(Jazz / Classic Pop) [LP] [24/96] Sinatra and Swingin' Brass - 1962, FLAC (tracks)

Sinatra and Swingin' Brass Жанр: Jazz / Classic Pop Год выпуска: 1962 Лейбл: Reprise Records R9-1005 Страна-производитель: USA Аудио кодек: FLAC Тип рипа: tracks Формат записи: 24/96 Формат раздачи: 24/96 Продолжительность: 16:12 + 15:03  Треклист1. "Goody Goody" (Johnny Mercer, Matty Malneck) – 1:47 2. "They Can't Take That Away from Me" (George Gershwin, Ira Gershwin) – 2:41 3. "At Long Last Love" (Cole Porter) – 2:14 4. "I'm Beginning to See the Light" (Johnny Hodges, Harry James, Duke Ellington, Don George) – 2:34 5. "Don'cha Go 'Way Mad" (Jimmy Mundy, Al Stillman, Illinois Jacquet) – 3:12 6. "I Get a Kick Out of You" (Porter) – 3:14 7. "Tangerine" (Victor Schertzinger, Johnny Mercer) – 2:03 8. "Love Is Just around the Corner" (Lewis E. Gensler, Leo Robin) – 2:27 9. "Ain't She Sweet" (Milton Ager, Jack Yellen) – 2:07 10. "Serenade In Blue" (Harry Warren, Mack Gordon) – 2:58 11. "I Love You" (Porter) – 2:16 12. "Pick Yourself Up" (Jerome Kern, Dorothy Fields) – 2:33  Annotation“Strictly, genuinely, sincerely and skillfully of. .. [his] special kind and class” —this was the appraisal James Agee made of Frank Sinatra in the Spring 1944 Partisan Review. The years have not modified that now universally, accepted judgment. Much credit has also gone to Sinatra’s many arrangers, each having tried to set the voice as he had heard it best. In this album the orchestrations are fresh and distinctive —some of us will and them among the most exciting in a long, long time_— as Sinatra is joined for the first time with the high talent of Neal Hefti. The tempo is up, and a dozen familiar - songs raise .interest all over again.Ten of these songs were picked by Neal. Sinatra added “Goody, Goody” (which, with his lyric improvisations, here becomes ahnost special material for him) and “Don’cha Go ’Way Mad” (the jazz standard to which Al Stillman set a narrative lyric and in which Sinatra makes a string of ten “Baby”s). The two recording sessions were booked six weeks" in advance, allowing Neal to get the town’s best men: 5 trombones, 5 trumpets, 5 saxes, and 4 rhythm. Sinatra had not been singing for some time, as he had been working on his ?lm, The Manchurian Candidate. But a week before the recording he began limbering up his voice; by the hour of the session he was never sounding better.“If you go to J uilliard, you call it a counter-melody. If you’re jazz, it's a riff.” So Neal explains the melodic afterthoughts so essential to these arrangements. His riffs are woven into the fabric of the tunes and, in their instrumentation and rhythmic relationships between songs, account for much of the album’s unity of feeling—even though the numbers themselves come from such dissimilar repertoires as jazz, popular song, and musical comedy.Though some like to believe that the musical comedy song, being a part of the Theatre, is the most intellectual of these categories, the notion is delusive. “Ain’t She Sweet,” which, with that title, might seem to have no claim to intelligence, is a remarkable instance of thought—not instinct— producing a melody. Composer Milton Ager had begun collaborating with lyricist Jack Yellen in 1920 when they wrote the score to What’s in a Name? and evolved their first hit, “A Young Man’s Fancy.” By 1927, the year of “Ain’t She Sweet,” their pattern of work was set: Yellen would come up with a song-title which would in turn suggest to Ageipthe beginning of a tune. Words and music then developed together. One day in 1927 Ager became interested in the possibilities of adapting a Wagnerian chromatic device to the popular song. He took the first and sixth notes of the scale and then moved them chromatically toward each other in three steps — creating three chords which combined into a new, or “passing" chord. He liked the sliding harmonic effect, doubled it, added an off-beat syncopated rhythm, and he had a tune. (Neal here made a riff by repeating the bottom half of this“passing chord.”) For the first time Yellen was asked to set a V lyric to a completed melody. His first attempt was “pretty good,” according to Ager, “but I thought it could be improved.” Yellen then took a different approach and asked, “How about ‘Ain’t She Sweet’ as a title?” Ager agreed that that sounded O.K.; and Sinatra’s version makes it sound more O.K. than ever.