GREAT MELODY, GREAT LYRIC, GREAT RENDITION

[Mark Blackburn]

WALTER RODRIGUES JR.  - You are the Sunshine of my Life

After listening to Walter's posted version this day (21/23/2021) of (Walking in a) WINTER WONDERLAND I tried to recall my early favorite of his videos -- the one that introduced me to the joys of Walter's 'live' performances. Then I remembered it was this one, with a review I shared "2 years ago" with the now defunct 'Sinatra Family Forum' website (terminated by Nancy Sinatra, after a 24 year run, August 1).  Favorite more recent comment below video:

 

Stephanie Ellis

(1 year ago)

"YouTube decided to suggest a lot of guitar music -- send my way quite suddenly, a while back. As I got to listening to these arrangements and the musicians playing them, I realized that without exception I liked your arrangements and playing far more than any other.

"I, too, love your musicianship and musicality and it cheers me up. Thank you Walter for sharing your gift."

 

 

If I had to use just one word to describe the brilliance of a Walter Rodrigues Jr arrangement – it would be “coherence” – every note and chord segues into the next with an 'organic' perfection using deceptively simple chords that I call 'artless.' You watch and think, Heck I could play that! (Oh no you can't!) Like a melody by Richard Rodgers (my favorite composer whose tunes are instantly memorable the first time you hear them) you couldn't change a note to 'improve' on this arrangement even in some small way.

Sinatra once changed a note in a Gershwin melody and his friend, composer Alec (“I'll Be Around”) Wilder said Frank actually improved the tune. Yes, words can't convey the subtle wonder of a Walter Rodrigues' arrangement.

Doyle Dykes has a signature model of that Godin guitar. Hope they make a nylon string version with Walter's name on it: the least they could do, I say. On that note, I helped arrange Doyle's [first] visit to Winnipeg in the company of Godin executives promoting his new signature model. Their three divisions, all based in Quebec, are now the largest exporter of quality guitars on planet earth. But you knew that, right? Thanks for being you, Walter Rodrigues Jr. The world would be a poorer place without your playing.

 

 

 

 

Edited December 24, 2021 by Mark Blackburn

[Mark Blackburn]

The Queen's favorite carol (ours too!)

My musical Dad's favorite carol was O Little Town of Bethlehem.  On our last Christmas phone call I recalled for my father (recovering from a stroke) that it's “your favorite, right?”  Yes, he said, and agreed when I singled out my own favorite line – “from any Christmas carol, not just this one:  'The hopes and fears, of all the years, are met in thee, tonight.”  

Imagine our delight when my wife and I finally got to watch the Queen's Christmas message – culminating with those very words.  [Before wishing us all “a very happy Christmas,” - at the 6:00 minute mark]

 

“ . . . In the birth of a child, there is a new 'dawn' with endless potential.  It is this simplicity of the Christmas story that makes it so universally appealing:   simple happenings, that form the starting-point of the life of Jesus – a man whose teachings have been handed down from generation to generation.  And have been the bedrock of my faith.

“His birth marked a new beginning.  As the carol says – 'the hopes and fears of all the years are met in thee tonight'."

---

A mixed vocal chorus, the “Singology Community Choir” then sings the familiar words of O Little Town of Bethlehem – but a version set to an English melody: more of a festive tune, up-tempo and more 'anthemic.'  The original words and tune were composed by two Americans.  [Wikipedia note:]

"O Little Town of Bethlehem" is a Christmas carol. Based on an 1868 text written by [Episcopal minister]  Phillips Brooks, the carol is popular on both sides of the Atlantic, but to different tunes: in North America to "St. Louis" by Brooks' collaborator, Lewis Redner; and in the United Kingdom and Ireland to "Forest Green", a tune collected by Ralph Vaughan Williams and first published in the 1906 English Hymnal. 

 

Edited December 26, 2021 by Mark Blackburn

[Mark Blackburn]

DOYLE DYKES – O Holy Night

“Commonly used at the beginning of the midnight Mass . . . ” [Wikipedia - O HOLY NIGHT.]

I know more than a few singers and musicians whose favorite Christmas carol is this one: O Holy Night. A guitar hero of mine, Doyle Dykes, has just posted my “new favorite” solo instrumental version, after sharing at YouTube just why this carol means so much to him personally. Permit an aside:

To my 75-year-old ears, no one ever sang this carol better than my own sister Andrea – herself born Christmas Day 1942 while her Daddy was away for three years fighting in WWII Europe. In her teens, my sister was an award-winning operatic singer (coloratura-soprano) at Toronto's Royal Conservatory of Music. Throughout much of her adult life, Andrea has sung O Holy Night in churches, Catholic and Protestant alike! And always people would come up to her, after the service, to say the same thing: “We never heard a more beautiful voice!”

On the phone this December 25th, at my request, Andrea sang a few bars of our Mother's favorite carol – Lo, How a Rose e'er Blooming” – one we three had sung together 'a capella' in Mom's children's choir (at “St. Thomas the Apostle” Anglican church in Ottawa).

