Isham Edgar Jones was an American bandleader, saxophonist and songwriter. Jones was born in Coalton, United States, to a musical and mining family, grew up in Saginaw, where he started his first band. In 1911 one of Jones's earliest compositions "On the Alamo" was published by Tell Taylor Inc. In 1915 Jones moved to Illinois, he performed at the Green Mill Gardens began playing at Fred Mann's Rainbo Gardens. Chicago remained his home until 1932, he toured England with his orchestra in 1925. In 1917, he composed the tune "We're In The Army Now" when the United States entered World War I; the same tune has been popular well again during World War II and it is played by the US Army Band. The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s, his first 26 sides, made at Rainbo Gardens, were credited to "Isham Jones' Rainbo Orchestra". By the end of 1920, the name was "Isham Jones' Orchestra", he led one of the most popular dance bands in the 1930s. His first successful recording, "Wabash Blues" written by Dave Ringle and Fred Meinken, was recorded in 1921 by "Isham Jones and his Orchestra".
This million-seller stayed for twelve weeks in the U. S. charts, six at No. 1. It was awarded a gold disc by the RIAA. Noted musicians who played in Jones's band included Louis Panico, Benny Goodman, Woody Herman, Walt Yoder, Roy Bargy. Reed virtuoso Al Gallodoro appeared with Jones in 1933, taking part in a record date October 3. From the start, his Brunswick records were popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization. From 1929 to 1932, his Brunswick recordings became more sophisticated with offbeat arrangements by Gordon Jenkins and others. During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual humorous tone to his voice, his other vocalists included Frank Sylvano, Billy Scott, Arthur Jarrett. In 1932, he added another of the band's violinists, as a frequent vocalist. In April that year, young Bing Crosby recorded two sessions with Jones's group which included "Sweet Georgia Brown".
Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "crooner" style. In August 1932, Jones signed with Victor, these records are considered among the best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was suited to Jones' band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio, they recorded "experimental" songs for RCA Victor in which Jones began to fuse jazz and early swing music. They recorded "Where?" and "What Would Happen to Me If Something Happened to You." His Victor releases had an symphonic sound with a strong use of tuba. During his Victor period, he recorded two long playing "Program Transcription" records as part of Victor's unsuccessful 33 1/3 RPM series, he stayed with Victor until July 1934. Jones's recordings during this period rivaled Paul Whiteman, Waring's Pennsylvanians, Leo Reisman and other dance orchestras as examples of the most popular dance music of the era.
Jones' Decca recordings are unfavorably compared to his Victor recordings, due to Decca's recording techniques, Decca's insisting that Jones re-record many of his Victor recordings, the apparent smaller size of his orchestra. After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Jones started a new band in 1937–38 and recorded a handful of sessions under the ARC labels: Melotone and Banner. In the 1940s, Jones resided on his poultry farm in Colorado, which he left for short tours with pickup bands, he resided in Los Angeles. He moved to Hollywood, Florida in 1955, died there of cancer in 1956, his great-nephew is the now-deceased jazz drummer Rusty Jones. Isham Jones' compositions: "We're In The Army Now" 1917 - Lyrics by Tell Taylor & Ole Olsen "You Gave Me Your Heart" Brunswick 2350-A "The Sneak!" Brunswick 2350-B "Dog on the Piano" Brunswick 2646-A "Mahsi" Brunswick 2646-B "Meet Me in Bubble Land" 1919 "On the Alamo" recorded 1922 "Swingin' Down the Lane" 1923 "I'll See You in My Dreams" 1924 "The One I Love" 1924 "It Had to Be You" 1924 "Spain" 1924 "Song of the Blues" "Not a Cloud in the Sky" 1929 "What's the Use?"
