I was taken aback by the Q&A in the Sunday, May 26, 2024, New York Times Book Review with City Lights Booksellers’ Chief Buyer, Mr. Paul Yamazaki, who stumbled onto Pulitzer Prize Winner and composer-musician Henry Threadtil’s memoir, Easily Slip Into Another World: a Life in Music (Penguin Random House). Yamazaki shared that while reading the musician’s memoir, he listened to 40 record albums that Threadtil had recorded since 1975. Imagine that… And he got paid for it? It took Yamazaki 12 weeks to complete that pleasant chore. I thought, “What a lucky guy.”
Then I got to wondering what if I could listen to at least 40 songs I like, not the entire LPs, merely 40 cuts. So, I made a list of my favorite songs, and within 12 minutes I had produced a list of 57 songs. Now to compile my thoughts, notes, and research of those songs, took me another 12 full days.
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I’d like to thank the Internet, my memory (my best feature), and anything else that contributed to June’s busting-out-all-over article. Before I share my thoughts, opinions, interspersed with mounds of fascinating research with you, it’s only fair I tell you a little about Henry Threadtil.
Henry Threadgillis an American composer, saxophonist and flautist who came into prominence in the 1970s leading ensembles rooted injazz with unusual instrumentation. He often incorporated other genres. Threadtil has performed and recorded with several ensembles:Air, Aggregation Orb, Make a Move, the seven-piece Henry Threadgill Sextett, the twenty-piece Society Situation Dance Band, Very Very Circus, X-75, and Zooid. He was awarded the 2016Pulitzer Prize for Musicfor his albumIn for a Penny, In for a Pound.
Jim Fragale’s Favorite Songs
The Very Thought Of You — Tony Bennett & Paul McCartney
I wrote this in one of my recent columns: Paul McCartney- Four minutes and one second of greatness… not to mention 90+ years. Is there’s no end to his talent? Another boldfaced credit. Suddenly, Sir Paul McCartney’s a respected photographer. But that’s not what I love most about him.Over the years, I’ve gone on and on, about my many favorite songs A) Here on Substack to B) “Huffington Post” to C)The Writer’s Digest — invariably including my most loved, Ray Noble’s song, “The Very Thought of You.”The point here… Some years back (2001), McCartney was on “The Larry King Show” (remember him?). When asked whathiscurrent favorite song was, the legendary Beatle answered, “The Very Thought of You.” Lo, behold, hold the phone, and sound trumpets — mine also — and eventually Paul McCartney recorded “The Very Thought of You” with Tony Bennett (a 4:01 minute cut) on Bennett’s 2006 Studio Album “DUETS.” The release was timed to coincide with Bennett's 80th birthday. Andthat lp went on to win a Grammy Award.The songs selected for Bennett’s DUETS-ONE were many Bennett had already played a major part in introducing into theGreat American Songbook. Bennett’s approach was different, unlike some other celebrity-duet-performances recorded separately and then combined afterward — such as Mr.Frank Sinatra's 1993Duets. Oh, no. Not Tony Bennett, Tony Bennett was right there IN the studio standing in from of a mic with each of his partners crooning as musicians strummed in front of them. Ergo, there you go, and so, the album debuted at Number Three on“Billboard’s 200” in its first seven days out there — selling 202,000-plus copies and then spending five consecutive weeks in the Top 10. Ultimately, it was certified GOLD (Gold is when a song or record sells 500,000 units).
NOTE: Why, in Canada, Bennett’s first DUETS album instantly captured the Number One spot on the charts.And last, theMost Loved credit of all:Hard to fathom…how can it be that “The Very Thought of You,"now one of the most favored popular standards — music and lyrics by Ray Nobel originally recorded with Nobel and his Orchestra in 1934 — is 90 years old? WOW-WEE!
Smile – Nat King Cole
One of my top favorite songs of all time, if not my very favorite: “Smile.” “Smile,” based on the theme used in the soundtrack forCharlie Chaplin's 1936 filmModern Times. Chaplin, who composed the song with the help of composerDavid Raksin, was inspired by a sequence in the first act love duet fromPuccini's operaTosca, beginning with Cavaradossi singing "Quale occhio al mondo può star di paro."In 1954, John TurnerandGeoffrey Parsonsadded the title and lyrics.The words, based on lines and themes from the film, the singer tells the listener to cheer up; there is always a bright tomorrow—as long as they smile. "Smile" has become a popular standard since its original use and has been recorded by artists from Michael Jackson to you-name-it.It's important to note, Nat King Cole’s version was the first version with lyrics, charted in 1954, reaching Number 10 on theBillboard chartsand Number 2 on theUK Singles Chart. His version was also used at the beginning of the 1975 movieSmile. To me, Nat King Cole’s cut may be one of the most perfect records ever waxed.
As Time Goes By – Jimmy Durante
One of the most beloved love songs of all time and my recommendation is Jimmy Durante’s version. “As Time Goes By,” considered a jazz song. was written byHerman Hupfeld*way back in in 1931 and then became famous when it featured in the 1942 filmCasablanca, performed byDooley Wilsonas Sam. SHOCKER NUMBER ONE: The song was voted No. 2 on theAFI's 100 Years...100 Songsspecial, commemorating the best songs in film — shockingly surpassed only by "Over the Rainbow" byJudy Garland. What?! You won’t find “Over the Rainbow” anywhere near here. “As Time Goes By” was covered among others byRudy Vallee, Billie Holiday,Jimmy Durante,Louis Armstrong,Frank Sinatra,Nancy Sinatra, Natalie Cole,Harry Nilsson,Carly Simon,Vera Lynn,Bob DylanandBryan Ferry. It was also the title and theme song of a 1990s British romantic comedy seriesAs Time Goes By.National Public Radioincluded it in "NPR 100," a 1999 list: most important American musical works of the 20th century, compiled by NPR's music editors. Background: Herman Hupfeldwrote "As Time Goes By" for theBroadway musical Everybody's Welcome(at Rick’s?) which opened on October 31, 1931. In the original show, it was sung by Frances Williams. SHOCKER NUMBER TWO: It was first recorded byRudy Valléeon July 25, 1931, forVictor Records. And so: the song was re-introduced in the 1942 film Casablanca,where it was sung by Dooley Wilson (actually a drummer, not keyboard), yes, as Sam. Sam's piano accompaniment was played by a studio pianist, Jean Vincent Plummer. The melody is heard throughout the film.Wilson was unable to make a commercial recording of the song at the time due to the1942–44 musicians' strike. SHOCKER NUMBER THREE: Unable to record new versions of the song,RCA Victorreissued the 1931 recording byRudy Vallée, which then became a Number One hit eleven years after it was originally released. Songwriter Hupfeld lived his entire life inMontclair, New Jersey, and was a regular customer at the Robin Hood Inn (now the Valley Regency), a tavern built in 1922 on Valley Road, then part of Upper Montclair. He spent many hours at the piano and wrote several of his songs in this tavern. A plaque on the second floor of the Valley Regency Catering Facility inClifton, New Jersey, commemorates the song. Hupfeld wrote over one hundred songs, including "Let's Put Out the Lights and Go to Sleep," and the popular Great Depression song "Are You Making Any Money?” Like many later singers, Wilson inCasablancastarts with "You must remember this, a kiss is still a kiss...", singing only the verses and refrain…"As time goes by," and entirely omits the intro that put those "fundamental things" into context. Here goes, THE INTRO: "This day and age we're living in/ Gives cause for apprehension[...] Yet we get a trifle weary/ With Mr. Einstein's theory/ So we must get down to earth at times / The simple facts of life / cannot be removed.” Some versions move the intro into the middle of the song, if included at all… This music aficionado never tires of hearing and rapping about “As Time Goes By.” There are worse hobbies.
Fly Me To The Moon (In Other Words) – Kaye Ballard
I trust I don’t become tiresome referencing my teenage years. When I was a young whippersnapper, I bought an album by jazz singer Chris Conor.Believe you me, you, and the lamppost, that’s highbrow back in the hills of W. VA.On that album was a wonderful song called “In Other words.” NOTE: About then, Eydie Gorme also recorded the song with that title. Flash forward, Peggy Lee contacted songwriter Bart Howard to request, if he change the song’s title to FLY ME TO THE MOON, she would sing it on her upcoming, “The Ed Sullivan Show.” He did. She did. “Fly Me To The Moon” became a standard. Kaye Ballardhad previously made first commercial recording. A review in May 8, 1954,Billboardsaid that "In Other Words" was "a love song sung with feeling by Miss Ballard."This was theflip sideof "Lazy Afternoon," which Kaye was currently performing as star of the stage show“The Golden Apple.” Years later, Kaye Ballad did an off-Broadway stint coincidentally when my parents were in town on one of their rare visits to New York City.I took them to the show and afterward backstage introduced them to Kaye. She couldn’t have been more gracious than if they were the king and queen of England.Talk about having something to write home about. Gossip? Kaye Ballard was a mentor-friend of Barbra Streisand and helped Babs along the way.Meanwhile, Kaye was up for the lead in “Funny Girl,” which we all know went to Barbra Streisand. I wonder how that felt?
More Than You Know – Ella Fitzgerald
OK, OK, I have a lot of favorite songs. Even so, “More Than You Know” IS one of my top ten. QUERY: how many songs can one have in his top ten? I first heard it in college on an Ella Fitzgerald album, “Like Someone in Love” I bought for $3.98.I suspect I love the song because of its warm lyric (below). Perhaps that should be sufficient, but I’ll plow on anyway. "More Than You Know" was composed byVincent Youmanswith lyrics byBilly RoseandEdward Eliscu, published in 1929. The song was introduced in theBroadwaymusicalGreat Daywhere it was sung byMayo Methot. (Who He?) It also popularized on the stage andradiobyJane Froman, a big deal but too complicated to explain here.The most popular contemporary recordings were byHelen Morganand controversialLibby Holman. “More Than You Know” was subsequently featured in threemusical films: Hit the Deck(1955), sung byTony Martin;Funny Lady, sung byBarbra Streisand (who first recorded it for her 1967 studio album,Simply Streisand); andThe Fabulous Baker Boys sung byMichelle Pfeiffer.All that — a lot to take in but I will tell you this, when one looks at the list of singers/ performers who recorded the tune – it's one of the longest lists of its kind I’ve ever seen. That might tell us something.
Lyrics:
Whether you are here or yonder
Whether you are false or true
Whether you remain or wander
I'm growing fonder of you
Even though your friends forsake you
Even though you don't succeed
Wouldn't I be glad to take you
Give you the break you need
More than you know, more than you know
Man of my heart I love you so
Lately I find you're on my mind
More than you know
Whether you're right, whether you're wrong
Man of my heart I'll string along
You need me so
More than you'll ever know
Loving you the way that I do
There's nothing I can do about it
Loving may be all you can give
But honey I can't live without it
Oh, how I'd cry, oh, how I'd sigh
If you got tired and said "Goodbye"
More than I'd show
More than you'd ever know - Chappell Music/WB
Someone To Watch Over Me – Margaret Whiting
Someone to Watch Over Me" was written by the Gershwin brothers with assistance byHoward Dietzwho penned the title for Broadway’s 1926Oh, Kay! with the part originally sung on Broadway by one of the all-time great performers, English actressGertrude Lawrence while holding arag dollin a sentimental solo scene. Lawrence released the song as a medium-tempo single which rose to Number 2 on the charts in 1927.The definitive slowtorch songversion was first released byLee Wiley, in 1939,followed in 1944 by a friend of mine, one of the greats,Margaret Whiting. Whiting never told me that fact and I suspect she didn’t want to draw attention to her age, a touchy subject with her.
