months,” says Sinatra family friend Charles Pignone at the end of an hour's worth of “Rarities Vol. 3” on 'Siriusly Sinatra' (now channel 70).

I was amazed at the strength of Sinatra's voice – especially on what might otherwise be overlooked material, some of it delivered to a disco beat [!] like Cole Porter's Night & Day, a latter-day rendition I don't think I ever heard.

Pignone's show closer -- with the refrain, “Everybody wants to be in love” – was little more than what Frank used to dismiss as 'a riff tune.' And yet, the power of that voice – that blend of conviction and playfulness – draws you in, doesn't it?

Just wanted to say thanks again to Charles Pignone, whose “The Chairman's Hour” continues to be my 'other all-time favorite show' on channel 70.

That said, at this moment (nearing noon Frozen Prairie Time) Jersey Lou Simon is playing my new favorite version of Cole Porter's ALL OF YOU – a favorite in part for the gorgeous nylon-string guitar obbligatos and solo on the musical bridge by a hero of mine – Steve Tyrell's arranger Bob Mann, my all-time favorite studio musician who has accompanied a Who's Who boat load of musical giants, on stage and in the studio.

Is this one at YouTube? Yes. Alas with “comments turned off.” A pity.

 

[Mark Blackburn]

PAT MARTINO - Nuages (Clouds)

Just learned of the death of one of my jazz guitar heroes, earlier this month, at age 77. The intuitive genius that is 'YouTube 2021' sent this video my way: Pat Martino's late-in-life solo rendition of Django Reinhardt's best tune, “Nuages” (Clouds) – for which Tony Bennett, 50 years on, composed a perfect lyric (and retitled the song, “All For You”).

Until this hour, I never knew the physical and mental adversities that Pat Martino heroically overcame, while building – and re-building from scratch his great skills as a jazz artist – one of Philadelphia's greatest musical sons (note below).

 

Downbeat magazine (“since 1934”) has perhaps the best tribute to Pat. In case you don't have time to read, some highlights:

Jazz guitarist Pat Martino passed away Nov. 1 at age 77 following a long illness.

Known for his incredible guitar chops and a kind heart to match, Martino died after battling a chronic respiratory disorder that prevented his lungs from bringing in oxygen and required around-the-clock treatment. Martino had not worked since 2018 due to the chronic obstructive pulmonary disease.

Word of Martino’s passing spread quickly over social media with an outpouring of love from musicians and supporters.

“He’s gonna be missed — he certainly left us all an incredible legacy of music and will always be remembered as one of the greatest guitarists of all time,” said Joey DeFrancesco, a fellow Philadelphian who had performed with Martino over the years.

“Pat Martino 1944–2021 … my teenage hero, and still … when I hear him, I try to play guitar like that, but it can’t be done,” wrote John Scofield. “He was such a nice man to us younger players. Thank you, Pat. R.I.P.”

“His legacy is a gift to us all,” said Joe Donofrio, Martino’s long-time manager. “From the moment he first picked up the guitar to his last day on earth, Pat never wavered from his true calling.”

“I had the pleasure of creating an album called The Philadelphia Experiment with the great Pat Martino,” wrote drummer Questlove Thompson, another Philadelphian. “A Philadelphia legend and guitar master, who even became more legendary when, at the hands of a seizure due to an arteriovenous malformation, had amnesia at age 36 in 1980 and had to start all over again. ...

“He joked with me when I asked about playing simple songs like ‘Body And Soul.’ He countered, ‘I couldn’t even play “Mary Had A Little Lamb” … let alone tell you what a lamb was.’ Can you imagine that? Just shy of 40, you suddenly forget everything, including your passion. It would have been easy to just wallow in depression and rely on friends and family to just tell you who you once were. But instead, he decided to not only start over again, but surpassed the level that took him three-plus decades to get to. He did it, advancing way, way past his pre-amnesia levels to ensure his god status. … May he rest in melody.”

----

Born Patrick C. Azzara in Philadelphia, Martino was introduced to jazz through his father, who sang locally and studied guitar with Eddie Lang briefly. Martino began playing guitar himself at the age of 12  . . .

But his greatest achievement may have been recovering from surgery for a severe brain aneurysm that also damaged his memory. Through intensive study of his music, and with the help of computer technology, Martino was able to reverse the memory loss, and resumed his recording and performance career.

Prior to his death, crowdfunding efforts had raised nearly $250,000 to help cover Martino’s medical expenses. In March, guitarist Joel Harrison dedicated an evening of his online Alternative Guitar Summit to Martino with a dozen jazz guitar masters playing Martino’s compositions. Benedetto Guitars, the company that made his signature model, built and auctioned off a guitar to contribute to the effort.

[DOWNBEAT feature:]   https://downbeat.com/news/detail/in-memoriam-pat-martino-1944-2021

 

 

 

Edited November 18, 2021 by Mark Blackburn

[Mark Blackburn]

JOHN PIZZARELLI - This Happy Madness

Just left my favorite jazz guitarist/singer a note:  This show was wonderful – so many highlights, too many to mention. Okay just a couple or three. I love how your Bossa Nova segment not only features Antonio Carlos Jobim songs but your amazing, 'orchestral' arrangements allude to those Claus Ogerman orchestrations on Sinatra's first album with Jobim. Several tracks on the Sinatra-Jobim recordings featured lyrics by a compatriot Canadian-born Gene Lees, among them THIS HAPPY MADNESS. So good to hear you play and sing that one – so beautifully! Beginning around the 51:27 mark. The 'happy madness' of falling in love, never captured in song lyrics better than words like these (on the beautiful bridge):

“I feel that I've gone back to childhood, and I'm skipping through the wild wood, so excited that I don't know what to do! What do I care if I'm a 'juvenile'? I smile my little secret smile, because I know the change in me is you . . . “

Thanks too for reminding Dave Frishberg fans that our lyricist hero has left us “at age 88 – so fitting,” as John said – given the number of keys on a piano “that a piano player should die at 88.” Loved Jessica's shared anecdote about getting a call from Dave when he was passing a kidney stone and Jessica went with him to hospital. “One year to the day later” Dave sent flowers to mark the anniversary with a note: “Happy Kidney Stone Day!”

