Mark Blackburn

When simple words are music to our ears . . . Michael's essay. Remember your favorite moment in THE BLIND SIDE? When Michael has his epiphany, after his new “Dad” quotes from memory the climax of 'The Charge of the Light Brigade': “Into the valley of death, rode the 600 . . . Theirs, not to reason why – Theirs, but to 'do-or-die'.” Inspired by his Dad's football analogy, “when the coach messes up,” Mike sits down to compose his thoughtful response – writing with an 'artless' style and a lyrical (not to say musical) beauty that rings true. ---- Permit an aside: After determining that I'd never seen The Blind Side, my sister in Toronto sent me both Blu-ray and 'Made in Mexico' DVD versions for my birthday last month. "You will love it," she said, and then "When are you going to watch it?" Poised to transcribe (I type fast) I realized that this 'best scene' must be the favorite of millions – and is already posted at YouTube, right? Sure enough. Four minutes of movie magic. https://www.youtube.com/watch?v=xVbSQpoFDb0

MONALISA TWINS – Baby You Can Drive My Car Paul McCartney 4Fans just sent me a link and a thumbs up for something I posted "2 years ago." Just when I was in the mood to hear some talented girls impersonating Paul and John. [I wrote:] "Ever wonder if Paul enjoys Beatles 'covers'? Had that thought again while watching these talented girls with their "two year residency at The Cavern." [left them an appreciative note:] Back in the 60's when all of us it seems were in bands and doing Beatles covers (mine was 'The Suspects' – of Ottawa Canada – you may not have heard of us) I recall how difficult it was to do a good impression of The Fab Four on a song popular with audiences -- like 'Baby You Can Drive My Car.' An American guitarist friend (we trade Chet Atkins anecdotes) just shared this. (Thanks, Bob P.) Talented singer/musicians – the “MonaLisa Twins” – girls and boys having fun at 'The Cavern' in Liverpool, circa Summer of '21.

An Evening With Joe Pass – 1994 I've been waiting my entire adult life for this. You don't have to be a guitarist to love this. Joe's mother would have loved every minute of it! In an interview at the 13:38 mark, when asked What are you going to play tonight? – the disarming response: “I can't tell ya!” Meaning it would spoil the fun if Joe didn't decide on-the-spot, 'what's next?' “I played with Oscar for ten years,” said Joe, “and we never once rehearsed!” Too many highlights – so many questions answered: His guitar resembles a Gibson 175 which Joe Pass played until Ibanez made him a signature model to rival George Benson's. “Gibson asked me what I wanted . . . a thinner body than a 175, just the one pickup, and the neck is slimmer . . . “ Do yourself a favor, and set aside some time to watch this. I guarantee you will love, or … double your money back. https://www.youtube.com/watch?v=HSeJSWwEyoE Correction: It was Epiphone - Joe Pass signature model. I played one, on two occasions. Very fine. They held their value. This one used at Ebay today for $1,487.62 U.S. dollars plus $80 shipping (from Japan). So 2K Canadian. In case any loved ones are tuning in.

FRANK SINATRA JR. – The People That We Never Get to Love It's the syncopated opening notes of an arrangement that could only be Nelson Riddle: It warms my heart each time I hear this poignant song played on Sirius radio about twice a year, including right this minute! A Rupert Holmes song (his best?) and his own favorite rendition, by a dear friend, Frank Sinatra Jr. You're browsing in a second-hand book store . . . She looks up from “WWII” and then you catch her, catching you, catchin' her eye . . . And then you think about the people that we never get to love! https://www.youtube.com/watch?v=JmCf6tAO19g Footnote: This arrangement by Nelson Riddle finally saw the light of day two decades after his death, and about a decade before Frank Jr's passing. Sinatra's son was his musical director at Frank's concert performances in the final ten years of his own life.

