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3 x CD |
| 4.316 Ft
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| 1. CD tartalma: |
| 1. | A Lovely Way To Spend An Evening
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| 2. | I Couldn't Sleep A Wink Last Night
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| 3. | Saturday Night (Is The Loneliest Night Of The Week)
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| 4. | I Fall In Love Too Easily
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| 5. | Stormy Weather
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| 6. | Ol' Man River
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| 7. | When Your Lover Has Gone
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| 8. | She's Funny That Way
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| 9. | Embraceable You
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| 10. | Put Your Dreams Away
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| 11. | Where Or When
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| 12. | These Foolish Things
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| 13. | Nancy (With The Laughing Face)
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| 14. | You Go To My Head
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| 15. | Someone To Watch Over Me
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| 2. CD tartalma: |
| 1. | Blue Skies
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| 2. | That Old Black Magic
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| 3. | The Coffee Song
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| 4. | How Deep Is The Ocean?
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| 5. | September Song
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| 6. | I Only Have Eyes For You
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| 7. | (I Don't Stand) A Ghost Of A Chance With You
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| 8. | Guess I'll Hang My Tears Out To Dry
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| 9. | Time After Time
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| 10. | They Say It's Wonderful
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| 11. | All Of Me
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| 12. | My Romance
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| 13. | Almost Like Being In Love
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| 14. | Falling In Love With Love
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| 15. | One For My Baby (And One More For The Road)
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| 3. CD tartalma: |
| 1. | Night And Day
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| 2. | Stella By Starlight
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| 3. | Sweet Lorraine
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| 4. | Body And Soul
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| 5. | Autumn In New York
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| 6. | I've Got A Crush On You
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| 7. | You Do Something To Me
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| 8. | Let's Take An Old-Fashioned Walk
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| 9. | Fools Rush In
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| 10. | It's Only A Paper Moon
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| 11. | April In Paris
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| 12. | Lover
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| 13. | Hello Young Lovers
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| 14. | I'm A Fool To Want You
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| 15. | I Could Write A Book
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Jazz
These 45 recordings from Sinatra's formative years clearly demonstrate the breadth of his unique talent. Blessed with an immaculate sense of timing and a pure baritone voice, he was able to effortlessly convey both a profoundly affecting vulnerability on ballads and a confident swagger on uptempo material.
"Like Presley and Dylan, the only other white American singers since 1940 whose popularity, influence and mythic force have been comparable to his, Sinatra will last indefinitely. He virtually invented modern pop phrasing".
Rolling Stone critic Stephen Holden succinctly placed Sinatra at the top of the tree as an interpreter of the American Songbook, but the man himself was perhaps surprisingly modest about his role as a creator, always generously crediting Tommy Dorsey and particularly Billie Holiday for teaching him so much about breath control and all aspects of vocal technique. Unarguably, however, he did become the greatest of all the singers whose style developed with the 1930s Swing bands, blessed with the most immaculate sense of timing and a voice which was the purest bel canto baritone, conjuring a distillation of the wartime American dream.
Born in Hoboken, New Jersey on 12 December 1915 as Frank Sinestro, the singer's domineering mother Americanized his name and pushed him mercilessly in his teenage years to better himself. Always a man of formidable energy and ambition in any case, he left school at 16 to sing at weddings, at his local Union Club and anywhere else he was given an opportunity to perform. In 1935 he entered a radio talent show, the Major Bowes Amateur Hour, and won together with three friends billing themselves as the Hoboken Four, leading to a tour and radio engagements where he happily sang for nothing if necessary in order to promote his name. From 1937-39 he worked as both a singer and a waiter at a New Jersey roadhouse called the Rustic Cabin, and married his childhood sweetheart Nancy. Bandleader Harry James heard him sing on the radio and hired him as lead vocalist before Tommy Dorsey made him a better offer, and from early 1940 Sinatra's reputation grew rapidly as he made his first recordings with arranger Axel Stordahl. Just a year later he was named in a Billboard survey as Outstanding Male Band Vocalist, and within a few months of that had displaced Bing Crosby in a Downbeat poll; Crosby later remarked ruefully that "Frank Sinatra is the kind of singer who comes along once in a lifetime – why did it have to be my lifetime?" This clearly gave the young singer a clear focus as he bought himself out of his contract with Dorsey in 1942 with the bold intention of following Crosby's footsteps with the goal, rare at the time, of becoming a star solo act.
