This album is dedicated to Bill Sensenbrenner (1954-2021) with whom I shared 33 years and who brought his own special music into my life. “Truly, I had a love.”
Album Credits
- Arrangements and Musical Direction by Kathleen Landis
- Produced by Kurt Peterson and Kathleen Landis
- Associate Producer Claire-Frances Sullivan
- Recorded, mixed, and mastered by David Kowalski at Teaneck Studios, Teaneck, New Jersey
- Photography by Bill Westmoreland
Track List
- But Beautiful
- I’ll Be Easy to Find
- Let’s Fall in Love
- It’s a New World
- I Didn’t Know What Time It Was
- Embraceable You
- Lazy Afternoon
- Corcovado
- Sleepy Man
- The Twelfth of Never
- Whistling Away the Dark
- No One Ever Tells You
- Unusual Way (In a Very Unusual Way)
- A Certain Smile
- Hello, Young Lovers
- Some Other Time
Musicians
- Lloyd Altman – Cello
- Jack Bashkow – Clarinet, Alto Flute, Flute, Saxophone
- Peter Calo – Guitar
- Aaron Heick – Oboe
- Jim Hynes – Flugelhorn, Trumpet
- Tom Kirchmer – Bass
- Kathleen Landis – Piano
- Boots Maleson – Bass
- Gary Schreiner – Accordion, Harmonica
- Andrea Valentini – Drums
Reviews
“As evident on this album, Frank Dain knows how to get his audience’s attention and hold it. First, it’s that voice with his warm and tender baritone. It welcomes you and brings you in. Then there’s his phrasing and his storytelling that holds you as you take this journey with him. Yes, it is all here and it’s all about love… the story, the glory, the passion, the pain, and the endless dedication. Yes, it’s all about love!” — David Kenney, Host, Everything Old Is New Again
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“Frank Dain lets his deepest emotions flow freely through 16 love songs on I’ve Had a Love, his second album, which is dedicated to his late husband Bill Sensenbrenner. Dain, editor of Cabaret Scenes Magazine, expresses exquisite passion in the songs he sings—and for the partner he loved, who died in 2021—in a fully realized tribute, using his deeply resonant baritone to get to the essence of each selection.
The themes of love and loss are clearly evident throughout the 53-minute CD, particularly on its simplest cut, “A Certain Smile” (Paul Francis Webster/Sammy Fain), in which a listener hears Dain’s deepest feelings coming to the surface. While most of the CD’s songs include backing from four or five instruments, “A Certain Smile” uses only piano accompaniment. Here it’s a Fender Rhodes piano, which produces a variety of sounds and features Dain’s longtime musical collaborator Kathleen Landis on keys.
Dain’s emotions are particularly on display during “(In a Very) Unusual Way” (Maury Yeston), where one can almost hear a tear in his voice, and in “Sleepy Man” (Alfred Uhry/Robert Waldman, from The Robber Bridegroom). Here, Gary Schreiner’s harmonica adding poignance to the tender vocal.
The CD makes effective use of several musicians, who set up a variety of moods in their individual introductions for each song, including Schreiner on accordion during Dain’s haunting reading of “Whistling Away the Dark” (Johnny Mercer/Henry Mancini), Jack Bashkow on saxophone on the bluesy “No One Ever Tells You” (Carroll Coates/Hub Atwood), and Peter Calo on guitar during Dain’s tender take on “It’s a New World” (Ira Gershwin/Harold Arlen).
Other selections include Dain’s warm, passionate “Embraceable You” (George and Ira Gershwin), a mellifluous “But Beautiful” (Johnny Burke/Jimmy Van Heusen), a bright “Let’s Fall in Love” (Ted Koehler/Arlen), and a joyous “Hello, Young Lovers” (Rodgers & Hammerstein).
