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In the USA revue developed mostly from extravagant burlesques and vaudeville in New York during the late 19th century. John Brougham wrote one of the first, The Dramatic Review for 1868 (1869), a piece burlesquing the previous year's popular theatre, but the show was unsuccessful and prompted no imitations. The first popular revue came in 1894 with The Passing Show (music by Ludwig Englander), which, like Brougham's piece, was a satire on theatrical productions but which incorporated some topical songs in the style of Tin Pan Alley. Soon there were many revues on the New York stage. Those starring Joe Weber and Lew Fields (1896-1904) had vaudeville-like farce and pantomime, humorous songs, dances and more travesties on theatrical productions.
The real establishment of American revue came with the Follies of 1907, 'a musical review of the New York sensations of the past season'. Produced by Florenz Ziegfeld, Jr., it appropriated the name and style of France's Folies-Bergere, though the female chorus had to attract more by sheer beauty than mere nakedness. It became the first of an annual series of Ziegfeld Follies that became progressively more spectacular. Ziegfeld set the standard with very large casts, an emphasis on female glamour, grand costumes and sets, fast-paced scenes and star performers like Fanny Brice, W. C. Fields, Eddie Cantor and Marilyn Miller. The shows remained a leading form of American stage entertainment into the 1920's and produced many imitators; notably the Shubert brother's The Passing Show series from 1912, the Greenwich Village Follies from 1919, Irving Berlin's four Music Box Revues (1921-24) and the Earl Carroll Vanities from 1922.
The team of Richard Rodgers and Lorenz Hart collaborated on a series of shows (The Garrick Gaities, Charlot's Revue) in which simplicity and economy replaced elaborateness of setting and costume. Smaller-scale but still lavish revues were also given in rooftop theatres and nightclubs, notably the Cotton Club in Harlem. From the 1920's, more serious, intimate revue came to the fore as lavish productions waned during the economic depression. In addition, the departure of the leading composers for Hollywood hastened the decline of the genre, although giving opportunities to newer songwriters. After World War II revues were performed less frequently at large Broadway theatres. While the song-and-dance revue found new life on television, satirical intimate revue was fostered by repertory companies throughout the country in the 1960s. The productions more often favored improvised sketches and topical commentary on American society, abandoning complex choreography, and elaborate sets. The music increasingly used rock and electronic idioms.
Throughout the 1970's and 1980's revues became popular for looking back at music from the past. Popular revues included Ain't Misbehavin', made up of songs written or popularized by Fats Waller; Eubie!, the music of Eubie Blake; Sophisticated Ladies, the music of Duke Ellington; Berlin To Broadway with Kurt Weill, the music of Kurt Weill; Closer Than Ever, the music of Richard Maltby, Jr., and David Shire; and Tintypes, the music of the turn of the 19th century. In the 1990's and in the new millennium, Broadway revues such as It Ain't Nothin' But the Blues (blues songs); Fosse (musical theatre numbers choreographed by Bob Fosse); Smokey Joe's Café (rock & roll songs of Leiber and Stoller); Putting It Together (musical theatre songs by Stephen Sondheim); Swing! (songs and dances from the swing era); and Tango Argentino (tango dances from Argentina) played in New York. In 2002, revues on Broadway will include Bea Arthur - Just Between Friends (songs and sketches from Bea Arthur's career), Barbara Cook - Mostly Sondheim (Cook singing many Stephen Sondheim songs), and Elaine Stritch At Liberty (songs and sketches from Elaine Stritch's career).
The Life of Frank Sinatra, Part 1
The Voice. The Sultan of Swoon. The Chairman of the Board. Ol' Blue Eyes. The Greatest Singer of the Popular Song. These are all nicknames for one of the greatest entertainers of the 20th century, a man whose career successes spanned more than 50 years, enjoying popularity with each successive generation. The following is a condensed biography of one the most colorful and interesting men of the last 75 years.
December 12, 1915, Hoboken, New Jersey: Francis Albert Sinatra (some say he was born Sinestro) was thought to be stillborn until his grandmother doused him with cold water. His birth had been difficult. The doctor unable to extract the baby from his mother, pulled on the baby with forceps, injuring the baby's ear, cheek, and neck, producing scars he would bear the rest of his life. Baby Francis fought for his life that first day and won.
Francis was born the son of Anthony Martin Sinatra, a struggling boxer (known in the ring as Marty O'Brien) who had emigrated from Agregento on the island of Sicily, and Natalie Catherine Garavente (called Dolly), a saloonkeeper known as an aggressive, strong-willed woman from Genoa.
Hoboken at the time of Sinatra's birth was rich, not only with Italian immigrants, but also with Irish immigrants and Jews from Eastern Europe. It was a tough town in which to grow up, and fighting for survival was a way of life. Frank, as he was now called, grew up an only child, learning to defend himself on the streets while at the same time being pampered by his doting, but tough, mother. Frank's father, now earning a decent, livable salary as a firefighter, moved his family to Garden Street, a more modest, middle-class Hoboken neighborhood. Frank became known around town for his always new, always fashionable clothing, and was the envy of his friends for having a bedroom of his own, an almost unheard of luxury at that time.
Throughout the 1920's, Frank loved listening to the family radio and especially loved the songs sung by Russ Columbo (1908-1934). When he took an interest in singing himself, Frank's mother paid for voice lessons (against his father's wishes, for singing lessons were for sissies). After entering Demarest High School in 1931, Frank began singing in the school choir, at dances, and at parties. He attracted a great deal of local attention and the applause and praise gave him the confidence to perfect his craft. When he saw a 1933 Jersey City concert by superstar crooner Bing Crosby (1904-1977), Sinatra felt empowered to follow in his new idol's footsteps. At the time, Frank had been working for his godfather, Frank Garrick, as an assistant at the newspaper, The Jersey Observer, but became uninterested in mundane work and school. He decided to quit school at 16 in 1934 to pursue a singing career, but before he could 'make it big' he needed a paycheck, which was hard to come by during the Great Depression. His post-schooling odd jobs included working in several different shipbuilding yards, and unloading crates of books at a publishing company in nearby Manhattan.
During this time, Sinatra purchased, with the help of his parents, a small portable sound system and some band arrangements of popular songs. These gave him the opportunity to do some important "one night stands" with orchestras in small clubs and roadhouses. Also at this time Frank auditioned for the Major Bowes Amateur Hour, a local New York show (from the Capitol Theatre) that was heard nationally over the radio. First prize was a place on a national tour produced by Bowes, and great national coverage. Sinatra passed the audition. Also making it past the auditions was a trio of local Hoboken boys who hung out at Frank's mother's saloon. Jimmy Petrozelli, Patty Principe, and Fred Tamburro wanted to perform as much as Frank did, and after their Amateur Hour audition, Bowes decided to put the two acts together and call them The Hoboken Four. They all agreed and the following Sunday the quartet sang the Bing Crosby/Mills Brothers 1932 hit, "Shine." They won big, and became a unit in the Major Bowes touring unit.
