touche meaning that life by frank sinatra

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When the singer rests, then there’s a chance to write a fill that might be heard.” After all, what arranger in the world would try to fight against Sinatra’s voice? Give the singer room to breathe. Second, when he’s moving, get the hell out of the way….

First, find the peak of the song and build the whole arrangement to that peak, pacing it as he paces himself vocally. He went on: “In working out arrangements for Frank, I suppose I stuck to two main rules. Music to me is sex-it’s all tied up somehow, and the rhythm of sex is the heartbeat.” The arranger later remarked to his son, with the glimmer of a smile, “After all, what else is there?” Riddle wrote, of his work with Sinatra, “Most of our best numbers were in what I call the tempo of the heartbeat…. Once, during a marital spat, Riddle’s wife Doreen accused him of only thinking about music and sex. Two major subjects were inextricably intertwined in his mind.

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In contrast to his bandmates, who spent most of their off hours boozing and trying to get laid, Riddle devoted much of his spare time to listening to Ravel and Debussy on his portable record player.

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Though Riddle hadn’t had anything like Frank’s early success-he played third trombone for Tommy Dorsey after Sinatra’s departure-the serious-minded New Jerseyan, who grew up in Ridgewood, about 20 miles from Frank’s hometown of Hoboken, seems to have had, from the beginning, a head full of complex music and a deep ambition to hear it played and sung. This was the thunderbolt, musically speaking.įrank Sinatra had met his musical match. Sinatra had had no idea who Riddle was before their first recording session, but the moment he heard the playback of the Riddle-arranged “I’ve Got the World on a String,” he knew his life had been altered as irrevocably as it had been the first time he laid eyes on Ava Gardner.

The two had first struck gold together in April of 1953, after Capitol vice-president and creative head Alan Livingston, who felt Sinatra needed the kind of new sound that his previous arranger Axel Stordahl was unable to provide, cleverly introduced Riddle, in the guise of a substitute conductor. Still, the most important emotional connection in Frank Sinatra’s life at this time was the one between him and his new arranger at Capitol, the sublimely gifted Nelson Riddle.

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He was on the radio constantly: There was his twice-a-week, 15-minute show To Be Perfectly Frank his weekly, semi-tongue-in-cheek detective series Rocky Fortune (he would quickly tire of the program, a less than dignified vestige of his hard-luck days, and wind it up in March) and later in the year, a series for Bobbi Home Permanents called The Frank Sinatra Show. He played two two-week stands at the Sands in June and November, and did three weeks at the Copacabana over Christmas and New Years. Sinatra not only won an Academy Award in 1954, he had his biggest hit record in eight years, “Young at Heart.” He went into the recording studio 19 times in 1954, and laid down 37 tracks.

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He entered into a frenzy of personal and professional activity that would scarcely let up for the next dozen years. Now, like a king returned from exile, Frank took the world’s measure and saw that it was good. His Oscar underlined the fact that he was also a freshly viable recording artist with a new contract at Capitol Records, where he and a brilliant young arranger named Nelson Riddle had begun creating the string of groundbreaking recordings that would revolutionize popular music in the 1950s. And he had done it all in Hollywood, a ruthlessly Darwinian company town that reviles losers but has the sappiest of soft spots for a happy ending. Literally overnight-after the Academy Awards ceremony on March 25, 1954, where he won best actor in a supporting role for From Here to Eternity-Sinatra brought off the greatest comeback in show-business history. “Even Jesus couldn’t get resurrected in this town.” Maybe not, but Frank Sinatra could. “He’s a dead man,” the talent agent Irving “Swifty” Lazar declared of Frank Sinatra in 1952.

Touche meaning that life by frank sinatra