Stardust – Nat King Cole
This just may be my favorite song of all time. And my most loved version is Nat King Cole’s.SOME COMMENTARY: ProducerLee Gillettehad to convinceNat King Coleto include the song on his 1957 releaseLove Is the Thing.* Cole initially refused to record it because of the sheer number of renditions available at the time. Cole, who had been singing the song since 1954, declared: "I hate to sing Stardust, it wears me out." On its release, the song received good airplay. In 1957,Billy Ward and his Dominoes' version placed at Number 12 onBillboard'sTop 100.The same year,Pat Boonereleased a version on his albumStar Dust, which reached Number Two on Billboard'sBest-selling LP'schart. SaxophonistJohn Coltranerecorded a ballad version in 1958in what was later known as theStardust Sessions.Sinatra's 1962Sinatra and Stringsalbum arrangerDon Costaomitted Stardust's chorus, to instead focus the "musical and lyrical mind on all the neglected nuances of the verse."A review inThe Rock Island Arguscalled Sinatra's "Stardust" his "choicest" track on the album and remarked on his "entirely new approach overlooking the perennially favored chorus." So. "Stardust" was composed in 1927 songbyHoagy Carmichael, withlyricslater added byMitchell Parish. It has been recorded as aninstrumentalorvocaltrack over 1,500 times. The same year, Carmichael recorded an instrumental version. Mills Music then assigned Mitchell Parish to add words to the song.Don Redmanrecorded the song in the same year, and by 1929 it was performed regularly at theCotton Club. Isham Jones's 1930 rendition of the song made it popular on radio, and soon multiple acts had recorded "Stardust." Because of the song's popularity, by 1936,RCA Victorpressed adouble-sidedversion that featuredTommy DorseyandBenny Goodmanon respective sides. By 1940 the song was considered astandard, and it was later included in theGreat American Songbook. That year, RCA Victor released two more recordings of "Stardust:" one by Dorsey featuringFrank Sinatra, and another byArtie Shaw (to me: one of the finest records ever made.) Shaw's recording sold one million copies, andGlenn Miller's rendition was published in the same year. A few of the other artists who recorded the standard includingJo Stafford,Ella Fitzgerald,Nat King Cole,Billy Ward and his Dominoes,Ringo Starr, andWillie Nelson. The song was featured in several films, includingMy Favorite Year,Goodfellas,Sleepless in Seattle, andCasino. It was inducted into theGrammy Hall of Famein 1995 and added to theNational Recording Registryin 2004. Nat King Cole’s superb *LOVE IS THE THING - launching the chart single "Stardust," which peaked at #79; the album reached Number 1 onBillboard's"Pop Albums" chart. RIAA confirms the album achievedgold statusin 1960, breaking platinum in 1992.The LP was Nat King Cole's first gold album.And he didn’t want to record “Stardust.” Tsk. Ts.
Cry Me A River – Julie London
I bought the 45 R.P.M. of “Cry Me a River” by Julie London for 99¢. As a young man, I liked this singer and bought every one of her releases. I loved “Cry Me a River” then, I love the song now. I had heard a rumor the song’s writer Arthur Hamilton brought the song to Ella Fitzgerald first and Ella said she couldn’t sing a song with the word plebeian in it.So Jack Webb’s sexy wife was up for a date and recorded the song.That wasn’t the true story at all.The bluesy jazz ballad, was originally written forElla Fitzgeraldto sing in the 1920s-set filmPete Kelly's Blues(released 1955). According to Hamilton, he andJulie Londonhad been high school classmates, and she contacted him on behalf of her husband, “Dragnet’s” Jack Webb, who was the film's director and was looking for new songs for its soundtrack.After the song was dropped from the film, Fitzgerald first released her version onClap Hands, Here Comes Charlie!in 1961. The song was also offered toPeggy King. It was Columbia RecordsA&RchiefMitch Millerwho objected to the word "plebeian" in the lyric. JulieLondon had been urged to record the song byBobby (“Route 66,” and “Baby, Baby, All the Time,”) Troup, who then produced the record. (Julie London later married him after her divorce from Webb.)A performance of the song by London in the 1956 filmThe Girl Can't Help It, helped to make it a bestseller reaching Number 9 on US charts and went Gold. I loved this song as a teenager and still stop what I’m doing to listen to it. (Accu-Radio)
Mr. Wonderful – Peggy Lee
"Mr. Wonderful" was written in1955written byJerry Bock,George David Weiss, andLarry Holofcener as thetitle songof aBroadway musicalof the same name starringSammy Davis, Jr.and Chita Rivera. The most popular contemporary recording was cut byPeggy Lee.When I hear the record, I feel that Peggy Lee is singing it just to me.Other covers,Sarah VaughanandTeddi King reached the Billboard charts in 1956. Ann-Margretalso included the song for her 1963 album “Bachelors' Paradise.” Though the Broadway musical “Mr. Wonderful” was panned, the show went on to become a commercial success for the producers but didn’t run long. The players had made other commitments after the initial bad press.(Ya’ just never know.) Not many people are aware of the song, and I feel it’s mine.However, Bette Midler and Keely Smith later recorded “Mr. Wonderful.”It’s hard to resist. And I trust you know a little bit about Keely Smith. She was damn good.
Begin The Beguine – Artie Shaw
May I begin by saying “Begin the Beguine” by Artie Shaw is one of the finest records ever made, ever? Artie Shaw(bornArthur Jacob Arshawsky) — an American clarinetist, composer, bandleader, actor and author of both fiction and non-fiction was known as "one of jazz's finest clarinetists."Shaw led one of the United States' most popularbig bandsin the late 1930s through the early 1940s. (PSST, he married eight times. Hang in, Hold on.) Though he had numerous hit records, he was perhaps best known for this 1938 recording ofpeerless Cole Porter's "Begin the Beguine." Before the release of "Beguine," Shaw and his fledgling band, for two years, had languished in relative obscurity. After “Beguine’s” release, he instantly became a major pop artist. The record eventually became one of the era's defining recordings. Shaw was also first to combine elements of classical, jazz, and traditions. (His music influenced other musicians, such asMonty Normanin England, whose "James Bond Theme" features a vamp possibly influenced by Shaw's 1938 recording of "Nightmare.") Shaw also recorded with small jazz groups drawn from within the ranks of thebig bandshe led. He served in theU.S. Navyfrom 1942 to 1944, during which time he led a morale-building band that toured the South Pacific. Following his 1944 discharge, he returned to brief lead a band through 1945. Following the breakup of that band, he began to focus on other interests and gradually withdrew from the world of professional musicianship and major celebrity — although he remained a force in popular music and jazz before retiring from music in 1954. I ASK YOU THIS: When did he have time to work. The most fascinating and fun of all: Artie Shawwas married to Evelyn Keyes(1957 - 1985),Doris Dowling(1952-1956),Kathleen Winsor(1946 - 1948),Ava Gardner(1945-1946),Betty Kern(1942-1943),Lana Turner(1940),Margaret Allen(1934 -1937)and (8!)Jane Cairns(1932)…not to mention that he had relationships withLina Romay (1951),Peggy Maley(1948),Ramsay Ames(1944),Judy Garland(1940- 1941),Betty Grable(1939)andBarbara Bannister and an “encounter” withYvonne De Carlo(1942). Just one date? Maybe by then, he was slipping. I suspect he might be slowing down, but no. I’m envious and exhausted.
At Last – Etta James
"At Last" became R&B singerEtta James'ssignature songand was the third in a string of successful songs from herArgo Recordsdebut album At Last!. In April 1961, it became her second number two R&B hit single and crossed over to pop radio, reaching Number 47 on theBillboardHot 100. Despite its modest pop chart standing, the song is now well-known and is still played regularly onoldiesradio stations. James' recording also reached Number 30 in Cashbox magazine. In 2009, James' version was inducted to theLibrary of Congress'National Recording Registry. In 2021, it was ranked at No. 115 on “Rolling Stone's” "Top 500 Greatest Songs of All Time.” Now, after reporting all that, it’s time to reveal to the world “At Last” was written byMack GordonandHarry Warrenfor a1941 musical filmcalled “Sun Valley Serenade.” Glenn Miller and his orchestra recorded the tune several times, with a 1942 version reaching Number Two on the USBillboardpop musicchart. I hadn’t a clue about that. I should have suspected with the terrific lyric and memorable melody.
You Belong To Me – Jo Stafford
“You Belong To Me” is a song that makes angry. I find it annoying. Giving credit, Jo Stafford’s hit is one of the most perfect records ever made and deserves to be Number One and to be a dubbed classic. What a history!However, the first recording, in February 1952, was byJoni James. But my beloved Joni James missed the boat. She recorded the song in Chicago, and it was released in March on the local Sharp Records label. After she signed toMGM, it was reissued as her second single on that label on August 5, 1952 — afterJo Stafford,Patti Page,Ella FitzgeraldandDean Martinhadcoveredit.James' version was also issued on MGM Records for national distribution but soon to be a Jo Stafford hit and a classic. Yes, the best-known version of the song in early 1952 was recorded after Joni James, bySue ThompsononMercury’s country label.It was soon covered byPatti Page, whose version was also issued by Mercury with "I Went to Your Wedding" (a bigger Page hit, reaching No. 1) on the flip side. It entered theBillboardchart on August 22, 1952, and lasted 12 weeks on the chart, peaking at Number 4.A cover version byDean Martin was also in play at that time. His version first entered the US chart on August 29, 1952, and remained on it for 10 weeks, reaching Number 12.All the versions were combined in the rankings on theCash Boxcharts, and the song reached Number. 1. Grudgingly, I write, Jo Stafford's recording was among the first to be issued in October 1952. In all, the song remained in the sheet music chart for 24 weeks.Despite the many, many recordings issued in the UK, only that by Stafford appeared in the singles sales chart. Jo Stafford’sbecame the most popular — recorded on June 24, 1952, when she was several months pregnant.Stafford's husband,well-known Paul Weston, produced the record and provided orchestral accompaniment— it was to be Stafford's biggest hit, and (I admit) deserved to be — topping the charts in both theUnited Statesand theUnited Kingdom(the first song by a female singer to top theUK Singles Chart).The single first entered the US chart on August 1, 1952, and remained there for 24 weeks. The Stafford version appeared in the first ever UK singles chart of November 14, 1952 (then a top 12) and reached Number 1 for a single week on January 16, 1953, its tenth week on chart. It thus became only the second record to top the chart and remained on it for a total of 19 weeks. If that’s not enough, the vocal group the Duprees’ rendition landed on lucky Number 7 on the Billboards charts in 1962. Obviously, “You Belong To Me” is a much loved song and identifiable sentiment. It begins, “See the pyramids along the Nile…?” And yes, the Jo Stafford cut, with husband Paul Weston, is a near perfect record.
But Not For Me – Ethel Merman
“But Not For Me” was written byGeorge GershwinandIra Gershwinfor the musicalGirl Crazy(1930 ). It was Ethel Merman’s first show, along with Ginger Rogers. Ella Fitzgerald — The First Lady of Song” —released her version of "But Not for Me" in 1959 on“Ella Fitzgerald Sings the George and Ira Gershwin Songbook,”which went on to win the1960 Grammy AwardforBest Female Vocal Performance. I get a sense that a lot of folks identify with this sentiment also. “But Not For Me” as well as another Ira Gershwin lyric (music by Vernon Duke) “I Can’t Get Started With You,” which became a blockbuster of a hit for Bunny Berigan. I seem to recall old most-loved-song-lists” had both of those songs near the top. (Roland Bernard"Bunny"Berigan was an Americanjazztrumpeter and bandleader who rose to fame during theswing era. His career and influence were shortened by alcoholism ending with his early death at the 33 fromcirrhosis. That 1937 classic recording "I Can't Get Started" was inducted into theGrammy Hall of Famein 1975 and it holds up today. The 12-inch 78 rpm vinyl record is about 5 minutes long, significantly longer than the 3 minutes or so allowed by the typical 10-inch 78 rpm. And now back to business, I found Ethel Merman’s big, ballsy voice and personality amusing on television and once in a movie or two. But I learned to dislike her. She was … well, mean. Forgive this 180-degree turn. When Judy Garland wasn’t cutting it on “Annie Get Your Gun,” she was replaced by journeyman actress Betty Hutton. I’d seen her in a couple of films and thought she inevitably stepped up to the plate…giving her all. THE POINT: while filming “Annie Get Your Gun” in Hollywood, after replacing ailing (and much-loved) Judy Garland, most every journeyman on the set from key grips on up was rude to Betty Hutton. I read where she plowed on and gave her best anyway. Then, when she traveled to New York City for the premiere, Ethel Merman, among others, went out of their way to be rude to Betty Hutton, (remember, Merman had played Annie Oakley on stage) and even 86-ed her from the Premiere. Ethel and Betty had been in one previous Hollywood movie where Merman requested some of Betty’s songs be cut. Yes, it had happened before: Producer Buddy DeSylva, cast Betty Hutton inPanama Hattie(1940–1942) — a major hit, running for 501 performances, starring Ethel Merman. Rumors: rumors, rumors for years, from envy, Merman demanded that Hutton's musical numbers be removed from the show. Careful reporting reveal that producer DeSylva chose to cut just one of her three songs, "They Ain't Done Right by Our Nell," due to Hutton's "always in overdrive" performance style. If you’ve seen the movie, “Annie Get Your Gun,” you know Betty Hutton had the last laugh. It was and is damn good. If you found all that hard to follow, that’s OK. I was able to get it off my chest. A final fact, Betty Hutton was a big, big, big star with multiple stratospheric credits, that few remember. Her resume is dazzling and might be worth a feature film.It can’t miss. Is anyone in Hollywood listening?