Reading my mind, Doyle Dykes just shared his version – my new favorite rendition – of O HOLY NIGHT. I know Doyle would understand if, pressed for time, you go straight to the music, around the 3:00 mark; just know that it follows an inspiring personal story about how Mr. Dykes underwent an operation “one Christmas” when a severe illness had left him “completely deaf in my right ear.”

---

The trick to performing sacred music in 'new ways' is permit your modern substitute chords to have an orchestral effect, enhancing the harmonies, without detracting in any way from the original melody. Best accomplished, Doyle would tell you, by keeping the lyrics in your mind and heart as you're playing.

I imagine the composer (Wiki note below) being transported into the present moment, from a time 175 years ago when there were no virtuoso guitarists like Doyle Dykes –  hearing with 'fresh ears' this beautiful recapitulation of his greatest melody.

Wikipedia note:

"O Holy Night" (also known as "Cantique de Noël") is a well-known Christmas carol. Originally based on a French-language poem by poet Placide Cappeau, written in 1843, with the first line "Minuit, chrétiens! c'est l'heure solennelle" (Midnight, Christians, is the solemn hour) that composer Adolphe Adam set to music in 1847. The English version is by John Sullivan Dwight. The carol reflects on the birth of Jesus as humanity's redemption.

In Roquemaure [a village near Avignon, France] at the end of 1843, the church organ had recently been renovated. To celebrate the event, the parish priest persuaded poet Placide Cappeau, a native of the town, to write a Christmas poem.[1] Soon afterwards that same year, Adolphe Adam composed the music.

The song was premiered in Roquemaure in 1847 by the opera singer Emily Laurey.

Unitarian minister John Sullivan Dwight, editor of Dwight's Journal of Music, wrote the English version in 1855.[2] This version became popular in the United States, especially in the North, where the third verse resonated with abolitionists, including Dwight himself.[1]

The wide vocal range of the song makes it one of the more difficult Christmas songs to execute properly, especially for untrained amateurs.[3] In French-language churches, it is commonly used at the beginning of the Midnight Mass.

 

The master luthier who lovingly constructed that beautiful instrument, I'm sure would say that Doyle Dykes brought out its best, 'here and now.'

A 65-year-old life long resident of Maryland, Paul Reed Smith quickly made a name for himself as a “master luthier” -- and as "founder and owner of PRS -- a high-end guitar maker” -- someone his fans describe as "forever chasing perfection.”

[Wikipedia notes:]

“Mentorship under Ted McCarty PAUL REED SMITH contacted Ted McCarty, former president of Gibson and creator of the Explorer, ES-335, and Flying V guitars [and] McCarty became his mentor and advisor.[1] The result of their collaboration was the current line of 'PRS Guitars' which include solid and hollow-body guitars. The 'Private Stock' line of PRS instruments are made utilizing a vast range of exotic materials including various stones, elaborately figured tonewoods, and intricate shells for inlays.

 

Edited December 28, 2021 by Mark Blackburn

[Mark Blackburn]

I GET A KICK OUT OF YOU – Oldest (1934) and Newest (2021) renditions

 

Ten years ago, someone posted to YouTube the original recording of Cole Porter's I GET A KICK OUT OF YOU – a song included on Tony Bennett's latest (6X) Grammy-nominated all- Cole Porter album with Lady Gaga. But until this moment, I'd never heard the original – the very first recording of this 'girl song' introduced on Broadway by Ethel Merman. (I'd forgotten that Cole Porter included a “sniff of cocaine” in the original lyric!) Below this video, some informed reminders of why Ethel Merman was once the beloved 'Queen of Broadway.'

 

Dan Bridston (4 years ago)

She could certainly belt, but the beautiful head voice tone at the end shows off a different side of her.

M Wm. Morgan (4 years ago)

The woman never needed a microphone. She ruled Broadway.

 

From Wikipedia, the free encyclopedia

"I Get a Kick Out of You" is a song by Cole Porter, which was first sung in the 1934 Broadway musical Anything Goes, and then in the 1936 film version. Originally sung by Ethel Merman, it has been covered by dozens of prominent performers, including Frank Sinatra, Dolly Parton, Ella Fitzgerald, and Tony Bennett with Lady Gaga. A cover in 1995 won the 1996 Grammy Award for Best Instrumental Arrangement with Accompanying Vocal(s) for arranger Rob McConnell while Bennett and Gaga's version is nominated for three awards at the 2022 ceremony.

---

“All set?” “Tony's ALWAYS ready!” says Lady Gaga at the start of their "official music video":

 

 

 

 

 

Edited December 28, 2021 by Mark Blackburn

[Mark Blackburn]

SINATRA – I Couldn't Care Less

It's 3:33, and there's no one in the place except you and me . . .

Siriusly Sinatra satellite radio is playing Sinatra's seldom-heard I COULDN'T CARE LESS – a Cahn/Van Heusen song on Frank's “The Capitol Years” 3-CD box set -- a song I singled out in an Amazon review two decades ago. I'd purchased as a three-cassette version (remember those?) and when it was stolen from my car's glove box (remember those?) my wife purchased the CD version as a Christmas gift. Where's that Amazon review?

