Frank Sinatra: 20 Years On

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As someone who has written a book about the music of Bobby Darin, what was especially nice about the recent release of the Frank Sinatra: Standing Room Only 3CD set a few weeks back was to hear Sinatra in 1966 recommending that his audience takes time out to go and see Bobby while they were in Vegas.  The comments were, for this listener at least, unexpected, but put to bed once and for all the fake-feud between Darin and Sinatra that the media seemingly made up around 1960 and have continued to talk of as fact ever since.  It should also be added that, in a 1975 newspaper interview, Tina Sinatra said that her father would be performing at a Darin tribute concert (a concert that sadly never happened).   Another suggestion that the stories of animosity were untrue.

A second edition of my book on Bobby Darin will come out late in 2018, all being well, just as the second edition of my book on the music of Elvis Presley came out last year.   Those books take a reader through the recordings of the artist in question, from the first to the last, re-evaluating them from a modern viewpoint as well as providing excerpts from contemporary reviews and articles from trade magazines and newspapers, showing how the music was received at the time.  They have garnered some nice comments, but the question I’m asked most (especially by those who know me and my musical tastes) is “are you going to do one on the music of Frank Sinatra?”  The answer to that is always that I would love to, but where would I start?  Sinatra recorded more than double the amount of songs than Elvis and Darin put together, and if I ended up writing close to a quarter of a million words on Elvis, how much would I end up writing on Sinatra?  And what about collecting together all of those reviews and articles.  I have around 400-500 for the new edition of the Darin book, so with Sinatra I would be looking at probably five or six times that amount – at least!  I am not sure I am up to that task.

But this week marks twenty years since I switched on the TV and browsed Teletext one morning only to see on the news that Frank Sinatra had passed away.  It’s one of those moments that you don’t forget.  I had “got into” Sinatra about five years earlier while working in a used record store.  There were no customers, and so I started browsing through the albums, trying to find something to play.  I picked up, by chance, Ol’ Blue Eyes Is Back.  And that was the start of that.  And I have Sinatra to thank for so much more than just his own music.  I picked up the albums he made with Basie, that got me searching out his records.  The same is true for Duke Ellington after hearing the much-maligned album that Frank Sinatra recorded with him.  And then came the VHS (as it was back then) of the 1967 TV show with Sinatra and Ella Fitzgerald.  And who couldn’t fall in love with her?  Through Sinatra, I found Basie, Duke, and Ella.  And through them I found John Coltrane, Louis Armstrong, Benny Carter, Coleman Hawkins, Johnny Hodges, Ben Webster, Stan Getz, Dizzy Gillespie, Oscar Peterson.  And through them I found…  Well, you get the idea.  But it all comes back to Frank Sinatra.  Without him, I would never have heard any of them in the wonderful, weird world of musical six-degrees-of-separation.

And so, twenty years after Sinatra’s passing, I thought it would be nice to look at ten of the Sinatra albums, TV shows and concerts that I cherish most, but which aren’t always talked about a great deal.   Of course, our musical preferences change on a regular basis – you learn to like things you didn’t, and go off things you used to love.  But, right now, here’s ten glorious moments with Frank Sinatra.   Albums dates refer to year of release.

1.  The Voice of Frank Sinatra (1946).   There really is no other place to start than with Frank’s first album.  Many have argued that this was the first pop concept album.  Just as many have argued that there were earlier ones.  But it doesn’t matter, because Sinatra took the notion of the concept album to a whole new level.  In this case, not just the bringing together of eight wonderful ballads, but their orchestration with a string quartet and small rhythm section.  If I had to live without any era of Frank Sinatra music (and I hope I never have to make that choice for real), then it would be the Columbia years, but despite that, this collection of eight songs is wondrous in its concept and delivery.  And if These Foolish Things doesn’t tear you in two, then nothing will.

2.  Close to You (1956).  Let’s skip those albums you already know about, and concentrate on Close to You, one of Sinatra’s least-known Capitol albums, and one that seems like a cousin of The Voice.  Here, again, he utilises the string quartet, augmented at various points by a woodwind or brass instrument.  Sinatra avoids the over-used American standards here, and goes for more obscure ones.  They aren’t “unknowns” exactly, but more “rarely heards.”  I don’t think there is a better version out there of P. S. I Love You or Blame It On My Youth.   And Frank gives Chet Baker a run for his money on Everything Happens to Me, only to go on to eclipse all versions in 1981 when he re-recorded the song for She Shot Me Down, although it remained in the vaults for over a decade.

3.  Monte Carlo, June 14, 1958.  This concert, finally released officially in 2016 (although any self-respecting fan had it in their collection long before that) is a stunning tour-de-force, and a rare snap-shot of where Sinatra was musically at this time.  He brings something to the relatively bland Monique here that he seemed to miss entirely in the studio.  And what can be said about Where Or When?  Sinatra takes it as a stripped back ballad, and sings the hell out of it, again beating the studio version that also remained in the vaults for years.  That song alone is worth the price of admission here, and I’ll take this show over any other from the 1950s that we are lucky enough to have in our collections.