Sinatra left the tour after making his motion picture debut in the short, Major Bowes Theater of the Air, and went back home to Hoboken. He was now dating Nancy Barbato of Jersey City, New Jersey, and he auditioned for a job at the Rustic Cabin, a restaurant in Englewood, New Jersey. He was hired to serve as maitre d' and sing with the band. The Rustic Cabin was connected by radio hookup to WNEW in New York, and the restaurant's orchestra could be heard on the air every night on "The WNEW Dance Parade." In between seating people, Sinatra would sing a number or two and made about $15 a week plus tips. He worked at The Rustic Cabin from 1937-1939.
The exposure was great for Sinatra's career. In 1939, he learned that trumpeter Harry James was leaving The Benny Goodman Orchestra and starting an orchestra of his own. Sinatra had publicity photos taken and managed to get them to James. James had heard Sinatra on WNEW and made a visit to The Rustic Cabin. He liked Sinatra's voice and immediately hired the young singer in 1939. Also in 1939, Sinatra married his sweetheart Nancy Barbato and set up housekeeping in Jersey City.
Sinatra began his new job with Harry James & His Orchestra, but he wasn't with them for long. Popular bandleader Tommy Dorsey was losing his lead vocalist Jack Leonard, and Sinatra sang for Dorsey at a nightclub in Chicago. Dorsey liked what he heard and hired Sinatra. James, willing to let go of his singer for a bigger orchestra, ripped up Sinatra's contract and wished him well. Sinatra joined Dorsey in January 1940, and sang for him for the next two years.
In Swing Era, Gunther Schuller examines Sinatra's brief stint with Harry James: "The arrival of Frank Sinatra…may have tipped Harry James's (1916-1983) approach…in a populist direction. Though Sinatra's big success came [later] with Tommy Dorsey, there is no question that James had discovered a major singing and musical talent, and that his presence had a more than casual impact on his band's popularity. Of the early nine Sinatra sides (singles) "All or Nothing At All" is the most impressive, showing the then twenty-three year old singer as already the possessor of a rich, warm baritone voice with a relatively straight unembellished delivery. A moderate commercial success, the record became a big hit a few years later when re-released by Columbia and when Sinatra was already firmly established as one of the top popular signers of the land."
In June 1940, Nancy Sinatra gave birth to a baby girl, Nancy, Jr., while Frank was on the road with Dorsey's band. In November 1940, The Dorsey band was hired to appear in the film Las Vegas Nights starring Constance Moore and Bert Wheeler. The band, along with Frank, Jo Stafford and The Pied Pipers (all Dorsey singers) performed their major hit "I'll Never Smile Again" in the movie, which was Frank's first #1 single (for an extraordinary 12 weeks). The movie was a moderate success, but a critic said of Frank: "He sings prettily in an unphotogenic manner." The following year The Tommy Dorsey Orchestra also appeared in a second film, Ship Ahoy, starring Eleanor Powell and Red Skelton. Songs sung in the film were "The Last Call For Love" and "I'll Take Tallulah." Frank's other number one singles with Dorsey include "Dolores" (also from Las Vegas Nights), "There Are Such Things" and "In The Blue of the Evening."
Sinatra's star continued to rise as the singer became extremely popular. Billboard magazine, the nation's leading music and record periodical, named Sinatra the "Most Outstanding Male Band Vocalist." Along with his newfound fame, his voice became stronger and clearer as he developed a singing style all his own. Gunther Schuller on Sinatra's tenure with Tommy Dorsey: "Sinatra, after singing successfully with Harry James for about half a year, joined Tommy Dorsey (1905-1956). From the outset it was clear that here was an entirely new breed of singer. Already somewhat jazz-influenced, Sinatra brought a new type of free and natural phrasing to songs, which even Bing Crosby could not match in sensitivity and interpretive imagination. Subtle jazz inflections and a fine beat, even in slow ballads, characterized his singing. Like his boss, Tommy Dorsey, he had what musicians call 'natural time,' very little to do with metronomic time, but rather just a 'perfect feeling.' Unlike many singers of the time, Sinatra had remarkably good intonation (accuracy of pitch). And again it wasn't studied, learned intonation; he had a natural ear for it.
"But perhaps the newest feature of his singing was the sheer quality of the voice itself. After decades of colorless, lightweight, expressionless male voices - mostly…crooning tenors - Sinatra's virile earthy baritone, with a rich bottom voice, was a startling departure from the popular norm.
"Sinatra learned much from Dorsey's [trombone] playing, especially in regard to breath control and musical line. On the other hand, it is undoubtedly those very talents in Sinatra that Dorsey found attractive in the first place. Sinatra's 'horn'-like approach was the perfect complement to Dorsey's highly vocal approach to the trombone."
Because of his growing fame, Sinatra decided he wanted to strike out on his own and try to become the first successful soloist since Bing Crosby. In a messy contract battle with Dorsey, Sinatra bought out the remainder of his contract and hired a manager, Hank Sanicola. His great fame was just around the corner.
The Life of Frank Sinatra, Part 2
After breaking with Dorsey in September of 1940, Sinatra began rehearsals for his first solo venture, a booking at The Paramount in New York City. Benny Goodman, "The King of Swing" was the headliner and Sinatra was going to join the band later in the evening. Meanwhile, while rehearsing his new act, Frank paid the bills by starring in two radio shows: Reflections on CBS, and Frank Sinatra Sings on ABC.
On December 30, 1942, Sinatra, on his own, made his debut at The Paramount. After being introduced by Jack Benny, Sinatra walked onto the stage to something popular music had never heard before: screaming and yelling. Here is what Sinatra said of opening night: "The sound that greeted me was absolutely deafening. It was a tremendous roar. Five thousand kids, stamping, yelling, screaming, applauding. I was scared stiff. I couldn't move a muscle. Benny Goodman froze, too. He was so scared he turned around, looked at the audience and said, 'What the hell is that?' I burst out laughing."
Sinatra played the Paramount for almost four solid weeks, first with Goodman and then with an orchestra led by Johnny Long. The screaming girls were known as "bobby-soxers," from the popular youth style of wearing short (usually white) socks, rolled down, and saddle oxford shoes.
E. J. Khan wrote in The New Yorker magazine: "Girls have plucked hairs from his head and, at somewhat less trouble to him, have collected clippings of his hair from the floors of barbershops. One Sinatra fan carries around in a locket what she insists is a Sinatra hangnail…'I shiver all the way up and down my spine when you sing,' a girl wrote Sinatra, 'just like I did when I had scarlet fever.' 'After the fourth time I fell out of a chair and bumped my head,' said another, 'I decided to sit on the floor in the beginning when I listen to you.'"
While Sinatra was singing for the young girls in New York, the American soldiers fighting overseas in World War II became angry that their girlfriends and fiancées were focusing their attentions and emotions on the young, skinny entertainer who wore floppy bow ties. Sinatra's 4-F status (ear trouble from birth) didn't help the matter any and soldiers on leave took to throwing tomatoes at Sinatra's picture on the theater marquee. Some believed Sinatra was the most hated man of World War II, more than Hitler.
