Mark Blackburn

JACK JONES – and his “Seriously Sinatra” album We've seen and heard the words “Siriusly Sinatra” for so many years now -- it's a little jarring to see the 'original' spelling: As on the cover for Jack Jones' then-current (2015) Sinatra tribute album – “arranged and conducted by (the great) Patrick Williams” (who left us at age 79 three years later the summer of 2018). Their album to mark the occasion of Sinatra's 100th birthday in 2017. Just as an aside: the English interviewer has an endearingly 'fuzzy' style of asking questions – an almost inarticulate, slightly emotional, jumble of words that convey open-ended questions: It worked – eliciting from one of my life-long musical heroes, a couple or three anecdotes I'd not heard before. Like the moment when a teenaged Jack Jones was stopped in the hallway of their high school by his friend Nancy Sinatra, who said: “Jonesy! – are you coming to the assembly (right now)? “Why? What's happening?” Said Nancy: “My father will be singing for us!” I'd forgotten that it was Jack Jones who charted the original hit version of Cahn & Van Heusen's “Call Me Irresponsible.” (“Best Original Song” Oscar-winner in 1963.) Jack Jones recalls that the songwriting team wanted him to have the chart record, not Sinatra -- because he (Jones) would give it more of the 'innocence' they had in mind. Whereas, Sinatra's album version reflected an older, more cynical character, played in the movie 'Papa's Delicate Condition' by Jackie Gleason. Thanks, to an English Facebook friend Nick L for sharing this 14 minute feature. WIKIPEDIA informs that Patrick Williams had 16 Grammy nominations and one Academy Award nomination for his compositions and arrangements. There's now a quote (that wasn't there before) from a compatriot, originally from Hamilton Canada: “Respected music critic Gene Lees was quoted as saying: "His An American Concerto is, in my opinion, the best mixture of jazz and classical that anybody has ever done. Pat's writing is breathtaking. He's just one of the finest arrangers and composers who ever put pen to paper."

LENA HORNE -- I've Grown Accustomed to His Face Thanks to a compatriot Max Weissengruber for sharing this one. Lena with the Robert Farnon orchestra. Alas "comments turned off." [Just responded:] Thank you Max for the informed note. The Canadian-born Farnon arranged Sinatra's only 'offshore' studio recording GREAT SONGS FROM GREAT BRITAIN (1962) and Tony Bennett's classic "Snowfall" -- first of Tony's Christmas albums. When he appeared in Toronto, Tony began urging Canadians to "erect a statue to Robert Farnon" -- the most influential of all arrangers, according to all the other great ones. I'd forgotten he'd orchestrated this gem for Lena -- but I'd spot his 'touch' within seconds of those opening notes.

THE CAROUSEL WALTZ -- Richard Rodgers' masterpiece Rodgers & Hammerstein's personal favorite of their shows was Carousel which opened just after WWII ended in 1945. My Mom and Dad went to New York City for “the honeymoon they never had” before Dad shipped off to war. I remember the joy in their eyes when they recalled to me, decades later that they saw Duke Ellington's orchestra at the Club Zanzibar. The other highlight – seeing Carousel – which starred a young John Raitt (Bonnie's Dad). I've often thought the 'Overture' for Carousel is the greatest piece of music my favorite composer Richard Rodgers ever wrote; which is saying something. As I said in my letter to Mr. Sinatra (December 1992) “Rodgers wrote more strong melodies” (over 50) than any of his Great Songbook peers – “melodies I could hum or whistle half a lifetime after hearing them for the first time.” Just as an aside: when I was in my teens, my family purchased the black vinyl LP of Carousel the movie – and I just couldn't get enough of this amazing 'not-really-an-overture' (because it didn't quote from any of Carousel's wonderful songs). A decade ago I obtained a CD version – that was missing the first 30 seconds of the opening movement – music that depicts the eerie feeling of a deserted fairground at night – evoking faintly discordant notes on a ghostly carousel organ. (That's how I'd describe it.) Best 'live' version at YouTube? This one -- with those opening notes that gave me goosebumps (still do!). A concert performance by London symphony musicians. If you can spare seven minutes – please enjoy my single “most favorite work of art.” p.s. Thanks to Masses Esclaves for posting and to "Kaneohe" (below) for noting the name of the man who orchestrated and selected all the 'voicings' for this: "And credit must be given to Robert Russell Bennet, Rodgers' go-to arranger, whose beautifully complex orchestrations were the icing on the cake!" P.S. I've often thought that Richard Rodgers wrote 16 of the 20 greatest waltzes of the last century. It's easier to list the great ones he DIDN'T write: Leroy Anderson's Belle of the Ball, pre-eminent on a list that also includes Frank (Guys & Dolls) Loesser's Wonderful Copenhagen from the Hans Christian Anderson movie starring Danny Kaye. And as I said in my own note (above) this night, this was his greatest musical achievement.

