Mark Blackburn

TONY BENNETT – The Best is Yet to Come Just watching a 'live' performance by Tony Bennett (“at the 'i-tunes' festival in London, in 2010”) of THE BEST IS YET TO COME – a song whose title words (from my favorite female lyricist Carolyn Leigh) were the very ones Frank Sinatra wanted inscribed on his gravestone. Tony would have been 83 then – the same year he performed at our thousand-seat concert hall in Winnipeg; I caught up with him after the show at his hotel – in time to declare: “Mr. Bennett, that wasn't merely the best performance by an 83-year-old – that was the greatest performance by anyone that I have ever seen.” We conversed for a few minutes as he inscribed my copy of his book 'The Good Life' (1998). I was just reminded by a dear friend and professional musician in Wisconsin of just how affecting Tony's latter-day performances could be: Samuel Chell – a retired English prof and professional jazz pianist – recalled a more recent performance: I first heard Tony in concert in 1964 – pleasant but hardly gripping. 2015 was a different story. The crowd at Milwaukee's Riverside Theater was simply enthralled. Now in his late '80s, Tony finally waved off his musicians and filled the deep and high space with "Fly Me to the Moon," a singing the entire lyric "a cappella." When the applause stopped, Tony made a curious statement: "You see, I sing jazz." 20 years ago such an explanation would have seemed gratuitous. But to this audience, comprising under-55 year olds, it seemed to come as a revelation. Without elaborating, Tony launched his finale, "The Good Life," which is not only one of the best songs written after 1960 but the title of Tony's autobiography. Following this experience, I was too overcome by emotion to speak--even to my wife, who wondered if I was angry or depressed. After half an hour I had assembled myself sufficiently to suggest that the concert was on the same level as any of the six Sinatra concerts we had attended together. I only wish the event had been recorded. A well-recorded video we could only hope! – like this performance, in London 2010: The same great musicians including Lee Musiker, piano, Gray Sargent, guitar and Harold Jones percussion. https://www.youtube.com/watch?v=TmRmgysMngY

MCCARTNEY – Kisses on the Bottom It's quarter to three, there's no one in the place except you and me, and Siriusly Sinatra satellite radio is playing Paul McCartney. From his KISSES ON THE BOTTOM album of a decade ago, channel 70 has been playing at least one track per day; the latest is the title track, I'm Gonna Sit Right Down and Write Myself a Letter (“a lotta kisses on the bottom, I'll be glad I got 'em”). With my favorite guitarist / jazz singer John Pizzarelli playing rhythm. Like vintage guitars and violins, this album just improves with age, you may agree. Some of these tracks are my 'all-time favorite' versions – case in point. This won a Grammy for best music video. But you knew that.

JAMES TAYLOR – his award-winning jazz vocal: 'Don't Let Me Be Lonely Tonight' On his Facebook page today James Taylor shared with us a favorite 'live' concert version of 'Don't Let Me Be Lonely Tonight' (1979). Or as I like to call it – my “other favorite jazz standard of the 1970s” along with Billy Joel's 'Just The Way You Are' – both songs featuring brilliant sax solos. In my favorite of his teaching videos for guitarists, James uses cameras attached to the body of his favorite instrument (see below) to share key sequences of what he himself dubs the song that brought him into the new category of “folk/jazz.” Coincidentally (or not) I'd just been re-reading a 'review' by my namesake “4 years ago” about my own favorite version – James with an all-star cast of jazz musicians, recorded in 2002 as a 'return favor' to sax giant Michael Brecker, whose iconic solo was featured on James Taylor's original recording of 30 years earlier (for his 'One Man Dog' black vinyl LP). James' recapitulation for Michael's 'Nearness of You' album won James the Grammy for “Best Male Pop Vocal” – as well as one of 15 Grammy awards Michael Brecker picked up in an all-too-short but utterly brilliant career: only 57 when he left us in 2007. https://www.youtube.com/watch?v=OOOZ1PlTkPY Wikipedia "Don't Let Me Be Lonely Tonight" is a song written and performed by American singer-songwriter James Taylor, from his 1972 album One Man Dog. The song has been included on three of Taylor's greatest-hits collection albums: Greatest Hits (1976), Classic Songs (1987) and The Best of James Taylor (2003). Taylor re-recorded the song for the 2001 Michael Brecker album Nearness of You: The Ballad Book; this rendition won Taylor the Grammy Award for Best Male Pop Vocal Performance in 2002. James' own YouTube video -- making those beautiful chord sequences look easy! https://www.youtube.com/watch?v=WV5JfELpibs&t=1s

