JOHNNY MATHIS
''LET IT BE ME: MATHIS IN NASHVILLE''
2010
46:00
1 /What a Wonderful World feat: Lane Brody
Robert Thiele / George David Weiss/4:04
2 /Let It Be Me feat: Alison Krauss
Gilbert Bécaud / Mann Curtis/3:29
3 /Make the World Go Away
Hank Cochran/3:17
4 /Crazy
Willie Nelson/3:27
5 /Southern Nights
Allen Toussaint/3:33
6 /You Don't Know Me
Eddy Arnold / Cindy Walker/3:30
7 /Lovin' Arms
Tom Jans/3:06
8 /Shenandoah
Traditional/4:35
9 /We Must Be Lovin' Right
Clay Baker / Roger Brown/3:32
10 /I Can't Stop Loving You
Don Gibson/3:12
11 /Love Me Tender
Vera Matson / Elvis Presley/3:37
12 /Please Help Me, I'm Falling
Hal Blair / Donald Robertson/2:55
13 /What a Wonderful World [Christmas Version] feat: Lane Brody
Robert Thiele / George David Weiss/4:31
Accordion – Jeff Taylor
Acoustic Guitar, Banjo, Mandolin – Bryan Sutton
Arranged By, Conductor – Matthew McCauley
Backing Vocals – Jamie Babbitt, Lane Brody, Russell Terrell, Tania Hancheroff, Troy Johnson
Bass – Larry Paxton
Drums – Eddie Bayers
Electric Guitar – Brent Mason
Electric Guitar, Acoustic Guitar – John Willis
Electric Guitar, Sitar, Percussion – Fred Mollin
Fiddle, Mandolin – Stuart Duncan
Harmonica – Jim Hoke
Organ, Synthesizer – Gary Prim
Pedal Steel Guitar – Dan Dugmore (tracks: 3, 4, 10)
Pedal Steel Guitar, Resonator Guitar [Dobro] – Paul Franklin
Piano, Organ – John Jarvis
Resonator Guitar [Dobro] – Jerry Douglas (tracks: 1, 5, 7, 8, 13)
For Let It Be Me: Mathis in Nashville, Johnny assembled a handpicked group of the finest musicians in Nashville to record an album that is devoid of modern studio tricks. The tracks which include What a Wonderful World featuring Lane Brody and Let it be me featuring Alison Krauss were recorded live in the studio over the course of a week. The approach to these country standards is sympathetic to the original arrangements, the manner in which the players musically interrelate allows for a refreshing openness and transparency that supports, but never overwhelms the vocal performance. Mathis in Nashville makes the point that sometimes simplicity is the ultimate in sophistication.
Biography
by John Bush One of the last and most popular in a long line of traditional male vocalists who emerged before the rock-dominated 1960s, Johnny Mathis concentrated on romantic readings of jazz and pop standards for the ever-shrinking adult contemporary audience of the '60s and '70s. Though he debuted with a flurry of singles chart activity, Mathis later made it big in the album market, where a dozen of his LPs hit gold or platinum and over 60 made the charts. While he concentrated on theme-oriented albums of show tunes and traditional favorites during the '60s, he began incorporating soft rock by the '70s and remained a popular concert attraction well into the '90s.
Unsurprisingly, given his emphasis on long sustained notes and heavy vibrato, Mathis studied with an opera coach prior to his teenage years, and was almost lured into the profession; his other inspirations were the smoother crossover jazz vocalists of the 1940s -- Nat "King" Cole, Billy Eckstine, and Lena Horne. Mathis was an exceptional high-school athlete in San Francisco, but was wooed away from a college track scholarship and a potential spot on the Olympic squad by the chance to sing. He was signed to a management contract by club owner Helen Noga, who introduced the singer to George Avakian, jazz producer for Columbia Records. Avakian signed him and used orchestras conducted by Teo Macero, Gil Evans, and John Lewis to record Mathis' self-titled debut album in 1957. Despite the name talent and choice of standards, it was mostly ignored upon release.
Columbia A&R executive Mitch Miller -- known for his desperately pop-slanted Sing Along albums and TV show -- decided the only recourse was switching Mathis to Miller's brand of pop balladry, and the formula worked like a charm; the LP Wonderful Wonderful didn't include but was named after a Top 20 hit later in 1957, which was followed by the number five "It's Not for Me to Say" and his first number one, "Chances Are." From that point on, Johnny Mathis concentrated strictly on lush ballads for adult contemporary listeners.
Though he charted consistently, massive hit singles were rare for Johnny Mathis during the late '50s and '60s -- half of his career Top Ten output had occurred in 1957 alone -- so he chose to focus instead on the burgeoning album market, much like Frank Sinatra, his main rival during the late '50s as the most popular traditional male vocalist. Mathis moved away from show tunes and traditional pop into soft rock during the '70s, and found his second number one single, "Too Much, Too Little, Too Late," in 1978. Recorded as a duet with Deniece Williams, the single prompted Mathis to begin trying duets with a variety of partners (including Dionne Warwick, Natalie Cole, Gladys Knight, and Nana Mouskouri), though none of the singles enjoyed the success of the original.
Mathis continued to release and sell albums throughout the '90s -- his fifth decade of recording for Columbia -- and beyond, among them 1998's Because You Loved Me: Songs of Diane Warren and 2000's Mathis on Broadway. Mathis followed the Broadway album with 2002's The Christmas Album and 2005's Isn't it Romantic: The Standards Album, both of which found the iconic vocalist in fine form. In 2008, Mathis released the Walter Afanasieff-produced and arranged A Night to Remember, his first straight-ahead adult contemporary album in over a decade. Let It Be Me: Mathis in Nashville, Mathis' first full-length album of country music, appeared in September of 2010.
