Mark Blackburn

SINATRA - Empty Tables Google the words "Empty Tables (song) Wikipedia" and …. nothing comes up. Someone should to write a Wiki entry for this 'saloon song' I've only ever heard Sinatra sing: It's playing right this minute on Siriusly Sinatra channel 70. I know Johnny Mercer wrote the words to a tune composed by Jimmy Van Heusen – their final collaboration, many years after those two wrote my all-time favorite Sinatra song -- “I Thought About You.” Include in our search the two words -- “Johnny Mercer” -- and ... Bingo! [Someone has tweeted:] “Empty Tables was one of the last lyrics written by Johnny Mercer in collaboration with composer Jimmy Van Heusen. Frank Sinatra recorded a live performance of the tune shortly before Mercer's death.” [It's a lyric that is pure Johnny Mercer:] [It's] like giving a great big party – where nobody shows but the host. That's what it's been like . . . Without you around to applaud me -- every night's just like 'closing night.' And I'm singin' the same old numbers, and I'm tellin' the same sad jokes And there's nothing 'out front' but mem'ries, and a lot of transparent folks. So call, and make a reservation, in our favorite spot-for-two, 'Cause I'm singing to empty tables . . . without you. Released last year on “Sinatra – Reprise Years Rarities Volume 3”

MICHAEL FEINSTEIN - How Deep is the Ocean? Alan Jay (My Fair Lady) Lerner – Broadway's “other greatest lyricist” – said Irving Berlin's HOW DEEP IS THE OCEAN was his “favorite song I didn't write” – as “every line is a question.” I'd forgotten that Michael Feinstein included the song's seldom-heard opening verse – itself consisting of 'questions, questions.' How can I tell you what's in my heart? How can I measure each and every part? How can I tell you how much I love you? How can I measure just how much I do? How much do I love you? I'll tell you no lie How deep is the ocean? How high is the sky? My favorite 'cabaret' version by Michael Feinstein – intertwined, with a lesser-known Berlin song, 'Maybe It's Because I Love You Too Much.' Michael Feinstein's latest project -- "GERSHWIN COUNTRY" with an all-star cast of Nashville's greatest singer/musicians. Just left him a note at his Facebook page: Hope one of these links work! "Listening with joy to my all-time favorite Bluegrass singer/ violinist, Alison Krauss harmonizing with Michael Feinstein on some people's “all-time favorite love song” – the Gershwins' SOMEONE TO WATCH OVER ME . . . https://www.facebook.com/MichaelFeinsteinOfficial Thanks to Michael for providing a "preview" duet with Alison Krauss. https://found.ee/gershwincountry-digital

Regarding LUSH LIFE - Calabria Foti

SINATRA – All My Tomorrows (1958) At the end of her (second) “Playing Favorites” program on Siriusly Sinatra -- after playing her gorgeous, never-heard-before original Nelson Riddle arrangement of LUSH LIFE (which Frank never recorded in full) my "favorite living singer” Calabria Foti closed her show with an anecdote dear to all our hearts: Her “one moment alone with Sinatra.” “As a young violinist in an orchestra,” she says, “I got to share a stage with Sinatra – just once: It was at a hotel in Beverly Hills. You could FEEL the electricity in the air – all the musicians were really 'edgy' because . . . it was SINATRA's show! I was really nervous, to know that HE was somewhere backstage, and I just HAD to find him, and say Hello! I knew it was a little crazy but . . . it was my only chance to say Hi! So, about twenty minutes before the show started, I went backstage, and I approached the area where he was getting ready. And I sort of jiggled the curtain a little, and I said: “Hi!” Sort of shyly. He was fixing his bow tie and he did a little half-turn and looked – and he said: 'Hi, Kid! How ya doin' ?' I grinned and I said, “I'm SO happy to be here!” He just nodded and smiled! It was the most magical evening, playing for the greatest entertainer in show business.” [Calabria added:] I'd like to close this show with this song, that Mr. Sinatra did on a few occasions. This is my favorite version, from 1958, arranged by Nelson Riddle. And I know that this is one of Tina Sinatra's favorite songs too. But before I sign off, I'd like to thank the Sinatra family – the late Frank Sinatra Junior, Charles Pignone, Lou Simon and Brian DeNicola for their kindness and support. And I'd like to wish YOU Happy Holidays! Thank you so much for listening, and God bless! This is Frank Sinatra singing All My Tomorrows.”

