GREAT MELODY, GREAT LYRIC, GREAT RENDITION

[Mark Blackburn]

The Secret of Life -- walking the walk

Two days and counting till James Taylor's GAS appreciation "AMERICAN STANDARD" goes on sale. Just thanked my favorite composer/singer at his Facebook page for providing the link "that led to your wonderful liner notes (remember liner notes?) Delighted to learn which Broadway shows' original cast recordings (on black vinyl LPs) your family (and mine) treasured the most!"

James wrote:

“With some encouragement from my friends at Fantasy Records, I decided to try my hand at an album of standards. These are songs I have always known. Most of them were part of my family’s record collection, the first music I heard as a kid growing up in North Carolina. We listened to the cast recordings of the great American musicals: Guys and Dolls, Oklahoma!, My Fair Lady, Brigadoon, Peter Pan, Show Boat, South Pacific… Before I started writing my own stuff, I learned to play these tunes, working out chord changes for my favorite melodies. And those guitar arrangements became the basis for this album.”
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A Facebook friend just shared a science article: "A NEW THEORY ON TIME INDICATES PRESENT AND FUTURE EXIST SIMULTANEOUSLY"  [I replied]

Or as St. James Taylor said in my favorite of his songs (SECRET OF LIFE) in speaking of Einstein's theory and the passage of time -- here on earth, not hurtling at light speed through the void: "Now the thing about time, is that time isn't really real. It's just your point of view: How does it feel to you? Einstein said he could never understand it all: planets spinning through space; the smile upon your face. Welcome to the Human Race!"

First offering at YouTube this day is this one: My favorite live performance (posted a decade ago with 1.2 million “views”).

https://www.youtube.com/watch?v=yHWH...42Fm3qd2MH7eT0

Love the most recent public comment below the video from a kindred spirit:

Bruce Moeller 1 year ago
True Story: My little sister got ahold of James' people to see if my wife and I could see his show in Sacramento on June 3rd. You see....I learned to play guitar because of JT. I've been a big fan for decades, and well....I lost all my guitars, music, records...everything in the October firestorm in Santa Rosa. Well....we got free and awesome tix. 6th row. During the intermission, he came out to the stage and mingled with his fans. I waited my turn....he signed a CD for me, and I told him I wanted to thanks his people for getting us here. He took my hand and graciously offered his best for us as we get back on our feet. He's the complete human being thing. He also genuinely has fun with the people. Mr. Taylor....thank you for a special evening.

 

Edited November 18, 2023 by Mark Blackburn

[Mark Blackburn]

 

Really, can you imagine a better (more concise, informative and fun) summing-up of what it means to be an album's 'producer' than this? James Taylor's note:

“I need to acknowledge my constant and most valued friend, Dave O'Donnell, who is named here as producer. The role of producer in the recording world can mean many things, from drug dealer to engineer to psychotherapist. The standard comparison is to a film director. He's the responsible one, the guy who sees it through and turns in the finished product. Especially on a project like this, where two people spend the better part of a year in tight quarters together, a partnership like the one Dave and I have enjoyed, with his patience and quiet encouragement, its value can't be overstated.”

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My single favorite stanza of song lyric from the latter half of the 20th century . . . 

The secret of love is in opening up your heart
It's okay to feel afraid
But don't let that stand in your way
'cause anyone knows that love is the only road
And since we're only here for a while
Might as well show some style
Give us a smile.

Edited February 26, 2020 by Mark Blackburn

[Mark Blackburn]

Ella's Angel Eyes

Satellite radio channel 71 just played “Angel Eyes” – the version Ella recorded 'alone together' with her career-long pianist Paul Smith (at a studio in Holland, circa 1960). Sinatra made Angel Eyes one of his two 'signature' saloon songs; but Ella's reading in its own way is just as wonderful, you may agree.

https://www.youtube.com/watch?v=VBz1rXoSP9o

Siriusly Sinatra, streaming graphics on computer, showed the “The Intimate Ella” album cover of a CD I reviewed at Amazon a dozen years ago. [in part:]

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Oscar Peterson recalled a "magic moment" on a bus with Ella Fitzgerald [now 70 years ago] - a bus tour with "some of the greatest jazz people that could possibly ever be mustered at any one place and time." This was back when Oscar's future trio bass player Ray Brown was still married to Ella . . .

"I remember Ella asking (trumpet great) Roy Eldridge if he recalled the way that Billie Holiday used to do this or that tune. Upon which, `Lady Fitz' (as I named her soon after we met) launched into a `Lady Day' version of WHAT A LITTLE MOONLIGHT WILL DO." She glanced around at Herbie Ellis, gesturing for him to get his guitar . . . and out of nowhere Roy uncased his horn, put in the mute, and commenced playing a beautiful obligato to her vocal.

"Our bus driver `Bart' had an intuitive sense (about) such musical `moments' -- and he quietly slipped the bus into overdrive, slowed down, and relaxed in his seat to enjoy the music.

"So here was this Greyhound bus rolling down the Kansas highway, on a picture perfect evening. And there sits Ella in her seat, eyes closed, totally engrossed in making each word of the lyric count to its fullest . . . . Lester Young joining Roy Eldridge in playing soft sensitive lines behind her . . . Ray Brown somehow managing to balance himself and his bass in the aisle -- lending support.

"She sang her heart out, song after song, and we all applauded, grinning in excitement and appreciation, for we all knew that we were part of a very special `musical moment.'

I believe Oscar would agree that this CD -- "The Intimate Ella" -- provides just the sort of magical, musical moment he refers to here.

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In 1960 when the "First Lady of Song" was at the pinnacle of her career, Ella flew to Germany to record her legendary live album "Ella in Berlin" (an LP that won TWO Grammys). Ella, like Sinatra, could in a moment, turn weaknesses into strengths: And at this famously recorded live concert, Ella forgot the words to "Mack the Knife" - but without missing a beat, she came up with one of the most beautiful, improvisational `scats' in jazz history.