1930 "Feeling That Way" 1930 "You're Just a Dream Come True" 1931 "I Wouldn't Change You For The World" 1931 "Let That Be a Lesson to You" 1932 "I Can't Believe It's True" 1932 "One Little Word Led to Another" 1932 "The Wooden Soldier and the China Doll" 1932 "I'll Never Have to Dream Again" 1932 "Pretending You Care" 1932 "There's Nothing Left to Do But Say Goodbye" 1932 "Why Can't This Night Go On Forever?" 1932 "You've Got Me Crying Again" 1933 "Honestly" 1933 "Old Lace" 1933 "Something Seems to Tell Me" 1933 "You're We
Sinatra and Strings
Sinatra and Strings is a 1962 album by Frank Sinatra consisting of standard ballads. "I Hadn't Anyone Till You" – 3:44 "Night and Day" – 3:37 "Misty" – 2:41 "Stardust" – 2:48 "Come Rain or Come Shine" – 4:06 "It Might as Well Be Spring" – 3:15 "Prisoner of Love" – 3:50 "That's All" – 3:21 "All or Nothing at All" – 3:43 "Yesterdays" – 3:45 Bonus tracks included on the 1991 CD release: "As You Desire Me" – 2:53 "Don't Take Your Love from Me" – 4:05 Frank Sinatra - vocals Don Costa - arranger, conductor
The LP is an analog sound storage medium, a vinyl record format characterized by a speed of 33 1⁄3 rpm, a 12- or 10-inch diameter, use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few minor refinements and the important addition of stereophonic sound, it has remained the standard format for vinyl albums. At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive shellac compound, employed a much larger groove, played at 78 revolutions per minute, limiting the playing time of a 12-inch diameter record to less than five minutes per side; the new product was a 12- or 10-inch fine-grooved disc made of PVC and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the 33 1⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use by RCA Victor.
Although the LP was suited to classical music because of its extended continuous playing time, it allowed a collection of ten or more pop music recordings to be put on a single disc. Such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form; the use of the word "album" persisted for the one-disc LP equivalent. The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable; the sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches and the speed was reduced to 33 1⁄3 revolutions per minute.
Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s. Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces. By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors. Syndicated radio programming was distributed on 78 rpm discs beginning in 1928; the desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930.
Transcriptions were variously recorded inside out with an outside start. Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6; some transcriptions were recorded with a vertically modulated "dale" groove. This was found to allow deeper bass and an extension of the high-end frequency response. Neither of these was a great advantage in practice because of the limitations of AM broadcasting.
Today we can enjoy the benefits of those higher-fidelity recordings if the original radio audiences could not. Transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Beginning in the mid-1930s, one-off 16-inch 33 1⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was small, pressed discs were a more economica
Sinatra Swings is an album by Frank Sinatra, released in 1961. The album's two titles derive from the fact that Capitol thought this album titled Swing Along With Me, was so close in sound and title to Sinatra's earlier Capitol album Come Swing with Me! that the label sought, was granted, a court order requiring Reprise to change the title of this, only his second Reprise album, to Sinatra Swings. Reprise was not required to recall LPs shipped, but had to print new labels and jackets. All compact disc releases have retained the artwork with the alternate title intact, it was advertised on the record sleeve as featuring "twelve of the most uninhibited Sinatra things recorded." The tracks were conducted by Billy May and his orchestra. Sinatra had a small hit with the single Granada included on this album. "Falling in Love with Love" – 1:49 "The Curse of an Aching Heart" – 2:06 "Don't Cry, Joe" – 3:05 "Please Don't Talk About Me When I'm Gone" – 2:56 "Love Walked In" – 2:19 "Granada" – 3:38 "I Never Knew" – 2:14 "Don't Be That Way" – 2:41 "Moonlight on the Ganges" – 3:18 "It's a Wonderful World" – 2:17 "Have You Met Miss Jones?"
– 2:30 "You're Nobody till Somebody Loves You" – 4:09 Frank Sinatra - vocals Billy May - arranger, conductor
It's Always You
"It's Always You" is a song written by Jimmy Van Heusen and Johnny Burke for the 1941 film Road to Zanzibar. In the film it was sung by Bing Crosby to Dorothy Lamour, it was used in a comedy scene in the film as a quasi-requiem for Lamour's character, erroneously thought to have been killed by a leopard. The song is notable as it was the first that Crosby recorded by the Van Heusen team, they subsequently produced many hits for Crosby over the following years including the Oscar winner "Swinging on a Star". Burke had been writing for Crosby with Jimmy Monaco and it was planned that they would write the songs for "Road to Zanzibar"; however Monaco fell ill and Van Heusen replaced him. Crosby recorded the song for Decca Records for commercial release on December 3, 1940 with John Scott Trotter and his Orchestra; the success of the song was adversely affected by a strike of the broadcasting networks against ASCAP. Various recordings of the song were reissued in March 1943 when the dispute ended and the Famous Music Company, the publisher of the sheet music, launched a simultaneous drive.