BARBRA – What Matters Most (is that we're loved at all) I had to scroll down umpteen pages of reviews (there are nearly 400) at Amazon to find the one I wrote in August 2011: "5-stars" and titled "What Matters Most (is that we're loved at all) Minutes after buying my copy of the special edition (2-CD set) I sat in my car (windows up, air conditioner going full-blast) listening to the title track (the real reason I was compelled to obtain Ms Streisand's heartfelt tribute to her friends. As a life-long fan of "The Bergmans" I'd been delighted, just recently, to hear for the first time the words they composed to this tune by pianist/composer/arranger Dave Grusin: It's a song so obscure that (according to the liner notes) the copyright remains attributed to "Metro Goldwyn Mayer Inc" with "rights assigned to Ole Movie Classic [films]." A week ago I heard Jack Jones first sing these words, on the drive in to work (copied down, thanks to satellite radio's `record' function, and a few red lights) and I've since committed them to memory. For life-long cynics (like me) the words alone on the printed page may appear sentimental. But then you hear Ms Streisand bring out their timeless beauty, singing this overlooked gem of a song, the way it was meant to be sung: performed with a good sized stringed orchestra, arranged by "William A. Ross" whose musical bridge features the wistful, `beckoning' sound of French horns: my favorite 'timbre & tone' (the closest to the male singing voice among the brass instruments, I believe). Barbra Streisand was inspired to make WHAT MATTERS MOST the title track. Still seemingly at her vocal peak (how does she do it?) the singer brings an exquisite dignity to the gentle loving words by Marilyn & Alan Bergman, perfectly mated as they are to an achingly beautiful melody - my favorite, actually - by Dave Grusin. ---- It's not how long we held each other's hand. What matters is how well we loved each other. It's not how far we traveled on our way, but what we had to say. It's not the Springs we've seen, but all the shades of green. It's not how long I held you in my arms, What matters is how sweet the years together. It's not how many Summer times we had To give to Fall . . . The early morning smiles we wistfully recall [the laughter and the tears we gratefully recall] What matters most, is that we['re] loved at all. ---- "This album," says the title page, "is dedicated to the director of THE WAY WE WERE, our dear friend Sidney Pollack. He lives on in our hearts with deep respect and eternal love. -- Barbra, Marilyn and Alan

BARBRA STREISAND – You Must Believe in Spring As if to say “Aren't you forgetting something?” Channel 70 programmer 'Jersey Lou' Simon is playing Barbra Streisand's version of YOU MUST BELIEVE IN SPRING. Coincidentally (or not) I'd just been trying to recall if Tony Bennett and Bill Evans had recorded a great “Michel Legrand & The Bergmans” song. Sure enough, it was this one, from their “Together Again” (1977) album – my “other favorite version” of one of Alan and Marilyn's very best lyrics, to a melody by Legrand. It had a French lyric by “J. Demy” but Michel needed the 'Bergman Touch' for it to become a jazz standard. Playing right this minute on Siriusly Sinatra satellite radio. Best audio upload to YouTube – an official version posted eight years ago with “comments turned off” – a pity. Wondering, “Who's the pianist 'channeling' Bill Evans?” And Where's a Wise Man (or Woman) when you need one!

BARBRA STREISAND – Windmills of Your Mind At a time when the music world is mourning the passing of Marilyn Bergman, I'm listening to Sirius radio channel 70 playing the best recording by Barbra Streisand that I ever heard. Far and away the best rendition of The Bergmans' Oscar-winning “Best Original Song” lyric set to one of Michel Legrand's greatest melodies. Funny -- the modest Wikipedia entry for THE WINDMILLS OF YOUR MIND fails to even mention this retire-the-trophy rendition. [ ! ] Just recalled that this was Track 1 on an album Barbra recorded eleven years ago – her 'all-Bergmans' tribute titled “What Matters Most.” [One I reviewed at Amazon at its release “August 23, 2011” - note below] A 'classical' arrangement of exquisite subtlety that summons up in my mind's ear an 'on stage' performance by a gifted operatic singer. Yes, a decade later, still my favorite recording by Barbra. Maybe the Bergmans' too? Most “viewed” version at YouTube (nearing 720K) and posted with a winning slide show, you may agree.