Later, Ella and her brilliant musical director, pianist Paul T. Smith slipped away to a recording studio in the Netherlands where, alone together, they conjured up these thirteen magical ballads.

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This 1990 CD (my copy from an Amazon.com seller is labeled "Made in Germany") was produced with excellent liner notes, translated from the Dutch by one "Imme Schade van Westrum," who reminds us of the musical giants who considered Ella quite simply "the best-of-the-best."

Ira Gershwin is quoted: "I had never realized just how good our songs really were until I heard them sung by Ella." Bing Crosby concurs: "Man, woman or child, Ella is the greatest." And Duke Ellington ranked her "beyond category."

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Remarkably, this all-Dutch production sat in a vault for 30 years - apart from one, limited release LP comprising the soundtrack to a long-forgotten film, "Let No Man Write My Epitaph," (a tale of "corruption and drug addiction" in which Ella appeared onscreen with Shelley Winters, Jean Seberg and Burl Ives; Ella pretends to accompany herself at the piano).

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In 1960 at this recording Ella was 42; her voice was never more supple or expressively beautiful (or better recorded). And her brilliant pianist, Paul T. Smith reminds us of the distinction between the greatest jazz pianists (like Oscar) and the truly great ACCOMPANISTS - like Andre Previn, or Bill Miller -- Sinatra's career-long accompanist. (Bill died in Montreal the summer of 2006 while on tour with Sinatra Jr. Andre died a year ago in NYC age 89.)

Edited November 18, 2023 by Mark Blackburn

[Mark Blackburn]

James Taylor's AMERICAN STANDARD album -- live stream (just ended)

Left my favorite singer/songwriter some thoughts in 'real time' after he alerted his Facebook friends that he would 'live stream' the entire album for us to "hear it first."

“Start well, and end well,” jazz violin giant Stephane Grappelli advised a young Martin Taylor (one of today's greatest finger-style jazz guitarists) “and the rest” said Django's great fiddler “will take care of itself.” As if to make the point: This album opens with the best version EVER of My Blue Heaven – musical bridge solo by my favorite living Nashville fiddler, Stuart Duncan.

Shhh . . . James is singing a 'waiting round the bend, my huckleberry friend' achingly beautiful rendition of Johnny Mercer and Hank Mancini's Oscar-winning MOON RIVER. The original sheet music tempo is respected, but the chords! Mercer, himself a great popular singer, would have loved this!

Two songs we've already 'reviewed' Teach Me Tonight and Easy as Rollin' Off a Log but the way they segue together on the album is . . . merely perfect.

“Like being in love,” sings a mixed vocal chorus (doo-wop style) before the chorus of my favorite song from Brigadoon, Lerner & Loewe's first great Broadway show (which opened on the night of the day I was born, March 13, 1947. But you knew that). Until further notice, THIS is my favorite song on the album. Oh but wait . . . it's SIT DOWN YOU'RE ROCKIN' THE BOAT. James' wry humor and tone of voice throughout would have the composer (words & music) Frank Loesser saying: THAT's how it should have been sung!

"Oh no, it's just the Nearness of You" -- my favorite Hoagy Carmichael song with its perfect lyric by Ned (When You Wish Upon a Star) Washington. Many's the time -- for decades -- I imagined James Taylor "making this one his own." In my mind's ear it sounded sort of exactly like this. S'cuse me, I have something in my eye. [back in five minutes] PENNIES FROM HEAVEN -- with an opening verse I never heard before! is my 'new favorite' - no really, I mean it.

If there could be only two versions of my favorite Rodgers & Hart song -- My Heart Stood Still -- to preserve in the Smithsonian, it would be Sinatra's 1963 recording with fifty string players and this one, James with just one fiddler, Nashville's current best Mr. Duncan. Followed by the other show stopper from that album "The Concert Sinatra" -- Ol' Man River. Lowest note JT (our favorite baritone) ever recorded -- an F natural on the opening notes of each stanza. Goosebumps.

Canada's greatest gift to jazz Oscar Peterson loved Rodgers & Hammerstein's "Surrey With the Fringe on Top" enough to keep including it in shows throughout his career -- prompting other jazz greats to do the same. Best vocal version? Well, to borrow from Johnny Mercer: When the angels ask me to recall (which version gave me) "the thrill of them all," then I will tell them, I remember THIS!

 

[Mark Blackburn]

I Don't Want to be Lonely Tonight -- the sax solo by Michael Brecker

My new “favorite version” of a 1930's standard THE NEARNESS OF YOU was released for sale this day (2/28/2020) included on James Taylor's AMERICAN STANDARDS album. My favorite melody by Hoagy (Stardust) Carmichael set to words by Oscar-winning lyricist Ned (When You Wish Upon a Star) Washington. For decades I'd actually imagined my favorite singer/songwriter performing this on a 'dream album of Standards.' To borrow from Disney: A dream is a wish your heart makes …. and sometimes dreams come true!

I'd also been thinking back to James Taylor's participation in a jazz album of that name, “Nearness of You” featuring the work of tenor sax giant Michael Brecker – who played the iconic solo on Mr. Taylor's first (and greatest?) 'crossover hit' DON'T LET ME BE LONELY TONIGHT, beloved by black singing groups who jumped at the chance to 'make the song their own' (see Isley Brothers). Coincidentally (or not) I'd just been reading details on that one in Wikipedia where the song now has its own entry.

So, a check back with James Taylor's Facebook page and what's the first “comment” that greets us this day? A kindred spirit's appreciation of Michael Brecker and a link to “Freefall – The Brecker Brothers Acoustic Band in Lugano Switzerland – 2001.”

