classicamericanpopularsong.blogspot.comSend In The Clowns-Memorable Stephan Sondheim song: Stephan Sondheim, composer and lyricist, has been creating innovative musical theatre music since the late 1950's. His first appearance on Broadway came when he provided the lyrics for Leonard Bernstein's music for" West Side Story" and lyrics for Jule Styne's music for " Gypsy." Beginning in 1962, he has written both music and words for an impressive number of innovative musical theatre presentations such as " A funny Thing Happened On The Way To The Forum" " Company" " Follies" " Merrily We Roll Along" "Pacific Overtures" "Passion" " Anyone Can Whistle" " Sweeney Todd " " Sunday In The Park With George" and " Into The Woods". In 1973, Sondheim introduced " A Little Night Music" to appreciative Broadway audiences. Based on Ingmar Bergman's " Smiles of A Summer Night" it is almost a classic operetta filled with romantic musical interludes throughout the show. Send in the Clowns , was written for the English actress Glynis Johns who is expressing confusion about her feelings for a former lover who has once again resurfaced in her life.
It is the only Sondheim song to became a popular hit , quite independent of the show itself. Frank Sinatra and Judy Collins had great success with this rueful and reflective song and it has achieved the status of a minor "standard" appealing to a more adult and literate audience.
Barbra Streisand performs the song for a live audience exercising the appropriate restraint called for in the music and the lyrics, something she also displays when performing songs by Harold Arlen one of her favourite composers. After repeating the lyrics calling to" Send in The Clowns" several times throughout the song, she concludes on a wistful note by singing " Don't Bother they're Here " , a comment on both leading characters in the show and their muddled emotional dilemma.
LINK: http://youtu.be/ghd5weu5Mpg
Thursday, 30 May 2013
Wednesday, 29 May 2013
THE SHADOW OF YOUR SMILE-ANOTHER JOHNNY MANDEL CLASSIC
The Shadow of Your Smile-Another Johnny Mandel Classic: Like" Emily" from the 1964 film The Americanization of Emily, " The Shadow of Your Smile" was written for the 1965 film The Sandpiper.
Mandel has consistently proven that he has marvellous melodic and harmonic gifts and this song is no exception. Mandel has also written independent songs like " Where Do You Start" and " You Are There", both of which are featured in earlier posts on this blog.
The Sandpiper features excellent lyrics by Paul Francis Webster who has made a major career of writing lyrics for movie themes written initially without lyrics. The verse or introductory segment sets the stage for the story of the film which ultimately suggests that the memory of the smile may last longer than doomed love affair between the characters played by Richard Burton and Elizabeth Taylor.
Tony Bennett sings ever so eloquently and evokes the feeling of sadness inherent in both the music and lyrics. The arrangement was fashioned by Johnny Mandel himself, yet another one of his superb musical talents.
LINK: http://youtu.be/fdtcItLjPPU
Mandel has consistently proven that he has marvellous melodic and harmonic gifts and this song is no exception. Mandel has also written independent songs like " Where Do You Start" and " You Are There", both of which are featured in earlier posts on this blog.
The Sandpiper features excellent lyrics by Paul Francis Webster who has made a major career of writing lyrics for movie themes written initially without lyrics. The verse or introductory segment sets the stage for the story of the film which ultimately suggests that the memory of the smile may last longer than doomed love affair between the characters played by Richard Burton and Elizabeth Taylor.
Tony Bennett sings ever so eloquently and evokes the feeling of sadness inherent in both the music and lyrics. The arrangement was fashioned by Johnny Mandel himself, yet another one of his superb musical talents.
LINK: http://youtu.be/fdtcItLjPPU
Sunday, 26 May 2013
WILLOW WEEP FOR ME-ONLY GREAT SONG BY ANN RONNELL
Willow Weep For Me- Only Great Song By Ann Ronnell: In 1932, Ann Ronnell wrote both the words and music for " Willow Weep For Me." Although, she co wrote " Whose Afraid of the Big Bad Wolf" and other songs for Holywood films, her major reognition is based on the blue-inflected Willow Weep For Me.
Alec Wilder. musicologist and passionate student of classic American popular song has remarked that " It
is an exceptional song, on a par with Hoagy Carmichael's ( jazz-influenced) experiments and a truly fascinating song." At the time, Ann Ronnell ( Rosenblatt) was romantically involved with George Gershwin and there is an undocumented Tin Pan Alley rumour that Gershwin wrote the music and credited Ann with the composer's credit. Nonetheless, her rigorous musical training and significant film writing experience suggest she was more than capable of writing "Willow Weep For Me."
