Nat King Cole - The Very Best Of Nat King Cole.rar

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\"Unforgettable\" is a popular song written by Irving Gordon. The song's original working title was \"Undeniable\"; however, the music publishing company asked Gordon to change it to \"Unforgettable\". The song was published in 1951.

his release contains two complete original albums by Nat King Cole, which exemplify the swinging spirit of his live performances with orchestral accompaniment from the late 1950s and early 1960s. 'Nat King Cole at the Sands' was recorded live in Las Vegas in 1960. Although 'Welcome to the Club' was actually a studio recording, it captures the magic of Coles voice as it sounded on the road. On this second LP, Nat is accompanied by the Count Basie orchestra (minus Basie, who couldnt sit in due to contractual reasons and was replaced by pianist Gerald Wiggins). Tracklisting: 01. Ballerina 2:30 02. Funny (Not Much) 3:29 03. The Continental 3:40 04. I Wish You Love 2:59 05. You Leave Me Breathless 2:31 06. Thou Swell 2:41 07. My Kinda Love 3:05 08. The Surrey With The Fringe On Top 2:54 09. Where Or When 3:33 10. Miss Otis Regrets (Shes Unable To Lunch Today) 4:22 11. Joe Turner Blues 5:03 12. Mr. Cole Wont Rock & Roll 7:47 13. Welcome To The Club 2:44 14. Anytime, Anyday, Anywhere 2:19 15. The Blues Dont Care 2:11 16. Mood Indigo 3:21 17. Baby, Wont You Please Come Home 2:11 18. The Late, Late Show 2:32 19. Avalon 1:45 20. Shes Funny That Way 3:02 21. I Want A Little Girl 2:49 22. Wee Baby Blues 3:16 23. Look Out For Love 1:58 24. Madrid 2:51 Total time: 75:42 min. Tracks #1-12, from the Capitol album \"Nat King Cole At The Sands\" (SMAS2434) Tracks #1-12, from the Capitol album \"Welcome To The Club\" (W1120) Personnel on \"At the Sands\": Nat King Cole (vcl & p only on #9), John Collins (g), Charlie Harris (b), Lee Young (d), and orchestra conducted by Antonio Morelli. Arrangements by Dave Cavanaugh (except #2 by Pete Rugolo, and #10, by Nelson Riddle). Recorded live at the Sands Hotel, Las Vegas, Nevada, July 14, 1960 Personnel on \"Welcome To The Club\": Nat King Cole (vcl), with The Count Basie Orchestra: John Anderson, Wendell Culley, Thad Jones, Joe Newman, Snooky Young (tp), Henry Coker, Al Grey, Benny Powell (tb), Marshall Royal, Frank Wess (as), Frank Foster, Billy Mitchell (ts), Charlie Fowlkes (bar), Gerald Wiggins (p), Freddie Green (g), Eddie Jones (b), Sonny Payne (d). Arrangements by Dave Cavanaugh. Recorded in Los Angeles, June 30 & July 1-2, 1958 Recordings produced by Dave Cavanaugh & Lee Gillette ------------------------------------------------- Reviews: -At the Sands \"A year after Nat King Cole's death, Capitol Records released this \"live\" album, recorded at the Sands Hotel in Las Vegas on January 14, 1960. There is a historical interest, in that this is the only Cole concert recording, and it's an enjoyable performance, with more up-tempo numbers than ballads and a piano solo on \"Where or When\" that demonstrates Cole had not lost his jazz chops. But Cole on-stage is not a revelatory experience, at least on this night, and like most Vegas performances, this one is a little overdone. (An arrangement of Cole Porter's \"Miss Otis Regrets\" is especially unfortunate.)\" William Ruhlmann -All Music Guide -Welcome to the Club \"As the 1950s came to a close, Nat King Cole (vocals/piano) continued creating stylish renditions of pop and jazz flavored standards. On 'Welcome to the Club' (1959) the artist teams up with Dave Cavanaugh and the Count Basie combo -- minus the maestro himself due to contractual restraints -- for one of Cole's most powerful collections supported by a big band. In fact, it is Cole's unmistakable ultra-cool intonations that flawlessly reign in the fiery -- and at times overbearing -- ensemble arrangements. Right from the start, the vocalist proves that he can swing on the refined and syncopated opening title track \"Welcome to the Club.\" Cole effortlessly bops with a beat so catchy that toe-tappin' and finger-snappin' feel practically obligatory. The bluesy \"Anytime, Anyday, Anywhere\" adopts a slightly melancholy torch feel that Cole ably milks with his unblemished and supple delivery. The same holds true for the definitive take of Duke Ellington's \"Mood Indigo.\" The number is swaddled with a suitably subdued score that Cole dutifully conveys to tremendous effect, making it one of the unmitigated zeniths of his association with Cavanaugh. While on the subject, \"Wee Baby Blues\" follows a bit later revealing another spot-on example of his expressive technique. The tempo picks back up on the rousing, well-heeled \"Late, Late Show\" that again re-establishes Nat King Cole as one of the premiere voices of mid-20th century jazz. His ability to reel off lyrics as if they were conversational is nowhere as evident as it is here. The pace picks up steam with the full-speed-ahead frenzy of \"Avalon\" and again, Cole exudes nothing but soul throughout this compact, yet unhurried rendition.\" Lindsay Planer -All Music Guide