The song was recorded by Frank Sinatra with the Tommy Dorsey Band on January 15, 1941 and it charted in July 1943 when it was reissued reaching the No. 3 position. Glenn Miller, Chet Baker, Vera Lynn made recordings of it too. June Christy included the song in her album Fair and Warmer! and Frank Sinatra recorded it again on May 3, 1961 and it was issued as a single by Reprise
Early life of Frank Sinatra
Francis Albert "Frank" Sinatra was born in Hoboken, New Jersey, on December 12, 1915. He grew up in a tenement with his parents. Francis Albert Sinatra was born on December 12, 1915, in an upstairs tenement at 415 Monroe Street in Hoboken, New Jersey, the only child of Italian immigrants Natalina "Dolly" Garaventa and Antonino Martino "Marty" Sinatra; the couple had eloped on Valentine's Day, 1913, were married at the city hall in Jersey City, New Jersey. Sinatra weighed 13.5 pounds at birth and had to be delivered with the aid of forceps, which caused severe scarring to his left cheek and ear, perforated his ear drum, damage that remained for life. Due to his injuries at birth, his baptism was delayed for several months. A childhood operation on his mastoid bone left major scarring on his neck, during adolescence he suffered from cystic acne that scarred his face and neck; some children called him "Scarface". Sinatra was raised Roman Catholic; when Sinatra's mother, was a child, her pretty face earned her the nickname "Dolly".
As an adult, she stood less than five feet tall and weighed 90 pounds. Sinatra biographer James Kaplan describes her as having a "politician's temperament—restless, unreflective", she was the daughter of a lithographer. Born in Genoa in northern Italy, she was brought to the United States. Dolly was influential in local Democratic Party circles, she used her knowledge of Italian dialects and fluent English to translate for immigrants during court proceedings those pertaining to requests for citizenship. This earned her the respect of local politicians, she was the first immigrant woman to hold that position in her local third ward, reliably delivered as many as six hundred votes for Democratic candidates. In 1919, she chained herself to city hall in support of the Women's suffrage movement, she worked as a midwife, earning $50 for each delivery, a fair amount of money at the time. These activities kept Dolly away from home during much of her son's childhood. Sinatra biographer Kitty Kelley claims that Dolly ran an illegal abortion service that catered to Italian Catholic girls, was so well known for this doctors referred their patients to her, for whom she would travel as far afield as Jersey City and Union City.
Sinatra's father, Antonino – a small, blue-eyed, ruddy-complexioned man – was from Lercara Friddi, near Palermo, Sicily. His parents had been vineyard cultivators, he arrived at Ellis Island with his mother and sisters in 1903, when they joined his father, Francesco Sinatra, who had immigrated to the US in 1900. Francesco worked for 17 years at the American Pencil company, which "wrecked his lungs" according to granddaughter Nancy. Antonino was a bantamweight boxer. Though a boxer, who would talk "loud and rough", he had a reserved demeanor, he retired from boxing in 1926, after having broken both wrists, found work on the docks as a boilermaker, but was soon laid off due to problems with asthma. He served with the Hoboken Fire Department for 24 years. Kaplan claims. In 1920, Prohibition of alcohol became law in the US. Dolly and Marty ran a tavern during those years, allowed to operate by local officials who refused to enforce the law. Kaplan notes the possibility that the Sinatras procured their liquor from members of the American Mafia.