While millions joined Sinatra fan clubs around the country, Sinatra recorded records and made two films in Hollywood: Reveille With Beverly starring Ann Miller, Duke Ellington's Orchestra and Count Basie's Orchestra, in which he appeared singing only one song, "Night And Day," and Higher And Higher starring Michele Morgan and Jack Haley for which he received his first good acting review.
Throughout the 1940's, Sinatra kept a very busy schedule. He performed in concert around the world (including one crazed show at The Paramount that was called the "Columbus Day Riot"), created a nightclub act, signed with Columbia Records in 1943, and made several films, most notably Anchors Aweigh (1945) with Gene Kelly and Kathryn Grayson, in which he sang, danced and acted to great acclaim. The critic at the Motion Picture Herald wrote: "All the world knows Frank Sinatra can sing; now it turns out that he can act, too. His characterization of Kelly's shipmate is a delight."
Other films from the 1940's include Step Lively (1944) with George Murphy and Adolphe Menjou, Till The Clouds Roll By (1946), with Lena Horne and Van Johnson, It Happened In Brooklyn (1947) with Jimmy Durante and Peter Lawford, The Miracle of The Bells (1948) with Fred MacMurray and Lee J. Cobb, Take Me Out To The Ballgame (1948) with Gene Kelly and Esther Williams, and On The Town (1949) with Gene Kelly, Ann Miller, and Betty Garrett.
Frank also had two more children: Frank, Jr. in 1944, and Christina in 1948. Though the press painted Frank and Nancy as happily married, the love affair had ended. Frank and Nancy separated in 1950 and almost two years later, after the divorce was final, Sinatra wed superstar actress Ava Gardner (1922-1990). Their romance was torrid and tempestuous, and they were known for their passionate, public fights.
The early 1950's were a very low time for Sinatra, both privately and professionally. The ups and downs in his marriage to Gardner were big news in all the national magazines and newspapers, and his fans were no longer buying his records, going to his concerts, or watching his movies. Because of this downturn in popularity, both M-G-M Studios and Columbia Records dropped Sinatra.
But Sinatra's star began to shine again as he signed on to Capitol Records in 1953 and fought hard for the role of Maggio in the film From Here To Eternity. Sinatra had lost clout in Hollywood and the producer of From Here To Eternity didn't want Sinatra for the role of the skinny Italian soldier. With his wife's help, Sinatra did whatever he could to get the role, and when his final competition for the role, Eli Wallach (b. 1915) demanded too much money, the role went to Sinatra. The film, which takes place in Hawaii in the days just before the attacks on Pearl Harbor, became an enormous critical and audience favorite. Sinatra won praise for his role of the murdered Maggio and at the 1954 Academy Awards, he claimed an Oscar as Best Supporting Actor. His movie career was rekindled and his acting capabilities were no longer questioned.
His recording career was also on the upswing. At Capitol Records Sinatra began working with orchestrator and arranger Nelson Riddle (1921-1987), who gave Sinatra a lusher, more sophisticated sound. Riddle and Sinatra helped develop the popularity of the LP, or long playing record, which was new technology at the time (most recordings were 78 rpm, meaning a released "collection" of songs included about 8 or 10 records instead of 1 LP). Sinatra's first record at Capitol, 1953's Swing Easy, was a huge success, and more success followed with Songs For Young Lovers (1954), In The Wee Small Hours (1955), and Songs For Swingin' Lovers (1956).
It was during these successful years that Sinatra started singing in Las Vegas casinos. Las Vegas was a small, sleepy desert community when the Sands Hotel went up in 1952. The hotel was a huge success and more casinos followed. Entertainers were paid handsome sums to sing in the casino's showrooms and with thousands of tourists flocking to the desert, a built-in audience was assured. Other performers who flourished in Las Vegas included singer and actor Dean Martin (1917-1995), vaudeville star, dancer, singer and actor Sammy Davis, Jr. (1925-1990), film actor (and future brother-in-law to President Kennedy) Peter Lawford (1923-1984), and comedian/actor Joey Bishop (b. 1918). They would eventually get together to take Las Vegas and Hollywood by storm.
Following From Here To Eternity, other movie successes followed, including: Young At Heart (1955) with Doris Day and Gig Young, The Tender Trap (1955) with Debbie Reynolds and Celeste Holm, Guys And Dolls (1955) with Marlon Brando and Jean Simmons, and two critical successes, The Man With The Golden Arm (1955) about a man with a terrible heroine addiction, and High Society (1956), the Cole Porter musical gem. High Society, based on Phillip Barry's The Philadelphia Story, gave Sinatra an opportunity to work with his longtime idol Bing Crosby, and the beautiful Grace Kelly (1929-1982), who would become a life-long best friend.
In 1957 Sinatra's marriage to Ava Gardner ended in divorce after three years separation. Single, Sinatra decided to live the high life and in the late 1950's and early 1960's decided to make Las Vegas more or less his permanent home. Always dreaming of owning his own record company, Sinatra's dream was almost a reality. His place of prestige in show business was about to grow larger and even more illustrious.
The Life of Frank Sinatra, Part 3
In the early 1960's, Sinatra finally had enough clout and capital to form his own record label. In 1961 he formed Reprise Records, and he himself would prove to be the label's biggest star, though the first couple of albums (Ring-A-Ding-Ding in 1961, and Swing Along With Me in 1962) were not huge successes. That would all change in 1965 (when Sinatra was 50) and 1966 when Sinatra recorded two very popular albums: September Of My Years in 1965 and Strangers In The Night in 1966. Both albums were very successful with "September" winning three Grammy Awards, including Best Album, and "Strangers" giving him his first #1 single in years: the title song "Strangers In The Night."
It was in the early 60's that Sinatra's rumored ties to the mafia were solidified, though he had been linked to various Mafioso throughout his career. He was part owner of the gambling casino/hotel, the Cal-Neva Lodge in Lake Tahoe, when the state of Nevada forced him give up the lodge because mobster Sam Giancana (1908-1975) was permitted to spend a great deal of time there. Giancana had been banned from all Nevada casinos due to his vast criminal record.
Meanwhile, Sinatra was busy making movies. Cole Porter's Can-Can (1960) with good friend Shirley Maclaine, Oceans Eleven (1960) with his friends Dean Martin, Sammy Davis, Jr., Peter Lawford, and Joey Bishop, known collectively then as "The Summit," Sergeants 3 (1962), also featuring "The Summit," The Manchurian Candidate (1962) with Laurence Harvey and Angela Lansbury, and Robin and The Seven Hoods (1964) with Dean Martin, Sammy Davis, Jr., and Bing Crosby.
In 1966, after dating Lauren Bacall and Juliet Prowse, Sinatra remarried for a second time, this time to 21 year old actress Mia Farrow. Their wedding made waves due to their 30 year age difference, but it encapsulated an era when swingin' older men dated pretty, younger women. Their marriage did not last long; Sinatra and Farrow separated within 18 months.