[5 stars and titled]  ALMOST HIS VERY BEST COLLECTION

Reviewed in the United States on December 12, 2002

I'll always be partial to this Capitol Years 3-CD box set which introduced me to Sinatra's greatness ten years ago. It was my first CD purchase---actually I bought the three cassettes first, and when the tapes were stolen from my car, my wife bought me the CD version for Christmas '92. . . .

This 3-CD collection has some unique virtues that have not been commented on: 'Only available here' for example, is the previously commercially unreleased Cahn/Van Heusen masterpiece "I Couldn't Care Less" featuring what this reviewer considers Nelson Riddle's single most beautiful ballad arrangement. Sinatra works his subtle magic with one of Sammy Cahn's very best lyrics ("Balmy breezes are blowing, the stars in the night are glowing, but I couldn't care less") while orchestra conjures up sounds of a summer night, with Riddle's strings ratcheting up through almost two octaves of semi-tones in the first eight bars of the instrumental bridge (release). Simply heavenly! And to think Sinatra and the musicians did this in one take.

 

 

 

Edited January 2, 2022 by Mark Blackburn

[Mark Blackburn]

BEVERLY KENNEY - Everything Happens to Me

Shared by a dear Facebook friend in California, who wondered "Have you heard of Beverly Kenney?" [I responded]

 

One of my favorite humorous jazz standards. A favorite line: "I guess I'll go through life, just catching colds and missing trains . . . everything happens to me."

 

I remember that Beverly Kenney died young (28) after trying to commit suicide a few times -- in long ago 1960, around the time this b&w 'kinescope' was made. [Wonder if the emptiness she felt in Hef's presence contributed?] Nice of him to give her this chance on his show, since even then as he implied, she was little known and deserved a wider audience. She sang beautifully. And died, apparently two months after this performance.

 

 

Edited January 2, 2022 by Mark Blackburn

[Mark Blackburn]

DOYLE DYKES - The Road Back Home

“Well that's a song I had not thought about – not REMOTELY thought about playing in this Sunday string-a-long,” says my finger-style guitar hero Doyle Dykes, midway through this video. Just had to say this is the “most beautiful melody I never heard before!” Love that Mr. Dykes was spontaneously moved to include it, as a segue from an old hymn -- around the 9:00 minute mark. “That's a song I wrote called 'The Road Back Home'."  So glad you shared this one with us, Mr. Dykes!

Good songs have strong bridges – those middle parts where the melody soars in a new direction, taking our hearts with it. Case in point, this bridge/release at the 10:14 mark.

Love your show closer at 24:25 when you pick up your signature model GODIN for a lovely melody, a hymn I'd not heard, as you sang the refrain, "Thou art the Potter and I am the clay."

 

 

I agree with "songserenade" who wrote below this video (1 hour ago) "Thank you Doyle! Your Guild is my favorite."

Just had to add: That Guild was custom crafted for Doyle by Ren Ferguson, who for almost 20 years was the greatest luthier since Lloyd Loar at Gibson's Boseman Montana plant. He built my Gibson "Northern [Southern] Jumbo" -- best acoustic guitar I've ever played.

 

 

Edited January 3, 2022 by Mark Blackburn

[Mark Blackburn]

SINATRA – Maybe This Time (Live on Johnny Carson)

"Those were the days, my friend – we thought they'd never end" – the times when Frank Sinatra sang 'live' on 'The Tonight Show' – back when most every late night TV viewer in America (Canada too) was watching the same show! A phenomenon that united millions of us, in a special way, that's long gone with the wind.

Permit an aside: I remember Chet Atkins telling me, at the end of an interview in my hometown of Ottawa Canada in 1971, that most nights his wife would find him “asleep with a guitar in my lap, while watching Johnny Carson.”

A rare gem of a video, shared by my favorite Facebook friend in England Bill H. Not many of Johnny's “special guests” got a standing ovation, lasting a minute! The smile of joy that welcomes those waves of love from the studio audience: Frank – simply “happy to be me!”

The opening song of a medley, MAYBE THIS TIME is one Frank loved to perform live, in Vegas. Composed by the Broadway team of “Kander & Ebb” for 'Cabaret' (the movie version) but destined for obscurity without a little help from its friends. It took fans in England to finally get a Wiki entry for the song (below).

Oh yes, and one terrific arrangement – which The Tonight Show orchestra conveyed 'verbatim' as written by . . . I forget which arranger – Don Costa? Where's a Wise Man (or Woman) when you need one?

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From Wikipedia

"Maybe This Time" is a song written by John Kander and Fred Ebb for actress Kaye Ballard.[1][2] It was later included in the 1972 film Cabaret, where it is sung by the character Sally Bowles, played by Liza Minnelli. It had already been recorded and released twice, in similar arrangements, on Minnelli's debut studio album Liza! Liza! (1964), and subsequently New Feelin' (1970), but it turned into a traditional pop standard after its 1972 inclusion in Cabaret.