TONY BENNETT – I Do Not Know A Day I Did Not Love You Just spotted a comment at Tony Bennett's Facebook page – from a lady who wondered: “Do you have one favorite song?” Immediately I thought of something a NYC radio host shared about “Tony's favorite of his own recordings” – I Do Not Know A Day I Did Not Love You. (The slightly awkward syntax of that hard-to-remember title, may have contributed to its relative obscurity.) From my favorite composer Richard Rodgers – who wrote the melody to words by a lesser-known lyricist, Martin Charnin, for a long-forgotten Broadway show. An oft-quoted musicologist (the son of “Dancing in the Dark” composer Arthur Schwartz) recalled on an early Sirius/XM program that, “Whenever I'd see Tony I'd ask him the same question: 'Is that one still your favorite (among all of your recordings)?' His answer was always 'Yes!'.” Arranged by Torrie Zito and released on Tony's black vinyl LP “Love Story” album 51 years ago. Most recent upload to YouTube (2021) with “comments left on” – Thank you, “BlondieJohnson.” Deepest thanks for this personal anecdote from DON STITT: "I mentioned to lyricist Martin Charnin that this was Tony's favorite recording of his own singing, something of which Martin had been unaware." Regarding Charnin . . . My favorite of his songs -- MAYBE -- a 'girl song' yet my favorite rendition is by Harry Connick Jr.

TOMMY EMMANUEL -- Happy Hours The shading! Nobody does it better! It's not that other great guitarists couldn't replicate those notes; there is simply no one else who can play those sudden shifts, from loud to soft -- and do it at such high speed. And, as we all like to say: "make it look easy!" I like to think I pestered Mr. Emmanuel (for a couple of years) into including the "world's coldest major city" (any Canadian can tell you where that is) on his 300 dates-per-year tour, several years ago. We got tickets to the meet-and-greet before the show -- my guitarist grandson and I -- and requested "The Tall Fiddler." For the "shading at high speed." With a flat pick. Included below, from a decade ago. THE TALL FIDDLER (flat pick solo)

JESSICA MOLASKEY & JOHN PIZZARELLI -- Traffic Jam My favorite funny song by James Taylor -- who always maintained that “Funny songs are the hardest to write” -- is "Traffic Jam." ("Now when I die, don't want no coffin – thought about it far too often -- just strap me in behind the wheel, and bury me in my auto-mobile”). Performed on their most recent 'live' streamed “5 O'CLOCK SOMEWHERE” Tips Jar show by my favorite musical couple Jessica Molaskey and John Pizzarelli. Left them a note of appreciation for their “Traffic Jam medley” – recalling James Taylor's observation that John is a “one in a million” musician. They are co- Grammy winners for their “two guitar arrangements” on Taylor's AMERICAN STANDARD (2020). A link, hope it works. https://www.facebook.com/JohnPizzarelliOfficial

JAMES TAYLOR -- That Lonesome Road On his Facebook page today (3/8/2022) James Taylor asked us fans for "your favorite" track from a special album of his that "went platinum" in 1981. I had to reply: No contest. This one. [I see my namesake wrote a 'review' "1 year ago" for the best live version I could ever hope for.] Talk about a magic moment in time: From 12 years ago – an 'a capella' performance “with the Tanglewood Festival Choir ” – the sheer beauty of unaccompanied human voices (well-trained, 23 in all, including James' wife Kim) with the best-engineered (most mics) “live” version we could ever hope to hear. Surely the most hymn-like of James Taylor's compositions, (co-authored by pianist Don Grolnick) it reminds some of us of a key moment in a '12-step program' – before acceptance of what's holding you back, spiritually. “Never mind feeling sorry for yourself, it doesn't save you from . . . ” Then as now, deepest thanks for sharing this one Mr. Taylor.