Oh, one more: Your rendition (at around 43:33) of my favorite Johnny Mercer song (his favorite too) I REMEMBER YOU featured the best chord sequences I could even imagine. Johnny would have loved. He wrote it to a melody by film director Vic Schertzinger. They wrote one other good song, TANGERINE. But you knew that.
[Wikipedia note:] "David Lee Frishberg was an American jazz pianist, vocalist, composer, and lyricist. His songs have been performed by Blossom Dearie, Rosemary Clooney, Shirley Horn, Anita O'Day, Michael Feinstein, Irene Kral, Diana Krall, Rebecca Kilgore, Stacey Kent, John Pizzarelli, and Mel Tormé. Wikipedia
Born: March 23, 1933, Saint Paul, Minnesota, United States
Died: November 17, 2021

https://www.facebook.com/JohnPizzarelliOfficial/videos/294465399084740

In case that link doesn't work . . . the definitive late 60's recording:  Sinatra's duet with Antonio Carlos Jobim arranged by Eumir Deodato.

 

 

Edited November 19, 2021 by Mark Blackburn

[Mark Blackburn]

TONY BENNETT – My Favorite Things

It was Julie Andrews herself who started the association in our minds of MY FAVORITE THINGS and Christmas (or if you prefer, 'the holiday season'). Four years before she sang the song in the movie version of The Sound of Music, Julie introduced it to American and Canadian audiences – in long ago 1961 – her 'Christmas' selection for a black & white TV 'holiday special' hosted by Gary Moore. Raise your hand if you remember Gary Moore.

Thought of this, when someone much younger declared (below) “But it's not a Christmas song!” Okay, then – a 'seasonal song' that turned 60 this year! My favorite composer Richard Rodgers didn't live to hear Tony Bennett's version of My Favorite Things. But I believe he would have declared this recording by Tony – after Julie's original -- the best-ever rendition. You agree?

On his Facebook page today Tony extended an invitation to his fans:

“'Snowflakes that fall [stay] on my nose and eyelashes...' What are some of your favorite things?

“Get into the holiday spirit with "My Favorite Things" now on YouTube, and the reissue of Tony's classic holiday album Snowfall - available here:

http://Tonybennett.lnk.to/Snowfall

 

Edited November 20, 2021 by Mark Blackburn

[Mark Blackburn]

JAMES TAYLOR – Enough To Be On Your Way

Hard to believe it's been almost 25 years since James Taylor recorded his Grammy-winning “Hourglass” album. The intuitive genius that is YouTube just sent me a video I'd never seen, for the album's longest track (5:29) – ENOUGH TO BE ON YOUR WAY – featuring actress Barbara Hershey.

Coincidentally (or not) I'd just been thinking of a late-in-life agreement I had with my kid brother Ron (who died a year ago) that Barbara Hershey was quite the sexiest actress either of us had ever seen. Lo and behold, James Taylor gets to plant a kiss on those beautiful lips, before her character says goodbye and climbs into an old Chevy station wagon, to drive off into the sunset, leaving our protagonist alone with his truck at the side of a highway. Yes, in my mind's ear, a moment ago I heard my brother Ron say “Good on you James Taylor.”

 

 

The Wiki entry for 'Hourglass' reminds us that it was a Grammy-winner and “inspired” by James' own family history. [ ] “An introspective album with lyrics that focused largely on Taylor's troubled past and family [and that] 'Enough to Be On Your Way' was inspired by the alcoholism-related death of his brother Alex earlier in the decade ….”

At the time of its release (1997) James quipped to Rolling Stone magazine that “it was 'spirituals for agnostics'."[9] 

Hourglass was a huge commercial success, reaching No. 9 on the Billboard 200 (Taylor's first Top 10 album in sixteen years) and also provided a big adult contemporary hit on "Little More Time With You".

The album also gave Taylor his first Grammy since JT, when he was honored with Best Pop Album in 1998. The album also won producer/engineer Frank Filipetti a Grammy for Best Engineered Album. 

 

https://www.youtube.com/watch?v=l0j0xPq6mZ4

 

An album whose all-star cast includes musical giants, and personal favorites – like guitarist/arranger Bob Mann who has worked in studio or on stage with a Who's Who of important artists.

