Personnel: Frank Sinatra (vocals); Count Basie (piano); Quincy Jones (conductor); Freddie Green (guitar); Gerald Vinci, Israel Baker, Jacques Gasselin, Thelma Beach Bonnie Douglas, Marshall Sosson, Erno Neufeld, Lou Raderman, Paul Sure, James Getzoff (violins); Virginia Majewski, Paul Robyn, Alvin Dinkin, Stu Harris (violas); Edgar Lustgarten, Ann Goodman (cellos); Frank Foster, Charles Fowlkes, Marshal Royal, Frank Wess, Eric Dixon (reeds); Al Porcino, Don Rader, Wallace Davenport, Al Aarons, George Cohn, Harry "Sweets" Edison (trumpets); Henry Coker, Grover Mitchell, Bill Hughes, Henderson Chambers, Kenny Shroyer (trombones); Emil Richards (vibes); George Catlett (bass); Sonny Payne (drums).
Includes an interview with arranger/conductor Quincy Jones.
Digitally remastered by Lee Herschberg.
Conceived as a follow-up to the previous year's successful SINATRA-BASIE, IT MIGHT AS WELL BE SWING pairs Frank Sinatra with Count Basie's ever-swinging band of the early sixties. Quincy Jones handles the arranging chores this time around, providing a hard driving contrast to the light-footed, intellectual Neal Hefti, who had arranged the previous session. Song choices like "More" and "Hello Dolly" reflect the hits of the day but they receive the royal treatment anyway. "Hello Dolly" effortlessly mutates into a spirited tribute to Louis Armstrong, so its inclusion is more than justified. Sinatra even goes so far as to "challenge" Ray Charles by taking the country/ soul approach to "I Can't Stop Loving You," bringing it off in characteristic style.
Frank must have had other singers on his mind around this time, or at least their hits. He covers no less than four songs associated with Tony Bennett--"I Wanna Be Around," "Fly Me To The Moon," "The Good Life" and "The Best Is Yet To Come"--good songs all, and Sinatra's versions compare favorably with Bennett's definitive versions. The Basie band is superb of course, with Basie's piano much in evidence.