Frank Sinatra: Come Rain Or Come Shine


Come Rain Or Come Shine


Frank Sinatra (vocals)


Sinatra And Strings (Reprise 27020)

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Frank Sinatra (vocals), Harry "Sweets" Edison (trumpet),

Don Costa & His Orchestra


Composed by Harold Arlen and Johnny Mercer. Arranged by Don Costa


Recorded: Los Angeles, November 22, 1961


Rating: 95/100 (learn more)

Frank Sinatra always seemed to have one foot planted in jazz and the other in pop, and there are few better examples of his straddling of genres than this classic rendition of “Come Rain Or Come Shine”. The recording starts with a string introduction which sounds fairly standard on first listening, but on re-examination, reveals considerable dips into the blues. Then Harry Edison comes in and we’re firmly in jazz territory. Sinatra’s first 8 bars are in free tempo with Edison on obbligato. Sinatra stays close to the melody here, and interprets solely with his phrasing of the words I’m gonna love you…like nobody’s loved you…come rain or come shine, but when the tempo starts in the next 8, Edison drops out and Sinatra eases into melodic variations over the orchestral background. By the next 8, Sinatra makes several changes to the melody, and adds a few incidental words: We’ll be happy together; Won’t that be just fine. Instinctively, Sinatra moves into the jazz mode when he doesn’t have a jazz musician playing behind him and veers away from it when there is one there. Don Costa’s arrangement compliments the singer’s balancing act perfectly. As Sinatra closes the first chorus, the orchestration swells and the strings play a riff that comes straight out of the vocabulary of electric blues guitar. Costa places this riff against the big band’s statement of the melody and the emotional effect is only heightened by Sinatra’s return. He is in top form, with an intense delivery of the lyric and a swaggering performance of the melody. He hits the last word as with a whiplash, and although I don’t think he hit what he aimed for, the slight imperfection speaks to the vulnerability that also lies within the lyrics of the song.

Reviewer: Thomas Cunniffe

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