Frank Sinatra, music, Top Ten List

The Best of Everything: Your Guide to the Finest Recordings of Frank Sinatra

I’ll always remember being asked by a friend who wanted to start a Frank Sinatra CD collection what he should buy first. As this was also early days for me collecting Frank I had to pause; what do you buy first? Also, around the same time, a family member bought the two volumes of Frank’s ‘greatest hits’ released in 1968 and 1972 and was sure to play them when I visited. Those two early compilations are anything but a collection of Frank’s best recordings but basically they compiled recent singles of his, not many of which are remembered by neophytes today. I remember thinking ‘poor guy. He bought these CDs and now he’s wondering why he’s never heard of these songs’. So, I’ve known from early on that Frank Sinatra is no regular artist, particularly where his catalog is concerned. Frank was a pioneer of the ‘concept album’, a term (like ‘supergroup’) that has been misused many times over the years. With the advent of the 33 1/3 RPM LP, Frank found he was able to tell a story over the course of 12-16 tracks that couldn’t be told on single 45s or any other format, really. He would plan his albums carefully, picking the songs, the arrangers/conductors/orchestrators and he would also choose the overall theme for the album: ballads and torch songs or swinging, uptempo numbers. One of the many things that sets him apart is the fact that he would go into the studio to make these albums and then, on separate dates, go in to record singles for the juke boxes. Therefore, Frank Sinatra became the first true ‘album artist’ and the public looked forward to each subsequent release. The singles kept the kids interested and kept him on the radio and in the diners. What does all this mean? It means that Frank became a pioneer in another way: the ‘compilation’ did not and does not function properly as a means by which you get the full impact of Sinatra’s artistry. To really understand Sinatra you almost have to buy ALL of his albums – the singles are good fun and some are outstanding but they do not represent his best work. The people early on who asked me what to buy? My answer really should’ve been “all of it”. This also illuminates a severe problem with my intention to highlight the best recordings of Frank’s career. I may give you three or four great lists but you will have to collect the albums that all these individual cuts are on to obtain all these songs – unless you have a subscription to a music service that would allow you to build a playlist. Along with his greatest recordings, we’ll also look at the albums that house these great tracks and present a case for buying each of them.

Frank Sinatra’s career is so unwieldy that I’ve broken it up into chronological sections. Sections broken up not only by years but by stages in Sinatra’s recording career. Again, the purpose of these posts is to inform you of what he was doing and when and what is the best of each era. We start, of course, at the beginning.

tommydorsey (1)

FS at the mic with Dorsey to his right. Buddy Rich at the drum kit and the Pied Pipers at right. 1940.

PART ONE: Boy Singer — Hard to believe, but the ‘singer’ wasn’t always the biggest attraction. That distinction went to the bandleader and the big band itself. A big band would have many parts or sections: brass, reeds, rhythm and singers. Quite often a band would have a boy singer, a girl singer and/or a group or chorus. The man widely considered to be the greatest interpreter of popular song in history, Frank Sinatra, got his start as a boy singer. Some of you will know that he was working as a singing waiter at the Rustic Cabin in New Jersey when trumpeter and bandleader Harry James came in, heard our boy and hired him. Frank’s first major professional work came with the James band and lasted little over a year but is a notable time, nevertheless. Firstly, while James’ outfit was not number one in the land they did enjoy success and put out some fine material. James himself has been called one of the greatest trumpeters of this era. In terms of recordings, Sinatra’s time with James is very notable thanks to a number they released in 1939: “All or Nothing At All”. This sublime record represents the first peak of Sinatra’s career but only gained traction on the charts three years later in 1943, by which time, FS had moved on.

Unlike the Harry James organization, Tommy Dorsey’s band was one of the biggest in the land, second only, perhaps, to the Glenn Miller Orchestra. When Dorsey had a boy singer vacancy, he approached James and Sinatra about hiring Frank. To his credit, James did not stand in Frank’s way and FS joined the big time. One thing certainly that would have been a challenge for the ultra-confident Sinatra was his middling status as simply the ‘boy singer’ in Dorsey’s group. Dorsey was a notoriously difficult taskmaster who didn’t brook any displays of ego. It was the BAND (and a little Dorsey himself) that came first. Sinatra had to keep himself in check but still applied himself to being a part of some of the finest recordings of the big band era. Years later, Frank had only good things to say about Dorsey. Frank would stand behind Tommy when Tommy would take a solo on his trombone. FS paid particular attention to Dorsey’s breath control; Frank would watch for the rise and fall of Tommy’s torso, indicating when the master was sneaking a breath to better play the long, languid passages he achieved on his instrument. Frank, though, was not content to stay in the background and would lobby for more prominent vocal work on the records and in live performances and also for having his and the other singers’ names listed on the 78s Dorsey was putting out.