The Shadow Of Your Smile – Tony Bennett
"The Shadow of Your Smile,” The "Love Theme fromThe Sandpiper" was written byJohnny Mandelwith lyrics byPaul Francis Webster. The tune was introduced in the1965 filmThe Sandpiper with a trumpet solo byJack Sheldon.The lovely song was recorded by some fifty artists and was to became a minor hit forTony Bennett(Johnny Mandel arranged and conducted his version as well). Deservedly, “The Shadow of Your Smile” went on won theGrammy Award for Song of the Yearas well as theAcademy Award for Best Original Song. In 2004, the song finished at number 77 inAFI's 100 Years...100 Songspoll of the Top Tunes in American Cinema. The Sandpiper, adrama, was directed byVincente Minnellithat starredElizabeth TaylorandRichard Burton, the third of eleven films starring thepower couple. I like savoring the well-crafted lyrics, so warm and well thought out.
I Concentrate On You – Frank Sinatra & A. C. Jobim
As a hook, let me use a well-penned song and a favorite as a grabber. "I Concentrate on You" was written by cool Cole Porterfor the 1940 film“Broadway Melody of 1940,” and subsequently recorded by everyone who ever stepped in front of a mic. If you have any doubt, Google it. This standard is one of the many highlights in my 1967 FAVORITE ALBUM OF ALL TIME: Francis Albert Sinatra & Antônio Carlos Jobim — arranged and conducted by genius with a baton, Mr.Claus Ogerman, accompanied by a studio orchestra. Along with Jobim's original compositions, the LP features three standards from theGreat American Songbook, (“Change Partners”, “I Concentrate on You”, and “Baubles, Bangles and Beads”) arranged in thebossa novastyle. (I could take an entire page with the cleverly written song, “Change Partners,” but can’t. I will say this much: “Change Partners” is a popular song written byIrving Berlinfor the 1938 film“Carefree,” introduced byFred Astaire." CLEVER LYRIC:“Sit this one out and tell him he’s wanted on the telephone… Change Partners and dance with ME…”. Back to Sinatra and Jobim, the greats followed up this album with sessions for a second collaboration, titledSinatra-Jobim. That album was briefly released on8-track tapeon Reprise in 1969 before being taken out of print at Sinatra's behest, due to concerns over its sales potential. Several of theSinatra-Jobimtracks were subsequently incorporated in the“Sinatra & Company” album (1971) and the“Sinatra–Jobim Sessions” compilation (1979). In 2010 theConcord Recordslabel issued a new, comprehensive compilation titled“Sinatra/Jobim: The Complete Reprise Recordings.” At the10th Annual Grammy Awardsin 1968,Francis Albert Sinatra & Antônio Carlos Jobimwas nominated for theGrammy Award for Album of the Year, but lost tothe BeatlesSgt. Pepper's Lonely Hearts Club Band. Sinatra had won the previous two Grammy awards for album of the year, in 1967 and 1966. It was also nominated in the category ofBest Vocal Performance, Male, eventually losing toGlen Campbell's recording of "By the Time I Get to Phoenix." GuitaristAl Violaplayed on "Change Partners" due to Jobim's difficulty with the track, but is not credited on the album.The LP was recorded on January 30 and February 1, 1967, atUnited Western Recorders in Hollywood. A writer said this, Francis Albert Sinatra & Antonio Carlos Jobim,has lost none of its luster since it was first released 50 years ago. In fact, a newly-remastered anniversary edition extracts additional depth from Claus Ogerman's orchestrations, which frame Sinatra's voice like a Rolex on a velvet cushion.” That says it all. A BIG WRAP: I like most every record Frank Sinatra ever made. There’s not enough space to list many more, but I’d like to interject, I find two of his cuts “I’ve Got the World on a String” and “I’ve Got You Under My Skin” near perfect and perhaps works of art. And/but, I cherish the work done by Sinatra and Jobim the most — and I’m glad they were both on this planet.
Softly, As I Leave You – Matt Monro
Matt Monro was an English singer known as "The Man with the Golden Voice." Monro performed internationally during his 30-year career.AllMusichas described Monro as "one of the most underrated pop vocalists of the '60s, who possessed the easiest, most perfectbaritonein the business." Even Frank Sinatra was to say, after his death, “If I had to choose three of the finest male vocalists in the singing business, Matt would be one of them. His pitch was right on the nose; his word enunciation letter perfect; his understanding of a song thorough.” And so to the point: Monro’s recordings include the UK top 10 hits “Softly As I Leave You,” "Portrait of my Love,” "My Kind of Girl," "Walk Away" and the Beatles’ "Yesterday" He also waxed several film themes such as "From Russia with Love" for theJames Bond film, “Born Free,” and "On Days Like These" for“The Italian Job.” I trust my highlighting his “Softly, AS I Leave You,” does not detract from my most beloved version by Eydie Gorme. There’s room for both, I pray, and welcome them both, even back-to-back. Am I a pushover, or what?
The Way We Were – Barbra Streisand
I DO love this song and Barbra Streisand, but I can’t include all the cuts of hers, I’m favor of — so I’ve picked this one. I’ve been a fan of Streisand since her first album and bought most of them… I once met her at the press party for her movie, A STAR IS BORN, at Tavern on The Green and said something dumb to her. “A Star Is Born” had been panned by the press and I said to Miss Streisand, “No one over 30 should review this film.” So, know this: like most of the world, I love Barbra Streisand.As far as this song goes: “The Way We Were" was included in her fifteenth studio albumof the same name. It was released as the album'slead singleon September 27, 1973. The7" singlewas distributed in two different formats, with the standard edition featuringB-sidetrack "What Are You Doing the Rest of Your Life?;" the Mexico release instead included an instrumental B-side. That song was written byAlan Bergman,Marilyn Bergman, andMarvin Hamlisch, and production, handled byMarty Paich… The song "The Way We Were" was specifically produced for the record, in addition to three other tracks, including Barbra’s then-upcoming single "All in Love Is Fair" (1974). Know that the title tune song also won twoAcademy Awards, which were credited to the songwriters of the track. The single was also a commercial success, topping the charts in both Canada and the United States, while peaking in the top 40 in Australia and the United Kingdom.
Additionally, "The Way We Were" was 1974's most successful recording in the United States, where it was placed at Number One on theBillboardYear-End Hot 100 singleslist. It has since been certified Platinum by theRIAAfor sales of over one million units. American bandGladys Knight & the Pipsalso recorded a commercially successful cover for“I Feel a Song”(1974), reaching Number Four in the United Kingdom and Number 11 in the United States. I was an acquaintance of novel’s author Arthur Laurents and for me, he contributed a great deal to all this. I read Laurent’s novel the minute it was available…then hung in there for the rest. I don’t see his name anywhere. It’s been long-known fact that writers sometimes get short shrift. But then Arthur had a reputation for being able to toughly take up for himself.
It Don’t Mean A Thing (If It Ain’t Got That Swing) – Ella Fitzgerald
Ella Jane Fitzgerald was anAmericanjazzsinger, sometimes referred to as the "First Lady of Song," "Queen of Jazz," and "Lady Ella." I have often said her voice sometimes sounds like a musical instrument. Here’s what someone else wrote, “She was noted for her purity of tone, impeccablediction, phrasing, timing,intonation, and a ‘horn-like’ improvisational ability, particularly in herscat singing. Since her solo career began in 1942, I think we all can agree, she is the best singer of the all-time. I like every cut she ever waxed, every television appearance, and I even bought every one of her Nine “Songbooks.” (They’ll tell you 8, it’s 9.) Cole Porter, Rodgers & Hart, Duke Ellington, Irving Berlin, George and Ira Gershwin, Harold Arlen, Jerome Kern, Johnny Mercer and later, Antonio Carlos Jobim. What’s more, I never tire of her many duets with Louis Armstrong. So that’s all I’m going to say about perhaps the best singer of all time. I hesitate to (possibly) blow it, but I DO think Margaret Whiting’s Jerome Kern Songbook was equally as excellent as Ella Fitzgerald’s, if not better in some ways. So, sue me. Fitzerald’s scat singing it out of this world. If you haven’t sampled her scat singing, do so. It’s a treat. BOOK: “Becoming Ella,” by Judith Tick
Fever – Peggy Lee
As a teen, I liked the Little Willy John R&B hit “Fever” written by Eddie Cooley and Otis Blackwell (as John Davenport). As an adult, I loved the Peggy Lee mega smash even more. Since then, I hear the song often. I find it hard to believe Little Willy John didn’t like the song and had to be persuaded to record it. No one had to talk the savvy Peggy Lee into singing what was to become her signature song. (She wrote a couple of lyrics incorporated into the song.) Some of the recording artists who later recorded the song: Elvis Presley,Boney M.,Christina Aguilera,Michael Bublé,Sylvester,the McCoys,La Lupe,Beyoncé, and Madonna.Madonna released her version as a single from her fifth studio album,Erotica(1992), in March 1993 throughWarner Bros. It topped the charts in Finland and theHot Dance Club Songsin the US in addition to charting in the top 50 in many other countries. Madonna filmed and released amusic video and performed the song on several television shows as well as her 1993The Girlie Show World Tour. My favorite lyric: “Chicks were born to give you fever / Be it Fahrenheit or Centigrade.” … P.s. Peggy Lee released a couple of Latin albums (one “Latin Ala Lee” where she did a fantastic job on “Fantastico.”) I loved them, but she’s taking up too much space here…. It really rankles me when young people say to me, “Who is Peggy Lee?” She was known as “The Queen of American Pop Music.” Know that I loved her a lot and never tire of any record by Miss Peggy Lee — especially “Mr. Wonderful.”
What Kind Of Fool Am I? - Sammy Davis, Jr.
The Best thing about the Broadway musical “Stop the World — I Want to Get Off,” wasn’t in the show at all. It was Sammy Davis, Jr.’s hit recording of one of its songs, actually the closer to the show, “What Kind of Fool Am I?” And "What Kind of Fool Am I?" is now a standard written — it was written byLeslie BricusseandAnthony Newley in 1962 — and introduced by composerAnthony Newleyin his musical“Stop the World – I Want to Get Off.” It comes at the end of Act Two — yes, to close the show.(Bricusse and Newley received the 1961Ivor Novello awardfor Best Song Musically and Lyrically.)At the1963 Grammy Awards, the record/song won the award forSong of the Yearand was the first byBritsto do so. BACKGROUND: After its successful run in the U.K., this song was recorded while Newley was on the road with this production in theUnited States. By the time the cast reached New York,Tony Bennetthad recorded the song. But credit where its more than due, the song was a big hit forSammy Davis Jr.in 1962 peaking at Number 17 on theBillboard Hot 100chart as well as Number 6 on theBillboardEasy Listening chart. At the time, I recall the song being played everywhere I went – on the other foot, no one I met liked the show “Stop the World…”. (Sorry guys.)
It’s Impossible – Perry Como
The song “It’s Impossible” was a surprise hit for Perry Colo and an album had to be thrown together and quickly released. Not surprising for the much-loved, iconic American singer, actor, and television personality. During a career spanning more than half a century, Perry Como recorded exclusively forRCA Victorfor 44 years. "Mr. C.," as he was nicknamed, reportedly sold over 100 million records worldwide—not chopped liver—and pioneered a weekly musical variety television show. His approach was invariably laid back and effortless. In the official RCA RecordsBillboard magazinememorial, his life was summed up in these few words: "50 years of music and a life well lived. An example to all.” And now for Miss Cher. Who? Folks, I like Cher, but she sucks too much air out of the room. BUT, Cher – briefly. When I found myself humming “It’s Impossible,” I would then go into Cher’s “The Way of Love.” The "Goddess of Pop," Cher has been described as embodying female autonomy in a male-dominated industry — known for her distinctivecontralto singing voice — having worked in numerous areas of entertainment and for adopting a variety of styles not to mention: appearances. Cher rose to fame in 1965 as one half of thefolk rockhusband-wife duoSonny & Cher before releasing her first solo top-ten singles "Bang Bang (My Baby Shot Me Down)" and "You Better Sit Down Kids." Throughout the 1970s, she scored the USBillboardHot 100number-one singles "Gypsys, Tramps & Thieves," "Half-Breed," and "Dark Lady," becoming the female solo artist with the most number-one singles in US history at the time. Now about Cher’s song, "The Way of Love…" — it was written byJacques ("Jack") Dieval with English lyrics byAl Stillman. Originally, a 1960 French song titled "J'ai le mal de toi," before it was first recorded in English. Cher’s recording reached Number 7 in the US and confused me (with Perry Como’s “It’s Impossible.”). Both records were hits in the early 1970s. And now to end this Socratic Nightmare, a direct quote from Cher herself: “Someone once said. ‘The only thing that will be left after a nuclear holocaust is Cher and co*ckroaches.’ I think that's funny,” Cher said, “because, you know, I identify with being a survivor. If I am anything, that's what I am.” I rest my case. Yawn.