TOMMY EMMANUEL -- Bluegrass and Blue Smoke Just left my "other favorite, living guitar virtuoso" a note -- re a video clip from a recent concert. I meant to add: "Is it just me, or does Tommy get better (even faster) with age?" 1 hour ago (edited) At around the 0:43 second mark (after what I'd call a 'micro-history' of Bluegrass picking) Tommy plays an obscure Merle Travis composition -- at first with 'flat pick' plectrum style, then finger-style with thumb pick -- BLUE SMOKE. Tommy alone, among the great finger-style virtuosos, ever plays this one -- my favorite instrumental composed by 'the father of finger-style guitar.' I'll tell you who would have loved this: Merle himself. I imagine him looking down in awe at this inspired medley -- barely three minutes in length. And don't you love Tommy's concluding crescendo. What an ending! Tommy Emmanuel explains his own success as "always wanting to surprise" his audiences with "something new" -- including things that make us laugh: As when (just after the 2:07 mark) he continues to play -- while taking his left hand away to wave "Hi!" to someone, stage right. William Thomas Emmanuel AM (born 31 May 1955) is an Australian guitarist (now a U.S. citizen). One of six children, Emmanuel was born in Muswellbrook, New South Wales, Australia, in 1955. He received his first guitar in 1959 at age four and was taught by his mother to accompany her playing lap steel guitar. In 1961, at the age of six, he heard Chet Atkins playing on the radio. He vividly remembers that moment and said it greatly inspired him as a musician.[4] Emmanuel had said that even at a young age he was fascinated by Chet Atkins' musical style of playing bass lines, chords, melodies, and harmonies simultaneously using the thumb and fingers of the right hand, achieving a dynamic range of sound from the instrument. Although Emmanuel's playing incorporates a multitude of musical influences and styles, including jazz, blues, bluegrass, folk and rock, this type of country finger-style playing is at the core of his technique. While Emmanuel has never had formal music training and does not read or write music, his natural musical ability, intrinsic sense of rhythm, and charisma gained him fans from all over the world. As a solo performer, he never plays to a setlist and uses a minimum of effects onstage.[6] He usually completes studio recordings in one take. As a young man in Australia, Emmanuel wrote to his hero Chet Atkins in Nashville, Tennessee. Eventually, Atkins replied with words of encouragement and a long-standing invitation to drop by to visit. In 1997, Emmanuel and Atkins recorded as a duo, releasing the album The Day Finger Pickers Took Over the World. It would be Atkins's last album.

DOYLE DYKES – Tiger Rag (“Chet Atkins cover”) If I didn't know better I'd say, What a coincidence! Just yesterday, this life-long Chet Atkins fan had been recalling “the fastest picking Chet ever did” – on his early “HI FI IN FOCUS album (a monaural recording made in his basement studio, circa 1956) with TIGER RAG as the opening track. There were certain phrases – clusters of notes – that Chet played faster than . . . anyone, before or since. So. Imagine my delight to find Tiger Rag the very one Doyle Dykes selected to play for us on line last night – employing a similar-sounding Gretsch 'White Falcon' instead of Chet's signature 'Country Gentleman' guitar. (Doyle owns multiples of each great instrument). https://www.youtube.com/watch?v=DLB35BI-FgI As 'covers' go, it is almost perfect! Doyle would be the first to tell you that Chet managed to slip in a few extra notes, at certain key moments (those moments when Doyle will chuckle, or say under his breath “Get in there!”). And those fast phrases Chet managed to play 'clean' without blurring of notes (See below:) To appreciate what Doyle accomplishes – alone, I would say, among the greatest, finger-style virtuoso's – listen to the original. (Really, is there anything you can't find at YouTube?) https://www.youtube.com/watch?v=rIfCBeU6dx8

TONY BENNETT / BILL EVANS – Make Someone Happy On his Facebook page today Tony Bennett posted a beautiful graphic with the quote: "My goal is to express truth and beauty." Recalling jazz piano giant Bill Evans' final words to Tony – his favorite jazz singer shortly before he died. The jazz world's most influential pianist's last words to Tony: “I wanted to tell you just one thing. Just think truth and beauty. Forget about everything else. Just concentrate on truth and beauty, and that's all.” --- Ask his fans to list their top five favorite albums -- not just his -- and Tony's mid-seventies recordings with Bill Evans are at the top of most everyone's list. Coincidentally (or not) I awoke this sunny day singing a line from Jule Styne's best song – MAKE SOMEONE HAPPY. Fame, if you win it, comes and goes in a minute Where's the real stuff of life to cling to? Love is the answer – someone to love is the answer Make someone happy – just one, someone, happy and you will be happy too! Best ever rendition? No contest. Jule Styne, a fine pianist himself, said this was his favorite. Yours too? Thanks for sharing Tony Bennett. Celebrated elsewhere [search] “ Great Melody, Great Lyric, Great Rendition, Songwriting Workshop, Harmony Central “ p. 42 https://www.youtube.com/watch?v=6Gmp84bmqQw

CALABRIA FOTI – Just One of Those Things I awoke this day (our hottest of the year so far) humming a Cole Porter tune – one of his best melodies and most memorable lyrics -- IT WAS JUST ONE OF THOSE THINGS. Recalling in the shower one particular stanza. From memory imperfect . . . If we thought a bit, to the end of it, when we started painting the town, we'd have been aware, that our love affair, was too hot, not to cool down . . . So 'Goodbye Dear, and Amen' – here's hoping we'll meet now and then -- it was great fun, but it was just, one of those things. Suddenly it is day's end, and guess what YouTube just sent my way? My favorite living jazz singer Calabria Foti and her most recent (2019) recording of same: made more memorable with a solo by my all-time favorite clarinet virtuoso Eddie Daniels who is now 81, and a jazz samba opening with nylon-stringed guitar played by another longtime hero of mine, Gene Bertoncini who turned 86 this year. Really, isn't this a delight? From Calabria's all- Cole Porter album, 'In The Still of the Night.' If you purchase and don't love, I promise to pay for your copy. https://www.youtube.com/watch?v=5YPxIw-ABek

