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Paul McCartney: All the Best! by Paul McCartney
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Choose Store. No one could get to Nelson. He really belonged to Frank," Keely explained. She enjoyed a strong professional relationship and per-sonal friendship with Sinatra and greatly respected his melding of artistic and com-mercial success. And Frank, in turn, clearly admired Keely.
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As soon as her contractual obligation to Dot ended in late , he brought her to Reprise. In January , at Frank's suggestion, Keely entered a New York studio to record a single with one of his new "favorite" arranger-producers: Don Costa.
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That non-LP single is included here in stereo for the first time, having been restored from the original masters. Costa's work with Sinatra had made him a star. A gifted guitarist, Don — like Nelson Riddle — was multi-faceted, and could weave virtually any musical spell his client desired. Sinatra and Costa's Reprise LP Sinatra and Strings was immediately recognized as one of the singer's finest; the musical canvas Costa painted was forlorn, atmospheric, and thrilling It marked Keely's first full-fledged Reprise album - and the first major project for her own company, Keely Records.
The LP represented an artistic reinvention - a chance for Keely to show-case her solo prowess on a dozen classic and contemporary standards. Strikingly di-verse, the "double 'A' side" concept album featured two front covers and the best of all musical worlds. Nelson Riddle was a perfect choice for this album. Her timing is impeccable; she lin-gers without dwelling, flirting with the lyric and giving each word precisely the weight it deserves While he'd previously arranged and recorded many of the songs on Little Girl Blue with other vocalists, Riddle devised vastly differ-ent musical settings for Keely's versions.
All the hallmarks of the Riddle style are there: the sinewy, melodic bass trombone lines, the effortless ebb and flow of the strings, the relentless driving of the drums, the taste-ful use of percussion and woodwinds, and Nelson's exquisite use of the harp. It's the way the arranger employs these sounds that separates Keely's orchestrations from his others. A perfect illustration of this is the ultra-romantic harp introduction for "Gone with the Wind.
The flip side of the album - Little Girl New - offers a vibrant program of contempo-rary songs brimming with optimism and vitality, opening with "I'm Gonna Live Till I Die. The brass bites, the reeds sting, and unre-strained sax and trombone solos offer the perfect backing for Keely's high-intensity vocal. With this album, Keely and Nelson sought to present a program rich with contrast and dichotomy. Daring at the time, the concept could have easily failed.
Sings the John Lennon-Paul McCartney Songbook