Personnel [edit]

• James Taylor – lead vocals, acoustic guitar, penny whistle (2), harmonica (10)

• Clifford Carter – keyboards

• Bob Mann – guitars

• Dan Dugmore – pedal steel guitar (10, 11)

• Ross Traut – high-strung guitar (11)

• Jimmy Johnson – bass guitar (1-3, 5–8, 10-12)

• Edgar Meyer – cello arrangements (2, 7), acoustic bass (4, 9)

• Carlos Vega – drums, percussion

• Yo-Yo Ma – cello (2, 7)

• Mark O'Connor – fiddle (2)

• Stanley Silverman – cello arrangements (2, 7)

• Stevie Wonder – harmonica (3)

• Branford Marsalis – soprano saxophone (4), alto saxophone (9)

• Michael Brecker – tenor saxophone (5), EWI (6)

• Rob Mounsey – horn arrangements (5)

• Valerie Carter – backing vocals

• David Lasley – backing vocals

• Kate Markowitz – backing vocals

• Arnold McCuller – backing vocals

• Sting – backing vocals (6)

• Jill Dell'Abate – backing vocals (8)

• Shawn Colvin – backing vocals (10)

 

Edited November 21, 2021 by Mark Blackburn

[Mark Blackburn]

JAMES TAYLOR -- Going Around One More Time

" . . . I said, 'That's it! I'm through! I quit -- then Juanita, she looked so FINE . . . "

'The Brothers Taylor' -- a photo shared by James.  Kid brother Livingston turns 71 today (11/21/2021)

 

----

My favorite song composed by Livingston. Yours too? 

 

Edited November 21, 2021 by Mark Blackburn

[Mark Blackburn]

LOUIS & ELLA - Summertime

There are versions of great 'standards' of the American Songbook that your mind's ear will summon up whenever you hear a title and think, Who did this best? When it comes to Gershwin's SUMMERTIME, the retire-the-trophy rendition belongs to Ella Fitzgerald and Louis Armstrong – a 65-year-old recording that gets regular airplay on Siriusly Sinatra satellite radio (now channel 70). Their arranger was a lesser-known musical genius – film composer Russell Garcia. [Wiki note below] '

Jazz at the Philharmonic' producer Norman Granz asked Mr. Garcia to arrange and conduct the symphony orchestra for Ella and Louis' definitive version for their “Porgy & Bess” album (1957). The most viewed version at YouTube this night "13,436,366 views" -- four million more than its views total  of “1 year ago” when I see my namesake reviewed it and included a jazz critic's insightful reflection on the genius of Louis Armstrong.

[Wikipedia entry for the arranger]

Russell Garcia, QSM (12 April 1916 – 19 November 2011)[1] was a composer and arranger who wrote a wide variety of music for screen, stage and broadcast.

Garcia was born in Oakland, California, but was a longtime resident of New Zealand. Self-taught, his break came when he substituted for an ill colleague on a radio show. Subsequently, he went on to become a composer/arranger at NBC Studios for such television shows as Rawhide 1962 and Laredo, 1965–67. He worked at Universal Studios and MGM, where at the latter he composed and conducted the original scores for such films as George Pal's The Time Machine (1960) and Atlantis, the Lost Continent (1961). He also orchestrated the music for Father Goose (1964) and The Benny Goodman Story (1956). Garcia collaborated with many Hollywood musicians and celebrities, including Ella Fitzgerald, Louis Armstrong

One of five brothers, Garcia grew up in what he said was an "ordinary" household where music was something that came out of the radio.[2] When his family noticed the five-year-old Russ standing by the radio every Sunday morning waiting for the New York Philharmonic to come on, it was obvious the child had a special interest in music. One of his brothers presented him with an old cornet he bought for $5, which Russ taught himself to play. In school he started a jazz band to play his new horn, and ended up using the band as an outlet for his compositions and arrangements of standards, all of which were self-taught. "I've been able to read music since I was little," he said at the time. "I don't know how, because I had lessons only when I went to high school. Call it instinct, call it a gift, I've never questioned my musical ability. I'm thankful for it. If I take up a sheet of manuscript paper and a pen there's a whole orchestra playing in my head. At times I can't write quickly enough to keep up with what's flowing out of me."

Garcia and his wife Gina Mauriello Garcia, a published author and singer-lyricist-writer in her own right, were members of the Baháʼí Faith since 1955.[3] In 1966, at the height of his career, the Garcias sold their home and possessions, bought a boat, and set sail . . .

According to Garcia's obituary in the Los Angeles Times and his obituary by Marc Myers in Jazzwax, a daily jazz blog[7][8][9] Garcia did the orchestration[10] for "the 65-piece studio symphony"[8] for Charlie Chaplin's 1952 film Limelight. However, in 1972, when Limelight won an Oscar for the best original dramatic score, the three Oscars were given to Chaplin, Raymond Rasch and posthumously to Larry Russell, who was also a composer and movie arranger at the time.[8][9]

In 1957, through his Universal Studios contract, he arranged and conducted Louis Armstrong and Ella Fitzgerald's record album Porgy And Bess.[10] He undertook three more albums and a concert at the Hollywood Bowl with Armstrong.

----

Although he loved what he was doing, he decided to walk away from it all in 1966. "I fought in the Battle of the Bulge during World War II and vowed that if I ever got out of it alive, I was going to dedicate myself to world peace." The Garcias decided to sail the Pacific Ocean, carrying the message of peace and the Baháʼí Faith to the remote islands of the South Pacific. Garcia said, "Not many people have the chance to follow their hearts with no financial worries. We had the "charm" working for us: we knew the royalties would see us through for some years." They spent the next six years on their 13-metre fiberglass trimaran the Dawn-Breaker, as "traveling teachers," anchoring in such exotic locations as Jamaica, the Galapagos Islands, the Marquesas and Tahiti.

At the age of ninety-two, Garcia was still composing and touring internationally, and he conducted his own 95th birthday concert in Kerikeri. [He died that year, 2011.]

