Of all my Aunt's recordings, I get so lost in this one and have for years. So many great singers recorded this Fran Landesman' classic. My friend Chris Jackson, a playwrite, also from St. Louis, did Fran homage in his original musical "St. Louis Trolley Car Musical." He was referring to their iconic club, "Crystal Palace" in Gaslight Square where June held forth for a week in 1962. These are great memories, perhaps quaint and provincial, but mine to cherish, none-the-less. I still think June's is right up there with the finest.
Now, that was FABULOUS!!! I heard her staying close to the melody--not excessive bending of the notes. And her timbre is still distinctive. Beautiful. Thanks. Hotandsweaty for posting this.
There are quite a few versions of this unusual and difficult to sing song. Versions by Ella and Barbara, who are both excellent singers (I have a number of 33 albums by both) just do not capture the melancholy that IS this song like June does here. Carmen comes the closest and does a version with more verses than June -- some quite interesting. I also feel that the lyrics of this song are for a woman and not a man. None of the other singers have Pete Rugolo doing the arrangement and conducting.
As for the best instrumental version of this song, I prefer the Stan Gets version that was recorded in 1963. If you listen closely, it is very clear (IMHO) that Stan definitely listened to June's version (recorded in about 1955) before his sax 'sang' the music of this song. (Have to admit that I did not find the Julie London version, will keep looking.)
From Wikipedia: June Christy (1925 – 1990), born Shirley Luster, was an American singer, known for her sweet, velvet-smooth vocals and for her work in the cool jazz genre. Her success as a singer began with The Stan Kenton Orchestra. From 1954 on, she pursued a solo career. At her death, she was hailed as "one of the finest and most neglected singers of her time."
This video is the first time I have ever seen her name.
June may be among the most underrated jazz singers. Her vulnerability in her phrasing was exquisite, and nobody knew how to showcase it better than Pete Rugolo. His arrangements and conducting are peerless.