THE SINATRA CHRISTMAS COLLECTION (2004)
By Mahnuel Muñoz
This album is, in some way, the reissue of another 1987 title, called “The Frank Sinatra Christmas Album“, which collected all the Christmas recordings published by the singer on the Reprise label between 1963 and 1975. The 2004 album is completed with several unreleased cuts taken from a Sinatra television special with Bing Crosby and a very emotional surprise to close the repertoire.(1)
HISTORICAL CONTEXT OF THE MATERIAL
On December 19, 1960, Frank Sinatra began recording with Reprise, his own record label. It was a brave step, considering that at Capitol he had signed his most brilliant and enduring period.
Throughout the sixties the musical landscape underwent very profound changes, reflecting the effervescent social evolution. The Beatles easily dominated the charts in those years and both the protest song and the African-American sound of the Motown label experienced their peak. Sinatra himself explored new paths, creating a very eclectic discography that ranged from the majestic orchestral sound of “Sinatra And Strings” (1962) and “The Concert Sinatra” (1963) to the minimalist avant-garde of “A Man Alone” (1969) and “Watertown” (1970).
Christmas music continued to enjoy notable acceptance, as witnessed by the success of the albums by Ray Conniff (1962), Andy Williams (1963) and Johnny Mathis (1965). Sinatra released two albums and several singles with Christmas carols.
In 1964, “12 Songs Of Christmas” was released, recorded with Bing Crosby and the musician Fred Waring, backed by his group The Pennsilvanians. In 1968, “The Sinatra Family Wishes You A Merry Christmas” hit stores, which, as its name suggests, he made with his three children. Sadly, none of these works achieved satisfactory commercial figures, as they were anachronistic for young people and, as Sinatra shared covers with other artists, perhaps they did not arouse enough interest from the singer’s most purist followers.
In the 1970s, Frank Sinatra considerably reduced his recording production in favor of touring and television appearances. Between 1971 and 1979 he only released three studio albums and one live album, in contrast to the twenty-eight LPs that bore his name in the previous decade. In 1975 he recorded two Christmas songs, sold in a single that was not received on the charts during that Christmas. Given the public’s indifference to this material, it is not surprising that Frank stopped recording Christmas carols.
But that changed in 1991 when he was invited to participate in the album “The Christmas Album… A Gift Of Hope“, produced by Michael Lloyd and intended to raise funds to benefit children’s hospitals. His contribution is the most emotional and valuable moment on the album and has made it a sought-after collector’s item.
SONGS FROM 1963 and 1964
HAVE YOURSELF A MERRY LITTLE CHRISTMAS
On October 30, 1963, Frank recorded his third version of this classic by Ralph Blane and Hugh Martin, which he had already recorded in 1947 and 1957 for his Christmas albums.
The orchestral arrangement of the piece belongs to Gil Grau (1908-1969), famous for his work on the soundtracks of “Notorious” (“Encadenados”, 1946), “Lolita” (1962) and “El dorado” (1966). It was released on a single album (with the song “How Shall I Send Thee” sung by The Lex Baxter Baladeers on the B-side) and an album titled “Frank Sinatra And His Friends Want You To Have Yourself A Merry Little Christmas“, which included interpretations by several artists from the label. Sinatra’s reading is, as in his predecessors, evocative and unforgettable (2).
For the 1964 “12 Songs Of Christmas” LP, two sessions were scheduled in Hollywood on June 16 and 19, 1964, produced by Sonny Burke. Arrangements by Nelson Riddle, Dick Reynolds, Jack Halloran and Harry Betts
GO TELL IT ON THE MOUNTAIN
This African-American spiritual finds its origin in oral tradition and was popularized by John Wesley Work Jr. (1871-1925) and the Fisk Jubilee Singers. It is a song that announces the birth of Jesus Christ. It underwent several transformations before reaching its current form; The first version printed in 1909 was titled “Christmas Plantation Song“, and the earliest recording dates back to 1941, by the African-American soprano Dorothy Maynor (1910-1996).
To date, there are more than five hundred versions, among those that stand out are those of Peter, Paul And Mary in 1963, with changes in the lyrics to support the social struggle, the Dixieland-type instrumental of The Irakli Jazz Band in 1973 and the grim reading of The Blind Boys Of Alabama with Tom Waits in 2003.