Though originally written in 1964 for a different purpose, the song was put into the 1972 film version of the 1966 Cabaret musical.[3] This is one of two numbers that were added only in 1998 . . .”

The Telegraph explained that the song should have an air of "desperate hope" and that Bowles should feel like "someone teetering on the edge of despair." The song has been described as a "wistful" [9] and "heartbreaking".[10] Lincolnshire Review described the song as a "soaring ballad",[11] and Peterborough Telegraph deemed it "hopeful".[12]

 

 

Edited January 3, 2022 by Mark Blackburn

[Mark Blackburn]

TOM WOPAT – Born to be Blue

I'd just been thinking about my “favorite living male singer” – Tom Wopat, (aka Luke Duke of Hazard County fame). Lo and behold, the mind-reader who programs Siriusly Sinatra is playing Tom's recording of BORN TO BE BLUE. Had to Google to learn that it was composed by the guys who gave us The Christmas Song (Chestnuts Roasting on an Open Fire). There's a one-line Wiki entry for this song that wasn't there before, last time I checked.

From Wikipedia

"Born to Be Blue" is a 1946 traditional pop torch song written by Mel Tormé and Robert Wells. It was first recorded by Tormé and Sonny Burke in 1946. It was revived by both singers and instrumentalists starting in the mid-1950s, and is considered a jazz standard.[1]

 

 

[Mark Blackburn]

TONY BENNETT / BRAD PAISLEY – They Can't Take That Away From Me

 

Brad is (also) one of Nashville's greatest guitarists; here, he plays some beautiful electric jazz guitar licks throughout this duet with Tony (my favorite Gershwin tune since early childhood). Can't recall ever hearing this one before right this minute on Siriusly Sinatra satellite radio. Ah . . . a “bonus track” on the "TARGET stores deluxe edition" of 'Duets II.”

 

Tony Bennett has always maintained that the very best duets involve very different singers:  It makes for the best chemistry and brings something fresh and new to old familiar favorites. Case in point. Isn't this delightful?

 

This duet was followed immediately on early morning Siriusly Sinatra satellite radio by our favorite Sinatra Wise Man, Bob Freed's favorite version of 'Baby, It's Cold Outside.'  Bob's “all time favorite jazz pianist" Les McCann and a terrific duet with . . . what's her name, Bob? An endearing voice whose identity is always missing from the Siriusly Sinatra satellite radio scroll. Their closing love patter – is so natural -- and funny!

HE: “I'll keep you warm forever!”
SHE: “You naughty, naughty man.”
HE: “Compared to who?”

From “A Time Les Christmas” (2018).  I can never find at YouTube.  But "Bob in Boston" can!  He just provided this link ("The full album is at Youtube").  And the name of Les' duet partner: 

"Maxayn Lewis"

 

 

 

 

 

 

 

Edited January 4, 2022 by Mark Blackburn

[Mark Blackburn]

PAUL MCCARTNEY – My Valentine

Playing, just for me, I'd like to think, on Siriusly Sinatra satellite radio -- my favorite latter-day ballad from the greatest singer composer of the latter half of the 20th Century (according to all the other greats). This one still gets my vote for 'Best Traditional Ballad' of the 21st Century (so far).

Like Cole Porter, and very few other songwriting greats, “Sir Paul” composes both words and tune. I'd been 'itching' to hear this very song -- to warm my 75-year-old heart on a cold, overcast and snowy winter's day, here in the “world's coldest major city.” (Ask any Canadian – they'll tell you where that is.)

The mind-readers at Siriusly Sinatra just 'scratched that itch.'

Google the song title and first offering is this one. I'd forgotten that Paul, now in his 80th year, asked a favor of a favorite actress Natalie Portman who knows sign language. Isn't this beautiful?

“And she was right! this love of mine -- my valentine!”

 

 

[Mark Blackburn]

TOMMY EMMANUEL – A Mostly Beatles Medley (December 11, 2021)

He's been an American citizen for three years now, based in Nashville. Pre-covid he was performing up to 300 'dates' a year. He's older now, but playing with as much power and precision as ever. He'll take your breath away in concert.

The last time he played Winnipeg the small newspaper advertisement said simply: “Greatest guitarist I've ever seen” – Eric Clapton. It was his second visit to Winnipeg within a year: The first (I like to believe) was the result of my politely pestering Mr. Emmanuel for a few years to “include the world's coldest major city in your travels.”

I got two tickets to the 'meet-and-greet' before the show (my guitarist grandson Thomas and me). After the show, Tommy said he'd enjoyed the Winnipeg welcome so much, “We've already arranged to come back here in one year.”

