RE: Sinatra

[Dick Rosenberg <rrosenberg...>]

Also some of us deliberately "schmear" notes (especially in the Klezmer 
genre) just for the effect. I particularly do this when I am playing 
Misirlou. It starts bam, bam, ba bam bam, bam bam ba baaa, ba ba ba bam 
(for you non-musicians). I am playing it on the alto sax so it is (b b, c 
d# e, f# f# g a#, g a# g, f#). On the baaa syllable, which is the note a#, 
I will always start it 1/4 tone flat and lip it up to correct pitch.

Dick

-----Original Message-----
From:   Lori Cahan-Simon [SMTP:l_cahan (at) staff(dot)chuh(dot)org]
Sent:   Tuesday, July 24, 2001 8:51 AM
To:     World music from a Jewish slant
Subject:        Re: Sinatra

I remember reading/hearing somewhere that Frank patterned his singing
after the saxophonist's style whom he worked with.  This could account
for some of his "off pitch" notes as an echo of the subtleties of the
instrument.  I know that when I sing I make use of microtonal increments
in many styles.  I believe that some of what we perceive as "off" is
intentional and blends well with the character of the music being
played.  Let us think back to the time when the klavier, for example,
was not well-tempered.

Then again, we all sing and play "clams" every now and again.  ;-)


Lorele



Lionel Mrocki & Karen Amos wrote:


David Baron wrote:

The whole point is that the human voice is not a digitally controlled
synthesizer doing Sinatra samples. There is expression, quaver, etc.,
and
this is what makes singing interesting (at least more so that hitting
MIDI
controller keys playing voice samples).

Sinatra, even in later years, was, well .... a performer who satisfied
several generations. He was a stylist. The arrangements, as opposed to
those
immitating swing and big band today (including those of Moshe Lauffer,
et
all), were impecable, never overpowering the singer. I am sick of
complaining to the sound man to turn down the band, cut the echo, so I
can
HEAR Mordechai Ben David or Avraham Fried. Such never happened with
Frankie!


I agree.  I'm no passionate follower of Frankie's, but he had something
magnetic about him personally and there was a romance and charm in his
presentation that is the envy of many.

There are countless recordings of artists where every line or every
second word has had pitch correction treatment, disguising the
deficiencies of the artist.  Somehow, when Frankie does it (misses
pitch), he gets away with it almost like his voice is on a different
plane to the accompaniment and he certainly doesn't "hold back" or lose
confidence on the next line.


I've listened to recordings of myself, and been a little surprised at
the odd "off note". Sometimes its problems with foldback, sometimes too
much mashke.


Yes, we can point the finger at Frankie, but what's the motive?


I wish I had half his natural talent!





--
Regards,


Lionel Mrocki


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