TONY BENNETT – All Mine Tony Bennett's catalog is so vast that Siriusly Sinatra satellite radio keeps playing love songs of his I never heard before – like just this minute: “The 24 hour home of the Great American Songbook,” says the unidentified voice of Channel 70 before playing ALL MINE – with a graphic of where to find this obscure but beautiful recording from Tony, with the refrain: “From the moment of your birth, you were destined to be my love, always, all mine!” Included on a 1997 Concord records compilation produced by Helen Keane (who produced Tony and Bill Evans' alone together recordings in the 70s). Arranger not specified in the otherwise informed note (below). At YouTube this day, a re-packaged version, posted by Tony himself two years ago. https://www.youtube.com/watch?v=wgJXw6ZZBMk&t=27s Provided to YouTube by Universal Music Group All Mine · Tony Bennett Tony Bennett Sings For Lovers ℗ 1997 Concord Records Released on: 2006-03-03 Associated Performer, Vocals: Tony Bennett Associated Performer, Guitar: Wayne Wright Associated Performer, Upright Bass: John Giuffrida Associated Performer, Drums: Chuck Hughes Producer, Recording Producer: Helen Keane Studio Personnel, Mastering Engineer: Kirk Felton Composer Lyricist: Francis Hime Composer Lyricist: Jay Livingston Composer Lyricist: Ray Evans Composer Lyricist: Ruy Guerra

DR. DON SHIRLEY -- classical and boogie music at the Orange Bird jukejoint Most everyone's favorite moment in “Green Book” – when Tony Lip tells the pretty bartender, “He's only the greatest piano player in the world.” And then to Don Shirley: “Go on, tell her!” “Don't tell me,” she says – “show me” – nodding in the direction of the piano: an upright (recently tuned) with the requisite 'glass left on one end of the piano' by “someone who should know better” -- as Doc jokes in a previous scene explaining to Tony why he couldn't perform classical music (only jazz standards and show tunes) for white audiences. It's a moment at the end of their tour, and you realize that Tony has never heard his employer play a short virtuoso piece by a classical composer; neither has he any idea that Dr. Don Shirley is an admirer of boogie woogie piano stylings, and astonishes the appreciative blues band who join him on stage. Just as an aside: Today I received my Amazon Prime “free shipping in 2 days” DVD copy (“disc made in Mexico”) – two days after I'd sent my musical sister in Toronto a “next day delivery” copy: “It took my breath away,” she said adding that “it's already one of my all-time favorite movies.” She'd not heard of it before! I heard of it thanks to a daughter-in-law who predicted “you will enjoy this one.” The subtleties in this scene! As when the cook emerges from the kitchen, an assistant in tow – to see for himself the source of this amazing music. The look on his face. The casting of everyone in the 'Jukejoint' (not to mention the entire movie) is note perfect: Don't you love the beautiful 'bar maid'? – her joyful surprise the moment 'Dr. Don' plays those first, up-and-down-the-entire-keyboard arpeggios. I'm 76 now, and believe this moment in film history will give me goosebumps at every replay. So if they're around when I shuffle off this mortal coil, I'll ask loved ones to play this four minutes of joy from “the Orange Bird” jukejoint. w

TONY BENNETT – O Sole Mio When I met Mr. Bennett outside Winnipeg's Fairmont Hotel and he inscribed my copy of his 1998 book The Good Life (“To Mark, Thank you very much!”) I told him how I was particularly affected by his recollections of his father: his "big hands, his strong arms," and that his Dad was so very musical and that, as Tony said, “He inspired my love for music.” Tony was only ten when his father died age 41 of congestive heart failure – something Tony says “could have been treated by modern medicine.” Tony said that his Dad “derived tremendous pleasure from singing to anyone who would listen, just like he did himself, when he was a child. He had a beautiful voice. He used to sit on the front stoop of our house and sing a cappella to my brother and me, in the gentle sensitive voice that I can still hear.” “My father was a very poetic, sensitive man, full of love and warmth, and I vividly recall being cradled in his giant arms until I fell asleep. I see the 'huge' man of my earliest memories. His arms were strong and his hands were big and his eyes were deep, dark and soulful. When I looked into those eyes I felt there wasn't a problem in the world that he couldn't solve.” ---- I'm guessing his Dad would have loved Tony's version of O Sole Mio recorded as a single in 1972; albeit a jazz arrangement (by Neal Hefti I believe) sung in the dialect of Naples in which it was originally composed. (Wiki note below). A concert video from the time period attests to Tony's definitive rendition, you may agree. https://www.youtube.com/watch?v=fr2fKgMl7Cg&list=RDfr2fKgMl7Cg Wikipedia "'O sole mio" (Neapolitan pronunciation: [o ˈsoːlə ˈmiːə]) is a well-known Neapolitan song written in 1898. Its Neapolitan language lyrics were written by Giovanni Capurro and the music was composed by Eduardo di Capua (1865–1917) and Alfredo Mazzucchi (1878–1972).[2] The title translates literally as "my sun" or "my sunshine".[3] The lyrics have been translated to other languages. English translation (first stanza) What a beautiful thing is a sunny day! The air is serene after a storm, The air is so fresh that it already feels like a celebration. What a beautiful thing is a sunny day!

