Frank Sinatra’s move to Capitol Records in 1952 marked a pivotal moment in his career, ushering in an era of artistic reinvention and unparalleled musical collaboration. This period saw Sinatra move beyond his “bobbysoxer” image to cultivate a more sophisticated, jazz-tinged vocal style, a transformation that was deeply intertwined with the talents of the Hollywood String Quartet and the author’s own family.
The Slatkin Family and Sinatra’s Inner Circle
The author’s parents, Felix Slatkin and Eleanor Aller, were not merely musicians; they were prominent figures in the Hollywood studio system, holding principal positions at major studios. Felix, as concertmaster at Twentieth Century Fox, and Eleanor, as principal cellist at Warner Brothers, were among the elite musicians whose artistry shaped the sound of countless films. Their pre-existing relationship with Sinatra, whom the author fondly recalls as “Uncle Frank,” provided a unique window into the crooner’s world. Sinatra’s interest in classical music, evidenced by his conducting of an Alec Wilder album, suggested a musical understanding that went beyond mere popular appeal.
Reinvention at Capitol Records
Sinatra’s signing with Capitol Records in 1952 was a strategic move, offering him artistic freedom and the opportunity to collaborate with a roster of esteemed artists. His aim was to retain his existing fanbase while attracting a new audience appreciative of nuanced listening. This transition was facilitated by the exceptional talent pool at Capitol, including producers, engineers, arrangers, and musicians. The emergence of West Coast jazz also played a role, influencing the evolving landscape of popular music.
Nelson Riddle became Sinatra’s primary arranger during this period, forming a legendary partnership. The author’s parents, deeply respected by Sinatra, were among the first to recognize the potential of this collaboration. The Hollywood String Quartet, which Felix and Eleanor were part of since 1947, had already established itself as a world-class ensemble, their recordings receiving critical acclaim. Their integration into Sinatra’s Capitol sessions was a natural progression, as Sinatra frequently invited them to his home to rehearse and even sing lullabies to the author and his brother.
Musical Collaboration and Personal Moments
Sinatra’s early Capitol recordings, such as Songs for Young Lovers and Swing Easy, featured the Hollywood String Quartet prominently, alongside wind instruments. These sessions marked the beginning of deeper personal connections, with the Slatkins visiting Sinatra at his home and on the road. The author recounts vivid memories of these occasions, including meeting celebrities like Danny Kaye and Lauren Bacall, and experiencing Sinatra’s generous hospitality, even receiving one of his paintings as a gift. Visits to Palm Springs and Las Vegas offered further glimpses into Sinatra’s life, from discovering candid photographs to enduring a severe sunburn, for which Sinatra promptly arranged medical attention. The author also recalls childhood visits to Las Vegas, where Sinatra performed at the Desert Inn, and the unique experience of being allowed to play the slot machines despite being underage.
The Capitol Tower and Artistic Evolution
The construction of the Capitol Tower in 1954 symbolized Capitol Records’ growth. This new facility housed recording studios, though initially not ideal for large orchestras. Notably, the first album recorded in the new building featured Sinatra not as a vocalist, but as a conductor, leading the Hollywood String Quartet in orchestral works for the album Tone Poems of Color. While not a commercial success, the album showcased an intriguing concept.
Despite architectural innovations, the acoustics of the Capitol Tower presented challenges, later addressed by the installation of echo chambers. It was within these improved studios that Sinatra recorded Close to You, an album born from the friendship between Sinatra and the Slatkins. Intended to feature Sinatra with the Hollywood String Quartet, the album’s arrangements were carefully crafted, with the addition of woodwinds and harp for greater variety. While critically praised and later acquiring cult status, Close to You achieved lower sales than Sinatra’s more upbeat recordings of the era.
Sinatra’s Enduring Vocal Qualities
Sinatra’s distinctive vocal talent stemmed from several key attributes: impeccable intonation, a profound understanding of lyrical meaning, and a unique temporal quality in his delivery. This latter characteristic, described as a sense of time standing still, allowed him to imbue ballads with a profound emotional resonance, exemplified in performances like the one found in this video.
The Hollywood String Quartet’s Later Years and Legacy
By 1957, the music industry was undergoing significant changes with the advent of stereo technology and shifts in corporate ownership. EMI’s acquisition of Capitol’s classical division led to the difficult decision to prioritize the London-based Amadeus Quartet over the Hollywood String Quartet, effectively disbanding the latter. This occurred despite the quartet’s recent triumph at the Edinburgh Festival, where their performances of Beethoven’s late quartets garnered significant acclaim and a Grammy Award in 1958.
Felix Slatkin’s Conducting Career and Sinatra’s Support
As the Hollywood String Quartet dissolved, Felix Slatkin’s conducting career flourished, particularly with his recordings with the Hollywood Bowl Symphony Orchestra. Sinatra recognized Slatkin’s talent, entrusting him with conducting duties for recordings like Only the Lonely when Nelson Riddle was unavailable. This collaboration led to Slatkin becoming the de facto conductor for several of Sinatra’s albums.
Reprise Records and Enduring Friendships
As Sinatra’s tenure with Capitol Records concluded, he founded his own label, Reprise Records, bringing in new talent and artists. Felix Slatkin continued to work with Sinatra, even appearing on some Reprise singles. While Sinatra offered Slatkin the musical directorship of Reprise, Slatkin accepted a similar offer from Liberty Records, seeking greater opportunities in producing, arranging, and conducting his own orchestra. Sinatra understood this decision and continued to utilize Slatkin’s services when possible, while Eleanor Slatkin remained a consistent presence in Sinatra’s recording sessions.
A Lasting Bond
The friendship between the Sinatra and Slatkin families endured through personal milestones, including Sinatra’s involvement in a pre-inaugural gala for John F. Kennedy in 1961, where Felix and Eleanor served as concertmaster and principal cellist. Following Felix Slatkin’s untimely death in 1963, Sinatra remained a pillar of support, delivering a eulogy at his memorial service. He also persuaded Eleanor Slatkin to return to recording for his album The Concert Sinatra, which many consider his finest for Reprise.
The author, Leonard Slatkin, eventually pursued his own conducting career, inspired by his father. Though a planned concert with Sinatra never materialized, their connection persisted, notably when Ava Gardner, Sinatra’s former wife, attended one of Slatkin’s London performances with his mother. Frank Sinatra Jr. also maintained contact with the Slatkin family.
The legacy of both families is preserved in their enduring recordings and the testament to their unbreakable friendship and consummate musicianship. The music of Sinatra and the Hollywood String Quartet, deeply ingrained in the author’s youth, serves as a reminder of a time when artistic merit transcended genre boundaries, forging a bond between two families through the power of music and friendship.
“If you knew the joy you bring How my hungry heart would sing If only we could be close to you.” —“Close to You,” lyrics by Al Hoffman