Nat King Cole: The Hits
The concept of a heavy pick-up arm requiring a steel needle that had to be replaced after less than a dozen playings will be almost unimaginable to younger readers, and yet that is how their grandparents accessed, for example, the first two tracks on this compilation, Unforgettable and Mona Lisa, released in 1951 and 1949 respectively on shellac 78s. Cole was only one of several male recording stars, including Bing Crosby, Frank Sinatra, Dean Martin, Mel Tormé and Perry Como, who began their careers on 78s and moved fluidly into vinyl. All of the above, like Cole himself, were prolific in both formats, and all are constantly and consistently recycled and released in collections such as this.
It’s also possible that younger readers will know Nat King Cole only as a highly popular vocalist in the mid-20th century, completely unaware of his much earlier fame as a jazz pianist. Straighten Up And Fly Right (his own 1944 composition) and Bobby Troup’s Route 66 (1946) were released by The Nat King Cole Trio (Cole, piano, Wesley Prince, bass and Oscar Moore, guitar).
Despite possessing an undeniably gorgeous set of pipes, Cole’s diction would give Mabel Mercer the vapours. Throughout his vocal career, he arguably sang “yer” and “fer” more often that he sang “you” and “for”. Nevertheless, eclectic as it is, I enjoyed this album, as will anyone who admires quality popular music.
Discography
Unforgettable; Mona Lisa; Let There Be Love; Smile; Sunday, Monday, Or Always; Nature Boy; Blame It On My Youth; Straighten Up And Fly Right; Once In A While; I Wish You Love (27.50) – The Very Thought Of You; Never Let Me Go; Walkin’ My Baby Back Home; It’s Only A Paper Moon; Pretend; When I Fall In Love; Too Young; Ramblin’ Rose; Almost Like Being In Love; Route 66 (30.40)
New Continent 101051 LP
Anthony Strong: And Then We Kiss
A little over three years ago (April, 2023) I reviewed a previous album (Easy Sailing) by Anthony Strong and I recall being disappointed by – what seemed to me – a cavalier approach to the material. I have now listened carefully to Mr. Strong’s latest album, and alas, I am unable to detect even a scintilla of difference in his approach. I’m more than happy to accept that mine is a minority opinion – common sense indicates that admirers are purchasing his albums in sufficient numbers that he sees no need/reason to change his approach, and good luck to him. It’s Not Unusual and I Don’t Care If The Sun Don’t Shine are taken at exactly the correct, jaunty tempo required, and as such cannot be faulted. The problem – for me – is that he approaches virtually all the tracks in the same way. In the theatre they have an expression to describe an actor who fails to accept the text – “He walked through it” and that, I am afraid, is how I would describe Mr. Strong on this album. Nevertheless I wish it well and hope it finds its audience.
[In the interests of accuracy, I should point out that there’s nothing cavalier about the renditions on And Then We Kiss. On the contrary, Strong and arranger Callum Au have taken care to produce a highly professional programme of standards, imaginatively rendered in various styles. For example, alongside a number of orchestral ballad arrangements (e.g., Some Enchanted Evening), Love For Sale is a Latin treatment with strong jazz solos, If You Leave Me Now and It’s Not Unusual are differently presented bossa-novas and Pennies From Heaven is a brisk swinger incorporating montuno breaks and powerful scat and piano solos from the leader. – Ed.]
Discography
Some Enchanted Evening; My Favourite Things; Love For Sale; Can’t Help Lovin’ Dat Man; If You Leave Me Now; The Things We Did Last Summer; Where Is Love; While We’re Young; It’s Not Unusual; I Don’t Care If The Sun Don’t Shine; Twilight Time; No Two People; Pennies From Heaven (47.53)
Strong (v); Parmina Beroff (v – tracks 5 and 12); Brandon Allen (ts); Nick Fitch (g); Joel Barford (d); Spencer Brown (b) with uncredited orchestra. No recording date(s) or location(s).
Guaranteed Records GR005 CD