4.  Point of No Return (1962).  This is one of those albums that have had a bad rap over the years.  We hear tales that Sinatra wasn’t really bothered about recording this album of ballads, his last LP for Capitol, and his last with Alex Stordahl as arranger.  But how can anyone listening to this come to that conclusion?  When the World Was Young is as perfect a recording as I can think of.  We don’t think of Sinatra singing French cabaret-type songs, but here he does, and does so beautifully, as always completely understanding the character at the heart of the piece.  A new, jazzier phrasing can be found in I’ll See You Again, and These Foolish Things, originally recorded for The Voice of Frank Sinatra, is here darker and moodier.

5.  Hibiya Park, Japan, April 21, 1962.  This concert was released on DVD on the World on a String boxed set in 2016.  This was part of Sinatra’s charity world tour in 1962, in which he travelled with just a jazz combo to support him, and raising a huge amount of money in the process.  What is so special here is that I don’t ever remember seeing Sinatra happier on stage.  His smile seems to beam from the beginning of the show to the end.  He interacts with the crowd in a way we have rarely seen, clearly getting a kick out of the amount of children in the audience at whom he smiles, waves, and even blows kisses to at various points.  Musically, the show is shorter than some of the others on the tour, but that doesn’t take away from the quality of the singing or the playing – despite the wind trying to blow music stands across the stage.

6.  The Man and His Music + Ella + Jobim (TV show, 1967).  The late 1960s were a wonderful time for music specials.  1968 brought us Elvis’s NBC TV special, and the year before had brought us this.  Sinatra and Ella Fitzgerald had appeared together on TV before, but not like this.  Everything just clicks into place, from the playful, semi-serious first duet medley, through to the finale of the show where Frank and Ella just go for it.  Ella was in superb form (and, oddly, without a permanent contract at the time) and Sinatra couldn’t be happier to be jousting with her.  The medley with Jobim is also a delight, and one can only wish that somewhere out there is material that was recorded for the show but not used due to time limitations, and one day we’ll have a deluxe release.  Is there more material?  Possibly (collectors will know that there is material in the vaults from the 1973 TV special).  We can but hope.

7.  Francis A. & Ellington K. (1968).  This wonderful album seems to have been much-maligned over the years, with it said that Sinatra wasn’t in great voice, and Ellington not in great form.  And yet it contains some of my favourite performances from both the Ellington band and Sinatra himself.  All I Need is the Girl may be taken at a pedestrian pace, but it’s so exciting, with both singer and the band threatening to let rip at any moment.  And is there a better version of Sunny out there?  If so, I haven’t heard it.  A follow-up album, with Frank singing an LP’s worth of Ellington songs, would have been most welcome, but never happened.

8.  Watertown (1970).   Watertown has become something of a cult favourite in recent decades.  It’s one of those albums that few have heard, but those that have would never be without it.  This is, essentially, a song cycle about a man whose wife has left him, and he now has to look after their two children.  He doesn’t know if she will come back or not.  Sinatra was always challenging himself – and his audiences.  And that is the case here.  This isn’t an easy listening album.  It demands your attention from beginning to end.  Michael & Peter, a song in the form of a letter to his wife about his children and what they are doing, is so remarkably moving.  And the disappointment is palpable when The Train arrives at the end of the album and the man’s wife is not on it.  But nobody appears to have heard the album at the time of release – except Nina Simone, it seems, who covered one of the songs on a 1985 album.  But this is a beautiful, haunting album.  Lady Day remained unissued for years, with Sinatra re-recording it with a lush Don Costa arrangement which was released on Sinatra & Company.  

9.  The Lost Songs (1973-1978).  OK, I’ll come clean.  This isn’t really an album at all.  It is just me taking the opportunity to draw attention to a group of songs that Sinatra recorded during the 1970s that deserve to be heard.  In the studio, at least, Frank seemed to be lost during this period.  He didn’t know what to record.  Albums were discussed and discarded.  Albums were started, and discarded.  Singles came out that were never going to do well commercially.  Other singles came out that were the worst things Sinatra ever disc.  Other songs remained in the vault.  And yet, the really good recordings from this period (outside of the 1973-4 albums) are stunning and deserve to be heard.  I’m talking here of Everything Happens to MeJust as Though You Were HereDry Your EyesLike a Sad SongEmpty TablesSend In the ClownsBang BangI Love My Wife.  Most people have never heard these because many were only available on CD through a 20CD set from the 1990s.  So, if anyone from the Estate is reading, get a collection of these lost 1970s songs (and the 1980s singles too) out on CD.  They deserve to be heard.

10.  The Ultimate Event (1988).  One of those concerts that is out on DVD, but no-one is sure whether the release is legal or not.  This was recorded in Detroit, as part of a tour featuring Sammy Davis Jr and Liza Minnelli alongside Sinatra.  What is wonderful here is that all three are on fire, and the clear love they have for each other.  Davis takes the audience from Rodgers & Hart, through Newley & Bricusse, and on to Michael Jackson and Andrew Lloyd Webber in twenty minutes.  Liza Minnelli had, arguably, never been better.  Her repertoire is familiar, but she wrings every ounce of emotion out of Quiet Love and Sailor Boys.  Then comes Sinatra, showing that Minnelli and Davis created great results but so can he – but seemingly with much less effort!  Finally, the three of them come together for a wonderful medley.  Again, this is an edited show – how great it would be to see a release of the whole thing.

Perhaps that’s an idea for the next Sinatra anniversary?