TONY & DIANA – Nice Work If You Can Get It If I didn't know better, I'd say 'What a coincidence!' I'd just been thinking of the lucky souls who are the best in the world at what they do – and are paid to do it: earning a living, doing the thing you love most. I thought of the Gershwin song that summed it up better than anyone else ever did: "Nice work if you can get it, (and you can get it, if you try!)" Talk about 'Hold that thought!' – Tony Bennett's Facebook page just shared a YouTube video: Tony and Diana Krall's note perfect duet (my all time favorite) of – you guessed it. Mom always said, “There ARE no coincidences.” You know what she meant. The graphic prepared by Tony's team reads JAZZ RELAX MUSIC. The simple truth, right? Who could ask for anything more? Well, “comments left on” would be icing on the cake.

CELINE DION & CLIVE GRIFFIN – When I Fall In Love At the 'Sinatra Family Forum' Alumni (private) Facebook site, there are a hundred of us who still care about the loss of the only Sinatra 'legacy' dot com website -- terminated last August by Frank's daughter Nancy after a 24 year run. One of our youngest members “Aida D.” (who was born in Ukraine and now resides in Russia) just shared her favorite duet version of “When I Fall in Love” – the version which won a Grammy for the late great arranger Jeremy Lubbock. (Heard over the closing credits of the movie “Sleepless in Seattle.”) Left Aida a note about “my hero, Mr. Lubbock, who who left us a year ago. At a young age Jeremy moved with his family to L.A., where he spent most of his career -- and did a ton of great arranging. He returned to England "frail and in a wheel chair" to die in January 2021, age 89. Just listen to those shimmering strings on 'When I Fall in Love.' The cause of his one big regret – never getting to do albums of Big Band jazz charts. They just loved his string arrangements too much to allow that to happen! ---- An informed note below the video from a kindred spirit "Michael Glickman” who wrote (4 years ago): "For those wondering, the musicians are keyboardist-synth bassist David Foster, arranger and conductor Jeremy Lubbock, drum and synthesizer programmer Claude Gaudette, and synthesizer programmer Tony Smith." Most viewed (101K) version at YouTube “with lyrics” and a montage of romantic moments from the film. Thanks, Jeremy Lubbock. Oh yes, and Celine Dion's duet partner, English singer Clive Griffin, seemingly disappeared without a trace. (Can't find anything online about his present whereabouts. Can you?)

JAMES TAYLOR – Teach Me Tonight Google the name “Walt Fowler” – and learn a little more about a trumpet and flugelhorn virtuoso you may not have heard-of, but whose music has reached our ears in a hundred settings dating back half a century: he's accompanied the proverbial 'Who's Who' of musical greats, in studio and on stage, and has “orchestrated” dozens of Hollywood blockbuster movies (note below). Walt doesn't have his own Wiki entry, but an official online bio reminds us that he and James Taylor 'go way back.' Has it really been two years? -- since Walt played on the musical bridge for TEACH ME TONIGHT – the first song James shared with fans as a video from his home studio (heated by firewood James splits for himself this time of year): This video, that heralded the release of “American Standard.” An intuitive genius at YouTube just sent me the video – still heartwarming in every sense but also just what I needed to calm my mind and heart. Which is to say “Thanks, YouTube and and thank you James Taylor. Walt Fowler was born March 2, 1955 in Salt Lake City, Utah. At age 6, he started playing piano, then took an interest in trumpet at age 8. Basically self taught, he practiced along with records, from Miles, Coltrane and Bird to Ellington, Basie and Woody Herman. In 1974, he joined Frank Zappa and the Mothers of Invention [and] moved to Los Angeles in the fall of 1975 and formed a band with his brothers known as "The Fowler Brothers Band"and toured with Ray Charles and Buddy Rich's Big Band. In 1986 he toured with George Benson, then rejoined Frank Zappa's band in 1987 for the "Broadway The Hardway" tour. He appears on the CD "Broadway The Hardway", "The Best Band You Never Heard In Your Life." He then did many tours with Diana Ross starting in 1989, then joined James Taylor's band in 2001 for the "Pullover" tour (Pullover DVD), the 2003 "October Road" tour (October Road CD) , and the 2005 "Summer's Here" tour. Walt also appears on the 2006 DVD "Musicares Person of the Year Tribute" honoring James Taylor. Walt is also featured on many major motion picture soundtracks, including Backdraft, Regarding Henry, Pacific Heights, The Lion King, Broken Arrow, The Thin Red Line, Black Hawk Down, Ocean's 12 and Ocean's 13. He has also orchestrated on many feature films including The Rock, Con Air, Twister, Enemy of the State, Face-Off, Gladiator, Pearl Harbor, Chicken Run, Shrek, Shrek 2, Spanglish, The Bourne Supremacy, X Men 3, The Chronicles of Narnia, The Da Vinci Code, The Holiday, The Good Shepherd, Pirates of the Caribbean 1, 2 & 3, Transformers, The Simpsons Movie, American Gangster, Baby Mama, The Dark Knight and Body of Lies.