“Ch 70 – CALABRIA FOTI – Backyard Medley” Streaming at this moment on the computer – my 'favorite living singer' with a song whose tune I first loved 60 years ago. But I never knew the lyric until Calabria recorded it for her most recent 'orchestral' album, PRELUDE TO A KISS. "Love Nest" -- the theme for the “George Burns & Gracie Allen” weekly TV show of the 1950's. I was very young when I first heard this lovely melody (which faintly resembles George Gershwin's final tune, 'Love is Here to Stay' - enough to confuse them in my mind's ear). “It's a love nest, so cozy and warm / like a dove nest, way down on the farm . . . It's our love nest, that we call 'Home' . . . Hi, Honey, I'm home!” ---- Coincidentally (or not) I'd been re-reading George Burns' book, “GRACIE” – his witty tribute to his Irish-American wife and partner since Vaudeville stage performances. Gracie Allen was 'the funny one' while George spent an entire career playing 'straight man' to her dizzy character on their long-running radio and TV shows. Last night, just before bed, I closed that book's final pages, concerning the night Gracie died: George, at the hospital, kissed her goodbye while silently wishing he could “ask her one more time, 'So, how's your brother?'” Imagine my delight when I hit the 'back 1 hour' button on Sirius Radio and there's Calabria Foti singing their theme song as part of her “Backyard Medley” – a trio of great old songs that 'don't get around much anymore.' Three tunes beautifully interwoven in under four minutes. Looking now at the album cover – and cherishing the personal inscription, in silver ink -- “To Mark, Blessings to you my friend! Love, Calabria” (above the liner notes): “Backyard Medley -- BACK IN YOUR OWN BACKYARD – Al Jolson /Billy Rose /Dave Dreyer, GIVE ME THE SIMPLE LIFE – Rube Bloom / Harry Ruby, THE LOVE NEST – Luis Hirsch / Otto Harbach.” “Arranged by Calabria Foti” -- the medley opens with solo piano by another great arranger Roger Kellaway with Calabria singing, “The bird with feathers of blue, is waiting for you, back in your own backyard!” Alas, Calabria's version of Love Nest is not to be found at YouTube. Just re-watched her promo video for this great orchestral album. And I renew my threat to purchase your copy of this or any other of her albums if you don't just “love it to bits.”

THE BERGMANS - their final lyric: “The Same Hello, The Same Goodbye” As their “Playing Favorites on Siriusly Sinatra” show neared its end tonight, we heard Alan Bergman say wistfully, “There are times when we finish a song and we look at each other and say …. 'Wouldn't Frank sing this so well!' And even though he never sang it, we can hear it, in our minds.” Then they played the song they wrote at Michael Feinstein's request -- "based on a little slice” of a more lengthy song they'd composed for Sinatra at his request (“I need a song from you!”). The melody Alan said was from “a top rated jazz pianist, Johnny Williams.” When they'd completed this assignment from Frank, “We went down to Palm Springs to play it for him at his home. He was moved to tears” and said, 'How could you know so much about me – about my life?' Frank said he would record it” but for various reasons “was unable to” in the time remaining. We hear Michael Feinstein with piano and strings, from his most recent album 'The Sinatra Project' singing this, the Bergmans' last lyric as a team: THE SAME HELLO, THE SAME GOODBYE. [1 upload to YouTube by “Universal” -- “comments turned off” -- 700 “views” -- 12 “thumbs up”] A pretty tune harmonically speaking; but a melody I could never hum or whistle, beyond those first four repeated notes. (Could you?)