DIANA KRALL – Just You, Just Me Just for me, and my continuing musical education, 'Jersey Lou' Simon, programmer extraordinaire at Siriusly Sinatra is playing Diana Krall channeling Oscar Peterson – with a jazz fiddler . . . and I recognize his sound. He is my “other favorite Nashville 'sessions' artist” oh … what's his name? It's as if Lou Simon is saying, “Spot the fiddler, Mark!” I just have to go to James Taylor's Grammy-winning AMERICAN STANDARD album – where James recorded with this jazz virtuoso fiddler in Nashville. To be cont. …. From her THIS DREAM OF YOU (2020) album for Verve. No mention of the accompanying personnel . . . Sure enough, someone who turned 59, two days ago, April 14, 2024. Stuart Duncan – fiddle (tracks 6, 9, 11) https://www.youtube.com/watch?v=hOof3D0cAjk https://www.facebook.com/mark.blackburn.3910/

The Rick Beato video with the most eye-catching title “Greatest Solo of All Time” has attracted more than a million views per year. Deservedly so, we can all agree! I've been a life-long fan of Oscar Peterson and got to see him in concert with my guitar hero Joe Pass (note below) during the period Rick recommends we should “seek out on YouTube.” “Now, imagine” says Mr. Beato at song's end, “being in the audience there, in 1974 – I don't know how many people are still alive from then … none of the people on the bandstand are alive: Barney Kessel passed away 2004, Niels-Henning Orsted Pederson passed away in 2005 and Oscar in 2007. They all died within three years of each other. “Oscar was hit by a stroke – I believe it was in 1994 or so, and lost the use of a couple of his fingers on the left hand; it really impacted him for the rest of his career, eventually retiring. “His recordings from really, 1973 through 1985 are absolutely phenomenal. There's great recordings in the '60s but his technique, his feel, his repertoire of songs – everything really solidified during that time period . . . that's when he was absolutely killing it! And this is one of the best performances I've ever seen on piano. It has so much fire and so much swing that it just blows my mind!" A personal note Rick would appreciate! My wife of 50 years, Irene and I went to see Oscar and guitar giant Joe Pass 'alone together' on the stage of Winnipeg's 2K seat concert hall circa 1982. To this day we both agree it was “the best concert” – and the peak musical experience of both our lives.

Canada's “other greatest-ever jazz singer / pianist” CAROL WELSMAN has the sort of voice you could savor 'by the hour.' And for the past hour Carol's been hosting a “Playing Favorites on Siriusly Sinatra” program: I've never heard a more inspired show – track after track, one song after another that I could celebrate here! And Carol provided my “What a coincidence!” moment of the day: On the phone tonight, my Irene, who is in a care home, asked me to complete a line from a nursery rhyme: “One for the Master, and one for the Dame . . . ?” I replied: “And one for the little boy, who lives down the lane.” And what's it from? “Bah, bah, black sheep, have you any wool.” My turn to quiz Irene: “So what other two 'nursery rhymes' are sung to that same melody?” Irene recalled 'the alphabet song' A, B, C, D, E, F, G . . . next time sing along with me!” as well as the third and most famous lyric: “Twinkle, Twinkle Little Star, how I wonder what you are?” So. Guess what Carol Welsman used as her show closer a moment ago? Carol is a terrific jazz pianist but said “My mentor Herbie Hancock accompanied me on this one.” Is it at YouTube? But of course! Posted "5 years ago" to 3.5K views and "comments are turned off" so we won't "learn more" will we? https://www.youtube.com/watch?v=EzPpEGzu6Dg

The Carter Family is the best 3-stanza poem ever written. Says me . . . and about a million kindred spirits, if they think about it. I didn't need to commit it to memory half a century ago. I could recite it after the first couple of plays. Bought my copy in London summer of '73 and visited the studio where it was recorded. The engineer's name was Robin Geoffrey Cable. He died 4 years ago. His playback speakers? Big JBL's. He told me they had the mid-range 'bite' he needed to listen at high volume, all day. Thanks for the provocative reply (below) by cumulonimbus583 that triggered these memories!