DOYLE DYKES -- Abide With Me “My Dad loved this,” says Doyle Dykes midway through the first song in a three-song medley – the one whose refrain goes, “Look down, look down, that lonesome road, before you travel on.” (Incidentally, the countrified jazz solo around the 1:00 minute mark, sparkles with a brilliance and ingenuity that Hank Garland would have loved.) Doyle followed “Lonesome Road” with a slow and gentle hymn, with the refrain: “God be with you till we meet again.” And then (around the 3:00 mark when that big E string is tuned down to D) my own favorite: Abide With Me – a seldom-heard hymn that used to be played at our “Remembrance Day” (November 11th) services at cenotaphs here in Canada: I'd despaired of ever hearing it played so well on the guitar. Lo and behold! Doyle plays the most achingly beautiful arrangement; I silently mouthed the words of the stanza my own father most loved about the “Help of the helpless.” [From memory imperfect:] “Abide with me . . . fast falls the eventide; the darkness deepens, Lord with me abide When other helpers fail, and comforts flee 'help of the helpless' – oh, abide with me.” Deepest thanks for sharing this on your "Sunday String-along." You achieved your aim of “making myself feel good, and making you feel good too.”

TONY BENNETT & PAUL MCCARTNEY – The Very Thought of You When planning their collaboration for Tony Bennett's first “DUETS” album (2006) Tony and Paul McCartney had the same thought: Let's do “The Very Thought of You” -- their mutual favorite love song from England – composed, words and tune, by band leader Ray Noble; who wrote several of my parents' favorite songs, including “The Touch of Your Lips.” Dad told me it was spinning on the record player in her parents' front 'parlor' while they danced, alone together, before he planted his first kiss on her (16-year-old) lips -- Christmas, 1936. Google for “Bennett and McCartney” and the first offering this day at YouTube is this 're-enactment' in the studio after an introduction by Sir Paul, praising Tony's son Danny who suggested the duet. “We were performing at the Queen's Garden Party – we were both on the same bill …. “

TONY BENNETT – Tenderly At this moment on Sirius radio channel 71, Tony Bennett is singing a favorite ballad – Tenderly: a capella at the start, then a piano trio – Ralph Sharon, his long-time favorite accompanist, exchanging lines as Tony hums along like a horn player, on the musical bridge. A latter-day recording from his “Here's To The Ladies” album of 1995. My 'new' all-time favorite rendition of this tender ballad which has a small Wiki entry (below) that doesn't include Tony's version on its list of 'covers.' "Tenderly" is a popular song published in 1946 with music by Walter Gross and lyrics by Jack Lawrence. Written in the key of E♭ as a waltz in 3/4 time, it has since been performed in 4/4 and has become a popular jazz standard. Notable versions have been recorded by singers, such as Sarah Vaughan and Nat King Cole, and pianists, such as Art Tatum, Bill Evans. (Oddly, no mention of this 1995 recording by Tony Bennett.) "Tenderly" was first recorded by Brazilian singer and pianist Dick Farney on June 15, 1947. One month later the song's second recording was made by Sarah Vaughan on July 2, 1947. Her version [which] reached number 27 on the Billboard chart has been described as "a ravishing rendition".[2] Shared this day at Tony Bennett's Facebook page: https://www.facebook.com/tonybennett

