Mark Blackburn

RAY CHARLES -- I Didn't Know What Time It Was I can't recall who said it, (I only know I read it,) that Frank Sinatra loved Ray Charles' studio rendition of the Rodgers & Hart classic, I DIDN'T KNOW WHAT TIME IT WAS -- a song that's playing right this minute on Siriusly Sinatra satellite radio. A version with full orchestra accompaniment, "arranged by Sidney Feller." Sinatra, who was sparing in his public praise for other popular singers (declaring Tony Bennett to be, “for my money the best in the business”) allowed himself to be quoted as saying that “Ray Charles is the only true genius in the business” (the business of singing). I can imagine Frank hearing this version and laughing out loud with joy at Ray's closing words – spoken, not sung -- to a woman he's flirting with: “Baby, I KNOW what time it is NOW!!" Track 2 (of 12) on Ray's black vinyl album “I'm All Yours Baby!” recorded in 1969 for his own label Tangerine -- “arranged & conducted by Sidney Feller” – whose Wiki entry quotes Ray as saying: "If they call me a genius, then Sid Feller is Einstein."

On his latest Thursday evening 'live streamed' Tips Jar show ... “For her majesty,” quips John Pizzarelli at the end of a spontaneously improvised response to a viewer's request for A NIGHTINGALE SANG IN BERKELEY SQUARE (Britain's best ballad from WWII). At the 37:23 mark. Gorgeous chord sequences we've never heard before – applied to this great melody as it's played by John probably for the first time ever: a simply sublime blending of taste, and technique – plus the courage to risk making a mistake; as it happens, in the key change for the song's bridge/release. “Wrong key, but it worked!” says John brightly – with that disarming smile, for those of us who cherish 'Nightingale' and his wonderful rendition. Encore, please – and may it be soon – next time with Jessica singing at least some of that oh-so-evocative lyric. “Our homeward steps were just as light as the dancing of Fred Astaire.” https://www.facebook.com/JohnPizzarelliOfficial https://www.facebook.com/watch/live/?ref=watch_permalink&v=3243815669204593

TONY BENNETT & BILL EVANS – DONNA BYRNE & DAVE MCKENNA “Fame, if you win it, comes and goes in a minute Where's the real stuff in life to cling to? At this moment on “Playing Favorites” on Siriusly Sinatra satellite radio, jazz singer Donna Byrne is playing just about my favorite Tony Bennett recording – an 'alone together' with Bill Evans studio performance of my favorite song by Jule Styne, MAKE SOMEONE HAPPY. Tony Bennett has long been one of Donna's biggest fans (she's opened a few live shows for him and he told her about the night he returned home early from a Superbowl, to catch one of her show openings in NYC). Donna just closed her show with what she termed “this stupendous recording – from the Tony Bennett and Bill Evans album – MAKE SOMEONE HAPPY. I know that I am!” she says – thanking Charles Pignone for suggesting she host this edition of Playing Favorites.” Donna Byrne's penultimate selection – a solo by a good friend, the late jazz pianist Dave McKenna who along with Tony Bennett's favorite guitarist Gray Sargent, was featured on Donna's most recent album of jazz standards (included below). Wikipedia note: Dave McKenna (May 30, 1930 – October 18, 2008)[1] was an American jazz pianist known primarily as a solo pianist and for his "three-handed" swing style. He was a significant figure in the evolution of jazz piano. Donna Byrne picked this track by Dave McKenna – a solo rendition (with those “three hands” of his) of one of Dave's own compositions and one you never heard before, right? THEODORE THE THUMPER. Posted to YouTube two years ago, from Donna's Let's Face the Music album, a most unusual medley of two favorite songs: Rodgers & Hart's I DIDN'T KNOW WHAT TIME IT WAS with Burton Lane & Alan Jay Lerner's best ballad, for the movie musical (1951) Royal Wedding, TOO LATE NOW. “The medley was suggested to me,” says Donna, “by Sirius Radio's Charles Pignone.”

WESLA WHITFIELD -- Teach Me Tonight Once or twice a year it seems, Siriusly Sinatra satellite radio will play a song by Wesla Whitfield – like right this minute -- my new favorite version of TEACH ME TONIGHT. Search to be reminded it was the title track on her 1997 album featuring superb accompaniment by her husband “jazz pianist and arranger Michael Greensill” – half the songs, six of them, with words by my favorite romantic/humorist lyricist Sammy Cahn. A critic I've admired, Scott Yanow said of this album that it's “an excellent example of Wesla Whitfield's ability to uplift songs by simply bringing out their inner beauty.” The simple truth, you may agree? Wikipedia Wesla Whitfield (born Weslia Marie Edwards, September 15, 1947 – February 9, 2018)[1] was an American singer who recorded more than a score of albums and performed at Carnegie Hall and the White House, among other sites. She used a wheelchair for the last four decades of her life, after surviving a gunshot injury. She specialized in the American standards genre of music. In 1977, two boys approached Whitfield on a street in San Francisco and told her to go with them. As she turned away, one shot at her. The bullet hit her spine, paralyzing her from the waist down.[2] She sang for about three months soon after the shooting but stopped because "... it was quite boring because I really wasn't there mentally or emotionally."[3] When she resumed performing, her husband carried her on stage to sit on a stool or chair because she thought her wheelchair would distract from her singing.[2] In 1985, she and her husband created the Myoho label for her albums. After three releases, HighNote Records began distributing Whitfield's recordings.[5] In the late 1990s, Whitfield and Greensill toured with a production of Life Upon the Wicked Stage, a "semi-autographical show" featuring Whitfield's singing.[6] A review in The San Francisco Examiner described the show as "An absolutely marvelous evening of musical theater."[7] On February 9, 2018, Whitfield died of complications of bladder cancer at her home in St. Helena, California, at age 70.