Frank’s time with Dorsey was his first taste of stardom. His ‘bobby-soxer’ audience embraced him as a surrogate for the many men who were overseas fighting in World War 2. He was the most popular singer in the land and he enjoyed the type of worship seen only once before in the case of matinee idol, Rudolph Valentino. Frank’s recordings with Dorsey are definitive of the era. Do they match up with some of his spellbinding performances of the Fifties and Sixties? Well, no, but it’s different. ANY big band music has immense charm attached to it. ‘Nostalgia’ only begins to describe how wonderful this music is. It truly does transport you back to the ’30s and ’40s and along with that comes such cozy, wistful feelings. If you are a completist, like me, you need to own some Dorsey-era Frank. It’s part of what makes him unique. His 50+ year recording career checks off most of the boxes in music’s history, starting with the big band era.

As I’ve said, ALL Frank’s recordings with James and Dorsey are basically delightful. If you like big band music you will obviously love this era of Frank’s career. I’ve gone ahead and ranked these 10 tracks anyways but, really, it’s more like 5 or 6 are tied for 1st and the rest are tied for 2nd. I can highly recommend “The Popular Frank Sinatra”. It’s three discs that collects most of Dorsey’s recordings with Frank singing. There’s also an import I’ve seen on Amazon called “The Complete Studio Recordings”. It’s four discs for (currently) $14! I may get it myself. Here’s your Top 10 Frank Sinatra recordings, 1939-1942. All were recorded by Frank when he was with Dorsey unless otherwise noted.

10. “Whispering”  (June 30, 1940) — My comments on each of these tunes could all be the same: delightful, charming, make you feel like you’re sitting by the radio in a cozy, well-lit living room in the early ’40’s. “Whispering” is no exception. Wonderful, mid-tempo tune with great and fun vocals from all of TD’s vocalists.

9. “Without a Song” (January 20, 1941) — Recorded by Bing in 1929, Frank’s vocal here is an early example of him in strong voice. The lyric contains the unfortunate term ‘darkie’ which FS sings here but doesn’t in two subsequent versions in the 1960’s.

8. “The Sky Fell Down” (February 1, 1940) — Not much needs to be said about this track. Gorgeous muted brass, particularly Tommy’s smooth trombone playing. Frank drifts in on a cloud and it’s like Dreamland.

7. “I’ll Be Seeing You” (February 26, 1940) — A gentle, nostalgic song that has been a standard almost since the beginning. Bing had a hit with this one, as well. Dame Vera Lynn perhaps wrung the most emotion out of it but Frank’s wistful version with Dorsey is another perfect tune for rocking-chair listening. Lovely clarinet solo by Johnny Mince. Frank revisited it twice, once as a ballad and once with a bit more jump, both early ’60’s.

6. “East of the Sun (and West of the Moon)” (April 23, 1940) — This beauty is an early example of Dorsey going with a smaller group as opposed to a full orchestra. He achieved a jazzier sound with the Sentimentalists and this tune starts off with some wonderful muted trombone phrasing from the leader. Frank ambles in aided and abetted by the boys in the band singing hep lines behind him (“you can really lay it on me”). This tune is normally sung as a straight ballad but Frank really swings it.

5. “I’ll Never Smile Again” (May 23, 1940) — Little Canadian content here. Toronto songwriter Ruth Lowe wrote this sad lament after her husband of one year died during surgery. Fellow Torontonian Percy Faith debuted the song on the CBC. Lowe got the song to Tommy Dorsey who loved it and had it arranged for Frank. Another Sentimentalist setting featuring a celesta. This version was number one on Billboard’s first official national music chart. A gorgeous recording. Frank would revisit the song later in his career.