DOYLE DYKES – It Don't Mean a Thing (if it ain't got that swing) A song that turned 90 this month – first recorded in February of 1932 by its composer Duke Ellington. According to its recently-expanded Wikipedia entry, “In 2008, Ellington's 1932 recording of the song was inducted into the Grammy Hall of Fame.[2] A kindred spirit has included some “background” to the Wiki entry (below) that wasn't there last time I looked. ---- When I was 21 (a very good year) my guitar hero Chet Atkins recorded it – introducing millions of budding guitarists to another great old tune they might otherwise never have heard. Chet gave it his signature alternating bass lines and a fullness of tone only he could elicit from his Gretsch 'Country Gentleman' played through a Fender amp. One of his greatest successors, Doyle Dykes just posted his 'late night picking' version to YouTube – playing an old Martin steel-string acoustic: maybe not the best-sounding of his many great guitars, but a delightful rendition for those who remember the 'original' by Chet: which Doyle adheres-to for the first chorus; second time around, he makes it 'all his own.' I imagine Duke Ellington (who appreciated all forms of “good music”) as well as 'Mr. Guitar' Chet Atkins looking down from musical heaven and smiling in appreciation of this. Thanks for sharing, Mr. Dykes! From Wikipedia IT DON'T MEAN A THING was composed and arranged by Ellington in August 1931 during intermissions at the Lincoln Tavern in Chicago and was first recorded by Ellington and his orchestra for Brunswick Records on February 2, 1932. After [Irving] Mills wrote the lyrics, Ivie Anderson sang the vocal and trombonist Joe Nanton and alto saxophonist Johnny Hodges played the solos. The song became famous, Ellington wrote, "as the expression of a sentiment which prevailed among jazz musicians at the time".[3] Ellington credited the saying as a credo of trumpeter Bubber Miley,[3] who was dying of tuberculosis at the time;[4] Miley died the year the song was released.[5] The Ellington band recorded it numerous times, most often with trumpeter Ray Nance as vocalist.”

JAMES TAYLOR – Pennies From Heaven I used to sing my oldest grand daughter to sleep – or let her bounce on the bed while I sang to her, "Pennies From Heaven." Sinatra's version was always in my mind's ear. Playing right this minute on Siriusly Sinatra, my all-time favorite rendition, including as it does, the seldom-heard opening verse: “Back a long long time ago – a million years B.C. All the best things in this life were absolutely free. But no one appreciated a sky that was always blue. And no one anticipated, a moon that was always new. So it was planned, that they would vanish now and then. And we must 'pay' before we get them back again. That's what storms were made-for …. you shouldn't be afraid, for …. Ev'ry time it rains, it rains pennies from heaven.” An official version is first up at YouTube with “comments left on” (where I see my namesake wrote a review “one year ago”).

TONY BENNETT & NATALIE COLE – Watch What Happens Playing at this moment on Siriusly Sinatra channel 71 their last duet: Coincidentally (or not) I'd just been re-reading Natalie's liner notes for STILL UNFORGETTABLE -- her final album of standards – before she left us, New Year's Eve 2015, age 65. Her endearing note about Tony's persistence in recommending a song Natalie had not heard-of – another obscure gem from my second-favorite composer Harry (Salvatore Guaragna) Warren. In her liner notes (2008) Natalie wrote: "I ran into Tony on several occasions in 2007 and he kept bugging me about doing this song – Coffee Time. I had never heard of it. Tony said I would thank him . . . and he was right! Introduced in 1945 by Fred Astaire and recorded by the late Mike Douglas the talk show host, as well as by singer Carmen McRae. It's totally cool, Tony - thank you!" As for the song playing now on Siriusly Sinatra, Google the words, “Watch What Happens” to learn it has no Wiki entry of its own – just a one-liner that doesn't mention the English lyricist Norm Gimbel. "Watch What Happens", the English-language version of the song "Recit de Cassard" by Michel Legrand from the 1964 film The Umbrellas of Cherbourg.” Michel Legrand, hoping for an English-language hit version, commissioned the veteran American song-writer with a long list of hits, Norm Gimbel to give it a better lyric. Especially love the song's bridge, as the melody soars in a new direction, taking our heart with it. “Cold? No, I won't believe your heart is cold. Maybe just afraid – to be broken again …. “ Natalie's final collaboration in song, recorded for Tony's “DUETS II” album. First offering at YouTube with 332,000 “views” the 'live' in studio version, which I'd not seen before. Oh yes, and Natalie's COFFEE TIME -- Harry Warren (m) and Arthur Freed (w)