Edited November 22, 2021 by Mark Blackburn

[Mark Blackburn]

SINATRA - Here's That Rain Day

"Come to bed," says my Irene. It's 1:11 a.m. and Siriusly Sinatra channel 70 is playing my favorite version of HERE'S THAT RAINY DAY -- the Don Costa arrangement that is part of the "Glad To Be Unhappy" medley -- the TV performance complete with thunder and rain -- you know the one. It's never at YouTube but when I wasn't looking someone posted just the 'Rainy Day' segment. What's it from? Where's a wise man when you need one in the wee small hours.

 

Tied for First Place (Best Ever TV Version of Here's That Rainy Day) you may agree: Tonight Show band stalwarts Doc Severinsen, Tommy Newsome and Ed Shaughnessy play Johnny Carson's favourite song 'Here's That Rainy Day' to close David Letterman's tribute to Carson.

 

 

Edited November 22, 2021 by Mark Blackburn

[Mark Blackburn]

In the years (almost two) since James Taylor announced his AMERICAN STANDARD album (the latest Grammy-winner in the 'Best Traditional' category usually owned by Tony Bennett) I've been keeping a private tally of songs I'd love to hear James include on “American Standard II.” The list includes one of my father's favorites (from long ago 1929) by Howard Dietz & Arthur Schwartz – I GUESS I'LL HAVE TO CHANGE MY PLAN. I could always imagine James' voice singing about “those blue pajamas.”

Some others I'd hope to hear him sing: my family's favorite song, Jerome Kern and Oscar Hammerstein's ALL THE THINGS YOU ARE, which Dad said described Mom “to a T.”

What else? JUST IN TIME from the 1956 Broadway show “Bells are Ringing” with one of the best tunes composed by Jule Styne.

Another is LONG AGO (and Far Away) – one of the last great songs (1944) from the dean of composers, Jerome Kern with a lyric by Gershwin – Ira, George's older brother (who survived him by over half a century).

In my mind's ear I can hear James Taylor making 'all his own' Rodgers & Hart's I DIDN'T KNOW WHAT TIME IT WAS. And their most famous song, MY FUNNY VALENTINE – what would James do with that?

James Taylor's good friend Linda Ronstadt may have retired the trophy (for me) on AM I BLUE. But again, our favorite singer/songwriter could convince me (with a new, 'two-guitar arrangement' with John Pizzarelli) that he composed that song introduced by Ethel Waters in 1929.

Something made me re-watch “The Making of American Standard” – the delightful nearly nine minute feature that James shared with fans back in February 2020. Lo and behold, at around the 1:03 mark there is a list in James' handwriting of other songs he'd been considering for inclusion. Including most all of these I've just listed! As Mom used to say, There ARE no coincidences!” You know what she meant. Once more, with feeling . . .

 

 

Edited November 22, 2021 by Mark Blackburn

[Mark Blackburn]

ELLA - What Am I Here For?

The song playing right this minute on channel 70 introduced by this week's show host:

 

“I'm Sue Raney Playing Favorites on Siriusly Sinatra. I got signed to Capitol when I was 17 years old – born in Kansas, I grew up in New Mexico . . . and was on a little Country radio show – Glen Campbell was also on that show! But I grew up on Country music – as well, of course, as the pop music of the day – Nat Cole, Frank Sinatra and Doris Day . . .

 

“And when I signed with Capitol my first album was with Nelson Riddle . . . someone suggested it would be good for me if I listened to Ella in order to 'swing a little more.' I also listened to Sinatra but Ella – being a woman, I wanted to sing with her, and learn how she phrased and how she 'swung.' And I remember so well putting on this record, singing along with her, to emulate her style and her feeling. And this is one of those songs I played and sang along with – What Am I Here For?”

 

 

Edited November 23, 2021 by Mark Blackburn

[Mark Blackburn]

BILLIE HOLIDAY - It's the Mood That I'm In

Just for me (I'd like to think) Siriusly Sinatra satellite radio (now channel 70) is playing a delightful duet I praised a week ago on John Pizzarelli's Facebook page – John together with my favorite living singer Calabria Foti – and my new favorite version of an old jazz standard -- IT'S THE MOOD THAT I'M IN.  John scats in unison with his guitar solo on the musical bridge. Only George Benson is as good as John at that amazing motor skill – humming the exact notes being played at speed on the guitar!

Is it at YouTube? Never, it seems. The album it's from is Calabria's most recent “Prelude to a Kiss” where it's the second-last of eleven tracks. Beautiful violin throughout by Calabria herself. So. Who did the best early version? Why Billie Holiday herself – with the Teddy Wilson band.

 

[Mark Blackburn]

TONY BENNETT & LADY GAGA  -- Cole Porter Songs -- 6 Grammy nominations

James Taylor's AMERICAN STANDARD album (2020) was the latest Grammy-winner in the 'Best Traditional' category which (as I like to say) is “usually owned by Tony Bennett.” Well, true to form Tony is again nominated this year – but for six (count 'em) GRAMMYs – including the biggest prize of them all – “Album of the Year.” For his latest all- Cole Porter album with Lady Gaga. They appeared last night (11/23/2021) on 'The Late Show with Stephen Colbert.'

 

“Thank you so much,” said Lady Gaga, "to the Recording Academy / GRAMMYs for these 6 nominations for 'Love For Sale.' I am stunned and shocked and beyond grateful. I don’t know what to say. I just keep crying and am utterly speechless. This means so much to me, Tony Bennett, the Bennetts, my family, jazz music, and the great Cole Porter who wrote all these timeless classics. I’ll never forget today and congratulating Tony on his 6 nominations.” 

