jump to navigation

America’s Greatest Music: Where or When? February 5, 2014

Posted by intellectualgridiron in Pop Culture.
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
add a comment

It seems we stood and talked like this before; we looked at each other the same way then;  but I can’t remember where or when.”

So go some very famous lyrics found in the Great American Songbook, the last three of which make title of the song to which they belong, “Where Or When.”

Written in 1937 by the highly adept duo of Richard Rodgers and Lorenz Hart for their musical Babes in Arms, the song became an instant hit with the buying public when prominent recording artists such as Benny Goodman (specifically his Trio) recorded the song the same year.  Within a 77-year span of time, singers and musicians across several genres have taken their stab at rendering the tune, from contemporaries of when the song was new to respected artists who primarily traffic in the Standards today.

One of the most appealing aspects to the song is that it speaks to a strong sense of déjà vu with a significant other, potential or otherwise.  Different “takes” on the song also hint at various aspects of intimacy that the song suggests as well.  Moreover, it’s a good choice to play in any number of forms when trying to recall key moments in life with one’s own significant other!

What is also very appealing about the tune is that, like many other elite tunes in the Great American Songbook (e.g., “Night And Day,” “Stardust,” “Begin The Beguine,” and so forth), it works great in standard, sung form, as well as in instrumental form.  The Benny Goodman Trio, for example, took the latter approach, and the band’s leader along with Gene Krupa and Teddy Wilson do a good job of bringing out the tune’s intimacy.

A decent, semi-contemporary rendition where the lyrics were not ignored was done by Dick Haymes in the 1940s.

Perhaps the most-recognized version in this day and age, and arguably over the past five decades, is the one by Dion & the Belmonts from 1960.

But this does not even scratch the surface of the prominent artists who have recorded this fine song over the course of more than seven decades.  The laundry list of big names includes, in no particular order:  Julie Andrews, Ray Anthony, Count Basie, Shirley Bassey (yes, of “Goldfinger” fame), The Beach Boys (!), Tony Bennett, Dave Brubeck, Perry Como, Ray Conniff, Bing Crosby, Sammy Davis Jr. (naturally!), Dennis Day (the voice of Johnny Appleseed from Disney’s 1948 feature “Melody Time”), Percy Faith (who wants to bet that was rendered instrumentally?), The Flamingos, Ralph Flanagan, The Four Lads, Lionel Hampton, Woody Herman, Harry James, Peggy Lee, Dean Martin (he performed this song at least five times on his show), The Lettermen, Mario Lanza, Steve Lawrence, Vaughn Monroe, Red Norvo, Patti Page, Les Paul & Mary Ford, Artie Shaw, Dinah Shore, Carly Simon, Frank Sinatra (but of course!), Kay Starr, Barbara Streisand, The Supremes, Art Tatum, Jack Teagarden, Mel Tormé, and Andy Williams.

Once you take a moment to catch your breath, it is also worth pointing out that more recent names such as Barry Manilow, Diana Krall, Harry Connick Jr. and Rod Stewart have also added their names to this lengthy list.

Indeed, such length of said list, to say nothing of the diversity of musical genres within it, along with the span of time that these artists cover, all add up to the strongest of testaments to the sheer timelessness of this song.

Let us not forget Ella Fitzgerald’s version of it, for she never fails to do a great song like this its proper justice.

But my personal favorite has to be Nat King Cole’s live — albeit instrumental — rendition of his during his 1960 concert at the Sands Hotel and Casino in Las Vegas, where many a recording legend had many a great concert.

Advertisements

America’s Greatest Music: I’ll Be Seeing You December 4, 2013

Posted by intellectualgridiron in Pop Culture.
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
add a comment

“I’ll Be Seeing You” qualifies as one of the lower-echelon selections within the Great American Songbook.  That said, it stands out uniquely for the reason that it originated from one Broadway show but later became the namesake in a movie several years later.

Written by Sammy Fain and Irving Kahal in 1938 and first performed that same year, it soon became a jazz standard and has been recorded by many notable artists over the course of the decades.  The show for which it was written was “Right This Way”, but six years later it was the title song in the 1944 film “I’ll Be Seeing You” starring Ginger Rogers and Joseph Cotten.

Billie Holiday recorded a version of the song the same year the aforementioned film was released.  Other artists, in no particular chronological order, who have covered the song include Bing Crosby (same year as Billie Holiday’s version), Anne Murray, Jo Stafford and Carmen McRae (both 1958), The Five Satins (1959), Brenda Lee (1962), Ray Charles (1967), Barry Manilow (1991), Etta James (1994), Rod Stewart (2002), Linda Ronstadt (2004), not to mention Jimmy Durante, Liza Minnelli, Mel Tormé, Michael Bublé, the Skyliners, even Queen Latifah, and a host of others.

But the one that clearly stands above the rest is definitely the Frank Sinatra and Tommy Dorsey version from 1940.  A simple listen will verify this:

Not surprisingly, during World War II this song became an anthem for those who were serving overseas, what with its strongly emotional power, a power that Frank and Tommy capture very subtly in their landmark 1940 recording.

America’s Greatest Music, entry 08-04-13 August 4, 2013

Posted by intellectualgridiron in Pop Culture.
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , ,
add a comment

Inspiration hit me over the course of this weekend to share with friends and/or readers alike the many splendors of the golden age of American Popular music.  The era of this golden age is rather lengthy (more than three decades; to be defined more precisely at a later time), and thus what becomes truly vexing is where to begin.  Then again, if one were to continuously vacillate over the myriads of delectable options, one would never decide on a starting point to begin with, and no articles on this marvelous subject would be written.

So, to borrow a decision-making technique in the business management world known as “satisficing,” I’ll go with an example that is as good as any.  It has been a great weekend for yours truly, largely defined by an occasion — without going into excessive detail — that has left me in the best of moods.  It is only therefore fitting that we first take a look and a listen at the designated song below.  Moreover, the record in question turned 60 years old earlier this year, thus further augmenting the appropriateness of the occasion.

The chosen song in question is “I’ve Got the World on a String” by Frank Sinatra.  Ol’ Blue Eyes made a smash debut with this tune in light of his recent switch from Columbia to Capitol Records in 1953.  Recorded in April of that year, it set the upbeat tone for Sinatra’s body of work with Capitol for the next eight years.  The song itself was already 21 years old at the time, written by the notable duo of Harold Arlen and Ted Koehler in 1932 (they would also write a number of other timeless tunes in the Great American Songbook, including, for example, “Stormy Weather“).  Louis Armstrong produced a wonderful version of it the following year (1933), and in subsequent years would be covered by Lee Wiley (1940), Louis Prima (1957), Ella Fitzgerald and Jo Stafford (both 1960), Diana Krall (1995), Barry Manilow (1998), and even Celine Dion (2004) and Michael Buble (2007).

But Frank Sinatra’s 1953 version clearly stands out above all others.  Behold, listen to, and appreciate the record that set the tone for arguably the best era of the body of work for the Voice of the Century!