Michael left us 13 years ago. An online bio touches briefly on his achievements but doesn't list my favorite of his solos (yours too?) The moment I really fell in love with the music of James Taylor: Don't Let Me Be Lonely Tonight:

https://www.youtube.com/watch?v=XTh1335y7EA

Michael Leonard Brecker: Born March 29, 1949 – Died January 13, 2007 (age 57)

He was a tenor saxophonist and winner of numerous Grammy Awards in a career which spanned more than four decades. Born into a family that loved and appreciated music, his father often played albums of such jazz greats as Dave Brubeck and Clifford Brown. After attending a jazz concert which included the performances of Miles Davis and Duke Ellington, his older brother Randy and Michael became hooked on the style. Randy began to learn the trumpet, while Michael studied the clarinet and alto saxophone, prior to moving on to the tenor sax. After attending the University of Indiana, he moved to New York City and gained experience as a performer with several bands [including the] Horace Silver quintet [and by] the mid 70's Brecker contributed his talents to a wide range of recording artists among them Frank Sinatra, Quincy Jones, Herbie Hancock and Charles Mingus to name a few. Additionally, he recorded several solo albums. He died of complications from leukemia.

[Mark Blackburn]

Riding slowly home in the surrey with the fringe on top

Students of Broadway and the American Songbook describe Rodgers & Hammerstein's OKLAHOMA! (with exclamation point) to be a landmark musical -- unlike anything that had gone before: the first to have songs that actually 'propel the plot' and advance the story line. Leave it to James Taylor to recapitulate this one and, to coin a phrase, "make it his own." The arrangement – the celestial guitar chords – are simply sublime! Performed slightly more slowly, almost out-of-tempo, so we can catch all the words: Wish the 'Kings of Broadway' could have heard THIS version of their song, whose melody is beloved by jazz artists – ever since Oscar Peterson showed them the way to this gem!

Favorite moment of this “Surrey” -- when a beautiful, little girl voice or two (multi-tracked?) suddenly begin to sing the words of the bridge:

SHE: Would you say that fringe was made of silk?
HE: I wouldn't have no other kind but silk.”
SHE: Has it really got a team of snow-white horses?
HE: One's like snow, the other's …. more like milk.

Is the Hollywood version there at YouTube?  But of course!

[Mark Blackburn]

There's a bright golden haze on the meadow . . .

And speaking of "Oklahoma!" a kindred spirit at James Taylor's Facebook page Carole Naasz recalled that "Years ago, he opened his concert in Puyallup, WA, with 'Oh, What A Beautiful Morning' ~ it was riveting!"

I'd forgotten that on his “Other Covers” album of eleven years ago, Mr. Taylor had included OH WHAT A BEAUTIFUL MORNING – from the same Rodgers & Hammerstein musical that gave us “Surrey With The Fringe On Top.” Listening to it now, as if for the first time, I'm struck by how it would fit seamlessly into AMERICAN STANDARD – it's that good!

Overwhelmed with the beauty of this arrangement, which alternates between quiet stanzas singer & guitar, alone together, and then sudden swells of harmonically rich orchestration, with vocal chorus.

Ray Charles, someone Sinatra dubbed “the only true genius in the business” (the business of singing) recorded the retire-the-trophy version of “Oh, What a Beautiful Morning” half a century ago. But this one by James Taylor is, I think, without equal, since then.

https://www.youtube.com/watch?v=1dGF...-0ibGgo1DUwnzs

Edited November 18, 2023 by Mark Blackburn

[Mark Blackburn]

What Nancy Sinatra had in mind -- AT LAST -- Doris Day's divine reading

"And here we are in heaven -- and you are mine, at last!"

At this moment Sirius Radio is reminding me of the greatness that was Doris Day (who left us a year ago). Doris is singing one of Irving Berlin's best – (Dancing) CHEEK TO CHEEK. Doris made it an artless trademark (you're almost not aware of it) but she sticks strictly to the melody as written on the original sheet music. Thus, if for example, you're wondering what our Nancy meant, when she panned the most famous recording of AT LAST (you know the one) because the singer strayed so far from the actual melody – at the start of the song, where it matters most: and if THAT one was the only version you ever heard of "At Last" you would never have known the difference.

I thought of Nancy's observation when, earlier, Siriusly Sinatra played Doris' version of AT LAST. What a revelation – knowing that these were the actual melodic notes as written by my 'second-favorite' composer, Harry (Salvatore Guaragna) Warren. It was like hearing the tune for the very first time!  Please, let it be at YouTube. Yes! Including the opening verse – which I never heard before. One of Harry Warren's record, twenty-one No. 1 hit melodies, for almost as many artists. Bet 'Sal' would tell us THIS was his favorite.

['Unofficial' -- but with the most "helpful" votes and heart-felt comments -- this one:]

https://www.youtube.com/watch?v=oGzFnpiuo_0

Edited November 18, 2023 by Mark Blackburn

[Mark Blackburn]

Moon River and me -- JT

Pick a song (any song) on James Taylor's AMERICAN STANDARD album: I could rhapsodize on the beautiful details that make JT's version the “best ever” to my mind's ear (at least since Frank and Ella, and Ray, Peggy and Sarah had a go at making it their own; you get the picture).

Listening right this minute to MOON RIVER and hearing details I didn't spot before (I'm only on my fifth listen). Every single time, there's something that gleams out at me – sparkles in the voice and the arrangement – some little 'sonic truth' that Moon River always deserved, that was waiting (for decades) 'just around the bend' in my mind's ear.