Mona Lisa – Natalie Cole
“Mona Lisa” was written bygenius writers Ray EvansandJay Livingstonfor theParamount Picturesfilm1949 “Captain Carey, U.S.A.,” performed bySergio de Karloand a recurrent accordion riff. When the tune comes on Accu-Radio or anywhere, I stop and listen to the lyrics. As a person who works with words, I find it brilliant. The title and lyrics refer to therenaissanceportraitLeonardo da Vinci’s Mona Lisa. NOTE: The song won theAcademy Award for Best Original Songin 1950. The first musicalarrangementwas in an orchestration bythe great Nelson Riddle, orchestral backing byLes Baxter and his Orchestra. You can’t get any better than that. In 1950, TheNat King Cole recordspent five weeks at number one on theBillboardsingles chart then inducted into theGrammy Hall of Famein 1992.(In 1961, Cole was to record this song again in a stereo version with Ralph Carmichael and his Orchestra.) Cole described this song as one of his favorites among his recordings. It certainly was one of mine. “…Are you warm, are you real, Mona Lisa, or just a cold and lonely work of art?” Which brings us to Miss Natalie Maria Cole (February 6, 1950 – December 31, 2015) also American singer, songwriter, and actress – and the daughter of singer-jazz pianistNat King Cole. She rose to prominence in the mid-1970s, with the release of debut album“Inseparable,” along with the song "This Will Be (An Everlasting Love)." The LP’stitle track would led her to theGrammy Award for Best New Artist — and TRUMPETS, PLEASE: the first African-American recipient, as well as the first R&B act to win the award.The singles 1976 "Sophisticated Lady,” "I've Got Love on My Mind," and 1977 "Our Love" followed. After releasing several albums, she departed — from her R&B sound and returned as a pop singer on the 1987 album“Everlasting,” along with her cover ofBruce Springsteen's "Pink Cadillac." In the 1990s — departure two — she sang traditional pop by her father, resulting in her biggest success,“Unforgettable... with Love,” which was certified7× platinumby theRecording Industry Association of America(RIAA). BRING ON THE TRUMPETS: “Unforgettable... with Love” won theGrammy Award for Album of the Year, for which Cole became the first African-American woman to win the award. Throughout her lifetime, Cole received nineGrammy Awards, was nominated for aPrimetime Emmy Award,and sold over 30 million records worldwide.She was awarded theHowie Richmond Hitmaker Awardfrom the Songwriters Hall of Famein 1999,and has been posthumously inducted, in 2021, into theNational Rhythm & Blues Hall of Fame— not to mention then receiving the covered star on the Hollywood Walk of Fame. The peach doesn’t fall far from the tree.
Volare – Dean Martin
An American icon, singer, actor, and comedian. One of the most popular entertainers of the mid-20th century, he was nicknamed "The King of Cool."In 1946, Martin broke through with comedianJerry Lewis, billed asMartin and Lewis, performing in nightclubs and later with numerous appearances on radio and television and in films. Following an acrimonious ending of the partnership in 1956, Martin pursued a solo career as a performer and actor and was able to established himself as a singer, recording numerous contemporary songs as well as standards from theGreat American Songbook – and then famous for being one of the most popular acts in Las Vegas — and even more well known for his friendship with fellow artistsFrank SinatraandSammy Davis, Jr. — who, together with several others, formed TheRat Pack. Wow. Martin's best known songs include "Memories Are Made of This", "That's Amore", "Everybody Loves Somebody," "You're Nobody till Somebody Loves You," "Sway," and my favorite, "Volare.” Starting in 1965, Martin was the host of the television variety program“The Dean Martin Show,” which centered on Martin's singing and comedic talents and was characterized by his relaxed, easy-going demeanor.
From 1974 to 1984, Martin wasroast masteron the popularDean Martin Celebrity Roast, which drew celebrities, comedians and politicians. Throughout his career, Martin performed in concert stages, nightclubs, audio recordings and appeared in 85 film and television productions and sold 12 million records in the US alone, over 50 million worldwide. (Psst, many times outselling Mr. Frank Sinatra.) In 1965, Martin launched his weeklyNBCcomedy-variety series,“The Dean Martin Show, which ran until 1974.The show exploited his image as a carefree boozer. Martin capitalized on his laid-back persona of the half-drunkcrooner, hitting on women with remarks that would get anyone else slapped silly, and making snappy if slurred remarks about fellow celebrities during hisroasts. During an interview on the British TV documentary Wine, Women and Song, which aired in 1983, Martin stated, perhaps tongue-in-cheek, that he had someone record them on cassette tape so he could listen to them. Martin's TV show was a success.
Despite Martin's reputation as a drinker—perpetuated via his vanity license plate "DRUNKY"—his alcohol use was quite disciplined.Martin was often the first to call it a night and, when not on tour or on a film location, liked to go home to see his family.Martin borrowed the lovable-drunkshtickfromJoe E. Lewis, but his convincing portrayals of heavy boozers in Some Came Runningand Howard Hawks'sRio Bravoled to unsubstantiated claims of alcoholism. By the early 1970s,The Dean Martin Showwas still earning solid ratings, and although he was no longer a Top 40 hitmaker, his record albums continued to sell. He found a way to make his passion for golf profitable by offering a signature line of golf balls, and theDean Martin Tucson Openwas an event on golf'sPGA Tourfrom 1972 to 1975.
At his death, Martin was reportedly the single largest minority shareholder of RCA stock. Not too shabby. Now comfortable financially, Martin began reducing his schedule. The final (1973–1974) season of his variety show was retooled into one of celebrityroasts, requiring less involvement. In the roasts, Martin and his pals made fun of a variety of popular entertainment, athletic, and political figures. After the show's cancellation, NBC continued to airThe Dean Martin Celebrity Roastas a series of TV specials through 1984.
On March 21, 1987, Martin's son, actorDean Paul Martin(formerly Dino of the 1960s "teeny-bopper" rock groupDino, Desi & Billy), died when hisF-4 Phantom IIjet fighter crashed while flying with theCalifornia Air National Guard. Martin's grief over his son's death left him depressed and demoralized. Lewis stated in an on-stage interview in 2005 that subsequent to his son's death Martin became a reclusive alcoholic.Later, a tour with Davis and Sinatra in 1988, undertaken in part to help Martin recover, sputtered. The great Dean Main could be found in a Hamburger Hamlet, or a like eatery, drunk at the bar up on Hollywood Boulevard. That is some story arc.
The More I See You – Chris Montez
“The More I See You" is apopsongcomposed byHarry Warren, with lyrics byMack Gordon. The song was introduced by the superb, underrated Dick Haymesin the 1945 filmDiamond Horseshoe,and also played as an overture under the opening credits and incidental music throughout. An instrumental version is played in full as radio background music during a dialog scene in the 1946film noirThe Dark Corner, also from20th Century Fox. In 1966, Mexican American, guitarist-vocalist Chris Montez had a rocking hit with the song — after that everyone who could carry a tune recorded it. Miss Peggy Lee, etc. Carly Simon (sang it Live on the Queen Mary 2, May 2005). I love hearing they song every time out and didn’t realize it was written by master songwriters back in 1945. Ol-A.
Unforgettable – Nat King Cole
Truly deserving of being called a popular song: The most well-known version of the song was recorded byNat King Cole, in 1951, on his album,“Unforgettable,” arranged byNelson Riddle. In 1991,Elvis Presley's musical director Joe Guercio suggested Cole's original 1951 might be edited and reworked to create a duet with his daughter,Natalie. It was and it worked. The remixed version reached Number 14 on theHot 100, matching the peak position of the original version on the Billboard Best-Selling Pop Singles chart, and also number three on theBillboardAdult Contemporary chart.The song went on to win three awards at the34th Annual Grammy Awards(1992):Song of the Year,Record of the YearandBest Traditional Pop Vocal Performance. Alas, Nat Cole's original recording was inducted into the Grammy Hall of Famein 2000. Now that what might be called a popular song.
Don’t Go To Strangers – Eydie Gormé
Eydie Gormé bornEdith Gormezano; was an American singer who achieved considerable success in pop, Latin, and jazz. She sang solo and in duoSteve and Eydiewith husband,Steve Lawrence, on albums and television. She also performed on Broadway and in Las Vegas. Born inthe Bronx, New York, Gormé began her career singing in a band on weekends while working as a translator. She gained prominence withTommy Tuckerband, followed by a year withTex Beneke's band, then signed withCoral Recordsin 1952, releasing her first single and later joiningThe Tonight Showwhere she met Lawrence. The duo's success included hits like "Too Close for Comfort" and "Blame It on the Bossa Nova," with Gormé also achieving solo success and earningGrammies.From the get-go, I responded to her pure, perfect, perfectly pitched voice. My favorite cut on Columbia Records, is the sexy titled “Don’t Go to Strangers, (Come to Me.”) What could be more complimentary than that sentiment? … I feel I must work up a sweat here… dance faster and faster than most to convince folks of Eydie Gormé’sgreatness. Her marriage to Lawrence in 1957 marked the beginning of a lifelong personal and professional partnership, celebrated with theirEmmy-winning TV specials and performances alongside stars likeFrank Sinatra. And I was enamored of Gormé’s Spanish recordings, particularly withTrio Los Panchos, which solidified her international fame. Her versatility was further evidenced with albums like“Amor”and“Eydie Swings the Blues.” Gormé's contributions to music was / were recognized with aGrammy Award for Best Female Pop Vocal Performanceand aSociety of Singers Lifetime Achievement Award. If you’re still a doubting Thomas, check out “Softly As I leave You.” One of the finest and convincing.
That’s All - Mr. Bobby Darin
"That's All" is a 1952 song written by Alan Brandt with music byBob Haymes. It has been covered by multiplejazzandbluesartists. The first in 1953 byNat King Cole achieved some popularity but it wasBobby Darin'sversion from his1959 album of the same title that introduced the song to world and to me. In a loud way, I want to say, I loved the Bobby Darin album “That’s All,” and became a fan for life – the song by then has deservedly become ajazz standard. Part of theGreat American Songbook,Alec Wilder included it in his book American Popular Song: The Great Innovators, 1900–1950, even though it was composed two years after that period. Wilder gave two reasons for making this exception: (1) "it is one of the last free-flowing, native, and natural melodies in the grand pop style"; (2) "it went through no initial hit phase but became an immediate standard." I rest my case and author Alec Wilder’s. If you don’t know Darin’s cut of “That’s All,” you’re really missing something.
