Re: Sinatra

[George Robinson <GRComm...>]

Actually, it was trombonist Tommy Dorsey and what Sinatra learned from
him was breathing technique, how to sing long lines without pausing. 
Which makes good sense if you think, as many critics (myself among them)
that among Sinatra's greatest strengths was his phrasing -- so much so
that even when the intonation is less than perfect the results can be
enthralling.

George Robinson


Lori Cahan-Simon wrote:
> 
> 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
> >
> > Visit <<http://www.klezmania.com.au>> for the latest information on
> > KLEZMANIA;  Performance dates, Sound files, Photos and more.
> >
> > Visit <<http://www.alphalink.com.au/~amrocks/karenlionel.html>>
> > to see our family.
> >
> >

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"And it does no harm to repeat, as often as you can, 'Without
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