SINATRA - Summer Me, Winter Me Siriusly Sinatra is playing Frank's version of SUMMER ME, WINTER ME -- as if saying to me personally, Didn't you once call this the best (vocal) rendition of your absolute favorite song with lyric by The Bergmans? Why yes, programmer extraordinaire 'Jersey Lou' Simon, I did. And it's still true! Michel Legrand had written the music for an earlier film but it wasn't used; he asked his Oscar-winning collaborators to write a lyric. It didn't win the Best Original Song for the movie "Summer of '42" -- a dirty rotten shame. Oh, it's Charles Pignone's Alan Bergman interview special, and they just introduced IT MIGHT BE YOU. (See note below) From "Trilogy" (1980) -- The Bergmans were thrilled with this. And with Don Costa's arrangement which pretty much stuck to the original brilliant orchestration by Legrand.

DAVE GRUSIN - It Might Be You I miss 'The Sinatra Family Forum' dot com web site which Nancy terminated last August 1, after a 24 year run. I left a note last night at Dave Grusin's Facebook page, about one of his other Oscar-nominated movie theme songs -- and spotted this, from "2 years ago" an earlier note -- “Shared with Nancy at Sinatra Family Forum." Dave Grusin and a solo, live performance of his best movie theme song, IT MIGHT BE YOU (for "Tootsie" with lyrics by The Bergmans, Marilyn & Alan). One of my guitar heroes, Lee Ritenour, standing stage right, head bowed in awe at his friend's solo performance. That's Ritenour's Gibson ES-335 on the guitar stand next to Dave's Yamaha. But you knew that. There are two pianistic giants who composed great film music -- both described as "jazz pianists" but really, more than that: they are what I call 'spontaneous arrangers' -- a cut above all the others. We lost one of them, Andre Previn age 89 at the start of this year; here's the other one, as great as ever. Your seeing this YouTube video will take its "views" total to 99,099. ("Come give me a rub," says a sleepy voice, stage right. Sleep warm! as Frank used to sing.)

CARMEN MCCRAE – The Trouble with Hello is Goodbye As if to say, “Wasn't this song your favorite lyric by Marilyn & Alan Bergman?” At this moment (4:00 a.m.) Siriusly Sinatra satellite radio is playing Carmen McCrae's lovely version of THE TROUBLE WITH HELLO, IS GOODBYE. There's something special about Ms McCrae's voice, that always delighted me. You too? The wonderful melody was composed by my favorite living jazz pianist/arranger Dave Grusin. One of The Bergmans' 16 (correct) Academy Award nominations – it didn't win the “Best Original Song” Oscar that year. (I used to know which song did.) Thanks, to channel 70's programmer extraordinaire 'Jersey Lou' Simon for including this one, just for me! One upload to YouTube in 2011. 22 helpful votes. No comments. Let's change that.

BARBRA - The Way We Were To honor the passing today (1/8/2022) of Marilyn Bergman, Siriusly Sinatra satellite radio producer Charles Pignone is playing one of his favorite specials: “An Interview with Alan Bergman.” CHARLES: “Didn't you – or was it Marilyn – tell me earlier, that you thanked Frank at the Grammys that night? As he was walking offstage you said, 'Thanks for recording Nice 'n' Easy for us!” ALAN: “Yes, and he said 'Nice goin' kid!' CHARLES: And speaking of Barbra – you've had a long association with her. Tell me how it began. And how it's lasted so long. ALAN: Yes, we met her when she was 18 years old. We heard her sing – Jule Styne had brought us down to hear her sing – this is BEFORE Funny Girl – in a little club: She was opening act for Phyllis Diller [chuckles] Oddly enough! And she was just so . . . CHARLES: You knew right away. ALAN: Oh my God yes. Marilyn was just crying – after the first eight bars! And then, a couple of years later, she did an album of 'Standards' and she recorded a song of ours called ASK YOURSELF WHY. That was the first song. She has since recorded 65 (correct) songs of ours! [up sound for a live performance of THE WAY WE WERE]. From 1975 a performance that transcends the shaky video tape recording you may agree.