Just as an aside: Johnny Mercer, the lyricist who crafted the evocative words to this -- his Academy Award winning “Best Original Song” with Hank Mancini once had good words to say about James Taylor the songwriter. I think his quote from from a night of celebration of Johnny's work at New York City's famous 'Y' (YMHA). Mercer spotted something (perhaps in 'Don't Let Me Be Lonely Tonight'?) that made him single out James Taylor's emerging greatness. That thought, for reasons I couldn't express, has always warmed my heart. I'm sure James has heard the anecdote and maybe kept it in his heart until he could record this one.

Just to pick one detail that hit my ear for the first time a moment ago: on the musical bridge, which features James' great piano accompanist using a small electronic keyboard instrument to impersonate (perfectly) a wistful harmonica sound – at the moment the bridge begins, the melody shifts upwards – from James' comfortable singing key, A-sharp up, by a perfect 'fourth' into C-sharp. Harmonic genius! Yet artless. You might not be aware of it. But the untrained ear says: “SO beautiful!”

[Mark Blackburn]

That moment divine - when all the things you are, are mine!

Google for my favorite song ALL THE THINGS YOU ARE and the Wikipedia entry is unique. No other like it. Just a few words about its inclusion in Jerome Kern & Oscar Hammerstein's final Broadway show, followed by the longest, most erudite analysis – comprehensible ONLY to serious musicians – about what makes this song uniquely great. Ella's version lacks the song's opening verse. My favorite, by Carly Simon (15 years ago) wisely includes those rare opening words (beloved by my parents):

“Time and again, I longed for adventure, something to make my heart beat the faster – what did I long for? I never really knew. Finding your love, I found my adventure, touching your hand, my heart beat the faster! ALL that I want, in all of this world, is YOU.”

[Nearing half a million “views” since its posting, Christmas Eve 2008]

https://www.youtube.com/watch?v=Qrw5qEDRLw0

Thought of this tonight, after hearing Nancy Sinatra's “500th” show on Siriusly Sinatra satellite radio. A link provided by one of the wise men at Sinatra Family Forum “Bob in Boston” takes us back to the summer of 2007 – Nancy's first three shows. (Flooded with memories reading what I wrote there 13 summers ago.)


Headlined: "This one was deeply personal"

A thunderstorm (which interrupted satellite radio reception here in Winnipeg Canada) combined with a hectic visit by grand children, ("Grumpa -- which is more important, that show or us?") conspired to prevent me hearing most of Nancy’s third show. (Hope to enjoy the entire program Thursday night!)

But I WAS able to enjoy the last 70 minutes-or-so of “Program 3” and overjoyed to hear some songs I’d never heard before. But, most important, this show had great depth, for me personally (more about that in a moment).

If I may be permitted an important musical recollection: I remember my late mother asking me at her dinner table --- my dad had just left the room and my parents were both very musical people) -- Mom asked: “What is your favorite song?” Without a moment’s hesitation I said, “ALL THE THINGS YOU ARE.”

My Mom was astonished, and said: “That is your father’s favorite! Mine too!” Soon after my mother died, five years ago, my father (who late in life learned the difficult melody by Jerome Kern on piano) told me that “ALL THE THINGS YOU ARE – the words, sum up exactly how I felt about your mother. They describe her, to a T.” I remember he recited the seldom-heard verse -- which most singers, including Frank Sinatra, usually didn't include, (for one reason or another, usually time limitations).

My father died late last year; his own lovely, piano variations on ALL THE THINGS YOU ARE was one of the last things I heard him play, two weeks before he died; he played it before an impromtu audience at a 'retirement home' here in Winnipeg -- and he played it flawlessly!

The genius of Kern’s melody is that it is at once easy to whistle or hum– it is so memorable – and yet, the chord changes (ask any gifted jazz musician) are such a riot of modulation that only the best musicians are able to play the darn thing -- and thus help to keep it alive for the next generation of jazz listeners.

I can’t remember the last time I heard it played on radio. So I was simply overcome when Nancy singled this one out as – not only one of her favorites, but wedding day favorites of her daughters!

Edited November 18, 2023 by Mark Blackburn

[Mark Blackburn]

Doyle Dykes and his James Olson guitar - speaking of James Taylor

One of the three greatest living finger-style guitarists Doyle Dykes visited Winnipeg (I helped arrange his visit) to a store that sells his Quebec-made signature model Godin guitars. He had a quip about something and said, "as James Taylor says ... " He was scheduled to play for 90 minutes; he played for three hours. (He must have made a mistake; I didn't hear it.) Thought of this when I read (below) my favorite anecdote about James Taylor's character, circa 2020: "JAIME SOMMER: The (NYC book) signing was supposed to be 2pm - 4pm . He stayed until 8pm signing items, chatting with folks, and posing for pictures . He did not stop for a break even once! He was so generous with his time and patience. I think he must understand that we all came to show our love and appreciation for his life’s work. It was a truly special day. It felt like a party!"

Like James Taylor, Doyle Dykes was 'gifted' with a priceless instrument by James Olson of St. Paul Minnesota. On a just-posted video of his own composition "Peace Over Shanghai" Mr. Dykes talks about James Olson's "genius" as he displays the magnificent back and sides of the "same instrument" that he and James Taylor consider the best-sounding acoustic steel-stringed guitar of them all. (I would recommend Mr. Dykes' own signature GHS strings -- "less squeaking" says Doyle). 

 

[Mark Blackburn]

Whereas ... the world's finest nylon-string acoustic electrics ever made bear the name of KIRK SAND. Who said they're the best? Chet Atkins. Jerry Reed and . . . Doyle Dykes -- who puts his through its paces on my favorite instrumental rendition of "Little Drummer Boy.