 

 

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Bobby Darin on Stage – Part I

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While there are a couple of sessiongraphies and discographies of Bobby Darin online, and an extensive (although still incomplete) list of his TV appearances within my own book (Bobby Darin: A Listener’s Guide), there is, alas, no list of Bobby’s on-stage appearances.   Working with newspaper archives, I have done my best to start that process, beginning with what I can find of his 1956-1959 concert appearances.  However, I am well aware that this list is FAR from complete.  Some entries have question marks beside them as I am not sure of when an residency began or ended (or both), and many performances are not listed at all.  And so if you are aware of missing performances, please message me and let me know.  If I ever do a second edition of my Darin book and include this material as an appendix, then any information given to me by yourselves would of course be noted in the acknowledgement section.  But, at this stage, that is a long way off (if it ever happens).   At the moment, I am simply trying to put a list together to share with other fans and nothing else.  I look forward to hearing from you.

1956

April 15th         University of Detroit Memorial Hall .  Rock ‘n’ Roll Show with The Four Aces, The Four Coins, Cathy Carr etc

May 2nd-5th       Purple Onion, Guilford . 3 shows nightly.  Headliner

1957

April 13           Paramount Theater, Montgomery .  Bill O’Brien’s Teen Time

April 15 – ?      Mike’s South Pacific Club.  3 shows nightly

April or May    Murray Franklin’s Night Spot

May 19            Paramount Theater, Montgomery.  Bill O’Brien’s Teen Time

September 7    Paramount Theater, Montgomery.  Bill O’Brien’s Teen Time

Oct 7-12?         Gay Haven Supper Club, Detroit

October  ?         Apollo, NY.   Alan Freed’s Rock ‘n’ Roll Revue

December 6     Elms Ballroom, Youngstown.   All-Star Record Hop, with Frankie Avalon, Mello Kings etc

December 31   War Memorial, Rochester.  New Year’s Eve show with Bill Haley, The Spaniels etc

bobby in pyjamas.

1958

June 27            Barnum Festival.  Ballyhoo show, with Steve Lawrence, Eydie Gorme

July 1               Broadway Theater, Philadelphia .  “Rock ‘n’ Shock Spooktacular”

July 2               Orpheum, Germantown.  “Rock ‘n’ Shock Spooktacular”

* The Spooktacular played dates for the entirety of July 1-5, but specific dates & locations unknown

July 5               Saylor’s Lake, Allentown .   Big Beat Dance, with Danny and the Juniors, The Aquatones

August 18        Johnson City Recreation Center.  Record Hop

August 24        Hollywood Bowl, LA.  A Salute to Dick Clark

August 30        Paramount Theater, Montgomery.  Bill O’Brien’s Teen Time

September 13  Elms Ballroom, Youngstown .  with Tony Pastor, Dion & the Belmonts etc

October 3        Worcester Auditorium.  “Biggest Show of Stars for ‘58”

October 4        State Theater, Hartford.  “Biggest Show of Stars for ‘58”

October 5        Montreal Forum, Canada .  “Biggest Show of Stars for ‘58”

October 6        Peterborough Memorial Center, Canada.  Biggest Show of Stars for ‘58”

October 7        Kitchener Memorial Center, Canada.  “Biggest Show of Stars for ‘58”

October 8        Toledo Sports Arena .  Biggest Show of Stars for ‘58”

October 9        Indiana Theater .  “Biggest Show of Stars for ‘58”

October 10      State Fair Coliseum, Louisville.  “Biggest Show of Stars for ‘58”

October 11      Veteran’s Memorial, Columbus.  “Biggest Show of Stars for ‘58”

October 12      Stambaugh Auditorium, Youngstown.  “Biggest Show of Stars for ‘58”

October 13      Syria Mosque, Pittsburgh.  “Biggest Show of Stars for ‘58”

October 14      Akron Armoury.  “Biggest Show of Stars for ‘58”

October 15      Community War Memorial.  “Biggest Show of Stars for ‘58”

October 16      Catholic Youth Center, Scranton.   “Biggest Show of Stars for ‘58”

October 17      Municipal Auditorium, Norfolk, VA.  “Biggest Show of Stars for ‘58”

October 18      Park Center, Charlotte.  “Biggest Show of Stars for ‘58”

October 19      The Mosque, Richmond.  “Biggest Show of Stars for ‘58” included Buddy Holly

November 20  Loew’s Poli Theater, Bridgeport.  “Shower of Top Recording Stars”

December 6     Chicago Opera House.  “Howard Miller’s Pop Music Concert” with Everly Bros etc

December ?      Ben Maksik’s Town & Country, Brooklyn.  Support act

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1959

January 1         Civic Auditorium.  “Show of Stars” with The Platters etc

January 31 – February 2       Melbourne Stadium, Australia.  “Shower of Stars” with Chuck Berry etc

February 4-7    Sydney Stadium, Australia .  “Shower of Stars” with Chuck Berry

February 22     Evergreen Ballroom, Old Olympia.  with Little Willie John

February 26     Cottonwoods, Albany.  Show and Dance

March 1           Playquato Ballroom, Centralia.  Dance

March 9           Surf, Clear Lake, Iowa.  Special for ages 14-21

March 11         Prom Center, Minneapolis.  Teen hop with the Bellnotes

March 12         Fournier’s, Wisconsin.  In Person

March 19         Val Air Ballroom, Des Moines.  with the Bellnotes

March 22         Cinderella Ballroom, Appleton.  with the Bellnotes. Afternoon perf

