Mark Blackburn

DOYLE DYKES -- The Road to Napali Okay, one more highlight and the reason THIS is my favorite Doyle Dykes program (at least since the one a few months ago, with his talented piano-playing brother). At around the 13:53 mark Doyle introduces a most beautiful melody he calls “The Road to Napali” (Kauai, Hawaii). It's been called 'The Grand Canyon in the Pacific' – on the northern-most populated Hawaiian island of KAUAI – the highest point of land on the west coast of many people's favorite island – the one with “maybe the most amazing sunsets on planet earth.” Doyle's son Caleb lives and works there, and it resulted in this beautiful melody – a song about being on the road to the “Napali coast and the Waimea Canyon State Park.” [ Around the 13:53 mark ]

DOYLE DYKES – Bye Bye Blues “Son, I don't know what guitar you usually play,” said Les Paul to Doyle Dykes, “but you sound great on that one!” This after being invited to play on stage with him after acquiring the same day in 2000 his first Les Paul Gibson – which Les inscribed on the shiny black top. Far and away the best rendition of BYE BYE BLUES since the early 50s original – but better. Why? Doyle is channeling Chet Atkins, simultaneously with Les Paul licks – plus something all his own. Glorious arpeggios that are pure Doyle Dykes. Disarmingly at song's end, Doyle tells us he wasn't planning to play that – hadn't practiced it beforehand. [Starting around the 1:10 mark] Love the opening anecdote about going to a guitar store planning to buy a pick guard and spotting this guitar, phoning his wife “not for permission” but for her “approval” and her response. “Well, you don't own a Les Paul.” Go for it, Doyle. We're so glad you did! [ Around the 7:18 mark - HERE'S THAT RAINY DAY ] DOYLE DYKES – Here's That Rainy Day I've given away to loved ones all my guitars and on the only one I have left, there is a single autograph inscribed on my nylon-string Godin (La Patrie) the signature of “Doyle Dykes 2018” – signed with a fine point Sharpie pen following his three-hour performance at a Winnipeg music store -- the one which features Doyle's Quebec-made signature model Godin acoustic/electrics. I remember one of the Godin executives, who arranged Doyle's visit, was standing at a mic introducing him and while Doyle adjusted the volume on his instrument he quietly played a few bars of “Here's That Rainy Day.” The moment I realized Doyle's versatility. It's a jazz standard – my favorite composed by Johnny Burke and Jimmy Van Heusen in 1952. (They also wrote “But Beautiful” the year of my birth, 1947.) I spoke with Doyle, before and after a performance that must have included a mistake (but I didn't spot it). There were about 50 of us, mostly guitarists, including my son Ben and 8-year-old grandson Luke. Doyle took a moment to sit down and speak to Luke who was in awe of “Mr. Dykes.” Before the show I had introduced myself saying, “Your father and mine died the same year, and something tells me your Dad, like mine, loved 'The Poor People of Paris.' Three hours later at show's end, Doyle held my own Gibson Northern (Southern) Jumbo. I pointed out it was hand-built by Ren Ferguson (who constructed Doyle's magnificent signature model Guild). Looking me in the eye, he played a few bars of The Poor People of Paris. When I returned it to its case, I saw he had inserted between the strings the black thumb pick he'd used all evening. Anyway, imagine my delight to hear Doyle's uniquely beautiful approach to HERE'S THAT RAINY DAY. And again, at song's end Doyle admits surprise at what he's just done: “I hadn't planned to play that. And I haven't done that in a long time! You know, I was going to play something totally different on this program ….” So glad you were 'guided' in this direction Mr. Dykes.

SINATRA -- I'll Only Miss Her When I Think of Her Our eldest Aaron was born on this day 45 years ago in Bermuda. "Do you miss living in Bermuda?" a dear Facebook friend asked a moment ago. [My reply:] "To paraphrase a favorite lyric from my favorite romantic / humorous lyricist Sammy Cahn: I only miss it when I think of it [pause for effect] and I think of it .... all the time." Best version of this seldom-heard ballad, one of the best from Cahn and Jimmy Van Heusen, was recorded with a guitar hero of mine -- arguably Brazil's greatest-ever Laurindo Almeida. Google to be reminded that is from the mid-sixties, the first offering with the cover of Sinatra's album "My Kind of Broadway." But never out-of-date, right? Indulge me please. Our Aaron turns 45 today (1/7/2023). My Irene was just recalling the day of his birth in Bermuda, 1978 – and “the pain – the worst I'd ever felt” says his Mom “as we walked out the door" for the drive to hospital. That would be “King Edward VII Memorial” hospital – where Irene recalls “Dr. Simmons chased you out of the operating room saying – 'Get that camera out of here!'.” It was my new Nikon. It was the 70s. You had to be there. We recalled our taking Aaron when he wasn't yet two years old to the Bermuda airport where he could identify all the planes from now defunct carriers. I'd point to a jetliner that just arrived from Baltimore and ask: What's that one? People nearby were amazed to hear a little voice say with perfect enunciation that it was a “Lockheed 1011 Tristar Whisper-liner.”

