Here is a link to an interview from one of my tapes!
1984 Intervieuw -LA is my Lady- WNER Tony Reno tape 873
https://we.tl/t-mHMZJkTfU5 ;
Van: eob101
Verzonden: dinsdag 22 februari 2022 20:30
Aan: sinatraphiles@xxxxxxxxxxxxx
Onderwerp: [sinatraphiles] Re: Proposed Sinatra-Lena Horne Project
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 vocal
on "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. Told
Mel 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 have
been five sessions. Frank had worked very hard learning the material and was
very excited about
the project. Problem was Lena: she kept canceling. The sessions were again
scheduled for the
same approximate dates in March. Again, Lena canceled. There were attempts to
reschedule in
June 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 some
potentially great Sinatra recordings.
Ed