April 20-at least 29th     Blinstrub’s, Boston

May 4-17         Harrah’s, Lake Tahoe.  George Burns show

June 1-?             Copacabana, New York

June ?                Sahara, Las Vegas.  George Burns show

July 10             Community Hall, North Bend

July 12             Eureka Municipal Auditorium

July 13             Klamath Falls Auditorium.  Bobby Darin and his Orchestra

July 17             Vets Memorial Hall, Petaluma

July 24             El Paso County Coliseum

July 25             Tingley Coliseum, Albuquerque

July 26             Seth Hall, Santa Fe

July 31             Cloister, Hollywood

August 8          Playboy Jazz Festival, Chicago Stadium.  with Duke Ellington & Oscar Peterson on the same bill

August 23-30   Steel Pier Music Hall, Atlantic City.  August 29 & 30 perfs were televised on WRCV-TV

September 5    Hollywood Bowl, L.A.   A Tribute to Jimmy McHugh

Sept 7-13         Three Rivers Inn, Syracuse

Sept 16 &17      West Texas Fair, Abilene

Sept 14-20?      Santa Clara County Fair.  Bobby’s particular performance date unknown

October 3        Los Angeles Jazz Festival, Hollywood Bowl

October 6-27  Sands Hotel, Las Vegas

October 28      Royal Casino, Washington

October 30-31 The Terrace, Salt Lake City

November 2    New Arena, Pittsburgh

Nov 3-5           Arizona State Fair.  3 shows per day.  9 in all.

Nov 13-15       Mosque Theater, New Jersey.  3 shows per day.  9 in all.

Nov 16 -22       Sciolla’s Philadelphia

November 26  Concord Hotel, Catskills

November 27  New Haven Arena

Dec 4-28?        Chi’s Chez Paree, Chicago.  Did Bobby really have a near-four week engagement?

Dec 26-31        Jimmy & Jack’s New Arena, Pittsburgh

 

Ella Fitzgerald’s Country Album: Misty Blue

117365037It’s hardly surprising that viewpoints on this album vary wildly. For fans of Ella’s jazz material, it’s a waste of talent. For fans of country music, it’s a weird mish-mash of styles. But, let’s be honest, Ella had never been JUST a jazz singer. In fact, she had wrapped her tonsils around country music before, such as A Satisfied Mind back in 1955, and much of her material from the early to mid-1950s wasn’t jazz either, with her tackling the likes of Crying in the Chapel and Soldier Boy during those sessions. And, throughout the 1960s, she incorporated some of the “now sounds” (as she called them) into her albums and concerts, including Beatles tracks and the likes of Walk Right In. So, really, this country album didn’t come completely out of left-field.

It certainly was a strange choice of album as her first project for Capitol, but that doesn’t mean it is bad. In fact, it’s hugely enjoyable for the most part. Ella’s country is not dissimilar in sound to that on Bobby Darin’s You’re the Reason I’m Living album – and by that I mean that it takes country material and melds it with big band instrumentation. The songs are well-chosen too, with Ella given the chance to sing some rather feisty lyrics such as “This Gun Doesn’t Care Who It Shoots,” and there is also a wink and a nudge on a few tracks too, such as Evil on Your Mind and Don’t Let That Doorknob Hit You.

Ella was probably never in better voice than in the mid-1960s. On ballads, she had a fuller sound that was silky smooth, but she was also adding a kind of soul-like rasp to her voice on bluesier and upbeat material. The best songs here are those written by Hank Cochran – It’s Only Love and Don’t Touch Me, with Ella’s performance of the latter being truly beautiful. Also listen out for the phrasing on Born to Lose – absolutely stunning.

These songs might not have been her natural “bag” but they are beautifully recorded and Ella throws herself into this (on the face of it) unlikely project with great enthusiasm. She would continue to explore new avenues during the late 1960s with an album of hymns and spirituals, and even dalliances with rock on her two albums for Reprise – and that’s not to mention her reinvention of Hey Jude on the under-rated Sunshine of Your Love LP. In concert she would wail her way through Spinning Wheel, and even enter protest territory with What’s Going On (recorded live twice) and her own Capitol single It’s Up to You and Me – her self-penned response to the killing of Martin Luther King that has sadly never made it to CD.

The Wonders of Pablo Records

Most people with any knowledge or love of jazz will agree that the late 1920s through to the early 1940s was the first golden age of jazz, and that the 1950s was jazz‘s second coming, with the genre branching out into disparate and yet linked sub-genres such as be-bop, cool, west coast jazz and the resurgence of the big band. But what is generally forgotten or, perhaps, under-estimated, was what I would suggest was jazz‘s third golden age: the 1970s.

The 1960s was a tough time for many jazz artists and many jazz fans. Older statesmen of the genre seemed to lose direction, with big bands such as Basie and Ellington often making albums of current pop songs or short, simple arrangements of standards. Ella Fitzgerald ended up without a permanent contract, resulting in some unlikely albums for Capitol and Reprise. Meanwhile, acid jazz came to the fore, but was hardly the most accessible form of jazz. Yes, there were some fine albums recorded during the decade but as the 1960s progressed, jazz got lost in a milieu of a lack of ambition and direction and an overdose of pretension.