4. “The One I Love Belongs to Somebody Else” (June 27, 1940) — A lot of the best Dorsey/Sinatra sides are mid-tempo numbers that swing and have great interplay between FS and the other singers in the group. Here, the Pied Pipers echo Frank nicely with some more hep lines (“papa, you know”).

3. “Oh, Look at Me Now” (January 6, 1941) — Frank Sinatra continues to invent “swingin'”. In this finger-popper, FS shares the vocal duties with Connie Haines and the Pied Pipers. This is a good track for those who think this music is outdated. This is ‘cool’ before cool was a thing. Listen to FS in reply to the Pipers; “I’m a lover”. Swank!

2. “All or Nothing at All” (with the Harry James Orchestra, 1939) — One of Frank’s earliest recordings (he was 24 in 1939) became his earliest hit. But not right away. The song was released in 1939 and went nowhere. Then, in the midst of the musician’s strike in 1943 (look it up), this – and many other old recordings – was reissued and sped up the charts. It became the first of Sinatra’s 116 Top 40 recordings. The song itself, though? Fantastic. Frank is in strong, full voice and James has such a clear, ringing sound. This is another song Frank would record again throughout his career, most notably on the “Strangers in the Night” album in 1966.

1. “Let’s Get Away from it All” (February 17, 1941) — This extravaganza is ranked number 1 for many reasons. Dorsey shot the works here making this extra long (for it’s time) track two sides of a 78RPM and utilizing all seven of his singers; Frank and Connie Haines trading playful lyrics and Jo Stafford and the Pied Pipers providing breezy support taking verses themselves. Throw in some outstanding solos from TD and others and you’ve got a really fun travelogue. Listen close for some of the hippest vocalizing of the big band era (“off to Niagara – solid!”).

NEXT: Sinatra Goes Solo

 

Advertisements
Standard
music, Nat King Cole, singing, Top Ten List

But Beautiful: Your Guide to Nat Cole

If pressed, a lot of people nowadays, but certainly not all, could name three or four singers of American popular standards. One name they would probably be able to come up with would be Nat ‘King’ Cole. Most people would know the name, the fact that Natalie Cole was his daughter and that he sang Christmas music. But there is SO much more going on with Nat Cole that needs to be known and appreciated. As opposed to an in depth look at his life and career, what I propose to present is a quick run-through, focusing on the wonderful music he recorded and how it varied throughout his tenure as one of the smoothest voices in popular song. Lastly, I’d like to run down, in order, the ten greatest recordings of the man born Nathaniel Coles.

Nat_King_Cole_(Gottlieb_01511)

There are a few key things about Nat Cole that I would present to a beginner who is wanting to know what all the fuss is about and who is wanting to know what to listen to based on their interests. The first thing I like to point out – the thing that perhaps makes Cole cooler than anything else – is that, at the beginning of his career, he was a jazz pianist. And he was good. He was a student of the recordings of the great Earl ‘Fatha’ Hines and Cole was considered one of the leading jazz pianists of the late 1940’s-early 1950’s. So much so that he was the featured pianist on the original “Jazz at the Philharmonic” concerts originated by Norman Granz that featured all-star line-ups of the finest jazz musicians in the land. Also notable is the make-up of Cole’s early trio – piano, guitar and bass. Those three instruments in particular (no drums) was a unique set up especially in the big band era and it was emulated by many combos that emerged later. It’s amazing to think that, with a voice like his, Nat originally sang only occasionally. Legend has it that he sang live for the first time because a drunken customer demanded it. Nat sang “Sweet Lorraine” and was tipped 15 cents. The recordings of the Nat ‘King’ Cole Trio – with or without vocals – are wonderful. They present perfect, smooth, small combo jazz. It’s only Nat’s tremendous success later as a vocalist that somewhat relegates this part of his career to the background. In 1942, songwriter Johnny Mercer founded Capitol Records and a year later Johnny signed Nat and the trio to the label and they began enjoying great success there. The trio was so successful that the revenue from their record sales propelled Capitol to the forefront of the record business, allowing them to build the famous Capitol Tower as a home base. The world’s first circular office building is often referred to as ‘the House That Nat Built’.