The CD ends on a note of hope with the sublime “Some Other Time” (Leonard Bernstein/Betty Comden & Adolph Green).” — Elliot Zwiebach, Cabaret Scenes
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Veteran musician Frank Dain is of a romantic generation. His style (jazzy piano, wire brushes on snares, and subtle sax and trumpet behind his seasoned, delicate vocals) boasts confidence and distinction. His music soothes—if Dain tucked me into bed and sang “I’ll Be Easy to Find,” I have no doubt that my dream would be happily reminiscent of You’ve Got Mail. His tracks “No One Ever Tells You” and “Some Other Time” evoke the same wistful longing. Though timelessly beautiful, the songs are not an everyday listen, in fact, they’re more suited for when the credits roll in a ‘90s rom-com—and that’s not a bad thing! — Ruby Risch, Music Connection
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Singer Frank Dain’s romantic new album, I’ve Had a Love, aptly released on February 14, is the perfect soundtrack for anyone who has “loved and lost” and wants to spend some alone time wallowing in cherished memories. An astutely-curated collection of 16 amorous songs from the Broadway, Hollywood, and pop-music worlds, Dain’s recording allows one to revisit feelings of passion and togetherness, yet with no bittersweet sting. And that’s because of his remarkably comforting voice. His vocals feel like strong, steady hands holding onto your heart, and guiding you along this love-filled journey.
Dain’s voice is husky, breathy, sometimes gravelly, and often unadornedly conversational. Yet here’s a remarkable honesty to his sound. I don’t know the man, but from the personality of his voice one imagines him to be wise, kind, and truthful. One feels safe in his vocal presence, and happy to linger there while he extracts deep, yet straightforwardly presented, emotions from the true-love lyrics of these affecting songs.
It’s impossible to resist the emotionality of such romantic standards as “Embraceable You” (George and Ira Gershwin), “The Twelfth of Never” (Jerry Livingston/Paul Francis Webster), “Hello, Young Lovers” (Richard Rogers/Oscar Hammerstein II), or “It’s a New World” (Harold Arlen/Ira Gershwin)—that paean to fresh love introduced by Judy Garland in the 1954 film A Star is Born. Dain sings them all with endearing warmth.
Yet my three favorite selections are Dain’s renditions of a swinging version of “I Didn’t Know What Time It Was” (Richard Rodgers/Lorenz Hart) from the 1939 Broadway show Too Many Girls; “Unusual Way” (Maury Yeston), a song from the 1982 Broadway musical Nine that Dain sings with a vulnerability that moved me almost to tears; and “Lazy Afternoon” (John Latouche/Jerome Moross). Judging from how lovingly Dain’s voice caresses the lusciously-long sustained notes of the “Lazy Afternoon” melody, I’m inclined to think this may be one of his favorites as well, as it’s clear he adores singing it.
The album’s most emotionally rich tracks come at the beginning and the end. Both leisurely paced, “But Beautiful” (Jimmy Van Heusen/Johnny Burke), a song from 1947’s Road to Rio film, and “I’ll Be Easy to Find” (Bart Howard), open the album with slowly-delivered, wide-open expressiveness, signaling the long trail of impassioned music to come. And the sadly sentimental “Some Other Time” (Leonard Bernstein/Betty Comden and Adolph Green), from Broadway’s 1944 musical On the Town, closes the album with the heart-rending suggestion that, though it’s time for us to part, perhaps “we’ll catch up” in the future.
Dain’s vocals are supported throughout by musical director and pianist Kathleen Landis’s ambitious, multi-instrumental arrangements. It seems her clever strategy was, for each song, to choose and feature a musical instrument whose particular tone color matches that of the song’s overall mood. I really enjoyed this approach, as it entertainingly provokes our ears to appreciate how an instrument’s distinct timbre can underline the dramatic qualities of a lyric and tune. The album abounds with fine examples of this. Bouncing, guitar phrases (played by Peter Calo) set the tone of “Let’s Fall in Love” (Harold Arlen/Ted Koehler), a playful number from the eponymous 1933 film. Gary Schreiner’s lulling harmonica conjures a Southern country sensibility for “Sleepy Man” (Robert Waldman/Alfred Uhry), a folksy, heart-warmer from the Eudora Welty novella-inspired musical The Robber Bridegroom. And Schreiner’s plaintive accordion passages establish the haunting tone of “Whistling Away the Dark” (Henry Mancini/Johnny Mercer) which, despite Dain’s moving interpretation, will be—in my ear— forever associated with Julie Andrews’s impeccable voicing of it on the big screen in Darling Lili (1970). The bold incorporation of Jack Bashkow’s slick saxophone drives the bluesy feel of “No One Ever Tells You” (Hub Atwood/Carroll Coates). Yet most magical to me is how satisfyingly the tiny marimba-like sounds of Landis—on a Fender Rhodes piano—partner with Dain’s burly voice to set the tender tone of “A Certain Smile” (Sammy Fain/Paul Francis Webster), the 1958 movie’s title song. — Lisa Jo Sagolla, BistroAwards.com