But then, in the early 1970s, Norman Granz came to the rescue. Granz had been behind the idea of taking jazz to the concert hall in the 1940s with his Jazz at the Philharmonic concerts, and he was champion of the jam session. He liked to sit a group of musicians in a studio or on a stage and light the touchpaper to see what happened. In 1972, he recorded a concert in Santa Monica, which he released as “Jazz at the Santa Monica Civic.” The concert was billed as a Basie/Ella Fitzgerald show, but Granz had some surprises up his sleeve, and presented the audience not just with the main stars of the evening, but also a revival of the JATP format, bringing out guest stars such as Stan Getz, Harry Edison, Roy Eldridge and Oscar Peterson for a number of jams. The show lasted nearly three hours (all of which is now available on CD) and signalled the birth of Pablo records – the finale is below:

Pablo records, for me, is the 3rd golden age of jazz. Pablo was not concerned with nurturing new talent, but bringing the old guard back to doing what they did best. Granz pulled together a great roster of talent, including Basie, Ellington, Fitzgerald, Joe Pass, Sarah Vaughan, Oscar Peterson, Dizzy Gillespie, Zoot Sims and more. All were viewed in the early 1970s as well past their prime, but the recordings they made for Pablo show something different altogether, and the label went on to win multiple Grammy awards.

Pablo is well-known for two things. Firstly, a succession of some of the most awful album covers ever created:

And, secondly, reiterating the old saying that you should never judge a book by its cover. The big band albums aside, the key element of Pablo recordings was the notion of improvisation and spontaneity. Granz would get a group of musicians together and let them just jam on a batch of songs, often recording a whole album in just a couple of hours. The results are some of the greatest and most under-rated jazz albums ever recorded.

Granz was always keen at Pablo on mixing things up, trying combinations of musicians that would never normally come together. Ella Fitzgerald’s voice was sounding rather ragged and harsh in 1973, but Granz put her in that most exposed of environments: the guitar/vocal duo. The result, the first of four albums with Joe Pass, is regarded as one of her finest hours. Count Basie and Oscar Peterson were pianists with wildly differing styles. Basie was the most economic of all players, using as few notes as possible to make his solos, whereas Peterson was a virtuoso of the keyboard, often using more notes in five minutes than Basie would in an hour. But, again, Granz pulled them together for a series of albums that are remarkable in their musicianship and entertainment. Many of the albums for the label were live efforts, with Ella Fitzgerald (as an example), being recorded in a live setting in 1972, 1974, 1975, 1977, 1979 and 1983. In 1977 Granz virtually took over the Montreux festival and released a staggering fourteen albums from the event (and I may have missed some). He also used the label as a way of releasing tapes that he had recorded up to three decades earlier, allowing for new material by long-gone greats such as Art Tatum, Lester Young and John Coltrane.

Perhaps because of their look, the Pablo albums are almost unknown today outside of the jazz world. Ella’s Verve catalogue is still well-known, and yet much of it sounds square compared to the records she made in her twilight years for Pablo. Pablo’s product wasn’t progressive, forward-thinking jazz, and some afficianados might even call it conservative, but for me jazz has never been about intellect and challenging music, but having a great time. Pablo’s output was brilliantly accessible music, and wonderfully played by the great masters who managed to end their careers on a high thanks to Granz’s willingness to let them get on with their craft and do what they did best. Most of the albums have been released on CD through the Fantasy label.

So, here’s a toast to the wonders of the Pablo label, and jazz‘s 3rd, little-known, golden age.

2016: Bobby Darin at 80

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A few weeks ago, I wrote a blog post detailing how badly 2015, the year in which Elvis Presley would have turned 80, had been handled by both his record label and the Presley Estate.  The only major release was centred around a gimmick rather than the great music that Elvis made during his lifetime, and that great music was largely ignored for the entire year.  In 2016, Bobby Darin would have turned 80, but what should we be allowed to expect?

Less than a decade ago, all but three or four of Bobby Darin’s original albums were available on CD.  Now, as 2015 draws to a close, less than half a dozen are available as physical product in America.  Not even That’s All or This is Darin are available from Bobby’s own label, although public domain copies can be imported infrom Europe.  In Europe, the situation is somewhat better thanks to Warner’s release of ten of the ATCO albums spread over two 5CD boxed sets.  But, after the ATCO period, the situation is just as bad as it is in America.

“How did this happen?” is a question that many Darin fans are no doubt asking.  From the mid-1990s, Bobby’s star was once again in the ascendency, with well-advertised compilations of issues of unreleased material appearing with great regularity.  And then, without warning, it stopped.  I say “without warning” but that isn’t strictly true.  There were signs that those behind Bobby-related releases were cutting corners or, perhaps, just getting a bit bored.  Aces Back to Back was released with quite some fanfare (even a single to promote it), but was in reality a hodge-podge of performances that didn’t gel together and about which we were told absolutely nothing in the poorly-conceived booklet.  The 2006 DVD Seeing is Believing contained some great performances but seemed to be edited together by someone using Windows Moviemaker, and with no thought as to which performance should go where.  After that, it was not only a further seven years before a release containing “new” Bobby Darin material, but during that time there was not even the appearance of an official compilation to celebrate what would have been his 75th birthday.