\"It's like asking what makes Nat 'King' Cole great, you know\" he says. \"Other people sing jazz. There's no shortage of people singing the great American songbook. But there's something about Nat 'King' Cole's voice that enamored him to the public. I think it's the same thing with Luther.\"

As a recording artist, he's surprisingly adventurous, cutting a gospel album (2004's \"I Need an Angel\"), working with Jimmy Jam and Terry Lewis on 2009's \"Love Is\" and recording such unexpected covers as Kris Kristofferson's \"For the Good Times\" and Hoagy Carmichael's \"The Nearness of You.\"

\"You look at people like Frank Sinatra or the O'Jays, and they figure out a way to keep moving forward,\" Studdard says. \"Our society is so hit-driven that people think if you don't have a hit, you should stop doing what you love. Imagine if Frank Sinatra had stopped making records after he wasn't a hit in his 30s. Or after Aretha Franklin stopped having No. 1 records, if she said, 'Well, I don't want to sing anymore.' We can't fathom that happening.

Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)

Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)

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At the start of 2023, the Billboard Hot 100 is looking a hell of a lot like the 2022 version of the chart. Eight of the top ten songs this week had all previously been in the top ten at some point in 2022, showing that audiences are returning to their familiar listening habits while adjusting to the new calendar year.

The John Lennon track above is actually a work in progress called Dear John, reportedly one of the last songs Lennon was working on before his death. It's included here only because his melody and lyrics stumble into September Song mid-way through the tune, eliciting a chuckle from Lennon.

Washington Irving, the great American historian, is sitting idly at his desk in 1809 and starts to relate the story of the Dutch founding fathers of New York (then New Amsterdam) in 1647. Suddenly the Council is with us: Van Tienhoven, Van Rensselaer, Roosevelt, De Vries, Vanderbilt - all fat, self-important, corrupt (Hush-Hush) - and faintly ridiculous! They have a problem: the Governor is arriving by ship and they want a public hanging to impress him, but all the prisoners have jumped jail! The Council picks on young handsome Brom Bröck, back after an absence to see his sweetheart, Van Tienhoven's daughter Tina (It Never Was You) -he had to keep away because his aversion to taking orders from anyone always leads to trouble. Washington living, who acts like a narrator, agrees with Brom that this makes him the first fully-fledged American citizen (How Can You Tell an American). Brom reminds Van Tienhoven of his lawbreaking, but that counts as \"making accusations against the Council\", which is a hanging matter, so he must be strung up. The crowd is furious, and threatens the Councilors, but Brom convinces the Councilors that the modern way to hang is by the stomach, and when the new Governor, Peter Stuyvesant, discovers him swinging by a rope around his waist, he is delighted at Brom's cheek and pardons him. He explains his idea of an idyllic existence for all, with him as absolute dictator, and enlists Van Tienhoven as his henchman in illicit arms and liquor trade with the Indians (The One Indispensable Man). Brom and Tina seek Stuyvesant's permission to marry, but are shattered to find that Van Tienhoven has promised her to Stuyvesant who, horror of horrors, has a silver leg! Stuyves