Satin Doll – Nancy Wilson
Jazz vocalist, rock singer, and guitarist, Nancy Wilson was an American singer whose career spanned over five decades from mid-1950s until her retirement in the early 2010s. Notable for her single "(You Don't Know) How Glad I Am," and her version of "Guess Who I Saw Today,” as well as the sensational “Satin Doll.” …Wilson recorded more than 70 albums and won three Grammy Awards. During her career, Wilson was labeled a singer ofblues,jazz,R&B,pop, andsoul; a "consummate actress" — "the complete entertainer." However, the title she preferred. was "song stylist." Let’s grant her that, big-time.She received many nicknames including "Sweet Nancy," "The Baby," "Fancy Miss Nancy," and "The Girl with the Honey-Coated Voice.”Written in 1953, “Satin Doll" became ajazz standard; music byDuke EllingtonandBilly Strayhorn;with lyrics byJohnny Mercer. Know that, itschord progressionis well-known for its unusual use of note-combinations and opening with aii-V-I turnaround. Often asked to write lyrics to already popular songs, Johnny Mercer wrote the lyrics to "Satin Doll" after the song was a hit in its instrumental version. Composer Duke Ellington then used "Satin Doll" as the closing number in most of his concerts…Nancy Wilson is hip, Johnny Mercer is even hipper, and as for Ellington and Strayhorn — up in the stratosphere. Lyrics:
Cigarette holder- which wigs me
Over her shoulder - she digs me
Out cattin' - that satin doll
Baby shall we go - out skippin'
Careful amigo - you're flippin'
Speaks Latin - that Satin Doll
She's nobody's fool so I'm playing it cool as can be
I'll give it a whirl but I ain't for no girl catching me
Telephone numbers - well you know
Doing my rhumbas - with uno
And that'n my satin doll - SONY/ATV Harmony
Send In The Clowns – Sarah Vaughn
In live performances, Sarah Vaughn used the song "Send in the Clowns" to show off her vocal abilities — as the New York Times reported, her "three-octave tour de force of semi-improvisational pyrotechnics in which the jazz, pop and operatic sides of her musical personality came together and found complete expression.” The Newark-born singer won twoGrammy Awards, including the Lifetime Achievement Award, and was nominated for nine Grammy Awards.She was given anNEA Jazz Masters Award in 1989.CriticScott Yanowwrote that she had "one of the most wondrous voices of the 20th century.” Her commercial success at Mercury Records began with the 1954 hit "Make Yourself Comfortable," recorded in the fall of 1954, and continued with "How Important Can It Be," (withCount Basie), "Whatever Lola Wants," "The Banana Boat Song," "You Ought to Have a Wife," and the superb "Misty." In 1959 she further peaked with "Broken Hearted Melody." That song is often played today, and was a demo she considered "corny" which nevertheless when she recorded it became her first gold record,as well as a regular part of her concert repertoire. Alas, she died at 66. Her obituary inThe New York Timesdescribed her as a "singer who brought an operatic splendor to her performances of popular standards and jazz." Jazz singerMel Tormésaid that she had "the single best vocal instrument of any singer working in the popular field." Her ability was envied by Frank Sinatra who said, "Sassy is so good now that when I listen to her, I want to cut my wrists with a dull razor." In 1957,New York TimescriticJohn S. Wilsonsaid: close to its peak until shortly before her death that she possessed "what may well be the finest voice ever applied to jazz…"The Stephen Sondheim song “Send in the Clowns” was written byStephen Sondheimfor the 1973musical“A Little Night Music,” an adaptation ofIngmar Bergman's 1955 filmSmiles of a Summer Night. The rejected character Desirée sings this song in Act II. The verse is later reprised as acodaafter Fredrik's young wife runs away with his son, and Fredrik is finally free to accept Desirée's offer. Sondheim wrote the song specifically for actorGlynis Johns, who originated the role of Desirée onBroadway. It became Sondheim's most popular song afterFrank Sinatrarecorded it in 1973 andthen cementing it with Judy Collins' version charted in 1975. Subsequently, numerous other artists recorded the song, and it became astandard. Fascinating stuff: the "clowns" in the lyrics and title does not specifically refer tocircus clowns, Sondheim explained in a 1990 interviews: “I get a lot of letters over the years asking what the title means and what the song's about; I never thought it would be in any way esoteric. I wanted to use theatrical imagery in the song, because [the character is] anactress,but it's not supposed to be a circus … It’s a theater reference meaning ‘if the show isn't going well, let's send in the clowns;’ in other words, ‘let's do the jokes.’ I always want to know, when I'm writing a song, what the end is going to be, so "Send in the Clowns" didn't settle in until I got the notion, ‘Don't bother, they're here’ — which means: ‘We are the fools.’” In a 2008 interview, Sondheim further clarified: “As I think of it now, the song could have been called ‘Send in the Fools.’ I knew I was writing a song in which Desirée is saying, ‘aren't we foolish’ or ‘aren't we fools?’ Well, a synonym for fools is clowns, but ‘Send in the Fools’ doesn't have the same ring to it.” AHHHMEN and thank you Stephen Sondheim.
Lush Life – Carmen McRae
Let me begin by repeating a story I often tell. When new to New York, as a fresh audience/face and struggling songwriter, I was invited to a dinner party in Harlem by actor Sam Laws for Carmen McRae. Honestly… frankly, I’m embarrassed to admit, I was apprehensive about going to Harlem. Consequently, I missed a superb opportunity! (I have a similar story about missing the boat with jazz great Blossom Dearie. I made a lot of mistakes along the way.)… Carmen McRae’s version of “Lush Life” is my favorite. “Lush Life" is now ajazz standardwritten by brilliantBilly Strayhorn(a long story in himself). The words describe the author's weariness of the night life after a failed romance, wasting time with "jazz and co*cktails" at "come-what-may places" and in the company of girls / guys with "sad and sullen gray faces/withdistinguétraces." Hard to believe, Strayhorn was a teenager when he wrote most of the song, which was later to become his signature composition (along with "Take the 'A' Train"). A wonderful listening experience, with its overly complex chord changes, compared to other jazz standards, the song’s chromatic movement and modulations evoke a dreamlike state … dissolute spirit characteristic of the so-called "lush life." The song's verse is 32 bars long, and its chorus is 24 bars. Yes, another departure, unlike most other jazz cuts with a verse and a chorus, "Lush Life" is never performed without the verse because it is a necessary integral to the composition. (NOTE HERE AND NOW: Frank Sinatra couldn’t cut it first time ‘round and it was released later with some brilliant engineering.) Jazz criticTed Gioiacalls this standard "an art song, not a pop tune." Nat King Colerecorded "Lush Life" in 1949, and trumpeterHarry Jamesrecorded it four times. Also note, in the 1950s, it was laid down by jazz vocalistsCarmen McRae (still played today), Ella Fitzgerald,Sarah Vaughan, andChris Connor.John Coltranerecorded it twice — first on a 14-minute version waxed in 1958 as the title track ofan albumforPrestigewith trumpeter Donald Byrd. The other was on a superb (superb!) 1963 album,John Coltrane and Johnny Hartman, with vocalistJohnny Hartman. Strayhorn recorded it in 1961 with wordless vocals by the Paris Blue Notes for his albumThe Peaceful Side.Kurt Ellingrecorded a version for his albumDedicated to You: Kurt Elling Sings the Music of Coltrane and Hartman. Frank Sinatraattempted to record a version of it for his 1958Only the Lonelyalbum but never finished a complete version. The unfinished takes of Sinatra singing (with some engineering magic), ‘Lush Life’ were eventually released on the 60th anniversary re-release of Only the Lonely album.Hardly a footnote, Linda Ronstadt's version won the1986 Grammy Award for Best Instrumental Arrangement Accompanying Vocal(s). If you drink too much, the lyric may depress you. But then sometimes, it’s a pleasure to be sad. Sorry, that’s Rodgers and Hart, “…unrequited love’s a bore…
The Folks Who Live On The Hill – Eric Clapton
Yes, an old song, a 1937tunecomposed byJerome Kern, with lyrics byOscar Hammerstein II and categorized as a jazz standard. But that doesn’t cut it. It was nicely introduced byIrene Dunnein the 1937 film“High, Wide, and Handsome.” New Year’s Eve staple Guy Lombardo enjoyed 1937 chart success with the song. Since,it has become invariably associated withPeggy Lee, who sang it on her 1957 album, “The Man I Love” — arranged byNelson Riddleand conducted byFrank Sinatra. There is something wonderful about this song that I can’t put my finger on. I don’t think my words of praise are enough to convey how lovely and loveable it is…with its warm lyric, inviting words, easy melody. It was recorded by everybody who counts. Peggy Lee, Nina Simone, Diana Krall, Nancy Wilson, Tony Bennett, Mel Torme, Mathis, Hartman, Midler and Eric Clapton…perhaps ammunition enough.
Come On-A My House – Rosemary Clooney
Originally released in 1951, it was written byRoss Bagdasarianand his cousin, Armenian-AmericanPulitzer Prize-winning authorWilliam Saroyan, as they drove across New Mexico in the summer, 1939. The melody is based on an Armenian folk song while the lyrics reference traditional Armenian customs of inviting over relatives and friends and providing them with a generously overflowing table of fruits, nuts, seeds, and other foods.That’s not how it comes off in Clooney’s version. It had been performed in the 1950off-Broadway production of“The Son.” The song did not become a hit until Clooney's recording. (It was Saroyan's only effort at pop songwriting, but it was one of Bagdasarian's few well-known works that was not connected to his best-known creation,Alvin and the Chipmunks.) A major hit for Clooney in 1951, it was the first of several dialect songs she waxed. She recorded it in the early part of 1951, withMitch Millerleading an ensemble of four musicians, includinggenius harpsichordistStan Freeman. (I knew him and had dinner with him once.) It reached Number One on theBillboardcharts, staying in the top position for six weeks. Clooney sang the song in the 1953 filmThe Stars Are Singing, in a scene where she ended up mocking it, remarking that no one would listen to it — although she was to perform "Come On-a My House" for many years. Clooney later confessed that she hated the song — after being given a practice record of it, she told producer Miller it was not for her. Miller gave her an ultimatum: record the song or be fired. During a 1988 interview, Clooney said that whenever she listened to the recording, she could hear the anger in her voice from being forced to sing it. (May I boringly repeat, hey, ya’ never know). She also had success as a jazz vocalist. Clooney's career languished in the 1960s, partly because of problems related to depression and drug addiction, but revived in 1977, when herWhite Christmasco-starBing Crosbyasked her to appear with him at a show marking his 50th anniversary in show business. She continued recording until her death in 2002. I ask: are there three Rosemary Clooney’s? Early career in movies with Bing Crosby, then pop hits; and then later multiple records with head arrangements of Popular American Standards.I listen to her every time out, but the thin, sometimes undisciplined arrangements don’t always do her justice — though her voice invariably held up. To wrap: look at what she promises us in the lyric to “Come On-a My House.” How could one possibly say no? CANDY, APPLE, PLUM, APRICOT-A, FIGS, DATES, GRAPES, CAKES, AGAIN CANDY, CHRISTMAS TREE, MARRIAGE RING, POMEGRANATES, PEACH, PEAR, LOVE YOUR HAIR, EASTA-EGG, EVERYTHING, EVERYTHING…
It Might As Well Be Spring – Margaret Whiting
I recall as a young boy (and she hated it when I told this story) — pre-first grade, I heard Margaret Whiting’s version of the classic “It Might As Well Be Spring,” on the radio back home in Clarksburg, West Virginia, intermittently aired with the superb Dick Haymes version. (As an adult in New York City, when dabbling in the music business, Margaret and I became friends.) Know that "It Might as Well Be Spring"is from the 1945filmState Fair,which features the only original film score by the songwriting team ofRichard Rodgers and Oscar Hammerstein II. AND NOTE THIS: "It Might as Well Be Spring" won theAcademy Award for Best Original Song1945, so none of this is to be taken lightly. Oscar Hammerstein, the lyricist for the Rodgers & Hammerstein team, mentioned to Richard Rodgers that although state fairs were held in summer or autumn, for Margy – flushed by the stirrings of womanhood – "it might as well be spring." Rodgers immediately advised Hammerstein that the latter had just named the song. Then, Rodgers envisioned "It Might as Well Be Spring" as a cheery up-tempo number, its being the decision of the musical director ofState Fair,Alfred Newman, to present the song as a moody ballad. Not easy, Richard Rodgers canvassed the film studio to protest Newman's decision but did ultimately admit it was the right choice. “Robert Hurwitt of theSan Francisco Examinerdeemed the "wondrous" song "It Might as Well be Spring" to be "as achingly wistful a romantic reverie as has ever been penned." Dick Haymes, who played Margy's brother Wayne Frake in the 1945 film, made one of the original hit recordings of the song. Debuting on theBillboardmagazine Best Seller chart dated 8 November 1945. (The dueling disc had a chart tenure of 12 weeks with a peak at 5.) HOWEVER, LADIES AND GENTLEMEN, the recording byPaul Weston, vocals Number 5. Margaret Whiting reached theBillboardmagazine Best Seller chart on November 22, 1945, and lasted six weeks on the chart, peaking at Number 6. (I made this big fuss about “It Might as Well Be Spring,” when Margaret is more well-known for “Moonlight in Vermont,” one of the only hit songs without any rhymes.) I spent many a Christmas Day at Whiting’s Central Park South flat, and to this day, I miss her terribly. Maggie passed away on a cold 1/10/21.