 

 

[Mark Blackburn]

Permit a little leeway in thought (indulge me please) as we turn 3,000 “views”

“Look for the hidden usefulness,” said my hero St. Augustine 17-hundred years ago. Christian history's most prolific writer, “Augustine of Hippo” (a suburb of Carthage, North Africa) was the presiding editor when the Church put together the Holy Bible: the version (still in use) with all 73 books (not just 66) – the 'canon of scripture' finalized at the 'Council of Carthage' in the year 397. (But you knew that, right?)

Yes, the great thinker was saying this: Whenever you are poised to declare something “useless” (not “bad” mind you -- USELESS) we should pull up, and “Look for the hidden usefulness.” It's hard work and it could take years (even decades) but persist until the light goes on. It's hard work because you know why this thing is useless. Maybe it's your trade, and you KNOW the right way to do it – and THIS “isn't the way!!”

But the moment it dawns on you – what that “hidden usefulness is” – you experience humility. One of two things listed in Matthew's Gospel as requirements to “enter heaven” (no third thing required – that's the good news!). The other essential is “Gentleness” – available to all of us, in everything, from your tone of voice this day, to say, allowing with a gentle wave of your hand, another motorist in heavy traffic to enter your lane. (Just experienced both of these today!)

Anyway. I thought of all this a moment ago while reading “comments” below a YouTube video, denouncing Michael Jackson (when he was very young) for daring to record his own early conception of ALL THE THINGS YOU ARE. A frenetic rendition from an early compilation album I never heard of. Someone asked if this was the only standard MJ ever recorded? And I thought: “Well, other than his take on Charlie Chaplin's SMILE . . . no, he did not. Coincidentally, the young Michael Jackson selected my all-time favorite song by Kern & Hammerstein (see above).

The "hidden usefulness" here? The “comments” below the video, elicited by this one!

Nuance5 (5 years ago)
As usual with artists of this genre - MJ shows no respect for the fine melody as composed by Kern, and feels compelled to rewrite it to his own limited taste. He totally misses half the chromatic moves. Listen to one of the 40s artists to hear the genuine song.

[Prompting a dozen informed replies, including these from kindred spirits]

Bert Jackson (5 years ago)
I respectfully disagree. He adds his own interpretation to this wonderful tune that has been covered by every jazz artist and many others as well. It becomes one of the thousands of recorded options for enjoying the song. If one isn't to taste, try another.

Zachary Greene (3 years ago)
go listen to Charlie Parker play this, he absolutely takes liberties with the melody so what's wrong with MJ doing that? The beautiful thing with jazz or music in general is that interpretation is allowed. I hear nothing that is over bearing in regards to interpretation so what's the problem?

MsCatreona (2 years ago)
I agree. To my ear MJ is well within the acceptable limits for Jazz/Pop interpretation. I am also astounded that he recorded this great standard and feel he did a reasonable job with it. He's not a Jazzman, and he has to put his own spin on it. I think this is quite a respectable rendition, all things considered.

https://www.youtube.com/watch?v=lTZ0jn6TCUw

Edited November 18, 2023 by Mark Blackburn

[Mark Blackburn]

I Love Paris – Doris Day's best ever version (Cole agreed)

At this moment channel 71 is playing a version of Cole Porter's I LOVE PARIS I never heard before – by Doris Day. Dare I say? My new favorite! Not least for the brilliant orchestral accompaniment. Who arranged, I wonder? It's as good as a chart by Nelson Riddle. Slow, almost sullen at the opening – reflective, like Doris' delivery -- before switching to just the right tempo. Doris at her best. Is it at YouTube? Yes! Most viewed version, posted a decade ago, with an informed note:

“I have always liked this song, no matter who sings it. Doris's recording is said to have been Cole Porter's favorite rendition of the song.”

https://www.youtube.com/watch?v=9Od4TJYxjgk

[There's a three-sentence Wiki entry – plus a note about Doris]

"I Love Paris" is a popular song written by Cole Porter and published in 1953. The song was introduced by Lilo in the musical Can-Can. A line in the song's lyrics inspired the title of the 1964 movie Paris When It Sizzles and the song was featured in 1988 film Frantic ….

Doris Day recorded this song for her Showtime album in 1960

Edited November 18, 2023 by Mark Blackburn

[Mark Blackburn]

JUDY -- The Man That Got Away

Sirius radio is playing Judy Garland's THE MAN THAT GOT AWAY -- a later-in-life studio version: I thought of my favorite Sinatra Family Forum member in NYC --  “Stanley” -- who saw her perform this song on multiple occasions.  If memory serves, Stanley said Judy could hold an audience of “more than a thousand” spellbound -- in the palm of her hand, as they used to say. “You could have heard a pin drop,”  Stanley said “just before she brought the house down” amid thunderous applause and cheering.  Like Sinatra, as she got older, Judy could turn vocal weaknesses into strengths – a more endearing vulnerability in live performances that conveyed even more heart and soul.  

Isn't it nice that a gifted actress Renée Zellweger picked up the Oscar at this year's Academy Awards for her remarkable depiction of Judy's final days of concerts in London. When she accepted the award, Ms Zellweger said this was the Oscar Judy should have been awarded for her performance in "A Star is Born" (which introduced this song). 

First offering at YouTube this night:  a televised concert performance from “February 21, 1964.”  Wonder if my friend Stanley was there?  Or at the earlier “1961” performance described in the most recent “comment” below the video:

lisa boland  (1 year ago)

This lady changed my life forever on April 23, 1961. NEVER have I ever seen grown men and women,my mother included, crying, screaming, banging on the floor and rushing a stage. She was so tiny! I stood on my chair, and watched the magic. I have been to hundreds of concerts since that famous night. Nothing, NOTHING, holds a candle to that night.

https://www.youtube.com/watch?v=gxz-8gSFjjo

Edited March 5, 2020 by Mark Blackburn

[Mark Blackburn]

The solo by Larry Goldings:  Listening again, ever more closely, as James Taylor's long-time pianist/keyboards accompanist LARRY GOLDINGS plays the most beautiful solo on the musical bridge to ALMOST LIKE BEING IN LOVE:  a vivid reminder of why Mr. Taylor calls him “my one man band.”