“Award-winning lyricist Marilyn Bergman died Saturday morning at her home in Los Angeles, according to her daughter Julie Bergman. She was 93.” Siriusly Sinatra satellite radio regularly plays a snippet of Marilyn Bergman recalling the day in the 40's when she “skipped school and was charged with truancy” for slipping away to see a young Frank Sinatra in a daytime NYC concert. “I was a bobbysoxer,” she said, “I had to be there!” Marilyn and her husband Alan wrote “Nice 'n' Easy” for Frank Sinatra before they were married in 1958. They were introduced by Lew Spence who wrote the music for “Nice & Easy” and that was when they first learned they'd been born in the same New York hospital! Their life-long love affair based in music produced no fewer than 16 Oscar-nominated songs. They won three Academy Awards. They worked with so many top artists, including Michel Legrand (who died in January 2 years ago) as well as Cy Coleman and Marvin Hamlisch. Their songs were covered by the world's greatest singers, from Sinatra to Barbra Streisand, Aretha Franklin and Michael Jackson. ---- Just weeks ago, here I celebrated my favorite of their collaborations – with Sergio Mendes – a lyric only 'The Bergmans' could have written for this terrific tune (below). They had such an identifiable style. Marilyn Bergman was wise too, and provided some fine insights into song writing. This, for instance from a 2013 interview: "If one really is serious about wanting to write songs that are original, that really speak to people, you have to feel like you created something that wasn’t there before — which is the ultimate accomplishment, isn’t it?" And to make something that wasn’t there before, you have to know what came before you." In other words, “study the masters” of the Great American Songbook. See how they did it first. [From the “Crystal Illusions” album - 1969] “We can gather rain enough for the stream To hold our happy faces When you want a breeze I'll blow you a kiss or two Take me in your arms and our little world Will be the place of places Nothing else to make but breakfast and love We'll hang a little sign that just says -- 'Paradise, Population Two' Marilyn and husband Alan Bergman accepting another Grammy award.

RICHARD SMITH -- Georgy Girl Sent my way by the intuitive genius of YouTube: English-born Nashville-based Richard Smith playing his own signature model of a KIRK SAND guitar -- the "finest nylon-string instruments ever made." Says who? Oh ... Chet, and Jerry Reed, and Lenny Breau (who grew up here in Winnipeg from age 15) and Doyle Dykes (who played at Chet's memorial service at the Ryman). Tommy Emmanel is the latest to acquire one (a steel-string acoustic model). In the pantheon of living guitar greats, only England's Martin Taylor doesn't own a Kirk Sand. (Or does he?) Each of these giants has brought something new to the game -- some little innovation, all their own -- which is a measure of their greatness. Which is to say, Thanks, Richard Smith! Cannot imagine a more beautiful rendition of this old favorite, Georgy Girl. https://www.facebook.com/mark.blackburn.3910

There's a beautiful late-in-life photo of Ralph Carmichael at his Facebook site. https://www.facebook.com/profile.php?id=100063512494705

