1. #1

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    There are wonderful versions of this Bernstein-Comden-Green gem from the musical On the Town (which originated as the Leonard Bernstein ballet Fancy Free. Other Than Ol' Blue Eyes recreating it there's Bill Charlap solo version. I'll think of the CD name presently.

    This is a handwritten chart of how I envision doing it---as yet not successfully recorded or even performed. The solo vamp sections use R 5 2 voicings over an E pedal. I think it gives a bleak feeling of perhaps loneliness in a big town. The tune itself is to be played rubato, perhaps by solo guitar; solo piano or flugelhorn with rubato accompaniment...

    lonely town sheet_20170714_0001.pdf - Google Drive

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  3. #2
    The Bill Charlap rendition that inspired me to do mine---beautiful tone; pacing; feeling...


  4. #3
    Mr. Sinatra:


  5. #4
    That's a Gordon Jenkins arrangement or I quit!

    The 'weepy' strings that the prophet Jonathan Schwartz hated are a dead giveaway. (TBH I DO find it a bit over the top)...

  6. #5
    Studio recording of the same chart. Is it equally bombastic? Perhaps, but not Frank. The horns are nice and subdued, as are the string pads under the vocal. MOST of the time.

    I guess they hyped it up for TV...


  7. #6

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    Quote Originally Posted by joelf
    The Bill Charlap rendition that inspired me to do mine---beautiful tone; pacing; feeling...

    Beautiful piece, J! Consummate pianist.
    Play live . . . Marinero

  8. #7
    Probably the 2nd or 3rd cast:


  9. #8
    Quote Originally Posted by joelf
    Probably the 2nd or 3rd cast:

    Amazing that both the lyricists and Nancy Walker were in this incarnation...

  10. #9
    I guess this'll be a monologue---but others are welcome.

    I tried in my little chart to show the bleak and empty feeling loneliness can bring by using the R 5 2 vamp against the bass E then moving the chord up a 1/2 step against that same E at the intro and for solos. W/o lyrics such devices help convey the situation and writer's intent. And it makes a nice contrast with all the modulations of Bernstein's form. (Though Charlap did a superb job setting that same mood with quiet, restrained playing on those changes. He had a short intro that I think got me thinking about using 3rd and 7th-less chords).

    But the nice thing about instrumentals is that you're not telegraphing images to the listener like when they hear lyrics. That blank slate allows them to go anywhere. Just mentioning the title could create a mini-movie in their brains. Or NOT announcing it frees them even more...