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  1. #46
    Astonishing Member Old Man Ollie 1962's Avatar
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  2. #47
    Fantastic Member Tugger's Avatar
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    Must say I've never been much of a jazz fan but have just been watching a singer called Kandace Springs performing at the BBC Proms. Very entertaining. I will be investigating her album 'Soul Eyes'.

  3. #48
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    I was going to play the Frank Sinatra version but then I saw this Sarah Vaughn version


  4. #49
    Extraordinary Member PaulBullion's Avatar
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    On the Sinatra discussion:

    I noticed many years ago that there are two famous versions of the same song, one with Billie Holiday (who is clearly jazz) and one with Sinatra (who is clearly pop). The instrumental track for Sinatra was a lot more experimental than the lush version by Miss Day. I'll bet that was a conscious decision not too have either version be either too jazz or too pop.

    Last edited by PaulBullion; 08-26-2017 at 12:04 AM.

  5. #50
    Extraordinary Member PaulBullion's Avatar
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  6. #51
    Keeper of the Torch Ravin' Ray's Avatar
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    I got into Manhattan Transfer from my parents.
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  7. #52
    Extraordinary Member Kirby101's Avatar
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    The Sinatra version was produced by Nelson Riddle, and is very much in the swing sound they had for his 50s albums.
    The Holiday recording was produced by Irving Townsend who was a Jazz producer (Miles Davis). as to why it sounds more like a popular song than jazz, that is very interesting.

    By October 1957, Holiday contacted Columbia producer Irving Townsend and expressed interest in recording with bandleader Ray Ellis after listening to his album Ellis in Wonderland. Originally, she wanted to do an album with bandleader Nelson Riddle after hearing his arrangements for Frank Sinatra's albums, particularly In the Wee Small Hours, but after hearing Ellis' version of "For All We Know", she wanted to record with him. When Holiday came to Townsend about the album, he was surprised:
    “ It would be like Ella Fitzgerald saying that she wanted to record with Ray Conniff. But she said she wanted a pretty album, something delicate. She said this over and over. She thought it would be beautiful. She wasn't interested in some wild swinging jam session...She wanted that cushion under her voice. She wanted to be flattered by that kind of sound.[2] ”

    Townsend got in touch with Ellis about the album. Ellis, having heard of Holiday's work throughout the 1930s and 1940s, was excited for the project, saying "I couldn't believe it...I didn't know she was aware of me."[3] Townsend arranged a meeting for both Holiday and Ellis to sign a contract with Columbia.
    Billy wanted it that way.
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  8. #53
    Astonishing Member Old Man Ollie 1962's Avatar
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  9. #54
    Astonishing Member Old Man Ollie 1962's Avatar
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  10. #55
    Extraordinary Member PaulBullion's Avatar
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    Quote Originally Posted by Kirby101 View Post
    The Sinatra version was produced by Nelson Riddle, and is very much in the swing sound they had for his 50s albums.
    The Holiday recording was produced by Irving Townsend who was a Jazz producer (Miles Davis). as to why it sounds more like a popular song than jazz, that is very interesting.



    Billy wanted it that way.
    That's a cool insight. Thank you!

  11. #56
    Extraordinary Member PaulBullion's Avatar
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    Blossom Deary proved that humor an jazz do mix:

  12. #57
    Extraordinary Member PaulBullion's Avatar
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    The very sexy Dr. Lonnie Smith. Not to be confused with Lonnie Liston Smith.
    Saw him with the Lou Donaldson Quartet back in 2008. Still rocking that turban.

  13. #58
    Astonishing Member Old Man Ollie 1962's Avatar
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  14. #59
    Astonishing Member Old Man Ollie 1962's Avatar
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  15. #60
    Silver Sentinel BeastieRunner's Avatar
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    Quote Originally Posted by Old School Ollie 1962 View Post
    video of Take Five
    It took 4 pages to get to Brubeck!? My favorite of his is Unsquare Dance.



    I love the unusual beat, bass, and the drum work.
    Last edited by BeastieRunner; 09-05-2017 at 09:14 AM.
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