Bandstand Christmas Essentials 1: Dean Martin's A Winter Romance

The holiday season is upon us again, and if last year we published an article on the Christmas recordings of Bing Crosby, Frank Sinatra, and Dick Haymes, three voices that are essential when it comes to providing melodies for this "most wonderful time of the year," we are now beginning a new series of posts that will hopefully become a Vintage Bandstand tradition. Entitled Bandstand Christmas Essentials, these brief reviews of holiday albums will only be published every month of December. And the first installment spotlights one of my favorite seasonal albums—Dean Martin's A Winter Romance.

Although Dean Martin recorded several Christmas songs throughout his long and successful career (as evidenced by the many anthologies of that type of material currently on the market), as well as a fine full-fledged holiday album for Reprise in 1966, it is his seasonal offering, A Winter Romance, that I would like to spotlight this year. And this is, indeed, a "seasonal" LP in the full sense of the word, for as its very title suggests, this 1959 Capitol gem is a collection of winter-themed tunes that inevitably includes a few Christmas songs, although Martin wisely stays away from traditional carols, which would not have suited the general atmosphere of the disc. Just looking briefly at the cover, it seems rather obvious that it was never anyone's intention to create a Christmas album here. The setting is a mountain ski resort, with lots of snow, a stylish cabin in the background, and people getting ready to go skiing down some slope, and everything has a definite Rockwellian feeling. But on the far left Dino is reluctantly hugging a very willing girlfriend while looking at another woman on the far right who is also suggestively smiling back at him. Not much to indicate Christmas here, unless it is that the character portrayed by Dino hopes to get to be someone's Santa sometime soon...

But as classic Dean Martin as the cover is (it somehow has always reminded me of the one from Pretty Baby, another one of his Capitol outings), we should not get too caught up in it, since the music is the important thing here. The album is bookended by two special-material tunes from the pen of Sammy Cahn and Ken Lane, the one that opens and lends its title to the LP and "It Won't Cool Off," placed as the closing track. The former is the most interesting, a beautiful melody with a lyric that appropriately sets the scene for the rest of the selections but that is somewhat misleading regarding the organization of the album. While "A Winter Romance" introduces the theme of a love story that begins during the winter, the album does not explore such a story, which is just an excuse to string together songs about snow, cold weather, winter wonderlands, and, as already noted, the holiday season.

Dino getting ready for the holidays

In between the two Cahn-Lane compositions, we find some fast-paced tracks about the joys of love during the cold season ("Winter Wonderland," "Let It Snow! Let It Snow! Let It Snow!" and "I've Got My Love to Keep Me Warm"), as well as some beautiful ballads like the pensive "The Things We Did Last Summer" (which Frank Sinatra had recorded superbly for Columbia in the 1940s) and the Bing Crosby evergreen "June in January." Two standouts from the album are Dino's lovely mid-tempo reading of "Canadian Sunset" and the often overlooked "Out in the Cold Again," an older song also cut by Johnnie Ray around the same time and handled by Dean with gusto and ease here. "Baby, It's Cold Outside" is undeniably the perfect vehicle for Dino's charming, happy-go-lucky persona, and instead of doing it as a duet with another singer, as is usually the case, he chooses to sing it with a female chorus, which does not work badly either. The two selections most commonly associated with the holiday season are "Rudolph the Red-Nosed Reindeer," complete with Martin's ad-libbed impersonation of Santa Claus speaking with what sounds like a fake German accent and an enjoyable rendition of "White Christmas" that never strays too far away from Crosby's classic Decca recording. The orchestra and chorus are directed by the lesser-known Gus Levene, and the arrangements are always tasteful and never get in the way of Martin's singing. Finally, the CD reissue adds a bonus track to the twelve on the 1959 LP, "The Christmas Blues," another song written by Cahn but recorded six years earlier which perfectly fits the theme and mood of the album and is most welcome. The original liner notes conclude that "the music, combined with Dean's vocal artistry, succeeds in producing just the kind of lover's glow to stir everyone to humming, dancing, and romancing—whether it's hot or cold outside," and even though Dino recorded more straight-ahead Christmas offerings that are also worth owning, A Winter Romance is an album that never stops spinning on my record player every year come December.

