Always True to You (In My Fashion)
After a long affair with the Saucony Kinvara, I tried to go astray, not for the first time, and, not for the first time, I came running back. It seems that I’m just a Kinvara guy, and the Kinvara 3 just feels right–and others don’t. I’m not the only Kinvara lover. Here’s a post from a guy who, despite owning and reviewing many running shoes, finds himself drawn to Kinvaras. Here’s his review of the Kinvara 3
The minimalist Kinvara is not for everyone, but it’s for me. And yet I’d started thinking that I maybe needed a little more support. I’d gone way minimalist a few years back with some Vibram Bikilas, but in my overeagerness wound up with an injury–something I hadn’t heard about called “top of foot pain,” caused by lack of support over the top of the shoe. But despite the fact that I could no longer run in my Bikilas (they’re still great for wearing around the campsite or doing yardwork), I just couldn’t hang with a heavier shoe. They all felt clunky. Shoe-like. That’s when I discovered the Saucony Kinvara. They felt more foot-like than shoe-like, and I found myself running in them on pavement, trails, in the ‘hood and in races. No injuries.
But, even though I was perfectly happy with the Kinvara, I kept having the nagging thought that I really should try something else (typical man, you say) and that I maybe would benefit from a bit more support. I got some Mizuno Wave Rider 16s, which felt pretty good in the store but did seem to have too much heel. I took ’em out for a spin and by evening had pain in both knees. Now, that seemed counterintuitive to me: more support causes knee pain? But, I guess, when you get into a familiar pattern with one you love, that’s what you get used to and that’s what you should stick to. I’ve learned my lesson. I went back and traded the Mizunos for the Kinvara 3. I’ll always be true to Kinvaras.
Always True to You (In My Fashion): The song was written by Cole Porter for Kiss Me, Kate, the 1948 musical about making a musical (of Taming of the Shrew). Ella Fitzgerald did a nice rendition of the song on her Cole Porter Songbook; Blossom Dearie covered it on hers. Peggy Lee has recorded it, along with many other female vocalists of the fifties and sixties. I don’t know of any more recent versions. Other songs from Kiss Me, Kate may have been a little more durable: “So in Love,” “Why Can’t You Behave?” and, especially, “Too Darn Hot.”
Cole Porter
The group I’ve started singing with, The Lost Serenaders (name taken from a New Yorker cartoon by Maslin that shows four guys in white tuxedos singing in a jungle setting), looks for songs to rearrange in three-part harmony. We do some obvious “golden era” standards–“Bye Bye, Blackbird,” “It’s Only a Paper Moon,” “Moonlight in Vermont”–but also some that fall outside that category–“I’ll Be Your Baby Tonight,” “Why Do Fools Fall in Love?,” “Volare.”
Ella Fitzgerald
We have just started digging into the Cole Porter treasure chest, and it’s great to be listening to the Ella Songbook versions again and imagining what Gabrielle & Debbie & I can do to them. A list of reaffirmed favorites:
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“What is This Thing Called Love?” The best version of this song is the classic instrumental by Sidney Bechet. I’d worked out an up-tempo harmony version a few years back, to which we may add a little scatting. (I’ve never scatted in public. It seems so bold and reckless.)
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“Too Darn Hot” There’s a great Ella version of this one. It certainly lends itself to harmony, so it’s going on the list.
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“Miss Otis Regrets” The Serenaders are doing a version of this morbidly funny song written on a dare. Mostly solo, with some flurries of harmony.
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“Why Can’t You Behave?” Another wonderful musical question. Playful lyrics. Gorgeous melody. I worked this one out in four parts for The Gentleman’s Club years ago.
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“Ev’ry Time We Say Good-bye” This song has my favorite Cole Porter melody. I like Jimmy Scott’s drawn-out vocal.
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“Love for Sale” So naughty. “Appetizing young love for sale.” Ooh-la-la.
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“I Concentrate on You” Great song in any style, but I particularly like the Brazilian versions that Sinatra and others did.
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“I Love Paris” One of the great minor/major melody lines. Ella’s version is a classic.
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“It’s All Right with Me” Pretty much the same goes for this one that goes for “I Love Paris.”
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“So in Love” The third song on this short list from Kiss Me, Kate–and there could be others.
There are so many other Cole Porter standards, but I have to mention the best movie version of any Cole Porter song: Cleavon Little’s version of “I Get a Kick out of You,” backed by ol’ cowpokes in Blazing Saddles.
Of More Stardust Memories
Will Friedwald’s book Stardust Memories tells the stories behind twelve of my favorite songs. Here are the featured songs I haven’t already noted.
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“As Time Goes By” (Herman Hupfeld), 1931 Everyone knows and loves this song because of the movie Casablanca, but the song was actually written years earlier for the show Everybody’s Welcome, and would’ve been forgotten like the show, if not for the insistence of Murray Burnett, the author of the play that Casablanca was based on, that the song be used in the movie. It was played in the movie by pianist Dooley Wilson, and was his claim to fame. There are a lot of nice versions of this classic, but my personal favorite is that of Schnozzola–Jimmy Durante (which was the version used in the movie Sleepless in Seattle–I like it anyway).
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“Night and Day” (Cole Porter), 1932 “Night and Day” is a fine song, but it’s not one of my favorite Cole Porter numbers. Still, Porter had to make an appearance on this list. I like Sinatra’s version and Ben Webster’s instrumental version.
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“Stormy Weather” (Harold Arlen/Ted Koehler), 1933 This song is identified with Lena Horne, and her version may be the only one I have, except for the odd-but-enjoyable doo-wop version by The Spaniels.
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“Summertime” (George Gershwin/DuBose Heyward), 1935 Although Gershwin deserves to be on this list twice, and “Summertime” is a great, timeless song, I might’ve preferred that Duke Ellington got representation on this list. “Summertime” has been done by so many singers, known and unknown, that it’s hard to get a handle on “best versions.” I’m not crazy about Janis Joplin’s version, I’ll say that. I love the recording by Ella & Louis, and a later treatment by Brazilian singer Caetano Veloso. I like Nina Simone’s version, and the Miles Davis version from his Porgy & Bess album. Friedwald mentions a version by the African singer Angelique Kidjo, but I haven’t heard it. A sentimental-favorite version is the live rendition I heard at Stubbs’ Barbecue about 35 years ago. It was performed with great flair by Mr. Stubbs himself, whose BBQ sauce is our family favorite.
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“My Funny Valentine” (Richard Rodgers/Lorenz Hart), 1937 This is one of the most beautiful melodies ever written, I must say, and it’s even improved by the uncoventional lyrical touch of Hart. It was featured in the musical Babes in Arms. Frank Sinatra and Tony Bennett both recorded great versions of this song, but I am always happy to hear two of my music friends when they sing it. Gabrielle West sings it sweet ‘n’ high and Tim Trosper sings it sweet ‘n’ low.
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“Lush Life” (Billy Strayhorn), 1938 So, in a way, Duke Ellington is represented on this list, by his sidekick Mr. Strayhorn. “Lush Life” is a wonderfully odd song, with its unusually long opening verse and its night-life lyrics. I’m a big Strayhorn fan and I really like this song that Duke never got around to playing much. Strayhorn wrote it at the age of 18. The best-known version is the one with John Coltrane on sax and Johnny Hartman on vocal. The oddest version I’ve heard is one on the album The Peaceful Side, a Billy Strayhorn project. It features the “oohs” and “ahhs” of a French vocal group, the Blue Stars.
Great book. Find it!
Running/Breathing 
