Over
the past few years the millions of Nat King Cole fans in the United States
have come to realize that they must share their favorite singer with people in
many parts of the world, especially with their friendly Spanish-speaking
neighbors to the South. And the overwhelming success of his two previous albums
recorded in Latin America furnishes more than
ample proof that Nat’s wonderfully warm singing style is every bit as appealing
in Spanish as it is in English. Maybe that’s because the smooth, naturally
romantic voice of Nat Cole lends itself so perfectly to a love song, and the
language of love is indeed a universal one. Here, in answer to countless
requests for more “Cole Español”, Nat applies his charm, his voice, and his
Spanish to another fine assortment of ballads and folk songs, aided by the
arrangements of Ralph Carmichael and some of Mexico’s top musicians and singers.
Most of the songs were done with strings and full orchestral accompaniment,
while a mellow marimba ensemble provided the backgrounds for “Las Chiapanecas”
and “Vaya Con Dios”. And on three numbers, including the rousing favorite “Guadalajara”,
Nat was assisted by the delightful singing and playing of one of Mexico’s
foremost Mariachi bands. The recording was done in Mexico City, and among the enthusiastic
spectators and admirers present was Nat’s good friend, the famed Latin singing
idol Lucho Gatica. In tribute to their friendship, Nat included his version of
“No Me Platiques”, a lovely ballad first made popular by Lucho several years
ago.
"More Cole Español" was
Nat King Cole's third album of songs sung in Spanish, following "Cole Español" (1958) and "A Mis Amigos" (1959). Recorded in Mexico City with Mexican singers and
musicians, but arranged and conducted by Ralph Carmichael, the collection
demonstrated that Cole had made significant advances as a singer in Spanish in
a few years. "Cole Español" had found him providing tentative, phonetically
learned syllables over pre-recorded tracks imported from Cuba, giving
him the sound of someone trying to avoid making mistakes. "A Mis Amigos", cut in
Rio de Janeiro during the South American tour promoting "Cole Español", was
better, but still not a truly complete fit for Cole. He still didn't sound like
he always knew what he was singing, and he still seemed to be working on his
pronunciation, but on this "More Cole Español" he was clearly having a lot more fun.
In part, this had to be because the arrangements were more rhythmic and
uptempo, and Cole must have been taking enthusiasm from the Mexican musicians
who accompanied him. And he must have been more familiar with material that
included crossover hits like "Vaya con Dios." Whatever the reasons, "More Cole Español" was his most successful effort at making music for fans south
of the border. (William Ruhlmann in AllMusic)
In any language the warm voice of Nat King Cole adds special appeal to any song. These tunes are well-loved Latin favorites recorded during Nat’s tour that extended throughout most of Latin America, and he sings them in Spanish and Portuguese. Some of them are already well-known in the United States too, and Nat hopes that his friends everywhere will enjoy them.The accompaniments include a large and beautiful string section in some selections, and feature excellent brass accents throughout. Also accompanying Nat in some tunes are favorite Brazilian singing stars: Sylvia Telles, and the Trio Irakitan. (from the original liner notes – see back cover).