The song has a number of vertical leaps in its melodic line in the main chorus but in the release or mid-section, it follows a meandering and more restrained vocal line before returning to a repeat of the main theme, ending with the plaintive plea " Bend O' Willow and Weep For Me"
In the now legendary 1958 Sinatra album " Only The Lonely" , Sinatra sings a number of songs like " Willow Weep For Me" as well as " Blues in the Night" One For My Baby ( And One More For the Road") " Guess I'll Hang My Tears Out To Dry" and the title song.
Nelson Riddle, the arranger has stated that this was his favourite Sinatra album because he had more time than usual ( one week I believe) in which to carefully arrange and orchestrate the songs , working . as always, in close collaboration with Sinatra . The singer always had the last word on any of his Capitol and subsequent recordings and this album is one of Frank Sinatra's most restrained and respectful musical undertakings.
LINK: http://youtu.be/SSUnOei0msk
Alec Wilder. musicologist and passionate student of classic American popular song has remarked that " It
is an exceptional song, on a par with Hoagy Carmichael's ( jazz-influenced) experiments and a truly fascinating song." At the time, Ann Ronnell ( Rosenblatt) was romantically involved with George Gershwin and there is an undocumented Tin Pan Alley rumour that Gershwin wrote the music and credited Ann with the composer's credit. Nonetheless, her rigorous musical training and significant film writing experience suggest she was more than capable of writing "Willow Weep For Me."
The song has a number of vertical leaps in its melodic line in the main chorus but in the release or mid-section, it follows a meandering and more restrained vocal line before returning to a repeat of the main theme, ending with the plaintive plea " Bend O' Willow and Weep For Me"
In the now legendary 1958 Sinatra album " Only The Lonely" , Sinatra sings a number of songs like " Willow Weep For Me" as well as " Blues in the Night" One For My Baby ( And One More For the Road") " Guess I'll Hang My Tears Out To Dry" and the title song.
Nelson Riddle, the arranger has stated that this was his favourite Sinatra album because he had more time than usual ( one week I believe) in which to carefully arrange and orchestrate the songs , working . as always, in close collaboration with Sinatra . The singer always had the last word on any of his Capitol and subsequent recordings and this album is one of Frank Sinatra's most restrained and respectful musical undertakings.
LINK: http://youtu.be/SSUnOei0msk
Friday, 24 May 2013
NIGHT AND DAY- COLE PORTER CLASSIC : 2 QUITE DIFFERENT VERSIONS
Night and Day-Cole Porter Classic: 2 Quite Different Versions: In 1932, Porter introduced this remarkable song in the musical " Gay Divorce." It is a dramatic showpiece with repeated notes also emphasizing the repeated words in the verse or opening section. " Like the beat, beat beat ( of the tom tom) like the tick,tick,tock (of the stately clock as it stands against the wall) These devices introduce rising tension of the song before it breaks into the main section beginning with " Night and Day, You are the One........."
The first version features Sinatra in a swinging, big band version arranged by Nelson Riddle. This version omits the powerful verse or introductory section with it's compelling repetition of notes and rhyming lyrics. It is in Frank's finger-popping,Vegas style which he might himself describe as " Having a Mothery ? ball !" From time to time, Sinatra can become more casual by injecting new words like " cuckoo" " chicks or broads", terms that tend to also reduce the overall impact of such performances. Sinatra is capable of a great many moods in his performances and this is Frank , the very confident singer, knowing what some customers want. He has a particular affinity with Cole Porter songs because Porter also liked to shock and amuse with his clever lyrics and naughty innuendo.
The Second version features Frank Sinatra in a more restrained 1961 version with a lush string arrangement by Don Costa. It is quite different than his 1957 version of a rousing, big band arrangement by Nelson Riddle, a classic Sinatra " swinger", typical of that period. He also does sing the verse here without which the contrast between the opening verse and the main refrain would be missing. He is obviously committed to demonstrating the strong romantic nature of the music and lyrics and pays respectful homage to the Porter's imaginative creation.It brings back memories of Sinatra's earlier singing with the sensitive string arrangements of Axel Stordahl, a very successful earlier collaboration.