 

 

 

 

 

 

 

 

Edited November 24, 2021 by Mark Blackburn

[Mark Blackburn]

“Thanks, everybody,” said John Pizzarelli, “for Lo – these last 69 request shows.” Said Jessica: “We couldn't have done it without you!” Then they launched their show closer – an ingenious medley of “counting blessings” songs. Permit an aside:

Earlier this night I'd been recalling my musical Mom singing the words to a tune she liked from the Bing Crosby movie musical White Christmas:

“If you are worried, and you can't sleep – just count your blessings instead of sheep. And you'll fall asleep, counting your blessings.”

Words & music by Irving Berlin – who is quoted in the Wikipedia entry (below) in an anecdote that wasn't there last time I looked.

Yes, as if saving the best to the last, John Pizzarelli played Count Your Blessings (Instead of Sheep) tonight as the show-closer (at the 56:32 mark). in a poignant medley-duet with his talented wife Jessica Molaskey (who has the most wonderful smile and musical laughter). They intertwined the lyrics of two songs – the one sung by Jessica I'd not heard before, with the refrain:

“Five-hundred-25-thousand, six hundred minutes – How do you measure in a life? In daylight? In sunsets? in midnights, in cups of coffee? In inches and miles? laughter and strife . . . ”

They make each other laugh when John flubs the moment of segue – transitioning from his “counting sheep” song, to Jessica's “counting moments” in a life together. As a sort of coda, John plays a guitar solo of such beauty – a melody I've not heard before. (His own composition?)

Did I say, 'Wonderful show.' Well it was. Oh yes-- loved that “50 year old” 'Vega' banjo, reminding us that when you hear it at close range, it's the loudest instrument, 'unplugged' that ever was.

Reminded of Mel Torme's old joke: “What do you call a thousand banjos at the bottom of the sea? A good start.”

[Wikipedia note:]

"Count Your Blessings (Instead of Sheep)" is a popular song written by Irving Berlin and used in the 1954 film White Christmas. It is commonly performed as a Christmas song, although the lyrics make no reference to the December holiday.

The song arose from a personal experience of Berlin when his doctor suggested he try "counting his blessings" as a way to deal with insomnia brought on by stress. Said Berlin:

“ . . . after the worst kind of a sleepless night, my doctor came to see me and after a lot of self-pity, belly-aching and complaining about my insomnia, he looked at me and said "speaking of doing something about your insomnia, did you ever try counting your blessings?"

https://www.facebook.com/JohnPizzarelliOfficial/videos/382691086973718

 

[Mark Blackburn]

TONY BENNETT / BILL EVANS – A Child Is Born

Siriusly Sinatra satellite radio is playing a lot of Tony Bennett recordings -- at least five of them today alone. At this moment, it's the definitive version of a seasonal jazz standard – A CHILD IS BORN: Tony, alone together, with piano great Bill Evans who died young, age 50, three years after this recording in 1977.

I'd just been re-reading Tony's autobiography 'The Good Life' in which our greatest living singer [just nominated for six Grammy awards] recalled Bill Evans telling a NYC radio interviewer in 1976, when they recorded their first of two albums:

“Every great jazz musician I know – all of them – idolize Tony Bennett. From [drummer] Philly Joe Jones to Miles Davis – you name it; the reason is that Tony is a great musical artist. He puts music first and has dedicated his life to it. He has great respect for the music and the musicians – and it comes through: It's a joy to work with somebody like that.” Tony Bennett recalls in his autobiography THE GOOD LIFE that Bill finished that interview by stating that his “recording with Tony was one of the prime experiences of my life.”

Just before he died, Tony said Bill tracked him down by phone when “I was passing through some little town on the outskirts of Austin, Texas of all places, and he said: “I wanted to tell you one thing: Just think about truth and beauty. Forget about everything else. Just concentrate on truth and beauty, that's all.”

Tony added: “I've tried to live by those words ever since.”

Wikipedia note [recently expanded]

"A Child Is Born" is a jazz instrumental that was later recorded with lyrics added. It was written in 1969 by the jazz trumpeter Thad Jones with lyrics added independently by Alec Wilder after hearing the Thad Jones-Mel Lewis Orchestra perform the instrumental.[when?] The instrumental and the song have been recorded by a number of musicians including Tony Bennett, Stanley Turrentine and Bill Evans[1] (also released on Christmas with Sinatra & Friends), as well as notable recordings by Kenny Burrell, Dee Dee Bridgewater, Hank Jones and Helen Merrill.

Lyrics[edit]

Now, out of the night / New as the dawn / Into the light / This Child / Innocent Child / Soft as a fawn / This Child is born

One small heart / One pair of eyes / One work of art / Here in my arms / Here he lies / Trusting and warm / Blessed this morn / A Child is born

Form[edit]

"'A Child Is Born' is a 32 bars long song in 3/4 time, and when soloing over it, jazz musicians "usually omit the last two bars", leaving a "30-bar solo form".[3] The original was recorded in B-flat major. It features a slow, lengthy introduction on the piano, lasting over a minute. Bob Yurochko in his book A Short History of Jazz refers to it as a "beautiful ballad" of mainstream jazz.

