Bobby Darin on Stage – Part I

bobby big head

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

Chicago_Tribune_Mon__Jul_27__1959_

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

 

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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

Bobby new york

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.

Bobby Darin: Bill Bailey and the February 1960 Jazz Recordings

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Just a few days after finishing the It’s You or No One LP, Bobby was back in the studio to record a very different album.  In just two days, Bobby recorded fifteen songs, this time backed by a small jazz combo headed by Bobby Scott.  Once again, this may well have been an instance of Darin trying to distance himself from Sinatra.  In 1959 and 1962, Sinatra performed concerts using just a jazz sextet as backing, but he never recorded an album with that kind of setting (which is a great loss, it should be added).  Here, Bobby records what is, pure and simply, a jazz vocal album.  The results are much looser than on any of his other albums of standards and, while Bobby Scott is credited as arranger, it sounds much more as if he put together some basic ideas and the musicians simply took it from there.  This group of songs (released on an album and three singles) shows Darin in fine form and demonstrating his versatility in a way that It’s You or No One ultimately failed to do.

Before discussing the recordings themselves, it is worth talking about how they were released.  Won’t You Come Home Bill Bailey was released as a single backed with I’ll Be There in June 1960, reaching #19 in the U.S. charts.  In November 1962, I Found a New Baby was released as a single side.  Then, in June 1964, nine more songs (plus I Found a New Baby) appeared on an album called Winners, which was released with relatively little notice.  The remainder of the album was filled by both sides of the Milord/Golden Earrings single which had been unearthed from the vaults two months earlier and reached #45 in the charts.  The problem here is that the sound and orchestration of the single sides (recorded in June 1960 and March 1961) had nothing to do with the distinctive jazz sound of the rest of the album. Two months after the release of Winners, ATCO released yet another track from these February 1960 sessions, this time pairing Swing Low Sweet Chariot with Similau, an odd little number recorded in December 1960.  Finally, one more track from the sessions, Minnie the Moocher, was paired up with Hard Hearted Hannah (already released on the Winners  album) as a single in February 1965, more than five years after they were recorded.  And that’s not all! A Game of Poker and I Got a Woman have never been released at all.  The reason for the latter may have been because the song had been released in different arrangements on two other albums by 1964, but why A Game of Poker never appeared is unknown.

Such a release strategy is mystifying.  When Bill Bailey became a hit in 1960, one would think that the obvious thing to have done would have been to place it as the lead track on an album containing the other songs from the same session.  For some reason, that didn’t happen and, to date, these wonderful tracks have never appeared all together in one place – and yet they are a collection of songs just waiting to be rediscovered.

With its stripped down arrangement, Won’t You Come Home, Bill Bailey was an unlikely single release.  While Darin had taken old songs and had hits with them in the past, they had always been in big, swinging arrangements, but this was something different.  Still, the song manages to draw in the listener from the very beginning, with Bobby’s spoken lines before the song starts proper, and that seemed to be enough for it to catch on.  As with some of the other songs from the sessions, Darin interacts with the group, spurring them on as he yells “yeah, I like it like that” during the instrumental.  Not only is Bobby showing off his vocal abilities here, but also is showmanship.  It’s a stunning record, and while it wasn’t the biggest hit that Darin ever had, the fact that a pure jazz number broke into the top twenty shows just how good it is.  Billboard magazine referred to the song as “another winning side for Bobby Darin, featuring a great vocal by the lad over smart backing by the Bobby Scott Trio.”[1]

The first day of recording had begun with the aforementioned, unreleased A Game of Poker, and then continued with a straightforward rendition of the Gershwin’s They All Laughed.  Despite the relatively mundane arrangement, there is some great interplay between Bobby and the musicians, with each giving the other room to breathe.  There’s no instrumental section, but enough space at the end of each vocal line for an instrumental lick, normally on xylophone.  The “laughs” on the record are provided by Darin’s friend George Burns.[2]

Hard Hearted Hannah, a song dating back to 1924, is even better and, as with some of the other songs here, Bobby sings the verse as well as the more familiar chorus.  Once again, we can hear just how much Darin is enjoying himself here.  Listen closely and you’ll hear him singing off-mic during the instrumental.  He revived the song a few years later with a full big-band arrangement, performing it on TV on one of his appearances on The Andy Williams Show.  Hard Hearted Hannah was a song also included in the 1955 film Pete Kelly’s Blues (Jack Webb), bringing the number of songs from the film that Darin covered up to three, with She Needs Me appearing on That’s All, and the title song recorded for This is Darin.