Frank’s version, sung with Bing Crosby and the Fred Waring Chorus, in an arrangement by Jack Halloran, is bright and catchy and contains some of the joyous spirit of the African-American religious musical tradition.
AN OLD FASHIONED CHRISTMAS
The songwriting duo Sammy Cahn and Jule Styne, very frequent in the Sinatra songbook, wrote this beautiful Christmas ballad for the Voice, and Nelson Riddle provided the orchestral arrangement. Its lyrics brim with longing for an old-fashioned Christmas:
“Give me an old-fashioned Christmas,
familiar faces,
wide open spaces
“Covered in snow“
Frank Sinatra outlines in his song traditional scenes that seem lost in the modern world, and in the last verse he states that “I would trade the entire Manhattan skyline, the shiny steel and chrome for an old-fashioned Christmas at home.” It is a beautiful piece, undeservedly little known.
THE LITTLE DRUMMER BOY
Some have pointed out that the origin of the piece is in a traditional Czech lullaby titled “Hajej Nynjej” (14th-16th centuries) although I don’t find any resemblance to it.
Katherine K. Davis (1892-1980) composed the song in 1941, inspired by the traditional French carol “Pat-a-pan” (17th century), not so much in its melody as in the idea of drumming for Jesus.
The first recording belongs to the famous Trapp Family and dates back to 1951, although the version that made the song famous was recorded in 1958, by The Harry Simeone Chorale. In Spain the song is known from the version by the singer Raphael, written by Manuel Clavero and published in 1965.
Frank’s reading is sober and elegant, thanks to his vocal performance and the imposing vocal arrangement (with no instrumental accompaniment other than a triangle or bell) signed by Dick Reynolds and Jack Halloran.
I HEARD THE BELLS ON CHRISTMAS DAY
This song takes its lyrics from a poem titled “Christmas Bells“, written in 1864 by Henry Wadsworth Longfellow (1807-1882).
The end of each stanza repeats the angels’ song from Luke 2:14 (“And on earth peace, good will toward men“) but the main narrative of the text is that of a person hearing bells ringing on Christmas Day. , proclaiming a message of peace, in contrast to the relentless war conflicts that plagued the earth at the time; In fact, Longfellow wrote it out of sadness for his son, seriously wounded during the Civil War.
The narrator has a moment of despair, but the bells respond with a reminder of God’s providence and justice:
“And in despair I bowed my head,
“There is no peace on earth,” I said,
Because hate is strong and mocks the song of
“Peace on earth, good will toward men.”
Then the bells rang louder and deeper:
God is not dead, nor does he sleep;
Evil will fail, good will prevail
With peace on earth, good will towards men.
Until you ring, sing your way
The world turned from night to day,
A voice, a timbre, a sublime song
Of peace on earth, good will toward men.”
The melody most associated with Longfellow‘s text is by the London organist John Baptiste Calkin (1827-1905), but Frank opted for the adaptation made by Johnny Marks in 1956 and premiered that same year by Bing Crosby.
Nelson Riddle‘s magnificent orchestral arrangement, starring the choir of voices, surrounds Frank’s voice, who gives a very emotional performance that contains all the fears of the American nation, mired in racial tensions, the counterculture and the war in Vietnam . From my point of view it is the most outstanding piece on the album, due to the perennial value of its universal message.
WE WISH YOU THE MERRIEST
The album closes euphorically with this song written in 1961 by Les Brown and launches a vibrant wish for happiness for the Christmas holidays.
The song is performed as a duet by Frank Sinatra and Bing Crosby, with the support of the voices of The Pennsylvanians; the rhythm is hard and fiery, the chorus is very catchy and can live in your head for hours; The change of rhythm in the middle of the song is surprising to adopt a waltz time and immediately resume its initial pulse and conclude spectacularly with the voices and the orchestra at the top, as in the endings of the great Hollywood musicals. It is a song that I always listen to at least twice in a row and it makes me wish that there had been a complete Sinatra and Crosby album at this time when, despite the musical changes, they were in an extraordinary moment.(3)
SONGS OF 1968
Frank recorded “Whatever Happened To Christmas?” on July 25, 1968 during the recording sessions for the album “Cycles” (1968). The rest of the songs were made on August 12, 1968. The arrangements are signed by Don Costa and Nelson Riddle, who also conducts the orchestra and choir of The Jimmy Joyce Singers, among whose members was Clark Yokum, a member of The Pied Pipers, the vocal quartet that accompanied Frank Sinatra on many of his early albums.