"The Summit," Sinatra, Martin, Davis, Bishop, and Lawford, often performed together in Las Vegas and in Hollywood and became notorious for their all-night parties, girlfriends, happy-go-lucky attitude, and a new, swingin' cool language. They were renamed "The Rat Pack" and developed a legendary status. Other performers considered auxiliary "Rat Pack" members were Shirley MacLaine, Bing Crosby, Liza Minnelli, and Jerry Lewis.
In the late 1960's, Sinatra had several big successes. His duet with his daughter Nancy, "Something Stupid" was a #1 smash in 1967, as was his new-found 1969 anthem, "My Way," and his 1967 recording with Brazilian superstar Antonio Carlos Jobim, Francis Albert Sinatra & Antonio Carlos Jobim created a craze for bossa nova music. Some of his film highlights of the time include The Detective (1968) with Lee Remick and Jack Klugman, and Lady In Cement (1968) with Raquel Welch.
In 1971, he announced his retirement from entertainment, but his career was far from over. Sinatra did a television special in 1973 entitled "Ol' Blue Eyes Is Back" and eventually went back to the concert stage, did television, appeared in front of the camera (That's Entertainment in 1974, That's Entertainment II in 1977, and The First Deadly Sin in 1980) and ended up back in the recording studio. Some of Sinatra's later albums include Trilogy (1980), which included the Kander and Ebb classic "Theme From New York, New York," Sinatra and (Sylvia) Syms (1983), L.A. Is My Lady (1984), and Frank Sinatra Conducts Tone Poems of Color (1992).
In 1976 Sinatra married Barbara Marx (ex-wife of Zeppo Marx), who was to be his fourth and final wife. As a tribute to Sinatra's influence on many contemporary musicians, an album entitled Duets was released in 1993 with Sinatra singing duets of his popular songs with Bono (of U2), Barbra Streisand, Aretha Franklin, and Natalie Cole, among others. It became Sinatra's biggest selling album of all time, selling more than 3 million copies. Sinatra released a follow-up called Duets II the next year, on which he sang duets with Lena Horne, Willie Nelson, Gladys Night, and Neil Diamond, among others.
Sinatra retired a second time in 1995, and, after a period of declining health, passed away on May 14, 1998. His career as a popular performer spanned more than 50 years, creating fans out of generation after generation of music lovers and film buffs.
The Evolution of Swing, Part 1
When Sinatra became popular singing with The Harry James Orchestra and later with The Tommy Dorsey Orchestra, popular big band music was becoming known as swing. Swing as we know it today has varied and diverse roots in the African-American cultures of the late 19th and early 20th centuries and is considered a musical genre under the umbrella of jazz. The following is a brief timeline of jazz showing the evolution of American popular music as it developed into what we now call swing.
Ragtime, although not really jazz (ragtime does not have improvisation), was an early musical style (at its prime during 1899-1915) that had a strong influence on early forms of jazz. Best-known as piano music, ragtime (which is totally written-out) was also performed by orchestras. Its syncopations and structure (blending together aspects of classical music and marches) hinted strongly at jazz.
The Blues developed from simple but powerful African-American folk music. Either sung a cappella (no accompaniment) or played with an instrumental back-up, blues performers deliberately flattened certain notes. These 'blue' notes mimicked the cry of a human voice showing both sorrow and resilience in the face of trouble.
New Orleans Jazz, the earliest style of jazz, was the music played in New Orleans from about the time that Buddy Bolden formed his first band in 1895 until about 1917. Unfortunately, it went unrecorded. However, with the success of the Original Dixieland Jazz Band in 1917 and the many performances documented in the 1920's, it became possible to hear what this music sounded like in later years. Ensemble-oriented with fairly strict roles for each instrument, New Orleans Jazz generally features a trumpet or cornet providing a melodic lead, harmonies from the trombone, countermelodies by the clarinet and a steady rhythm stated by the rhythm section (which usually consists of piano, banjo or guitar, tuba or bass and drums). This music is a direct descendant of marching brass bands and tends to de-emphasize solos in favor of ensembles featuring everyone playing and improvising together. Due to its fairly basic harmonies and the pure joy of the ensembles, it is consistently the happiest and most accessible style of jazz.
The 1920's were a rich decade musically with jazz-influenced dance bands and a gradual emphasis on solo (as opposed to collective) improvisations. Whether it was the stride pianists (see below), the increasingly adventurous horn soloists, or the arranged music that predates swing, much of the jazz from this decade can be given the umbrella title of Classic Jazz.
Dixieland, a style that overlaps with New Orleans jazz and Classic jazz, has also been called "Chicago jazz" because it developed to an extent in Chicago in the 1920's. Most typically the framework involves collective improvisation during the first chorus (or, when there are several themes, for several choruses), individual solos with some riffing by the other horns, and a closing ensemble or two with a four bar tag by the drummer being answered by the full group.
While New Orleans jazz has improvised ensembles, when jazz started becoming popular in the 1920's and demand was growing for larger dance bands, it became necessary for ensembles to be written down, particularly when a group included more than three or four horns. Although Swing largely began when Louis Armstrong (1901-1971) joined Fletcher Henderson's (1897-1952) Orchestra in 1924 and Don Redman (1900-1964) began writing arrangements for the band that echoed the cornetist's relaxed phrases, the swing era officially started in 1935 when Benny Goodman's (1909-1986) Orchestra caught on (see Evolution, part 2 below). Swing was a major force in American popular music until the big band era largely ended in 1946. Swing differs from New Orleans jazz and Dixieland in that the ensembles (even for small groups) are simpler and generally filled with repetitious riffs while in contrast the solos are more sophisticated. Individual improvisations still paid close attention to the melody but due to the advance in musicianship, the solo flights were more adventurous.
Stride is a style of jazz piano playing in which the pianist's left hand maintains a continuous pulse in groups of four beats by persuasively playing a bass note on the first and third beats and a chord on the second and fourth beats. The right hand improvises melodies and harmonies, and the result resembles a very energetic one-man band. It was performed by immensely talented pianists who were able to control the piano with a power and virtuostic force previously unknown in popular music. The style originated in New York before the 1920s, as pianists took ragtime and began developing new, more swinging styles. Major proponents were James P. Johnson (1891-1955), Willie "The Lion" Smith (1897-1973), and Luckey Roberts (1887-1968).
Boogie-woogie is a jazz piano style using two pulses stated by the left hand for every beat and the 12-bar blues chord progression as its repertory. The brief, continuously repeating patterns from the left hand give the style its identity. Its jazz flavor comes from rhythmically and melodically playful phrases improvised by the pianist's right hand. First popularized during the late 1920s, boogie-woogie experienced a strong revival during the late 1930s and early 1940s. This genre had considerable influence on accompaniment styles in the popular music called rhythm & blues, as well as the beginnings of rock & roll.
The Evolution of Swing, Part 2
According to legend, the Swing era began on August 21, 1935, when the Benny Goodman Orchestra practically caused a riot at Los Angeles's Palomar Ballroom. For the preceding five years, pop music had been dominated by soothing vocalists and large, unswinging orchestras such as those led by Guy Lombardo (1902-1977), Hal Kemp (1905-1940), and Eddy Duchin (1910-1951). The music was fine for backgrounds and romantic evenings, but excitement was purposely lacking, lest someone be reminded of the 1920's!
