Yes, It’s His Way--but With a Twist : THE Q&A; : Frank Sinatra on ‘Duets’ and His Unlikely Partners

Frank Sinatra on the bestseller list in 1993--alongside Pearl Jam, Dr. Dre and U2?

It’s likely, thanks to a new Capitol album that features Sinatra singing new versions of 15 signature songs with some of the most respected names in contemporary pop, rock and R&B;, including Barbra Streisand, Aretha Franklin, Luther Vandross and U2’s Bono.

The lineup of songs on Sinatra’s first album in a decade--it’s titled “Duets” and is due in stores Tuesday--ranges from Cole Porter’s “I’ve Got You Under My Skin” to Johnny Mercer-Harold Arlen’s “One for My Baby.”

Responding in writing to a series of questions posed by Robert Hilburn, Sinatra, 77, reflects on the old songs, the new album and vocal partners past and present.

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Question: One of my favorite songs on the album is Porter’s “I’ve Got You Under My Skin.” Did you know him well?

Answer: He was one of the first “famous” people I ever met. I was singing at the Rustic Cabin in New Jersey and (his) “Night and Day” was a staple of the set. I sang it every chance I got. But when Porter came in with a group of society types, I started the song and went blank!

I was in awe of his talent and became so nervous at his being there I forgot the lyrics. I still cringe when I think about it. Somehow I got through the number, but I’ll never forget that feeling of complete loss.

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Q: One of the most dramatic duets on the new album is the one with Bono on “Under My Skin.” What do you think of his interpretation?

A: I’ve often said that interpretation plays a major role in the performance of a song. I’ve gotten to know Bono and his band members over the past few years when they’ve come backstage. I respect his approach to the tune. His creativeness on this one is a kick.

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Q: Let’s move on to “I’ve Got a Crush on You.” What comes to mind when you think of that song?

A: A guy with a crush has the lovely words to express his “adoration” but can’t quite verbalize his feelings to the gal. It really is quite moving, and the lush orchestration puts the touch of velvet on the piece.

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Q: Remember the live version of “Crush”--the one you did with Count Basie on the Las Vegas album?

A: Performing live is the way I like to do it--nothing beats the electricity of a hot band and interplay between audience and vocalist. That’s why when I record I try to reproduce the atmosphere of concerts as much as possible. With an orchestra and a hand-held mike. . . . It’s the way I am most comfortable.

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Q: The duet with Natalie Cole on “They Can’t Take That Away From Me” must have brought back a lot of memories about her dad. What are your feelings about Nat King Cole?

A: Nat was one of the gentlest, warmest people I’ve ever known. I enjoy listening to his music and respect his interpretation and approach to lyrics. The first thing I think a song can be judged by is not so much the lyrics, but by the interpretation and voice. That’s the first thing you notice.

If the voice, enunciation and interpretation are coarse, the rendition fails. The most beautiful lyrics and music can be done in by the vocalist’s interpretation. I’ve always enjoyed this song because of the playfulness and lyrics. It tells a lovely, bittersweet story.

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Q: What usually strikes you first about a song: lyrics or melody?

A: You can’t nail it down to either. It depends on who is doing the lyrics and music--and what the intention is. On some of the early albums at Capitol, the intention on some was to swing, on others to create a more subdued, moody piece.

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Q: Did you ever think “One for My Baby” would be such a signature song for you?

A: I’ve always considered myself a saloon singer--whether we’re in a huge arena, large theater, whatever . . . the atmosphere of a guy nursing a drink sitting in a bar can be wrenching. I suppose I’ve experienced just that scene many times and perhaps it’s why this song is so meaningful to me. Johnny Mercer, Harold Arlen and Nelson Riddle outdid themselves on this one.

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Q: Are you surprised that so many of the songs, including “Summer Wind,” have stood the test of time?

A: I’d be surprised if they weren’t around--popular American classics will always have an audience because each song is a drama in itself. They tell stories, often very poignant scenarios. Our great lyricists were able to connect with the public through their words.

They wrote about feelings we all have, and I was fortunate to have known and worked with these talented people. “Summer Wind” is a sleeper--we put it in at the end of the concerts and audiences just love it. The placement of songs in a show is very important because we want the audience to experience many emotions throughout the evening.

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Q: What is it like singing the same song at different stages in your life? Take “You Make Me Feel So Young,” for instance.

A: I’d like to think that one’s stage of life affects how most songs are performed. Interpretation of lyrics has always been very meaningful to me, but the words and intention of the lyricist is very important as well. This song may have more personal meaning as one matures, but it is an upbeat number at any age. What makes the classic songs I perform so satisfying for me is their timelessness. And every song on this album fits that bill.

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Q: You were once very critical of rock. Has your view changed over the years?

A: My initial discomfort with rock was that it contrasted with my admiration and appreciation for lyrics. There are many lovely songs written by contemporary lyricists, and we do some on the road. I grew up with the big bands--vocalists simply standing before a microphone backed by an orchestra--no fancy lighting, dance numbers or scenery. The other stuff works for some, but it’s not my bag.

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Q: What was it like working with the late Nelson Riddle? I see you are still using some of his arrangements on the new album.

A: Nelson was the best . . . he was peerless and brought a special energy and drive to our recording sessions at Capitol (in the ‘50s). I was maturing as a vocalist and Nelson built on the lower range of my voice--less crooning and more hot numbers.

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Q: Did you have a favorite duet partner in the early days? Bing Crosby? Ella Fitzgerald? Louis Armstrong?

A: Like the current album, each artist brings their own interpretation to a song and, for me, that makes it all the more interesting. I can’t say who was my favorite, but working with Ella was, and is, spinning gold. She is very, very shy, but can she vocalize!

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Q: What was your favorite moment in the studio recording the new album?

A: It wasn’t in the studio. It was when I heard the complete album for the first time. The professionalism, dedication and sheer talent of the artists chokes me up. It humbles me that they made time in their busy schedules to do the gig. Perhaps more than anything, though, I see this record as a tribute to Nelson Riddle, Sammy Cahn, Harold Arlen, Johnny Mercer, Don Costa, Jimmy Van Heusen, Cy Coleman--there’s not enough space for me to mention them all. I know, and they know, wherever they are, that without them I would not be where I am today.*