By the early-to-mid 1950’s, Nat had – unfortunately, some jazz purists lamented – jettisoned the small group sound and stepped to the fore as one of the premier proponents of the smooth vocal pop tune with orchestral accompaniment. In 1953, Nat scored a hit of immortal proportions with his first recording with an orchestra: “The Christmas Song”. Many hit singles followed and Nat was paired with all the major arrangers of the day: Nelson Riddle, Gordon Jenkins, Billy May. He delivered album after album of sublime vocals. Indeed, you could look at Nat Cole as an ‘album artist’. Yes, he placed many tunes on the charts (28 top 40 hits between 1954 and 1964) but his main contribution to traditional pop or jazz vocal is a string of excellent albums with great arrangers and attractive album covers.

Nat Cole was a pioneering black entertainer. He became one of the first African American’s to host his own show – “The Nat ‘King’ Cole Show” aired for a year starting in 1956. The show was well done and featured many big stars of the day but it could not maintain sponsorship as many brands were hesitant to support so visibly a black artist, even one as universally loved as Nat Cole. Finally, Nat had to shut the show down. Referring to the inability to maintain sponsorship, Nat quipped notably “Madison Avenue is afraid of the dark”. Nat was a quiet and gentle crusader for equal rights. He was an inspiration to all black entertainers at the time. Nat had married singer Maria Ellington and eventually had five children, two of them adopted. During his peak years, Nat moved his family to a affluent neighbourhood in Los Angeles where they were met with hostility from their neighbours. Nat attended a community meeting at which a spokesmen boldly stood up and proclaimed that the area did not want any “undesirables”. Nat responded by rising and saying “Neither do I. If I see any undesirables, I’ll let you know”. Nat’s home was vandalized (racial slurs burned into the lawn) and a family pet was killed (poison meat thrown over the fence). Nat soldiered on, dignity intact.

Into the 1960s, Nat began to work with lesser known arrangers and orchestrators. The results yielded many additional hits – “Ramblin’ Rose”, “Dear Lonely Hearts”, “Those Lazy-Hazy-Crazy Days of Summer” – but the old-timey, sing-along quality of this period represented the nadir of Nat’s recordings. Even still, with his vocal charm, he was able to squeeze out a couple more charming tracks. He does a version of “The Girl from Ipanema” on the last album released during his lifetime that is excellent and “Let Me Tell You Babe” is a track released after his death that purists probably hate as it has a late-60’s-pop-soft-rock sound to it but I like it. Throughout his career, Nat had been one of the sharpest dressed cats in the business, always in a sharp suit or sweater, sometimes sporting a fedora – and always, but always, smoking a cigarette in a cigarette holder. This wretched vice became the undoing of Nat ‘King’ Cole. You have to understand that – and if you look into it, you’ll see it’s true – everybody loved Nat Cole. All reports indicate that there was not a classier person in show business. A loving husband and father, he quietly blazed a trail for black artists and was a genuine human being. When Nat fell ill in the early 1960’s, many friends and associates expressed their concern to him. The hazards of nicotine were not as widely known as they are today and people were simply worried that his constant smoking would wreck his voice and his health. A visit to the doctor confirmed a lung cancer diagnosis. The historic Surgeon General’s report confirming the negative effects of cigarette smoke was issued in January of 1964. Nat Cole received his death sentence 9 months later. The disease progressed rapidly and Nat was confined to hospital. He left one last time for an afternoon drive in February of ’65 looking gaunt and aged. He graciously allowed photographers to take pictures of him and his wife outside the hospital. As Mr. and Mrs. Cole drove away, the photographers wept.

Nat ‘King’ Cole died on Valentines Day, 1965. In his last days, he reportedly pressed his doctors to get him well so that he could tell people to quit smoking. His cancer death – along with the Surgeon’s General report – were early events in the worldwide crusade against the evils of smoking and it’s link to cancer. While he was not without his transgressions, Nat Cole was truly and dearly loved by his family, his friends, all of his contemporaries, the press, the recording industry and fans the world over. His legacy is unique and his gifts to all of us are immense.

style-blogs-the-gq-eye-natkingcole

Let’s return to that which never dies; the music. You have to be careful with record companies. They will often stick with an established and well-known group of songs and – with little deviation – reissue these tracks ad nauseum. Beware the many redundant ‘greatest hits’ packages. It seems, with Cole, that many of his most popular “hits” are actually some of his most mediocre recordings. Keep in mind that, as you scan this list, you may not see songs you thought you would. In compiling this list, I took many things into consideration and I found that sometimes ‘immense worldwide familiarity’ did not necessarily indicate a quality recording. Not only are there many Cole songs you know by heart and you don’t need me to tell you about them but also, as I’ve said, the recordings embraced by the masses don’t always represent high quality material. Helping you to know what is good based on what you like (trio jazz or pop vocal) is the goal of this list of the ten greatest recordings of Nat ‘King’ Cole.