LINK SINATRA 1957-RIDDLE
http://youtu.be/qn_cfbK9M14
LINK SINATRA 1961 -COSTA http://youtu.be/1ZizY2OuVMI
The first version features Sinatra in a swinging, big band version arranged by Nelson Riddle. This version omits the powerful verse or introductory section with it's compelling repetition of notes and rhyming lyrics. It is in Frank's finger-popping,Vegas style which he might himself describe as " Having a Mothery ? ball !" From time to time, Sinatra can become more casual by injecting new words like " cuckoo" " chicks or broads", terms that tend to also reduce the overall impact of such performances. Sinatra is capable of a great many moods in his performances and this is Frank , the very confident singer, knowing what some customers want. He has a particular affinity with Cole Porter songs because Porter also liked to shock and amuse with his clever lyrics and naughty innuendo.
The Second version features Frank Sinatra in a more restrained 1961 version with a lush string arrangement by Don Costa. It is quite different than his 1957 version of a rousing, big band arrangement by Nelson Riddle, a classic Sinatra " swinger", typical of that period. He also does sing the verse here without which the contrast between the opening verse and the main refrain would be missing. He is obviously committed to demonstrating the strong romantic nature of the music and lyrics and pays respectful homage to the Porter's imaginative creation.It brings back memories of Sinatra's earlier singing with the sensitive string arrangements of Axel Stordahl, a very successful earlier collaboration.
LINK SINATRA 1957-RIDDLE
http://youtu.be/qn_cfbK9M14
LINK SINATRA 1961 -COSTA http://youtu.be/1ZizY2OuVMI
Tuesday, 21 May 2013
I WISH IT SO- A SONG OF GREAT YEARNING
I Wish It So- A Song Of Great Yearning: One of the distinguishing features of the Great American Songbook is the ability to listen to the innermost feelings of individuals, things that we normally don't discuss with others but, somehow, are acceptable when we hear them in song. " I Wish It So" was written by Marc Bliztein, a highly educated contemporary of Leonard Bernstein, both as collaborator and rival. It is from " Juno" a 1959 musical based on Sean O'Casey's " Juno and the Paycock." Blitzstein wrote his own lyrics for both popular songs and concert or art songs. The lyrics are plain and heartfelt with a verse that underscores the internal uncertainty of the singer.As the chorus begins, the singer laments that " I Wish it So, What I wish I still don't know..." I would like to directly quote Janness & Velsey from their important book "
" Classic American Popular Song -The Second Half-Century 1950-2000" They have stated that " "Blitzstein's songs seem even more personal, more authentic, than the far more successful songs of Bernstein's later songwriting career.In subtle ways they prefigure some aspects of Sondheim's approach to song writing. When the balance is perfectly struck between musical venturesomeness and acccessibility Blitzstein's songs deserve to be far more famous than they are." Strong praise indeed.
Dawn Upshaw is a classiclly trained singer who has also mastered the subtle refinements of popular song performance. She has championed the works of more advanced composers like Vernon Duke, Marc Blitzstein, Kurt Weill as well as some of Sondheim's lesser known works. The sincerity and emotional frankness in this performance is quite compelling. Both the music and the words demand complete concentration if one wants to receive full benefit of the artistry involved.
LINK http://youtu.be/VDpNJgu7aWE
" Classic American Popular Song -The Second Half-Century 1950-2000" They have stated that " "Blitzstein's songs seem even more personal, more authentic, than the far more successful songs of Bernstein's later songwriting career.In subtle ways they prefigure some aspects of Sondheim's approach to song writing. When the balance is perfectly struck between musical venturesomeness and acccessibility Blitzstein's songs deserve to be far more famous than they are." Strong praise indeed.
Dawn Upshaw is a classiclly trained singer who has also mastered the subtle refinements of popular song performance. She has championed the works of more advanced composers like Vernon Duke, Marc Blitzstein, Kurt Weill as well as some of Sondheim's lesser known works. The sincerity and emotional frankness in this performance is quite compelling. Both the music and the words demand complete concentration if one wants to receive full benefit of the artistry involved.
LINK http://youtu.be/VDpNJgu7aWE
Monday, 20 May 2013
YOU ARE THERE:--POIGNANT JOHNNY MANDEL SONG
You Are There--Poignant Johnny Mandel Song. I have already posted two Johnny Mandel songs earlier in this blog. " Emily" and " Where Do You Start." All Mandel songs have the sophistication and harmonic sensibility we usually associate with older writers like Richard Rodgers, Cole Porter, George Geshwin , Vernon Duke and Harold Arlen. His work compares quite well with the " Master" as heretical as that may be for some listeners.