I’ll Be Seeing You – Bing Crosby
“I’ll Be Seeing You” has been recorded by multiple performers but my favorite is Bing Crosby’s, World War II, deservedly, a Number One hit in 1944 with it’s warm lyric and whistle-able lyrics. "I'll Be Seeing You" is about missing a loved one, with music bySammy Fainand lyrics byIrving Kahal.Published in 1938, it was inserted into theBroadwaymusical“Right This Way,” which closed after fifteen performances.The title of the 1944 film“I'll Be Seeing You”was taken from this song at the suggestion of the film's producer,Dore Schary, and then included in the film's soundtrack. (A resemblance between the main tune's first four lines and a passage within the theme of the last movement ofGustav Mahler'sThird Symphony[1896] was pointed out byDeryck Cookein 1970). A truly Impressive Discography:
The earliest recording of the song was byDick Toddin 1940 on theBluebirdlabel.
J. Lawrence Cook recorded a piano roll of the song, QRS 7945.
The recording byBing Crosbybecame a nostalgic wartime hit in 1944, reaching number one for the week of July 1.
Frank Sinatra's version withTommy Dorsey and His Orchestrafrom 1940 charted in 1944 and peaked at Number 4.A new recording of the song by Frank Sinatra was included in 1961's“I Remember Tommy.”This new version went to Number 12 on theEasy Listeningchart and Number 58 on the Hot 100.
Lyrics:
I'll be seeing you
In all the old familiar places
That this heart of mine embraces
All day throughIn that small cafe
The park across the way
The children's carousel
The chestnut trees
The wishing wellI'll be seeing you
In every lovely summer's day
In everything that's light and gay
I'll always think of you that wayI'll find you in the morning sun
And when the night is new
I'll be looking at the moon
But I'll be seeing youI'll be seeing you
In every lovely summer's day
In everything that's light and gay
I'll always think of you that wayI'll find you in the morning sun
And when the night is new
I'll be looking at the moon
But I'll be seeing you —Songwriters: Sammy Fain / Irving Kahal - Pub. Marlo Music
I Thought About You – Shirley Horn
I’ve gushed about him before: The lyric is by my all-time favorite lyricist Johnny Mercer. The words were inspired by a train trip he took to Chicago. (Music: Jimmy Van Hausen) The first line is: "I took a trip on a train…" Other songs Mercer penned about trains, the 1940, “Blues in the Night.” And then that damn 1946, “On the Atchison, Topeka, and Sante Fe,” (Mercer and Harry Warren) from The Harvey Girls which went on to win the 1946Academy Award for Best Original Song,the first win for Mercer. The song refers to theeponymous fallen flag railroad, and was featured in the1946film,The Harvey Girls, where it was sung byJudy Garland, with support fromBen Carter,Marjorie Main,Virginia O'Brien,Ray Bolger, and theMGMChorus. The song frequently comes up on Accu-Radio and I can’t take too much of it, too often. (Let’s not forget Johnny Mercer was also keen to write about birds, too. One of the best songs ever written NOTE: “Skylark.”) Back to my love for “I Thought About You” — by Shirley Horn — and I’m not alone here. Horn was an Americanjazzsinger and pianist who collaborated with many jazz greats. No easy feat — she was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something described by arrangerJohnny Mandelas "like having two heads," as well as for her rich, lush voice, a smoky contralto — described by noted producer and arrangerQuincy Jonesas "like clothing, as she seduces you with her voice." If the great Quincy Jones likes you, you don’t need another credit. Think about listening to “I Thought About You,” by Shirley Horn. It’s top-notch jazz and brilliant words. Later, you might be whistling it.
I Apologize – Billy Eckstine
The best-known version of the song was recorded byBilly Eckstine, even though, it was an early Bing Crosby hit. Eckstine’s first reached theBillboardBest Seller chart on February 23, 1951, and lasted for 19 weeks on the chart, peaking at Number 8.It was awarded theGrammy Hall of Fame Awardin 1999. It’s important for me to include this recording. As young man I recall my teenage Aunt Angie bringing home a ten-inch vinyl copy, putting it on the turntable and playing it over and over again. (I later learnedThe New York Times, considered Billy Eckstine’s 1950 appearance at theParamount Theatrein New York City to draw a larger audience thanFrank Sinatrahad done at his performance there.Eckstine was even called "the sepia Sinatra" for his rivalry of the country's one-time most popular vocalist. (Crosby might be pissed.)
Little Things Mean A Lot – Kitty Kallen
The best known recording of "Little Things Mean a Lot," byKitty Kallenreached Number 1 on theBillboardchart in 1954, and also a Number 1 on theCash Boxchart the same year — staying there for nine weeks. Subsequently,Billboardranked it as theNo. 1 song of 1954. I recall when it was a hit, the records was heard everywhere in my hometown, Clarksburg, W VA. That teenage Aunt of my loved it. What’s fascinating to me, before this hit Kitty Kallen was a swing era-Big Bands post World War II and sang with Jimmy Dorsey and Harry James. I read somewhere, and can’t find it, the song “Little Things Mean A Lot” was a country hit and Kallen’s husband recommend she sing it. With a little tweaking, the song became a smash.
I’m Going To Sit Right Down And Write Myself A Letter – Billy Williams
I was introduced to this song as a teenager with a novelty, major hit by Billy Williams, a 78 R.P.M. with Dick Jacobs Orchestra, reaching Number 3 in Billboard, as well as selling a million, Certifying Gold. What I didn’t know at the time was the song had been recorded straight-forward-ly as ballad by everyone from Fats Waller to Frank Sinatra. To this day, Billy Williams version still makes me smile when the singer periodically interjects, “Oh, Yeah!” It holds up as a novelty and as a ballad.
Going Out Of My Head – Little Anthony
To me, "Goin' Out of My Head" is a fine rock song and a big hit written by prominent rock writers TeddyandBobby Weinstein, recorded in 1964 byLittle Anthony and the Imperials. Some music men call it an R&B song; I heard it as rock ‘n’ roll and liked it a lot. The Little Anthony and the Imperials original recording is the best-known, although it has since been covered by many artists, including the Zombies, who released a rendition as their last single. American Jazz guitarist Wes Montgomery titled his 1966 album “Goin’ Out of My Head” — that reached No. 7 on the Billboard magazineR&Bchart that year. At the9th Grammy AwardsGoin' Out of My Head was AwardedBest Jazz Instrumental Album, Individual or Group. You know I must be keen on this song if I included among / amid all these American Popular Standard type recordings. You don’t have to know who the Lettermen were, but the Lettermen had a minor hit with this song as a medley with “Can’t Take My Eyes Off of You,” a Four Seasons song, that was a hit for Frankie Valli, Number 2, I think for the “Seasons.” Much recorded in multiple of ways, a good song. Vallie didn’t even have to trot out his signature falsetto. No offense to The Lettermen: only have so much room.
Quando, Quando, Quando – Pat Boone
Pronounced‘kwando’, ‘kwando’‘kwando’ ("When, When, When"), “Quando, Quando, Quando" is an Italian pop songin the bossanova style from 1962, music byTony Renisand lyrics byAlberto Testa. The song placed fourth in theSan Remo Music Festivalin 1962, and later became a commercial success in Italy, topping the Italian singles chart.American entertainerPat Boone recorded the song in 1962, sang the English lyrics written byErvin (“It Was A Very Good Year”) Drake. OTHERS: EnglishpopsingerEngelbert Humperdinckin 1968. In 2005,Michael Bublé performed the song as a duet withNelly Furtado. Buble is not one of my favorites, but I admit, he got me with this one. OKAY, OKAY, OKAY. The song was a 1962 BillboardTop 100 entry by Pat Boone. Quandois the only Italian word normally retained in most English-language renditions of the song. Pat Boone sang the song, starting his rendition in Italian and then carrying on the rest in English, repeating every now and again some Italian words, (couldn’t hurt, paesano.) I personally like to use the song when someone I haven’t heard from for a long time doesn’t call, doesn’t write. I then get in touch with them and croon with my singing-in-the-shower voice: “Quando, Quando, Quando?” … You had to be there.
It's All In The Game – Tommy Edwards
In summer 1951, “It’s All In The Game” was recorded by Adult Contemporary artists:Dinah Shore,Sammy Kaye andCarmen Cavallaro. But the Tommy Edwards's 1956 version was to reach Number 18 on the Billboard charts. In 1958 — with a stereo version of "It's All in the Game" and arock ‘n’ roll arrangement with a groovy sound — the single released in July became an instant hit, reaching Number One — then staying there for six weeks. Tommy Edwards was the first African-American to chart at Number One on theBillboardHot 100. Plus, it was Number One on the R&B Best Seller listin the U.S.A. and England.
I Miss You So – Diana Krall
Briefly, “I Miss You So,” was a rousing chart hit for Paul Anka back in 1959 and now the song frequently haunts me.An old 1930s song written by Jimmy Henderson, Bertha Scott, and Sid Robin, it’s often spun these days on Accu-Radio. My beloved Diana Krall recorded it on her 1997 album “Love Scenes,” which I immediately snatched up for my collection. And these days, AccuRadio frequently spins that version which I enjoy during my coffee breaks — (wait) along with another of my all-time favorites, (honest) Miss Chris Conner. Though a jazz singer, Connor does a superb job on this recording. She approaches the warm lyric in a straightforward manner — and is backed by a full choir. Love it, love it, love it. Fact of the matter, I like every version and I feel a special affection for the affectionate lyrics.
When I Look In Your Eyes – Diana Krall
I happen to have loved this song long before Dinah Krall’s album, with that title, which I favor among all of her work. The song was written for the movie Doctor Dolittle— a 1967Americanmusicalcomedy filmdirected byRichard Fleischerand starringactor Rex Harrison. The video clearly depicts Harrison singing the warm, intimate, alluring lyric … to a seal. The feature film was adapted byLeslie Bricusse from theDoctor Dolittlenovel seriesbyHugh Lofting …“When I Look in Your Eyes,” is a wonderfully written song, with a profound, yet soft, gentle, tender, lovely lyric. I never tire of hearing the tune. In fact, I’ve come across a few folks in my life that / who cause me to feel fire and pain…when I look in their eyes. So, I’m here to report that that sentiment exists, is alive, beguiling, and causes a burning … Desire. Sample the song. You’ll be surprised and enlightened and just might thank me.
Have Yourself A Merry Little Christmas – Judy Garland
Over the years I periodically meet people, usually guys, who would say to me, “Judy Garland had such a sad life.” I disagree. Yes, she was talented, gifted … AND one of the luckiest gals who ever lived. Why do I say that? She had affairs some of the most attractive men who ever lived (and a couple of abortions, I hear. The first in 1941, thanks to musician David Rose. The second, 1943, by Tyrone Power. That might put an end to the hom*osexual rumors about Power, or not). She got to introduce magnificent songs I loved, some of the best tunes ever written — and at the very least had the privilege of singing other greats. (“Meet Me in St. Louis,” “The Trolly Song,” “The Boy Next Door,” and yes, “Have Yourself a Merry Little Christmas.”) That ain’t all. She was signed by MGM without even having to take a screen test… who do we know that was that lucky? She performed in some top-notch movies, musicals and even dramas (example “Judgement at Nuremberg.”) The works: movies, TV shows, live on Stage, record albums, at last count 8 original studio albums! … I once met her. I must add this, or friends will ride me out of town. Here goes: actress Elaine Stritch took me to the closing night penthouse party for Judy Garland at the end of her 1967 New York City Palace Theater stint. I was young and new to New York and had just charged a three-piece suit Brooks Brothers suit — for a recent job interview — and wore that outfit that night. When I arrived Broadway songwriter Jerry (“Hello, Dolly!”) was tinkling the ivories on a baby grand. Not too long after arriving, I was introduced to Miss Garland who said, to me, “You’re cute. May I have your phone number?” I patted my pockets and blurted out, “I don’t have a pencil.” With a wounded look on her face, she turned away… I was to start a new job soon. How was I able to handle Miss Judy Garland who thought I was cute? There were rumors that she telephoned people in the middle of the night… I was young, inexperienced, with limited income, and insecure, I couldn’t risk it.(I could handle Elaine Stritch as long as we both had a co*cktail in our hands.) Garland conjured up a wounded look and an “OK, don’t give it to me.” Then walked away. Frankly, I’m surprised I handled it was well as I did. I hadn’t had that much practice. NOTE THIS: later, when I went to the john, the silver lame outfit she wore on stage (perhaps a perk from “VALLEY OF THE DOLLS” stint she was fired from?) that night was in a round heap on the floor, as she’d step out of it. It was something to write home about. In closing may I add: Judy Garland was a lifelong Democrat. One wonders what she might say today. Maybe not.