TOMMY EMMANUEL – Game Show Rag / Cannonball Rag Back when my youngest son Ben (a good guitarist) was living in Toronto, he phoned to say he'd just seen “in Toronto's largest music store, where I bought my Fender Strat” the “best guitarist I have ever seen.” It was Doyle Dykes. I responded with thanks for the heads-up and said, “Another finger-style giant Australia's Tommy Emmanuel (now an American citizen based in Nashville) has an upcoming appearance at Toronto's Ryerson College auditorium. I'll pay for your ticket, Son.” A decade later I helped arrange visits to Winnipeg by both Doyle and Tommy. After pestering Mr. Emmanuel for years to “include the world's coldest major city on your (300 dates per year) tour” – he did so. My guitarist grandson Thomas and I were among a dozen fans at the meet & greet before he walked out on stage. At the end of his show Tommy told an audience of about 600 that “we liked this so much we've already arranged to come back to Winnipeg, same time next year.” Far and away the greatest 'showman' in the history of the instrument, Mr. Emmanel is equally at home in a huge concert setting or – in the case of this video just sent my way by YouTube – warming old hearts in a retirement home setting – an apparent favor to a lady friend who introduces him (wonder Where or When?) I've heard Tommy 'live' on stage twice now. He must have made a single mistake, but I can't recall what it was. Mr. Emmanuel also writes the finest guitar instrumentals since Jerry Reed. This one he titled “Game Show Rag” – and uses it to segue into the Country classic CANNONBALL RAG. Needless to say, no one ever performed it better! I defy you not to love Tommy Emmanuel and his Australian-made MATON signature instrument. I asked him why he didn't play a Gibson (occasionally). “Because this is …. better,” he said. If you can spare seven minutes I promise you won't be disappointed or double your money back.

DOYLE DYKES – Someday (You'll Want Me to Want You) – “Django and Autry on a '37 Gibson” Late in life 'Mr. Guitar' Chet Atkins was asked if there were players he would pay money to see in concert. Without thinking twice, Chet said “Oh …. someone like Doyle Dykes.” One of the reasons Mr. Atkins felt that way (I'm sure) is Doyle's remarkable versatility – on full display tonight for his latest “Random Late Night Pickin'” nine minute segment shared at YouTube. Doyle employs a borrowed 1937 Gibson (“black, with tiger-stripe, tortoise shell pick-guard”) to channel the spirit of Django Reinhardt on "Nuages" (Clouds). Before singing and playing Gene Autry – recalling The Singing Cowboy's 1946 recording of Someday You'll Want Me to Want You' (Wiki note below.) Permit an aside: Chet Atkins told me, in an interview for an Ottawa radio station in 1971, that Django's signature was the only autograph he ever sought – circa 1952 when the Belgian Gypsy jazz giant visited New York City the year before his untimely death. Stay tuned for an anecdote about one of Doyle's biggest fans in France, Pierre Matisse, grandson of the great French impressionist painter Henri Matisse. Pierre, a distinguished painter in his own right was a big fan of Doyle Dykes gifting him with the cover painting, titled White Rose For Heidi for Doyle's 2018 album 'Treasures of the Spirit.' Before his death at age 90, Pierre Matisse recalled to Doyle visiting a jazz club in Paris with his distinguished grandfather who said, of the featured musician – “It's Django. Would you like to meet him?” The standing-room-only crowd “parted like the Red Sea” as the great artist brought his grandson to meet the jazz giant. Which is to say, thanks for sharing, Mr. Dykes. Wikipedia note "Someday You'll Want Me to Want You" is a popular song published in 1944 by Jimmie Hodges.[2] The song became a standard, recorded by many pop and country music singers. In April 1951, Hugh O. Starr, an inventor from Steubenville, Ohio, filed an action in United States District Court, Southern District of New York, against Jimmie Hodges and publisher Duchess Music Corporation. Starr alleged that he wrote the words and music to 'Someday' in 1944, after which the defendants "appropriated, copyrighted, published and sold" his work. He was awarded $15,000 in a settlement.[5] Gene Autry had one of the first recordings (1946) but Vaughn Monroe's 1949 recording was the No. 1 hit version. The recording by Vaughn Monroe was released by RCA Victor Records and charted on July 29, 1949, and lasted eighteen weeks on the chart, spending two weeks at number 1.

