Indeed, Only the Lonely (1958), the album on which “One for My Baby” was released, combines harmonic textures inspired by Ravel with a rhythmic sensibility informed by Lester Young. While Sinatra is as tender and loving as ever, a blues-tinged undercurrent of aggression runs through the song today. Sinatra first recorded it early in 1942 at his first solo session, which predicted the development of his mature ballad style. Where pre-Sinatra pop vocal arrangements tended to be strictly off-the-rack, every element of the Cahn-Styne-Stordahl-Sinatra performances is precisely cut to fit the singer’s jib.
IT WAS A VERY GOOD YEAR As Sinatra recalled, “It was a sad commentary because [Lowe] had a brand new husband, a Canadian flyer, who got killed in the early part of World War II.” She presented the song to Dorsey, who let his rival Glenn Miller make the first (unsatisfactory) record, before trying it himself. With powerful broadcasting tools, generous revenue share, listening distribution, and stream licensing for music royalties, Live365 is the best one-stop-shop for your internet radio station. His solo has a raw, atavistic energy partly because he hadn’t realized he was expected to improvise on the song’s bridge and so he ignored the chord changes Sinatra renders with transfiguring passion and excitement for an incomparable climax.
This 1961 Sinatra & Strings arrangement (an earlier Stordahl treatment was issued on V-Disc) has proven to be not only the most durable of many orchestrations by Don Costa, but in recent years has emerged as the most powerful vehicle of Mr. The song was written by Ruth Lowe, a pianist in Ina Rae Hutton’s all-girl band, and its success undoubtedly reflected her state of mind at the time. In 1993, Sinatra and Miller rerecorded “Baby” in a harrowingly moving performance, making that long, long road seem more traveled than ever. As Sinatra once observed, “Billy May almost always uses the extra percussion, like vibraphones, xylophones, bells and chimes and all that jazz.” Where Riddle excelled at saloon-like tunes, May — an arranger for Charlie Barnet and Glenn Miller — helped Sinatra make merrier melodies. His songs have been used time and time again in romance movies and you've probably heard one of his songs while at a restaurant for a romantic and intimate date.
(William P. Gottlieb [Available through Public Domain] via Wikimedia Commons.).
Arrangers Freddie Stulce and Axel Stordahl used just the rhythm section, Dorsey’s trombone, and the Pied Pipers; Sinatra suggested that pianist Joe Bushkin switch to celesta.
Sinatra plays the unrequited lover, while the orchestra and a Hammond organ share the role of the wind. 8. The Decemberists to Embark on 20th Anniversary Tour, Jennifer Hudson to Perform Kobe Bryant Tribute at NBA All-Star Game, Creating Third-Party Advertisements on Live365, Miley Cyrus Announces Seventh Studio Album 'Plastic Hearts', Pepsi Turns The Notorious B.I.G. The Sinatra of the ’50s is associated chiefly with a hard-swinging style, although he had actually sung fast tempos since his Harry James tenure.
It’s the high point of several thousand Sinatra concerts, also signifies the most famous collaboration of Sinatra and Bill Miller, his pianist since 1951.
https://themusicuniverse.com/ranking-5-best-frank-sinatra-albums Needless to say, Frank Sinatra has tons of love songs to pick from in his discography. Yet even cynical Bill Miller admits, “Frank has an old-fashioned side, and Gordon Jenkins represents that. I. I’LL NEVER SMILE AGAIN Live365 is dedicated and passionate about giving webcasters the best place to stream on the internet. Immediately, Frank Sinatra came to mind.
The recording has the “quiet” ending device he used long into the Riddle years.
Over the years Sinatra came up with at least four other versions — Latin with flute and bongos, lush with strings, mano a mano with guitarist Al Viola, and, regrettably, a disco-style single. “With Every Breath I Take,” a song introduced in a Bing Crosby film, is a flawless Sinatra performance; as the title coincidentally infers, every breath, every vocal gesture, every phrase is exactly where it ought to be — not a microscopic nuance is out of place.
"That's All" (Sinatra and Strings, 1962) He hears those high-swinging strings that were Gordon’s gimmick.” Although Jenkins scored some great saloon songs for Sinatra, his gorgeously grandiose textures were often marshaled for material a lot simpler than, say, Lorenz Hart. Riddle has constructed a characteristically catchy hook to represent the elements, first wafting gently, then wailing in counterpoint to the singer.
Raymond Chandler once wrote, “All us tough guys are hopeless sentimentalists at heart.” Most musicians admired Gordon Jenkins’s successes as a songwriter, but many found his string-heavy orchestrations a trifle old hat compared to Riddle and May.