TONY & QUEEN LATIFAH – Who Can I Turn To (when nobody needs me) There are a some great songs that Tony Bennett has personally kept alive – performing them on stage, right up until his retirement last year at age 95: Tony turned 96 this week (8/3/2022). One such favorite: WHO CAN I TURN TO – a song by two Englishmen for a West-End London stage musical -- that “failed to chart” when Shirley Bassey recorded it in 1964. The song's Wikipedia entry (note below) describes Tony's personal commitment to keeping this poignant ballad forever young, and in the minds of sub-generations of music fans who might not otherwise ever get to hear it. Favorite version? This one – with nearly 2 million views posted to YouTube (2014) – from Tony's second 'Duets' album. [Love the comments, this one especially:] Noe Berengena 5 years ago (edited) A stunning performance. You gotta believe that Queen Latifah's mama is super proud that her daughter is singing side by side with the great Tony Bennett. How do these improbable dreams come about? Enormous talent and luck. "Who Can I Turn To?" (alternatively titled "Who Can I Turn To (When Nobody Needs Me)") is a song written by English lyricists Leslie Bricusse and Anthony Newley and first published in 1964. The song was introduced in the musical The Roar of the Greasepaint – The Smell of the Crowd, which struggled in the United Kingdom in 1964 and then made a tour of the United States later that year. In 1964 Shirley Bassey recorded the song and released it as a single, however it failed to chart. Recorded by Tony Bennett, "Who Can I Turn To?" became a hit, reaching number 33 on the US pop singles chart and the top 5 of the Adult Contemporary chart. So fuelled, the musical arrived on Broadway for a successful run, and the song became one of Bennett's staples. He later re-recorded the song as a duet with Queen Latifah in 2011 on Duets II and with Gloria Estefan for his 2012 album, Viva Duets.[1] Bennett continued to perform the song in concert until his retirement in 2021 at the age of 95.

"A SCHUBERT TUNE WITH A GERSHWIN TOUCH" If you hear a song in blue like a flower crying for the dew that was my heart serenading you my prelude to a kiss . . . It's been 55 years since composer Billy Strayhorn died. Siriusly Sinatra satellite radio just played my favorite version of his PRELUDE TO A KISS – title track from an album by my favorite living singer, Calabria Foti. Arranged by Calabria's trombone virtuoso husband Bob McChesney the band includes jazz piano great, composer and arranger Roger Kellaway. Really, isn't this lovely? Melody by Billy Strayhorn with words by Irving Gordon (who left us December 1, 1996 age 81). Gordon's most famous composition (words & music) was Unforgettable, and he lived long enough to collect his biggest royalty cheque for Natalie Cole's re-recording as a duet with her father Nat – title track from her UNFORGETTABLE album – which Wiki says to date has sold 7.2 million copies in the U.S. Alone. There are expanded Wiki entries for both men and their collaborations with Duke Ellington. Irving Gordon's includes this informed note: After Gordon was introduced to Duke Ellington in 1937, Ellington sometimes invited him to put lyrics to his compositions. However working with Ellington was probably one of the most difficult commissions there was, since most of the Ellington songs were really instrumental pieces whose singable potential only emerged after they had been played and recorded by one or another of the soloists in the Ellington orchestra.[1] While working as Ellington's lyricist, Gordon wrote the lyrics to Billy Strayhorn's piece "Prelude to a Kiss." From Wikipedia William Thomas Strayhorn (November 29, 1915 – May 31, 1967)[1] was an American jazz composer, pianist, lyricist, and arranger, who collaborated with bandleader and composer Duke Ellington for nearly three decades. His compositions include "Take the 'A' Train", "Chelsea Bridge", "A Flower Is a Lovesome Thing", and "Lush Life". Working with Ellington[edit] Photo by Carl Van Vechten (August 14, 1958) Strayhorn's relationship with Ellington was always difficult to pin down: Strayhorn was a gifted composer and arranger who seemed to flourish in Duke's shadow. Ellington was arguably a father figure and the band was affectionately protective of the diminutive, mild-mannered, unselfish Strayhorn, nicknamed by the band "Strays", "Weely", and "Swee' Pea". Ellington may have taken advantage of him,[6] but not in the mercenary way in which others had taken advantage of Ellington; instead, he used Strayhorn to complete his thoughts and introduce new musical ideas,[7] while giving him the freedom to write on his own and enjoy at least some of the credit he deserved. Though Duke Ellington took credit for much of Strayhorn's work, he did not maliciously drown out his partner. Ellington would make jokes onstage like, "Strayhorn does a lot of the work but I get to take the bows!"[8]