There are few disappointing numbers here, but Anything Goes certainly fits into that category, despite some tasty piano licks during the first half.  The song, written by Cole Porter for his 1934 musical of the same name, is just too slow, and never gets going.  It’s clearly an attempt at doing something different with the number, but it just doesn’t work.

What Can I Say After I Say I’m Sorry finds things moving along at a much better tempo, and Bobby gives a gently swinging performance that adds nothing new to the song, but is pleasant enough.  The same can be said about Between the Devil and the Deep Blue Sea, which is given a kind of Latin American rhythm before switching to a standard swing feel during the bridge section.

Perhaps the best upbeat track of the whole session is the masterful I Found a New Baby, which begins with Darin’s finger-snapping before the various instruments slowly join in.  There is wonderful late-night jazz feel to the whole number, and Bobby Short’s piano solo is stunning and Darin tells him to “growl on it.”  There’s more variations to Bobby’s vocal here too.  He never sings at full volume and yet still manages to switch between a silky smooth tone and one that has the rawer sound heard on the That’s All LP.

Bobby’s take on Duke Ellington’s Do Nothin’ Till You Hear From Me is at a slower tempo than usual, and also contains a mistake in the vocal – something very rare for a Darin track.  On the line “If you should take the word of others you’ve heard,” you hear that he starts to sing “anyone’s dream” instead of “others you’ve heard,” but tries to correct himself, but it’s just a little too late.  It’s surprising he didn’t decide to do another take – unless the wrong take was actually issued by ATCO.  Like Anything Goes, the song doesn’t entirely work at this speed (Ella Fitzgerald also tried it at this speed with similar results), and it would have been better to hear Bobby belting this out in a full big band arrangement.

Minnie the Moocher gets given a wonderful treatment, with Bobby in full show-stopping form.  He makes the lyrics a little more palatable for early 1960s conservative audiences by removing the references to drugs, but it takes nothing away from the authenticity of the performance which comes complete with a rare example of Darin scat-singing, which he does much better here than on the later Two of a Kind album.  By recording it with just a jazz combo to back him, he removes the opportunity for anyone to compare it with the well-known Cab Calloway rendition, and Darin’s take is a classic in its own right.

Two of the ballads here are among the best vocals that Bobby ever recorded.  What a Difference a Day Made and Easy Living are wonderful examples of just how much his ballad singing had progressed in the year or so that he had been recording standards in the studio.  Written for a 1937 screwball comedy, Easy Living in particular is truly marvellous and the smoky jazz-club-style playing behind him is perfect framing for a perfect vocal.  What a Difference a Day Made finds Bobby taking on a song that, the year before, had won a Grammy award for Dinah Washington.  Ironically, Bobby’s version of the song is more jazz-oriented than Washington’s. When Day is Done is another ballad in the same style and with a similar vocal, but it’s simply not quite up the standard of the aforementioned titles, with the vocal just a little too subdued.  The song itself is more obscure, being of German origin with lyricist Buddy DeSylva writing English words for it during the 1920s.

The final song of the session is also the hardest to find.  Bobby had been singing Swing Low Sweet Chariot on stage for a while in medley with Lonesome Road in a big band arrangement.  However, here it gets a jazz workout by itself in an arrangement that is a cross between Bill Bailey and some of the songs he recorded for the folk album Earthy.  Here, he growls and rasps his way through the spiritual, and the performance is both a bizarre and masterful mixture of styles and genres.  The fact that this song has seemingly not re-appeared on CD or LP since its original single release back in 1964 is a great shame, for this is a fine, intriguing recording that deserves to be much better known than it is.

Unlike It’s You or No One, Winners did at least get some recognition when released, helped along by the inclusion of Milord, which had been recent single release.  Billboard, however, were rather non-committal in their review, referring to the album simply as “romantic and sentimental ballads and up-tempo swingers aimed at the sophisticated set.”[4]  They clearly missed the fact that this was one of the best jazz-oriented sets ever recorded by a pop singer.

[1] “Spotlight Winners of the Week,” Billboard, May 16, 1960, 41.

[2] Bleiel, That’s All, 55.

[4] “Album Reviews,” Billboard, July 25, 1964, 50.