GLORIA ESTEFAN – They Can't Take That Away from Me For a moment I couldn't 'name the singer' – playing right now on Siriusly Sinatra satellite radio -- but then immediately spotted the arrangement: for Gloria Estefan's album of standards (2013) a remarkably inventive chart, for a large orchestra, of my all-time favorite Gershwin tune; it includes the song's opening verse and then the main chorus, with a fresh new take – in a fast shuffle time signature that feels like about 10/8. Who arranged this? Pianist Shelton Berg. Featuring one of my life-long guitar heroes Dean Parks (on what sounds like a Gibson L-5). Mentioned among the best-selling “other recordings” in the song's Wikipedia entry "Cuban-American singer Gloria Estefan included a cover of 'They Can't Take That Away from Me' in her 2013 album The Standards – her thirteenth studio album featuring a selection of covers of traditional pop standards from the Great American Songbook. The album was nominated in the category of Best Traditional Pop Vocal Album for the 56th Grammy Awards.[5] A project that was in the making since Estefan recorded in 1993 a duet with Frank Sinatra on his smash album Duets -- their cover of the ballad, "Come Rain Or Come Shine". Estefan herself commented she grew up listening to songs of Sinatra, Johnny Mathis and other famous crooners, including Latinos, as the reason why she was “thrilled to release an album filled with traditional songs from the Great American Songbook.” A total of 50 songs were chosen to be recorded for the album, recording only 16 songs that made it to the final cut; these songs were chosen by Estefan herself and Shelly Berg, the front leader and Dean of Music at the University of Miami's Frost School of Music. For most of it, a large orchestra was used for the recording process collaborating with feature artists like: Laura Pausini, Joshua Bell and Dave Koz. Estefan tried to approach these standards with fresh ideas. First with "They Can't Take That Away From Me", they did an almost "Afro-Cuban feel meets the waltz", giving Estefan a sound known to her tunes. from Wikipedia "They Can't Take That Away from Me" is a 1937 popular song with music by George Gershwin and lyrics by Ira Gershwin. It was introduced by Fred Astaire in the 1937 film Shall We Dance and gained huge success. The song is performed by Astaire on the lonely foggy deck of a ferry from New Jersey to Manhattan. It is sung to Ginger Rogers, who remains silent listening throughout. No dance sequence follows, which was unusual for the Astaire-Rogers numbers. Astaire and Rogers did dance to it later in their last movie The Barkleys of Broadway (1949) in which they played a married couple with marital issues. The verse references the song "The Song Is Ended (but the Melody Lingers On)" by Irving Berlin: Our romance won't end on a sorrowful note, though by tomorrow you're gone. The song is ended, but as the songwriter wrote, 'the melody lingers on'. They may take you from me, I'll miss your fond caress, but though they take you from me I'll still possess.... George Gershwin died two months after the film's release, and he was posthumously nominated for the Academy Award for Best Original Song at the 1937 Oscars but lost out to "Sweet Leilani" which had been made tremendously popular by Bing Crosby. The song is featured in Kenneth Branagh's musical version of Shakespeare's Love's Labour's Lost (2000), in Stephen Herek's Mr. Holland's Opus (1995), and in Barry Levinson's Rain Man (1988). The melodic hardcore band Strung Out also sampled the song for the intro of "Analog", the opening track on their 2004 album Exile in Oblivion.

DIONNE WARWICK -- Don't Make Me Over (trailer) A dear friend just shared this. Had to respond: "I'm a messenger. And I'm carrying messages of Love and Hope," says my favorite singer from the 70s. Thanks so much for the heads-up, Gary G. Coincidentally (or not) I was just thinking about the brilliant bridge for her Do You Know the Way to San Jose -- the lyric by the great Hal David: so evocative, conveying so much, in so few words. Perfectly mated to one of Burt Bacharach's best melodies. From memory imperfect: "L.A. is a great big freeway, put a hundred down, and buy a car. In a week, maybe two, they'll make you a star. Weeks turn into years, how quick they pass. And all those stars, that never were, are parking cars and pumping gas." P.S. I cherish the memory of Frank Sinatra writing liner notes to his good friend Dionne for her all Cole Porter album. There used to be a ballpark where I could go and find such things in 60 seconds or less. But Nancy Sinatra cancelled her Sinatra Family Forum after a 24 year run. The 'domain' sinatrafamily.com is for sale for 22 hundred dollars. Which minus the content of those 24 years of 'legacy' -- gone with the wind -- is about 22 hundred dollars too much.

CALABRIA FOTI – Prelude to a Kiss It's 2:22 and there's no one in the place except me and you. Checked to see what's playing on channel 70 – “Siriusly Sinatra – Calabria Foti – Prelude to a Kiss". Listen to the trombone solo on the musical bridge: Calabria's hubby Bob McChesney. He gets my vote as the greatest ever virtuoso on slide trombone (classical or jazz) combining brilliant technique with the most tasty improvisations. Sort of like his wife's voice – still my favorite living singer. Their “Together For Christmas” (2022) album has no YouTube offerings (yet) but this gem is there. Thanks to Sirius programmer-extraordinaire 'Jersey Lou' Simon who introduced me to Calabria & Bob – my other favorite musical couple.

ARETHA -- Until You Come Back to Me "Written and produced by the great Stevie Wonder -- who called me late one night and said, I got a song for you!" Still my favorite live performance of my favorite song by Stevie Wonder by the singer who is No. 1 on Rolling Stone's just released list of "200 Best Singers of All Time." I see my namesake reviewed this "3 years ago" for Nancy Sinatra's now defunct Sinatra Family Forum.