Lado A da edição brasileira
Sempre, depois de uma agradável visita – da qual guardamos uma belíssima lembrança – é costume enviar-se uma carta agradecendo pela hospitalidade e atenção recebidas. Esta colecção de canções de Nat King Cole é precisamente isso: a expressão do seu agradecimento aos inúmeros amigos e admiradores que o acolheram durante sua recente tournée pelos países da América Latina. Estas canções foram gravadas nos estúdios da Odeon, no Rio, com magníficas orquestras sob a direção de Dave Cavanaugh, da Capitol, a quem se devem também os arranjos. Cantadas em português e espanhol, são a prova evidente de que é fácil reconhecer a interpretação sincera de um artista consumado, pois o incomparável estilo de Nat transpõe as barreiras do idioma. O título deste novo LP de Nat King Cole, “A Meus Amigos”, é bem adequado. Onde quer que ele se apresente é aceite como embaixador da amizade e da arte. Que a sua tournée obteve um êxito ressonante foi demonstrado pelo facto de que em todas as cidades onde esteve foi cercado por multidões que o aclamaram entusiasticamente. No Brasil foi convidado a cantar para o Presidente Kubitchek. Mais do que a apresentação pura e simples de números musicais, este punhado de canções constitui um agradecimento caloroso aos vários amigos que fez para si e para o seu país. Estas melodias são ao mesmo tempo presente musical e um gesto de boa vontade e apresentação continental. Como diz Nat: «Só com música não se pode governar o mundo; porém, dá-se aos povos uma oportunidade de esquecer as diferenças que separam os países»
Nat King Cole
addressed his growing international following with this "Cole Español", on which he
sang in Spanish. Although he did not speak the language, he learned the song
lyrics phonetically. Nine of the 11 selections had backing tracks recorded by
conductor Armando Romeu, Jr., in Havana, Cuba, in February 1958, with Cole
adding his vocals in Hollywood in June. The other two, "Cachito" and
"Noche de Ronda," were cut with Hispanic musicians in Hollywood under
the direction of Capitol Records' Dave Cavanaugh. The tunes were a mixed bag of
Latin standards including Mexican mariachi music ("Adelita") and even
the Italian "Arrivederci Roma" (sung in Spanish), and Cole's vocals
were augmented by the Rivero Quartet and other uncredited singers. While that
no doubt was intended to shore up his tentative performances, it actually
showed him up, as the native Spanish singers offered a painful contrast to his
own pedestrian readings of words he did not understand and pronounced with no
flair. (On one track, "Tú, Mi Delirio," he abandoned the microphone
for the piano to delightful effect.) Cole's singing voice was as smooth and
attractive as ever, which must have helped, though, and the album's sales - it
reached the Top 20 in the U.S. and was a big hit internationally - indicated
that Spanish-speaking audiences were flattered that an American singer would
try so hard to communicate with them in their own language.
Original Released on - 10" LP Capitol H-357 (US, 1952) - 12" LP Capitol T-357 (US, 1955)
“Unforgettable” may well be Nat King Cole’s signature song. And no doubt that it is a true classic and one of the most famous melodies of all time. Ironically, when the single first came out in 1951, it didn’t reach the Top Ten. The album "Unforgettable" is the first Nat King Cole compilation released by Capitol Records (1952). In the early days of vinyl, LPs were used to gather a group of an artist’s singles and release them in one handy package. "Unforgettable"was one such release. Packed with hits, the record proved to be one of Cole’s most resilient. The original release featured only eight songs (see the back cover), almost all of which were bona fide hits. The tunes resembled a period of transition for Nat King Cole, as he was moving from the Nat Cole Trio into solo territory. The songs reflect this transition well and serve as one of the essential recordings of the soulfully smooth baritone. Headed off by “Unforgettable”, this compilation is filled with memories. “(I Love You) For Sentimental Reasons” is a familiar track to anyone, it was Nat’s first number one single and marks the earliest track on the record, dating back to 1946 ( it was recorded a few days after Nat had made his famous version of “The Christmas Song” with strings). Cole sings the great Irving Berlin standard “What’ll I Do?” with such stability that his recording, complete with guitar from Oscar Moore, managed to beat out Sinatra’s string-based version of the same song when the two were released at almost the exact same time. Other of my favourites are the songs “Mona Lisa” and “Too Young”. On both, the orchestral accompaniments were credit to Les Baxter. Three years later Capitol expanded the album for a 12” LP, adding more four tracks. And now, recently (2007), a Collector’s Choice Music edition added another four tracks. As with the other recordings in the collection, CCM has knowledgeably paired the bonus songs with the time period and mood of the original LP, creating a complete release worthy of the attention of any music collector. Unfortunately they mixed all the songs with no respect at all for the previous albums. Rato Records re-arranged everything, ordering the tracks the way they have appeared along the different album editions. I think it’s a better way to look and to listen to. NOTA: As capas dos discos são para a minha geração parte essencial
de um todo chamado Album. Esta capa original de "Unforgettable", por
exemplo, é uma memória bem viva da minha meninice, pois o 78 rotações já morava
lá por casa pouco tempo depois de eu ter nascido. Segundo os meus pais, desde
tenra idade que me entretinha com o manuseamento dos discos, (com alguns
acidentes de percurso pelo meio - lembro que os primeiros acetatos se quebravam
facilmente...), o que explica esta velha paixão pelos discos (nunca houve outro
objecto que ao longo dos anos me desse tanto prazer comprar). É por isso que
tenho sempre o cuidado de apresentar neste blog o produto original. Este
"Unforgettable" teve uma outra capa mais tarde, mas não a reproduzo
aqui, de modo a não adulterar o album original.