 

[Mark Blackburn]

Stephen Sondheim died today (11/26/2021) age 91 at his home in New York. My favorite of his songs were two that he composed (words & music) for the soundtrack of the 1991 movie DICK TRACY – the only Madonna album I ever purchased new (on cassette - remember those?).

“Sooner or Later” won Mr. Sondheim his “Best Original Song” Academy Award. My other favorite from the film was “What Can You Lose.” This one. Not so strong melodically (no matter how many times I hear it I can't hum the tune) but achingly beautiful harmonies and a poignant lyric about “being friends” and not lovers.

That's Mandy Patinkin – better known to millions as “Inigo Montoya: You killed my father, prepare to die” – in the Princess Bride. Remember? Maybe my favorite six minutes in all of film history: for the sword fight, ending with,

"Kill me quickly."

"I would as soon destroy a stain glass window, as an 'artist' like yourself. However. Since I can't have you following me either . . . "

 

Edited November 27, 2021 by Mark Blackburn

[Mark Blackburn]

DOYLE DYKES  - Go Tell It On the Mountain (Christmas inspiration)

As Doyle informed us on an earlier video, that instrument is a Gibson 185, "same shape," Doyle said, "as a J-200 only smaller." Is that the same 1958 guitar that Doyle was playing earlier? What a sound! Reminded of something Chet Atkins said to me (how's that for name-dropping?) the summer of '71 when he made his one-and-only appearance in Ottawa Canada. Chet advised me to "get an old Gibson" -- one that has been "played alot." [Not kept in a case, unplayed.] "They sound SO fine," he said. Case in point. Thank you for another terrific video, Mr. Dykes.

P.S. Your variations on 'Go, Tell It On The Mountain' just get better and better (more and more amazing) and yet you make it look so easy. "With practice," we mortals may think, "I could play that." Oh no you can't. Especially love the modulation around the 10:09 mark -- and the glorious ending/coda with harmonic chords only their 'inventor' Lenny Breau could equal.

The last guitar Doyle picks up and plays here is his early (2000) signature model TAYLOR with “a volume control for each string.” [ ! ] To play IT IS WELL WITH MY SOUL.  Thanks, Doyle Dykes.

 

 

Edited November 28, 2021 by Mark Blackburn

[Mark Blackburn]

SINATRA and SEAL – Santa Claus is Coming to Town

Playing right this minute, on Siriusly Sinatra channel 70, a posthumous 'duet' with Frank Sinatra – from Seal's 2017 album STANDARD (intended as a bonus track on the Deluxe Edition). The English-born singer/composer is quoted in the album's Wiki note (below) as saying:

"This is the album I have always wanted to make. I grew up listening to music from the Rat Pack era, so recording these timeless tunes was a lifelong dream. It was a true honour to collaborate with the same musicians who performed with Frank Sinatra and so many of my favourite artists, in the very same studios where the magic was first made – it was one of the greatest days of my recording career."

A remarkable black & white video at YouTube. The best of its kind, you may agree.

 

Edited November 29, 2021 by Mark Blackburn

[Mark Blackburn]

"R.I.P. STEPHEN SONDHEIM - 1959 HITS ARCHIVE: Small World - Johnny Mathis"

“Funny, you're a stranger who's come here,

come from another town . . .

Funny, I'm a stranger myself here,

Small world – isn't it? . . .

Small, and funny, and fine!”

Someone has posted to YouTube this day (11/30/2021) a video with the red Columbia label 45 rpm record, whose fine print reminds us this was from “The Broadway production 'Gypsy' composed by Jule Styne and Stephen Sondheim.” [by] “Johnny Mathis with Glenn Osser and his Orchestra.”

A tune so memorable you needed to have to hear it but once, and summon it up in your mind's ear 60 years on. Yet another reminder -- to those who still care to ask, 'Who wrote that song? – that great lyrics require a great melody to be memorable.

I remember hearing this, the summer of '59 and thinking it was my “new favorite song.” A great lyric, set to one of Jule Styne's best melodies (Jule himself said so).

One of several memorable tunes from Styne & Sondheim's only Broadway show listed under its full title at Wikipedia. Two of my favorites Small World and All I Need Is The Girl (see Sinatra and the Ellington orchestra) do not have their own links (entries) like the others in this show. Says Wiki:

“Gypsy: A Musical Fable” is a 1959 musical with music by Jule Styne, lyrics by Stephen Sondheim [ ] loosely based on the 1957 memoirs of striptease artist Gypsy Rose Lee, and focuses on her mother, Rose, whose name has become synonymous with "the ultimate show business mother." . . .

[In later interviews Stephen Sondheim stated that he did not have a good relationship with his own mother.]

The musical Gypsy contains many songs that became popular standards, including "Everything's Coming Up Roses", "Together (Wherever We Go)", "Small World", "You Gotta Get a Gimmick", "Let Me Entertain You", "All I Need Is the Girl", and "Rose's Turn" . . .

It is frequently considered one of the crowning achievements of the mid-twentieth century's conventional musical theatre art form, often called the book musical. Gypsy has been referred to as the greatest American musical by numerous critics and writers . . .

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"Sometimes people leave you, halfway through the wood. Do not let it grieve you, no one leaves for good."

-- Stephen Sondheim

 

 

Edited November 30, 2021 by Mark Blackburn

[Mark Blackburn]

SINATRA - Christmas Memories

So grateful to Siriusly Sinatra satellite radio (now channel 70) for replaying conversations like this one, with lyricist Alan (Nice 'n' Easy) Bergman:

 

CHARLES PIGNONE: Another song you collaborated on was Don Costa's Christmas Memories. Was that another one specifically written for Frank?