SINATRA – I Get Along Without You Very Well (Except Sometimes) “We shall call this next segment . . . 'Songs for Losers',” says Sinatra by way of introduction for a live concert performance of Hoagy Carmichael's I GET ALONG WITHOUT YOU VERY WELL – playing at this moment on Channel 71 from a concert half a century ago titled “London 1970.” Deflecting from the actual history of the song (based on a poem by a woman who never lived to hear how her poignant poem was crafted into one of Carmichael's best songs) Sinatra quips: “Here's a song of unrequited love …. girls running away from home, and all that kind of jazz.” The first version at YouTube this day is this one. I see my namesake wrote a 'review' “2 years ago” that opined, "THIS, surely is the best video version: Listen to the breath control, beginning around the 1:30 mark. Unless you are a singer – any kind of singer – you may not appreciate those 13-and-one-half seconds of phrasing – the sort that all the other singers say Frank did best. Meantime …. s'cuse me, I have something in my eye. The song's modest Wiki entry reminds us that the full title includes the words “Except Sometimes.” From Wikipedia, the free encyclopedia "I Get Along Without You Very Well" is a popular song composed by Hoagy Carmichael in 1939, with lyrics based on a poem written by Jane Brown Thompson, and the main melodic theme on the Fantaisie-Impromptu in C sharp minor, Op 66, by Frédéric Chopin.[1] Thompson's identity as the author of the poem was for many years unknown; she died the night before the song was introduced on radio by Dick Powell.[1] The biggest-selling version was a 1939 recording by Red Norvo and his orchestra (vocal by Terry Allen).[2] Carmichael and Jane Russell performed the song in the 1952 film noir The Las Vegas Story.[1] Notable recordings [edit] Dick Todd and his orchestra (recorded February 8, 1939, released by Bluebird Records as catalog number 10150, with the flip side "I Promise You"[3]) Charlie Barnet and his orchestra (recorded January 20, 1939, released by Bluebird Records as catalog number 10119A, with the flip side "I'm Prayin' Humble"[3]) Chet Baker – Chet Baker Sings (recorded 1954, released 1956) Frank Sinatra – In the Wee Small Hours (1955)

SINATRA ('live at 80') In The Still Of The Night I'd just been singing a favorite line from a Cole Porter song – and trying to recall quickly 'What's it from?' The phrase about “the moon, on the rim of a hill -- in the chill, still of the night.” As if to say, “Oh, yes – and wasn't this your favorite 'live' concert performance?” Siriusly Sinatra channel 71 is playing it right this minute, reading my mind, again. A song that opens with its memorable title words: In the still of the night, while the world is in slumber Oh, the times without number, Darling, when I say to you . . . 'Do you love me? As I love you?' Sinatra gives his adoring audience (circa his 80th birthday) introductory words of appreciation for composer and arranger: “This is a marvelous song by Cole Porter – orchestrated by Johnny Mandel.” Note the quality of this 'remote' recording: shades of Wally Heider, Hollywood's 'King of Remotes' (but a younger engineer whose name I used to know). Listen to the 'textured' sound of that stand-up acoustic bass on the long introduction: “It'll be Ash Wednesday,” quips Frank “by the time I get to the chorus.” First version at YouTube this day

SINATRA - Young at Heart If I didn't know better I'd say What a coincidence! Last night I left open a book appreciating the Great American Songbook on the page celebrating YOUNG AT HEART. Just turned on Siriusly Sinatra and the first song being played is the definitive rendition of this great old song – a million seller for Frank Sinatra. The book is my old (1963) Readers Digest “Treasury of Best Loved Songs” and here's the entry for the page left open last night: When the late Nat Cole was introduced to Carolyn Leigh, his first words were “I goofed.” He'd turned down this song the year before, dismissing it as “for the geriatric set.” In the interim Frank Sinatra had made the definitive hit recording of it. Avant-garde arranger Johnny Richards wrote the melody and was determined to produce a 'commercial' singable hit. Several writers attempted lyrics, but none came up with a set that matched the sunny mood of the tune – until the publisher approached Carolyn Leigh. At the time her father, a man who had a great zest for life, had become ill and depressed: “I wrote the words for him,” she recalled for the Digest, “writing some of his own philosophy to cheer him up. When the song became Number 1, he became the most happy fella in the hospital.” Thanks to Sirius programmer 'Jersey Lou' Simon for reading my mind – again. First version offered at YouTube this day, this one:

JUN SATSUMA -- Embraceable You Each time I watch one of these videos from Jun Satsuma I have the same thought: "THAT is his best yet!" True again today! The Gershwins' loveliest ballad holds a special place in my heart: After my musical father had a stroke he couldn't play any of his favorite songs. Even his own (he wrote a few hundred). The one exception? Embraceable You. There is something special about this melody! [Jon Richards put it best ("7 days ago"):] "You're one of my favorite players. Reminds me of Barney Kessel, no showboating, just elegant musicality."