DIANA KRALL – Dancing in the Dark “For what is dancing? .... but making love, set to music …. playing ” -- Sammy Cahn Siriusly Sinatra is playing my all-time favorite version of DANCING IN THE DARK – Diana Krall's. It's been considered the most philosophical song from a Broadway show – “The Band Wagon” (1931) – haunting words by Howard Dietz to a tune by Arthur Schwartz; arguably his best melody: my musical Dad thought so, and I still agree. Composed in E-flat, Diana takes it beautifully in her key – F-sharp – and to my ears, makes it her own thanks in part, to arranger Claus Ogerman, who left us six years ago at age 85 (Wiki note below). First offering at YouTube (with “comments turned off”) has 1.4 million “views.” Which led me to this delightful video version featuring tango performances Claus Ogerman would have loved! Claus Ogerman (born Klaus Ogermann; 29 April 1930 – 8 March 2016) was a German arranger, conductor, and composer best known for his work with Billie Holiday, Antonio Carlos Jobim, Frank Sinatra, Michael Brecker, and Diana Krall. Born in Ratibor (Racibórz), Upper Silesia, Germany (now part of Poland), Ogerman began his career with the piano. He was one of the most prolific 20th century arrangers and has worked in the top 40, rock, pop, jazz, R&B, soul, easy listening, Broadway and classical music fields. The exact number of recording artists for whom Ogerman has either arranged or conducted during his career has never been determined. In 1959, Ogerman moved to the United States and joined the producer Creed Taylor at Verve Records, working on recordings with many artists, including Antonio Carlos Jobim, Bill Evans, Wes Montgomery, Kai Winding, and Cal Tjader. Verve was sold to MGM in 1963. Ogerman, by his own admission in Gene Lees' Jazzletter publication, arranged some 60-70 albums for Verve under Creed Taylor's direction from 1963-67.[2] During this time he also arranged many pop hits, including Solomon Burke's "Cry To Me", and Lesley Gore's "It's My Party", "Judy's Turn to Cry", "She's a Fool", and "Maybe I Know".[3] In 1966, Ogerman arranged and conducted Bill Evans Trio with Symphony Orchestra (Verve Records). Ogerman arranged and conducted Diana Krall's 2001 album The Look of Love, and conducted parts of her Live in Paris performance recorded on DVD. He also served as arranger and conductor for Krall's 2009 album Quiet Nights. Ogerman won the 1980 Grammy Award for Best Instrumental Arrangement for "Soulful Strut" and the 2010 Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s) for "Quiet Nights". He arranged and conducted the orchestra on George Benson's 1976 album, Breezin', as well as on two other Benson albums.

JAIMEE PAUL – At Last A once obscure song (pre- Etta James) by my second-favorite composer Harry Warren -- “At Last” is playing on Siriusly Sinatra channel 70 – a nicely orchestrated recent rendition by someone I'm not familiar-with, Jaimee Paul. The title track from Jaimee's tribute album dedicated to “the great 'girl singers' of our time.” The album cover lists a dozen of them, on a first name basis: “Rosemary, Ella, Peggy, Billie, Etta, Dinah, Julie, Doris, Judy, Sarah, Lena, Patsy.” A song that was given new life by Etta James – whose cover version was 'quoted' by at least two TV commercials, dating back 20 years. A personal favorite version the moment I heard it, was Doris Day's recording which stuck closely to the original melody. Etta took liberties with the tune and because hers was the most famous recording, those little changes she made are now part of our memory of the song. Jaimee Paul's version is more Etta James than Doris Day – but with a traditional string arrangement which quotes the original melody 'verbatim' on the musical bridge. One version at YouTube with, as usual, no hint about who arranged this beauty. Wikipedia note: "At Last" is a song written by Mack Gordon and Harry Warren for the musical film Sun Valley Serenade (1941). Glenn Miller and his orchestra recorded the tune several times, with a 1942 version reaching number two on the US Billboard pop music chart.[1] In 1960, rhythm and blues singer Etta James recorded an arrangement by Riley Hampton that improvised on Warren's melody. James' version was the title track on her debut album At Last! (1960) and was inducted into the Grammy Hall of Fame in 1999.[2] Celine Dion and Beyoncé also had chart successes with the song.