10. “Baby, Baby All the Time” (1946)  This track from the Nat ‘King’ Cole Trio was written by Bobby Troup. I notice that the little known Troup penned two songs in this top ten. Better known as the husband of chanteuse Julie London and as Dr. Joe Early on “Emergency!”, Troup wrote jazzy little numbers for small jazz combo settings and Cole and company introduced this track which quickly became a jazz standard. It’s gentle gait and pleading lyrics are straight down the Trio’s alley. It’s a cozy piece that serves as a delightful example of what Cole and his trio did best.

9.  “That’s All” (1953)  Written in 1952 by singer Dick Haymes’ younger brother, Bob, here’s another standard that was introduced by Nat. This song is unique in that it really had no initial ‘hit’ phase and instead went straight to ‘standard’. Bobby Darin helped popularize it when he presented it as the energetic title track of a 1959 album. Nat’s version was one of his early successes with the great conductor and arranger Nelson Riddle. Riddle’s name is synonymous with the very best recordings of Frank Sinatra but the Chairman himself has said that it was Nat’s records with Nelson like “That’s All” that made him want to work with the arranger. This recording of Cole’s is sublime and is an early example of him plying the sound that would become his trademark.

8. “Answer Me, My Love” (1954)   This song has it’s origins as a German piece to which English lyrics were added. It was a hit in 1953 for both David Whitfield and Frankie Laine. Another of Cole’s outings with Nelson Riddle, Nat had the best-selling version of the song which was popular throughout 1954. It is another marriage of the very finest of Cole’s ballad singing and absolutely gorgeous strings and orchestra directed by Riddle. The chorus of white, female voices detracts from it only slightly. Like “That’s All” before it, this track is quintessential, sigh-worthy Nat Cole balladry. Celestial.

7. “Sweet Lorraine” (rec. December 15, 1943)  Perhaps the oldest song on this list, “Sweet Lorraine” was written in the late 1920’s and featured lyrics by Mitchell Parish who also contributed the words to such perennials as “Stardust”, “Moonlight Serenade” and “Sleigh Ride”. It is another song that has become a jazz standard. This is a significant recording in Nat Cole’s oeuvre. Earlier recordings than the 1943 edition I’ve chosen here represent the first of Nat Cole’s truly fine vocals. Singing this song early on in clubs gave audiences their first taste of Cole’s fine voice and provided him with an opportunity and the confidence to hone his vocal skills. This Trio recording from ’43 – like “Baby, Baby…” – is just another fine example of this small group at it’s subtly swinging best. You can notice a slight lisp that never gave Nat much of a problem – except when he sang “Sweet Lorraine”. Listen for him to sing “I’m as happy as a baby boy playing with a brand new choo-choo choy” – as opposed to “toy”. Three years after this recording, Frank Sinatra recorded a version also employing the Nat ‘King’ Cole Trio’s intimate sound. After Cole’s death, Tony Bennett sang “Sweet Lorraine” in tribute on his “If I Ruled the World: Songs for the Jet Set” album (1965).

6. “L-O-V-E” (1964)  Our first selection on this list from the latter part of Cole’s career. Actually, the last part. “L-O-V-E” is the title track of the final album of Nat’s to be released during his lifetime. He finished making the album with his final recording sessions in December of ’64. This means that this swinging number was recorded so sublimely by Nat when he was already sick with the disease that would take his life only months later. This track was written by legendary German Bandleader Bert Kaempfert and Nat, again, was the first to sing it. Although any list of the finest recordings of Nat ‘King’ Cole will undoubtedly be laden with ballads, the cat could swing, as this song attests. It starts off gently trotting and sounding like Bobby Darin’s “Hello, Dolly!” and then – also like the Darin track – builds to a brash climax. It is a joy to sing along to and is a prime example of how good Cole was at uptempo material.