I WOULDN’T TRADE CHRISTMAS
Composed by Sammy Cahn and James Van Heusen and performed by Frank and his children Frank Jr., Nancy and Tina and the Jimmy Joyce Singers choir, this pleasant holiday carol speaks with humor of the things that make Christmas the time of favorite year for many people, including things like traffic jams and office drunkenness. A pleasant lightness to hear, without more
THE BELLS OF CHRISTMAS
The melody of this song is taken directly from the song “Greensleeves“.
Since its origin is a rather controversial fact, there are historical sources that claim that the composition was first recorded by Richard Jones in 1580. It was titled “A New Northern Ditty For Ye Lady Green Sleeves.” Since then it has been covered more than two thousand times, including different lyrics and approaches.
The Sinatra family shares the verses of the song, which talks about how the bells announce “the season of love.” It is written by James Van Heusen and Sammy Cahn, with beautiful orchestration by Nelson Riddle.
WHATEVER HAPPENED TO CHRISTMAS
A song composed by Jimmy Webb that moves away from the traditionally festive portrait of Christmas carols in favor of the melancholic and resigned vision of a bygone time that would not return, strongly influenced by the climate of disenchantment prevailing in the United States as the decade of the peace and love languished:
“What happened to Christmas?
He left without leaving a trace.
What happened to the faces and the glow?“
Sinatra’s intense and moving performance – which deeply moved the composer of the song – is supported by a magnificent arrangement by Don Costa and a vocal choir that accentuates the elegiac character of the piece.
THE CHRISTMAS WALTZ
Third recording that Frank Sinatra made of this song by Sammy Cahn and Jule Styne, and second with arrangements by Nelson Riddle. This arrangement is my favorite of the three, as it provides a nuance of elegance and joy in contrast to the gloomy nostalgia of Gordon Jenkins and the more generic nuance of Riddle’s first score in 1954. Frank’s voice shows the passage of time in the highest notes compared to its predecessors, but even so, I think it is the definitive reading of this wonderful composition.
THE TWELVE DAYS OF CHRISTMAS
It is a carol of English origin that details in its lyrics the gifts that the narrator receives from his loved one on the twelve days of Christmas, which according to tradition run from December 25 to January 6. The first known publications date back to 1780 and throughout history it has been associated with different melodies, but the one that is commonly used to this day comes from the arrangement of a folk tune, signed by Frederick Austin (1872-1952) in 1909.
The Sinatra version is written by Sammy Cahn and James Van Heusen and in it Frank Jr., Nancy and Tina list the sophisticated gifts they are giving to their father, who appears in the last verse reviewing all the gifts from his offspring and pretending to be out of breath while listing them. It is a more significant topic for Americans and Anglo-Saxons because it is part of their tradition, but for the rest of the listeners, due to its monotony, it perhaps deserves little more than a courtesy listen.
SONGS OF 1975
These songs were recorded in an unusual way for Frank’s customs, with the orchestra being recorded on October 15 and the voice and piano on the 24th. As you know, Sinatra always liked to record with all the musicians in the studio.
A BABY JUST LIKE YOU
John Denver and Joe Henry wrote this song at the request of Sinatra, who dedicated it to his granddaughter Angela Lambert (1974), Nancy‘s daughter. In fact, at the end of the song he mentions his name. Don Costa‘s orchestration includes a child-sounding keyboard very suitable for the intentions of the piece, whose lyrics mix nostalgia for the Christmases that Frank experienced in his childhood with the message that Jesus Christ was a baby like any other. It is an endearing song that brings out the most tender side of Sinatra.
CHRISTMAS MEMORIES
A melody composed and orchestrated by Don Costa, with lyrics by Alan and Marilyn Bergman, authors of other The Voice songs such as “Nice’n’Easy” (1960), “Sleep Warm” (1958) and “What Are You Doing The Rest Of Your Life” (1974). Typical Christmas scenes take place in it, such as “The Christmas Song” or “The Christmas Waltz.” The arrangement brings together classic elements of Christmas carols, such as jingle bells and choirs, with the contemporary touch of a subtle electric keyboard, creating a balanced and timeless ensemble that has as its golden finishing touch the warm and soft singing of the mature Sinatra.