HERB ALPERT – I've Grown Accustomed to Her Face [Just left trumpet great Herb Alpert a note at his Facebook page:] "Your album of standards (early 80's) remains my favorite trumpet album -- by anyone. Especially for your sung version of 'I've Grown Accustomed to Her Face.' To my ears you made that 'enry 'iggins show-stopper from My Fair Lady "all your own." But every track on that album is a "favorite version." The stand up acoustic bass player -- the recording engineering for his instrument -- set a standard that has never been surpassed. What was his name? First name Eddy, I think." The album “Midnight Sun” has never been shared at YouTube, but this favorite track was posted when I wasn't looking, just over a year ago. Accumulating one view per day (365) with “comments turned off” so we could never “learn more” could we? Really, isn't this luverly?

TONY BENNETT -- The Very Thought of You Playing at this moment on channel 71 -- my "new favorite version" of The Very Thought of You -- composed (words & tune) by English band leader Ray Noble. How can I not have heard this gem before? A 1971 recording with strings and a trumpet solo by Tony's good friend Ruby Braff. Speaking of Tony's improvisational skills as a singer "never singing a song the same way twice," trumpet great Herb Albert said recently: "Tony is a horn player" [at heart]. As if to say, Isn't this a perfect example? Tony and Ruby 'trading lines' throughout this gem playing on Siriusly Sinatra satellite radio. Wikipedia: Reuben "Ruby" Braff (March 16, 1927[1] – February 9, 2003)[2] was an American jazz trumpeter and cornetist. Jack Teagarden was once asked about him on the Garry Moore television show and described Ruby as "the Ivy League Louis Armstrong". Braff was born in Boston, Massachusetts, United States.[1] He was renowned for working in an idiom ultimately derived from the playing of Louis Armstrong and Bix Beiderbecke. He began playing in local clubs in the 1940s. In 1949, he was hired to play with the Edmond Hall Orchestra at the Savoy Cafe of Boston.[1] He relocated to New York in 1953 where he was much in demand for band dates and recordings. He resided in Harwich, Massachusetts and died of complications from emphysema, heart failure, and glaucoma on February 9, 2003, in Chatham, Massachusetts.[3] He had spent a good part of his life living in the Riverdale section of The Bronx, New York City.

JOHN PIZZARELLI - "Virtual Tip Jars" (2/17/2022) I'm listening to John 'channeling' George Van Eps (inventor in the 1930's of the seven-string jazz guitar) and getting goosebumps. Who but John Pizzarelli could play that arrangement -- off the top of his head -- a 'by ear' transcription. I've known by heart every note of that arrangement -- since I acquired the album -- Van Eps' best --that featured that arrangement of the Gershwins' "They Can't Take That Away From Me." The courage, as well as the skill, to pull that off in 'live' performance. The mistakes only make you human. Otherwise you'd be mistaken for a guitar god. The ending, especially, those pedal point chords -- to see them finally with my own eyes, how my hero GVEps did it. Which is to say, deepest thanks for including for guitarists like me. [At the 39:43 mark] https://www.facebook.com/JohnPizzarelliOfficial

MICHAEL BUBLE -- You'll Never Know I'm not sure I've ever heard a better jazz vocal version of YOU'LL NEVER KNOW -- the 1943 Oscar-winning song by Harry Warren – than this one, sent my way a moment ago by the intuitive genius at YouTube: From a live concert performance by Canadian-born Michael Buble. Dated 2008 when he included it on a set list for shows in his homeland. I can remember a co-worker who went to Michael's last performance in Winnipeg – who was NOT a student of the Great American Songbook – telling me: “Mark, there was one slow song (in particular) that Michael sang which I know you would have liked -- called You'll Never Know.” (Now I know! 15 years on). The video's 523,023 “views” is a reminder that Michael Buble introduces millions of young people to great old songs they might otherwise never get to hear. Watching the video I was poised to comment that, “This is one of three “Best Original Song” Academy Award winners for my “other favorite composer” Harry (Salvatore Guaragna) Warren – who had a record number (21) of No. 1 hit songs by almost as many artists . . .” Then I spotted this informed note from a kindred spirit: DigitalDiscusVideo (6 years ago) This brilliant song was written by Harry Warren (music) and Mack Gordon (lyrics). It was the Academy Award winner for Best Song of 1943... one of three winners for Harry Warren of his eleven career nominations. Each of Harry Warren's Oscar winning songs was written with a different lyricist... "Lullaby of Broadway" (1935 with Al Dubin) and "On the Atcheson, Topeka and the Santa Fe" (1946 with Johnny Mercer). BTW - Another of Harry's nominated songs, "Chattanooga Choo Choo," (1940) also written with Mack Gordon and recorded by the immortal Glenn Miller, was awarded the very first ever Gold Record. Unfortunately, it lost the Oscar to "When You Wish Upon a Star" from "Pinocchio"... no great shame in that! Harry Warren (1893-1981) wrote more hit songs than even the great Irving Berlin and yet, to this day, his name is largely unknown to the general public. He was a true giant of the music and movie industries.