The consequences of all this is that Bobby, despite being highly thought of by critics and having an extremely loyal fan-base, is now struggling to be remembered by the general public beyond half a dozen key songs.  Alas, that is what being forgotten about by your label and, seemingly, Estate does for your popularity.  2016 is the year that can change all of that.  Not only would it have been Bobby’s 80th birthday, but it is also the 60th anniversary of his first recordings for Decca.  Whether we can actually expect anything from record companies and/or the Darin Estate to mark these occasions in style, and to get Bobby Darin talked about and noticed once again, is very much up for debate.

One would like to think that, at the very least, there could be a compilation put together of Bobby’s hits and signature songs that could be advertised on TV, radio and the internet.  This might contain nothing new, but at least it would get Bobby’s name out there again.   But what else could we, or should we, expect?  Frankly, going by the last few years, perhaps we should set our expectations low and hope to be surprised.  The Bobby Darin Show series from 1973 was decimated when released on DVD.  Yes, an apology of sorts was issued by the Estate a month after the release, but one would assume they would have seen the planned DVDs and the packaging they criticise some time before release date and could have had things improved or changed if they really wanted to.  It is, after all, The Bobby Darin Testamentary Trust that is credited on the DVD cover.  Moreover, it took some twelve years from the discovery of the so-called Milk Shows to their arrival on CD.  Another sign we should perhaps not hold out breath for a special release next year.  We have been told for some time that a project is in the works containing the previously unreleased Manhattan in my Heart and Weeping Willow, but there appears to be no sign of such a project as yet.  Also, in the May 2014 apology about the television series DVD, we were told about a remastering and restoration of the final concert-style episode of Bobby’s TV series that would be released – and, more than eighteen months later, there’s been no sign of that either.

Could we possibly dare to hope  that a set of rarities might appear to celebrate Bobby’s 80th?  There are, for example, a number of items that have never appeared on CD – such as the studio recording of Swing Low Sweet Chariot and the songs from the 1972 album that were not released as singles.  And how about the title song from That Darn Cat, a song Bobby recorded for the Disney film but which was never released on record.  A four-song live set from Australia in 1959 was released on a bootleg a couple of decades ago, but has yet to be released officially – and neither has the Something Special LP, which was the soundtrack to the BBC TV special recorded in 1966.   What’s more, I Don’t Know How to Love Her, recorded at Motown in the early 1970s, was heard on a BBC radio show a year or so ago but remains unreleased – as do a number of other tracks  recorded during the same period that are still in the vault (and some of which have been heard).  Can we not assume that there are more songs on tape from The Troubadour in 1969 than the four released so far?  And how about at least the audio of some of the songs excised from the TV show DVD and from the Bobby Darin Amusement Company series that came before it?

A release of Bobby Darin “discoveries” might not set the world afire but, with a decent compilation of Bobby’s greatest moments to accompany it, at least Bobby’s popularity/recognition might once again start to rise – and this without even entering the realms of producing an in-depth documentary, or a book of unreleased photographs and other documents, or perhaps a collection of Bobby’s guest appearances on TV variety shows.

Many will, no doubt, say that none of this will ever happen – and they are probably correct – but it is also time for Darin fans to start asking the question of why none of this will happen, even if the answers might well complicate the situation even more.  No matter how talented the star, if their work is largely unavailable and their legacy rarely brought back into the public eye, that star will, alas, shine less brightly than it needs to outside of the fandom.  Fans do what they can to stop that from happening, but it also perhaps time to start demanding more from the powers that be that can and should be making a difference.  Here’s hoping that 2016 will bring about changes in how Bobby is handled that means these questions don’t need to be asked and that these demands don’t need to be raised.  But, I confess, I’m not hopeful. 

Bobby Darin: A Listener’s Guide – Now available

BOBBY COVER RIGHT SIZE2

I’m pleased to announce the publication of my book Bobby Darin: A Listener’s Guide, which is available in Amazon stores in paperback and Kindle formats.

Bobby Darin made more than 500 recordings during his short lifetime and this book examines all that have been released, from those he made during his short tenure at Decca to performances from the 1972-3 TV series.  The book works through Bobby’s recording career, session by session, song by song, providing a new commentary on the songs and their performances.  Alongside this runs the story of how Bobby and his recordings and performances were discussed in newspapers, magazines and trade journals at the time, referencing over 200 articles.  The book runs to 346 pages, and includes appendices covering a lifetime discography, a list of Darin compositions performed by other artists, the most complete list published to date of Bobby’s television appearances, and more.

Please note that the “see inside” preview feature on the Kindle product page on Amazon currently contains an error involving font sizes (switching back and forth from one to the other).  The book has been downloaded to 2 different Kindle devices, the PC Kindle app, and the Kindle app for Android phone, and the issue is NOT repeated on any of them. Amazon are working on correcting the preview page.

Bobby Darin: The Milk Shows

milk shows

The last in the series of blog posts reviewing Bobby Darin recordings.