However, Swing itself had been around since Fletcher Henderson's Orchestra in 1924, and there were quite a few interesting big bands formed during the 1929-1935 period. Duke Ellington's (1899-1974) ensemble was at the top of the heap, and Paul Whiteman's (1890-1967) Orchestra was still active. Among the more notable newcomers were Glen Gray's (1906-1963) Casa Loma Orchestra, Luis Russell (1902-1963), Chick Webb (c.1909-1939), Cab Calloway (1907-1994), Claude Hopkins (1903-1984), the Dorsey Brothers, Jimmie Lunceford (1902-1947), and Earl Hines (1903-1983). In fact, the center of the Swing world during the period was Harlem where Ellington, Webb, and Calloway were based.
Two of the major changes in the music world during 1929-1931 were the replacement of the tuba by the string bass, and the banjo by the guitar. The development of the microphone made the quieter and more flexible guitar in greater demand, and orchestras found that they could swing harder (and keep the rhythm smoother) with a bass than with a tuba. The Swing bands of the period, with variations, usually consisted of two or three trumpets, two trombones, three reeds (a tenor and two altos, with at least one of the reeds doubling on clarinet), and a four-piece rhythm section composed of piano, rhythm guitar, bass, and drums. Mildred Bailey (1907-1951) was the first female vocalist to be featured regularly with an orchestra (Paul Whiteman's in 1931), but most singers were male, particularly if one of the musicians had a decent voice.
Although Duke Ellington was becoming well known as a composer and bandleader and his 1932 song proclaimed "It Don't Mean A Thing If It Ain't Got That Swing," quiet dance music was still the norm until the rise of Benny Goodman. Swing was essentially an underground movement until 1935.
Benny Goodman in 1934 was in the same position that Artie Shaw (b.1910) would be in 1937 and Glenn Miller (1904-1944) in 1938: well respected by his fellow musicians but completely unknown to the general public. After years as a studio musician, Goodman formed a big band in June 1934, and played regularly at Billy Rose's Music Hall (New York) for a few months. In November his group won an audition (by one vote) to become one of the three bands to appear regularly on NBC's Let's Dance radio show opposite Xavier Cugat's (1900-1990) Latin ensemble and the sweet (unswinging) orchestra of Kel Murray.
The Let's Dance show ran its course, and had its final broadcast on May 25, 1935. Goodman decided to take his orchestra on tour cross-country, and at the Palomar Ballroom in Hollywood the teenagers went crazy and history was made.
While the strong reaction surprised Benny Goodman, it signaled the beginning of the Swing era. Unknown to Goodman, the Let's Dance radio broadcasts had been very popular on the West Coast, and youngsters were eagerly looking forward to his band's arrival. From that point on, success followed success. A three-week run at Chicago's Congress Hotel was extended to eight months. Press agents accurately crowned Goodman "the King of Swing," and the Swing era was under way.
Within a short period of time, many new Swing orchestras were formed. While it may seem strange to think of big bands being so plentiful during the Depression when money was so scarce, there was a great need for dance bands. Dancing was inexpensive entertainment for millions and, with Swing becoming an important part of popular culture, the audience was huge and stayed that way until the mid-1940's.
It was fortunate that Swing came of age during a period when there were an unprecedented number of very talented songwriters. Composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, Harold Arlen, Richard Rodgers, Fats Waller, Harry Warren, and Duke Ellington, plus such lyricists as Johnny Mercer, Ira Gershwin, Al Dubin, and Lorenz Hart came out with new standards on a regular basis, satisfying the Swing bands' constant need for new songs.
In time, big bands became bigger (often adding a third trombone and/or a fourth reed) and Benny Goodman faced stiffer competition. After Count Basie's (1904-1984) arrival in late 1936 from Kansas City, more Swing bands emulated his orchestra than Goodman's. Tommy Dorsey hit it big in 1937. Artie Shaw was billed as the "King of the Clarinet" in 1938, and his band during 1938-1939 was actually more popular than Goodman's. Glenn Miller became the biggest name of all in mid-1939, when his orchestra caught on. Gene Krupa (1909-1973) and Jimmy Dorsey's (1904-1957) bands became strong competitors in the early 1940's, and Harry James occupied the number-one spot during 1943-1946.
Although Swing showed signs of running out of gas as early as 1939, it took two major disasters (World War II and the Musicians Union recording strike of 1942-1944) along with competition from the New Orleans jazz revival, bebop, small R&B combos, and pop singers to eventually kill the big band era. But while it lasted, it was a glorious time for music. (From Swing by Scott Yanow)
The Songs in "My Way: A Musical Tribute to Frank Sinatra"
All of Me — By Gerald Marks (1900-1997) and Seymour B. Simons (1896-1949). Published in 1931. Originally in the film Careless Lady, starring Joan Bennett. Sinatra recorded the song three times: first in 1946, and the second time in his film Meet Danny Wilson (also starring Shelley Winters), which was released in 1951. The third recording appeared on Sinatra's Swing Easy, 1955. The song was originally a #1 hit by Louis Armstrong in 1932.
All the Way — By Sammy Cahn (1913-1995) and Jimmy Van Heusen (1913-1990). Published in 1957. An Academy Award-winning song from the film, The Joker Is Wild, starring Sinatra and Mitzi Gaynor. The song was recorded twice by Sinatra: the first recording appeared on All The Way (1960), the second on Sinatra's Sinatra (1963).
The Best is Yet to Come — By Cy Coleman (b. 1929) and Carolyn Leigh (1926-1983). Published in 1961. First appeared on Sinatra's It Might As Well Be Swing in 1964. Previously a hit for Mabel Mercer, Peggy Lee, Sarah Vaughn, and Tony Bennett.
Can I Steal a Little Love? — By Phil J. Tuminello. Published in 1956. Recorded by Sinatra in 1956, and appeared on his album, Forever Frank. The song was also used in the film Rock, Pretty Baby, starring Sal Mineo.
Chicago — By Fred Fisher (1875-1942). Published in 1922. Recorded by Sinatra in 1957, and used in his film, The Joker Is Wild. The song first appeared on the album, Come Fly With Me. Previously a vaudeville song sung by Blossom Seeley.
Dindi (Pronounced JinJee) — By Aloysio De Oliveira(1914-1995), Ray Gilbert (d. 1976) and Antonio Carlos Jobim (1927-1994). Published in 1966. First appeared on Sinatra's Francis Albert Sinatra & Antonio Carlos Jobim, a collaboration between Sinatra and the foremost Brazilian interpreter of bossa nova music.
Dream — By John H. Mercer (1909-1976). Published in 1944. Originally heard in the film, Her Highness And The Bellboy, starring Hedy Lamarr and was the closing theme song to composer Johnny Mercer's radio show. Sinatra recorded it twice: the first in 1945 (with the Ken Lane Singers), and the second time in 1960, which appears on Nice N' Easy.
Drinking Again — By John H. Mercer(1909-1976) and Doris Tauber. Published in 1962. Recorded as a single in 1967. Appears on the album, The World We Knew.