The Intimate Dean Martin: Dream with Dean (1964)

Dean Martin is so well known for his comedic skills and his vocal and stage gimmicks that we sometimes tend to underestimate him as a vocalist. But fortunately, his extensive recorded legacy includes little gems like Dream with Dean that remind us what a great singer he really was. By 1964, when these sessions took place, Martin was under contract to Frank Sinatra's Reprise label, and he was just a few months away from enacting a definitive comeback as a recording and television star. And, although he did not know it as he entered the studio, this album would play no small part in his return to the top.

After several hit releases throughout the 1950s that saw him accompanied by everything from swinging orchestras to Latin-flavored combos, Martin decided to cut a concept album of slow ballads, sung as slow as they could be sung, with an intimate backing of just four pieces: jazz great Barney Kessel on guitar; Ken Lane, Dean's long-time accompanist, on piano and celeste; Red Mitchell on bass; and Irv Cottler, who appeared on countless Sinatra sessions, on drums. The resulting sound is, of course, sparse and mellow, but it actually works very well behind Martin's voice, which sounds deep and soothing, a little bit as though he were singing directly into the listener's ear, trying his best to contain the emotions expressed in the lyrics.


Together with the dreamy sound of the four-piece outfit, the superb song selection is another one of the reasons why this album is such an artistic success. The program kicks off with a lovely, understated reading of "I'm Confessin' (That I Love You)" that aptly sets the scene for the rest of the romantic confessions that are to follow. Martin tackles standards like "Fools Rush In," "Blue Moon," and "I Don't Know Why (I Just Do)" very convincingly, his voice lulled by the soft strains provided by Kessel's self-contained guitar embellishments and Lane's beautiful piano work. He also chooses lesser-known tunes like "I'll Buy That Dream" and "If You Were the Only Girl" and proves that they can flourish in this musical setting. In "Gimme a Little Kiss Will Ya Huh," he does not exactly whisper like Whispering Jack Smith did in his classic version from the twenties, yet he sounds far more seductive and charming than anyone else I have ever heard croon that quasi-forgotten song. The quartet plays so low in "Smile" that for a second you even forget that Martin is not singing a cappella, and "Hands Across the Table" features what must be one of the most poetic lyrics that Dino ever sang: "Hands across the table / While the lights are low / Though you hush your lips / Your fingertips / Tell me all I want to know."


Halfway through the album, we find "Everybody Loves Somebody," an oldie that would become forever associated with Martin, though not in this evocative version, but in a full orchestral arrangement featuring a vocal choir and leaning clearly toward contemporary sixties pop. The new reading of the song, also recorded in 1964, quickly rose to the top of the charts at a time when the Beatles were usually monopolizing that spot. However, I have always thought that the more commercial hit version is somewhat overproduced and much prefer this earlier, more relaxed approach. The CD reissue of Dream with Dean (Collector's Choice, 2001) appropriately pairs the album with 1964's Everybody Loves Somebody, a number-two entry in the album charts for Dino, which conveniently allows us to have both versions of the song in one disc. But as good as the tracks in the second album are, Dream with Dean is the true jewel here. As Stan Cornyn wrote in the original liner notes, "Dean Martin's performance sounds deceptively simple. Don't be fooled. . . . Dean's finesse is built on a substantial substructure of hard-learned craft." Indeed, no matter what he was doing, Dino always had an uncanny ability for making the difficult come across as simple. It is only too bad that he did not choose to cut more albums like this one.



Videos

I'LL BUY THAT DREAM



EVERYBODY LOVES SOMEBODY



BLUE MOON



SMILE



FOOLS RUSH IN



I'M CONFESSIN' (THAT I LOVE YOU)