SINATRA & JOBIM – How Insensitive “In at Number 19” …. on Rolling Stone's just-released list of the “200 Best Singers of All Time” – Frank Sinatra. Someone's short but well-written appraisal of Frank's achievements as a singer included a link to his 1967 recording of HOW INSENSITIVE – with the song's composer Antonio Carlos ('Tom') Jobim playing guitar throughout, and joining in the singing – in Brazilian Portuguese – around the 2:22 mark. Sinatra fans would agree: a worthy pick, from an album that most fans would place among Frank's Top 5 'Best Ever.' Without casting aspersions on those who DID make Rolling Stone's list of “200 Best Singers of All Time” – you'd really think they could have found room for Tony Bennett …. or Nat King Cole. Or Nat's equally talented jazz singer daughter Natalie – or others who interpret anew The Great American Songbook. Lady Gaga made the list – but not for that reason: no mention of her winning the 2022 Grammy with Tony Bennett for their all Cole Porter album with gems like this:

JOAN CHAMORRO BIG BAND -- Put Your Head on My Shoulder Thanks to my favorite Spanish jazz band for sharing, this New Year's Day. Had to leave a comment: Best cover since the 1958 original -- composed (words and tune) by someone from my hometown of Ottawa Canada -- Paul Anka. In fact as a baby he was named, by my "Aunt Ding" after his parents who operated a corner grocery store, asked her for a suggestion: Aunt Ding looked down into his cradle and said, with apparent authority, "He's a Paul." Mr. Anka would love this 'live' performance by my favorite Spanish jazz musicians and singers. Now where's his Facebook page. Google to be reminded by Wikipedia: "Put Your Head on My Shoulder" is a song written by Canadian-born singer-songwriter Paul Anka. Anka's version was recorded in August 1958 at Bell Sound Studios in New York City, three weeks before he recorded his no. 1 hit "Lonely Boy", and was released as a single on August 17, 1959, by ABC-Paramount as catalog number 4510040. It was arranged and conducted by Don Costa. The B-side was "Don't Ever Leave Me".[1] "Put Your Head on My Shoulder" became very successful, reaching No. 2 on the Billboard Hot 100 (kept out of the No. 1 spot by Bobby Darin's recording of "Mack the Knife").[2] It was his third top five hit of 1959. In Canada the song reached No. 4 on the CHUM Charts.[3] Thanks, Joan Chamorro for sharing.

I'LL REMEMBER APRIL – 'Cowboy' Dick Foran (1942) At the height of WWII when most every movie was in black & white, there was an Abbott & Costello comedy that needed a pretty tune – for a dude ranch cowboy to sing to his girl on a 'midnight ride.' Gene de Paul, a gifted composer who would later write the Academy Award winning 'Seven Brides for Seven Brothers' with Johnny Mercer, wrote the haunting melody – to words composed by two of his friends (lyricists who would never be heard-from again). If you could only write one good song during WWII, why not a gem like this one; it's been treasured by jazz artists ever since. Simply put, it's still one of the greatest songs in the history of popular music. Years ago I remember seeing a three-minute segment of that comedy from exactly 80 years ago – when the song is introduced on a “moonlight mountain ride” from a nearby horse ranch. I've yet to see the film (TCM doesn't feature much Abbott & Costello among its "classics") but for reasons I can't put into words, I find this deeply affecting. And yes, my favorite version of I'LL REMEMBER APRIL. The intuitive genius of YouTube sent this my way again tonight along with some perfect comments from kindred spirits like these: DAVINDAIR (3 years ago) “This tune is one of the glories of the American songbook with its ravishing, dreamy melody line. No wonder every jazz artist of note recorded it.And then there's Dick Foran's lilting, lullaby voice: a sound like no other. Thanks for this priceless upload. ANTHONY WILLIAMS (1 year ago) I have been playing this beautiful song on guitar in various jazz groups for more than sixty years, without knowing where the song came from, and having just stumbled upon this upload, I feel humbled by the beauty and unashamed sentimentality of the romance from which it was first sung. This version is without doubt the best of the best renditions, and I think that I have heard them all. Thank You. From “the original theatrical release of RIDE 'EM COWBOY -- Dick Foran February 13, 1942” [Most recent informed note below the video from Classical and Ancient Civilization (1 year ago) "I've already posted a comment on this sublimely arranged and mesmerizingly performed song, but if anyone is interested the location is the Soledad Canyon (Soledad Canyon Rd), accessible about 10 miles east of Santa Clarita, California, off Highway 14 at intersection 11, or 4 miles south of Agua Dulce and 15 miles north of Burbank. If this Covid misery is ever over I shall be heading there on my next trip to Los Angeles." ---- https://www.facebook.com/mark.blackburn.3910?comment_id=Y29tbWVudDoxMDIyNjIxNzYyOTY1OTk4NV8xMzExNzQ2MDIyNzI3NDI3