“It's not the heat – it's the humility,” quips John at the end of a short but terrific half hour live stream show on a beautiful veranda “at an undisclosed location” in Orlando Fla. With a two mile an hour breeze gently rustling all that greenery, we could almost FEEL the humility …. er, humidity. And see further evidence in the slight wrinkling of that quality linen jacket. Further clues: mid-way through the show, John tells us his guitar “needs a little more tuning.” Personal favorite this week? A most surprising medley (no one else has ever done) of Rodgers & Hammerstein's THIS NEARLY WAS MINE seamlessly joined to MOONLIGHT IN VERMONT. What do those two songs have in common? I don't know, but they're perfect together -- especially delivered with a fountain of gorgeous chords in a sequence that's pure John Pizzarelli. [Starting around the 18:20 mark.] I imagine the father of the seven-string instrument, George Van Eps looking down from on high – maybe enjoying this with your Dad and the two of them saying in unison – “Nobody could play that better!" https://www.facebook.com/JohnPizzarelliOfficial/videos/1869812186549425

JOHN PIZZARELLI -- House of Gold There's a Hank Williams song you may never have heard-of – my favorite of his – called House of Gold. I've only ever heard one recording – by a hero of mine, Kenny Rankin on an album of his from the late 70s. I despaired of ever hearing anyone perform it 'live' – let alone the way it SHOULD be played, with Kenny Rankin's superb arrangement for solo guitar. It's a lyric that's stayed with me for 40 years; I recited it once in public, at a graveside when my Irene's kid brother “Mitch” died in 1995, age 50. Mitch loved the song. [From memory imperfect:] People steal, they cheat, and lie for wealth – and what it can buy Don't they know? – on Judgment Day Gold and silver, gonna melt away. I'd rather be, in a deep dark grave, and know that my poor soul was saved, than live in this world, in a house of gold, deny my God, and doom my soul. What good is gold? – and silver too, If your heart's not pure and true Sinner! Hear me when I say Fall down on your knees and pray. I'd always wanted to see Kenny Rankin before he left us at much too young an age. I wanted to request “House of Gold” – and always wanted to see him play those wonderful chords. Tears of joy to see and hear John perform this, without first naming the tune – saying only, “I've got one I want to do now …. “ [ Just before the 46:00 mark ] Deepest thanks from your biggest fan in Winnipeg – where James Taylor was to perform this night 5/5/2022) but his concert got postponed – for the third time because of “over caution about Covid.” I left a note at his Facebook page saying “the world's coldest major city” looks forward to hearing you perform here “perhaps on a warm summer night – when your songs would sound [even] better!” James responded with a “Thanks Mark!” Shared at his Facebook page after today's regular Thursday 'live stream' "It's 5 o'clock Somewhere" 1-hour "Tips Jar" show. Hope this link works! https://www.facebook.com/JohnPizzarelliOfficial John is performing this night at New York's Cafe Carlyle So. On a night (5/5/2022) when we were scheduled to hear James Taylor here in Winnipeg, I settled for my favorite 'live-streamed' weekly 'tips jar' show by James' co- Grammy winner for the "two guitar arrangements" on AMERICAN STANDARD. Left John Pizzarelli a note: Actually . . . at the 55:08 mark – my new “favorite moment” – from any of your 90-plus, one-hour live streamed programs – your show-closer, a medley of two of our favorite 'time' songs: my all-time favorite by James Taylor, SECRET OF LIFE blended with Leonard Bernstein / Betty Comden & Adoph Green's SOME OTHER TIME. For the latter you replicate Bill Evans' simply perfect two-chord 'hook' – for his landmark 'alone together' recording with Tony Bennett. Thus combining a song that opens with, JT's “The Secret of Life is enjoying the passage of time” [then a seamless instrumental segue into a melody whose words open with:] “Where has the time all gone to? Haven't done half the things we want to! Oh well, we'll catch up some other time.” “I'll see you next week,” says John – “sometime, along the way.” https://www.facebook.com/JamesTaylor