HERB ALPERT & LANI HALL – “Playing Favorites” One of my favorite musical couples is getting a replay this hour of their “Playing Favorites on Siriusly Sinatra” show. I tuned in, just in time to hear one of Billy May's most witty brass and cymbals arrangements for Sinatra's 'On The Road To Mandalay.' “Ship me somewhere, east of Suez where the best, is like the worst. Where there ain't no ten commandments And a cat can raise a thirst . . . ” [Official “remastered” version at YouTube, alas with “comments turned off.”] “Okay. This is Herb Alpert. We're playing some of our all-time favorites here on Siriusly Sinatra. Now – Tony Bennett – who can create 'on-the-spot' – singing the same song night after night, yet it's always going to be different. Tony thinks of himself as a horn player. So he's always experimenting, and doing something to surprise and keep it interesting – for him and for the audience. The song I chose, that I particularly like, is called SMILE.” [Plays this version recorded by Tony in 1959 – shared at YouTube eight years ago, it recently turned a million “views.”] Historical note: the melody was composed by Charlie Chaplin for his masterwork “Modern Times.” But he waited more than 20 years before commissioning two English lyric writers to come up with the words. Bennett was thrilled to hear Chaplin say to him, “Your version [this one] is my favorite.”

HARRY NILSSON – Thanks for the Memory Thanks for the memories . . . of sentimental verse, and nothing in my purse, the chuckles when the preacher said, 'for better or for worse' – how lovely it was Playing right this minute on Siriusly Sinatra satellite radio Bob Hope's signature song – my favorite version by Harry Nilsson. From a mid-70's album he recorded with London symphony / philharmonic musicians arranged by the great Gordon Jenkins. Thanks For The Memory has an extensive Wikipedia entry listing all-star cover versions of the past 80 years. Harry recapitulated the lyrics as only he could: Thanks for the memories, of rainy afternoons and pilsner by the case and how I jumped, the day you trumped my bourbon with your prunes . . . The Wiki entry includes the most distinguished recordings since 1938 when it won the “Best Original Song” Academy Award: Cover versions[edit] Martha Tilton sang vocals with Benny Goodman's orchestra recorded on December 2, 1937. RCA Camden Records CAL-872 Mildred Bailey recorded the song on January 10, 1938 with a mixed group featuring Chu Berry doing a nice tenor sax solo. Ella Fitzgerald recorded this with André Previn and his orchestra in 1955 (released as a single and on Sweet and Hot) and on her 1967 Verve release Whisper Not, with backing by Marty Paich and his orchestra. Bing Crosby recorded the song for his 1956 album, Songs I Wish I Had Sung the First Time Around. Jane Morgan for her album The American Girl from Paris (1956) Jim Hall recorded an arrangement on his 1957 debut album Jazz Guitar Sarah Vaughan recorded the tune for her 1958 album After Hours at the London House. She was apparently seeing the lyrics for the first time, as she stumbled over the term Parthenon twice before getting it right. Anita O'Day on the 1962 album Anita O'Day and Cal Tjader: Time for 2 Harry Nilsson released a version on his 1973 album recorded with Gordon Jenkins, A Little Touch of Schmilsson in the Night. Frank Sinatra recorded an extended version of the song with altered lyrics for his 1981 album, She Shot Me Down. Susannah McCorkle – Thanks For The Memory – Songs Of Leo Robin (1983), Most Requested Songs (2001) Rosemary Clooney on her 1985 album Rosemary Clooney Sings Ballads. Stacey Kent – included the tune on her 2001 Dreamsville album. Rod Stewart as the title track to his 2005 album Thanks for the Memory: The Great American Songbook, Volume IV.

JOHN PIZZARELLI -- My Valentine My new favorite recording of the best traditional love ballad of the 21st century. This month, February 2022 marks the 10th anniversary of the release of Sir Paul's "Kisses on the Bottom" CD which introduced this great song. With John Pizzarelli playing rhythm guitar throughout. Really, isn't this beautiful?