Remembering Jack Jones

Now I will make amends with two more of his LPs, sadly presented in remembrance of this talented artist, who died a few days ago at age 86. (His New York Times obituary is here.)

May is highly regarded, although I have to admit he has never been one of my favorites. Too many gimmicks, too many mannerisms for my taste.

Even so, he makes a good partner for Jones on this fine 1961 LP, most of which consists of songs oriented to the album title.

The Gershwins' title song is dispatched neatly, with Jack concluding the proceedings with a Sinatra-like "C'mon, let's dance!"

"The Spin I'm In" is an enjoyable contemporary song by Richard and Robert Sherman along with Dave Cavanaugh and May himself. This type of light material is suited to Jones' voice and approach.

Jack is back in Astaire territory with Irving Berlin's "Change Partners," which he handles with the polish of Astaire, but without his yearning quality. Jack continues on the standards track with Cole Porter's "At Long Last Love."

May pays homage to the Glenn Miller band in his chart for Jerry Gray's "A String of Pearls." (May played trumpet on the 1940 recording.) The arranger incorporates some of Bobby Hackett's famous cornet solo in his orchestrations, and even includes some of Chummy MacGregor's piano figures.

Jack sings the lyrics that Eddie DeLange later added to the tune. The lyricist put great stress on the word "Woolworth's" ("A string of pearls out of Woolworth's"), undermining the song's elegant feel.

"Takes Two to Tango" is a fun Al Hoffman-Dick Manning song first recorded, I believe, by the incomparable Pearl Bailey. Jack does not have Pearl's personality, but he does well.

The second side begins with "Dancing on the Ceiling," one of the best Rodgers and Hart songs, which had been memorably recorded by Sinatra and by Ella Fitzgerald a few years earlier. Jones was unafraid of comparisons.

We're back in Astaire territory with "Carioca," which comes from 1933's Flying Down to Rio. Next, "Ballerina," which Bob Russell and Carl Sigman wrote in 1947. The most popular version was by Vaughn Monroe. Jack is lighter toned that Monroe, helpful in this number.

Bronislaw Kaper's "Invitation" is a superior piece, with lyrics added by Paul Francis Webster. Its haunting quality (and complexity) has made it a favorite of jazz musicians. The first vocal version may have been by Jo Ann Greer with Les Brown in 1953, which I somehow missed in my post devoted to them. Jones makes light work of the melody. The song doesn't fit the "shall we dance" theme, but is welcome even so.

Bernie Hanighen and Johnny Mercer wrote "The Dixieland Band" for Benny Goodman back in 1935. It's a clever novelty, with lyrics typical of Mercer.

I mentioned that Jones was unafraid of comparisons. His final song is "The Last Dance," which Sammy Cahn and Jimmy Van Heusen wrote for Sinatra in 1959. It appeared on Frank's LP Come Dance with Me, also arranged by Billy May.

The image at top is actually the second cover for this LP. The first had Jack against a backdrop of Reynolds Wrap, as seen above. I transferred the LP from its second incarnation because my copy of that one was in stereo. The sound is vivid, although it features the exaggerated stereo separation that was in vogue back then.

The title song comes from the musical Bye Bye Birdie, where it was an ode to Conrad Birdie's id, at least in the 1960 stage production. But the film and vocalists of the time treated it as one of the positive-thinking marches that became popular in the 60s.

Jones' version, with an idiosyncratic chart by Marty Paich, is a good example of the latter kind.

The next two items are associated with Sinatra, who had a remarkable ability to make songs his own: "It's a Lonesome Old Town" and "You Make Me Feel So Young." The second song comes from one of Frank's best LPs, Songs for Swingin' Lovers. but Jack acquits himself nicely. Paich conducted the former number, Pete King the latter.

Pete King

"Swingin' through the Park" sounds like something that Frank could have recorded, but no, this relatively early song by Alan and Marilyn Bergman and Lew Spence was first done by the Polka Dots with Wally Stott. The song is just what you'd think from hearing the title, and a pleasant stroll it is, too. King conducts.

"Bye Bye Baby" is associated with Marilyn Monroe and Jane Russell, but it was first heard not in the film version of Gentlemen Prefer Blondes, but from Carol Channing in the Broadway staging. Sinatra recorded the Styne-Robin song in 1949.

"The Donkey Serenade" is associated with an earlier singer - Jack's father Allan, who recorded the song the night before his son was born. The session was on January 13, 1938; Jack took his first bow on the 14.

"I Love Paris" comes from Cole Porter's Can-Can score. Much of the song is oddly dirge-like, I suppose to set off the soaring "I love Paris every moment" and what follows.

"When I Take My Sugar to Tea" is a 1931 pop song that has been revived periodically by such as Nat Cole and Bing, and just the year before by Sinatra.

Jack as a Cockney?

The West End yielded "Big Time," which Lionel Bart wrote for the musical dramedy Fings Ain't Wot They Used T'Be. There was a cast album that did not include this piece, but it did appear on a "songs from" LP with popular artists of the day. There it was alloted to Adam Faith, backed by John Barry. Jones' version (issued as a single as well) may have been the only other recording. The song was apparently supposed to be a climactic moment, and Jones' passionate reading, hugely abetted by a riff-happy Billy May chart, is most impressive. That said, Jones' nice-guy persona does undercut the menace implicit in the lyrics - "gonna use my wits, 'stead of just my mitts," etc. Visualizing Jack as a Teddy Boy takes some imagination.

Lew Spence returns with "Me and My Big Ideas," an obscure tune he wrote with lyricist Jerry Gladstone, I believe. It may be unknown, but it's accomplished, and it suits Jones beautifully. An effective Pete King chart, too.

Ollie Jones composed songs for many famed artists, including "Send for Me" for Nat Cole. "When a Man Cries" is less noted, but not unworthy of a listen in the version by Jones and Marty Paich.

Yip Harburg and Vernon Duke's"I Like the Likes of You" is certainly well known, and it brings this varied LP to a satisfying close. Pete King conducts.