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Sinatra's World On A String
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| Peter Nero, left, and Steve Lippia, a Frank Sinatra tribute artist, perform at the Philly Pops’ “Celebration of Ol’ Blue Eyes” at the Kimmel Center. (Mark Garvin/Courtesy of Peter Nero and the Philly Pops) |
By Dave Allen, For The Bulletin
The Philly Pops’ “Celebration of Ol’ Blue Eyes” was more than an exercise in nostalgia. Instead of longing for the past, the concert was lively and joyful, showing the continued vibrancy of Frank Sinatra’s craft. With Steve Lippia, a top-flight Sinatra tribute artist, echoing the rich, grainy timbre of Sinatra’s voice and singing many of the Chairman of the Board’s biggest hits, the evening was a nearly note-perfect immersion in the music of a bygone era.
Most impressive throughout the evening was the control that both Mr. Lippia and Pops director Peter Nero brought to the concert. Mr. Lippia kept his sound tight and focused, and his every move — turning his head, pointing to an audience member — served the music and added to the atmosphere. Mr. Nero’s careful attention helped forge a smooth, blended sound from the Pops. Everything from the sheen of the strings, the careful shadings by the reed players and the immaculate time kept by drummer, and longtime Lippia collaborator, Dave Mancini fell into place to present Mr. Lippia’s vocals in the best possible manner.
From Mr. Lippia’s first notes in “I’ve Got the World on a String,” it was clear he has Ol’ Blue Eyes’ sound in his bones. The weight he showed in his low notes was still present at the top of the baritone range without straining or rasping. Sinatra, at his best, exhibited fine texture and remarkable flexibility, projecting like a bow against a string. Mr. Lippia brought that same heft to his performance, handling the low-register singing and tricky syncopations of “The Best is Yet to Come” and the wide leaps of “Come Fly With Me” with ease.
Throughout the first half, heads were nodding and toes tapping throughout Verizon Hall, and a chorus of hummers seated near the back of the orchestra section could hardly contain themselves. “That’s Life,” an unlikely foray into blues, received one of the evening’s warmest, most enthusiastic receptions, maybe in reaction to the song’s hard-bitten optimism. With Mr. Lippia’s easy-going delivery, the message seemed just right for the start of a new baseball season — though most in the audience would rather be back on top in October than in June.
The hall grew hushed during the tunes that showed the more introspective side of Sinatra. With Mr. Nero playing a thick but well-balanced accompaniment, Mr. Lippia gave a soulful take on “Angel Eyes.” He breathed life into what could have been a tossed-off, wispy song, toying with the lengths of vowels and adding thoughtful pauses. His resignation on the last line, “Excuse me while I disappear,” was deeply felt. Several other ballads with the full orchestra, such as “The Way You Look Tonight” and “In the Wee Small Hours of the Morning,” were similarly poignant.
The Pops’ instrumentals lacked some of the heat and tension of Mr. Lippia’s numbers, but several players took memorable turns in the spotlight, including high-voltage trumpeters Ken Brader and Bob Gravener on “Well, Git It!” and trombonist Brian Pastor on “I’m Getting Sentimental Over You.” The latter was especially notable for its spare, moody orchestration, dialing back the thick chording of some arrangements from earlier in the evening.
As the evening neared its end, Mr. Lippia remained in fine form. His version of “My Way” was stirring and resolute, though an accompanying figure in the strings and horns slid out of tune. His stage banter was humorous and unforced, filled with tales from performing in Vegas and on tour elsewhere. He injected humor into one widely-known number, at first singing “Chicago, Chicago” over what was clearly the opening vamp to “New York, New York.” The concert’s witchcraft was broken by the strains of the traditional closing march, but the evening’s cool, controlled feel was a spell everyone was happy to be under.
Dave Allen can be reached at dgallen01@gmail.com
Most impressive throughout the evening was the control that both Mr. Lippia and Pops director Peter Nero brought to the concert. Mr. Lippia kept his sound tight and focused, and his every move — turning his head, pointing to an audience member — served the music and added to the atmosphere. Mr. Nero’s careful attention helped forge a smooth, blended sound from the Pops. Everything from the sheen of the strings, the careful shadings by the reed players and the immaculate time kept by drummer, and longtime Lippia collaborator, Dave Mancini fell into place to present Mr. Lippia’s vocals in the best possible manner.
From Mr. Lippia’s first notes in “I’ve Got the World on a String,” it was clear he has Ol’ Blue Eyes’ sound in his bones. The weight he showed in his low notes was still present at the top of the baritone range without straining or rasping. Sinatra, at his best, exhibited fine texture and remarkable flexibility, projecting like a bow against a string. Mr. Lippia brought that same heft to his performance, handling the low-register singing and tricky syncopations of “The Best is Yet to Come” and the wide leaps of “Come Fly With Me” with ease.
Throughout the first half, heads were nodding and toes tapping throughout Verizon Hall, and a chorus of hummers seated near the back of the orchestra section could hardly contain themselves. “That’s Life,” an unlikely foray into blues, received one of the evening’s warmest, most enthusiastic receptions, maybe in reaction to the song’s hard-bitten optimism. With Mr. Lippia’s easy-going delivery, the message seemed just right for the start of a new baseball season — though most in the audience would rather be back on top in October than in June.
The hall grew hushed during the tunes that showed the more introspective side of Sinatra. With Mr. Nero playing a thick but well-balanced accompaniment, Mr. Lippia gave a soulful take on “Angel Eyes.” He breathed life into what could have been a tossed-off, wispy song, toying with the lengths of vowels and adding thoughtful pauses. His resignation on the last line, “Excuse me while I disappear,” was deeply felt. Several other ballads with the full orchestra, such as “The Way You Look Tonight” and “In the Wee Small Hours of the Morning,” were similarly poignant.
The Pops’ instrumentals lacked some of the heat and tension of Mr. Lippia’s numbers, but several players took memorable turns in the spotlight, including high-voltage trumpeters Ken Brader and Bob Gravener on “Well, Git It!” and trombonist Brian Pastor on “I’m Getting Sentimental Over You.” The latter was especially notable for its spare, moody orchestration, dialing back the thick chording of some arrangements from earlier in the evening.
As the evening neared its end, Mr. Lippia remained in fine form. His version of “My Way” was stirring and resolute, though an accompanying figure in the strings and horns slid out of tune. His stage banter was humorous and unforced, filled with tales from performing in Vegas and on tour elsewhere. He injected humor into one widely-known number, at first singing “Chicago, Chicago” over what was clearly the opening vamp to “New York, New York.” The concert’s witchcraft was broken by the strains of the traditional closing march, but the evening’s cool, controlled feel was a spell everyone was happy to be under.
Dave Allen can be reached at dgallen01@gmail.com
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