TONY BENNETT – Sophisticated Lady John Pizzarelli opened his latest live-stream show with a snippet of Duke Ellington's Sophisticated Lady. He didn't acknowledge it and I left him a note wondering “if any listeners caught it?” Google for “Sophisticated Lady” and the first offering this day at YouTube is also the most recent important recording – by Tony Bennett with solo piano accompaniment. Comments from kindred spirits below the video speak for many of us – this one especially: GSUSISBEAST (1 year ago) “Honestly one of the most beautiful songs I’ve ever heard. I am so attached to Tony’s version specifically. The way Tony ends the song is unforgettable.” https://www.youtube.com/watch?v=AcyogXVwWmY Google the question: “Who was Sophisticated Lady written for? Answer: A good guess would be his mom, Daisy Kennedy Ellington. History tells us that she was a beautiful, intelligent, educated woman who doted on her son, Edward Kennedy Ellington (1899-1974). ---- Coincidentally I'd been looking at Tony Bennett's favorite of his many portrait paintings, one he said he “never could sell” and so it hung on a wall of his home for decades before he donated it to the National Portrait Gallery (Smithsonian) which noted: In honor of the 110th birthday of Duke Ellington, the National Portrait Gallery today unveiled a portrait of the composer by his friend and fellow musician Tony Bennett. The painting depicts Ellington with a bouquet of pink roses in the background. Bennett chose this motif to celebrate Ellington’s habit of sending the singer a dozen pink roses whenever Ellington composed a new song. In the first rank of American composers, Duke Ellington was “beyond category”: his more than 2,000 jazz compositions include “Satin Doll” and “Sophisticated Lady,” as well as Black, Brown and Beige and the later “Sacred Concerts.” Legendary performer Tony Bennett (born Anthony Benedetto) here portrays the man he celebrated as his mentor. “When I worked on his portrait, I was inspired by the look of divine serenity on his face,” Bennett noted, and he inscribed the painting, “God Is Love.”

PEGGY LEE – The Folks Who Live on the Hill Google for The Folks Who Live On The Hill, and the first offering is “song by Peggy Lee” – which is fitting, because my favorite female singer 'owned' this one – playing right this minute on Siriusly Sinatra satellite radio with a graphic of a 2020 compilation album “Ultimate Peggy Lee.” Peggy said it was her favorite of all of her recordings – not least because her good friend Frank Sinatra conducted the orchestra for the entire album. It holds a special place in my heart: When I was 17 (a very good year) I played an instrumental recording of “Folks Who Live on the Hill” for my musical Mom – from a guitar album by Charlie Byrd. She promptly sang the entire lyric – by Oscar Hammerstein set to a perfect tune by the 'dean' of 20th century composers Jerome Kern. First version at YouTube this day – this one (with, I see, a review by my namesake “3 years ago”). https://www.youtube.com/watch?v=IcUG7LDenr0

WES MONTGOMERY – Down Here on the Ground Not for the first time, I learned of the passing of a musical hero – arranger Don Sebesky – from my favorite jazz singer / guitarist John Pizzarelli: during his latest 'live-stream' “It's 5 o'clock somewhere” show John paused to say, “Don Sebesky was a dear friend – and the reason I can play half of these chords to these songs, is because of him. He was just a darling man. And a genius. He made my life a lot easier with a lot of great charts, and things like that. Don Sabesky left this world at the age of 85 a couple of weeks ago (4/29/2023) and he is going to be sorely missed.” Philadelphia radio station WRTI had (I think) the best online summing-up of Don's work: Don Sebesky, whose dynamic flair as a composer and arranger left an indelible mark on the sound of modern jazz and pop orchestration, notably through a prolific association with the producer-executive Creed Taylor, died on April 29 at a senior living center in Maplewood, NJ. He was 85. Sharing the news on social media, his son Ken Sebesky said he had died after a six-year struggle with post-stroke Parkinsonism. For a generation or two of listeners, Sebesky’s arrangements are synonymous with worldly sophistication in a jazz-crossover lane. His work for Taylor’s CTI Records in the 1960s and ‘70s set the gold standard on albums like Freddie Hubbard’s First Light, Milt Jackson’s Sunflower, and Wes Montgomery’s Bumpin’ and A Day in the Life. Sebesky was a perennial nominee at the Grammy Awards, and his three wins came in quick succession, all for his own recordings. He took best instrumental arrangement for a version of “Waltz For Debby” off the 1998 album I Remember Bill: The Tribute to Bill Evans. His next two were both for selections on Joyful Noise: A Tribute to Duke Ellington, which Sebesky often cited as the favorite among his albums. In addition to the arranging award for a take on “Chelsea Bridge,” he won best instrumental composition for “Joyful Noise Suite,” a three-part invention. ---- Turner Classic Movies TCM had “Cool Hand Luke” on two nights ago and it triggered a favorite musical memory – my favorite short solo by Wes Montgomery “arranged by Don Sebesky.” The most viewed version (131K) at YouTube featured a review by my namesake "4 years ago": Down Here on the Ground – Wes Montgomery Ask any jazz guitarist where Wes Montgomery belongs on the list of guitar greats. They will, every single one of them say, “At the top.” I love it that Siriusly Sinatra satellite radio gives Wes almost daily air play. My all-time favorite (short radio play) recording by Wes featured a very young Herbie Hancock at the Steinway. His obbligatos and fills are, to this day the very model of what the pianist should do in the presence of greatness. Bet you Wes complimented him during the playback of this recording! The gorgeous melody, Down Here on the Ground, was composed by Lalo Schifrin. The mid-song improvisation by Wes remains my single favorite (short) jazz solo of all time. From the appropriately titled “Wes Montgomery's Finest Hour.” So it was. https://www.youtube.com/watch?v=C-gaNU0d-Wk