ALAN BERGMAN: Yes. They were on the road together when Costa said I have this melody and Frank replied, Could you write it as a Christmas song? And so we did (Marilyn & I).

CHARLES PIGNONE: That will be on the (upcoming) CD – it's a wonderful song!

ALAN BERGMAN: Oh yes.

 

[Frank -- to the perfect Costa orchestration]

 

Singing Carols! Stringing popcorn . . . making footprints in the snow

Mem'ries – Christmas mem'ries – they're the sweetest ones I know!

 

Cookies baking in the kitchen, cards and ribbons ev'rywhere

Frosty, Christmas mem'ries, float like snowflakes in the air . . .

 

[BRIDGE – old-fashioned mixed vocal chorus]

 

And oh! The joy of waking Christmas morning! The fam'ly 'round the tree

We had a way of making Christmas mornings as merry as can be . . .

 

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The trouble with “official” releases – you'd be denied my favorite Christmas painting (this one, posted six years ago). Just look at the details; there's enough time (two minutes) to appreciate them all. That perfect moment in the life of a fire . . . one older sister and two younger girls snug and warm from the cold outside – a glimpse of snow on the panes of the opposing windows. The tree! (Didn't yours look just like that? Ours did!) The strings of popcorn above the fireplace. The blankets, and that warm area rug. I close my eyes and see . . .

 

FRANK: . . . shiny faces, of all the children, who now have children of their own: Funny, but comes December, I remember, ev'ry Christmas I've known.

 

 

[Mark Blackburn]

 

Louis Armstrong – La Vie en Rose

“When you kiss me, heaven sighs / And tho I close my eyes / I see la vie en rose …. “

Certain song arrangements -- we only need to hear the first few introductory notes, and instantly recognize the singer and the song. My favorite example: Louis Armstrong's simply arranged recording of an old French song LA VIE EN ROSE – whose English lyric is pure “tell me” (don't 'show me') “how much you love me.” 'Show me' lyrics are always better;  think of Ray Charles' take on Cindy Walker's “You Don't Know Me” – the best show-me lyric of all time (says me).

Louis Armstrong's La Vie en Rose opens with that unforgettable repeated piano riff (a full octave of notes played in a quick upward arpeggio) so 'defining' that other artists have incorporated it, verbatim, in their latter-day versions! Then almost a minute and a half of trumpet solo that is unmistakably, the artist acknowledged as “the most important in early jazz history.”

First version at Spotify has been listened-to by almost 200 million (correct) patrons. First version at YouTube this day -- this one, with a respectable “51,952,591 views.”

Wikipedia reminds us that the English lyric was composed by Mack David “elder brother of lyricist Hal David” – nominated for the “Best Original Song” Oscar eight times:

Academy Award nominations[edit]

• 1950 "Bibbidi-Bobbidi-Boo" (with Jerry Livingston and Al Hoffman) from Cinderella

• 1959 "The Hanging Tree" (with Jerry Livingston) from The Hanging Tree

• 1961 "Bachelor in Paradise" (with Henry Mancini) from Bachelor in Paradise

• 1962 "Walk on the Wild Side" (with Elmer Bernstein) from Walk on the Wild Side

• 1963 "It's a Mad, Mad, Mad, Mad World" (with Ernest Gold) from It's a Mad, Mad, Mad, Mad World

• 1964 "Hush, Hush, Sweet Charlotte" (with Frank De Vol) from Hush...Hush, Sweet Charlotte

• 1965 "The Ballad of Cat Ballou" (with Jerry Livingston) from Cat Ballou

• 1966 "My Wishing Doll" (with Elmer Bernstein) from Hawaii

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Mack David (July 5, 1912 – December 30, 1993) was an American lyricist and songwriter, best known for his work in film and television, with a career spanning the period between the early 1940s and the early 1970s. David was credited with writing lyrics or music or both for over one thousand songs.[1] He was particularly well known for his work on the Disney films Cinderella and Alice in Wonderland, and for the mostly-English lyrics[2][3][4] through which Édith Piaf's signature song "La Vie en rose" gained much of its familiarity among native speakers of English.

Edited December 2, 2021 by Mark Blackburn

[Mark Blackburn]

“This is Charles Pignone with Sinatra Reprise Rarities Volume 5 .... ”

Tuned in to Siriusly Sinatra satellite radio (channel 70) a moment ago, in time to hear my all-time favorite duet -- Frank Sinatra and Rosemary Clooney with a gorgeous Nelson Riddle arrangement of SOME ENCHANTED EVENING, the show-stopper from Rodgers & Hammerstein's 'South Pacific.'

Recorded (circa 1963) with the same monster string orchestra Frank had employed that same year for my favorite of his albums, “The Concert Sinatra.” Recording engineering as good as anything today, six decades later. Listen to the depth of the sound stage on the opening orchestral flourish.

This was recorded for the very rare “Reprise Repertory Theater” box set (quickly out of print and very hard to find). And thus, so very welcome to know it's included on the new CD “Sinatra Rarities Volume 5.” Uploaded to YouTube two months ago with “comments turned off” alas.

[Wikipedia notes:] 

"Some Enchanted Evening" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific. It has been described as "the single biggest popular hit to come out of any Rodgers and Hammerstein show."^[1] Andrew Lloyd Webber describes it as the "greatest song ever written for a musical".^[2]

The song is a three-verse solo for the leading male character, Emile, in which he describes first seeing a stranger, knowing that he will see her again, and dreaming of her laughter. He sings that when you find your "true love", you must "fly to her side, and make her your own, / Or all through your life you may dream all alone."