HARRY CONNICK JR – Star Dust I'm experiencing a lot of coincidences lately – what my late Mom would call “God coincidences” – meaning, “not a coincidence” at all. Case in point. I'd just been reading the opening song introduction in an old (1960s) Readers Digest book of “Best Loved Songs” of the 20th century. Its words of introduction to STARDUST included a delightful quote from Oscar Hammerstein, who wrote the words to so many of my favorite songs by Richard Rodgers and Jerome Kern. As I type this, Siriusly Sinatra satellite radio is playing my favorite 'vocal with solo piano' rendition of Stardust -- Harry Connick Jr accompanied by his family's lifelong friend piano great Ellis Marsalis. Permit an aside: When the patriarch of the Marsalis clan appeared here two decades ago, he told his Winnipeg audience: “This is my second night here in 35 years! Last time I was accompanying Al Hirt (when the trumpet great was touring in support of pop recordings that had sold in the millions). Harry Connick is a terrific jazz pianist/arranger but he asked Ellis Marsalis to play solo accompaniment for this recording, again, my favorite 'alone together' rendition of this, Hoagy Carmichael's most famous song: [Readers Digest Songbook introduction:] “Fittingly, your TREASURY OF BEST LOVED SONGS opens with what many believe is the best-loved song of the 20th century. How can you spell out the magic of 'Star Dust'? One of America's greatest lyricists, the late Oscar Hammerstein II, put it this way: “Star Dust rambles and roams like a truant schoolboy in a meadow. Its structure is loose, its pattern complex. Yet it has attained the kind of long-lived popularity that few songs can claim. What has it got? I'm not certain. I know only that it is beautiful and I like to hear it. It is a mood-creating song. It has repose and wistfulness. It has something very special, all by itself. Anyone [songwriter] who tried to imitate it would be a fool.”

Speaking as a guitarist . . .

CLARE TEAL – Try a Little Tenderness Just got an email that “You have a comment” here. From “A Fan”: "Hi Mark -- Have thoroughly enjoyed reading your posts and watching your curated videos -- such variety and excellent commentary -- it's like a PhD course! I found you from a Google search for a singer heard on Siriusly Sinatra: Try a Little Tenderness by a woman (I think a one syllable first name and surname). Was driving so didn't write it down -- foolish to trust memory. Maybe you can help?? -- THANKS!" ---- Thank you -- happy to help: I'm pretty sure you were hearing Clare Teal. Siriusly Sinatra's programmer extraordinaire 'Jersey Lou' Simon introduced us to this fine English singer about a year ago; I've celebrated her greatness here (several pages ago?). Is her lovely version of 'Try a Little Tenderness' (2011) at YouTube? Yes! Isn't Clare Teal a joy to hear? She now has a Wiki entry (below). Thanks again for triggering tender thoughts of her this day. Wikipedia Clare Teal (born 14 May 1973) is an English singer and broadcaster who has become famous not only for her singing, but also for having signed the biggest recording contract by a British jazz singer.[1][2][3] Teal's break came when she was asked to stand in for Stacey Kent at a weekend festival ….This led (after some determined self-promotion, in which she drew upon her advertising skills) to a three-album contract with the jazz label Candid Records. Her popularity soared, with appearances on radio and television bringing her to the attention of a wider public, and in 2004 she released her first album for Sony Jazz in what was the biggest recording deal by any British jazz singer.[2][3] Don't Talk topped the jazz charts and entered the UK Top 20 UK Albums Chart.[3][5] While the majority of her recordings are cover versions of standards, her albums feature original songs and contemporary cover versions, notably a cover of "California Dreaming" by The Mamas & the Papas. Teal has toured throughout the UK and the world, with her pianist, trio, mini big band, or Hollywood Orchestra. She has worked with the Hallé Orchestra, BBC Concert Orchestra, RTÉ Concert Orchestra, and the John Wilson Orchestra as well as other top big bands. In August 2017, she produced and presented her third concert for The Proms. Swing No End [6] featured two big bands and many special guests. It was broadcast on BBC Radio 2, BBC Radio 3, and televised on BBC Four. Teal collaborated with Van Morrison on the single "Carrying a Torch" from his album Duets: Reworking the Catalogue. She was the opening act for Liza Minnelli at Kenwood House and the Royal Festival Hall. She performed at the Glastonbury Festival and the Marlborough Jazz Festival.

CALABRIA FOTI – Do It Again As if saying “Hi, how are you?” to me personally, Siriusly Sinatra's programmer 'Jersey Lou' Simon has been giving regular airplay lately to “my favorite living singer” – Calabria Foti. At this moment, it's an early George Gershwin tune – the sexiest song he ever wrote, with lyric by Buddy DeSilva. The two were in the same office one day and Buddy walked in and said, "Hey George, let's write a hit!" They practically completed the song on the spot. (Wiki note below) From Calabria's 'Lovely Way to Spend an Evening' (2007) maybe my favorite of her albums. Though I love them all to bits. If you get that CD and don't love it, let me purchase your copy, please. There are six songs with that title -- DO IT AGAIN. Include the words "Gershwin song" and the Wikipedia entry says this one by Gershwin & DeSilva was dropped into a Broadway musical in 1922: "Gershwin recounted the origin of the song in 1934: Gershwin began playing the song, described as "innocently sensual",[citation needed] at parties. Upon hearing the song, Irène Bordoni insisted that she perform the song in her show.[2] "Do It Again" first appeared in the Broadway play The French Doll, which premiered on February 20, 1922 at the Lyceum and ran for a total of 120 performances.

