Frank Sinatra w, Duke Ellington - Francis A. Sinatra & Edward K. Ellington

A collabration of two titans...

It's an enigma for the ages how these two giants of entertainment, only managed to cross paths once for a 35 plus minute recording session during the 20th Century. What we get is a pure desert island disc. Oddly, Billy May arranges and conducts while the Duke tickles the ivory. May still manages to evoke that swaggering, cool, Ellington Big Band sound. Sinatra adapts himself perfectly to complement the Ellington sound. This meager production, remastered in 1999 of only eight well chosen songs shines in every way. For the most part the arrangements are slow, cool, and collective, featuring vivid detail in brass and highlighted soloists. Though this album is short by today's CD standards, all but the last selection are over four minutes. This allowing for more orchestra interjections than most typical Sinatra recordings. Afterall many of Ellington's Band members had been with him since 1950. They relish this occassion to share the stage with Frank, to show their stuff for this 1968 release. Only the last track "Come Back to Me" departs from the overall theme, exhibiting a little more Basie tendency. It is rare to get standards of musicianship in popular music like this. The session banter told of in the liner notes by Stan Cornyn adds to the intimacy. May 20, 2008

Great Recording

This is one of the best produced and engineered recordings of all time. Frank Sinatra never had a better produced album and as for Duke Ellington, this ranks with Money Jungle as his best in production, engineering, and music. March 9, 2008

A Solid If Somewhat Disappointing Meeting Of Two Legends.

I've noticed this album has been the subject of content amongst many Sinatra fans. The main criticism is that this album doesn't feel like the event it should've been: the greatest American pop singer meeting with jazz music's most celebrated composer.

This is true to an extent. Frank does not achieve quite the same chemistry with Ellington and his crew as he did with Basie, and he didn't even bother to record any Ellington compositions (imagine Frank singing "Take The A Train," "It Don't Mean A Thing (If It Ain't Got That Swing)," "Do Nothin' Til You Hear From Me," "Mood Indigo," "'t Get Around Much Anymore," or "I Got It Bad And That Ain't Good" with The Duke?). Because of this, Duke and his band seem more like Sinatra's personal backing band than musical co-artists.

That being said, the album is hardly a waste. In fact, the album has more than enough great material on it to justify a five star rating (although 4.5 might be more accurate).

The album's undisputed highlight would be the sublime reading of Sondheim's "All I Need Is The Girl." I cannot say enough good things about this song. Frank and Duke are in perfect synch here, the swagger of Duke's band as they blaze through Bill May's classy arrangement match Frank's finger snapping bravado perfectly. This one of Frank's finest recordings, an exciting musical masterpiece that only talent like Sinatra, Ellington and May could concoct.

Also of note is the lovely "Indian Summer." Frank's phrasing is impeccable, and the arrangement is lovely and quite haunting.

The album has some other classics worth mentioning: "Follow Me" breezes along gently, with Duke providing some excellent piano ticklings amidst Frank's relaxed and inviting vocal performance. "Yellow Days" is excellent, and the closing "Come Back To Me" is a high energy romp with Frank knocking down phrases like a bulldozer.

The rest of the uniform is certainly above average, and the sound quality and liner notes are excellent. Not quite the masterpiece it could've been, it's more than worthwhile. January 14, 2008

When Frank met the Duke

I've been playing some Ellington lately, and so decided to purchase this album, which for some reason had been missing all these years from my Sinatra collection containing most of Frank's works. I was pleasantly surprised: Frank is in fine form for this period--the late 60s--not quite the singer he was in the mid-50s when he made all those legendary albums with Nelson Riddle at Capitol-but still the best pop singer around. The Ellington orchestra still included all those virtuoso soloists who are well-showcased by Billy May's arrangements. The re-mastered sound is excellent. My favorites: Follow Me and Yellow Days. May has given Follow Me the Sinatra beat and the Ellington sound--and the result is the old swinging Frank at his best. Yellow Days is just the Master weaving his way through a lyric on the beat. Sinatra's magic, in my view, always rested in his uncannily pure expression and his melding, literally, with an orchestra. He had an incredible ear for pitch and rhythm, with impeccable timing and phrasing. My only complaint regarding this album is not enough songs--only eight. Two more-- Mood Indigo and Satin Doll come to mind--would have been nice. Maybe even another go at Lush Life, which Frank never quite recorded. But that's another story. April 12, 2007

Serene Bluesy & Still Swings At Right Places

A curious matching, 2 masters of their craft.
Sinatra in late 1967 and the Duke and his men at the later stages.If Sinatra had a cold(so they say) the singing is still good and Ellington and the band play in their grand regal fashion. Not an upbeat CD but spirited with a laid back demeanor that works in a moody way.Not exactly a "soul Call" but pretty good considering the juxtaposition of these 2 giants.Sinatra worked better with Basie which can be expected.
The material selected is generally emotional and suits them well. I get a kick out of "Sunny" and their rendition of Duke's "I Like The Sunrise".
The CD clocks in short but is an attractive package with notes and part of the Sinatra repackages.
Recommended for collectors of these collaborations. March 7, 2007

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