Fly Me to the Moon — By Bart Howard (b. 1915). Published in 1954. First recorded by Sinatra (with Count Basie) on his It Might as Well Be Swing album.
Guess I'll Hang My Tears Out to Dry — By Sammy Cahn (1913-1995) and Jule Styne (1905-1994). Published in 1944. From the failed Broadway musical, Glad To See You (closed in Boston). Sinatra recorded this song twice: first in 1946 (on The Essential Frank Sinatra, Volume 2 album) and again in 1958 for his album, Frank Sinatra Sings For Only The Lonely.
Here's to the Losers — By Jack Segal and Robert Wells. Published in 1963. First recorded by Sinatra on his Softly As I Leave You album.
High Hopes — By Sammy Cahn (1913-1995) and Jimmy Van Heusen(1913-1990). Published in 1959. From the Frank Capra film, A Hole in The Head, which starred Sinatra, Edward G. Robinson and Eleanor Parker. It won the Academy Award for Best Song and was used by John F. Kennedy in his campaign for President. It first appeared on Sinatra's All The Way album.
How About You? (I Like New York In June) — By Ralph Freed (1907-1973) and Burton Lane (1912-1997). Published in 1941. Written for Judy Garland for the film, Babes On Broadway. Sinatra recorded this song twice: the first with The Tommy Dorsey Orchestra in 1941, and again in 1956 for his album, Songs For Swingin' Lovers.
I Believe — By Sammy Cahn (1913-1995)and Jule Styne (1905-1994). Published in 1946. From the film It Happened in Brooklyn, which starred Sinatra, Jimmy Durante, and Kathryn Grayson. Sinatra recorded this song twice: first in 1946 for the aforementioned film, and again in 1957. The second recording appeared on This Is Sinatra, Volume 2.
I Get a Kick Out of You — By Cole Porter (1891-1964). Published in 1934. Originally sung by Ethel Merman in the Broadway smash Anything Goes. Sinatra first recorded this song in 1953, and it can be found on his album, Songs For Young Lovers. Sinatra recorded it again in 1962 for the album, Sinatra And Swingin' Brass.
I Love Paris — By Cole Porter (1891-1964). Published in 1953. From the Broadway musical Can-Can. Sinatra starred in the 1960 film version of Can-Can along with Shirley MacLaine and Maurice Chevalier. Sinatra first recorded this song as a duet with Chevalier for the Can-Can soundtrack. He recorded it a second time for his album, Frank Sinatra Sings Of Love And Things.
I Only Have Eyes for You — Al Dubin (1891-1945) and Harry Warren (1893-1981). Published in 1934. Written for the Busby Berkley film extravaganza, Dames, which starred Dick Powell and Ruby Keeler. Sinatra first recorded this song on a 1945 V-Disc, the only recordings made during World War II. It was shipped for military use only. Sinatra recorded it a second time with Count Basie in 1962 for Sinatra And Basie. The Sinatra V-Discs were first released for commercial sale in 1994. The first hit recording was made by Ben Selvin And His Orchestra in 1934.
I'll Be Seeing You — By Sammy Fain (1902-1989) and Irving Kahal (1903-1942). Published in 1938. The song was introduced in the Broadway show, Right This Way. Sinatra originally recorded this song in 1940 with The Tommy Dorsey Orchestra but it didn't become a hit record until it was re-released in 1944. Sinatra recorded the song again in 1961 for his album, I Remember Tommy.
I'm Gonna Live Til I Die — By Al Hoffman (1902-1960), Walter Kent (b. 1911), and Mann Curtis (1911-1984). Published in 1954. Recorded by Sinatra in 1954 as a single and was first on his Forever Frank album. The song was used in the 1957 film musical, This Could Be The Night, which starred Jean Simmons and Anthony Franciosa.
Indian Summer — By Al Dubin (1891-1945) and Victor Herbert (1859-1924). Published in 1919 as a piano piece by Herbert. Al Dubin added lyrics to the song in 1939. Recorded by Sinatra in 1967 for the album, Francis A., Edward K. (Duke Ellington). This song was a big #1 hit for Tommy Dorsey before he hired Sinatra.
It Was a Very Good Year — By Ervin M. Drake (b.1919). Published in 1961. Recorded by Frank Sinatra in 1965 and can be found on the September Of My Years album. This song can be heard as a recurring song on HBO's The Sopranos.
It's All Right With Me — By Cole Porter (1891-1964). Published in 1953. From the Broadway musical, Can-Can. Sinatra starred in the 1960 film version of Can-Can, the year he was named Top Box Office Star by the Film Exhibitors of America. Sinatra recorded this song twice: the first for the Can-Can soundtrack, and the second in 1984 for the L.A. Is My Lady album.
I've Got the World on a String — By Harold Arlen (1905-1986) and Ted Koehler (1894-1973). Published in 1932. Recorded by Sinatra in 1953 as a single. It first appeared on the 1957 album, This Is Sinatra. The original 1933 recording was by Cab Calloway.
I've Got You Under My Skin — By Cole Porter (1891-1964). Published in 1936. From the film musical Born To Dance, starring Eleanor Powell and Jimmy Stewart. It was first recorded by Sinatra in 1956 for the album, Songs For Swingin' Lovers. Sinatra recorded it a second time in 1963, and it appeared on the album, Sinatra's Sinatra. This song was one of Sinatra's most requested tunes.
L.A. is My Lady — By Alan Bergman (b. 1925), Marilyn Bergman (b. 1929), Quincy D. Jones (b. 1933) and Peggy Lipton (b. 1948). Published in 1984. This is the title song from Sinatra's 1984 album.
The Lady is a Tramp — By Richard Rodgers (1902-1979) and Lorenz Hart (1895-1943). Published in 1937. From the Broadway hit, Babes In Arms. The song was added to the 1957 film version of Rodger's and Hart's Pal Joey, which starred Sinatra, Rita Hayworth and Kim Novak. It can be found on the Pal Joey soundtrack album.
Lean Baby — By Roy Alfred and William May (b. 1916). Published in 1953. Sinatra recorded this song in 1953 at his first recording session at Capitol Records. It appeared on his first Capitol album, Swing Easy.
Let's Face the Music and Dance — By Irving Berlin (1888-1989). Published in 1936. First seen in the Fred Astaire, Ginger Rogers film, Follow The Fleet. Sinatra recorded this song twice: first in 1960 for the album, Ring-A-Ding-Ding, and the second time in 1979 for the Trilogy series. It was found on Record One - The Past.
Let's Get Away From It All — By Thomas Montgomery Adair and Matt Dennis (b. 1914). Published in 1940. Sinatra recorded this song twice: first with Tommy Dorsey (along with the Pied Pipers and Connie Haines) and the second time in 1957 for the album, Come Fly With Me.
Love and Marriage — By Sammy Cahn (1913-1995) and Jimmy Van Heusen(1913-1990). Published in 1955. Written for the Emmy-award winning musicalized television production of Thornton Wilder's Our Town, which also starred Paul Newman and Eva Marie Saint. The song first appeared on This Is Sinatra (1957). The song is now recognized as the theme song to the 90's sitcom Married With Children. Sinatra rerecorded the song in 1965 for the album, A Man And His Music.