JANE MONHEIT / JOHN PIZZARELLI – They Can't Take That Away from Me I was two years old when my parents acquired an album of 78 rpm records for a then- new Fred Astaire movie musical (The Barkleys of Broadway) featuring my very first “favorite song” --- the one about “The way you wear your hat ….” After posting the above Tony Bennett version (and pronouncing it in some way “definitive”) YouTube sent me about 50 other versions! As if to say – Are you sure? What about these gems? Foremost among them a 'live' television performance of the best female jazz singer I've ever seen in concert here in Winnipeg – Jane Monheit, accompanied by John Pizzarelli (see below). --- Just watched a replay of John's latest “5 o'clock somewhere” live-stream one hour show – hoping he would salute the song with a brand new version. Each time John plays it differently – another mark of a jazz virtuoso. And after playing three other Gershwin tunes, in medley, earlier in the show – and not this one – John suddenly says (at around the 21:29 mark) “Now – we're going back to Gershwin: 'The way you wear your hat' …. ” At song's end an immediate transition to the best fast jazz samba version of the Gershwins' Fascinating Rhythm that I have ever heard played and sung: at around 22:36 mark. https://www.facebook.com/JohnPizzarelliOfficial/videos/181605601509890 My new (old) “favorite 'live' version by a female jazz singer” – sent my way today from YouTube: From most everyone's favorite jazz variety television show that was hosted by the late jazz piano great Ramsey Lewis – who left us last year at age 87. https://www.youtube.com/watch?v=HNPBsuR--BM Ramsey Emmanuel Lewis Jr. (May 27, 1935 – September 12, 2022) was an American jazz pianist, composer, and radio personality.[1] Lewis recorded over 80 albums and received five gold records and three Grammy Awards in his career. His album The In Crowd earned Lewis critical praise and the 1965 Grammy Award for Best Jazz Performance. His best known singles include "The 'In' Crowd", "Wade in the Water", and "Sun Goddess". Until 2009, he was the host of the Ramsey Lewis Morning Show on the Chicago radio station WNUA. Lewis was also active in musical education in Chicago. He founded the Ramsey Lewis Foundation, established the Ravinia's Jazz Mentor Program, and served on the board of trustees for the Merit School of Music and The Chicago High School for the Arts. Lewis died in his sleep at his home in Chicago, on September 12, 2022, at age 87.

TONY BENNETT -- They Can't Take That Away from Me On his Facebook page Tony Bennett shared a "portrait I painted of Frank Sinatra -- who died on this day in 1998." [Compelled to respond:] Like all 'master' painters Tony Bennett accomplishes so much in so few brush strokes! The REAL art of painting. Just look at the eyes! The deceptively simple application of a tiny bit of black paint and you wonder: how does he do that? And Sinatra's smile – that beaming smile – is one reserved for best friends like Tony. The way your smile just beams . . . The way you wear your hat . . . Favorite lines from my favorite Gershwin tune. Hard to believe it's exactly 30 years since Tony Bennett and his great piano player Ralph Sharon (alone together) did the definitive recording of THEY CAN'T TAKE THAT AWAY FROM ME. Definitive not least for including the first 50 seconds of the opening verse, which deserves to be heard, you may agree! My friend (and all time favorite Amazon reviewer) Samuel Chell writes that Tony has "captured something very personal, intimate, subtle in the jawline and smile that makes him recognizable to anyone who had the luxury (as I did) of watching him in person multiple times and of course on film. It's not simply an expression of "selfish" pleasure but of a reassuring composure that projects itself onto the auditor(s). It's an expression that says 'That was marvelous! All is forgiven. Let's take it from the top and do it again. You go first this time. I'll have your back'."

TONY BENNETT / STEVIE WONDER – For Once in My Life “Stevie Wonder turned 73 today,” said my wife reading the paper aloud. Triggering memories of Stevie's greatest harmonica solos (rivaling Belgian-born Toots Thielemans as 'greatest-ever' on that instrument). No better solo than this one! (starting around the 2:04 mark). My musical heroes recorded this, my favorite track on Tony's first DUETS album. A few months later they performed it 'live' at the Grammys – and won the award that night. They had both introduced the song in the 60's – Stevie's was the hit version – of what became a life-long signature piece for both of them. Love how Tony expresses (for all of us at song's end) the “wonder” of Stevie's playing. That Grammy awards night video was promptly removed from YouTube for 'Grammy copyright' reasons. But someone's uploaded the audio of that performance – to one terrific photo of these geniuses at work. https://www.youtube.com/watch?v=HQQzosJRtn8