A guitarist friend shared this video -- recorded just a few weeks ago in Boston, at a small charity benefit for an audience of 100 who gave him a standing ovation after his 'mostly Beatles' medley. If you can spare 14 minutes, The Beatles segment starts at the 1:01:33 mark (of this two hour show) after an endearing recollection by Tommy about his “Mum”:

“I remember,” he says, “my Mother saying to me – back when the Beatles were HUGE in Australia with five songs in the Top 10, my Mother said, 'Don't listen to that rubbish!' “Years later I'm playing a concert in the town in Australia where my Mom would eventually be living. I'm in a big hall and I play my version of MICHELLE. At the end of the night, my Mom comes up to me and says, 'What was that BEAUTIFUL piece of music!?' I said [big smile] That was the Beatles, Mum!”

 

 

Edited January 6, 2022 by Mark Blackburn

[Mark Blackburn]

RALPH CARMICHAEL - A Quiet Place

Ralph Carmichael has died -- two months ago and I just learned of it tonight.

Just as people seldom ask “Who wrote that song?” – fewer still will ever ask: “Who arranged it?” So ...  no surprise to find that Mr. Carmichael's death in mid-October 2021 went unnoticed in the media.

Two years ago, I contacted Mr. Carmichael – who did most of the beautiful orchestrations for Nat King Cole's multi-platinum Christmas album -- I'd emailed to say how I'd come, "late-in-life. to appreciate your greatness.”

I singled out one of my favorite of his orchestrations (below) for Nat Cole's version of A NIGHTINGALE SANG IN BERKELEY SQUARE – which I declared to be “just as beautiful” as my other all-time favorite arrangement by Robert Farnon for Sinatra's only outside-America studio album (“Great Songs From Great Britain” - 1962).

I told him the Canadian-born Mr. Farnon was "a friend of my father's, who arranged one of Dad's songs for presentation on the BBC in wartime when Bob headed the “Canadian Forces Band”. Farnon would listen to shortwave radio from America each night, then transcribe his own arrangements of popular songs to be played on the BBC as soon as possible. Mr. Carmichael got a kick out of knowing that!

Ralph Carmichael especially appreciated knowing that Nat was my Mom's favorite singer, and her favorite album of his was one Mr. Carmichael had arranged – THE TOUCH OF YOUR LIPS. I told him my Dad gifted Mom with the black vinyl LP of that album "for Christmas 1961."  His gracious and appreciative response was immediate, and just like Sinatra he said, “It's so good of you to take the time!” 

I thought of Ralph Carmichael tonight as I watched an early video  -- by finger-style virtuoso Walter Rodrigues Jr. -- of a latter-day composition by Mr. Carmichael for the singing group 'TAKE 6' – which Walter transcribed beautifully you may agree, for “solo guitar.”

Below the video Walter Rodrigues Jr. responded (“1 year ago”)

“Hey Mark! Thanks for your kind words as always. I first heard Take 6 when I was at GIT in 1989 and was completely blown away, but it was years later when I adapted their arrangement for the guitar. Also have to agree with you on Laurindo Almeida and Luis Bonfa, and Carmichael's writing is just gorgeous indeed!”

 

Wikipedia note:

Ralph Carmichael (May 27, 1927 – October 18, 2021) was an American composer and arranger of both secular pop music and contemporary Christian music, regarded as one of the pioneers of the latter genre as well as the father of contemporary Christian music.

Carmichael's big break came in the late 1950s, when his work came to the attention of Capitol Records, who asked him to provide arrangements for an album of mainly sacred Christmas songs by one of the label's biggest stars, Nat King Cole. The result, The Magic of Christmas, was released for the 1960 festive season, by which time Capitol had already set Carmichael to work with Cole on more secular albums.

Carmichael duly became Cole's most regularly utilized arranger from then until the singer's death in early 1965. Their first mainstream pop collaboration was The Touch of Your Lips (also 1960), an album of romantic ballads backed by lush strings, and their final team-up was Cole's last album, L-O-V-E. Featuring jazzy big band arrangements, it was recorded in December 1964, only two months before Cole succumbed to the lung cancer which was already in its advanced stages.

Nat King Cole's recording of  A Nightingale Sang in Berkeley Square (arranged by Ralph Carmichael):

 

 

Edited January 6, 2022 by Mark Blackburn

[Mark Blackburn]

There's a beautiful late-in-life photo of Ralph Carmichael at his Facebook site. 

https://www.facebook.com/profile.php?id=100063512494705

 

[Mark Blackburn]

RICHARD SMITH  -- Georgy Girl

Sent my way by the intuitive genius of YouTube:  English-born Nashville-based Richard Smith playing his own signature model of a KIRK SAND guitar -- the "finest nylon-string instruments ever made." Says who? Oh ... Chet, and Jerry Reed, and Lenny Breau (who grew up here in Winnipeg from age 15) and Doyle Dykes (who played at Chet's memorial service at the Ryman). Tommy Emmanel is the latest to acquire one (a steel-string acoustic model). In the pantheon of living guitar greats, only England's Martin Taylor doesn't own a Kirk Sand. (Or does he?)

Each of these giants has brought something new to the game -- some little innovation, all their own -- which is a measure of their greatness. Which is to say, Thanks, Richard Smith! Cannot imagine a more beautiful rendition of this old favorite, Georgy Girl.

