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Sinatra/Basie: The Complete Reprise Studio Recordings
Frank Sinatra
Jazz - Released January 1, 2011 | FRANK SINATRA DIGITAL REPRISE
The long-awaited collaboration between two icons, Count Basie and Frank Sinatra, did something unique for the reputations of both. For Basie, the Sinatra connection inaugurated a period in the '60s when his band was more popular and better known than it ever was, even in the big-band era. For Sinatra, Basie meant liberation, producing perhaps the loosest, rhythmically free singing of his career. Propelled by the irresistible drums of Sonny Payne, Sinatra careens up to and around the tunes, reacting jauntily to the beat and encouraging Payne to swing even harder, which was exactly the way to interact with the Basie rhythm machine -- using his exquisite timing flawlessly. Also, the members of the Basie band play a more prominent role than usual on these two Sinatra records (originally released as Sinatra-Basie and It Might as Well Be Swing), with soloists like Frank Wess -- in some of the finest flute work of his life -- and tenors Frank Foster and Eric Dixon getting prominent solo opportunities on several of the tracks. The music was criticized by some as a letdown when it came out, probably because the charts of Neal Hefti and Quincy Jones rarely permit the band to roar, concentrating on use of subtlety and space. Yet its restraint has worn very well over the long haul. It doesn't beat you into submission, and the treatment of these standards is wonderfully playful.© Richard S. Ginell /TiVo
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Hello, Dolly!
Louis Armstrong
Blues - Released October 25, 1964 | Verve Reissues
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Louis Armstrong's commercial resurgence with the song "Hello, Dolly!" -- a number one hit that unseated the Beatles' "Can't Buy Me Love" from the top spot -- came as such a surprise that Kapp Records hastened to produce an album to go along with it. The resulting long-player, appropriately titled Hello, Dolly!, also went to number one and produced a second hit, the inferior "I Still Get Jealous." As you might predict, almost all of the songs are drawn from Broadway shows, and a couple (a re-recording of "Blueberry Hill"; "A Lot of Livin' to Do" from Bye Bye Birdie) lend a veneer of hipness to give the album a "1964 touch" without foisting completely inappropriate material on the 60-something Satchmo. Armstrong had one of the most recognizable and personality-laden voices of the 20th century, and although he was past his prime at the time, Hello, Dolly! shows him at his '60s best. © Greg Adams /TiVo
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It Might As Well Be Swing
Frank Sinatra
Jazz - Released January 1, 1964 | FRANK SINATRA DIGITAL REPRISE
Frank Sinatra and Count Basie's second collaboration, It Might as Well Be Swing, was a more structured, swing-oriented set than Sinatra-Basie, and in many ways the superior album. The album consists of then-recently written songs, arranged as if they were swing numbers. The results work splendidly, not just because arranger/conductor Quincy Jones found the core of each of the songs, but because Basie and his band were flexible. Adding a string section to their core band, Basie plays a more standard swing than he did on Sinatra-Basie, but that doesn't mean It Might as Well Be Swing is devoid of jazz. Both Basie and Sinatra manage to play with the melodies and the beat, even though the album never loses sight of its purpose as a swing album. However, what makes It Might as Well Be Swing more successful is the consistently high level of the performances. On their previous collaboration, both Sinatra and Basie sounded a bit worn out, but throughout this record they play with energy and vigor.© Stephen Thomas Erlewine /TiVo
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Sings His Favorites
Paul Anka
Pop - Released December 16, 2016 | RCA - Legacy
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South of the Border
Herb Alpert's Tijuana Brass
Jazz - Released October 1, 1964 | Herb Alpert Presents
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Hello, Dolly!
Various Artists
Classical - Released May 7, 1969 | Philips
The movie version of Hello, Dolly! was considered to be something of a disappointment, which may help explain why the soundtrack album is one of the few records Barbra Streisand is associated with that hasn't even gone gold. Streisand's wild miscasting is less apparent on record than on film, however, and she sings effectively. The album also features Louis Armstrong, who had a hit with the title song (not this version) and, in a small part, Michael Crawford, later in the award-winning Phantom of the Opera. On the other hand, Walter Matthau can't sing.© William Ruhlmann /TiVo
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Ellington '65
Duke Ellington
Pop - Released January 18, 2005 | Rhino - Warner Records
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Hello, Dolly! (New Broadway Cast Recording)
New Broadway Cast of Hello, Dolly!