“I’m Beginning to See the Light” is a standard that got started almost by accident. According to Leonard Feather, the song began as a Johnny Hodges riff in the days when Hodges was with Duke Ellington. Ellington developed the phrase into a tune, and Don George was asked to write the lyric. The lyric is a brilliant example of visual imagery carefully worked out and elaborated, with its coined noun “lantern-shine” and its conceits derived from that bag of cliches: Being in the dark, Suddenly it dawned on me, and Beginning to see the light. Ira Gershwin has always insisted that a cliche set to music is no longer necessarily a cliche. George’s lyric, mixing fresh images with catch-phrases, is proof. When Sinatra sings a lyric, even when it’s one we know as well as he does, we suddenly hear it fresh and the words regain sharpness of meaning. Both Ira Gershwin and Richard Rodgers have compared lyric-writing to mosaic-making: each word is cut to fill a precisely defined gap. Sinatra’s presentation polishes each word in its setting and gives it every chance to radiate. Probably no worse fate could befall a second rate lyricist than to have this man sing his material and show it up for what it isn’t. There is something about the pauses in the delivery —as in “Pick Yourself Up”— those caesuras which, as Christopher Isherwood has remarked, make listening to Sinatra exciting and, at times, almost excruciating as we wait for each word to drop, finally, into its allotted space.Getting the words into place can be an unending concern for a writer, and even the most professional can sometimes be impelled toward rewriting his own hits. “They Can’t Take That Away from Me” has such a history. George and Ira Gershwin wrote it in 1936 for Shall We Dance, an RKO film starring Fred Astaire and Ginger Rogers. The Gershwins had come to California from New York in August of 1936 to begin work on the picture, and by October 24th George was able to write East: “Ira and I have written a song called ‘They Can’t Take That Away from Me’ which I think has distinct possibilities of going places.” Gershwin always had a shrewd sense for what was commercially successful, and he was particularly anxious to resume his Hollywood career with a hit— especially since Porgy and Bess the preceding year had almost damned him as a serious- and therefore presumably non-commercial — composer. He and Ira played “They Can’t Take That Away from Me” for Kem, Berlin, Romberg and Arlen —all of whom were then on the coast and with whom the song instantly became a favorite.The tune had begun as a 9-bar theme in George’s 1936 manuscript Tune Book: the song echoed the beginning of Beethoven’s Fifth, except that Gershvvin’s fourth note rose, rather than descended. Ira suggested that the first three notes, instead of being weighted equally, be rephrased to give variety and allow for a longer title. So George obligingly splintered them into five: three eighths, one quarter, and one eighth. The resulting completed song was featured in the film and nominated for an Academy Award.Over twenty years later, when he was preparing his Lyrics on Several Occasions (Knopf, 1959), a volume of his favorite lyrics together with “Annotations & Disquisitions on Their Why & Wherefore,” Ira Gershwin wrote: “Studying this lyric, I see that the release could have been improved to:We may never, never meet again On the bumpy road to love, Still I don’t know when I w0n’t be thinking of — The way you hold your knife...which would rhyme ‘again’ and ‘when’ on important notes where no rhyme now exists; also, the sequence ‘I don’t know when I won’t’ contains a double negative, a form of phrasing I sometimes ?nd myself favoring over a simple affirmative.“Half an hour later. If the above had occurred to me originally, I’d have kept it. But now after some reflection—no dice. Despite the rhyme and the indirect affirmative, ‘always, always’ following ‘never, never,’ plus all the ‘N o, no’s make a , better-balanced refrain. So, stet!”Sinatra’s insistence here upon the “never”s is indeed eloquent defense of a version which needs no revision: it is is. Perfection may not easily be defend, but it’s more than the absence of error. It is the positive combination of all the virtues,‘ including Agee’s strictness, genuineness, sincerity and skill. In the case of Frank Sinatra and Neal Hefti and this album,’ Perfection is: Positive delight.— Lawrence D. 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