RALPH CARMICHAEL - A Quiet Place Ralph Carmichael has died -- two months ago and I just learned of it tonight. Just as people seldom ask “Who wrote that song?” – fewer still will ever ask: “Who arranged it?” So ... no surprise to find that Mr. Carmichael's death in mid-October 2021 went unnoticed in the media. Two years ago, I contacted Mr. Carmichael – who did most of the beautiful orchestrations for Nat King Cole's multi-platinum Christmas album -- I'd emailed to say how I'd come, "late-in-life. to appreciate your greatness.” I singled out one of my favorite of his orchestrations (below) for Nat Cole's version of A NIGHTINGALE SANG IN BERKELEY SQUARE – which I declared to be “just as beautiful” as my other all-time favorite arrangement by Robert Farnon for Sinatra's only outside-America studio album (“Great Songs From Great Britain” - 1962). I told him the Canadian-born Mr. Farnon was "a friend of my father's, who arranged one of Dad's songs for presentation on the BBC in wartime when Bob headed the “Canadian Forces Band”. Farnon would listen to shortwave radio from America each night, then transcribe his own arrangements of popular songs to be played on the BBC as soon as possible. Mr. Carmichael got a kick out of knowing that! Ralph Carmichael especially appreciated knowing that Nat was my Mom's favorite singer, and her favorite album of his was one Mr. Carmichael had arranged – THE TOUCH OF YOUR LIPS. I told him my Dad gifted Mom with the black vinyl LP of that album "for Christmas 1961." His gracious and appreciative response was immediate, and just like Sinatra he said, “It's so good of you to take the time!” I thought of Ralph Carmichael tonight as I watched an early video -- by finger-style virtuoso Walter Rodrigues Jr. -- of a latter-day composition by Mr. Carmichael for the singing group 'TAKE 6' – which Walter transcribed beautifully you may agree, for “solo guitar.” Below the video Walter Rodrigues Jr. responded (“1 year ago”) “Hey Mark! Thanks for your kind words as always. I first heard Take 6 when I was at GIT in 1989 and was completely blown away, but it was years later when I adapted their arrangement for the guitar. Also have to agree with you on Laurindo Almeida and Luis Bonfa, and Carmichael's writing is just gorgeous indeed!” Wikipedia note: Ralph Carmichael (May 27, 1927 – October 18, 2021) was an American composer and arranger of both secular pop music and contemporary Christian music, regarded as one of the pioneers of the latter genre as well as the father of contemporary Christian music. Carmichael's big break came in the late 1950s, when his work came to the attention of Capitol Records, who asked him to provide arrangements for an album of mainly sacred Christmas songs by one of the label's biggest stars, Nat King Cole. The result, The Magic of Christmas, was released for the 1960 festive season, by which time Capitol had already set Carmichael to work with Cole on more secular albums. Carmichael duly became Cole's most regularly utilized arranger from then until the singer's death in early 1965. Their first mainstream pop collaboration was The Touch of Your Lips (also 1960), an album of romantic ballads backed by lush strings, and their final team-up was Cole's last album, L-O-V-E. Featuring jazzy big band arrangements, it was recorded in December 1964, only two months before Cole succumbed to the lung cancer which was already in its advanced stages. Nat King Cole's recording of A Nightingale Sang in Berkeley Square (arranged by Ralph Carmichael):

TOMMY EMMANUEL – A Mostly Beatles Medley (December 11, 2021) He's been an American citizen for three years now, based in Nashville. Pre-covid he was performing up to 300 'dates' a year. He's older now, but playing with as much power and precision as ever. He'll take your breath away in concert. The last time he played Winnipeg the small newspaper advertisement said simply: “Greatest guitarist I've ever seen” – Eric Clapton. It was his second visit to Winnipeg within a year: The first (I like to believe) was the result of my politely pestering Mr. Emmanuel for a few years to “include the world's coldest major city in your travels.” I got two tickets to the 'meet-and-greet' before the show (my guitarist grandson Thomas and me). After the show, Tommy said he'd enjoyed the Winnipeg welcome so much, “We've already arranged to come back here in one year.” A guitarist friend shared this video -- recorded just a few weeks ago in Boston, at a small charity benefit for an audience of 100 who gave him a standing ovation after his 'mostly Beatles' medley. If you can spare 14 minutes, The Beatles segment starts at the 1:01:33 mark (of this two hour show) after an endearing recollection by Tommy about his “Mum”: “I remember,” he says, “my Mother saying to me – back when the Beatles were HUGE in Australia with five songs in the Top 10, my Mother said, 'Don't listen to that rubbish!' “Years later I'm playing a concert in the town in Australia where my Mom would eventually be living. I'm in a big hall and I play my version of MICHELLE. At the end of the night, my Mom comes up to me and says, 'What was that BEAUTIFUL piece of music!?' I said [big smile] That was the Beatles, Mum!”

