Back in the day all the guys I knew who frequented night clubs wanted to be like Frank Sinatra. We would exit a venue after his performance, arm in arm with our gals mimicking his swagger and trying to sing like him. I also worshiped Jack Jones, Tony Bennett, Mel Torme , Vic Damone, and all those other great male vocalists but I never left a show trying to “be them”. Sinatra appealed to everyman and we all liked to believe that in some small way we had some of him in us.
There have been lots of Sinatra type tribute shows over the years performed by many talented artists. However, the one that brings you the closest you will ever come to the man and his music was performed by Bob Anderson last night at Carnegie Hall. Backed by a 32 piece Orchestra and the original Sinatra charts supplied by Frank’s longtime music director Vincent Falcone, Sinatra and his music were on stage again. You had to remind yourself that it was really Bob Anderson and not the Chairman of The Board. To quote Tony Bennett after he was at a Bob Anderson Sinatra show…”You had me the second you walked on stage, Frank would have loved this show”
Bob Anderson’s performance paradoxically gave me a deeper appreciation of the musicianship of Frank Sinatra. Because Bob is able (as he writes about it) not to mimic Frank’s phrasing but “feel” it I was able to inhale the magic of a Sinatra live performance that I never got from recordings. Bob highlights the unique rhythmic ability Frank had in turning around the beat on a word and creating a more intense meaning to a lyric.
Bob Anderson, who also does singing impersonations of many other male vocalists is truly the best singing impersonator in the world (as his PR states}. Dean Martin critiqued, “You do me better than I do me”. He is the only one that ever attempted to impersonate my musical hero Buddy Greco, and Bob was spot on with Mr. G.
Thank you Bob Anderson for bringing Frank Sinatra back to Carnegie Hall.
My View: It’s Today! It’s Tonight! Marilyn Maye Rehearses For Her New York Pops Carnegie Hall Debut
Sometimes you have to pinch yourself at the opportunities you are presented with. TODAY would be one of those. Or as Marilyn Maye might sing to you, “It’s Today.”
This afternoon I had the privilege of witnessing the 95 year old star, rehearsing on the stage of Carnegie Hall, under the baton of Maestro Steven Reineke, in front of the mighty New York Pops Orchestra. It all happens tonight and has been a lifetime in the making. As if The New York Times piece, bylined by Melissa Errico, wasn’t enough to whet your appetite for what is sure to be a historic evening, maybe these photos will help get you even more excited. Thank you to all who made this happen for me, to present to you….Humbly Yours, Stephen
My View: Someone Named Storm Caused Lots Of Excitement In New York City Last Night
Storm Large has made a name for herself from tours with Pink Martini to orchestral appearances at Carnegie Hall to the television stage of “America’s Got Talent.” But it is with her loyal and fearless band, Le Bonheur, that she grabs audiences. by the lapels and refuses to let go. Love, Storm her new show played 54 Below last night. It’s a playlist of songs by pop luminaries, rock goddesses, and Storm’s fiery originals. There might be someone in the news with a variation of her name currently causing some political excitement, but few entertainers can create the musical excitement that exists in a Storm Large performance.
Ken Fallin’s Broadway: New York Pops and Marvelous Marilyn Maye
“The astonishing Marilyn Maye sings with the magnificent New York Pops led by Maestro Steve Reineke this Friday evening, March 24th at Carnegie Hall. They are remarkable talents and remarkable people.
Cabaret legend Marilyn Maye takes the stage with The New York Pops for a program of standards and musical theater classics that make clear why she’s been celebrated as one of America’s greatest jazz singers for more than 50 years. Hear favorites by composers who include Porter, Lerner and Loewe, Loesser, and Sondheim, as well as Maye’s special version of “Too Late Now,” which was selected by the Smithsonian Institution for its permanent collection of 20th-century recordings.
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