Only the very best jazz musicians can deliver, under the pressure of 'live' TV, such a gorgeous, perfectly 'artless' solo (make it look so easy, when it isn't). In the privacy of James' home studio, there's always room for “another take.” But on 'live' TV – with a million of us watching? There are few 'road musicians' in Mr. Goldings' league -- and James employs most of them, it seems!

You know what I really love best about this performance? They could have ended Mr. Golding's solo after the first 30 seconds; but then we'd be denied the best part! Those last 18 seconds. Thanks to “Taylor, Goldings & Co.” And to the late night show for sharing such high quality video. How could you improve on this? Yes, children -- THESE are 'the good old days.'

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[Note to James Taylor's Facebook re " priceless guitar"]  To these 72-year-old eyes, that's a vintage D'Angelico being played by jazz giant John Pizzarelli (co-producer along with James of all the “two-guitar” arrangements for AMERICAN STANDARD). “D'Angelico” was the NYC grand master luthier making archtop jazz instruments – some say the “best ever made.” When that model that John is strumming first appeared circa 1937, it was priced at 275 dollars: a whopping amount of cash for a guitar in the years following the Great Depression. Adjusted for inflation that's like nine-thousand dollars today. That non-cutaway model continued to be made until 66 years ago this month – March 1954. Did John Pizzarelli's jazz virtuoso father “Bucky” acquire that one? The late Hank Garland's Gibson L-7, was just offered for sale at 244 thousand. Whereas, a D'Angelico owned by Bucky and son John would be . . . oh, close to “priceless.” Did I say "Thanks" Mr. Taylor for the delightful video? (We now return to our regular programming.)

 

 

Edited March 7, 2020 by Mark Blackburn

[Mark Blackburn]

As a (near) life-long fan of James Taylor (one year older -- James was born March 12 to my March 13) I'd always hoped he would do an album of standards. And wondered: Which of my life-long favorites -- the standards, or the more obscure 'should-have-been-standards' -- were James' favorites too? Tonight I'm learning the answer and it's moving me to tears. The joyful kind. 45 minutes into this perfect (to my ears) BBC show and I writing notes. Hope you won't mind my bending your ear, for just a couple or three of them: “I'm going to be playing selections of my favorite American standards” says James on his one-hour BBC radio show [posted online in its entirety today: “Released On 08 Mar 2020 Available for 29 days”]

 

James recalls at show's opening: “I remember my father's beautiful voice singing a number of these songs . . . ” And you know, a lot of these were written to be parts of Broadway shows and basically existed as sheet music; and if you wanted to hear them, someone had to, generally speaking, sit down and play them. I think they are the high point of American popular music.

 

Well, here's a song from 1928, “Makin' Whoopee” written by Walter Donaldson and Gus Kahn - this is that rare thing, a humorous song: a really HARD thing to do! – write a funny song. And they definitely did it in this case. And this version is by Dr. John and Rickie Lee Jones. [This] was taken from Dr. John's Grammy-winning 1989 album “In a Sentimental Mood.”

 

Next up, James introduces Billie Holiday's version of her own song (with Arthur Herzog Jr) GOD BLESS THE CHILD, a rendition Billie performed with strings and a vocal chorus. For this version, midway through her career, her voice was at its very best. And that uniquely beautiful delivery reminds us that Sinatra (who dubbed her 'Lady Day') admitted to her influence on his own famous 'phrasing' and breath control.

 

"Well now," says James, "just to take a moment to talk about Paul McCartney: I credit him with starting my career in 1969 when I signed with Apple records – the first person signed to Apple …. I'm so eternally grateful for the chance that I got to make that first record. Paul has always been a huge source of inspiration, and a real helping hand when I needed it.

 

"From his 'Kisses on the Bottom” album, here's Paul and 'I'm Gonna Sit Right Down and Write Myself a Letter.'

 

"I'm James Taylor and this is my appreciation of The Great American Songbook. [Up next] For me, this song by Joni Mitchell ANSWER ME, MY LOVE just goes straight to the heart. Joni's a 'feature of the landscape' – she's a natural wonder. Anything she turns her hand to, just has her unique stamp on it. And this torch song – so understated – is just is a heart-rending song, the way she does it.”

 

"You know, something I didn't know about that song, 'Answer Me, My Love' – is that, originally it was written: 'Answer me, Lord Above' – and it was banned! By the BBC because of its 'religious lyrics' – and uh, what? 'separation of church and state' I guess. But Carl Sigman re-wrote the lyrics and turned it into a beautiful song. That version from Joni Mitchell's album of orchestral music “Both Sides Now.”

 

[Poised to say “the one and only Ray Charles”] James quips, “The TWO and only!” – introducing Ray's duet with Betty Carter on Frank Loesser's 'Baby, It's Cold Outside.' We sure do love this song, it's definitely a classic that belongs in the Great American Songbook.”

 

 

Edited March 9, 2020 by Mark Blackburn

[Mark Blackburn]

And how sweet the change from minor to major!

Grand kids visiting all day today -- including four-year-old "Charlotte." We're not allowed favorites (I've got eight grandchildren) but Charlotte is pushing the envelope. She helped me with a load of laundry -- transferring to the dryer. Her little hands accepting each bit of clothing and individual towel and -- leaning into the machine -- placing each "in its place" (row upon row -- all perfect). I picked her up and put her on the top of the machine and said, "Are you strong enough to crank this over to '70 minutes'? Like a pro -- first try! When the machine came on, shuddering beneath her loudly, like an earthquake, Charlotte was terrified. But only for the moment it took to swing her back down to floor level. Then it was all smiles and what's next, Grumpa? Just listened to James Taylor hosting a one-hour celebration on British radio (online) of The Great American Songbook, shared by the BBC.  Just left a note of appreciation at James Taylor's Facebook page:

----

Imagine my delight tonight, hearing James Taylor singling out “Lady Gaga – and her version of (Cole Porter's) 'Every Time We Say Goodbye' – from an album she made with Tony Bennett in 2014.”