March 1963 saw the announcement that Bobby would “be featured in a Monday through Friday program series on Radio Station WIBA.  The program titled Bobby Darin will be heard at 3.33 p.m. and will feature a talk (sic) and music by this young star, designed to appeal to both adults and teenagers – not rock and roll music.  The Bobby Darin show will be sponsored by the American Dairy Association.”[1]

These five-minute radio programmes became known as The Milk Shows.  Darin would record the shows at Capitol studios, and they would then be overdubbed with fake (very fake) applause, thus giving the impression that the songs were being performed live – although how many listeners were fooled is debatable.   The tapes of these shows were found back in 2002, with a trio of songs being released on the Aces Back to Back release in 2004.  After this, there was an inexplicable delay of another ten years before the release of a double CD set containing more than ninety tracks.

If you’re wondering how ninety tracks fit on a mere double CD set, then it’s worth stating that no songs featured in the series was recorded in full (with one exception).  Each song was a bite-size version lasting, in most cases, sixty to ninety seconds.  This in itself makes the release a unique listening experience, but it is also worth remembering that Darin was accompanied by just a jazz quartet featuring Richard Behrke, Ronnie Zito, Milt Norman and Billy Krist – no matter what the song.

The material that Darin chose to record for The Milk Shows cover the whole gamut of his repertoire, from renditions of rock ‘n’ roll hits Splish Splash and Multiplication to a wide variety of standards and show tunes.  Some of the songs had been recorded by Bobby previously for record release, and those numbers often get given a different feel here thanks to the stripped back instrumentation.  Other tracks are ones that Bobby never did record in a studio, and so these versions are the only ones we have.

The recording dates for these shows are unclear.  The news article quoted earlier is from the beginning of March 1963, suggesting that the recordings probably began around the same time.  Whether all tracks were recorded at once or over a longer period is not known, although it’s worth noting that, when Darin draws upon songs he had already recorded, all of them date from studio sessions before March 1963, thus suggesting that The Milk Shows were recorded over a short space of time during that spring and/or summer.  For example, while You’re the Reason I’m Living (and songs from that album) are included here, Eighteen Yellow Roses and songs from that album are not.  There are a couple of exceptions.  Days of Wine and Roses would be recorded in 1964 for the Hello Dolly to Goodbye Charlie album (in a very different arrangement), and The Sheik of Araby was recorded in late 1965, but remains unissued.  However, Darin dates The Milk Show version of Days of Wine and Roses by referring to it as “this year’s” Academy Award-winning song, thus dating the performance to 1963, but sometime after the ceremony that took place on April 8.

While these recordings are to be welcomed, it should be mentioned that Darin is not always in the best of voice, and certainly doesn’t always give a song the care and attention he would for a commercial recording.  The very first song on the double CD is a case in point.  Too Close for Comfort, from the musical Mr Wonderful, hardly gets the album off to an auspicious start, with Bobby’s voice sounding croaky and he hits a number of bum notes along the way.  Things improve somewhat for Pennies from Heaven, which gets a nice run-through, but the big finish doesn’t quite come off in the way it normally would on a Darin recording.  Part of this is due to the low-key performances, but there is also a sense here that some of the songs simply weren’t rehearsed enough.  Around the World is an example of this.  It gets an upbeat, jazzy rendition but there are points when Bobby lags behind the beat and others where he seemingly makes the melody up as he goes along.

Elsewhere, it seems to be simply a worn-out voice that is the problem.  Climb Every Mountain starts off well, and has a better arrangement than the outing it would receive ten years later on The Bobby Darin Show TV series, but the climax of the song shows that Darin’s voice is shot to pieces.  Perhaps this was one number that should have remained in the vault.  Climb Every Mountain isn’t the only song here that wouldn’t be given a studio recording but would appear years later.  Sixteen Tons was given a brilliant (and lengthy) reworking during an appearance on The Jerry Lewis Show in 1968 and would emerge again on The Bobby Darin Show (although not included on the DVD of that series).

Unsurprisingly, some of the most interesting songs here are the ones that Bobby didn’t record or perform elsewhere.  The choice of material is also intriguing.  A number of tracks are songs associated with Bing Crosby, for example, including I’m an Old Cowhand (during which Bobby can’t resist throwing in some impressions), Sweet and Lovely and Too-Ra-Loo-Ra Loo-Ral which gets crooned nicely in Darin’s softest voice.  Less surprising perhaps are the series of tracks associated with Al Jolson, including April Showers, Rock-a-Bye Your Baby, and Let Me Sing and I’m HappyApril Showers is particularly good, and reminds us just how good a ballad singer he was during this period, particularly when not bogged down by the choir that appears to pop up at every opportunity when the tempo falls below a certain number of beats per minute on the Oh! Look at Me Now and You’re the Reason I’m Living albums.

Some of Bobby’s biggest hits get quite a makeover in this new setting.  Lazy River, for example, is taken at an ultra-slow pace and is given a bluesy vocal that has little of the show-stopping nature of the studio recording. Splish Splash, on the other hand, seems a little bizarre when backed by a jazz quartet, although Dream Lover doesn’t suffer in the same way – in fact it works better here than with the big band on the Darin at the Copa album.  You Must Have Been a Beautiful Baby is also heard in a very different arrangement to the hit twist version.  This swing version is just as credible, and makes one wish that Darin had recorded it again in this style at a later date.   Interestingly, Mack the Knife isn’t sung here, but is just used as an instrumental theme tune for the radio show.