Edited December 2, 2021 by Mark Blackburn

[Mark Blackburn]

JOHN PIZZARELLI - I Remember (Sky)

On his "It's 5 o'clock Somewhere" playing for tips show tonight . . . a particular highlight for those mourning the loss of Stephen Sondheim: one of his more obscure songs: I REMEMBER (Sky)which the Wiki note (below) reminded us John Pizzarelli recorded, but which some of us had never heard before tonight.  From a long-forgotten, made-for-TV musical, “Evening Primrose” (produced just once in 1966 for ABC's “Stage 67”).

Jessica singled out the beauty of these words by Sondheim:

“I remember leaves, green as spearmint, crisp as paper, I remember trees …. spread, like broken umbrellas.

[According to Wiki ]

An official soundtrack for Evening Primrose wasn't released commercially until 2008 when Kritzerland Inc. issued it in a limited release of 3,000 copies.[5] Previously, the four vocal selections had been recorded by Mandy Patinkin and Bernadette Peters for his 1990 Dress Casual album [on which] Peters sang "I Remember." [see below]

"I Remember" has been recorded by Sarah Brightman, Judy Collins, John Pizzarelli, Cleo Laine, Maureen McGovern, Betty Buckley, Julia Migenes, Dianne Reeves, and Barbra Streisand.  Streisand also recorded "Take Me to The World" with Antonio Banderas for her 2016 album Encore: 'Movie Partners Sing Broadway.' Sondheim altered the song's lyrics for the project.

https://www.facebook.com/JohnPizzarelliOfficial/videos/624889488700901/

In case that link doesn't work, Bernadette Peters version of I REMEMBER (Sky). Harmonically strong; melodically, not so much. (Raise your hand if you could hum this tune.)
 

 

Edited December 3, 2021 by Mark Blackburn

[Mark Blackburn]

ROSEMARY CLOONEY -- I Want to be a Sideman

Another highlight – one of the best from the late David Frishberg – I Want to be a Sideman. As PAULA FUSSELL WESTBROOK noted below (in real time) “Rosemary Clooney does a good version of this too! Love it John.” We love too that Mr. Frishberg customized the lyric to focus on John's late Dad “Bucky” whose original Benedetto jazz guitar, John tells us “is now in the Smithsonian.” Jessica recalled that David Frishberg had the lyric ready for Bucky's “86th birthday celebration at the 92nd street 'Y'.” John's introduction comes in around the 

18:10 mark   https://www.facebook.com/JohnPizzarelliOfficial/videos/624889488700901/

 

David Lee Frishberg (March 23, 1933 – November 17, 2021)[1] was an American jazz pianist, vocalist, composer, and lyricist. His songs have been performed by Blossom Dearie, Rosemary Clooney, Shirley Horn,[2] Anita O'Day, Michael Feinstein, Irene Kral, Diana Krall, Rebecca Kilgore, Stacey Kent, John Pizzarelli, and Mel Tormé.

Our favorite version of I WANT TO BE A SIDEMAN this one, heard on Siriusly Sinatra satellite radio at least a couple or three times a year:  George Clooney's Aunt Rosie. 

 

 

Edited December 3, 2021 by Mark Blackburn

[Mark Blackburn]

SINATRA – If I Had You

“I could climb the very highest mountain . . . I could be a king, crowned or uncrowned . . . there is nothin' I couldn't do -- if I had you!”

Don't you love “Sinatra First Friday on Sirius/XM” when every track is Frank.  How many other singers could we listen-to all day and not tire of their voice?  The Channel 70 computer screen scroll lists at this moment:

"Oh, You Crazy Moon, Half as Lovely (Twice as True), Let it Snow (X3) Paper Doll, Empty Tables"

And this 60-year-old gem  -- IF I HAD YOU.  The first song Frank recorded with “Bob's Band” – London symphony/philharmonic musicians playing arrangements by Canada's Robert Farnon.  When the piano broke down on the first take, Frank asked if another was available. “No?  Let's do it on the celeste.”  And there is Bill Miller making it sound even better on those delicate chimes.  Angelic intervention (I'd like to think)  for a magic moment in June 1962 when Sinatra did his only “outside the U.S” studio recording.  

Released on black vinyl LP, only in “Great Britain” because Frank wasn't happy with the sound of his voice, at the end of a world tour that raised over a million dollars for children's charities.

 

Edited December 3, 2021 by Mark Blackburn

[Mark Blackburn]

JOHN PIZZARELLI - Harvest Moon

My favorite song composed by Canada's Neil Young – Harvest Moon – not least for including, verbatim, the guitar riff that the Everly Brothers employed throughout their 60s hit, WALK RIGHT BACK.  New favorite version - by John Pizzarelli, solo guitar accompaniment and harmonies by his wife Jessica Molaskey.

Neil grew up here in Winnipeg – where we treasure the story about the current owners of his family home: they opened their front door one day and there was Bob Dylan, who politely asked if he could “come in for a few minutes” and see the place.

All this by way of saying I cannot imagine a better version (with those 'orchestral' chords) that captures the spirit of Neil Young's original even while making it 'all yours' Mr. Pizzarelli. Around the 20:45 mark. Another highlight not to be missed.

https://www.facebook.com/JohnPizzarelliOfficial