On this occasion, I think Mr Rich had a point. LA is My Lady was the last full
conventional studio project of FS’s career - and yet it sounds one of the most
dated. I have a hunch it’s a fate that would not have befallen the Rich
project.
-Vance I wanted to comment on the change in Frank's range by 1983.
Susan Birkenhead told me she was thrilled with the Sinatra vocalon "Hey Look,
No Crying." Jule Styne did essentially the same key that Frank used in the
1960s. So when Susan did "It's Sunday," the key stayed the same. Frank lowered
it a full tone for the February 83 session. She was disappointed and surprised.
I agree regarding the Rich band. Frank sounded great with them in
1984. Rich always had an exciting sound.Ed
On Tue, 22 Feb 2022 at 17:02, eob101 <dmarc-noreply@xxxxxxxxxxxxx> wrote:
Thanks Ed. How fascinating to see these very detailed project notes. I wonder
what the original songs were? I also notice FS had lowered the keys on some of
his catalogue(e.g in ‘68 he recorded My Way in D major and had dropped a whole
tone by ‘83).
Also, looking at the personnel and some of the songs it seems that LA Is My
Lady wound up being Quincy’s consolation prize after failing to get these two
titans together.
-Vance "L.A. Is My Lady" was originally a project with the Buddy
Rich Band. Jones convinced Frank to go the all-star jazz route.Rich was
furious. He turned down the offer to play drums on the album. Jonathan told me
Buddy had lunch with Mel Torme. ToldMel that Frank had a Julius Caesar complex.
I think he meant Napoleonic. Ed
On Tue, 22 Feb 2022 at 16:18, eob101 <dmarc-noreply@xxxxxxxxxxxxx> wrote:
note: The project with Lena was tentatively set for February 21 thru 26, 1983.
There would havebeen five sessions. Frank had worked very hard learning the
material and was very excited aboutthe project. Problem was Lena: she kept
canceling. The sessions were again scheduled for thesame approximate dates in
March. Again, Lena canceled. There were attempts to reschedule inJune and
finally in September. I have an interview Sinatra did with W.B. Williams in
December 83,and he was still hoping the project could be done. Jonathan
Schwartz had dinner with Quincy Jones,in Washington, D.C. in 1990. Jones told
him that the project never happened because Lena was intimidated by the idea of
recording with Frank. Jonathan called me afterward, because we had discussed
the different rumors as to why the sessions were never done. We missed out on
somepotentially great Sinatra recordings.Ed