What A Diff’rence A Day Makes - Dinah Washington
The now standardsong originally written inSpanishby Mexican songwriterMaría Grever in 1934 had the title "Cuando vuelva a tu lado"("When I Return to Your Side"), first recorded byOrquesta Pedro Víathat same year. FAST FORWARD TO 1959: The song is known in English as "What a Diff'rence a Day Makes." It was popularized by Dinah Washington in a year when most of the songs on the radio were rock ‘n’ roll and/or R&B. I loved it — melodically and lyrically — particularly partial to the last verse:
It's heaven when you
Find romance on your menu
What a difference a day made
And the difference is you
In 1959 Dinah Washingtonwon aGrammy Awardfor Best Rhythm and Blues Performance with this outing. Her version was also inducted into theGrammy Hall of Famein 1998.That’s not all, her Top Ten Hit, her first, reached Number 8 on theBillboardHot 100. The beat goes on: FAST FORWARD TO 1964: A popular version in Spanish was recorded by a favorite duo of mine, The TrioLos PanchoswithEydie Gormé. … An aside: the first time I had dinner with actress Elaine Stritch, she casually mentioned her favorite line in a song was: “It’s heaven when you find romance on your menu…” At that time, coincidentally, it was mine.It IS heaven when you find romance on your menu, don’t you think? I’ll pick up the check.
Hello, Dolly! – Louis Armstrong
Hello, Dolly! is the title song of the popular now standardmusical of the same name, with music and lyrics byJerry Herman. A 1964 recording byLouis Armstrong was played everywhere, winningSong of the Year,and theMale Vocal Performanceawards at the7th Annual Grammy Awards. In 2001, Armstrong's rendition was inducted into theGrammy Hall of Fame. In January 1964, the same monththe Carol Channing musical “Hello, Dolly!”opened in New York,Kapp Recordsreleased Armstrong's version – a publishing demo — as a commercial single. That record reachedNumber1 on the U.S.BillboardHot 100, knockingthe Beatles' streak out of3 chart-topping hits in a row over 14 consecutive weeks."Hello Dolly!" was to be the most successful single of Armstrong's career, followed by a Gold-selling album with the same name.Armstrong’s cut also spent nine weeks atop theadult contemporary chartshortly after the opening of the musical. And more notable, the song made Armstrong the oldest artist ever to reachNumber1 on the Hot 100 chart since its introduction in 1958.Billboardranked the record as theNumber3 song of 1964, behind the Beatles' "I Want to Hold Your Hand" and "She Loves You.” "Hello, Dolly!" also won theGrammy Award for Song of the Yearin 1965, and Armstrong received a Grammy forBest Vocal Performance, Male. Louis Armstrong also performed the song alongsideBarbra Streisandfor themusical's 1969 screen adaptation. STOP THE MUSIC! And now for the "Sunflower" controversy. "Hello, Dolly!" became caught up in a lawsuit which could have endangered plans for filming the musical.Mack David, a composer, sued for infringement of copyright, because the first four bars of "Hello, Dolly!" were the same as those in the refrain of David's 1948 song "Sunflower.” I heard and can’t confirm that Jerry Herman had to hand over $250,000 to Mack David. Sounds reasonable enough in that day’s dollars and cents. Not bad for 4 notes.
On The Street Where You Live – Vic Damone
I’m including this song from “My Fair Lady,” a hit for Vic Damone, because I liked and admired the Italian crooner. Among my family and friends at home, he was well-known, but I was never sure of how well he was recognized outside of there. You may question that. When Damone recorded a new song, it was usually a sweeping arrangement with a big voice — in perfect pitch. He became best known for his performances of songs such as the Number One hit "You're Breaking My Heart." The melody was a famous Italian song, "Mattinata,"written byRuggero Leoncavalloat the beginning of the 20th century – but that song had lapsed into the public domain in the United States by the time the English words were set to the tune. He was then to have another hit with "On the Street Where You Live," from “My Fair Lady” and was the most popular single of the song byVic Damonein 1956 forColumbia Records. It reached Number 4 on theBillboardcharts.The following year, he recorded "An Affair to Remember (Our Love Affair)," a 1957 romantic song composed byHarry Warrenfor the 1957 film“An Affair to Remember.” (Lyrics byLeo Mc CareyandHarold Adamson.) Damone sang the tune during the film's opening credits, which is no small thing. I seem to recall a gossip item reporting that near the end of his life, Frank Sinatra saw very few people. One of the folks he did see was Vic Damone. So I trust I’m selling the guy short. I will say this, when he sings the David Raskin and Johnny Mercer song “Laura,” near perfection, I listen. And while we’re musing, it’s staggering to note, “Laura” has been recorded more than 400 times. Now that’s a standard.
Reunited – Peaches And Herb
Ladies & Gentlemen, I love this 1979 R&B song. To get what I’m trying to convey, you must stop and listen to “Reunited,” (on YouTube?), anywhere you can. “Reunited" was a humongous 1979 hit song for R&B vocal duoPeaches & Herb. From their album,2 Hot(1978) – it was a huge crossover smash, topping both the pop and soul charts — spending four weeks at Number 1 on both the R&B singles chart and theBillboardHot 100singles. While all this was goin on, “Reunited” sold more than two million copies. Billboardranked it theNumber 5 song for the year 1979. Written byDino FekarisandFreddie Perren, it was the sequel to the duo's 1968 hit "(We'll Be) United," performed with the original Peaches, which was itself a cover ofThe Intruders' original 1966 hit. All of that is complicated and fascinating, but it’s more important for you to hear this cut, if you haven’t. There’s something magical about this record and this is from someone who thinks “Stardust” and “Smile” are great songs.
It's Magic – Doris Day
What do we do about Doris Day? She has one of lengthiest and more versatile online profiles of any performer…. I’m conflicted here. I used to say, “Doris Day gives a perfect performance every time she steps in front of a microphone.” Perhaps that’s true. OMG. From 1947 to 1967 she recorded 650 songs, and yes, who’s counting. One other outrageous compliment I used to pay Doris Day, “Doris Day is one of the world great originals.” And here’s another picadillo: as I felt about Rosey Clooney there must be three Doris Days. Her early career, mostly big band singer; a middle period of movies and pop novelty-leaning recordings; and then a giant departure, photographed through gauze, those offbeat comedies she did Rock Hudson and the like; then later, out of necessity: television. And now, I’m not sure how I feel. But she must be contended with. (I admit her “Bewitched, Bothered, and Bewildered,” is nearly perfect.) So, sometimes she has me. (I guess I can’t have it both ways). May I leave it up to you? I’m stumped.What do you think of Miss Doris Day?
You Got It All Over Him – The Jets
Why am I including this song? If I knew nothing about its background, I’d like this song. I like the sound, the melody, the lyrics, everything about it. After learning its history, I loved it even more.“You Got It All Over Him” is a song recorded by American bandThe Jets. It was released in 1986 as the fourth single from their debut 1985 studio album,“The Jets.” It was written by the great Rupert Holmes, most famous for the 1979 hit "Escape (The Piña Colada Song)," and produced by Don Powell andDavid Rivkin. (Holmes wrote the tune for his 10-year-old daughter Wendy. She never got to hear it become a hit; prior to its release, she died suddenly of an undiagnosedbrain tumor.) This narrative here even gets weirder. The song features the voices of the second youngest member of the group, then13-year-oldElizabeth Wolfgramm, on lead vocals. She didn’t understand the words… But first some background: A FAMILY BAND, THE JETS: The Jetsare aTongan Americanfamily music group fromRobbinsdale, a suburb ofMinneapolis, Minnesota — composed of brothers and sisters LeRoy, Eddie, Eugene, Haini, Rudy, Kathi, Elizabeth, and Moana Wolfgramm, who performpop,R&B, anddance music.They started performing as a family band in 1977 – but didn’t enjoy worldwide success until 1985 – then after that performed three world tours — enjoying five top-10 hits on the USBillboardHot 100. The original band consisted of the eight oldest children of Maikeli "Mike" and Vaké Wolfgramm, who were originally fromTonga.The family has 17 children: 15 by birth, and two, Eddie and Eugene, by adoption. The children attendedRobbinsdale Cooper High School and are members ofthe Church of Jesus Christ of Latter-day Saints. The group initially called themselvesQuasarafter a now defunctbrand of television sets. On the suggestion of manager Don Powell — they changed their name — a moniker taken from theElton Johnsong "Bennie and the Jets.” Alas-and-lackaday, "You Got It All" peaked at Number Three on theBillboardHot 100in the US, early 1987. The song also topped theAdult Contemporary chartfor two weeks, and reached Number Two on theR&B chart. It was also featured in the filmJaws: The Revengeas well as 1987 episodes of the daytime soap operasAnother World,As the World Turns,Days of Our Lives, and General Hospital.Britney Spearscovered the song in 1997. Here it is: Moana Wolfgramm and Elizabeth Wolfgramm were aged 10 and 12 respectively when they recorded their vocals for the song. Way too young to grasp the romantic feelings — and Elizabeth was having difficulty connecting with the lyrics! The manager told her to imagine she was singing it to a puppy. A puppy, indeed. As the lyric includes, it’s “…heaven sent.” Yes. There’s something spiritual about this record. I suspect Angels were circling the studio during the recording. This grown man stops what he’s going to listen every time this song comes on AccuRadio. The story doesn’t end there … it goes on and on. Member Eugene Wolfgramm, brother, father, uncle of 17 siblings, died on April 15, 2024, at the age of 57 of “heart complications.” But, the melody lingers on. You’ve got to hear this song.
Let’s Get Lost – Chet Baker
The first photograph I saw of jazz singer Chet Baker he was wearing a white T-shirt and looked like a 1950’s hunk. I witnessed his deterioration before my eyes due to alcohol and drugs as he became toothless and weathered. In the beginning, about 1952, this Americanjazztrumpeter and vocalist was known for major innovations incool jazzthat led him to be nicknamed the "Prince of Cool.” Baker earned much attention and critical praise through the 1950s, particularly for me, I favored the albums featuring his vocals:*Chet Baker Sings(1954) andIt Could Happen to You(1958). Jazz historianDave Gellydescribed the promise of Baker's early career as "James Dean,Sinatra, andBix, rolled into one.” Alas, he had a well-publicizeddrug-alcohol habitwhich drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a resurgence in the late 1970s and 1980s. “…he had a warm lyrical approached that was somewhat hesitant and brooding…the trumpeter’s languid approach, although restricted, is nevertheless precise and wonderfully melodic…” wrote Pierre Giroux of The New York City Jazz Record, in May 2024.More on jazz standards: “Let’s Get Lost,” music byJimmy McHughand lyrics byFrank Loesser – a song that was originally performed byMary Martin (yes, that Mary Martin) for the 1943 film“Happy Go Lucky.” (Also, released that year, a recording byVaughn Monroeand Orchestra. Liked him. Look him up.)So here we have, the song is the opening track on athat popular 1955 albumby jazz trumpeterChet Baker, and subsequently served as the title for a1988 documentary about his truly sad and hapless life. *I repeat I gravitated to albums where/when Baker sang—preferring those to the instrumental releases. To this day, I find Chet Baker’s voice special. I sure wish he’d stayed around a little longer. Damn demon rum. HOLD THE PHONE. In 2021, Jazz Detective Records’ Zev Feldman found two previously unissued studio sessions from 1979 recorded at Vara Studio in the Netherlands and issue a new Chet Baker LP/CD called “Blue Room.” I’m psyched! Here’s what’s on this new-old Chet Baker record: a 16 minute “Blue Room,” “Oh, You Crazy Moon,” “Old Devil Moon,” “Candy,” “My Ideal,” and Miles Davies’ never recorded composition, “Nardis.” This not-so-young-music-maven rarely gets excited. This got my attention — about a performer who died 35 years ago on May 13, 1988. *GRATUITIOUS FOOTNOTE: “My Ideal,” was written by Margaret Whiting’s prolific father, Richard Whiting, who died in 1938 of a heart attack at 46. Margaret Whiting was to make a magnificent recording of the tune with Billy Butterfield & Orchestra in 1943, a big hit in 1944 (a no echo version). Wonder what that means?