JOHN PIZZARELLI -- Auld Lang Syne Compelled to leave my favorite jazz singer / guitarist a Facebook note after his latest "New Year's" one hour special: Auld Lang Syne -- the way it should be played and sung! "Want a better key?" asks John. Nope. This one's merely perfect. Like this whole New Year's special show. [Around the 59:06 mark.] This after two (count 'em) songs by my favorite composer Dick Rodgers – Might as well be Spring and This Nearly Was Mine – the latter a transcription of his great Dad's version – played without a mistake – it's been one great rendition after another. And suddenly a 'new' ballad I'd not heard (not many of those!) with a refrain about the language of the heart “in every note, in every chord, in every chart.” [at around the 39:15 mark] At song's end John says he and Jessica “wrote that one.” One to be savored again and again. Besides replay, is it on an album? Did I say “Great show!” P.S. Thanks for the reply by Jessica about the current status of that 'new ballad' -- "a man named Mark Blackburn wants to know ...." at the 53:00 mark. "We haven't recorded it yet," said John. It was a song "commissioned by a friend, in the middle of the pandemic .... the whole thing was Jessica Molaskey's idea!" https://www.facebook.com/JohnPizzarelliOfficial/videos/1635794013529569

TONY BENNETT & K.D. LANG – Because of You Channel 70 Sirius Radio is playing “Tony Bennett & K.D. Lang – Because of You” – an early '50s Number 1 hit recording for Tony. Google the song title and the first offering is for: A “Kelly Clarkson song for a 2004 album.” Nope. The next “Because of You” at Wikipedia is a “2007 song by American singer-songwriter Ne-Yo.” Followed by “a 1998 song composed by the group “1998” (correct). Include the words, “Tony Bennett 1940s song” and voila! "Because of You" is a popular song, written by Arthur Hammerstein and Dudley Wilkinson in 1940. It was first recorded by Larry Clinton and His Orchestra on December 12, 1940, and was released March 28, 1941 on Bluebird. It charted for one week (June 28) and ranked number 95 in the 1941 year-end list. It was used in the 1951 film I Was an American Spy. A 1951 No. 1 hit for Tony Bennett, and Columbia Records recorded on April 4, 1951 with orchestral backing conducted by Percy Faith, was Bennett’s first major hit, reaching number one on the Billboard charts and staying there for 10 weeks. Due to its importance in establishing his fame, he continued to perform the song for the rest of his career, even singing it at his final concert performances 70 years after its release. The most viewed (541K) official version at YouTube includes a snippet of interviews in 2006 – the two singers with producer Phil Ramone, who left us ten years ago. K-D is in now a self-imposed 'retirement' and Tony officially retired last year at age 95 – picking up another Grammy of the Year (2022) for his Cole Porter album with Lady Gaga. Still one of his most cherished Duets, according to Tony himself.

JOANIE SOMMERS – I Concentrate On You She sang with a deceptive ease, combining superb vocal control with a casual 'little girl' huskiness that caressed our ears. A voice like no other! At this moment, just for me (I like to think) Siriusly Sinatra satellite radio is playing Joanie's version – my favorite – of Cole Porter's I CONCENTRATE ON YOU. With a chart by one of Sinatra's favorite arrangers – Neal Hefti – chock full of witty touches that seem like an extension of Joanie's playful personality: [First offering at YouTube this day posted 10 years ago with an informed note] 7,271 views Feb 18, 2012 From “Look Out! It's Joanie Sommers” (1963) Joanie Sommers (vo) Shelly Manne (ds) Russ Freeman (p) Chuck Berghofer (bs) ---- Yes, still in love with Joanie's voice – 50 years after her retirement "to raise a family (two daughters and a son) after her husband's sudden death in 1972.” A Wiki entry, frozen in time, (updated by a fan in England) with a single b&w photo of “Joanie circa 1960s.” (Wiki note below). Wikipedia Joanie Sommers (born Joan Drost, February 24, 1941)[1] is an American singer and actress with a career concentrating on jazz, standards and popular material and show-business credits. Once billed as "The Voice of the Sixties", and associated with top-notch arrangers, songwriters and producers, Sommers' popular reputation became closely tied to her biggest, yet most uncharacteristic, hit song, "Johnny Get Angry".[2] In 1962, Sommers' single "Johnny Get Angry", released on Warner Bros. Records, reached number 7 on the Billboard Hot 100. It was held from the top of the charts by such hit songs as "Roses Are Red (My Love)" by Bobby Vinton, "I Can't Stop Loving You" by Ray Charles, and "Sealed With A Kiss" by Brian Hyland. In a 2001 interview, Sommers commented on the legacy of her greatest hit: "Twenty albums with some of the greatest names in jazz and I'm eternally linked to 'Johnny Get Angry'".[14] Her 1965 track, "Don't Pity Me" was a Northern Soul hit in the UK, often featured on Northern Soul top lists.[15] The 45RPM record routinely changes hands among collectors at over $500 a copy.[16] In 2001, Sommers sang two songs on Abe Most's Camard album, I Love You Much Too Much. She performed the title track and "Bei Mir Bist du Schoen." She sang a chorus in Yiddish on both tracks. Sommers was married to theatrical agent Jerry Steiner from 1961 until his sudden death in 1972. Their three children are Carolyn, Nancy and Jason.[26]

WALTER RODRIGUES JR. -- Have Yourself a Merry Little Christmas Just left my favorite living finger-style guitarist a note: What a lovely sounding instrument. Thanks for another gorgeous arrangement, Walter! And thanks for including info on the guitar. Which features four woods. Spruce top, Rosewood back & sides, mahogany neck, and Ebony fingerboard. But it takes Walter Rodrigues to bring out the best in this, his favorite model, the "CORDOBA GK Pro Negra Cutaway Flamenco, All Solid Woods, Acoustic-Electric Nylon String Guitar, Luthier Series." Isn't this lovely?