RICK BEATO – All The Things You Are Do you find when you're watching Rick, that it's like you have known him all your life? And that you share his joy, at every turn. I'm still new here, and discovering the extravagance of riches that comprise, not only the best interviews I have ever seen, (you too?) but Mr. Beato's reflections on . . . well, how about the black vinyl LP that Rick says “influenced me more than any other” – Joe Pass – Virtuoso (1973). In the hands of any other interviewer this could stray into self-indulgence. With Rick? Self-effacement, disarming and charming! I'm watching his track-by-track analysis and recall my thinking the exact same thoughts. The riot of modulations, key changes, of ALL THE THINGS YOU ARE (my parents' favorite song; mine too!) The difference? Rick Beato taught himself “in three or four hours” a perfect transcription of what Joe Pass was playing, so he could surprise his Dad when he came home from work that evening. Joe Pass himself would have been astonished! Which is to say, deepest thanks (again) Rick Beato. If you can only spare a few minutes right now, pick it up at the 6:25 mark, "All The Things You Are" for Dad! https://www.facebook.com/mark.blackburn.3910/

JO STAFFORD – Young and Foolish “Smiling in the sunlight, laughing in the rain, I wish that we were young and foolish again!” Jo Stafford is a singer I love, that I've never once celebrated. Her version of YOUNG AND FOOLISH is playing right now on Siriusly Sinatra satellite radio -- whose programmer 'Jersey Lou' Simon is the genius behind channel 70: If asked how I'd to improve on the original Sinatra channel, I'd reply like Larry Hart – 'Don't change a hair for me!' The version I'll always hear in my mind's ear "Tony Bennett & Bill Evans" alone together recording of 1976; 21 years earlier, when 45 rpm records still hadn't displaced 78's from the nations' turntables, this I see on the first YouTube offering this day is a 45. Jo Stafford had a special sound, a vocal texture that was simultaneously strong yet gentle; with a 'wistfulness,' that's perfect for this lyric. See if this affects you? Posted to YouTube with an informed note that this was arranged and conducted by her famous husband's orchestra: “One of several recordings of the minor hit song from a 1955 Broadway musical comedy 'Plain and Fancy' (451 performances). Orchestra conducted by Paul Weston.” t

There is no steel-string acoustic guitar that projects like an OLSON -- and with perfectly balanced sound, at full volume. Which Doyle Dykes elicits on a Beatles song, one of my two favorites composed words and tune by Paul McCartney -- ELEANOR RIGBY. James Olson guitars (most favored by James Taylor) are to steel-string acoustic instruments what "Kirk Sand" is to acoustic-electric nylon stringed guitars. Simply the best there is. Paul McCartney would love this!

A moment ago I was checking on the provenance of a song my musical father enjoyed, from a time period of around 1949/50 -- “C'EST SI BON.” This while Siriusly Sinatra satellite radio radio was playing a version I'd never heard before by Dean Martin. In my reverie I imagined Sinatra urging his friend to record it, even though it “belonged to Louis” and the fact that other important singers, with names like Ertha and Bing, had done memorable versions. FRANK: Dino! – I can hear you making this one all your own . . . DEAN: How? FRANK: Just be yourself. Chat it up – you know, 'An Italian in Paris' – and how you like everything you see. And you wish I were there with you. Maybe even mention me in passing! https://www.youtube.com/watch?v=zkKderOit0o

39 million views and 7,508 comments and I think this deserves an analysis of its greatness, don't you? Shared a moment ago by my all-time favorite Amazon jazz reviewer Samuel Chell. A professional jazz pianist and retired English prof, Sam writes like this, this day (4/11/2024): ---- On this song, Sinatra sings an authentic "blue tone," which is a quarter step, not a half step. In other words, it's an intentional "out of tune" momentary sound that's "between" the piano's 2 half steps, a characteristic of much African "roots" music. (L. Bernstein illustrates it on his "Introduction to Jazz"). I'm replaying Sinatra/Riddle's version now. btw, did you notice how he avoids the unmusical "r" sound (by singing "eah" instead of "ear"). Blue tone is coming up-- after the long interlude (trombones). I'm just now hearing it: It's his last "Don't"--a gloriously intense sound on "DON'T you know little fool." He hits that sound with evrything he's got yet with accuracy and integrity.

