A Singer with a Day Job! It is a steamy, early summer day in Hollywood, California. The kind of day that starts out uncomfortably hot, only to reach blistering proportion before Noon! Today, Dale Corn isn’t bothered by the thermometer. Dale is like a kid, one who has been dropped into a candy store with only a fist full of crisp, hundred dollar bills. Eyes wide open, his jaw dropped in stunned amazement. The abovementioned “candy store,” is actually one of Hollywood’s most revered recording studios, EastWest Studios on West Sunset Boulevard. Formerly Western Recorders, this iconic facility was built by legendary engineer Bill Putnam with financial support from Bing Crosby and Frank Sinatra. Did I mention this place is iconic? Classic voices still reverberate through this structure. It is shrine-like. Virtually all of Frank Sinatra’s 1960s Reprise albums were recorded here. Others who’ve worked in EastWest’s celebrated Studio 1 include Antonio Carlos Jobim, Dean Martin, Elvis Presley, The Rolling Stones; the list is long, varied and impressive. Most recently, Keith Urban recorded here and exclaimed, “It smells like religion!” That’s the kind of reverence this studio commands. On this day, Dale Corn will add his name to the roster of powerhouse talent who’ve made Studio 1 a temporary home while recording an album. Walking through the still empty studio, I ask Dale why he travelled here from Baltimore to record. "I wanted to record with musicians I know to be the very best practitioners of their craft -- not just here in Hollywood -- but the best musicians in the world.” That's not hyperbole, either. Artists have long traveled the globe just to record in this city, because it’s where you find A-list musicians like: Wayne Bergeron, Peter Erskine, Chuck Berghofer, Andy Martin, Gene Cipriano and others. These and other top names performed at Dale’s first Hollywood session. “When you set out to be a singer, you aspire to work with people at the top of their professional game. And by association, musicians of this caliber bring out the best in a vocalist. Well, at least I hope these guys are ready to make me sound good today." Dale smiles and laughs easily. He’s got this earthy, boy next door, type of personality. He’s easy going, quick-witted and a stickler for detail. As he continues to study the room, he occasionally sings passages and then stops to listen to room acoustics. “Sounding good today, Dale!” says Arranger and Conductor, Terry Woodson as he enters the studio. Woodson begins unpacking stacks of music for today’s session. Dale later tells me he met Terry after attending a Frank Sinatra, Jr. performance; the three men struck an immediate friendship. Watching their interaction, it’s obvious that Dale Corn wears his admiration for Terry Woodson on his sleeve: “As busy as he is, Terry is always there with guidance, advice and support on my musical path. I enjoy working with him, too. Frankly, I really enjoy being around mezzanine-level people like Terry, period. I learn something new each time we visit or talk. He’s top notch." Mr. Woodson has contributed arrangements and will conduct for his friend, this day. Woodson has built a formidable career in Hollywood since moving to L.A. in the mid-1960s from Tulsa, Oklahoma. He’s drawn respect from top names like Quincy Jones, Nelson Riddle and easily found work with the orchestras of Henry Mancini and Percy Faith. As musicians trickle into Studio 1, Dale mingles and socializes. At this point, there is a startling realization: Hollywood is not Dale’s home; singing is not his fulltime vocation! This is a working vacation. Dale Corn is, by trade, a licensed Railroad Engineer. “Yes,” Dale chuckles, “I’m a train conductor who also conducts a big band and sings!” But don’t expect a sing-a-long version of “I’ve Been Working on the Railroad” on this CD! Notice how Dale’s musical A-team runs wide and deep. When you see the name Sammy Nestico as contributing arranger on some of the songs, rest assured it is the very same man who served as Count Basie’s music director for years and who has written charts for a diverse roster of singers including Frank Sinatra, Barbra Streisand…even Phil Collins! “Let me tell you something about Dale Corn,” Sammy says with a broad, almost proud parent-like smile, “I enjoy working with him, because he brings a spirit and enthusiasm to a project or recording session that’s nothing short of motivational! He’s an outstanding vocalist, too. Believe me, Dale Corn is what this art form can and should reflect.” The mutual admiration society meeting comes to order as Dale brags on Sammy. “This man is such an inspiring person and gentleman. At age 92, he has all the wide-eyed joy of a kid on Christmas morning; he’s the living embodiment of what a musician should be!” One of the numbers Sammy arranged for this album is the classic tune, “That’s All.” It’s also