" You are There" with lyrics by Dave Frishberg, a composer and pianist himself is a tender, reflective song in which the singer imagines that someone now departed is suddenly in the house " When the kettles on for tea and an old familiar feeling settles over me, and it's your face I see, and I believe that you are there." The very emotional nature of these thoughts gradually rise in intensity only to subside and then rise again. The song ends with " There's Just One Thing to do---pretend the dream is true.....and tell myself that you are there."
Jenness and Velsey in" The American Popular Song" The Second Half-Century" believe that " It is one of the greatest endings we know; the song as a whole is, we dare to say " sublime."
Stacy Kent, a highly regraded American cabaret singer performs the song with just a piano accompaniment in just the way you would hear it sung ina small cabaret setting with an attentive and knowledgeable audience.
The essence of many songs can be best experienced in such an intimate setting where the singer explores the lyrics with great attention to diction and phrasing and a minimum of diva-like grandeur.
LINK http://youtu.be/AIC27jrqs3Q
" You are There" with lyrics by Dave Frishberg, a composer and pianist himself is a tender, reflective song in which the singer imagines that someone now departed is suddenly in the house " When the kettles on for tea and an old familiar feeling settles over me, and it's your face I see, and I believe that you are there." The very emotional nature of these thoughts gradually rise in intensity only to subside and then rise again. The song ends with " There's Just One Thing to do---pretend the dream is true.....and tell myself that you are there."
Jenness and Velsey in" The American Popular Song" The Second Half-Century" believe that " It is one of the greatest endings we know; the song as a whole is, we dare to say " sublime."
Stacy Kent, a highly regraded American cabaret singer performs the song with just a piano accompaniment in just the way you would hear it sung ina small cabaret setting with an attentive and knowledgeable audience.
The essence of many songs can be best experienced in such an intimate setting where the singer explores the lyrics with great attention to diction and phrasing and a minimum of diva-like grandeur.
LINK http://youtu.be/AIC27jrqs3Q
Saturday, 18 May 2013
I'VE GOT A CRUSH ON YOU - A GERSHWIN ROMANTIC TRUIMPH
I've Got A Crush On You--A Gershwin Romantic Triumph: In 1930's musical "Strike Up The Band " George and Ira Gershwin wrote perhaps their most poignant love song which speaks to every one who ever pined after an adored one, often without success. The lengthy verse or introductory section mentions that the allure of the object of such affection was " So persistent, it wore down my resistance, I fell and it was swell" and then the main refrain begins " I've Got A Crush On You, Sweety Pie, All the day and night time hear me cry etc." The words and the melody are so wistful and yet life affirming that it is hard to resist being swept away on the wings of such a song, no matter how many times one has listened to its seductive charms.
The Gershwin's wrote separate versions for both male and female voices.Who better than Frank Sinatra and Ella Fitzgerald to demonstrate the charms of these different approaches. Fortunately, Nelson Riddle, the master arranger and orchestrator supplies the sensitive arrangements for both artists.
In a mere 2 minutes and 15 seconds, Sinatra captures the essence of the song and by changing several of the notes as originally written,he introduces even more variety to his performace.
Sinatra Link http://youtu.be/Q2N1Fg0tJoA
Ella Fitzgeral does equal jusrice to the melody and the lyrics supported by a lush string section supporting her sublime voice and totally natural style of singing.
Note: In the video, the man on Ella's left is Dizzy Gillespie. The man behind her right shoulder is Ray Brown, the bassist for Oscar Peterson and a former husband of Miss Fitzgerald.
Fitzgerald link: http://youtu.be/5A0sKlXCkA0
The Gershwin's wrote separate versions for both male and female voices.Who better than Frank Sinatra and Ella Fitzgerald to demonstrate the charms of these different approaches. Fortunately, Nelson Riddle, the master arranger and orchestrator supplies the sensitive arrangements for both artists.
In a mere 2 minutes and 15 seconds, Sinatra captures the essence of the song and by changing several of the notes as originally written,he introduces even more variety to his performace.
Sinatra Link http://youtu.be/Q2N1Fg0tJoA
Ella Fitzgeral does equal jusrice to the melody and the lyrics supported by a lush string section supporting her sublime voice and totally natural style of singing.
Note: In the video, the man on Ella's left is Dizzy Gillespie. The man behind her right shoulder is Ray Brown, the bassist for Oscar Peterson and a former husband of Miss Fitzgerald.
Fitzgerald link: http://youtu.be/5A0sKlXCkA0
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