 

https://www.facebook.com/mark.blackburn.3910

 

Edited January 7, 2022 by Mark Blackburn

[Mark Blackburn]

“Award-winning lyricist Marilyn Bergman died Saturday morning at her home in Los Angeles, according to her daughter Julie Bergman. She was 93.”

Siriusly Sinatra satellite radio regularly plays a snippet of Marilyn Bergman recalling the day in the 40's when she “skipped school and was charged with truancy” for slipping away to see a young Frank Sinatra in a daytime NYC concert. “I was a bobbysoxer,” she said, “I had to be there!”

Marilyn and her husband Alan wrote “Nice 'n' Easy” for Frank Sinatra before they were married in 1958. They were introduced by Lew Spence who wrote the music for “Nice & Easy” and that was when they first learned they'd been born in the same New York hospital!

Their life-long love affair based in music produced no fewer than 16 Oscar-nominated songs. They won three Academy Awards. They worked with so many top artists, including Michel Legrand (who died in January 2 years ago) as well as Cy Coleman and Marvin Hamlisch. Their songs were covered by the world's greatest singers, from Sinatra to Barbra Streisand, Aretha Franklin and Michael Jackson.

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Just weeks ago, here I celebrated my favorite of their collaborations – with Sergio Mendes – a lyric only 'The Bergmans' could have written for this terrific tune (below). They had such an identifiable style.

Marilyn Bergman was wise too, and provided some fine insights into song writing. This, for instance from a 2013 interview:

"If one really is serious about wanting to write songs that are original, that really speak to people, you have to feel like you created something that wasn’t there before — which is the ultimate accomplishment, isn’t it?" And to make something that wasn’t there before, you have to know what came before you."

In other words, “study the masters” of the Great American Songbook. See how they did it first.

[From the “Crystal Illusions” album - 1969]

“We can gather rain enough for the stream

To hold our happy faces

When you want a breeze I'll blow you a kiss or two

Take me in your arms and our little world

Will be the place of places

Nothing else to make but breakfast and love

We'll hang a little sign that just says -- 'Paradise, Population Two' 

 

Marilyn and husband Alan Bergman accepting another Grammy award.

 

Edited January 9, 2022 by Mark Blackburn

[Mark Blackburn]

BARBRA - The Way We Were 

To honor the passing today (1/8/2022) of Marilyn Bergman, Siriusly Sinatra satellite radio producer Charles Pignone is playing one of his favorite specials: “An Interview with Alan Bergman.”

 

CHARLES: “Didn't you – or was it Marilyn – tell me earlier, that you thanked Frank at the Grammys that night? As he was walking offstage you said, 'Thanks for recording Nice 'n' Easy for us!”

 

ALAN: “Yes, and he said 'Nice goin' kid!'

 

CHARLES: And speaking of Barbra – you've had a long association with her. Tell me how it began. And how it's lasted so long.

 

ALAN: Yes, we met her when she was 18 years old. We heard her sing – Jule Styne had brought us down to hear her sing – this is BEFORE Funny Girl – in a little club: She was opening act for Phyllis Diller [chuckles] Oddly enough! And she was just so . . .

 

CHARLES: You knew right away.

 

ALAN: Oh my God yes. Marilyn was just crying – after the first eight bars! And then, a couple of years later, she did an album of 'Standards' and she recorded a song of ours called ASK YOURSELF WHY. That was the first song. She has since recorded 65 (correct) songs of ours! [up sound for a live performance of THE WAY WE WERE].

 

From 1975 a performance that transcends the shaky video tape recording you may agree.

 

 

Edited January 9, 2022 by Mark Blackburn

[Mark Blackburn]

CARMEN MCCRAE – The Trouble with Hello is Goodbye

As if to say, “Wasn't this song your favorite lyric by Marilyn & Alan Bergman?” At this moment (4:00 a.m.) Siriusly Sinatra satellite radio is playing Carmen McCrae's lovely version of THE TROUBLE WITH HELLO, IS GOODBYE. There's something special about Ms McCrae's voice, that always delighted me. You too?

The wonderful melody was composed by my favorite living jazz pianist/arranger Dave Grusin. One of The Bergmans' 16 (correct) Academy Award nominations – it didn't win the “Best Original Song” Oscar that year. (I used to know which song did.)

Thanks, to channel 70's programmer extraordinaire 'Jersey Lou' Simon for including this one, just for me! One upload to YouTube in 2011. 22 helpful votes. No comments. Let's change that.

 

Edited January 9, 2022 by Mark Blackburn

[Mark Blackburn]

DAVE GRUSIN - It Might Be You

I miss 'The Sinatra Family Forum' dot com web site which Nancy terminated last August 1, after a 24 year run. I left a note last night at Dave Grusin's Facebook page, about one of his other Oscar-nominated movie theme songs -- and spotted this, from "2 years ago" an earlier note -- “Shared with Nancy at Sinatra Family Forum."

