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L.A. Is My Lady
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Album: L.A. Is My Lady
# Song Title   Time
1)    L.A. Is My Lady
2)    Best of Everything, The
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)    Hundred Years from Today, A
11)    After You've Gone
 

Album: L.A. Is My Lady
# Song Title   Time
1)    L.A. Is My Lady
2)    Best of Everything, The
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)    Hundred Years from Today, A
11)    After You've Gone
 
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Performer Notes
  • Personnel includes: Frank Sinatra (vocals); Quincy Jones (conductor); George Benson, Lee Ritenour, Tony Mottola (guitar); Margaret Ross, Amy Sherman (harp); George Young, Frank Wess, Michael Brecker, Buddy Collette, William Green, Kim Hutchcroft, Jerome Richardson (saxophone); Alan Rubin, Lew Soloff, Jon Faddis, Oscar Brashear, Snookie Young (trumpet); Wayne Andre, Urbie Green, Dave Taylor, Lew McCreary, Bill Watrous (trombone); Peter Gordon, John Clark, David Duke, Sidney Muldrow, Henry Sigismonti (French horns); Tony Price, James Self (tuba); Bob James, Sy Johnson, Randy Kerber, Craig Huxley (keyboards); Lionel Hampton (vibraphone); Bob Crenshaw, Marcus Miller, (bass); Ndugu Chancler, John Robinson (drums); Ralph MacDonald (percussion).
  • Engineers include: Phil Ramone, Stanley Wallace, Jimmy Santis.
  • Includes original release liner notes by Stan Cornyn.
  • Personnel: George Benson , Lee Ritenour , Tony Mottola (guitar); Amy Sherman, Margaret Ross (harp); Frank Wess (saxophone, alto saxophone); Larry Williams , Frank Foster , George Young , Jerome Richardson, Kim Hutchcroft, Michael Brecker, Ronnie Cuber, William Green , Buddy Collette (saxophone); Gary Grant, Jerry Hey, Joe Newman , Jon Faddis, Alan Rubin, Lew Soloff, Oscar Brashear, Randy Brecker, Snooky Young (trumpet); David Duke , Sidney Muldrow, Henry Sigismonti, Jerry Peel, John Clark , Peter Gordon (French horn); George Bohannon, Urbie Green, Wayne Andre, Benny Powell, Bill Watrous, David Taylor , Lew McCreary, William Frank "Bill" Reichenbach Jr. (trombone); Tony Price, Jim Self (tuba); Hilary James , Randy Kerber (piano, Fender Rhodes piano, synthesizer); Joe Parnello, Sy Johnson (piano, Fender Rhodes piano); Bob James (electric piano, Fender Rhodes piano, synthesizer); Craig Huxley, Ed Walsh (synthesizer); Lionel Hampton (vibraphone); John "J.R." Robinson , Leon "Ndugu" Chancler, Steve Gadd , Irving Cottler (drums); Ralph MacDonald (percussion).
  • Audio Mixers: Jimmy Santis; Phil Ramone; Stanley Wallace.
  • Audio Remixers: Don Hahn; Elliot Scheiner.
  • Liner Note Author: Stan Cornyn.
  • Recording information: A & R Recording Studios, New York, NY (05/17/1984); A&R Studios, New York, NY (05/17/1984); Ocean Way Recording Studios, Hollywood, CA (05/17/1984); Village Recorders, Los Angeles, CA (05/17/1984).
  • Photographers: Ed Thrasher; Bill Ross ; Alan Berliner; William Warren.
  • Unknown Contributor Roles: Cliff Jones ; Ollie Cotton; Bradshaw Leigh.
  • Arrangers: Joe Parnello; Dave Matthew; David Matthews ; Frank Foster ; Jerry Hey; Quincy Jones; Sammy Nestico; Torrie Zito.
  • Over the course of his long career, Sinatra enjoyed so many comebacks that even his harshest detractors must have been able to identify his flame as impossible to extinguish. When he wanted to make a definitive recorded statement for the mid-'80s, he enlisted the aid of conductor/producer Quincy Jones, who, though he made a name for himself as a pop producer in the '70s, was equally well-versed in the classic Big Band tradition. L.A. IS MY LADY presents Jones and Sinatra working together on a combination of chestnuts like "Mack The Knife" and more contemporary tunes.
  • Though the faithful might be put off by the opening title track, which can only be described as disco Sinatra, Jones supplies a wealth of the kind of swinging Big Band arrangements that are so closely associated with Sinatra's brassy side. Tight horn section work and sparkling piano accompaniment enliven versions of "Until The Real Thing Comes Along" and "The Best Of Everything." Unique among Sinatra's recordings, this is an idiosyncratic blend of old and new.
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