The darker Sinatra-Riddle albums maintain a sense of epic tragedy (developed earlier with Stordahl and later with Gordan Jenkins) tempered with raw intimacy. Article image: Portrait of Frank Sinatra at Liederkranz Hall, New York in 1947. 4. Sinatra introduced the format in his first-ever album, 1945’s The Voice, and brought it to a boil with the 1956 Close to You. 9.
Over the course of three similarly titled albums for Capitol (Come Fly/ Dance/Swing With Me), the two perfected their approach and then brought it to a boil with the 1961 Sinatra Swings (a/k/a Swing Along With Me), recorded for the Chairman’s own label, Reprise. Very Old Blue Eyes in concert. !, 1961), "If I Had You" (A Swingin' Affair!, 1956), "You Make Me Feel So Young" (Songs for Swingin' Lovers!, 1956), "I've Got You Under My Skin" (Songs for Swingin' Lovers!, 1956), "Yes Sir, That's My Baby" (Strangers in the Night, 1966), "Love Is Here to Stay" (Songs for Swingin' Lovers!, 1956), "The Way You Look Tonight" (Sinatra Sings Days of Wine and Roses, Moon River, and Other Academy Award Winners, 1964), "Fly Me to the Moon" (It Might as Well Be Swing, 1964). But by the ’90s, with much of Sinatra’s chops and his ability to sustain notes gone with the wind, he puts more and more emphasis on this tune as a vehicle to express his earthier side. In 1956, with Nelson Riddle, he reconceived “Night and Day” in a post–”I’ve Got You Under My Skin” style for A Swingin’ Affair, yet that uptempo version is only marginally faster than the ’42 ballad treatment. Between these episodes, Jenkins reprises a wailing string-and-oboe passage that moves between minor and major keys and grows increasingly severe with each segment, ultimately sobbing and throbbing in a searing finish. Cahn’s lyrics played a vital function in stabbing the overall Sinatra character of ’40s radio and film — the supersensitive young swain blown about by winds of emotion beyond his control.
Needless to say, Frank Sinatra has tons of love songs to pick from in his discography.
The Sinatra-Riddle swing albums are rarely uproariously fast, mining instead what the singer described as a highly danceable, Sy Oliver-inspired “heartbeat” tempo. 5.
More than simply singing fast, what Sinatra achieved with Nelson Riddle on Capitol Records was a renaissance of the great swing band tradition, refitted with a harmonic sophistication our of early-20th-century classical music. Paradoxically, Miller supports Sinatra while sounding as through he were ignoring him.
What does the cocktail pianist care about the drunk unburdening himself to the bartender? For your Valentine's Day playlist or any other romantic occasion, we've picked 10 of our favorites, in no particular order.
I FALL IN LOVE TOO EASILY Sinatra refers to his heavier ballads as “saloon song,” yet in the most celebrated of those songs, he mixes in more parts from symphony hall than the corner pub to produce a downer of a cocktail.
Frank Sinatra’s first great record was “All or Nothing At All,” but “I’ll Never Smile Again,” a 1940 Tommy Dorsey disc, was his first hit, and offers the earliest evidence of Young Blue Eyes synthesizing his influences: the lyric-driven, storytelling approach of Bing Crosby, the intimacy and vulnerability of Billie Holiday, and ultralegato timing of Dorsey. MUSIC ARCHIVES Sinatra at 80: A Frank Top 10 As Raymond Chandler once wrote, “All us tough guys are hopeless sentimentalists at heart.” by Will Friedwald The lyric describes a strong breeze that blows across Italy from North Africa, signaling the end of summer. As a singer, he doesn’t hear the harmonies the way we would. Sinatra and Jenkins inflate this repetitious faux-folkie feature into a piece of performance art with a power that suggests a grand aria. 6. A 1961 hit for the Kingston Trio, “Very Good Year” depicts life as a succession of vintage wines and rendezvous with ever more cosmopolitan dames. Sinatra communicates such overwhelming pain partly because his mood contrasts so strikingly with Miller’s spare deadpan background.
All rights reserved. With Live365, start your own internet radio station or listen for free to thousands of stations. Sinatra’s preferred vehicle when traversing this beat was a double quartet chamber group (not unlike the one Max Roach leads today) — tour strings plus four rhythm, with rotating soloists. ©2017 Village Voice, LLC. NIGHT AND DAY "Always" (Sinatra's Swingin' Session!! For all your music needs, head over to Live365.com for the best variety of radio stations around. On “Ganges,” which Sinatra gleaned from Tommy Dorsey, May creates a shimmering seventh veil of strings around the most imposing percussion section this side of Sun Ra.
While the original Bluebird version maintained the vestiges of a dance tempo, later ’40s recording of the Stordahl chart gradually slowed the piece down into a concert feature.
ONE FOR MY BABY
COME RAIN OR COME SHINE
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