Musical Theatre - Released May 12, 2017 | Masterworks Broadway
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Les plus grands succès de Petula Clark
Petula Clark
Pop - Released March 4, 2006 | BMG Rights Mgmt France SARL
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Hello Louis - The Hit Years (1963-1969)
Louis Armstrong
Jazz - Released January 1, 2010 | Verve Reissues
When Louis Armstrong had an unexpected number one hit in 1964 with "Hello, Dolly!," it vaulted him to a new level of popularity with mainstream pop listeners. He never did have another big U.S. hit single, but throughout the rest of the '60s, he was a familiar name to all audiences, not just jazz fans. This two-CD collection is a thorough retrospective of this phase of his career, combining the albums Hello, Dolly! (from 1964), Mame (from 1966), and What a Wonderful World (from 1968). Also on hand are four bonus tracks, some rare, including "The Three of Us" (issued on a European EP), the 1968 single "Life of the Party"/"The Kinda Love Song," and "We Have All the Time in the World," used as the theme for the James Bond movie On Her Majesty's Secret Service. No one, of course, would put this material on the level of Armstrong's finest achievements as a jazz musician. But if you're unconcerned with stacking this up against his recordings as a genius innovator, and just want to enjoy his time as a jovial, gravel-voiced senior interpreter of pop standards, it's certainly a good-time listen on that level. Even so, it might be too much of a good thing, the focus falling on Armstrong's hammy vocals and more mainstream arrangements than he used for the vast majority of his career. You do get to hear some of his own compositions, however, as well as a number of small hit American singles that followed in "Hello, Dolly!"'s wake, like "I Still Get Jealous," "So Long Dearie," and "Mame." "What a Wonderful World," of course, eventually became one of his most famous recordings (and even back in 1968 made it to number one in the U.K.), while "We Have All the Time in the World" underwent a massive revival in Britain in the '90s after its use in a TV commercial.© Richie Unterberger /TiVo
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The Legendary Bobby Darin
Bobby Darin
Pop - Released September 28, 2004 | CAPITOL CATALOG MKT (C92)
In a recording career lasting 17 years, Bobby Darin spent only three of those years, 1962-1965, signed to Capitol Records. They were busy years for him in the recording studio: he released seven Capitol LPs, five of which made the charts, and 11 Capitol singles, eight of which entered the Billboard Hot 100, two of those, the self-written, country-styled "You're the Reason I'm Living" and "18 Yellow Roses," reaching the Top Ten. Still, his relatively brief Capitol sojourn was not as memorable as his two stints at Atlantic Records, 1958-1961 (on the Atco subsidiary) and 1966-1967, which accounted for his eight other Top Ten hits, including the chart-topping "Mack the Knife." Naturally, however, Capitol has re-compiled its Darin catalog several times over the years, starting with 1966's deceptively titled The Best of Bobby Darin. In 2004, with a film biography and two book biographies imminent, Capitol tried again, and The Legendary Bobby Darin is the label's longest and most comprehensive attempt at a Darin compilation yet, topping out at 70-plus minutes and covering the stylistic bases of the singer's eclectic dabbling in rock & roll (the title song from his 1962 movie If a Man Answers), country (the hits noted above), folk-rock (the Atlantic recording of the Top Ten hit "If I Were a Carpenter"), and, of course, traditional pop. The last actually dominates the collection, with Darin, employing such arrangers as Frank Sinatra stalwart Billy May, turning in his versions of early-'60s show tunes and movie themes like "Once in a Lifetime," "Moon River," and "Hello, Dolly!" To give the collection the appearance of a more complete hits set, live versions of the Atco hits "Beyond the Sea" and "Mack the Knife" have been included, and the album concludes with two previously unreleased live cuts, both recorded in Las Vegas in 1963, the first a hits medley and the other a version of "The Curtain Falls." The result is a respectable effort that still represents only a slice of Darin's recording career.© William Ruhlmann /TiVo