SINATRA -- Guess I'll Hang My Tears Out To Dry Has it really been 17 years since I reviewed this CD at Amazon? Titled "Crying on the Inside" [5-stars April 28, 2005:] "I like to make friends laugh, but like the proverbial clown who is 'crying on the inside' (and as the singer is depicted here on the original album cover) -- I feel most in tune with life's poignant moments . . . the ones cynics like me usually dismiss as 'wallowing in self-pity.' I've identified with Johnny Mercer's protagonist in "One For My Baby" since I first saw Frank Sinatra perform it on black and white TV, 45 years ago. But it's the Sammy Cahn classics on this album -- especially the title track --- that resonate, most deeply in my heart. I close my eyes and listen in amazement to what many consider the single most beautiful ballad-recording Frank Sinatra and arranger Nelson Riddle ever created together --- Sammy Cahn & Jule Styne's "Guess I'll Hang My Tears Out to Dry." I listen and see in my mind's eye the girl who broke my heart, in that 'very good year, when I was 21.' Shortly after my youngest son (now teaching English in Japan and in love again) had his heart broken for the first time, he "discovered" his favorite Sinatra recording, among his dad's CDs -- "Only the Lonely." Like his father, he prefers up-tempo Sinatra -- and singles out "I Thought About You" as his favorite 'swing' tune (mine too). But "Only the Lonely" he considers the "best song about lost love." (We agree on so few things!) The same version of this song, on the 3-CD "Capitol Years" box set, opens with an additional 25 seconds of Sinatra giving expert instruction to Felix Slatkin -- who actually conducted the Riddle orchestra, that night of May 29, 1958. The heartfelt liner notes, penned by Pete Welding, seem to speak to me personally. And the frustrated song writer within me, identifies with composer and lyricist as the two collaborators recalled, "attempting to write (this) song of loneliness for Frank Sinatra -- the challenge of matching words with notes." "The melody came first," said Jimmy Van Heusen. "The lyric came very hard; session after session without the glimmer of a line. Sammy is as facile a man with words as there is in our business and I wanted to change the melody here and there to be helpful. He wouldn't permit me to change a note." Said Sammy Cahn: "(It's) one of the best melodies Jimmy ever composed (and) I'm delighted now the melody is exactly as I first heard it." Sinatra once singled out this album as his personal favorite, among those he recorded for Capitol. It is mine. Perhaps it'll be yours too?

DORIS DAY / ANDRE PREVIN – Wait Till You See Him “Wait till you feel the warmth of his glance – pensive, and sweet, and wise I'll never be willing to free him – when you see him .... You won't believe your eyes.” I'd just been thinking about Andre Previn – that he was so much more than just a jazz pianist: As I like to say Previn was a “spontaneous arranger” whose chord sequences were positively 'orchestral.' Ella Fitzgerald, whose distinguished accompanists included Oscar Peterson (and guitar great Joe Pass), felt that Andre Previn was her greatest solo accompanist. I'd been thinking in particular of my favorite such 'alone together' recording by Andre and Doris Day. They died of old age a couple of months apart – Andre at home in NYC, February 28, 2019 age 89, and Doris – May 13, 2019, age 97 at home in Carmel Valley California. Both declared their one album together “Duet” their favorite such recording. So. What's playing right this minute on Siriusly Sinatra satellite radio? What a coincidence! Best-ever version (says me) of Wait Till You See Him – an early tender ballad with words by Larry Hart set to a perfect tune from my favorite composer, Dick Rodgers. Thanks, 'Jersey Lou' Simon (ch 71 programmer) for reading my mind – yet again! Most viewed version at YouTube this day, with "comments left on."

JOHN PIZZARELLI -- Here's That Rainy Day Had to leave my favorite jazz guitarist/singer a note for his most recently live-streamed "5 o'clock Somewhere" 'Tips Jar' show: [At around the 1952 mark] JOHN: [That was] “A little drip-drip-drip medley ….” JESSICA: “ …. and we got a little Kenny Rankin in there!” As James Taylor said, of his co-Grammy winner for James' “American Standard” (2021): “John is a one-in-a-million musician” – his musical knowledge is that comprehensive. For guitarists of an age (I'm 75) we're treated most every week to yet another favorite “surprise” only Mr. Pizzarelli could deliver. Case in point. John's “Here's That Rainy Day” [mostly] the way the late great Kenny Rankin arranged it – my all-time favorite version; yet with those special touches only John could have added. Coincidentally I'd been wondering what John would do with that Burke / VanHeusen song (their best) from 70 years ago. At around the 1952 mark (how's that for coincidence!) beginning with “April Showers.” Stay tuned another minute for a spontaneous addition: John Lennon's “Rain” – a perfect 'coda' for the medley. https://www.facebook.com/JohnPizzarelliOfficial