5. “(Get Your Kicks on) Route 66” (1946)  I realized as I was compiling this list that Nat Cole can give Fred Astaire a run for his money when it comes to introducing some of the most enduring songs in the history of American popular music. Here he is again with his Trio being the first to record another standard written by Bobby Troup. In this case, the song is considered to be an R&B standard and has been covered by an extensive and varied list of artists: Bing Crosby, Chuck Berry, the Rolling Stones, Them, Depeche Mode, the Cramps and John Mayer. Cole’s first version with his trio is an uptempo swinger featuring lyrics about traveling the expanse of the American country side on the famed highway. It is one of the very few quintessential Cole recordings not only in terms of quality but also popularity. An absolute delight featuring Cole in great voice and displaying his light-fingered chops on the keys.

4. “Straighten Up and Fly Right” (1943)  A companion piece to “Route 66”.  Many similarities exist between these two seminal Trio recordings. The main difference being that while this is also a song that Cole introduced to the world before it became a standard, this was one that he actually wrote himself. He took the lyrics from an old, black folk tale that Cole’s father – a Baptist minister – had used as a basis for a sermon. A lighthearted vocal from Nat is paired with the Trio’s charming brand of breezy small combo jazz. The song’s popularity has been sustained through uses in the 2010 video game “Mafia II” and more recently in the TV series “This Is Us”.

3. “That Sunday, That Summer” (1963)  And here we are at probably the only recording on this list that I would really have to defend. This song was published in 1963 and, as far as I can tell, Nat Cole was, again, the first to record it. The problem is it appeared on his “Those Lazy-Hazy-Crazy Days of Summer” album, the title track of which went to #6 for Nat in the spring of ’63. He followed that up with an album of the same name made of turn-of-the-last-century sounding songs singing the praises of summer. A lot of banjo. The album was successful for Nat but it is a good example of one of those times when public adoration did NOT mean quality work. The title track is delightful but this old-timey setting simply does not mesh well with Nat’s dulcet tones. The exception is “That Sunday, That Summer”. This is the only track on this list that charted in the top 40 on the pop charts during the “modern era” of the tracking of chart activity which began in 1954-55. Fittingly, in September of ’63, after summer frolicking had given way to autumn studies, the nostalgic “That Sunday” spent 9 weeks on the charts peaking at #12. The banjo is present but subdued and adds to the wistful nature of the lyric and compliments Nat’s dreamy vocal. Again, we’re assaulted with an inappropriate chorus of angelic female voices but it doesn’t matter here. The track never appears on any compilations you’ll find at the record store but that just supports my theory that the real ‘best of Nat’ is not that easily found. Seek out this gorgeous number and drift away.

2. “The Christmas Song (Chestnuts Roasting on an Open Fire)” (1961)  Here’s a song that deserves it’s own post. Let’s just take it slow and from the beginning. This song was written by singer Mel Torme and Bob Wells. It was written on an exceedingly hot day in an effort to keep cool. Here’s also another example of a new song making it’s way to Nat Cole first. The Nat ‘King’ Cole Trio recorded the song first in 1946. Cole then convinced Capitol to let him record it again months later but this time with a small string section – an auger of things to come for Nat. This second version became a massive hit on pop and R&B charts. Cole again recorded an orchestral version during his productive year of 1953 with Nelson Riddle. Nat’s fourth recording of it took place at Capitol Studios in March of 1961 with the Ralph Carmichael Orchestra. This is the version that you hear every Christmas. Cole issued a Christmas LP in 1960 called “The Magic of Christmas” and then, in 1963 while his newest version of “The Christmas Song” was becoming legendary, Capitol decided to reissue “The Magic of Christmas” as “The Christmas Song”, adding the new title track and deleting “God Rest Ye Merry, Gentlemen”. This version of his Christmas album (complete with new cover replacing white kids admiring tree with Nat chilling in sweater by the fire) has sold untold scores of copies and is still a seasonal favourite. (All this, of course, makes Nat’s “God Rest Ye Merry” the ‘lost carol’!) “The Christmas Song” – the track – is sublime but here’s the funny thing: Nat Cole has an incredibly huge rep as a ‘Christmas artist’ but the truth is that the rest of “The Christmas Song” album is quite boring and plain and since Nat never again recorded a full album of Christmas music this means that his huge Christmas rep is based solely on these three minutes of absolute perfection. There may be no finer recording in Nat’s catalog than his 1961 version of “The Christmas Song”. From the opening two notes, this tune manages to encapsulate all the warmth, peace and joy, all the emotion of the Christmas season. Nat’s vocal is the pinnacle of excellence and the unheralded Ralph Carmichael provides an appropriately lush setting featuring a wonderfully mellow guitar solo. It conjures up all the wonderful feelings usually associated with a night in late December relaxing in a warm room lit only by your Christmas tree and surrounded by those you love. The only reason it’s not number one on this list is because it would’ve been too easy. It benefits so much from these external things.