DIANA KRALL / JAMES TAYLOR – I've Grown Accustomed to (his/her) Face At this moment Siriusly Sinatra satellite radio is playing Diana Krall's jazz cover of maybe the best song ever composed for Broadway; many songwriters feel that way, including my compatriot Gene (Quiet Nights of Quiet Stars) Lees -- lyricist and author who included an erudite analysis of its greatness, in one of his last books. A 'guy song' -- until someone like Diana Krall sings it as, “I've Grown Accustomed to HIS Face.” Her jazz cover was recorded in 2009. More recently James Taylor performed it -- with such definition you'd swear (if you didn't know better) that he wrote it – words and tune. (Not included on his Grammy-winning AMERICAN STANDARD album of 2020). When he shared his 'official version' at YouTube, James Taylor included a thoughtful written introduction, complete with lyrics. [JAMES wrote:] "I've Grown Accustomed To Her face" was recorded during the sessions for "American Standard," but only released as a bonus track at certain outlets. [Including Target stores – which no longer exist in Canada. My copy was obtained and mailed to me by a dear friend -- “Bob in Boston.”] “Written by Frederick Loewe and Alan Jay Lerner, for the 1956 musical 'My Fair Lady'." “We cut more songs than would fit on the album, American Standard, which made the promotional department happy. They find uses for the extra tracks, usually as 'exclusive' material for the big box retailers. But I’ve regretted not giving these pieces the exposure I think they deserve. “I’ve Grown Accustomed to Her Face is from one of my parents’ favorite records, the [Broadway] cast recording of Lerner and Loewe’s My Fair Lady. '... damn, damn, damn, damn, damn... I’ve grown accustomed to her face...' Henry Higgins reluctantly realizes that he loves Liza Doolittle.” James added that [one of Nashville's greatest living fiddlers] “Stuart Duncan plays a lovely tuned-down violin." LYRICS I've grown accustomed to her face She almost makes the day begin I've grown accustomed to the tune She whistles night and noon Her smiles, her frowns Her ups, her downs Are second nature to me now Like breathing out and breathing in I was serenely independent and content before we met Surely I could always be that way again, and yet I've grown accustomed to her look Accustomed to her voice Accustomed to her face I guess I’m used to hear her say Good morning everyday Her joys, her woes Her highs, her lows They’re second nature to me now Like breathing out and breathing in I'm very grateful she's a woman And so easy to forget Rather like a habit One can always break, and yet I've grown accustomed to the trace Of something in the air Accustomed to her face https://www.youtube.com/watch?v=JHib412Eba8&t=1s Diana Krall's 2009 recording was played this hour on Siriusly Sinatra: my “other favorite” jazz cover version. https://www.youtube.com/watch?v=75ZMaPM56kY

KENNY RANKIN – When Sunny Gets Blue / Peaceful Like Gordon Lightfoot, Kenny Rankin started his career with live solo performances -- self-accompanied -- before small audiences in coffee houses: ('Just me and my guitar' as James Taylor put it in a song of that title.) When I wasn't looking, someone shared to YouTube one such early performance – Kenny singing and playing his own composition “Peaceful” – a hit for Helen Reddy (see below). I'm looking at an old 78 rpm record label – included in the Wiki entry for WHEN SUNNY GETS BLUE – reminding us who introduced this 50s jazz standard beloved by singers including Nat Cole (but not Sinatra) and virtuoso horn players like Chet Baker; as well as a host of 60s guitarists who were crazy about it – all of whose versions seem to have vanished like the wind since Johnny Mathis introduced the song in 1956 (B-side of his first hit “Wonderful, Wonderful” -- Wiki note below). ---- From his earliest days performing 'live' in coffee houses, before small audiences, Kenny Rankin would include this one with his own solo classical guitar (gut stringed) accompaniment. Google for “Kenny Rankin at YouTube” and sure enough, the very first offering this day: “From the DVD The Jazz Channel Presents 2001” https://www.youtube.com/watch?v=nrt8Y-F3U14 Kenny Rankin with a very early solo performance one of his own compositions, 'Peaceful' (a hit for Helen Reddy). https://www.youtube.com/watch?v=av21FvTeScE According to Wikipedia "When Sunny Gets Blue" is a song written by Marvin Fisher (music) and Jack Segal (lyrics), which has become a jazz standard.[1] The song was originally recorded in September 1956 by Johnny Mathis backed by Ray Conniff and his Orchestra, released in February 1957 as the B-side of Mathis's debut single "Wonderful! Wonderful!". The song was included on the compilation album Johnny's Greatest Hits, released in April 1958. The album was a smash hit, staying on the Billboard pop chart for 490 weeks, including 3 weeks at number 1, and 57 weeks in the Top Ten.[2] The song was recorded in January 1957 by June Christy for her album Fair and Warmer!, released later that year.[2] Pete Rugolo arranged and conducted for Christy. Around the same time, Nat King Cole recorded it for his album Love Is the Thing, with this rendition praised by music critic Will Friedwald as displaying Cole's "tenderness, compassion and empathy".[3] Arranger Gordon Jenkins backed Cole.