JAMES TAYLOR -- Mean Old Man (Who's a good boy?) Had to leave my other favorite singer / songwriter a note at his Facebook page: "Play MEAN OLD MAN" -- right after "Have Yourself a Merry Little Christmas" (which as Frank Krone says below) "always makes the season brighter" (your version). Just shared with friends elsewhere: JAMES TAYLOR – Mean Old Man (arranged by Dave Grusin). Exactly 20 years after it was recorded (and quickly sold a million copies) James Taylor's OCTOBER ROAD album has been added to my collection – this, after learning that my favorite living pianist/composer Dave Grusin arranged three of the tracks – including this favorite (featuring John Pizzarelli on guitar). A favorite niece in Florida sent me an Amazon gift card for 50 U.S. Dollars (75 Canadian) and I just purchased a new copy for ten American dollars (15.89 Canadian with “Prime free shipping”). Better late than never, right? What an arrangement by Dave Grusin -- taken at a slightly slower pace than when James performs it live. Still one of my favorites. Yours too? The album's Wikipedia article reminds us that October Road was the source for the HAVE YOURSELF A MERRY LITTLE CHRISTMAS recording included on the “James Taylor At Christmas” CD. "October Road is the fifteenth studio album by singer-songwriter James Taylor released in 2002. The album would be Taylor's last album of original material until Before This World in 2015. It was nominated for the Grammy Award for Best Male Pop Performance at the 45th Grammy Awards in 2003. The album debuted at number four on the Billboard 200 with 154,000 copies sold in its opening week, which is Taylor's best performing album in the SoundScan era.[6] The album was certified Platinum by the RIAA on November 21, 2002,[7] and had sold 1,076,000 copies in the US as of May 2015.[8] https://www.facebook.com/JamesTaylor

DAVE GRUSIN – Some Children See Him Back in the early 80's – before CDs (remember when?) – I wore out a cassette tape of a “GRP (records) Christmas” – Dave Grusin's own label – that featured two solo piano tracks by my favorite living pianist; like the late Andre Previn Dave Grusin is more than a jazz pianist – what I call a “spontaneous arranger” whose on-the-spot piano voicings are positively orchestral. This aside from his Oscar-nominated film theme compositions, Dave writes the most beautiful melodies. Just a few years ago SOME CHILDREN SEE HIM was a song without a Wikipedia entry of its own; until James Taylor included my own favorite version on his (2006) Christmas album arranged by …. Dave Grusin. Yes, before most of us were even aware it had a lyric, Dave Grusin introduced the haunting melody to millions of jazz fans on his “ GRP Christmas” album which included a second solo – of my own mother's favorite Christmas song – Lo How a Rose 'ere Blooming. James Taylor must have been among those fans. Today Wiki says, "Some Children See Him" was composed by Alfred Burt (April 22, 1920 – February 7, 1954) an American jazz musician who wrote between 1942 and 1954 an annual Christmas carol with an old family friend, Wihla Hutson. He would send the festive song out each year as an annual holiday gift. This was the one he wrote in 1951. Still my favorite version – although James's friend Alison Krauss and the late Kenny Rogers did a lovely latter-day orchestral recording worth checking out. From JAMES TAYLOR AT CHRISTMAS album. Wikipedia notes James Taylor at Christmas is the seventeenth studio and second Christmas album by singer-songwriter James Taylor, released by Columbia Records in 2006. It was his last release for Columbia since signing with them in 1977. The album is essentially a reissue (with a new title and slightly altered track listing) of James Taylor: A Christmas Album, a limited edition title distributed by Hallmark Cards in 2004. "Have Yourself a Merry Little Christmas", originally issued on Taylor's October Road in 2002, and "River" were not included on the original Hallmark release. Additionally, the original album featured a version of "Deck the Halls" which is not on the standard Columbia CD. (The Barnes & Noble chain, however, issued a version of the new title with "Deck the Halls" included as a bonus track.) The album was reissued on the UMe label in 2012, with the addition of two tracks. One of them, "Mon Beau Sapin" (a French translation of "O Christmas Tree"), is a new recording and is only available on this album. The other track new to the collection is a version of George Harrison's "Here Comes the Sun" by Taylor and cellist Yo-Yo Ma, which originally appeared on Ma's 2008 holiday album Songs of Joy & Peace. The album was nominated for Best Traditional Pop Album at the 50th Grammy Awards.[citation needed]