#1 “Stardust” (1957)  “The Christmas Song” is a resplendent recording. However, part of it’s immense charm certainly comes from the Christmas season itself and all of our thoughts, feelings and memories regarding it. “Stardust” does to you what that Christmas classic does to you but all on it’s own. “Stardust” is the aural manifestation of Nat ‘King’ Cole in all his glory. This standard among standards was written in 1927 by the great Hoagy Carmichael (who not only wrote great songs but possessed one of the greatest names in history) with lyrics added by Mitchell Parish. It is one of the most recorded songs of the 20th century with 1,500 recordings of it to date. Nat recorded his version in December of 1956 for his album “Love is the Thing”. The orchestral accompaniment for this album was arranged for strings alone and conducted by the great Gordon Jenkins. Jenkins provides strings so lush that “Stardust” takes on an ethereal quality. It seems to drift down out of the heavens. Nat does well with any type of material but his legacy and his strength is definitely ballad singing and “Stardust” is the quintessence of this strength and represents one of the peak experiences of vocal balladry in the history of recorded sound. It is that good. “Love is the Thing” was the first of four albums Nat would make with Gordon Jenkins. This album was one of the earliest stereo albums made at a time when such albums were made specifically for a niche stereo hi-fi market. The album was also very successful for Nat reaching #1 on the charts while “Stardust”, released as a single, reached #79. What more can be said? It is a flawless vocal performance wrapped in a plush and almost surreal environment of dreamlike beauty. The album is perhaps the finest single moment in either Nat’s or Gordon’s career and provides us with the finest example of the art of Nat ‘King’ Cole.

In compiling this list one of the many things I discovered is that looking at single recordings maybe isn’t the best way to explore Nat Cole. As Bennett has said, it’s about the catalog, the whole, as opposed to single moments. Nat’s entire career is a joy. Do yourself a favour and grab an album – not a compilation – of his. You won’t be disappointed.

Honourable Mentions: “Unforgettable”, “Walking My Baby Back Home”, “Mona Lisa”, “Embraceable You”, “When I Fall in Love”, “Too Young”, “Somewhere Along the Way”, “Say It Isn’t So”, “Lights Out”

 

 

 

Standard
Centennial, Dean Martin, music, singing

Dino 100: Part 1

To commemorate the 100th anniversary of the birth of Dean Martin, SoulRide will be looking at the life of this legendary entertainer. As usual with iconic personalities, the public perception of Dino is one thing but there is much to know and much to love about the man who may be in a group of only three or four singers remembered as the greatest, most definitive and most beloved vocalists of the golden era. Here’s Part 1 of our 3-part series.

Dean Paul Crocetti was born June 7, 1917 in Stuebenville, Ohio. Born to Italian parents from Abruzzo, Dean spoke only an Abruzzo dialect of Italian until he started school at age five. He was bullied in school for his broken English and dropped out of Stuebenville High in grade 10 thinking he was “smarter than his teachers”. And here, already in his early life, is where Dean’s path differs greatly from his famous friend, Frank Sinatra. As we’ll see later, Frank and Dean would set the standard for cool in the early 1960s. Sinatra was always the more earnest. Edgy and driven to perfection in all things, Frank’s nature was very different from Dean’s. In some interviews, Frank would like to cultivate the idea that he had hard scrabble beginnings and was a bit of a tough in his early days, which was not exactly the case. Dean Martin, who said little or nothing about his early days, did indeed operate outside of the law and in some shady, half-criminal environments. After leaving high school, Dean worked as a bootlegger, dealt blackjack and ran card games in speakeasies. He also worked in a steel mill and spent time – as did Sinatra – in the ring, fighting as ‘Kid Crochet’. During his 12-bout fight career, he suffered a broken nose (which was later fixed with the financial help of comedian Lou Costello) and many broken knuckles. I’ve always thought, when I looked at Dean Martin’s hands, that he had strong looking but gnarled fingers and here is the reason. Martin began singing with local bands in the early 1940’s using the name Dino Martini. His style was heavily influenced by Harry Mills of the Mills Brothers. By 1946, he was making a decent living as a singer but was unknown outside of the small east coast night club circuit he operated in.