DIANA KRALL -- I've Got You Under My Skin 26 years ago, my eldest son David was teaching English in Prague, when he got to see Diana Krall – this same trio – performing for 200 people at an embassy in the Czech capitol. I just told him: “I keep falling in love with her, over and over again!” That's a German mic (the best there is, a Neumann) which helps in optimizing the sound of Diana's voice in an open air setting. In this case The Newport Jazz Festival of 1998. Then as now, her piano solos are artless in their simplicity. You watch her fingers playing octaves slowly and think, 'I could play that.' Oh no you can't! https://www.youtube.com/watch?v=FMeUoM5pPKM https://www.facebook.com/mark.blackburn.3910/

You know who would have loved this? Hank Garland. Greatest ever 'jazz & country' guitarist, equally at home in Nashville or in NYC jazz clubs. Admired by all the other greats, including (or especially) George Benson, who considered Hank a "primary influence." Listening now to 'track 1' on this video -- Doyle Dykes' jazz chord progressions and single line improvisations on (Look Down) That Lonesome Road -- would, I believe, have wowed Hank. I imagine Mr. Garland turning to the guy next to him in heaven and saying, “Chet, you know this guy? My kind of pickin'!” DOYLE DYKES responded: "He did know me and I knew him. Hank Garland was and is a Treasure!" Thank you, Doyle Dykes (for the above). I imagine Chet Atkins would have loved – and in earlier times would surely have recorded – your gem of a ballad ON 60 BROADWAY (at the 6:03 mark) honoring the site in New York where Gretsch guitars had been crafted for more than 50 years – from 1916 until mid-1969, before moving to small town Arkansas. Permit a personal anecdote: The summer of '71 when Chet and a band, that included piano great Floyd Cramer and sax virtuoso 'Boots' Randolph, played an outdoor show in my hometown of Ottawa. Before he went on stage, I had 20 minutes alone with Chet. And he had a question to ask – what I thought about the quality of his Gretsch 'Country Gentleman' guitars. I remember a shadow crossed his face when I said, “The bindings are not as good as on a Gibson.” He was sorry to hear that, but said, “Thank you for telling me! I needed to know that.” I didn't know that exactly two years earlier, Gretsch had been forced to make the move to a plant in “DeQueen Arkansas” and all of its best craftsmen remained in New York City.

“The wind is in from Africa . . . “ CAREY, my favorite track on her beloved “Blue” album, set to an infectious dance beat Joni Mitchell herself would have loved when she was in her teens, and 'couldn't get enough' of dance floors in hometown Saskatoon Saskatchewan. In her teens, to make up for the years she lost to polio, Joni Mitchell engaged in her one passion: Rock 'n' Roll dancing: ”I loved to dance, that was my thing. Chuck Berry, Ray Charles … I liked Elvis, and I really LOVED the Everly Brothers!” Author Mark Bego writes that Joni went from being a shy introvert into a fully developed party girl: “When I was a kid,” she said, “I was a real 'Good Time Charlie'! As a matter of fact that WAS my nickname.” This day I've been listening to my favorite 'let's get dressed up and go dancing' song, from her BLUE album: The wind is in from Africa . . . Put the needle down at the 10:36 mark if it isn't cued up already. https://www.youtube.com/watch?v=MvR7Dkg4NQU

GEORGE BENSON - Portrait of Jenny In a recent (2024) interview with Rick Beato, George Benson revealed that the Count Basie orchestra was on the brink of being dissolved, when George arranged for this album -- made it happen -- with all profits going to the Basie Band. "It kept them together," he said. George included on the album the one track he recorded with Canadian-born and London-based arranger Robert Farnon, the most influential orchestrator, working with "Bob's band' -- London symphony/philharmonic musicians -- who accompanied Sinatra on his "Great Songs from Great Britain" album thirty years earlier (1962). George was directed to Bob Farnon by Quincy Jones, and other jazz musicians and singers who'd recorded with Mr. Farnon in London. Sinatra dubbed him the "Guv'nor." This arrangement reminds us WHY.