Dorsey had also begun to notice something else extraordinary about Sinatra: "He was just a skinny kid with big ears, but what he did to women was something awful". Sinatra inspired the beginning of hysteria among fans, as swooning bobbysoxers created havoc at his concerts, especially at October 1944's Columbus Day Riot when 25,000 screaming teenagers famously brought traffic to a standstill around New York's Paramount Theater. He was singing regularly on the network radio show Your Hit Parade and, as soon as the Musicians' Union recording ban was lifted, signed for Columbia Records to embark on a remarkable decade for that label which produced more than 250 songs up until 1953. Reunited with Stordahl, this period saw him become the most popular vocalist of the mid 40s, establish himself in movies and create a tenderly opulent sound which proffered romance with an uncanny mixture of hope and sadness. Later years brought his Capitol period, ongoing personal turmoil, the Rat Pack clan and controversies over links to organized crime, but all that is another story and this collection brings together the finest moments from his Columbia recordings, illustrating both his talent and an unerring good taste.
The opening four songs on CD1 were composed by the songwriting teams of Jimmy McHugh/Harold Adamson and Sammy Cahn/Jule Styne, with the first two featuring in the 1944 movie Higher And Higher which gave Sinatra his most major movie role to date. I Fall In Love Too Easily was included in 1946's Anchors Aweigh, a boisterous musical co-starring Gene Kelly, while Harold Arlen's standard Stormy Weather made Ethel Waters' name in Cabin In The Sky. Jerome Kern's Ol'Man River gave a starring part to Paul Robeson in Showboat but Sinatra himself memorably performed it as the climax to the Kern biopic As The Clouds Roll By. These are some of the highest achievements in American popular culture, peerlessly performed and complemented by the selection of two of the Gershwins' best songs, Embraceable You and Someone To Watch Over Me. These were also covered respectively by Judy Garland in Girl Crazy and Gertrude Lawrence in Oh Kay, while Sinatra naturally suffers nothing by comparison and adds a poignant rendition of the gentle Rodgers & Hart ballad Where Or When. There was often an affecting vulnerability in his treatment of this kind of material, and that song was also performed by discerning female vocalists like Jeri Southern, Dinah Shore and Lena Horne. Shore also recorded These Foolish Things but Nancy (With The Laughing Face) became very much Sinatra's own as the Phil Silvers/ Jimmy Van Heusen composition, first written for daughter Nancy, was reprised for the presidential Mrs. Reagan in the 80s.
CD2 begins with the typically brash optimism of Irving Berlin's Blue Skies, also sung by Crosby, with that partnership together again on the more reflective How Deep Is The Ocean? Arlen & Mercer's That Old Black Magic was later a hit for Rat Pack crony Sammy Davis Jnr in 1955, and The Coffee Song was another upbeat success for Sinatra in the swaggering mood he developed more fully in the 50s. Kurt Weill's September Song and Harry Warren's I Only Have Eyes For You maintain an exalted standard, the latter covered contrastingly by DooWop group the Flamingos and in a chart-topping version in 1975 by Art Garfunkel. Lonely romantic ballads were a feature of Sinatra's entire career, and torch songs like Guess I'll Hang My Tears Out To Dry, Time After Time (featured in 1947's It Happened In Brooklyn) and (I Don't Stand) A Ghost Of A Chance With You found him at his most convincingly sensitive. A pair of Rodgers & Hart songs, My Romance and Falling In Love With Love, also suit him perfectly, and the CD closes with the archetypal saloon song closely associated with him, Mercer & Arlen's One For My Baby (And One More For The Road).
CD3 opens with the sophisticated Cole Porter song Night And Day, a movie vehicle for the suave Fred Astaire, Stella By Starlight is high class standard singing, while Sweet Lorraine finds the singer stretching out in more jazzy vein than usual, backed by Coleman Hawkins and Johnny Hodges in an impressive reading of the Nat King Cole hit. Hawkins recorded perhaps the definitive Body And Soul in 1939, and Sinatra follows his version of it with Vernon Duke's wistful homage to New York. The top echelons of American songwriting continue with the Gershwins' I've Got A Crush On You, Porter's equally smouldering You Do Something To Me and Berlin's Let's Take An Old-Fashioned Walk, an innocent duet with Doris Day. The Girl Next Door also starred in April In Paris, another Duke song which featured in the eponymous movie. In contrast, Sinatra's more deeply emotional 1951 recording of I'm A Fool To Want You allegedly ended with Sinatra running from the studio in tears, at the height of his turbulent relationship with Ava Gardner. Finally, Richard Rodgers provides three songs here, Hello Young Lovers co-written with Oscar Hammerstein II and two composed with his superior collaborator Lorenz Hart, Lover and I Could Write A Book, the latter the aptly titled closing song from this chapter in a remarkable life.
Neil Kellas |
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