PAUL MCCARTNEY – My Valentine Playing, just for me, I'd like to think, on Siriusly Sinatra satellite radio -- my favorite latter-day ballad from the greatest singer composer of the latter half of the 20th Century (according to all the other greats). This one still gets my vote for 'Best Traditional Ballad' of the 21st Century (so far). Like Cole Porter, and very few other songwriting greats, “Sir Paul” composes both words and tune. I'd been 'itching' to hear this very song -- to warm my 75-year-old heart on a cold, overcast and snowy winter's day, here in the “world's coldest major city.” (Ask any Canadian – they'll tell you where that is.) The mind-readers at Siriusly Sinatra just 'scratched that itch.' Google the song title and first offering is this one. I'd forgotten that Paul, now in his 80th year, asked a favor of a favorite actress Natalie Portman who knows sign language. Isn't this beautiful? “And she was right! this love of mine -- my valentine!”

TONY BENNETT / BRAD PAISLEY – They Can't Take That Away From Me Brad is (also) one of Nashville's greatest guitarists; here, he plays some beautiful electric jazz guitar licks throughout this duet with Tony (my favorite Gershwin tune since early childhood). Can't recall ever hearing this one before right this minute on Siriusly Sinatra satellite radio. Ah . . . a “bonus track” on the "TARGET stores deluxe edition" of 'Duets II.” Tony Bennett has always maintained that the very best duets involve very different singers: It makes for the best chemistry and brings something fresh and new to old familiar favorites. Case in point. Isn't this delightful? This duet was followed immediately on early morning Siriusly Sinatra satellite radio by our favorite Sinatra Wise Man, Bob Freed's favorite version of 'Baby, It's Cold Outside.' Bob's “all time favorite jazz pianist" Les McCann and a terrific duet with . . . what's her name, Bob? An endearing voice whose identity is always missing from the Siriusly Sinatra satellite radio scroll. Their closing love patter – is so natural -- and funny! HE: “I'll keep you warm forever!” SHE: “You naughty, naughty man.” HE: “Compared to who?” From “A Time Les Christmas” (2018). I can never find at YouTube. But "Bob in Boston" can! He just provided this link ("The full album is at Youtube"). And the name of Les' duet partner: "Maxayn Lewis"

TOM WOPAT – Born to be Blue I'd just been thinking about my “favorite living male singer” – Tom Wopat, (aka Luke Duke of Hazard County fame). Lo and behold, the mind-reader who programs Siriusly Sinatra is playing Tom's recording of BORN TO BE BLUE. Had to Google to learn that it was composed by the guys who gave us The Christmas Song (Chestnuts Roasting on an Open Fire). There's a one-line Wiki entry for this song that wasn't there before, last time I checked. From Wikipedia "Born to Be Blue" is a 1946 traditional pop torch song written by Mel Tormé and Robert Wells. It was first recorded by Tormé and Sonny Burke in 1946. It was revived by both singers and instrumentalists starting in the mid-1950s, and is considered a jazz standard.[1]

SINATRA – Maybe This Time (Live on Johnny Carson) "Those were the days, my friend – we thought they'd never end" – the times when Frank Sinatra sang 'live' on 'The Tonight Show' – back when most every late night TV viewer in America (Canada too) was watching the same show! A phenomenon that united millions of us, in a special way, that's long gone with the wind. Permit an aside: I remember Chet Atkins telling me, at the end of an interview in my hometown of Ottawa Canada in 1971, that most nights his wife would find him “asleep with a guitar in my lap, while watching Johnny Carson.” A rare gem of a video, shared by my favorite Facebook friend in England Bill H. Not many of Johnny's “special guests” got a standing ovation, lasting a minute! The smile of joy that welcomes those waves of love from the studio audience: Frank – simply “happy to be me!” The opening song of a medley, MAYBE THIS TIME is one Frank loved to perform live, in Vegas. Composed by the Broadway team of “Kander & Ebb” for 'Cabaret' (the movie version) but destined for obscurity without a little help from its friends. It took fans in England to finally get a Wiki entry for the song (below). Oh yes, and one terrific arrangement – which The Tonight Show orchestra conveyed 'verbatim' as written by . . . I forget which arranger – Don Costa? Where's a Wise Man (or Woman) when you need one? ---- From Wikipedia "Maybe This Time" is a song written by John Kander and Fred Ebb for actress Kaye Ballard.[1][2] It was later included in the 1972 film Cabaret, where it is sung by the character Sally Bowles, played by Liza Minnelli. It had already been recorded and released twice, in similar arrangements, on Minnelli's debut studio album Liza! Liza! (1964), and subsequently New Feelin' (1970), but it turned into a traditional pop standard after its 1972 inclusion in Cabaret. Though originally written in 1964 for a different purpose, the song was put into the 1972 film version of the 1966 Cabaret musical.[3] This is one of two numbers that were added only in 1998 . . .” The Telegraph explained that the song should have an air of "desperate hope" and that Bowles should feel like "someone teetering on the edge of despair." The song has been described as a "wistful" [9] and "heartbreaking".[10] Lincolnshire Review described the song as a "soaring ballad",[11] and Peterborough Telegraph deemed it "hopeful".[12]