Makin' Whoopee — By Walter Donaldson (1893-1947) and Gus Kahn (1886-1941). Published in 1928. Written for Eddie Cantor for Ziegfeld's Broadway production of Whoopie. Recorded by Sinatra in 1956 for the album, Songs For Swingin' Lovers.
Moonlight Serenade — By Glenn Miller (1904-1944) and Mitchell Parish (1900-1993). Published in 1939. Recorded by Sinatra in 1965 for the album, Moonlight Sinatra. This song was bandleader Glenn Miller's theme song.
My Funny Valentine — By Richard Rodgers (1902-1979) and Lorenz Hart (1895-1943). Published in 1937. From the Broadway hit, Babes In Arms. Recorded by Sinatra for the 1953 album, Songs For Young Lovers.
My Kind of Town — By Sammy Cahn (1913-1995) and Jimmy Van Heusen (1913-1990). Published in 1964. Written for Sinatra for the 1964 film, Robin and the Seven Hoods, which also starred Rat Packer's Dean Martin, Sammy Davis, Jr., and Bing Crosby. It was originally heard on the My Kind Of Town soundtrack.
My Way — By Paul Anka (b.1941), Gilles Thibault (1927-2000), Claude Francois (1939-1978), and Jacques Revaux (b. 1945). Published in 1967. Originally written in French as "Comme d'Habitude" ("As Usual"). The song first appeared on the 1969 Sinatra album, My Way. This song was one of Sinatra's most popular and most requested songs.
(Theme From) New York, New York — By John Kander (b. 1927) and Fred Ebb (b. 1933). Published in 1977. Written for the film of the same title, which starred Robert DeNiro and Liza Minnelli. Sinatra recorded it in 1979 for the second album in his Trilogy series, Record Two - The Present. It became one of Sinatra's most performed songs.
Nice N' Easy — By Alan Bergman (b. 1925), Marilyn Bergman (b. 1929) and Lew Spence. Published in 1960. Recorded by Sinatra for the 1960 album, Nice N' Easy.
On the Sunny Side of the Street — By Dorothy Fields (1905-1974) and Jimmie McHugh (1894-1969). Published in 1930. The song is from the Broadway show, International Revue, which starred Gertrude Lawrence. Sinatra recorded this song in 1961, and it appeared on the album, Come Swing With Me. The first recording was made by Ted Lewis And His Orchestra in 1930.
One For My Baby (And One More For The Road) — By Harold Arlen (1905-1986) and John H. Mercer (1909-1976). Published in 1943. This song was originally sung by Fred Astaire in the film, The Sky's The Limit. Sinatra recorded this twice: the first in 1947, and the second in 1958 for the album, Frank Sinatra Sings For Only The Lonely. The first singer to have a hit record with this song was Lena Horne in 1945.
The Same Old Song and Dance — By Sammy Cahn (1913-1995), Jimmy Van Heusen (1913-1990), and Bobby Worth. Published in 1958. Recorded in 1958 for the album Come Dance With Me.
Should I? — By Nacio Herb Brown (1896-1964) and Arthur Freed (1894-1973). Published in 1930. Originally written for the film, Lord Byron of Broadway, starring Charles Kaley. Sinatra recorded this song twice: the first in 1950 for the Love Is A Kick album, and again in 1960 for the album, Sinatra's Swingin' Session.
Something Stupid — By C. Carson Parks. Published in 1967. This song was a duet with Sinatra and his daughter Nancy. First appeared on Sinatra's 1967 album, Frank Sinatra.
Something Wonderful Happens in Summer — By Joseph Bushkin (b. 1916) and John De Vries. Published in 1956. Sinatra recorded this song in 1957, and it appears on the 1958 album, This Is Sinatra, Volume 2.
South of the Border (Down Mexico Way) — By Michael Carr (d. 1968) and James B. Kennedy (1902-1984). Published in 1939. Originally a huge #1 hit by Shep Fields & His Rippling Rhythm Orchestra. Sinatra recorded it in 1953, and it appeared on his 1957 album, This Is Sinatra.
Strangers in the Night — By Bert Kaempfert (1923 - 1980), Charles Singleton, and Eddie Snyder. Published in 1966. Sinatra recorded this song in 1966, and it appears on his Strangers In The Night album. Sinatra, at first, hated this song and didn't want to sing it. It became one of his most popular songs.
Summer Wind — Hans Bradtke, Heinz Meier (Henry Mayer), and John H. Mercer (1909-1976). Published in 1965. The song was originally written in German: Mercer translated Bradtke's lyrics. Sinatra recorded it in 1966, and it appeared on the album Strangers In The Night.
That Old Black Magic — By Harold Arlen (1905-1986) and John H. Mercer (1909-1976). Published in 1943. Originally written for the film, Star Spangled Rhythm, starring Betty Hutton, and it was a huge #1 hit for Glenn Miller & His Orchestra. Sinatra recorded it twice: in 1946 and in 1961. The first version appears on The Voice, while the second appears on Come Swing With Me.
That's Life — By Kelly L. Gordon and Dean K. Thompson. Published in 1966. Sinatra recorded the song in 1966 and it first appeared on his 1966 album, That's Life.
(Love Is) The Tender Trap — By Sammy Cahn (1913-1995) and Jimmy Van Heusen (1913-1990). Published in 1955. Written for the film, The Tender Trap, which starred Sinatra and Debbie Reynolds. Sinatra recorded this song twice: in 1955 and in 1962. The first appeared on This Is Sinatra, the second on Sinatra And Basie.
The Way You Look Tonight — By Jerome Kern (1885-1945) and Dorothy Fields (1905-1974). Published in 1936. This Academy Award-winning song was originally sung by Fred Astaire and Ginger Rogers in the film Swing Time. Sinatra recorded the song in 1964 and it appeared on Frank Sinatra Sings Days Of Wine And Roses, Moon River, And Other Academy Award Winners.
This is All I Ask — By Gordon Jenkins (1910-1984). Published in 1965. Sinatra recorded this song in 1965 for the album, September of My Years.
Wave — By Antonio Carlos Jobim (1927-1994). Published in 1968. Sinatra recorded this song in 1969 for 1970 album, Sinatra And Company.
Where or When — By Richard Rodgers (1902-1979) and Lorenz Hart (1895-1943). Published in 1937. From the Broadway musical, Babes In Arms. It was originally a big #1 hit for Hal Kemp & His Orchestra in 1937. Sinatra recorded it twice: the first in 1945, which appeared on the album The Voice, and the second in 1958, which appeared on Frank Sinatra Sings Songs For Only The Lonely.
Witchcraft — By Cy Coleman (b. 1926) and Carolyn Leigh (1926-1983). Published in 1957. Sinatra recorded this song twice: first as a single (which appeared on the 1960 compilation album, All The Way), and second in 1963, which appeared on Sinatra's Sinatra.