SILENT NIGHT
In 1991, Sinatra had been away from the recording studios for three years and devoted himself entirely to his massive concerts around the world. His daughter Nancy was working on a musical project with producer Michael Lloyd, consisting of a collection of Christmas songs performed by a formidable roster of stars for an album titled “The Christmas Album…A Gift Of Hope“, the proceeds of which would go to to benefit numerous children’s hospitals in the United States. Frank did not hesitate.
On August 21, 1991 at 1 in the afternoon he entered a recording studio; The song chosen was “Silent Night“. All of you who are familiar with Sinatra’s work routine in the studio will know that this was not his preferred time to record (he preferred night sessions), and on top of that, he was not in good health. Neither of these two circumstances, however, stopped him from working his musical magic again the way he had been doing throughout his career. The fragility and vulnerability in Sinatra’s voice conveys a tenderness that warms the heart.
For the next thirteen years, “Silent Night” remained a footnote in Sinatra’s recording canon, forgotten by all but the most devoted fans. But it was too beautiful a performance to leave in hibernation.
When he was producing the compilation that is the subject of this article, Charles Pignone (vice president of Frank Sinatra Enterprises), in a passionate and even poetic gesture, summoned Johnny Mandel to commission new arrangements for the piece. Mandel had been the arranger and orchestral conductor on Sinatra’s first session for Reprise, on which the classic album “Ring-A-Ding-Ding” (1960) was recorded. So, in a way, Frank and Johnny closed a virtuous circle together.
Everyone worked with the level of dedication typical of a “real” session for Sinatra. Pignone sought the support of another longtime Frank associate, Terry Woodson, and together they assembled a group of musicians who had recorded or performed live with Sinatra. Al Viola, Ron Anthony, Chuck Berghofer, Larry Bunker and Bill Miller (this time playing celesta) were excited to participate in one last session with Frank, which took place on March 23, 2004. Al Schmitt and Frank Sinatra Junior conducted the orchestra.
LAUNCH
The album was released in October 2004 under the Reprise Records label, managing to sell almost half a million copies in the United States. In the United Kingdom, it earned a silver disc for shipping 60,000 copies. Additionally, the album spent several weeks on the album charts between December 2004 and January 2005, peaking at number 90 in the United Kingdom. The deluxe version of the album includes a DVD detailing the recording process of the 2004 version of “Silent Night“
REVIEW
The Christmas music recorded by Frank Sinatra in Reprise did not enjoy the success that the album “A Jolly Christmas From Frank Sinatra” (1957) easily obtained, but its generally good quality makes it worthy of an album that brings together that work, and it is a highly recommended title for any self-respecting Sinatra fan. The passage of time has played in favor of this material and I can even say that in my workplace in a large shopping center I hear Reprise’s carols more than their predecessors, with “A Baby Just Like You” and “Christmas Memories” standing out.
The most skeptical will not hesitate to label these types of recordings as mere marketing tools, but what do you want me to tell you? I am not a Christmas lover, but there is enough pain, hatred, selfishness and indifference in the world to be picky about the beauty that unquestionably springs from this beautiful music, which makes our imagination fly to an ideal Christmas.
GRADES
- 1) The television special “Happy Holidays With Bing And Frank” was broadcast on December 20, 1957 on the ABC network. In it, both artists sing several traditional Christmas carols and some more modern ones, individually and as a duet. The songs chosen for the compilation are “The Christmas Song”, “White Christmas” (both sung together) and “Santa Claus Is Coming To Town”, performed by Frank in an unreleased arrangement by Nelson Riddle. The song that opens the album, “I’ve Got My Love To Keep Me Warm” is not a Christmas song, but a standard composed in 1937 by Irving Berlin. This version was recorded by Frank in 1960 and is part of the album “Ring-A-Ding-Ding”, his first with Reprise, published that same year.
- (2) In reality, there are two recordings of the song dating back to 1963. The first, from July 16, in tandem with a choir of voices, was recorded for the soundtrack of the war film “The Victors” , 1963), directed by Carl Foreman. In the film, the song plays during the scene in which a deserting soldier is executed by a firing squad, creating a chilling and memorable effect.
This version was published on the album with the songs from the film, released by the Colpix label. In 2002 this version was included in the box set “Frank Sinatra In Hollywood”.
The October 30 version was made using the same orchestral track, over which Sinatra recorded his voice, with a small backing vocal. - (3) The album “12 Songs Of Christmas” was reissued on CD as part of a special edition of the compilation “Nothing But The Best” (2008).
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