what kind of voice did frank sinatra have
Frank Sinatra's recorded legacy Sinatra also possessed an outstanding vocal range. According to music critic Henry Pleasants "The voice itself was a typical Italian light baritone with a two octave range from G to G, declining, as it darkened in later years, to F to F and with greater potential at the top than he was commonly disposed to exploit. He could and sometimes did depress the larynx and 'cover' as classical singers do, to sustain a full rounded tone in moving up the scale. On his recording 'Day by Day,' for example he gives out with full-voiced, admirably focused D's and E's and even lands a briefly held but confident high G just before the end." [1] His early recordings found him singing in near-tenor range, hitting a high F on "All or Nothing At All" (1939) or "Where's My Bess" (1946), whilst being equally adept in the lower register, the low E on his 1962 recording of "Ol' Man River" being a prime example of such. His phrasing was also impeccable, getting to the heart of a song by emphasizing words and lines in ways that made a song more personal, whilst his ability to hold notes, sing above or behind the beat and rest on a note were hallmarks of a singer fully in command of his instrument.
Tommy Cogbill One of the best-known recordings featuring his bassline was Dusty Springfield's 1969 hit "Son of a Preacher Man", produced by Jerry Wexler and Tom Dowd.[3] Other major artists he recorded with include King Curtis, Joe Tex, Elvis Presley, Aretha Franklin, Dobie Gray, Kris Kristofferson, J. J. Cale, Wilson Pickett (Cogbill played the bassline on "Funky Broadway"), Chuck Berry, Dolly Parton, Bob Seger, and Neil Diamond.[4] He also played bass on King Curtis's single "Memphis Soul Stew"[5] in 1967.