Dave Grusin and a solo, live performance of his best movie theme song, IT MIGHT BE YOU (for "Tootsie" with lyrics by The Bergmans, Marilyn & Alan).

One of my guitar heroes, Lee Ritenour, standing stage right, head bowed in awe at his friend's solo performance. That's Ritenour's Gibson ES-335 on the guitar stand next to Dave's Yamaha. But you knew that.

There are two pianistic giants who composed great film music -- both described as "jazz pianists" but really, more than that: they are what I call 'spontaneous arrangers' -- a cut above all the others. We lost one of them, Andre Previn age 89 at the start of this year; here's the other one, as great as ever. Your seeing this YouTube video will take its "views" total to 99,099.

("Come give me a rub," says a sleepy voice, stage right. Sleep warm! as Frank used to sing.)

 

Edited January 9, 2022 by Mark Blackburn

[Mark Blackburn]

SINATRA - Summer Me, Winter Me

 

Siriusly Sinatra is playing Frank's version of SUMMER ME, WINTER ME -- as if saying to me personally, Didn't you once call this the best (vocal) rendition of your absolute favorite song with lyric by The Bergmans? Why yes, programmer extraordinaire 'Jersey Lou' Simon, I did. And it's still true!

 

Michel Legrand had written the music for an earlier film but it wasn't used; he asked his Oscar-winning collaborators to write a lyric. It didn't win the Best Original Song for the movie "Summer of '42" -- a dirty rotten shame.

 

Oh, it's Charles Pignone's Alan Bergman interview special, and they just introduced IT MIGHT BE YOU. (See note below)

 

From "Trilogy" (1980) -- The Bergmans were thrilled with this.  And with Don Costa's  arrangement which pretty much stuck to the original brilliant orchestration by Legrand.

 

Edited January 9, 2022 by Mark Blackburn

[Mark Blackburn]

THE BERGMANS - their final lyric: “The Same Hello, The Same Goodbye”

As their “Playing Favorites on Siriusly Sinatra” show neared its end tonight, we heard Alan Bergman say wistfully,

“There are times when we finish a song and we look at each other and say …. 'Wouldn't Frank sing this so well!' And even though he never sang it, we can hear it, in our minds.”

Then they played the song they wrote at Michael Feinstein's request -- "based on a little slice” of a more lengthy song they'd composed for Sinatra at his request (“I need a song from you!”). The melody Alan said was from “a top rated jazz pianist, Johnny Williams.”

When they'd completed this assignment from Frank, “We went down to Palm Springs to play it for him at his home. He was moved to tears” and said, 'How could you know so much about me – about my life?' Frank said he would record it” but for various reasons “was unable to” in the time remaining.

We hear Michael Feinstein with piano and strings, from his most recent album 'The Sinatra Project' singing this, the Bergmans' last lyric as a team: THE SAME HELLO, THE SAME GOODBYE.

[1 upload to YouTube by “Universal” -- “comments turned off” -- 700 “views” -- 12 “thumbs up”]

A pretty tune harmonically speaking; but a melody I could never hum or whistle, beyond those first four repeated notes. (Could you?)

 

Edited January 11, 2022 by Mark Blackburn

[Mark Blackburn]

“Ch 70 – CALABRIA FOTI – Backyard Medley”   

Streaming at this moment on the computer  – my 'favorite living singer' with a song whose tune I first loved 60 years ago. But I never knew the lyric until Calabria recorded it for her most recent 'orchestral' album, PRELUDE TO A KISS.  "Love Nest" -- the theme for the “George Burns & Gracie Allen” weekly TV show of the 1950's.  I was very young when I first heard this lovely melody (which faintly resembles George Gershwin's final tune, 'Love is Here to Stay' - enough to confuse them in my mind's ear). 

“It's a love nest, so cozy and warm / like a dove nest, way down on the farm . . . 
It's our love nest, that we call 'Home' . . . 
Hi, Honey,  I'm home!”

----

Coincidentally (or not) I'd been re-reading George Burns' book, “GRACIE” – his witty tribute to his Irish-American wife and partner since Vaudeville stage performances.  Gracie Allen was 'the funny one' while George spent an entire career playing 'straight man' to her dizzy character on their long-running radio and TV shows.  

Last night, just before bed,  I closed that book's final pages, concerning the night Gracie died:  George, at the hospital, kissed her goodbye while silently wishing he could “ask her one more time,  'So, how's your brother?'”   

Imagine my delight when I hit the 'back 1 hour' button on Sirius Radio and there's Calabria Foti singing their theme song as part of her “Backyard Medley” – a trio of great old songs that 'don't get around much anymore.'

Three tunes beautifully interwoven in under four minutes.  Looking now at the album cover – and cherishing the personal inscription, in silver ink --  “To Mark,  Blessings to you my friend! Love, Calabria” (above the liner notes):

“Backyard Medley -- BACK IN YOUR OWN BACKYARD – Al Jolson /Billy Rose /Dave Dreyer, GIVE ME THE SIMPLE LIFE – Rube Bloom / Harry Ruby,  THE LOVE NEST – Luis Hirsch / Otto Harbach.” 

