A companion site to 'The Vintage Bandstand,' this is a series of brief posts about all kinds of good jazz, written and published by Anton Garcia-Fernandez in Martin, Tennessee, U.S.A.
Singer Frank D'Rone is perhaps one of the most obscure but definitely one of the most swinging vocalists of the 1950s and '60s. When he passed away in 2013 at age 81, his obituary in the Chicago Tribune noted that on the day he gave his last concert, he "didn't know whether he should go to the emergency room or the concert hall." Such was D'Rone's devotion to music. Born in Massachusetts in 1932 but raised in Rhode Island, D'Rone developed an early interest in the guitar, and by the early '50s he was making a name for himself in jazz clubs around Chicago, both as a singer and as a guitarist. Nat King Cole was particularly impressed by D'Rone's musicianship, to such an extent that he took the younger singer under his wing and helped him get a recording contract with Mercury.
In his book Jazz Singing, critic Will Friedwald observes that "D'Rone has a forties-type voice . . . in a fifties Capitol F[rank] S[inatra] setting . . . and generates genuine warmth" (331). This Sinatra connection is particularly evident in the album After the Ball, recorded in 1960, partly because the vivacious arrangements are by Billy May. The twelve songs on the LP are loosely tied by the concept of an imaginary conversation between two lovers who have just attended a dance. Perhaps not enough to speak of a concept album in the strict sense of the term, but the set works extremely well because both the songs and the charts are top notch, and the tracks range from a high-octane swinging reading of an old chestnut like Charles K. Harris's "After the Ball" to versions of well-known standards such as "My Melancholy Baby" and Cole Porter's "You'd Be So Nice to Come Home to," and even more contemporary tunes like Bart Howard's "Let Me Love You" and Matt Dennis's excellent "Will You Still Be Mine." Whether he's singing an all-out swinger or a longing ballad, the warmth of D'Rone's voice shines through as he, according to the anonymous liner notes, "re-lives the whole early-morning romance vocally." This is most definitely an album in need of rediscovery, and so is the name on its cover—Frank D'Rone.
This year marks the centennial of Ella Fitzgerald's birthday, so it's the perfect time to celebrate her vast musical legacy and an amazing career that spanned several decades. While in this celebratory mood, Verve just released a 4-CD set entitled 100 Songs for a Centennial, which offers a good cross-section of recordings from two important periods of her career—her associations with Decca and Verve. The sides Fitzgerald cut for Decca in the 1940s and '50s, after the years she spent with Chick Webb in the '30s, cemented her reputation as a top-notch jazz and pop singer and gave her the chance to record with other great names like Louis Jordan or the Ink Spots. It was also while at Decca that she made her beautiful intimate recordings with pianist Ellis Larkins that can be found on the Pure Ella CD. Whereas at Decca she concentrated on singles, after signing with Norman Granz's Verve Records in the mid-'50s, Fitzgerald switched her primary interest to albums, and it was then that she began her acclaimed series of songbooks devoted to some of the greatest American composers, such as Cole Porter, the Gershwins, Irving Berlin, Johnny Mercer, Duke Ellington, and co. During this very successful period, she also had plenty of time to record thematic albums with top arrangers like Nelson Riddle and Frank DeVol, as well as cutting some classic live LPs. While 100 Songs for a Centennial doesn't span her whole career, it's still interesting because it features some of Fitzgerald's most enduring recordings, all collected in one place.
In 1960, a seemingly unlikely musical collaboration took place as rocker-turned-swinger Bobby Darin and ace singer-songwriter Johnny Mercer entered the Atlantic studios to make an album together, with arranger Billy May at the helm. The result, released as Two of a Kind, was indeed unique and showcased the mutual understanding between both artists, who were clearly having lots of fun going through some Mercer classics and a few lesser-known songs that hark back to the 1920s. I already wrote about this LP several years ago, here, but now the Omnivore label has reissued the original album along with a few unreleased outtakes that provide a glimpse into these incredibly charming, fun sessions, full of swing and camaraderie. The sound is fantastic, and this reissue is recommendable even for those who may already have the album on CD without the bonus tracks.
The Stockholm-based label Fog Arts continues with the digital reissue of albums by the pianist Jan Lundgren (and others) that have been out of print for a while. On May 5 they made available for download and for streaming on all major services a recording that Lundgren and his trio (Mattias Svensson on bass and Morten Lund on drums) cut for Sittel back in 2003. Originally released both as Svenska Landskap and Landscapes, it's yet another masterful melding of jazz and Scandinavian folk music in the mold of the highly successful Swedish Standards. The concept here is clear—a collection of mostly traditional tunes culled from the different geographic areas of Sweden and transformed by the trio's personal jazzy sensibility and Lundgren's flair for melodies that are sometimes swift and lilting and sometimes pensive and introspective. The arrangements are at once respectful with tradition, imaginative, and sensitive, and besides a couple of Lundgren originals ("Småland" and "Blekinge") that blend in perfectly with the overall mood of the album, there's also one selection by the iconic 18th-century Swedish poet and composer Carl Michael Bellman and another by the highly respected Scandinavian artist Evert Taube. Anyone looking for truly beautiful jazz that incorporates both tradition and modernity need look no further. More information about Svenska Landskaphere, and of course, further interesting Fog Arts digital reissues are slated to appear in the near future, including more recordings by Lundgren, as well as a collaboration between Czech pianist Emil Viklicky and New York trumpeter Marcus Printup.