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| Conversational in approach, gentle of voice and persona, Frank Dain’s singing about being in love avoids blatant blasts of exultation and tearful histrionics. The roller coaster ride that romance can be isn’t always a top-speed, clamorous trip over the highs and lows. Does this give you the impression that his album, I’ve Had a Love, presents a casual, dispassionate, or guarded guy? No, you don’t understand. It’s quite the opposite. The voice may be light, but emotion is decidedly heavy in the air. The musical dress code: Wearing his heart on his sleeve. Unfussy, uncluttered, straightforward vocal lines along the landscape of a No-Belting Zone are balanced (some might think upstaged at times) by the strong musicians in the busier arrangements, doing the heavy lifting in creating drama and movement. Pianist/ musical director Kathleen Landis is joined by several instrumentalists–not the same complement of players on each track–some of whom have been members of Broadway pit orchestras (Jim Hynes is on flugelhorn, Aaron Heick plays oboe, Peter Calo is the guitarist, Jack Baskow multi-tasks with sax, clarinet and flute). There’s a sense of respect for the lyrics and melody lines of the standard songs and their proven impact over the decades, via numerous singers’ recordings and live performances. The vocalist is seemingly living in the songs, rather than reinventing them or coloring outside the lines much. Phrasing is not wildly inventive, but involved–seemingly deliberate without feeling labored. Diction is notably attentive; final consonants are crisp. Favored in the repertoire choices are non-jaded attitudes, lingering looks at loving through appreciative, glowing eyes. This kind of intoxication and contentment are captured in the readings of two Ira Gershwin lyrics: “Embraceable You” (from the 1930 musical Girl Crazy, melody by brother George) and “A New World” (music by Harold Arlen, from the 1954 film A Star Is Born). Two souvenirs of Frank Dain’s cabaret show from several years ago, featuring hits of Johnny Mathis, are highlights on the recording: “The Twelfth of Never” and “A Certain Smile.” In his impressive handling of the latter, he finds real depth and bittersweet reflections in what could seem to be more confectionary. Some oh-so-serious numbers on the ballad-heavy I’ve Had a Love have more vibrato than verve in the vocals. At times, a listener may want to metaphorically light a fire under the performer to ratchet up the oomph factor. It does arrive (but all too briefly) via the vitality in the lively “Let’s Fall in Love.” One creative twist on that number is employing the introductory verse not only in its spot at the beginning, but returning to it, in whole or in part, in other places. (Unfortunately, the worthy and charming intro verses written to set up some of the set’s other standards aren’t heard.) The build-up of bitterness in “No One Ever Tells You” offers welcome variety. Much of the rest of the 16-track trip through the tunnel of love lingers in the languid lane, a place and pace where the importance of being earnest might be overestimated. While there are advantages to the album’s sequencing of the selections to trace the trajectory of true love chronologically (wishing for it, finding it, reveling in it, and losing it), this plan has its downside, too. It makes for a mid-way marathon of mega-mellow numbers. Any one of these cozy gems would be effectively relaxing between mid-tempo tunes, but clumped together it’s arguably too much of a sweetly suspended-in-time trio (“Lazy Afternoon” from The Golden Apple, the bossa nova “Corcovado” with its English lyric known as “Quiet Nights of Quiet Stars,” and then the lovely lullaby “Sleepy Man” from The Robber Bridegroom). Depending on the choices of love songs and how singers and musicians guide us through them, we can feel like we’re floating on air, traipsing through tough terrain, or navigating a slippery slope. I’ve Had a Love‘s mature but lovestruck compromise keeps our feet on the ground, but we’re not gliding as if on ice, nor stuck in quicksand, but trudging along on something that gives way a little bit–like sand on the beach. Liner notes by Miss Landis describe the collaboration of developing the moods and arrangements, bit by bit, from conception, options, changes, and negotiations with the singer. Although he performs live on occasion, often on a bill with other singers in New York City, Frank Dain records even less frequently; this release is a belated follow-up to his debut album from twenty-four years ago! However, he has long been the busy bee behind the scenes of cabaret as editor/writer for the magazine Cabaret Scenes and its online version, arms of The American Songbook Association for which he has other duties. On Mondays in July and August he’s a judge in the singing competition at the Manhattan nightclub Don’t Tell Mama.
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