JOHN PIZZARELLI -- What Are You Doing New Year's Eve Had to leave my favorite jazz singer/guitarist a note at his Facebook page re his latest live-streamed "It's 5 O'Clock Somewhere" program: So many highlights. Okay, to pick just one: Frank (Guys & Dolls) Loesser's other great seasonal song – WHAT ARE YOU DOING NEW YEAR'S EVE – starting around the 12:50 mark. Love the nylon-string sound, and the exquisite chord progressions. And the inspired coda, quoting Auld Lang Syne. Your endings are always 'yours and yours alone' -- no other jazz guitarist can 'do it like you do.' Thanks for another great show! https://www.facebook.com/watch/live/?ref=watch_permalink&v=694119688776975

DOYLE DYKES – Ave Maria "Blessed art thou among women, and blessed is the fruit of thy womb Jesus" -- and those words, says Doyle Dykes at song's end, are what this song means – that's what it says.” I'd call it 'Variations on Ave Maria' (six magnificent minutes worth) by a finger-style guitar genius who reminds us that it was “Chet's favorite melody." Coincidentally (or not) I'd just been recalling that Chet's wife told him she loved his version of AVE MARIA above all her husband's recordings. 'Mr. Guitar' first recorded it – adhering closely to the original melody by Schubert --- for a black vinyl LP “Class Guitar.” In his own liner notes Chet said simply that, “This is in the repertoire of most classical guitarists because it is quite a crowd-pleaser.” Chet Atkins would record it a second time, late in life, on his signature model Gibson Country Gentleman electric. At song's end Doyle Dykes reminds fans who may not be aware, that the Latin words Ave Maria refer to the “Hail Mary full of Grace” – words spoken by Mary's elderly cousin Elizabeth when the baby in her womb (the future John the Baptist) “leaps” with joy at Mary's presence. So. Not a 'classical' transcription of AVE MARIA by Schubert, but rather spontaneous variations, simultaneously reverent, yet in the spirit of jazz improvisation – with chords to match. It works beautifully, doesn't it?

ROSEMARY CLOONEY -- Christmas Mem'ries Siriusly Sinatra is playing my new favorite version of a Christmas song composed especially for Sinatra by arranger Don Costa and 'The Bergmans' -- Marilyn and Alan (who before they were married wrote their first song for Frank, "Nice 'N' Easy). My other favorite musical couple included Rosemary's rendition of CHRISTMAS MEM'RIES on their recent "held over one week" Playing Favorites show -- a third such program by Calabria Foti for channel 70, the first with hubby Bob McChesney (note below). Is it at YouTube? Yes. But with no details about this lovely recording. Wonder who arranged it? "Together For Christmas" vocal highlights:

CARLY SIMON – I'll Be Home For Christmas Siriusly Sinatra is playing a Carly Simon song I never heard before (not many of those!) It's set to a simple, nylon-string guitar and upright string-bass accompaniment – her unique take on I'LL BE HOME FOR CHRISTMAS – a great seasonal song that, like Irving Berlin's White Christmas, has no bridge (middle part where the melody can take off in a new direction). Second time through, Carly sings words of her own creation, that summon up images – hopes and dreams – of a broken family, reconciled: Google “What's this from?” and “Is it at YouTube?” A search reveals just one upload – from 20 years ago -- a live television performance (local, not network?) with Carly's alternate lyric at around the 1:12 mark. Just caught her allusion to the old truism that, in this life, 'There ain't no free rides.' I won't have to wait, in the driveway I'll be welcome back, inside Please, ask the kids to put on their pretty things But do not give away my surprise Destiny has its reasons Sometimes, the ride IS free I'll be home for Christmas If only in my dreams “Performed on The Caroline Rhea show - Dec. 13, 2002” [with a note from seven Christmases ago:] “Carly wrote the second verse for the 'children of divorce'.”

WALTER RODRIGUES JR. / EMIL ERNEBRO – Beautiful Love I'm a 75-year-old guitarist and was just thinking back to some of my favorite listening moments that involved “two guitars” – including Les Paul and Chet Atkins' Grammy-winning albums, and George Barnes and Karl Kress' recorded live performances. (Most recently, the Grammy winner (2021) of two-guitar arrangements by James Taylor and John Pizzarelli.) Lo and behold -- at this very moment -- sent my way by YouTube -- it's my hero Walter Rodrigues Jr., and a guitar virtuoso friend, Emil Ernebro playing a seldom-heard gem from composer Victor (When I Fall in Love) Young. Love the way they play some 'pre-arranged' chords – in harmony and unison (around the 1:30 mark). So much joyful beauty in under 3 minutes! Especially appreciate that Walter always includes my favorite 'allusions' – quotes, as he calls them – from old jazz standards; at the 1:08 mark it's George Shearing's Lullaby of Birdland followed by the briefest quote from 'Tico, Tico.' Here Walter employs his favorite model OVATION acoustic-electric; Emil Ernebro, evoking the spirit of Django on what looks like an old Gibson (but isn't). Must you be a guitarist to really appreciate this, I wonder?