OFFICIAL SITE
''LET IT BE ME: MATHIS IN NASHVILLE''
2010
46:00
1 /What a Wonderful World feat: Lane Brody
Robert Thiele / George David Weiss/4:04
2 /Let It Be Me feat: Alison Krauss
Gilbert Bécaud / Mann Curtis/3:29
3 /Make the World Go Away
Hank Cochran/3:17
4 /Crazy
Willie Nelson/3:27
5 /Southern Nights
Allen Toussaint/3:33
6 /You Don't Know Me
Eddy Arnold / Cindy Walker/3:30
7 /Lovin' Arms
Tom Jans/3:06
8 /Shenandoah
Traditional/4:35
9 /We Must Be Lovin' Right
Clay Baker / Roger Brown/3:32
10 /I Can't Stop Loving You
Don Gibson/3:12
11 /Love Me Tender
Vera Matson / Elvis Presley/3:37
12 /Please Help Me, I'm Falling
Hal Blair / Donald Robertson/2:55
13 /What a Wonderful World [Christmas Version] feat: Lane Brody
Robert Thiele / George David Weiss/4:31
Accordion – Jeff Taylor
Acoustic Guitar, Banjo, Mandolin – Bryan Sutton
Arranged By, Conductor – Matthew McCauley
Backing Vocals – Jamie Babbitt, Lane Brody, Russell Terrell, Tania Hancheroff, Troy Johnson
Bass – Larry Paxton
Drums – Eddie Bayers
Electric Guitar – Brent Mason
Electric Guitar, Acoustic Guitar – John Willis
Electric Guitar, Sitar, Percussion – Fred Mollin
Fiddle, Mandolin – Stuart Duncan
Harmonica – Jim Hoke
Organ, Synthesizer – Gary Prim
Pedal Steel Guitar – Dan Dugmore (tracks: 3, 4, 10)
Pedal Steel Guitar, Resonator Guitar [Dobro] – Paul Franklin
Piano, Organ – John Jarvis
Resonator Guitar [Dobro] – Jerry Douglas (tracks: 1, 5, 7, 8, 13)
For Let It Be Me: Mathis in Nashville, Johnny assembled a handpicked group of the finest musicians in Nashville to record an album that is devoid of modern studio tricks. The tracks which include What a Wonderful World featuring Lane Brody and Let it be me featuring Alison Krauss were recorded live in the studio over the course of a week. The approach to these country standards is sympathetic to the original arrangements, the manner in which the players musically interrelate allows for a refreshing openness and transparency that supports, but never overwhelms the vocal performance. Mathis in Nashville makes the point that sometimes simplicity is the ultimate in sophistication.
Biography
by John Bush One of the last and most popular in a long line of traditional male vocalists who emerged before the rock-dominated 1960s, Johnny Mathis concentrated on romantic readings of jazz and pop standards for the ever-shrinking adult contemporary audience of the '60s and '70s. Though he debuted with a flurry of singles chart activity, Mathis later made it big in the album market, where a dozen of his LPs hit gold or platinum and over 60 made the charts. While he concentrated on theme-oriented albums of show tunes and traditional favorites during the '60s, he began incorporating soft rock by the '70s and remained a popular concert attraction well into the '90s.
Unsurprisingly, given his emphasis on long sustained notes and heavy vibrato, Mathis studied with an opera coach prior to his teenage years, and was almost lured into the profession; his other inspirations were the smoother crossover jazz vocalists of the 1940s -- Nat "King" Cole, Billy Eckstine, and Lena Horne. Mathis was an exceptional high-school athlete in San Francisco, but was wooed away from a college track scholarship and a potential spot on the Olympic squad by the chance to sing. He was signed to a management contract by club owner Helen Noga, who introduced the singer to George Avakian, jazz producer for Columbia Records. Avakian signed him and used orchestras conducted by Teo Macero, Gil Evans, and John Lewis to record Mathis' self-titled debut album in 1957. Despite the name talent and choice of standards, it was mostly ignored upon release.
Columbia A&R executive Mitch Miller -- known for his desperately pop-slanted Sing Along albums and TV show -- decided the only recourse was switching Mathis to Miller's brand of pop balladry, and the formula worked like a charm; the LP Wonderful Wonderful didn't include but was named after a Top 20 hit later in 1957, which was followed by the number five "It's Not for Me to Say" and his first number one, "Chances Are." From that point on, Johnny Mathis concentrated strictly on lush ballads for adult contemporary listeners.
Though he charted consistently, massive hit singles were rare for Johnny Mathis during the late '50s and '60s -- half of his career Top Ten output had occurred in 1957 alone -- so he chose to focus instead on the burgeoning album market, much like Frank Sinatra, his main rival during the late '50s as the most popular traditional male vocalist. Mathis moved away from show tunes and traditional pop into soft rock during the '70s, and found his second number one single, "Too Much, Too Little, Too Late," in 1978. Recorded as a duet with Deniece Williams, the single prompted Mathis to begin trying duets with a variety of partners (including Dionne Warwick, Natalie Cole, Gladys Knight, and Nana Mouskouri), though none of the singles enjoyed the success of the original.
Mathis continued to release and sell albums throughout the '90s -- his fifth decade of recording for Columbia -- and beyond, among them 1998's Because You Loved Me: Songs of Diane Warren and 2000's Mathis on Broadway. Mathis followed the Broadway album with 2002's The Christmas Album and 2005's Isn't it Romantic: The Standards Album, both of which found the iconic vocalist in fine form. In 2008, Mathis released the Walter Afanasieff-produced and arranged A Night to Remember, his first straight-ahead adult contemporary album in over a decade. Let It Be Me: Mathis in Nashville, Mathis' first full-length album of country music, appeared in September of 2010.
OFFICIAL SITE
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