NOTE: The records sleeves are, for my
generation, an essential part of an whole thing called Album. This “Unforgettable”
original sleeve, by example, is still a very bright memory from my childhood, ‘cause
the 78 rpm version was already living in my house, a short time after I was
born. My parents always told me that in my first years I had the habit to play
with records (with some accidents, ‘cause the old acetates were very easy to
broke…), fact that explain this old passion of mine for records (there’s never
been no other object which brought me such a pleasure to buy). That’s why I
always try to present in this blog the original product. This “Unforgettable”
had another sleeve later, but I don’t want to reproduce it here, just to preserve
the original album.
Original Released on 10" LP (8 tracks) Capitol H420 (US, August 1953) and 12" LP Capitol T 420 (US, 1955)
(alternative cover)
A classic re-issue expanded from it's original form. Originally a ten inch album, four other selections were added to make it a 12 inch album. This album is one of Nat's most pleasing. Filled with standard songs that became associated with him, "Tenderly", "A Handful of Stars" and others. Nelson Riddle's great arrangements gently softens the mood and supports Nat's tender vocals perfectly. Definitely music to impress your date over dinner and cuddle! "Love Is Here to Stay" had only recently been introduced (by Gene Kelly) in "An American in Paris". Here it receives an intimate treatment somewhat reminiscent of the arrangement from the film, at least in the occasional use of brass. Nat and Nelson next gather us "A Handful of Stars". This rarely heard song is pure, blissful Nat King Cole balladry. Nat is magical at "reading" intros in song like this. They follow by a more uptempo number, "This Can't Be Love". Timing is the key to Nat's deft, yet seemingly effortless performance here. Nelson proves as adept at big band as he is with full string and band orchestra. Nelson Riddle's arrangement on "Autumn Leaves" is definitive, a fine example of 'classic pop'; simple yet elegant, and able to convey quite a range of colors and feeling. Ranging from the awesome ethereal string and horn introduction to delicate brushes, Nelson's palette of darkly golden colors and underlying drama both paint autumn in sound and compliment Nat's similar color palette and elegant warmth edged in turns with a subtly bitter sorrow. It might be of interest to vocalists and admirers that this album gives us some good examples of Nat in a vocal transition. One should consider that at this time, recording technique and technology had recently leapt into modern quality with the magnetic open reel, and this gives us much more presence and resonance, particularly in the upper and lower frequencies. Taking this into account, one can still hear the deepening of tone and raspy qualities his voice had taken on since, say, 1950. In his mature style, Nat would sing out more in longer lines when desired and make more use of contrasting a biting "attack" quality with his more common smooth, warm tones. This album catches a mid-way point slightly leaning towards his mature style. One can clearly hear examples of both his early and late voice."Let's Fall In Love" is one persuasive ballad, performed with appropriate warm affection.
"There Goes My Heart" is just as exquisite, vocally and its complimentary arrangement. It's incredible how much feeling such a plaintive, understated and undramatic reading of such a simple lyric can bring. Matching Nat's vocal is Nelson's hushed break, featuring a very warm yet soft flute-like effect. This sort of particular sound and texture requires skill and care on the part of Nelson, the musicians and the sound engineer, it is not something that happens from cookie-cutter part filling, absent readings and generic audio engineering. Yes, there really is art in the pop music here. "Dinner for One Please, James" seems a lesser tune, with some awkward lines. Working the same phrases differently within a musical structure like this would have been hard to the point of unlikely, however, so one can overlook that. It's a bit tricky in some ways, musically, but Nat and Nelson both pull it off smoothly, with the focus firmly on the wistful melancholy. It doesn't seem to be clear if that's Nat playing the brief piano spot in "Almost Like Being In Love" but just like his joyful vocal and Nelson's spunky arrangement, it's delightful, a very uplifting listen. This tune was from the broadway musical 'Brigadoon', made into a film starring Gene Kelly at about the time of this recording. It's far faster in tempo here. This song, like "Autumn Leaves", has been sung by many people. As with "Leaves", this version is by far the favorite of this writer.