DOYLE DYKES – Deep River Google for “Deep River (the song)” and there's a photo of the original sheet music for “Old Negro Spiritual arranged by H.T. Burleigh.” A Gospel song that dates back (almost) to Civil War days, according to its Wiki entry which quotes a snippet of lyric: “Deep river, my home is over Jordan. / Deep river, Lord, I want to cross over [to] that Promised Land, where all is peace . . . ” Leave it to my finger-style guitar hero Doyle Dykes to revive this great old song [shared with fans on Facebook: his solo version on a 'White Falcon' electric guitar – a gift to Doyle from Gretsch]. Deep River's Wikipedia entry was recently expanded after it was “played at Justice Ruth Bader Ginsburg's memorial service” (two years ago). "Deep River" is an anonymous African-American spiritual, popularized by Henry Burleigh in his 1916 collection Jubilee Songs of the USA. The melody was adopted in 1921 for the song Dear Old Southland by Henry Creamer and Turner Layton, which enjoyed popular success the next year in versions by Paul Whiteman and by Vernon Dalhart.[3] "Deep River" has been sung in several films. The 1929 film Show Boat featured it mouthed by Laura La Plante to the singing of Eva Olivetti.[4] Paul Robeson famously sang it accompanied by male chorus in the 1940 movie The Proud Valley.[5] And in the 1983 blockbuster hit National Lampoon's Vacation it was sung by Chevy Chase.[6] "Deep River" is also one of five spirituals written into the 1941 oratorio A Child of Our Time by Michael Tippett. An operatic adaption of the spiritual was sung at the memorial service for Justice Ruth Bader Ginsburg as she was taken to lie in state on September 25, 2020. ---- The Wiki list of artists who have recorded Deep River includes Barbra Streisand (who turns 80 this month). From her “27th studio album, 'Higher Ground' – recorded November 11, 1997.”

JOHNNY HARTMAN / JOHN COLTRANE – My One and Only Love A Facebook friend just shared a favorite Johnny Hartman song – from the summer of '63. Track 3 on an album Johnny recorded with tenor sax giant John Coltrane – the only album of ballads Coltrane would record with any singer before he died young – age 40 – the summer of 1967. It's fair to say that Clint Eastwood introduced millions of us to Mr. Hartman's mellow baritone by including Johnny's tender ballads on more than one of his movie soundtracks – most notably “Bridges of Madison County” where this song was included. First version at YouTube this day (most viewed, and with a review by my namesake “1 year ago”): Quite the finest melody penned by English composer Guy Wood. [Wikipedia notes:] Guy B. Wood (24 July 1911 – 23 February 2001) was a musician and songwriter born in Manchester, England. Wood started his career in music playing saxophone in dance bands in England. He moved to the United States in the 1930s, where he worked for Paramount Pictures and Columbia Pictures as well as serving as bandleader at the Arcadia Ballroom in New York. His songs include "Till Then", "My One and Only Love", "Shoo-Fly Pie and Apple Pan Dowdy". His song "Till Then" reached the pop charts three times (in 1944, 1954, and 1963). Wood also wrote songs for Captain Kangaroo and the Radio City Music Hall. Wood died on 23 February 2001.[2][3][4] ---- My One And Only Love's Wiki entry reminds us that the song's melody was first recorded with different words from another lyricist – and it wasn't a hit. "My One and Only Love" is a popular song with music written by Guy Wood and lyrics by Robert Mellin. Published in 1953, it is a conventional 32-bar song with four 8-bar sections, including a bridge ("Type A" or "AABA" song structure). Typically performed as a ballad, it has an aria-like melody that is a challenge to many vocalists; in the key of C, the song's melody extends from G below middle C to the second D above middle C. The song originated in 1947 as “Music from Beyond the Moon” with music by Guy B. Wood and lyrics by Jack Lawrence. Vocalist Vic Damone recorded this version in 1948, but it was unsuccessful. In 1952, Robert Mellin wrote a new title and lyrics for the song, and it was republished the next year as “My One and Only Love”. When Frank Sinatra recorded it in 1953 with Nelson Riddle, first released as B-side to his hit single "I've Got the World on a String" (Capitol 2505), it became known. Then popular saxophonist Charlie Ventura saw the song's "jazz potential" and recorded the first instrumental version in the very same year.[1]

RICHARD SMITH -- Bye Bye Blackbird English-born, Nashville-based finger-style guitar virtuoso Richard Smith with a 'retire-the-trophy' rendition of Bye, Bye Blackburn ... er, Blackbird. Left Richard a note at his Facebook page: Love your allusion at the close, a little coda quoting the notes for the words: “Blackbird singing in the dead of night.” Which is to say Sir Paul would love this rendition. As would Chet Atkins himself, who first thought of that Blackbird 'quote.' I love knowing that a nine-year-old Richard Smith got to play a song or two with him when Chet visited England. My own musical father -- who had to endure a lot of “Bye Bye Blackburn” [correct] when he was about that same age in the 1920s – Dad would have loved this too. The trick for virtuoso artists is to keep playing variations – where each one is better than the last. Mission accomplished, especially beginning with the perfect key change, at around the 2:20 mark. Thanks, Richard Smith for the retire-the-trophy reading of this great old song.