[Coincidentally or not, three months ago, at “Sinatra Family Forum” I'd shared this comment with Nancy:]

.... but how strange – the change from major to minor! At this moment Siriusly Sinatra satellite radio is playing a lovely, latter-day rendition of Cole Porter's poignant ballad, EV'RY TIME WE SAY GOODBYE. At first I couldn't spot the singer and wondered, “Who is she? This is lovely!” Lady Gaga. Alone together with a great jazz pianist (one of Tony Bennett's favorites I'm guessing) joined on the second chorus by bass and drums. Love that the Lady included the very seldom-heard opening verse. Is this beauty at YouTube? Yes! Sure enough -- from her album of (otherwise) 'duets' with the world's greatest living singer.

https://www.youtube.com/watch?v=aUm41zP63lo

Thus, 'goosebumps' a moment ago hearing James say by way of introduction:

“Lovely! We thought of Lady Gaga as almost a 'performance artist' [first] and as a musician second; this album proved her to have extremely deep roots, and to be able to turn her hand to almost any kind of music. She is a beautiful singer with an amazing ear.”

[Mark Blackburn]

But this is where I came in . . . 

Still my all time favorite 'ballad' recording:

"I know how 'The Lady in the Harbor' feels: When I want rain, I get sunny weather -- I'm just as blue as the sky ....

Sirius channel 71 just played Sinatra, in a latter day concert setting -- alone at the start, with just solo classical guitar [Tony Mottola, credited at song's end] using a flat pick (plectrum) not finger-picking, to play beautiful lines, between two keys (F-sharp, B natural). Frank charms his audience saying,

“We'd like to do what we affectionately call a 'saloon song' – my having, at the moment, the position of being the only one left in the world” (singing 'saloon' songs since others] “fell down in the well, or something! But I LOVE these kinds of songs because they are .… they're so well written. They 'reach inside,' in a sense. THIS was written by Sammy Cahn and Jule Styne.”

Hoping to find it at YouTube. And, just for us, the very first offering this day. What a coincidence as Mom would say. 'Live' at London's “Royal Albert Hall / 1984” Bet that one or two members of the Family here – were there. No?

https://www.youtube.com/watch?v=RPvu644h-PQ

Edited March 9, 2020 by Mark Blackburn

[Mark Blackburn]

Still my favorite 'Duet' – FRANK & DINAH:  Just re-reading my real-time 'liner notes' for Nancy Sinatra's very first "Nancy for Frank -Show No. 1” (05/27/2007) and wondering: Was it really THAT good? Frank's duet with Dinah Shore on MY ROMANCE? [Back on May 27, 2007 re three tracks by Rodgers & Hart]

"LITTLE GIRL BLUE – A woman’s ballad, yet Sinatra delivers the finest reading by ANY singer, ever! And the audio quality is astonishing – like hearing this one for the first time. Is this a new digital take on a black vinyl original copy? Honestly, the high point of the show, so far!

SPRING IS HERE --- No, THIS is the high point. It must be a late 40s version; how can it sound this good? Much better sounding than my CD version. ‘Scuse me, I have something in my eye. So beautiful.

MY ROMANCE --- No, no – THIS is the highlight of hour three. This is the version Bob in Boston was warning me about the other day. With Dinah Shore. I simply can’t imagine any duet more beautiful than this. The best possible rendition of possibly Rodgers & Hart’s greatest ballad!

Nancy returns for a voice-over . . . "

So, do we feel the same way, 13 years on? Yes, indeed! The first version (with a lovely slide show) offered this day at YouTube, with most “views” too: 37,785.

[Can't you almost hear a little Love, not just mutual respect, in their voices?]

 

 

Edited March 9, 2020 by Mark Blackburn

[Mark Blackburn]

Maybe millions of people go by . . .

. . . but they all disappear from view, 'cause I only have eyes for you.

It's 7 a.m. Check to see what's playing on channel 71. One of my Dad's favorite songs from WWII, Harry Warren's I ONLY HAVE EYES FOR YOU – Sinatra's swing version with the Basie Band. Dad recalled for me a night when there was a lull in the fighting, and he was able to spend a night indoors – in the luxury of an abandoned home in Holland – with a piano that was in tune! He played that one, “at the request,” he said of someone else who'd heard it “on a short-wave broadcast from America.”

Half hoping to hear Sinatra's original from circa 1945, and not the delightful swing version of a couple decades later, that was playing a moment ago on Siriusly Sinatra satellite radio . . . sure enough, the first offering this day at YouTube. I could hear James Taylor's take on this one – American Standard II (2022) can't you?

https://www.youtube.com/watch?v=k9_9sNQmq-w

 

[Mark Blackburn]

Bartender's Blues -- JAMES TAYLOR

[Left Mr. Taylor a note a moment ago]

My favorite working man's “lament” in song (yours too?): I'd just been racking my brain for another example of what James Taylor considers a really difficult accomplishment -- writing a funny song: “It's not easy,” James told his world-wide listening audience, on this amazing BBC show. A comment made while introducing a Dr. John and Rickie Lee Jones duet recording from 30 years ago:

"Well, here's a song from 1928, “Makin' Whoopee” written by Walter Donaldson and Gus Kahn - this is that rare thing, a humorous song: a really HARD thing to do! – write a funny song. And they definitely did it in this case.”