DOYLE DYKES – On 60 Broadway At Gordon Lightfoot's Facebook page I recalled a moment in 1965 when I spoke briefly with him at a coffee house (remember those?) in my hometown of Ottawa Canada when he was still largely unknown. Alone with him in a hallway I asked how he tuned his bass strings to get that signature sound on Early Morning Rain. “Tune your (big) E string down to D,” he said. Doyle Dykes does that here, for one of my favorite of his own compositions, titled “On 60 Broadway” – a tribute to Gretsch guitars' original NYC home – as well as to “honor Fred Gretsch” (who cherishes Doyle's music and friendship and has gifted him with guitars). Doyle introduces us to his instrument: a “1955 Martin D-28, with Brazilian Rosewood.” (Coincidentally what Gordon Lightfoot always played when he wasn't playing his Gibson 12-string.) At song's end, Doyle's adorable little Terrier intervenes “at the end of a hard day” to remind him “it's time for bed.” ---- Sent my way by the intuitive genius that is YouTube, as if to say: “You didn't see this first time around, did you?” (when posted 18 months ago). The entire eight minutes is a joy to hear ... but if you only have time for “60 Broadway” – pick it up halfway through at the 4:24 mark. https://www.youtube.com/watch?v=pIRkJw86eGw

KENNY RANKIN – Pussywillows, Cattails, Soft Winds and Roses When I awoke this morning (to borrow an opening line from another favorite Lightfoot song) I was thinking about the most beautifully 'impressionistic' song (both words & tune) that Gordon ever wrote: the one I thought most likely to be covered by jazz singers and instrumentalists: Pussywillows, Cattails (Soft Winds and Roses) Siriusly Sinatra satellite radio gives regular airplay to my alltime favorite jazz guitarist / singer Kenny Rankin. I believe they've played this 1974 recording -- featuring Kenny's own nylon-string guitar stylings plus a lovely string arrangement. Combined with an inspired video and accurate lyrics scroll – this is such a treat, you may agree. Wonder if this was Gordon's own favorite 'jazz cover' of any of his songs? Kenny Rankin's rendition of 'Blackbird' was Paul McCartney's favorite (Wiki note below). When 'home made' videos are this good, they tend to elicit heartfelt comments and this one posted a decade ago has accumulated 1.8 million 'views' and thoughts like these: EARLE FROST (4 years ago) “NICE!!!!! This is easily my favorite Gordon Lightfoot song, and this delightful artist does it justice. VERY lovely guitar playing in particular!! LOVELY SO SWEET (3 years ago) “I used to blast this in my car, people stop me and ask me the name of this song! MARILYN ALBERT (11 years ago) “My two daughters gave my husband and I goosebumps when they harmonized this together as children. I still love it! MARIA XENIA ALLEN (11 years ago) “Excellent video!!! Love the photos and the quality of the sound recording is perfect (to my imperfect years.) Eternal memory, Mr. Kenny Rankin, who gave me many hours of enjoyment of his songs. "Silver Morning" is a perfect album; have loved it since the 1970s. Thanks for sharing! https://www.youtube.com/watch?v=pmuPbZSOeaA Kenneth Joseph Rankin (February 10, 1940 – June 7, 2009) was an American singer and songwriter in the folk rock and singer-songwriter genres; he was influenced by jazz. Rankin would often sing notes in a high range to express emotion. He was a guitarist on the album Bringing It All Back Home by Bob Dylan.[3] He appeared on The Tonight Show more than twenty times.[3] Late night TV host Johnny Carson wrote the liner notes to Rankin's 1967 debut album, Mind Dusters. After recording the Beatles' song "Blackbird" for his album Silver Morning, he was asked by Paul McCartney to perform it when McCartney and John Lennon were inducted into the Songwriters Hall of Fame.[2] When Rankin worked with Alan Broadbent, Mike Wofford, and Bill Watrous, his music got closer to jazz. His songs were performed by Peggy Lee, Mel Tormé and Carmen McRae; Stan Getz said his voice was like "a horn with a heartbeat". Rankin befriended comedian George Carlin; both were signed to Little David Records. Starting in 1972 Rankin was often the opening act or musical guest for Carlin's live performances. Rankin sang at Carlin's memorial service in June 2008.

LIGHTFOOT – Get Together (from a '65 time capsule) I tried today to imagine which great American 'jazz standards' Gordon Lightfoot might have admired – for their great lyrics and memorable tunes. I never heard him quoted on the subject. It's a question I would have asked him! I spoke to Gordon on two occasions very early in his career; the first, circa 1965, in a hallway at Le Hibou coffee house in Ottawa (seating for 50 patrons per set) and asked him how he tuned his bass strings to get that signature sound on 'Early Morning Rain': “Just tune your (big) E string down to D,” he said. Five years later – before yet another high school auditorium performance (in London Ontario) I requested of him a song he'd played early in his career. “What was it called,” I said, reciting the refrain: “We are but a moment's sunlight fading in the grass … Come on people now, smile on your brother, everybody get together, try and love one another – right now.” “ Get Together” he said, “by Dino Valenti ... or Chet Powers.” He indicated that he wouldn't take requests for old favorites someone else had composed. I may have told him – that on that particular song, his faster than usual strumming (on his wonderful 12-string Gibson) "gave me goosebumps." ---- Google for it and – sure enough: there is an upload to YouTube from a live performance in Cleveland Ohio circa 1965 – same city (same time?) that he composed Song For a Winter's Night “during a thunderstorm.” A flawed yet evocative video of mid-sixties images, with a lyrics scroll full of wrong words and misspellings – including 'thought' for 'though' in the closing stanza – but with Gord's voice at the peak of its power – hitting clean, upper register notes more tenor than baritone. So. A song 'composed by someone else' that Gordon loved enough to perform on stage. I like to imagine his song-writing soul could still be stirred late-in-life by words like these: “Love is but a song we sing Fear's – the way we die You can make the mountains ring, or make the angels cry. Though the bird is on the wing, and you may not know why … https://www.youtube.com/watch?v=jyAHdpTQT5M [Google to learn “What happened to Dino Valenti? (aka Chet Powers)] He died unexpectedly at his home in Santa Rosa, California on November 16, 1994, although his younger sister mentioned on his website that Dino was getting bored with life around him and was ready for something new. “The night he died, he called a lot of people… some of whom he hadn't talked to in quite a while.Nov 14, 2015 [The song's listed composer “Chet Powers” and Dino Valenti, were one and the same.] Chester William Powers, Jr. (October 7, 1937 – November 16, 1994) was an American singer-songwriter, and under the stage names Dino Valenti or Dino Valente, ...

