Corlyss_D wrote:From a lot of listening I did last year, I discovered I like the Tommy Dorsey Frank Sinatra enough to buy the 5 cd set of his two years worth of recordings with Dorsey, The Song is You. While many think his post-Ava stylings are more penetrating and profound, I just prefer the earlier voice.
I'll have to look into those recordings. I've found one early recording with the Harry James orchestra featuring Sinatra on vocals but I don't like it that much. The recording as a whole is very.....saccharine. I recall in the past hearing Sinatra singing and finding his voice a bit too beautiful for my tastes (keep in mind that I come from a background of heavy metal and Stravinsky when I say this
), so perhaps I'd heard one of these earlier recordings. Based on what I've heard thus far I do enjoy the darker, deeper tone his voice takes on in the later recordings more.
Corlyss_D wrote:I've never heard anything by Ella that I didn't like except some schlock she recorded in the late 60s or early 70s to cover rock songs.
Interesting...what was the name of that recording, if you can bring yourself to recall it? Being a rock person to a certain extent I can say that I view this as merely a curiosity. Her voice just doesn't strike me as one fit for covering rock songs. Then again, Frank Sinatra covered an Alice Cooper ballad (You and Me) so I guess anything can happen.
You might like this
Thanks, it's on the wish list!
Corlyss_D wrote:I understand what you are saying about Madeleine Peyroux. I don't like everything she does. I get the feeling she's deliberately cultivated a vague resemblance, in this case to Billie Holiday. She needs more experience under her belt to sound convincing.
Perhaps that's the problem. There was something distinctly irritating about her voice that I couldn't put my finger on. I thought that perhaps it might have been too....French.
There was one song on the third album on which I felt she showed signs of showing off her 'true' voice and I liked that one a bit more. Alas, I cannot recall the name of the song.
Corlyss_D wrote:And a concluding observation. You may eventually find yourself drilling down on arrangers, in part because they are often responsible for the distinctive sounds of both singers and bands. I have a few in my stable. E.g. Sy Oliver, who arranged for Lunceford and Dorsey; Axel Stordahl; Johnny Mercer; Frank DeVol. Anything arranged by Nelson Riddle is worth the money. The guy didn't have a coarse or grating or fussy bone in his body.
Well, I've ran across a few Nelson Riddle (arranged) albums already and yes, they've been great. Thanks for the tip.
Corlyss_D wrote:Linda Ronstadt's 3 albums with him (What's New, 'Round Midnight, Lush Life) turned me on to the beauty of the Songbook in the mid-80s. If you can still find them, snap 'em up. You won't be disappointed.
All three are in print, I'll look into them.
I'll also note that the samples for that Chaka Khan album lied to me. The woman is clearly coming from a soul/R&B background which isn't necessarily bad...she has a passionate, emotional voice, and an IMMENSE range. Clearly a talented singer. And she's backed by the LSO. Unfortunately, she feels the need to show off that immense range in almost every single song. Ugh. Remember jbuck's comment on Streisand being able to restrain herself and not screech out the ending of every song loud as possible but choosing to do so, anyway? Same problem here. Beautiful, wonderful voice, but she flat out refuses to control it. Naturally, the samples cleverly cut thirty seconds out of the middle of each song so you never hear the unncessary vocal acrobatics. Too bad, what could have been...on the other hand, I believe it's helping me to get into Billie Holiday. After sitting through this album in an attempt to let it grow on me I can jump straight to Billie Holiday since I'm prepared for just about ANY other voice when it ends. I think this'll make the transition much easier and make it much easier to appreciate that voice.