You Go to My Head — By J. Fred Coots (1897-1985) and Haven Gillespie (1888-1975). Published in 1938. Sinatra recorded this song twice: in 1945, and in 1960. The first appeared on Frank Sinatra Story In Music, and the second appeared on Nice N' Easy.
You Make Me Feel So Young — Mack Gordon (1904-1959) and Josef Myrow (1910-1987). Published in 1946. From the film, Three Little Girls In Blue, starring June Haver and Celeste Holm. Sinatra recorded this song in 1956, and it appeared on the album, Songs For Swingin' Lovers.
Young at Heart — Carolyn Leigh (1926-1983) and Johnny Richards. Published in 1953. Sinatra recorded this song as a single, and it first appeared on the 1957 album, This Is Sinatra. The song inspired a movie of the same title, which starred Sinatra and Doris Day.
You're Cheatin' Yourself (If You're Cheatin' On Me) — Al Hoffman (1902-1960) and Dick Manning. Sinatra recorded this song in 1957 and it appeared on This Is Sinatra, Volume 2.
Frank Sinatra's Top Ten Records
The bolded songs are #1 hits, their weeks at #1 in paranthesis
1940 - I'll Never Smile Again (with the Tommy Dorsey Orchestra) (12 weeks)
1940 - Trade Winds (with the Tommy Dorsey Orchestra)
1940 - Our Love Affair (with the Tommy Dorsey Orchestra)
1940 - We Three (My Echo, My Shadow, And Me) (with the Tommy Dorsey Orchestra)
1941 - Star Dust (with the Tommy Dorsey Orchestra)
1941 - Oh, Look At Me Now (with the Tommy Dorsey Orchestra)
1941 - Dolores (with the Tommy Dorsey Orchestra) (1 week)
1941 - Do I Worry? (with the Tommy Dorsey Orchestra)
1941 - Everything Happens To Me (with the Tommy Dorsey Orchestra)
1941 - This Love Of Mine (with the Tommy Dorsey Orchestra)
1941 - Two In Love (with the Tommy Dorsey Orchestra)
1942 - How About You? (with the Tommy Dorsey Orchestra)
1942 - Just As Though You Were Here (with the Tommy Dorsey Orchestra)
1942 - Take Me (with the Tommy Dorsey Orchestra)
1942 - Daybreak (with the Tommy Dorsey Orchestra)
1942 - There Are Such Things (with the Tommy Dorsey Orchestra) (6 weeks)
1943 - It Started All Over Again (with the Tommy Dorsey Orchestra)
1943 - In The Blue Of The Evening (with the Tommy Dorsey Orchestra) (3 weeks)
1943 - It's Always You (with the Tommy Dorsey Orchestra)
1943 - All Or Nothing At All (with Harry James & His Orchestra, recorded in '39) (2 weeks)
1943 - You'll Never Know
1943 - Close To You
1943 - Sunday, Monday, Or Always
1943 - People Will Say We're In Love
1944 - I Couldn't Sleep A Wink Last Night
1944 - I'll Be Seeing You (with the Tommy Dorsey Orchestra)
1944 - White Christmas
1945 - Saturday Night (Is The Loneliest Night Of The Week)
1945 - I Dream Of You
1945 - Dream
1945 - I Should Care
1945 - If I Loved You
1945 - You'll Never Walk Alone
1945 - Don't Forget Tonight Tomorrow
1945 - Nancy With The Laughing Face
1945 - White Christmas
1946 - Oh! What It Seemed To Be (8 weeks)
1946 - Day By Day
1946 - They Say It's Wonderful
1946 - All Through The Day
1946 - Five Minutes More (4 weeks)
1946 - The Coffee Song
1946 - The Things We Said Last Summer
1946 - September Song
1946 - White Christmas
1947 - That's How Much I Love You
1947 - I Believe
1947 - Mam'selle (1 week)
1947 - So Far
1948 - Nature Boy
1949 - Some Enchanted Evening
1949 - The Hucklebuck
1949 - Don't Cry Joe (Let Her Go, Let Her Go, Let Her Go)
1950 - Chattanoogie Shoe Shine Boy
1950 - Goodnight, Irene
1950 - Nevertheless
1951 - Castle Rock (with Harry James & His Orchestra)
1953 - I'm Walking Behind You
1954 - Young At Heart
1954 - Three Coins In a Fountain
1955 - Learnin' The Blues (2 weeks)
1955 - Love And Marriage
1955 - (Love Is) The Tender Trap
1956 - Hey! Jealous Lover
1957 - All The Way
1958 - Witchcraft
1966 - Strangers In The Night (1 week)
1966 - That's Life
1967 - Something Stupid (with Nancy Sinatra) (4 weeks)
Activities
MY WAY: A MUSICAL TRIBUTE TO FRANK SINATRA is a musical revue. If you were to put together a musical revue based on a current, popular singer, who would choose? Write a press release for your musical revue. Look in the News-Journal for ads for Seaside Music Theater's production of My Way. Design an ad for your revue.
Go to the library and find various recordings made by Frank Sinatra. How is his singing and musical style different from today's singers? How are they the same?
Interview a person or several people who were big fans of Frank Sinatra. Write a story about your findings.
Sinatra was from Hoboken, New Jersey, lived in Los Angeles and Las Vegas. Find those cities on a map or atlas. Sinatra's father emigrated from Agregento on the island of Sicily, while his mother came from Genoa, Italy. Find those locations on the map. How far did Sinatra's parents travel before relocating in Hoboken, New Jersey?
Bibliography
Erenberg, Lewis A. Swingin' the Dream. Chicago, The University of Chicago Press, 1998.
Friedwald, Will. Sinatra! The Song Is You. New York: Scribner & Sons, 1995.
Gregory, Hugh. A Century of Pop. Chicago: A Cappella Books, 1998.
Schuller, Gunther. The Swing Era. Oxford : Oxford University Press, 1989.
Stowe, David W. Swing Changes. Cambridge: Harvard University Press, 1994.
Whitburn, Joel. Pop Memories 1890-1955. Menomonee Falls, WI: Record Research Books, 1986.
Whitcomb, Ian. After The Ball: Pop Music From Rags To Rock. New York: Simon And Schuster, 1972.
Yanow, Scott. Swing. San Francisco : Miller Freeman Books, 2000.
Especially for Students...
In live theatre, unlike movies and television, the actors can hear (and often see) you as easily as you can hear and see them. If you comment out loud at a live show, or read or eat, you disturb not only other members of the audience but also the people on stage, thus diminishing the performance and, ultimately, your enjoyment of it.
This doesn't mean you have to remain silent. Actors want you to respond with laughter and applause; but such responses should always be genuine and appropriate to the moment. Such inconsiderate behavior as shouting, catcalling or sustained whispering, even during blackouts, can ruin the concentration of actors and audience members alike. And throwing paper or objects of any kind towards the stage is not only rude, it's also extremely dangerous to the performers.
In the event of any student misbehavior, the relevant school will be contacted and its principal informed.
We want you to enjoy your visit to Seaside Music Theater, and we rely on you to exercise your common sense and mature judgment. Thank you for being a valuable part of our audience this season.