GORDON LIGHTFOOT – The Last Time I Saw Her “And if time COULD 'heal the wounds' I would tear the threads away. That I might bleed some more …. ” I don't know why but I'm crying – tears streaming down my face, as I listen for the first time in ages to yet another Gordon Lightfoot song that used to be “my favorite” – whose title I'd almost forgotten (his catalog is that large) but the best lines come back to me – words only he could have written. “No, really -- THIS one is my favorite of his songs!” I find myself saying yet again, between the tears. Just read the comments from kindred souls below the video. Wonder how many millions of us are feeling the same way? Ronald Pokatiloff (2 years ago) It sends the feeling of the hurt inside his mind better than any other song. Maude Zelma (4 years ago) "I would tear the threads away that I might bleed some more".....how beautifully gut-wrenching. I have loved this deeply so much so I've ached inside. Heart breaking. Edward Lewek (8 days ago) Good Lord, I am weeping as I listen to this song. This has to be one of the saddest songs I've ever heard. This man knows how to write and sing a song that just pulls your heart strings. Laura Anne (2 days ago) Sitting here, crying. Finding it difficult to think of a world without Gord's beautiful voice to sing his wonderful music. What a gift. All of Canada is tearing up tonight.... Leah Ghiradella (1 day ago) Just read his obituary in The New York Times, and I, too, am crying. https://www.youtube.com/watch?v=bWC4-haeE-k

GORDON LIGHTFOOT – Song for a Winter's Night (live) As if to say, 'Bet you never heard THIS arrangement' (no I hadn't) the intuitive genius that is YouTube circa 2023 just sent me a 'latter day' performance: dare I say, "my new favorite." Taken at a slightly slower pace, with an unnamed 'Roland' keyboard synth player providing perfect 'orchestral' support. Gord delights his huge concert hall audience with the reminder that "this song – all about snow and winter, and the romance thereof, was written …. during a thunderstorm in Cleveland Ohio.” https://www.youtube.com/watch?v=JVG2eF40hzE

DOYLE DYKES -- It is Well (with my soul) / "Sails" Beginning around the 5:15 mark fingerstyle virtuoso Doyle Dykes plays the most beautiful rendition of IT IS WELL (with my soul) that I have ever heard. Don't you love the look of peace that descends on his face when Doyle Dykes plays a favorite hymn on perhaps his favorite guitar. Love that at around the 8:35 mark Doyle 'quotes' the refrain of an obscure but unforgettable melody Chet Atkins recorded in 1987 on one of his first albums for Columbia Records. A 70's song called SAILS – composed by a then- husband and wife songwriting team – John & Johanna Hall – for the group 'Orleans' (they had a major hit, “Dance With Me” – another song Chet loved). Steve Wariner recorded his version of Sails the summer of 1993 (and sang the song's poignant, seldom-heard lyric). Search for "Sails" and there are two of Doyle Dykes' good friends on a duet that I hadn't seen before. Really, is there anything you can't find at YouTube? https://www.youtube.com/watch?v=isWBCsDKx7Y

RICK BEATO – Reflections on Gordon Lightfoot “There's a quote here,” says Rick Beato, “from Jimmy Buffett: 'So if you think you hear a LITTLE …. correction – a LOT – of Gordon Lightfoot in my songs? Congratulations! You are correct. He was the greatest that my mediocrity tried to imitate; Gordon was my guide through the musical woods. It's one of the unique and pretty cool parts of being successful: Inspiring others. Which is exactly what Gordon Lightfoot did for me' – Jimmy Buffett. This before Rick's spontaneous reflection on Canadian Railroad Trilogy. Which as David Watkins said (below) “51 minutes ago”: “The Canadian Railroad Trilogy is just an astonishing composition. Every verse, every bridge with minor alterations gives something new.” At around the 22:52 mark Rick Beato comments on 'Trilogy.' Rick says his one big regret in life is not getting to see Gordon Lightfoot in concert: “He played in Macon Georgia in 1996 and I tried to get some of my friends to go with me. And no one would go. And it's about an hour-and-a-half drive. For some reason I didn't go, so I never got to see him play. I don't know why I didn't just drive by myself .... And I regret that -- every day – that I lived my entire life without seeing Gordon perform.” Loved Rick's closing thought: "Go on a Lightfoot binge for a month [if] you want to know how to write songs. He was Bob Dylan's favorite songwriter. And that's enough for me."