NANCY WILSON – All Night Long Nancy Wilson is featured every day on Siriusly Sinatra satellite radio: most recently today with England's greatest gift to piano jazz George Shearing – from an album they recorded 61 years ago. The song is ALL NIGHT LONG. One of three songs with that title, but this one was the first: composed (words & tune) by Curtis Lewis – who has a recent Wikipedia entry that cites “no sources” but lists the great women singers who recorded his “one great song” [below]. A memorable tune – a 'girl song' about the man who haunts her dreams. Never knew the softness of his tender kiss Don't know if he's weak or strong All I know is he's every dream I dream Never heard him say a single word of love Don't know his fate or his soul 'Cause he only speaks to me in dreams I've dreamed When I sleep he tells me he's in love with me And how much he needs me to be near But at best my dream is just a fantasy If I touch his hand he'll disappear, no no no I don't want a love that's just a memory Fate, how could you be so warm? Now, I've got to find the man who's haunting me Curtis Reginald Lewis (August 29, 1918 – May 23, 1969), American composer of popular songs, many of which have become jazz standards. He was born in Fort Worth, Texas, grew up in Chicago, and came to New York City in the 1940s. Lewis subsequently became one of the first black composers and lyricists to own a music publishing company on Broadway in the early 1950s. He died in Kew Gardens, New York. Having served in the United States Army during World War II (from August 22, 1942, discharged as a Staff Sergeant December 2, 1945), his body was interred at the Long Island National Cemetery, Farmingdale, NY. [Just the one “selected song”] "All Night Long" [noted recordings] Shirley Horn; Album: All Night Long (1981) Billie Holiday George Shearing Quintet with Nancy Wilson; Album: The Swingin's Mutual! Aretha Franklin; Album: Sweet Bitter Love Diana Krall; Album: Only Trust Your Heart (1995)

SINATRA -- My Heart Stood Still My "Desert Island CD" I called it (The Concert Sinatra) -- true then, (01/13/2005), still true today -- that it can "give goosebumps." [I wrote at Amazon:] "With an extra decade of immersing myself in Frank Sinatra's greatness, I'd have to say that only a "religious experience" -- and a glimpse of Eternity-- could surpass what I feel in my heart, the sheer exhilarating joy I experience, when I listen for example, to "My Heart Stood Still" (my favorite of these). There is the high plateau where the singer and his great collaborator Nelson Riddle have their true, "shining hour." At that defining moment in 1963, the arranger conducts his finest orchestrations, with the largest symphony orchestra ever assembled in Hollywood---as the singer on a mountain peak of vocal greatness, performs his favorite songs by his (and my) favorite composer. These days [pre Siriusly Sinatra] the experience is rationed to perhaps once a month, and then just a cut or two at a time, so as to preserve the experience: I want to `spread it out' over the rest of my life, if I can!" [73 musicians says the small print on the cover of this CD version -- remixed under the supervision of Frank Jr.] Okay -- the best 'live' performance was just sent my way by the intuitive genius at YouTube. As if to say just that: 'Best concert performance' -- this one, right? Exactly so.

SONDHEIM – deconstructs All The Things You Are A four-minute 'hidden treasure' (posted to YouTube six years ago when I wasn't looking) features one of my life-long musical heroes -- English-born jazz piano giant Marian McPartland. Her NPR radio 'Piano Jazz' series (released on CDs) included favorite shows with Oscar Peterson and Bill Evans. But I'd never heard Marian's incredible approach to my family's favorite 'show tune' – ALL THE THINGS YOU ARE. Starting around the 1:15 mark. [Deepest thanks to an English Facebook friend "Nick" for sharing this.] Marian McPartland, who left us at age 95, nine summers ago, has a huge Wikipedia entry. With a more recently expanded note about her “legacy” (below). Wikipedia note on Marian's "legacy" DownBeat honored McPartland with a Lifetime Achievement Award in 1994.[46] McPartland was awarded a Grammy in 2004, a Trustees' Lifetime Achievement Award, for her work as an educator, writer, and host of NPR Radio's long-running Marian McPartland's Piano Jazz. Although a master at adapting to her guest's musical styles and having a well-known affinity for beautiful and harmonically-rich ballads, she also recorded many tunes of her own. Her compositions included "Ambiance", "There'll Be Other Times", "With You in Mind", "Twilight World", and "In the Days of Our Love". Just before her 90th birthday, McPartland composed and performed a symphonic piece, A Portrait of Rachel Carson, to mark the centennial of the environmental pioneer.[47] McPartland was appointed Officer of the Order of the British Empire (OBE) in the 2010 New Year Honours, "For services to jazz and to aspiring young musicians in the USA".[48] McPartland's encyclopaedic knowledge of jazz standards, highly musical ear, involvement in over 60 years of evolving jazz styles, and rich experience blending with radio guests[49] led to a musical style that was described as "flexible and complex, and almost impossible to pigeonhole."[50] She was known as a harmonically and rhythmically complex and inventive improviser. "She was never content to be in one place, and always kept improving. She has great ears and great harmonics. Because of her ear, she can go into two or three different keys in a tune and shift with no problem."[51] McPartland was also a synesthete, associating different musical keys with colours, stating that "The key of D is daffodil yellow, B major is maroon, and B flat is blue."[52] McPartland died on 20 August 2013 of natural causes in her home in Port Washington, New York. She was 95 years old.[53][54]