DOYLE DYKES - The Road Back Home “Well that's a song I had not thought about – not REMOTELY thought about playing in this Sunday string-a-long,” says my finger-style guitar hero Doyle Dykes, midway through this video. Just had to say this is the “most beautiful melody I never heard before!” Love that Mr. Dykes was spontaneously moved to include it, as a segue from an old hymn -- around the 9:00 minute mark. “That's a song I wrote called 'The Road Back Home'." So glad you shared this one with us, Mr. Dykes! Good songs have strong bridges – those middle parts where the melody soars in a new direction, taking our hearts with it. Case in point, this bridge/release at the 10:14 mark. Love your show closer at 24:25 when you pick up your signature model GODIN for a lovely melody, a hymn I'd not heard, as you sang the refrain, "Thou art the Potter and I am the clay." I agree with "songserenade" who wrote below this video (1 hour ago) "Thank you Doyle! Your Guild is my favorite." Just had to add: That Guild was custom crafted for Doyle by Ren Ferguson, who for almost 20 years was the greatest luthier since Lloyd Loar at Gibson's Boseman Montana plant. He built my Gibson "Northern [Southern] Jumbo" -- best acoustic guitar I've ever played.

BEVERLY KENNEY - Everything Happens to Me Shared by a dear Facebook friend in California, who wondered "Have you heard of Beverly Kenney?" [I responded] One of my favorite humorous jazz standards. A favorite line: "I guess I'll go through life, just catching colds and missing trains . . . everything happens to me." I remember that Beverly Kenney died young (28) after trying to commit suicide a few times -- in long ago 1960, around the time this b&w 'kinescope' was made. [Wonder if the emptiness she felt in Hef's presence contributed?] Nice of him to give her this chance on his show, since even then as he implied, she was little known and deserved a wider audience. She sang beautifully. And died, apparently two months after this performance.

SINATRA – I Couldn't Care Less It's 3:33, and there's no one in the place except you and me . . . Siriusly Sinatra satellite radio is playing Sinatra's seldom-heard I COULDN'T CARE LESS – a Cahn/Van Heusen song on Frank's “The Capitol Years” 3-CD box set -- a song I singled out in an Amazon review two decades ago. I'd purchased as a three-cassette version (remember those?) and when it was stolen from my car's glove box (remember those?) my wife purchased the CD version as a Christmas gift. Where's that Amazon review? [5 stars and titled] ALMOST HIS VERY BEST COLLECTION Reviewed in the United States on December 12, 2002 I'll always be partial to this Capitol Years 3-CD box set which introduced me to Sinatra's greatness ten years ago. It was my first CD purchase---actually I bought the three cassettes first, and when the tapes were stolen from my car, my wife bought me the CD version for Christmas '92. . . . This 3-CD collection has some unique virtues that have not been commented on: 'Only available here' for example, is the previously commercially unreleased Cahn/Van Heusen masterpiece "I Couldn't Care Less" featuring what this reviewer considers Nelson Riddle's single most beautiful ballad arrangement. Sinatra works his subtle magic with one of Sammy Cahn's very best lyrics ("Balmy breezes are blowing, the stars in the night are glowing, but I couldn't care less") while orchestra conjures up sounds of a summer night, with Riddle's strings ratcheting up through almost two octaves of semi-tones in the first eight bars of the instrumental bridge (release). Simply heavenly! And to think Sinatra and the musicians did this in one take.