NATALIE COLE & DIANA KRALL – S'Wonderful & Route 66 I miss Natalie Cole – and the times spent anticipating her next album of jazz standards, always wondering “Can she possibly top her last CD?” She always did. It's 4:44 in the a.m. As if to say, I know how you're feeling – the intuitive genius that is YouTube just sent this ten-minute gem my way. Two jazz classics – exactly five minutes each: Diana Krall with her best-ever band, singing and playing my favorite jazz samba rendition of the Gershwins' S'WONDERFUL, and a duet version with Natalie Cole of her father Nat's signature tune, ROUTE 66. [Favorite comment below the video] Noe Berengena (6 years ago) To have been in that audience! The incomparable quartet -- Diana Krall, Jeff Hamilton (drums), John Clayton (bass) and Anthony Wilson (guitar) paying the highest tribute to Gershwin with their cover of "S'Wonderful" and then they are joined by the late great Natalie Cole. What a night! me

KLEA BLACKHURST & BILLY STRITCH – The Christmas Waltz As Siriusly Sinatra plays 'my new favorite version' of THE CHRISTMAS WALTZ – by “Klea Blackhurst and Billy Stritch” – I google to be reminded that People also ask: “Who first sang The Christmas Waltz?” ANSWER: Frank Sinatra "Sammy Cahn recalls the day he and Jule Styne (who also gave us another seasonal classic, “Let It Snow!”) met in Styne's apartment and Cahn asked the composer, 'Hey, Jule – has there ever been a Christmas waltz?' He said no. I said, play that waltz of yours again for me … ” ---- I'd not heard of Klea Blackhurst until a moment ago when Sirius channel 70 played her take – with NYC cabaret artist Billy Stritch – of THE CHRISTMAS WALTZ. Is it at YouTube? Yes. From their “Christmas at Birdland” album posted “1 month ago” by Universal Music Group. Alas, with “comments turned off.” How else could we tell them how much we appreciated this gem? Really, how could I not have heard of her? Googled to learn KLEA BLACKHURST is an actress, singer and comedienne known for her award-winning tribute to Ethel Merman, Everything The Traffic Will Allow. Most recently she appeared Off-Broadway with Hayley Mills in the comedy, Party Face, at City Center Stage 2. She starred in Hazel during its world premiere production at Drury Lane in Chicago, as Dolly Levi in the highly acclaimed Fiftieth Anniversay production of Hello, Dolly! at The Goodspeed Opera House and as Miss Lemon in The Nutty Professor, which premiered in Nashville, directed by legendary comedian, Jerry Lewis and featuring a score by Marvin Hamlisch and Rupert Holmes. Klea also played Rose in Drury Lane Chicago’s production of Gypsy, garnishing rave reviews in 2012. She’s performed with symphony orchestras and in theatrical productions across the country and abroad including the London Palladium presentation of Jerry Herman’s Broadway with Angela Lansbury, the Pittsburgh Symphony Orchestra tribute to Marvin Hamlisch,, the Atlanta Symphony Orchestra, 15 Mabel Mercer Foundation Cabaret Conventions, New York’s Town Hall, Jazz at Lincoln Center, Carnegie Hall, New York’s 92nd Street Y Lyrics & Lyricists, The Chicago Humanities Festival and as Ado Annie in the BBC Proms concert of Oklahoma! in London’s Royal Albert Hall. In addition to regular appearances at New York’s famed Birdland, Klea’s nightclub engagements include tributes to the Broadway career of composer Vernon Duke at the Café Carlyle with a subsequent sold-out engagement at Joe's Pub at The Public Theater and “Dreaming of a Song: The Music of Hoagy Carmichael,” a collaboration with Billy Stritch. On television she has appeared in Ryan Murphy’s Pose and The Knick, on Showtime. She spent two seasons as former prosecutor, Shelby Cross, on the IFC Channel comedy series, Onion News Network. She’s done the requisite Law and Order: SVU, spent a week on Sesame Street and was a musical guest on The Rosie O’Donnell Show. Theatre credits include: in New York – A Tree Grows In Brooklyn, Bingo, By Jupiter, Radio Gals, Oil City Symphony; Regionally – Ragtime, Call Me Madam, Chicago, The Great American Trailer Park Musical, Red Hot and Blue and Anything Goes. Klea’s albums are on the Ghostlight Records label and available at ghostlightrecords.com and cdbaby.com . She’s featured on “Jule Styne in Hollywood” on PS Classics; the original cast recordings of Bingo and Radio Gals; “Lost in Boston IV,” “Unsung Irving Berlin,” and “The Best of Off Broadway.” Klea is a Distinguished Alumna of The University of Utah and created Klea Blackhurst’s Old School, a 4 week master class, a practical application of the American Musical Theatre. Participants learn theatre history, anatomy, acoustics, physiology and the joy of standing up and singing out!