Poinciana (Song of The Tree) – The Four Freshman
As a young guy back home in the hills, I got a line on a topnotch jazz vocal group, The Four Freshmen—I bought and cherished their albums — not something the locals were known to do. Touching two bases, I’m singling out their version of “Poinciana.” In college, I then became even more of a jazz buff, and fell in love with the piano genius of Ahmad Jamal. Jamal had a chart instrumental jazz hit with “Poinciana,” I’ll share with you. BUT FIRST: The Four Freshmenwere an American male vocal quartet that blendedopen-harmonicjazz arrangements steeped in barbershop tradition. The singers would sometimes accompany themselves on guitar, horns, bass, and drums, among other instrumental configurations.) Founded in 1948 in Indiana, the group reached their peak popularity in the mid-1950s. And as for “Poinciana,” its popularity was reinforced by an appearance in the 1952 filmDreamboat. "Poinciana" went on to become a Latin jazzstandard as well as Ahmad Jamal’s theme song. Jamal’s mesmerizing rendition, introduced on his 1958 albumAt the Pershing: But Not for Me, would later be showcased on the soundtrack of the 1995 film“The Bridges of Madison County.” “Poinciana” has been recorded by more than two dozen of the best of the best out there—from Sinatra to Mathis to Nat King Cole and on and on. It was even a Top 20 hit disco hit in 1978 by Paradise Express. BACK TO MY BOYS: DownBeat Magazine ranked The Four Freshman the “Best Vocal Group” in 1953, ‘54, ‘55, ‘56 ’58, 2000 and 2001. Sure, there were all kinds of fine vocal groups, darn good ones — The Modernaires,The Pied Pipers, andThe Mel-Tones. Some others…The Mills Brothers, Four Lads, Ink Spots, Gaylords, Ames Brothers, The Platters,* Bing Crosby with the Andrew Singers (Opps) —and I liked them all but never as much as The Four Freshman. If you don’t know their work, sample their wares on YouTube, or the like. You’ll find them good company, damn good company.
Smoke Gets In Your Eyes – The Platters
The Platterswere one of the most successful vocal groups of earlyrock and roll. Their distinctive sound bridged the pre-rockTin Pan Alleytradition … the new burgeoning genre. Apparently successful -- the group had 40 chart singles on theBillboardHot 100between 1955 and 1967, and that included four Number 1 hits. (In 1990, the Platters were inducted into theRock and Roll Hall of Fame.) While sitting around a kitchen table, the group came up with their name, inspired by the "turntable" of an old phonograph machine — the "platter" that spun the vinyl records. The Platters recorded eight songs in R&B/gospel style, scoring a few minor regional hits on the West Coast. One song, "Only You (And You Alone)," was originally written by Buck Ramforthe Ink Spots. Let’s take one point at a time… “Smoke Gets in Your Eyes” was ashow tunewritten by American composerJerome Kernand lyricistOtto Harbachfor the 1933musical comedyRoberta — first recorded byGertrude Niesen, who laid the song down song with orchestral direction fromRay Sinatra, Frank Sinatra's second cousin. On October 13, 1933. Niesen's rendition of the song was released byVictor, with theB-side, "Jealousy" … highlighting the line — “When your heart's on fire, smoke gets in your eyes” — from a Russian proverb. “Smoke Gets in Your Eyes” was recorded by almost every recording artist you can name and (no exaggeration) a hit song heard around the world by the time the time the Platters had a Number 1 hit. When I was a teen, I could always scrouge up the 99¢ to buy a Platters single and owned every one of them: “Only You,” “Twilight Time,” “The Magic Touch,” “The Great Pretender,” “Remember When,” “My Prayer,” “You’ll Never Know,” and of course my favorite, “Smoke Gets in Your Eyes.”Familiarize yourself.
On A Slow Boat To China – Kay Kyser & Orchestra
When I was a child, my mother and dad had a little white radio that fit in the very center of the kitchen Magic Chef stove in between burners. That radio was on all the time tuned to the popular music of the day. I recall a hit frequently played, “On A Slow Boat to China.” I researched and found “On A Slow Boat to China," was written byFrank Loesser, published in1948. “Slow Boat” was to become a well-known pop standard, recorded by multiple artists. I’m guessing the version I heard the most was Kay Kyser and His Orchestra. I recall an interview with Loesser who shared that the idea came to him while playing cards with the guys when someone took too damn long when it was his turn… Decades later, in 2003, Bette MidlerandBarry Manilow teamed back up and recorded the song for Midler's albumBette Midler Sings the Rosemary Clooney Songbook. (I would have sworn it was the Peggy Lee songbook, but that’s not what the research reads.)
I Get Along Without You Very Well (Except Sometimes) – June Christy
Get ready for weird. "I Get Along Without You Very Well" is a popular song composed byHoagy Carmichaelin 1939, with lyrics based on a poem written by Jane Brown Thompson. However, Ms. Thompson's identity as the poem’s author was for many years — unknown, even to Carmichael. The story goes, he had been handed the poem anonymously at an event atIndiana University. The words on paper only noted the author as "J.B." Carmichael noted J.B.'s name in the song's sheet music as the author of the poem that inspired the lyrics and asked for help to identify "J.B.". However, it wasn't until the mid-1950s that a positive identification was made. Jane Brown Thompson died the night before the song was introduced on radio byDick Powell. An early big seller was a1939recording byRed Norvoand his Orchestra, Terry Allen) on vocal. The story of the song was told in a 1957 episode of“Telephone Time” on ABC. Carmichael and gossip columnistWalter Winchell, who helped to locate "J. B.", appeared on the program. … What further amazes me, 45 or so performers recorded the song. That’s a long list even for a popular standard. I heard it first in the early 1960s by my favorite gal Miss Peggy Lee on her 1961 album I practically wore out: “If You Go.” (Fascinating footnote about Carly Simon’s 1981, “Torch,” Record Worldsaid that Simon's "chilling vocal is the perfect vehicle for the strong lyrics, and Mike Mainieri's sensitive arrangement/production makes it a touching statement.") Makes me want to go back and listen. Always enjoy C.S.
I Love You – Bing Crosby
Harry Lillis"Bing"Crosby Jr. was an American singer, actor, television producer, television, radio personality, businessman and The Daddy of Them All. The original multimedia star, he was one of the more popular, the most influential musical artists of the 20th century — worldwide. From 1926 to 1977,Crosby led inrecord sales, radio ratings, and motion picture grosses. Crosby was to make more than made 70 feature films and record 1,600 songs. And so, to the Cole Porter song, “I Love You,” a rather generic lyrics were due to a challenge laid down to the great Cole Porter by his friend personalityMonty Woolleywho was aware that Porter's talent lay in the off-beat and the esoteric, maintaining that he could never take a cliché title like "I Love You;" write lyrics that included the banal sentiment: "It's spring again, and birds on the wing again" or “I Love You,” that’s the song of songs…” and be successful. Porter accepted the challenge and eventually the result was a Number One hit for Bing Crosby. Why? Porter’s take: the "superior melody overcame the ordinary lyric.” Crosby's early career coincided with recording innovations that allowed him to develop an intimate singing style that influenced many male singers who followed, such asFrank Sinatra,Perry Como,Dean Martin,Dick Haymes,Elvis Presley, and even Beatle John Lennon. In 1948, American polls dubbed him the "most admired man alive," ahead of Baseball’sJackie Robinsonand then-Pope Pius XII. Crosby has been associated with theChristmas seasonstarring inIrving Berlin's musical film Holiday Innwhere he sang the perennial favorite "White Christmas." About that time, Crosby was to do several duets with Rosemary Clooney. Once, after a take, Miss Clooney was obsessing about a mistake in her vocal performance. Crosby assured her that he liked for there to be one error in his work because only God is perfect. For the business-minded out there: Crosby helped finance the development of videotape, bought television stations, bred racehorses, and co-owned thePittsburgh Pirates baseball team. (The team won two World Series, 1960 and 1971.) Alas, Bing Cosby. Cole Porter. A song called “I Love You” — what could be better than that?
LAST AND LEAST – Italian for phony, “Falsa.” Dialect: “Gavone.” Here goes:
Until It’s Time For You To Go - Buffy Sainte-Marie
Until It's Time for You to Go" is a song from the 1965 albumMany a Mileby American singer-songwriterBuffy Sainte-Marie. Sainte-Marie included aFrench-languagereworking of the song, "T'es pas un autre," on her 1967 albumFire & Fleet & Candlelight. The French translation was made by Quebecer songwriterClaude Gauthier. In 1983, her co-written song "Up Where We Belong," for the film“An Officer and a Gentleman,” won theAcademy Award for Best Original Songat the55th Academy Awards and won as well as theGolden Globe Award for Best Original Songthat same year. OOPS! Since the early1960s, Sainte-Marie claimedIndigenous Canadianancestry, but a 2023 CBC News investigationfound she was born in the United States — of Italian and English descent. Indigenous musicians and organizations have since called for awards she won whilefalsely claiming an Indigenous identityto be rescinded, including her 2018Juno Award for Indigenous Artist or Group of the Year.In her work, she has focused on issues facing Indigenous peoples of the United States and Canada. In 1997, she foundedCradleboard Teaching Project, an educational curriculum devoted to better understanding Native Americans. My Italian grannies would be sick about it. It’s hard to forgive. Do you?
But first! My favorite lines in a song:
“You don’t even have to do too much” “Blinding Light - The Weeknd.
“Your daddy’s rich and your mama’s good lookin’”- “Summertime.”
“Chicks are born to give you fever” - “Fever”
“A trip to the moon on gossamer wings” “Just One of Those Things” (And, one of Sinatra’s best and maybe a near perfect record.)
“Don’t change a hair for me, not if you care for me," - “My Funny Valentine.”
“Here you come again, looking better than a body has a right to” - sung by Dolly Parton Written by: Barry Mann & Cynthia Weil.
Honorable Mentions
I Put A Spell On You – Annie Lennox (Live)
Smooth - Santana/Rob Thomas
I Heard It Through The Grapevine – Marvin Gaye
Cold, Cold Heart - Hank Williams (Both Country AND An American Popular Standard, Yes Both.
Everybody’s Got Trouble, Troubles, Troubles, And I Got Troubles, Too – Clarence “Frogman” Henry
Ooh Poo Pah Doo - Jessie Hill
If You Wanna Be Happy (For The Rest Of Your Life, Never Make A Pretty Woman Your Wife) – Jimmy Soul
I’ve Heard That Song Before – Helen Forrest With Harry James’ Orchestra
The Wind Beneath My Wings- Bette Midler
Is That All There Is? – Peggy Lee
If We Never Meet Again - K. D. Lang (Composer Louis Armstrong)
You Didn’t Have To Be So Nice (I Would Have Liked You Anyway) - The Lovin’ Spoonful
Holding Back The Years - Simply Red
You Made Me Love You - Nilsson
It Had To Be You - Nilsson
I Wonder Who’se Kissing Her Now - Nilsson
You Don’t Know Me - Jerry Vale
Art Tatum - Jazz Piano Genius - Sophisticated Lady (1933), Have You Meet Miss Jones (1953), (Penned By Margaret Whiting’s Father), Too Marvelous For Words (1953).
That’s My Boy - Elaine Stritch - On An LP Titled, “Stritch.” Who Produced It? (Produced By Legendary Portia Nelson, Google Her)
God Bless The Child - Billy Holiday
How Do We Keep The Music Playing? - Tony Bennett
I’m In The Mood For Love - King Pleasure
I Wish You Love - Blossom Dearie
Candy - Pied Pipers
Cloudburst - Lambert, Henricks & Ross
I treasure and favor performers from other genres who sing American Popular Standards [Carly Simon, Michael Bolton, Diana Ross, Rod Stewart, Bryan Ferry, Cyndi Lauper, Bob Dylan, Sheena Easton, Boz Scaggs, Joni Mitchell, Robbie Williams, K. D. Lang, Linda Ronstadt, Gloria Estefan, Willie Nelson, Elvis Costello (Mr. Diana Krall)].
THE INTRODUCTION TO: Rodgers & Hammerstein’s - SOUTH PACIFIC’S - Intro to “YOUNGER THAN SPRINGTIME” – Vocal, William Tabbert
The Lyric:
I touch your hand,
And my arms grow strong,
Like a pair of birds
That burst with song.My eyes look down
At your lovely face,
And I hold the world
In my embrace… - “YOUNGER THAN SPRINGTIME” … Williamson Music Co.
FOOTNOTE: I’ve referenced Accu-Radio several times here. I listen to the free online station on my computer. If you can stand a commercial or two, it’s well-run and more than does the trick. It’s like old-time radio. I get no monetary reward for listening to or linking to AccuRadio.Since I was a baby, radio’s always been free. I don’t want to start paying for radio station music at this time in my life!
Jim Fragale
·
August 15, 2023
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