The beach behind her stretches for two miles and has welcomed a million people – for a Rolling Stones concert (3.2 million for a Catholic 'World Youth Day') – but which many of us have never seen at night, ordinary souls on its colorful sidewalks. In Rio, even sidewalks are beautiful! Just had to say deepest thanks for sharing this. In my reverie I'd often imagined sitting around with Diana Krall on just such a casual occasion. A memory to be treasured a lifetime! That's her gifted guitarist Anthony Wilson, and beside him Diana's producer, the late Tommy Lipuma. Playing 'brushes' so essential to Bossa Nova, her favorite drummer (and mine) Jeff Hamilton. (Included for a second there, the late Al Schmitt, greatest ever recording engineer; 20 Grammys says so!) An informed note below the video reminds us that the lucky fellow sitting beside Diana and invited to join in song, is “Carlos Lyra, Brazilian singer, composer and guitarist.” A medley of gems: A.C. Jobim's BOY FROM IPANEMA, Johnny Mercer's TOO MARVELOUS FOR WORDS and Irving Berlin's Cheek to Cheek; concluding with one of five Jobim songs for which my compatriot Gene Lees wrote the English lyric – Quiet Nights of Quiet Stars.

TONY BENNETT – Forget The Woman "She'll never love you, try to forget her, try to find someone new. Forget the woman. She has forgotten you." A Tony Bennett song I'd almost forgotten! -- playing right this minute 3:33 in the morning on Siriusly Sinatra satellite radio. Google to be reminded of the Who, the Where, and the When for this recording. No one recorded more songs than Tony Bennett. So it is entirely fitting that his, is the largest online 'discography' – thanks to “The Interactive Tony Bennett.” Which instantly answered all my questions about FORGET THE WOMAN: What's it from? “The Art of Excellence” (1986) Who arranged it? “Jorge Calandrelli.” Who wrote it? “Composer Ettore Stratta, lyricist Ronnie Whyte. Mr. Stratta “co-produced The Art of Excellence with Danny Bennett.” The lyrics are simple, and amount to a 'tell me' not a 'show me' message. But set to a gorgeous tune, they 'work' – as Tony would have realized at first glance. No artist rescued more destined-for-oblivion songs than Tony Bennett. And none of his great arrangers had more Grammy nominations than Jorge Calandrelli – more than a dozen albums with Tony, including the 'multi-platinum' selling DUETS.

I turn on Siriusly Sinatra a moment ago and they're playing my "other favorite" latter day version of MY BLUE HEAVEN. James Taylor won a Grammy three years ago for his rendition which included the song's delightful opening verse that I'd never heard before. Harry Connick Jr skips the verse, but he wrote the catchy arrangement you only need to hear once (only on Sirius radio) and hear the opening bars, to know what's coming. Who would have thought to open with bongo drums? Only You, Mr. Connick.

If you were to have asked Ray Charles about his signature song GEORGIA ON MY MIND and whether he had a favorite version by someone else, I'm pretty certain he would have said this recording by his then- young friend Steve Tyrell. Somewhere there's a photo of the two of them, sharing laughter and joy on some musical occasion. Don't you love the opening piano allusion to WE SHALL OVERCOME (One day). The arrangement is by Steve's good friend Bob Mann, who has worked with most every important artist including James Taylor. For 40 years Bob's been my all time favorite "sessions musician" playing Wes Montgomery's weapon-of-choice, a Gibson L-5.