We Have All the Time in the World
Louis Armstrong
Jazz - Released October 8, 2021 | UME - Global Clearing House
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Ella at Juan-Les-Pins
Ella Fitzgerald
Vocal Jazz - Released January 1, 1964 | Verve
One of the forgotten live LPs from the career of vocal jazz's most impressive live artist, Ella at Juan-Les-Pins found Ella Fitzgerald at the Fifth Festival Mondial du Jazz Antibes, Juan-les-Pins, France, in July 1964, working with a great group: trumpeter Roy Eldridge, pianist Tommy Flanagan, bassist Bill Yancey, and drummer Gus Johnson. The group doesn't get as much space as they deserve, but with Fitzgerald a commanding presence, it's hardly ever felt. And she does give the appreciative crowd the show they're looking for; whereas most vocalists have treated songs like "Them There Eyes" and "Perdido" as features for their playful side, Fitzgerald simply rips them apart with twisting, turning wordplay, breakneck tempos the band can hardly keep up with, and scats no listener can digest the first or second time through. She wrings all the selfish joi de vivre from "The Lady Is a Tramp" (addressing herself), then, with barely a pause, moves into a carefully paced "Summertime." Two recent crossovers, Barbra Streisand's "People" and the Beatles' "Can't Buy Me Love," serve as pleasant stopgap items between the real show, and Fitzgerald reprises her legend-making rendition of "Mack the Knife" from Ella in Berlin, describing the entire sorted Brecht-to-Darin-to-Armstrong history of the song while never losing her sense of swing. Throughout, she never fails to energize or charm her audience.© John Bush /TiVo
Louis on Broadway
Louis Armstrong
Jazz - Released December 1, 2023 | UME - Global Clearing House
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Hello Everybody! (Je danse et je chante en anglais)
Sarah Payne
Children - Released January 27, 2014 | ARB Music
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Hello, Dolly!
Louis Armstrong
Blues - Released October 25, 1964 | Verve Reissues
Louis Armstrong's commercial resurgence with the song "Hello, Dolly!" -- a number one hit that unseated the Beatles' "Can't Buy Me Love" from the top spot -- came as such a surprise that Kapp Records hastened to produce an album to go along with it. The resulting long-player, appropriately titled Hello, Dolly!, also went to number one and produced a second hit, the inferior "I Still Get Jealous." As you might predict, almost all of the songs are drawn from Broadway shows, and a couple (a re-recording of "Blueberry Hill"; "A Lot of Livin' to Do" from Bye Bye Birdie) lend a veneer of hipness to give the album a "1964 touch" without foisting completely inappropriate material on the 60-something Satchmo. Armstrong had one of the most recognizable and personality-laden voices of the 20th century, and although he was past his prime at the time, Hello, Dolly! shows him at his '60s best. © Greg Adams /TiVo
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Hello, Dolly! (Original Broadway Cast Recording)
Musical Cast Recording
Musical Theatre - Released January 1, 1964 | Masterworks Broadway
Jerry Herman's musical (with book by Michael Stewart) based on Thornton Wilder's The Matchmaker was one of the last great old-style musicals and a massive hit. Even today, its songs (including the title track, "Before the Parade Passes By," and "So Long Dearie") are so memorable most people can hum them. Herman used a turn-of-the-century, major-chord, big-melody approach, effectively kidded and overcome by Carol Channing in the title role. It's precisely because Channing doesn't quite have the range for these melodies that she's able to express the character so well (an effect lost in the Barbra Streisand movie version, though Streisand has no trouble expressing character in other ways). And the supporting cast, including Charles Nelson Reilly, Eileen Brennan, and David Burns, is ideal.© TiVo
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Hello, Dolly!
Jerry Herman
Film Soundtracks - Released January 1, 1964 | Varese Sarabande
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