L.A. Is My Lady [Gatefold Cover]
1. L.A. Is My Lady
2. The Best Of Everything
3. How Do You Keep The Music Playing?
4. Teach Me Tonight
5. It's All Right With Me
6. Mack The Knife
7. Until The Real Thing Comes Along
8. Stormy Weather
9. If I Should Lose You
10. A Hundred Years From Today
11. After You've Gone
For The Record
. . . my favorite, 'After You've Gone'–Frank Foster's chart is a screamer. Check out the trumpet's last note. It's a high A. The voice of Mack the Knife was done by bassist Major 'Mule' Holley.
'Q' did a nifty thing; he put FS with some new (to him) and slightly off-the-wall extremely talented arrangers: Sam Nestico, Frank Foster. Plus Torrie Zito and Joe Parnello (Pop's conductor). The title song was arranged by Dave Matthews, Jerry Hey, Torrie Zito, and Quincy–who also co-wrote the song with his wife Peggy Lipton, and Alan and Marilyn Bergman.
This project was a real family affair, and a true labor of love for Quincy–who is probably the sweetest man this side of heaven. I asked 'Q' to tell me about the making of L.A. Is My Lady.
Quincy Jones: 'It's been a long time since I worked like this ["live" sessions] 'cause I go with 24 tracks, overdubbing this, stacking that–and it takes you three weeks a tune.
'It started when The Man came into my office at ten minutes after two, came straight in, opened his briefcase and took out his songs. When he walked out at four o'clock we had rehearsed, set twelve keys, and routined ten songs. An hour and fifty minutes–there's not too many singers who can do that!
'When we recorded at A&M in New York, I called the orchestra for three hours before. We rehearsed and set the balance. He came in at seven o'clock and so help me God, at eight twenty-eight he went home. We had done four songs.
'The musicians . . . when they saw how quickly he recorded, they freaked out. But I knew after twenty-three years of working with him that the best thing to do was to have all of our stuff together, because many times Frank gives a great take and the orchestra hasn't even started yet. They can't catch up with him.
'Frank told me that night, "I can't believe that for forty-nine years I've been coming in, wasting my time, listening to a trumpet player ask an alto sax player, 'Do you have a G-natural in bar 59?'" He said, "This is wonderful!"
'All he had to do was call a number and we'd go straight to the first take. The musicians were like groupies, they were just listening to every note he sang.'
In answer to my question, 'Why has Dad survived where others haven't?' 'Q' said, 'God can't waste his time giving everybody something unique or original, so he just picked a few people. He picked a Louis Armstrong, he picked a Duke Ellington, he picked a Frank Sinatra, he picked a Michael Jackson. There's very few people who get that. You're talking about big stuff now. . . . And on top of it, Frank took the gift and developed it to its ultimate.
'He knows when to do his homework too. And he picks the right songs. Taste is one of the key words. Taste and style . . . I mean, the way he phrases . . . It freaks me, Nancy.'
From Nancy Sinatra's Book: Frank Sinatra: My Father
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