So. Trying hard to think of another example – maybe a cover of a song that James (almost) rescued from oblivion: a song perhaps we hadn't heard, “pre-you” James Taylor; but one you made 'all your own' – to the extent that people who don't read song credits (there are such people!) assume you're the composer too. And then THIS -- a moment ago, from a kindred spirit here. What a coincidence! as Mom used to joke before turning serious: “There ARE no coincidences!”

Betty Lynn Logsdon I love you, James. For many yrs, I listened to your music. One of my many faves of yours is "Bar Tenders Blues".

I responded from memory imperfect the unforgettable opening words:

“Now, I'm just a bartender, and I don't like my work – but I don't mind the money at all. I see lots of sad faces, and lots of bad cases, of folks with their 'backs to the wall.' And I need four walls, to hold me tight, and keep me from slipping away . . . ”

What's the first offering at YouTube right this minute? This one, with 117,000 “views.” [And don't that sound just like Linda R in perfect harmony?]

https://www.youtube.com/watch?v=e5mc71BQu9g

[first comment below the video, referencing the original (by Country icon George Jones]

dangervich (3 years ago)
George's is pure country, James has a bit of jazz in it too. JT has always straddled a lot of ground. A really well-written song. [prompting an insightful reply]

Artturi Björk (1 year ago)
I'm thinkin' George's version has a decent amount of gospel there as well ...

[Mark Blackburn]

"Pre-YOU" (she was)

James Taylor himself may be the only person on his Facebook page who would catch a reference to “pre-you”-- title of a ballad by his old friend Jimmy Buffett (they wrote one song together, the poignant, if vulgar, “Sugar Trade”). Anyway. Mr. Buffett was on an elevator at hotel near the San Diego Naval Air station when a handsome young sailor stepped inside with a gorgeous young woman, who Jimmy says asked her man: “Who was that?” (re a girl he'd seen and shared a word with at the beach). The sailor replied. “Oh . . . she was . . . pre-You.”

Jimmy went straight to his room and jotted down the beginnings of a song you never heard of: my favorite Buffett ballad, and one more I've wanted for decades to hear James Taylor make his own.

First 'official' version offered at YouTube this day has zero 'comments' and no 'thumbs up.' It deserves more, you may agree. Forgive the presumption, Mr. Taylor but it really does sound like one of yours (and another one for “COVERS, Volume 3”?

https://www.youtube.com/watch?v=ph1-eBG-Rp0

[Mark Blackburn]

With the passing of Max von Sydow -- a favorite role from almost 40 years ago

My favorite of his villain roles? One you may not recall (unless you too are Canadian): “Strange Brew” AKA “The Adventures of Bob and Doug McKenzie Movie” (1983) Max had a great sense of humor – he read the 'change-of-pace' script and jumped at the chance to be the 'villain' and play the role straight up. As one of the SCTV regulars, comedian Eugene Levy's character, “Sammy Maudlin” liked to say: “.... but as a comic in all seriousness.”

There is a generous (nearly three minute) 'trailer' which conveys everything you need to know about the most beloved, low-budget movie to emerge from Canada's most influential comedy show which was for a season or two, a feature of late night NBC network programming. In Canada it introduced this country's TV audiences to the comedic genius of compatriots John Candy, Martin Short, Andrea Martin, Catherine O'Hara, Eugene Levy (and some equally brilliant, if lesser known cast members).

My son Aaron just informed me that Martin Scorsese “a huge fan” of SCTV wants to direct “a re-union movie” featuring all of the surviving cast members. Minus John Candy obviously. The beloved co-star with Steve Martin in (my favorite comedy) “Planes Trains & Automobiles,” died in L.A in 1994.

And now, the trailer we've been waiting for. STRANGE BREW with Max von Sydow as the “diabolical genius.” (I defy you not to laugh.)
 

 

 

Edited March 11, 2020 by Mark Blackburn

[Mark Blackburn]

But as a comic, in all seriousness . . . talk about a resume!

Max von Sydow (/vɒn ˈsiːdoʊ/;[1] Swedish pronunciation: [fɔn ˈsy̌ːdɔv] (About this soundlisten) born Carl Adolf von Sydow; 10 April 1929 – 8 March 2020) was a Swedish[a] actor. He had a 70-year career in European and American cinema, television and theatre, appearing in more than 150 films and several television series in multiple languages.[3][4]

Capable in roles ranging from stolid, contemplative protagonists to sardonic artists and menacing, often gleeful villains, von Sydow was best known for playing the 14th-century knight Antonius Block in Ingmar Bergman's The Seventh Seal (1957), which features iconic scenes of his character challenging Death to a game of chess. He appeared in a total of 11 films directed by Bergman, among which were The Virgin Spring (1960) and Through a Glass Darkly (1961), both winners of the Academy Award for Best Foreign Language Film. He starred in a third winner, Bille August's Pelle the Conqueror (1987), a quarter-century later.

Von Sydow notably made his American film debut as Jesus Christ in George Stevens' The Greatest Story Ever Told (1965) and later had major roles in William Friedkin's The Exorcist (1973), Sydney Pollack's Three Days of the Condor (1975), David Lynch's Dune (1984), Woody Allen's Hannah and Her Sisters (1986), Penny Marshall's Awakenings (1990), Steven Spielberg's Minority Report (2002), Julian Schnabel's The Diving Bell and the Butterfly (2007) and Martin Scorsese's Shutter Island (2010). He later appeared in Star Wars: The Force Awakens and in HBO's Game of Thrones as the Three-eyed Raven, for which he received a Primetime Emmy Award nomination.

During his long career, von Sydow received two Academy Award nominations for his performances in Pelle the Conqueror and Extremely Loud & Incredibly Close (2011).  He was not nominated for his role in "Strange Brew." [Okay I added that part.]