Young-Dino-dean-martin-31658837-282-400

In 1945, Martin was performing at the Glass Hat in New York. Also performing there at that time was a comic who was nine years Dean’s junior. Jerry Lewis was a skinny, Jewish kid who would lip sync to popular records. The two became friends but didn’t team up until the summer of 1946 when “Martin and Lewis” debuted at the 500 Club in Atlantic City. They bombed. The 500 Club was owned by Skinny d’Amato, a serious guy with mob connections. After the duo’s first unsuccessful show, Skinny told them – in his quiet, menacing way – that if the boys didn’t improve, they’d be fired. What followed is one of those glorious and true Hollywood legends that reveal true talent and personality in performers that today may be taken for granted or not understood at all. Dean and Jerry, huddled in a back alley, decided to go for broke. What they had scripted wasn’t working so, for their next show, they ad-libbed a routine – made it up as they went along – and were a smash. Jerry Lewis – still alive at 91 – is class in so many ways. Not the least of which is his propensity to heap praise on his ex-partner. Lewis is always quick to point out that Martin had impeccable comedic timing and was one of the all-time straight men with immense comedic gifts. This is something often lost in Dean Martin’s story. The comedy team of Dean Martin and Jerry Lewis went on to conquer first night clubs, then radio, then television and finally the movies. In the films, Dean sang the songs, kissed the girls and played straight man to Jerry’s antics. But after ten years together, the films began to be more tailored to Jerry’s insane style of comedy and Dean had had enough. Under a deep cloud of animosity, Martin and Lewis split up, ten years to the day after forming their partnership.

circa 1955: American comic team Dean Martin (1917 - 1995) and Jerry Lewis smiling in a promotional portrait. Martin smiles and rests his chin on top of Lewis's head, as Lewis makes a funny face.

By the time he split with Jerry, Dino had scored 13 top 40 hits, many of them becoming not only inextricably linked with Dean Martin but also becoming quintessential “crooning” classics: “That’s Amore”, “Sway”, “Standing on the Corner”, “Return to Me” and the worldwide number one song “Memories Are Made of This”. Recording for Capitol Records, Dean soon gained a reputation as a light, breezy, smooth vocalist known for his effortless delivery. He also embraced his heritage recording many Italian flavoured songs and a complete LP devoted to same: “Dino: Italian Love Songs” (1962). His recorded output while with Capitol consists of several great albums exhibiting the relaxed style Dean came to be known for. “Pretty Baby” (1957) contains lovely mid-tempo numbers like “I Can’t Give You Anything But Love” and the title track and some gorgeous ballads, most notably “Once in a While”, maybe Dino’s smoothest, loveliest work at Capitol. “Sleep Warm” (1959) is a dreamy set dedicated to songs dealing with ‘sleeping’ or ‘dreaming’. This album is notable for the orchestra having been conducted by Frank Sinatra. “A Winter Romance” (1959) is a seasonal treat to be listened to every December. Unique among “Christmas” albums, the songs don’t reference Christmas specifically but are odes to winter sports, indoor and out. “This Time I’m Swingin'” (1960) teamed Dean with the great arranger Nelson Riddle and the results are impeccable. Some of Dean’s finest recordings can be found on this LP: “You’re Nobody ’til Somebody Loves You” (this version was used over the opening credits of the film “Swingers”), “Until the Real Thing Comes Along”, “Just in Time” and a contender for Dino’s finest Capitol recording, “I’ve Grown Accustomed to Her Face”. Another contender, “My One and Only Love”,  can be found on Dean’s last album for Capitol, “Cha-cha de Amour” (1962).

The 1960’s would bring new levels of stardom and success to Dean Martin. And as the decade unfolded, Dino forged a reputation and a cultural significance that would last throughout the ages.

5d7a5968-cbb7-4680-8ec0-3f09b300b6b1

Standard