They purchased the bar, which they named Marty O'Brien's, with money they borrowed from Dolly's parents. When they were busy with the tavern, Sinatra was watched by relatives and sometimes a Jewish neighbor named Mrs. Goldberg, who taught him Yiddish; when Sinatra was six, his uncle Babe, Dolly's brother, was arrested for driving a getaway car after a Railway Express truck driver was murdered. Though Dolly attended his trial daily and attempted to evoke sympathy, her brother was convicted and sentenced to prison for 15 years. Other family members had minor clashes with the law. Sinatra recalled spending time at the bar, working on his homework and singing a song on top of the player piano for spare change. During the Great Depression, Dolly provided money to her son for outings with friends, for him to buy expensive clothes, he earned pocket money by singing on street corners. Neighbors described him as the "best-dressed kid in the neighborhood" and the "richest kid on the block", aided by the fact that he was an only child, had his own bedroom.
According to Kaplan, Dolly doted on her son, but she abused him when he angered her, hitting him with small bat she kept at Marty O'Brien's. Excessively thin and small as a child and young man, Sinatra's skinny frame became a staple of his own jokes and those of the Rat Pack members during stage shows, one self-effacing joke being: "A little kid, skinny. So skinny my eyes were single file. Between those two and my belly button my old man thought I was a clarinet". Sinatra developed an interest in music big band jazz, from a young age, became addicted to listening to the radio, "entranced by the new musical and comedy routines and captivated by the huge audiences they commanded", according to biographer Chris Rojek, he began singing at a young age, sitting on top of the piano at his parent's bar in Hoboken, "Marty's O'Brien's. Dolly was not enthusiastic at the idea of her son becoming a singer, but she realized when Sinatra was as young as 11 he had something
Melvin James "Sy" Oliver was an American jazz arranger, composer and bandleader. Sy Oliver was born in Michigan, his mother was a piano teacher and his father was a multi-instrumentalist who made a name for himself demonstrating saxophones at a time that instrument was little used outside of marching bands. Oliver left home at 17 to play with Zack Whyte and his Chocolate Beau Brummels and with Alphonse Trent, he played trumpet with these bands, becoming known for his "growling" horn playing. Oliver conducted many songs for Ella Fitzgerald from her Decca years; as a composer, one of his most famous songs was "T'ain't What You Do", which he co-wrote with Trummy Young. In 1933, Oliver joined Jimmie Lunceford's band, contributing many hit arrangements for the band, including "My Blue Heaven" and "Ain't She Sweet" as well as his original composition "For Dancers Only" which in time became the band's theme song. In 1939, he became one of the first African Americans with a prominent role in a white band when he joined Tommy Dorsey as an arranger, though he ceased playing trumpet at that time.
He led the transition of the Dorsey band from Dixieland to modern big band. His joining was instrumental in Buddy Rich's decision to join Dorsey, his arrangement of "On the Sunny Side of the Street" was a big hit for Dorsey, as were his own compositions "Yes, Indeed!", "Opus One", "The Minor Is Muggin'", "Well, Git It". After leaving Dorsey, Oliver continued working as a freelance arranger and as music director for Decca Records. One of his more successful efforts as an arranger was the Frank Sinatra album I Remember Tommy, a combined tribute to their former boss. June 26, 1950, Sy Oliver and his Orchestra recorded the first American version of C'est si bon and La Vie en rose for Louis Armstrong. In 1974 he began a nightly gig with a small band at the Rainbow Room in New York, he continued that gig until 1984, with occasion time off to make festival or other dates, including at the Roseland Ballroom in New York. He retired in 1984. Oliver died in New York City at the age of 77. For Jimmie Lunceford: Stomp it Off Swingsation Lunceford Special Rhythm is Our Business For Tommy Dorsey: What Is This Thing Called Love?
Yes, Indeed! The Popular Frank Sinatra, Vol. 1, with the Pied Pipers For Ella Fitzgerald: Ella: The Legendary Decca Recordings For Louis Armstrong: Satchmo Serenades featuring "La Vie en rose", "C'est si bon" & others Caterina Valente and Sy Oliver And His Orchestra – Plenty Valence! Under his own name: Sway It with Flowers Sentimental Sy Backstage I Can Get It for You Wholesale Easy walker Take me back! Yes Indeed! Above All Swing music Sy Oliver Papers, the collection of his personal scores and papers, in the Music Division of The New York Public Library for the Performing Arts; the Sy Oliver Story, Part 1, an interview with Les Tompkins, 1974