"Tenderly" is not, frankly, a good song. It so happens, however, that a sympathetic performance can go a long ways in making that fact irrelevant. It never had a more sympathetic performance and setting than here. This is owing in no small part to the fact that Nat happens to be the greatest singer this writer has ever heard at "reading" a simple line with succinct effectiveness and utter sincerity. "You Stepped Out Of A Dream" was arranged by Pete Rugolo. This bouncy number has a marvelously intricate amount of contrast in the arrangement on all fronts, and Nat's deft if lighter vocal shows what a change just a couple of years had made. Last on the set is "There Will Never Be Another You". With an uncanny warm intimacy, this song exemplifies the experience Nat King Cole the vocalist could create more potently, in my opinion, than any other. But in addition to his affectionate expression, his timing between and during lines and beats is interesting, and becomes so integral to the work that when I later heard another performer try it, I was a little surprised at hearing how plain it seemed with someone else singing. It's an excellent closing tune for this set, by the way.
Once Nat 'King' Cole gave up playing piano on a regular basis and instead focused on a series of easy listening vocal albums, jazz fans longed for him to return to his first love. These 1956 studio sessions made up Cole's last jazz-oriented disc, where he played piano and sang on every number, joined by several guest soloists. Cole's vocals are impeccable and swinging, while his piano alternates between providing subdued backgrounds and light solos that don't reveal his true potential on the instrument. Willie Smith's smooth alto sax buoys the singer in the brisk take of "Just You, Just Me." Harry "Sweets" Edison's muted trumpet complements the leader in his interpretation of "Sweet Lorraine." Composer Juan Tizol's valve trombone and former Cole sideman Jack Costanzo's bongos add just the right touch to the brisk take of "Caravan." Stuff Smith's humorous, unusually understated violin is a nice touch in "When I Grow Too Old to Dream." It's hard for any Nat 'King' Cole fan to ignore these important sessions. [The original version of this release featured a dozen tracks, later expanded to 17 in the '80s with the discovery of some unreleased material. Yet another track, the alternate take of "You're Looking at Me," was also found and added to reissues beginning in the late '90s.] (Ken Dryden in AllMusic)
The Top Ten success of Nat King Cole's spring 1963 single "Those Lazy-Hazy-Crazy Days of Summer" sent him into the studio to record a complementary LP of songs that either dated back to the turn of the century or sounded like they did. Working with a big chorus and an orchestra that included such old-fashioned instruments as the banjo, arranger/conductor Ralph Carmichael accompanied Cole on period songs like "After the Ball Is Over" and "In the Good Old Summertime." In addition to its nostalgic appeal, of course, the music had much of the flavor of one of Mitch Miller's singalong records. It wasn't one of Cole's more inspired efforts, but he took to the concept with enthusiasm and produced a disc full of catchy, lighthearted performances in the same mood as the hit single. (William Ruhlmann in AllMusic)
Capitol was
moving Nat further and further away from his jazz roots, and this bothered his
hard core fans. But to the general public, they loved everything he did. This
is a case in point. It's just an album of happy sing-a-longs. The title song is
not the one that became the big hit, but the beautiful tender ballad,
"That Sunday, That Summer." Performed with with a full chorus, and
orchestra by Ralph Carmichael, this song tells the story of a man's reflection
of his favorite moment with his girlfriend. It's sentimentally sweet and Nat
delivers perfectly. The great arrangement by Carmichael
opens and closes with just the chorus wich lends a certain sweet fondness to
the story told in the song. Capitol's recorded sound is splendid. Natural and
open with Nat's voice up front and full. Good for just happy summer listening!
(in RateYourMusic)
This is a spectacularly colourful and Cole-erful all-piano instrumental album. The royal digits flash across the keyborad with more joyful abandon than in anything Cole had recorded since the 1940s. Nelson Riddle's orchestra proves to be the most perfect partner that Cole would have after Oscar Moore and Johnny Miller. In effect, PIANO STYLE is a double whammy - some of his best keyborad work and in a completely unique setting. The pianist is obviously inspired by the new format, and responds with some of his most animated and inspired playing. As Cole said at the time, «this is the first real serious piano work I've done in a long time»
Over
the past few years the millions of Nat King Cole fans in the 
