The Unforgettable Legacy Of Frank Sinatra And Nelson Riddle

July 21st, 2009 by David Glisan, under Music. No Comments

Frank Sinatra is rightful known today as an entertainment icon, but many forget that there was a time when he was just another washed up teen idol trying to reinvent himself artistically and revive his career. After his teen idol stardom ended, Sinatra went through a rough period that he described as ‘all Monday’s’ when his personal life was in shambles, his professional prospects non-existent and his financial status in ruin.

To make things even worse, his bosses at Columbia Records were mis-managing his talent in an ill-advised effort to make him a ‘novelty singer’. This included a short lived pairing with Mitch Miller–the very low point of which was a horrible record called ‘Mama Will Bark’. Here the greatest voice of the 20th Century recorded a duet with a busty actress named Dagmar and a dog impersonator barking and howling in the background. These records were poorly received by the public–not a surprise in retrospect–and in 1952 Columbia Records dumped Sinatra.

In 1953, June Hutton and Jo Stafford brought him to the attention of Capitol Records A&R man Dave Dexter, Jr. This led to a deal with the label, which began an era that many ‘Sinatra-philes’ consider his best work. Frank worked with Axel Stordahl (June Hutton’s husband, with whom he had worked at Columbia) and these sessions produced some decent recordings, including “I’m Walking Behind You” and “Lean Baby”, but nothing incredibly significant. Dexter wanted Frank to try something different, and with Stordahl leaving to accept a job with Eddie Fisher in New York, he agreed reluctantly to a pairing with Nelson Riddle.

The Riddle/Sinatra collaboration was an unabashed success. Their early sessions produced among other songs “I’ve Got The World On The String” which is something of a ’shot heard round the world’ for Sinatra’s career and popular music in general. The well known standard was given new vibrancy with Riddle’s buoyant arrangement and Sinatra’s new found vocal maturity. The song was only a modest commercial success at the time, reaching #14 on the single charts, but became a classic. It was also a favorite of Sinatra himself, and he continued to perform the song live, frequently as a show opener, for the rest of his life.

When the phoenix-like rebirth of Frank Sinatra’s career is put into a modern context, it becomes even more remarkable. Today one can scarcely imagine a ‘teenybopper’ idol–say, Jordan Knight from ‘New Kids on the Block’ or one of the Jonas Brothers-being able to sustain a serious musical career at all after their initial stardom among the adolescent set. Frank Sinatra not only revived his career, but left an imprint on America popular music–and its culture–that is unlikely to ever be equaled. “I’ve Got The World On A String” can easily be considered the ‘big bang’ in the creation of Frank Sinatra’s world that we all inhabit. It is a celebration of the good life, of which the music of Frank Sinatra will always remain an intrinsic part.

Sinatra Swings To A Bossa Nova Beat

July 21st, 2009 by David Glisan, under Music. No Comments

One of the frequently heard criticisms of Frank Sinatras work is that he was essentially a one trick pony. He is often accused of not being a technically adept vocalist, and simply reworking a formula over and over again. While Sinatra certainly knew what worked for him, and what kind of songs and arrangements he liked this assertion is patently unfair and displays a profound ignorance of the entire body of his work. If you dig deeper in the Sinatra oeuvre, youll find some amazing examples of vocal prowess. Perhaps his best work in this regard came from his collaboration with legendary Brazilian guitarist Antonio Carlos Jobim.

Jobim is considered the founding father of Bossa Nova, and certainly deserves a bulk of the credit for popularizing the genre in North America. His collaboration with Sinatra on a samba tinged album Francis Albert Sinatra and Antonio Carlos Jobim was a critical and commerical success. Sinatra had the highest respect for Jobim as an artist and liked him as a friend. He would try to work out the logistics for the two to record together at several points in his career, but it never came to pass.

“Wave”, written by Jobim and arranged by Eumir Deodato, is among the best of all of the Sinatra/Jobim collaborations. It features some amazing vocal work by Sinatra, including perhaps the lowest notes he ever hit on a recording. It is said that for the rest of his life Sinatra would listen to “Wave” just to hear how good he sounds hitting the bass notes.

This song was to have been a featured track on a second collection of Sinatra/Jobim collaborations, but for some inexplicable reason it was never released as such.One story is that Sinatra himself nixed the release because he didn’t like the cover art. The photographer that insisted on posting Sinatra in front of a Greyhound bus mayhave been responsible for depriving the world of a second collection of Sinatra with a bossa nova twist.

“Wave” finally surfaced on “Sinatra and Company” in 1970. “Wave” also appeared on the Reprise box set and of course of the “Complete Reprise Recordings” suitcase collection.

Critic Will Friedwald, who may have written more about Sinatra’s body of work than anyone, praised his recordings with Jobim as having a “flexibility and delicacy, as if they could be blown about by a soft Brazilian breeze”. In any case, the Sinatra/Jobim sessions certainly rank among the finest vocal work of Sinatra’s amazing career.