“Arranged by Calabria Foti” -- the medley opens with solo piano by another great arranger Roger Kellaway with Calabria singing,

“The bird with feathers of blue, is waiting for you, back in your own backyard!”  

Alas, Calabria's version of Love Nest is not to be found at YouTube.  Just re-watched her promo video for this great orchestral album.  And I renew my threat to purchase your copy of this or any other of her albums if you don't just “love it to bits.”

 

Edited January 11, 2022 by Mark Blackburn

[Mark Blackburn]

BARBRA STREISAND – Windmills of Your Mind

 

At a time when the music world is mourning the passing of Marilyn Bergman, I'm listening to Sirius radio channel 70 playing the best recording by Barbra Streisand that I ever heard. Far and away the best rendition of The Bergmans' Oscar-winning “Best Original Song” lyric set to one of Michel Legrand's greatest melodies. Funny -- the modest Wikipedia entry for THE WINDMILLS OF YOUR MIND fails to even mention this retire-the-trophy rendition. [ ! ]

 

Just recalled that this was Track 1 on an album Barbra recorded eleven years ago – her 'all-Bergmans' tribute titled “What Matters Most.” [One I reviewed at Amazon at its release “August 23, 2011” - note below]

 

A 'classical' arrangement of exquisite subtlety that summons up in my mind's ear an 'on stage' performance by a gifted operatic singer. Yes, a decade later, still my favorite recording by Barbra. Maybe the Bergmans' too?

 

Most “viewed” version at YouTube (nearing 720K) and posted with a winning slide show, you may agree.

 

[Mark Blackburn]

BARBRA STREISAND – You Must Believe in Spring

As if to say “Aren't you forgetting something?” Channel 70 programmer 'Jersey Lou' Simon is playing Barbra Streisand's version of YOU MUST BELIEVE IN SPRING. Coincidentally (or not) I'd just been trying to recall if Tony Bennett and Bill Evans had recorded a great “Michel Legrand & The Bergmans” song. Sure enough, it was this one, from their “Together Again” (1977) album – my “other favorite version” of one of Alan and Marilyn's very best lyrics, to a melody by Legrand. It had a French lyric by “J. Demy” but Michel needed the 'Bergman Touch' for it to become a jazz standard.

Playing right this minute on Siriusly Sinatra satellite radio. Best audio upload to YouTube – an official version posted eight years ago with “comments turned off” – a pity.

Wondering, “Who's the pianist 'channeling' Bill Evans?” And Where's a Wise Man (or Woman) when you need one!

 

 

[Mark Blackburn]

BARBRA – What Matters Most (is that we're loved at all)

I had to scroll down umpteen pages of reviews (there are nearly 400) at Amazon to find the one I wrote in August 2011:  "5-stars" and titled "What Matters Most (is that we're loved at all)  

Minutes after buying my copy of the special edition (2-CD set) I sat in my car (windows up, air conditioner going full-blast) listening to the title track (the real reason I was compelled to obtain Ms Streisand's heartfelt tribute to her friends. As a life-long fan of "The Bergmans" I'd been delighted, just recently, to hear for the first time the words they composed to this tune by pianist/composer/arranger Dave Grusin: It's a song so obscure that (according to the liner notes) the copyright remains attributed to "Metro Goldwyn Mayer Inc" with "rights assigned to Ole Movie Classic [films]."

A week ago I heard Jack Jones first sing these words, on the drive in to work (copied down, thanks to satellite radio's `record' function, and a few red lights) and I've since committed them to memory. For life-long cynics (like me) the words alone on the printed page may appear sentimental. But then you hear Ms Streisand bring out their timeless beauty, singing this overlooked gem of a song, the way it was meant to be sung: performed with a good sized stringed orchestra, arranged by "William A. Ross" whose musical bridge features the wistful, `beckoning' sound of French horns: my favorite 'timbre & tone' (the closest to the male singing voice among the brass instruments, I believe).

Barbra Streisand was inspired to make WHAT MATTERS MOST the title track. Still seemingly at her vocal peak (how does she do it?) the singer brings an exquisite dignity to the gentle loving words by Marilyn & Alan Bergman, perfectly mated as they are to an achingly beautiful melody - my favorite, actually - by Dave Grusin.

----

It's not how long we held each other's hand.
What matters is how well we loved each other.
It's not how far we traveled on our way,
but what we had to say.
It's not the Springs we've seen,
but all the shades of green.

It's not how long I held you in my arms,
What matters is how sweet the years together.
It's not how many Summer times we had
To give to Fall . . .
The early morning smiles we wistfully recall
[the laughter and the tears we gratefully recall]
What matters most, is that we['re] loved at all.

----

"This album," says the title page, "is dedicated to the director of THE WAY WE WERE, our dear friend Sidney Pollack. He lives on in our hearts with deep respect and eternal love.

-- Barbra, Marilyn and Alan