It is often the ballads that get given most care and attention by Darin in this set of performances.  For example, Autumn Leaves is given a Latin rhythm and is beautifully sung, and a full studio recording of this lovely song would have been very nice indeed.  Also given a Latin feel and a similar vocal is the song which is, arguably, the greatest written by Irving Berlin, How Deep is the Ocean, as well as Fools Rush In.  The use of these Latin rhythms is interesting as Darin rarely employed them elsewhere, although, going by these brief outings, an album in the bossa nova style would not have been a bad move.  Elsewhere, I’ll Be Seeing You is given a gentle swing rhythm, but Darin sings it as a ballad, mostly singing it in his subdued voice which is most effective.    Also of note is a sincere rendition of La Vie en Rose.  Perhaps the most bizarre ballad performance finds Bobby reciting the lyrics of Days of Wine and Roses while the tune is played in the background.

A number of songs from the mammoth January 1963 sessions appear here.  Hello Young Lovers and This Nearly Was Mine are given renditions similar to their studio counterparts, whereas the arrangements of I Ain’t Got Nobody, Please Help Me I’m Falling and Be Honest With Me are simplified somewhat and benefit from the lack of backing vocals – although Be Honest With Me still sees Darin adding the same mannerisms to his voice as he does on the You’re the Reason I’m Living LP version.  What Kind of Fool am I is given a lightly swinging version here that arguably is more effective than the more traditional performance recorded a few months earlier.  What is particularly interesting is how Bobby approaches the end of the song in a completely different way.  There is no big finish here – instead, he sings the final lines is his softest voice, almost a falsetto, and it is just as effective as the traditional ending.  During the Broadway album sessions, Darin had recorded Tall Hope from the musical Wildcat.  Here he turns his attention to the most famous song from that show, Hey Look Me Over.  The normal march rhythm of the song is cast to one side in favour of a straight-ahead jazz approach, but it all seems a little half-hearted, and isn’t helped by a rather inept and unenthusiastic attempt at scat singing.

Alongside the well-established standards are some of the novelty songs that Darin appears to have had a genuine affection for given that the album of duets with Johnny Mercer is filled with such material.  Here we have Manana, co-written by, and a hit for, Peggy Lee, for whom Bobby often expressed his admiration.  Darin puts in a great performance here, with his voice sounding stronger that on many of the other tracks.  While Manana is fun, a number like Mairzy Dotes and Dozy Doats is an example of a novelty song that is simply tedious.  ‘A’ You’re Adorable gets a nice run-through, as does Row, Row, Row, which includes the verse which is not featured on the recording with Johnny Mercer on the Two of a Kind album.

Ironically, the best song from The Milk Show recordings is All the Way, released on Aces Back to Back but, oddly, not included on The Milk Shows set.  Quite why this lovely performance wasn’t included the second time around is a mystery, not least because it’s the only  full-length performance in the ninety or so songs.  Here, Darin takes a Sinatra signature song, gives it a gentle jazz combo backing and a subdued, beautiful performance that certainly deserved to be the climax of the double CD set.  Strangely, the other two songs from the shows released on the Aces Back to Back CD were reissued on The Milk Shows release.

The double CD release is, of course, wonderful to have, but it can also be rather frustrating.  Much of this is to do with technical issues such as the fake applause and, even worse, Bobby trying to interact with the fake applause.  It all becomes rather distracting, especially when each song only runs for a minute or so.  That said, presumably the applause was already on the tapes when they were found and so couldn’t be removed.  Less forgivable is where songs are joined together in such a way that Bobby is talking over his own singing,  perhaps saying “thank you” to the audience that isn’t there when he’s already started on the next number.  The same happens in reverse, where he’s introducing the next song while still finishing the previous one.  While one can understand why there was a desire to present each CD as one uninterrupted piece, there also seems little reason why songs couldn’t have been re-ordered so that these overlaps didn’t take place.  If that wasn’t possible, then a simple fade out and fade in would have worked better than the jarring mix of two songs together that occasionally happens.  Despite this, it should be reiterated that the sound quality of these tapes that were lost for more than thirty years is very good indeed.

Technical issues aside, the run of more than fifty songs in a space of just over an hour is almost exhausting, and with each song having the same instrumentation in its backing, they tend to run in together as if they were one long medley and thus suffer from becoming aural wallpaper.  Likewise, while Bobby is on very good form in places and gives some fine, nuanced performance, there are also moments where Darin the perfectionist is, seemingly, on holiday.  Back in 1960 in an article in Downbeat magazine, Gene Lees had commented on problems with Darin’s intonation in his early albums of standards.[2]  During The Milk Shows recordings this issue rises again, whether due to a tired voice or the sheer speed required to get everything down on tape.  However, we also need to remember that these were, in all likelihood, intended for a one-off broadcast not to be repeated – and certainly not to be listened to over and over again some forty years later.

What The Milk Shows undoubtedly show us is that Darin should have recorded with a jazz combo more than he did.  The one album that resulted from such a set-up, Winners, is Bobby at his very best, and one can imagine that, with a sensible amount of studio time, a number of the songs performed here could have been recorded in full performances for a follow-up album that would have been just as good.  That, sadly, didn’t happen, and so The Milk Shows CD release is the nearest we have, and for that we should be thankful.

[1] “Bobby Darin Show,” Capital Times, March 2, 1963, 3.

[2] Lees, “Bobby Darin and the Turn from Junk Music,” 16.