Mark Blackburn

It's a live performance, her first moments with a mic in that "full of brass" setting. Prediction. Ashley Orlando will be at her best in a studio recording of this gem. With a Neumann mic like Frank and Tony always required. I'm just so prejudiced in favor of modern covers of this gem -- best song written in 1939, which is saying something! Deepest thanks for sharing The Kingwood Big Band. https://www.facebook.com/mark.blackburn.3910/

Siriusly Sinatra satellite radio is playing my favorite Don Costa arrangement of Cole Porter's Night and Day – from the SINATRA & STRINGS album (1961) for Frank's then- brand new 'Reprise' record label. Nancy Sinatra recalled a moment backstage, sitting in Don's lap, watching her Dad perform another song from the same album, in concert with a large stringed orchestra -- Harold Arlen & Johnny Mercer's (My Momma done tol' me) BLUES IN THE NIGHT. “My best chart,” Don told Nancy. I'd say “tied for first place” on an album chock full of 'favorites'. Sinatra recorded Night and Day on four previous occasions, but had never included the “beat, beat, beat of the tom tom,” opening verse. Each time I hear it, and the closing orchestral flourish approaching its crescendo, and Sinatra unleashing the full power of his voice (at its peak in the early '60s) I get goosebumps. Every time! You too?

A lot of musicians including James Taylor and Mr. Diana Krall Elvis Costello will tell you their favorite Paul McCartney Beatles song is PENNY LANE. I concur. You too? Just Googled to be reminded that “The piccolo trumpet is the smallest member of the trumpet family, pitched one octave higher than the standard B♭ trumpet. Most piccolo trumpets are built ... ” Permit a personal recollection, please. The winter of 1967 my Dad was in London England trying to get a play produced. In our hometown of Ottawa Canada his comedy “A Button Missing” starring Rich Little, broke “50 years of box office records” and with friends as 'backers' putting up 20 or 25 thousand dollars (an immense sum in those days) Dad was off to London's West End. He quickly succeeded in lining up “The Third Man” on TV, Michael Rennie to play the lead role of “Drinkwater” an inventor trying to patent an artificial woman. But then Dad also had to find a director too. He did: I forget the name but he'd directed a comedy about the love life of flight attendants “Boeing, Boeing” and he told Dad that A Button Missing was “much funnier” and predicted it would be a hit. But days turned into weeks and Dad had to return home empty-handed. A measure of his integrity: he found ways to return ALL his backers' money. I remember this because he brought me back one gift from London: The Beatles' latest hit – PENNY LANE. The 45-rpm “Parlophone” (no big hole in the middle – an attractive, factory-made insert instead). The only-in-England version featured a seven-note closing flourish by the cornet player. You never got to hear that in North America. Just checked for the latest “remastered” version at YouTube and sure enough, it's the “American/Canadian” version, whose final seven seconds consists of 'feedback' – a single note from guitar or synth (or both). Pretty, but not nearly as nice. 12,424,502 'views' for this official version "re-mastered in 2015." Thanks for sharing.

Google for “Who has coverered A Nightingale Sang in Berkeley Square? To learn it was "Written in 1939 with words by Eric Maschwitz and music by Manning Sherwin, this romantic ballad was quickly established as a standard of the lounge repertoire, and has been recorded by Vera Lynn, Nat King Cole, Bobby Darin, Frank Sinatra, Perry Como, Harry Connick Jr., Mel Torme, and Rod Stewart among many others." It won a Grammy for Manhattan Transfer, whose version is playing right now on Siriusly Sinatra. Their vocal arrangement by Gene Puerling who founded the Hi-Lo's and Singers Unlimited.

SINATRA -- Night and Day It's 1:24 I'm unable to snore . . . and Siriusly Sinatra satellite radio is playing my favorite Don Costa arrangement of Cole Porter's “Night and Day” – from the SINATRA & STRINGS album (1961) for Frank's then- brand new 'Reprise' record label. Nancy Sinatra recalled a moment backstage – sitting in Don's lap -- watching her Dad perform another song from the same album -- in concert with a large stringed orchestra -- Harold Arlen & Johnny Mercer's (My Momma done tol' me) BLUES IN THE NIGHT. “My best chart,” Don told Nancy. I'd say “tied for first place” on an album chock full of 'favorites'. Sinatra recorded Night and Day on four previous occasions, but had never included the “beat, beat, beat of the tom tom,” opening verse. Each time I hear it, and the closing orchestral flourish approaching its crescendo, and Sinatra unleashing the full power of his voice (at its peak in the early '60s) I get goosebumps. Every time! You too?

Playing right now (3:00 a.m.) on Siriusly Sinatra -- maybe my favorite song by Harry Connick Jr. “Well you can't have a dream and 'cut it to fit' but when I saw you – I knew: we'd be together, like a wink and a smile!” I guess it's like a song my musical father could have written. That's certainly his style of 'stride piano.' One of those songs that make you … well, wink and smile!

The amazing thing to know is that Doyle Dykes not only delivers surely the best version in the history of CLASSICAL GAS, but knowing he could go on with variations, forever and a day. And not repeat himself. When he performed at a music store here in Winnipeg Canada November 2018 he was scheduled to play (for an audience that included 50 guitarists) for 90 minutes; he captivated us for three hours! He must have made a mistake. But I didn't catch it. Imagine, virtuosity of that magnitude. Someday he'll be old and grey(er) and unable to do this anymore. Until then, we have the present moment, Hallelujah!