ANNE MURRAY – As Time Goes By Siriusly Sinatra is playing (right this minute) a country song – or rather a countrified arrangement of Anne Murray's take on AS TIME GOES BY. “Is that perhaps the best love song of them all?” I asked my musical father, who responded: “No. But it's maybe the best song ever written ABOUT love.” I know the arranger, from admiring the work of Bob Mann, my all-time favorite guitarist/studio sessions musician who has appeared on stage with . . . most every important artist, including James Taylor. Remind me to share Bob Mann's solo on the musical bridge of Linda Ronstadt's YOU GO TO MY HEAD. Still my favorite jazz solo, for its content as well as the tone: a flat pick, on flatwound strings, on Wes Montgomery's weapon of choice, a Gibson L-5. Oh let me find it, now, before I forget. But first, this pretty tune by Anne Murray. Opening notes, Bob Mann alone together with Linda Ronstadt and the Nelson Riddle Orchestra, 40 years ago. Still the No. 1 jazz guitar solo I have ever heard!

SETH MACFARLANE – Two for the Road Henry Mancini's musical daughter Monica said recently (at a 100th anniversary celebration of her father's life) that this song TWO FOR THE ROAD was her parents' favorite – “their song,” as she says. It's another shouldn't-be-forgotten gem that Seth MacFarlane rescues from obscurity; with the help of a simple, fresh, open-air string orchestration from one of today's greatest arrangers, Bruce Broughton. (Remember the name). Below the video, comments from kindred spirits, like these: RandallSundeen3383 (2 months ago) The music of Henry Mancini got me through boarding school! I went to school in Behlehem CT, not far from where Seth grew up! My wildest dream was to sing songs like this; needless to say, I got teased about it, even from teachers! Artists like Seth, Harry Connick Jr., and Diana Krall vidicated my love for this Iconic American Music!!! LibertyLindaWatts (3 years ago) It's so refreshing to hear real music and an incredible voice at a time when 3 note wonders call a beat, music … Thank-you from the bottom of my heart. TiffanyClark6621 (3 years ago) 100% agree!! Most of these 'singers' today are a joke!! There are a few that are talented that I like, but it's rare. I'm a huge Michael Buble fan. And I LOVE an orchestra! https://www.youtube.com/watch?v=9I0rxP_hLzk

A day after celebrating George Benson's latter day 'best ever' version of this Lenny Welch million-seller from 1963, the programmer at Siriusly Sinatra, Jersey Lou Simon sent this my way, as if to say, You aren't forgetting this, your "other favorite" version? Deepest thanks for the reminder! https://www.facebook.com/mark.blackburn.3910/ Wikipedia: "American Classic is the 57th studio album by Willie Nelson, released on August 25, 2009. It focuses on the American popular songbook and standard jazz classics, and includes guest appearances by Norah Jones and Diana Krall."

SETH MACFARLANE – I Loved You Once in Silence Alan Jay Lerner & 'Fritz' Loewe's first great musical BRIGADOON opened March 13, 1947. I know 'cause that's the "night of the day that I was born." The two songwriting giants waited another nine years, to produce their masterwork MY FAIR LADY (1956) then another decade to introduce their last great Broadway show, CAMELOT, which musical Canadians 'of an age' recall, premiered briefly in Toronto, before opening in New York. I'm listening right now for the first time since then, to an almost forgotten song from CAMELOT – a bittersweet ballad of the kind that only Seth MacFarlane is rescuing from oblivion these days: I LOVED YOU ONCE IN SILENCE, performed in the show by Canada's gifted tenor, Robert Goulet. Funny thing, I just remembered the first time my Irene heard Mr. MacFarlane's singing voice and called out, from the next room, “Is that Bob Goulet?” I could speak to the brilliance of a refreshingly new orchestration, involving upwards of 50 musicians -- “orchestra arranged and conducted, by Bruce Broughton” – according to the album cover: “SETH MACFARLANE - GREAT SONGS OF STAGE AND SCREEN.” See if this does something for you. https://www.youtube.com/watch?v=duV74n-4TV0