I have FACEBOOK itself (not just Siriusly Sinatra and YouTube) to thank “for the memories.” A Facebook feature I love: When it suddenly shares with me something I wrote “4 years ago.” Something preserved nowhere else. This, for instance a moment ago: I'd forgotten transcribing James Taylor's words from a 'live-stream' BBC 'playing favorites' type of show, “March 8, 2020.” An appreciation the Lady would surely have cherished, if only she'd tuned in that night! [I wrote then:] ”Imagine my delight tonight, hearing James Taylor singling out Lady Gaga and her version of (Cole Porter's) 'Ev'ry Time We Say Goodbye' from her album of duets with the world's greatest living singer Tony Bennett. 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.” – James Taylor https://www.youtube.com/watch?v=aUm41zP63lo https://www.facebook.com/mark.blackburn.3910/

It's as if he knows I'll be up at this hour: Jersey Lou' Simon, programmer extraordinaire at Siriusly Sinatra. It's 4 in the morning and naturally I just had to “check and see what he's playing – just for me!” Sure enough. Every single track is one I've celebrated here; most recently (and right this minute) Carly's “I Get Along Without You Very Well.” Carly followed my favorite song by Louis Armstrong recorded with the Oscar Peterson Trio in long ago 1957 – quite simply the most swinging version ever of BLUES IN THE NIGHT. Had to open Ted Gioia's recent (2021) masterwork THE JAZZ STANDARDS (p. 51) and read for the first time what he had to say. No one ever said it better, Mr. Gioa. Just to quote your opening and closing words: “BLUES IN THE NIGHT – composed by Harold Arlen, with lyrics by Johnny Mercer “Many popular songs with blues in the title are charlatans. They steer clear of the 12-bar blues form and dress up wistful lyrics with Tin Pan Alley trappings never heard in a Mississippi Delta 'juke joint' . . . [closing with:] “By the way, my favorite moment in the history of this song happened in 1942 when folk song researcher Alan Lomax traveled to the Mississippi Delta to preserve the REAL blues as sung by the people who created the music. There, in a ramshackle cabin, he recorded Muddy Waters whose repertoire included Arlen & Mercer's hit song BLUES IN THE NIGHT. Recommended Versions Louis Armstrong and Oscar Peterson recorded in Hollywood October 14, 1957 Thank you Ted Gioia – and Jersey Lou too! https://www.youtube.com/watch?v=pzlrftoLIgY

Isn't it a Pity – there's a song by George Harrison of that name. Add the word “Gershwin” to Google, and be reminded that this, a favorite lyric by George's brother Ira, was from a 1930s Broadway show. Playing at this moment on Sirius radio, my “new favorite version” (not least for the lush and lovely symphonic arrangement) by Barbra Streisand. ”It's such a pity, we never met before!” As I listened to this a moment ago, I pictured a beach in Bermuda at sunset – and just now went to YouTube for the first offering this day – the one with the “most views.” Lo and behold! https://www.youtube.com/watch?v=r7YaF7h_jE0

As you get older, do you find you're experiencing 'coincidences' – more frequently than you ever did before? Carl Jung called it “synchronicity” – when the coincidences come in clusters. Twice this night: Someone connected to that “in the pink” song – turns out that today (4/19/2024) would have been their “100th birthday.” I'm thinking What's next? I awake at the stroke of 5 a.m. I'm thinking of my favorite line of sacred scripture: “Imitate me, for I am gentle and humble of heart.” And thinking, Why only two things? We like things in three (Faith Hope Charity) Why no third thing required of us? Then it dawns on me: We have only two spiritual enemies. Anger and Pride. “A gentle answer turneth away wrath.” If you're gentle – gentle tone of voice, gentle demeanor toward others – you cannot simultaneously be angry. So too, Pride can't co-exist within a heart that's trying to be humble, at every turn. Okay, I turn on my computer and it's my new favorite form of video – birds-eye views of some of the world's most beautiful scenery, never experienced before drones! And the quote on the screen is this: “Matthew 11:39 – Take my yoke upon you and learn from me. For I am gentle and lowly of heart and you will find rest for your souls.

GUY LOMBARDO & HIS ROYAL CANADIANS -- Enjoy Yourself I'd just been thinking, amid the aches and pains of old age, about 'the days of wine and roses' – back when we were all “In the Pink.” You need to be nearing 80 yourself to recall the words of a song our parents sang in 1950, with the memorable refrain … Enjoy yourself, it's later than you think! Enjoy yourself, while you're still 'in the pink' The years go by, as quickly as a wink . . . Enjoy yourself, enjoy yourself! It's later than you think. Google to be reminded that in the 16th century “pink” meant “the embodiment of perfection.” The “current idiom dates to the year 1900.” And the song? “Enjoy Yourself” by Guy Lombardo and His Royal Canadians. Six witty stanzas. Listen to at least the first two, with their images of vacations and cruises while “you're still in the pink.” Oh yes, the singer: a member of Guy's family as well as his vocalist, Kenny Gardner. Born March 20 1913, Lake View Iowa Died July 26, 2002 (age 89 years) Manhasset, New York. Spouse: Elaine Lombardo (m. 1940-1999) https://www.youtube.com/watch?v=H9VvuoqQdWc

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.