one of three tracks which feature renowned tenor saxophonist, Jerry Weldon. Dale recalls: “That session was done on the east coast and unfortunately we couldn’t arrange things so Sammy could come out and conduct. We did the next best thing and called Sammy via Skype™. I was an absolute wreck conducting with Sammy watching from Los Angeles. True to form, he was helpful, gracious, encouraging. That was a thrilling experience for all of us in the studio that day.” I mentioned Jerry Weldon’s participation on this CD; Jerry recorded while on a break from his performing schedule with Harry Connick, Jr. Jerry and Dale had met some years earlier at a jazz club in the Washington, D.C. area. On this album, they recreate a song they did together that evening, “East of the Sun (West of the Moon)”. Grammy and Emmy Award winning arranger and conductor, Patrick Williams delivered an arrangement here on the song “Come Back to Me” from the 1965 musical, “On a Clear Day You Can See Forever.” Dale first recorded this on his debut CD, but wanted another try at this Allan Jay Lerner and Burton Lane song…and he delivers! Rounding out the album are a couple of instrumental tracks featuring Dale’s chops as conductor (music, that is!) and three numbers which made indelible imprints in the world of pop and rock. Billy Joel’s “Tell Her About It”; Elvis Presley’s first post-Army hit, “Stuck On You” and the Queen classic, “Crazy Little Thing Called Love.” Dale credits arranger Roger Nuemann with inventive charts and for designing a springboard for him to reinterpret these songs. “When I was presented with the concept of putting a big band treatment to these pop/rock classics, it was a challenge I gladly accepted. Thanks to Roger, I think we gave them a new set of clothes while maintaining their musical integrity.” In life there is loss. During the production of this album, two of Dale’s close friends passed away unexpectedly, Frank Sinatra, Jr. in March of 2016 and drummer Marty Knepp in April of 2015. “Marty,” says Dale “was like an older brother who always challenged me to dig deeper and go higher with each dream and achievement. Marty was the most magnificent visionary I’ve ever known. I’ll forever remember one of his signature phrases: ‘A groove is a terrible thing to waste.’ I know he’s keeping the groove and the beat going strong up in heaven.” On Frank’s passing: “His death knocked the wind out of me. No one saw that coming, it shows you how fragile life really is. I enjoyed many good times with Frank; he was like my much older brother. We shared interests in trains, model railroads, airplanes and, of course, music. Things Frank passed onto me about how to conduct an orchestra, are things he picked up or was taught by Gordon Jenkins, Billy May or Nelson Riddle. Frank showed me a few tips on writing arrangements; I asked where he learned them, ‘Oh, from Nelson Riddle.’ He passed that knowledge on to me first-hand. You can't possibly put a price on that tuition! The phrase paying it forward applied to Frank Sinatra, Jr.” This album is lovingly dedicated to the memory of both gentlemen. We hope you enjoy the various moods and shadings reflected in the songs and performances on this CD. The music is fun, at times brash and bold, sometimes nostalgic. It is representative of Dale Corn’s live performances. It’s no wonder the “boy next door” has captured the hearts of concert goers and the respect of celebrated musicians and arrangers in the rough and tumble world of entertainment. In a world of pretenders and wannabe’s, Dale Corn has proven he is the real deal. - Jim Raposa April, 2016 EXECUTIVE PRODUCER: Dale Corn Producers: Paul Chiacchierini and Joe Soldo Co-Producers: Bob Dawson; Jim Raposa & Terry Woodson Conductors: Dale Corn and Terry Woodson conducting on tracks 4, 12, 13, and 14. Arrangers: Darryl Brenzel, Tracks #6 & 11; Bobby Muncy, Tracks #12 & 13; Sammy Nestico, Tracks #4, 8, & 15; Roger Neumann, Tracks #1, 5, 10 & 14 and Patrick Williams, Track #9. THE MUSICIANS: Alto Sax: Darryl Brenzel; Gary Foster; Tyler Kuebler; Antonio Orta & Bob Sheppard Baritone Sax: Ben Bokor; Al Caldwell; Gene Cipriano & Scott Silbert Bass: Chuck Berghofer; Jason Gano & Regan Brough Bass Trombones: Ben Devitt; Dudley Hinote & Ben Polk Celli: Kathy Birch & Maryann Merkel Drums: Peter Erskine; Marty Knepp & Todd Harrison Guitar: Jim Fox Piano: Harry Appelman & Tom Ranier Tenor Sax: Pete BarenBregge; Jeff Driskill; Terry Harrington; Rob Holmes; Bobby Muncy & Jerry Weldon Trombones: Vic Barranco ; Andy Martin; Charlie Morillas; Matt Niess; Ben Patterson; Dave Perkel & Dave Ryan Trumpets: Wayne Bergeron; Graham Breedlove; Dan Fornero; Tim Leahey; Brian MacDonald; Ken Magee; Don Rader; Rob Schaer; Rich Sigler; Tim Stanley; Chris Walker and Liesl Whittaker Violins: Brenda Anna; Celeste Blase; Shaundra Culatta; Laura Knutson; Paula McCarthy & Leslie Silverfine Viola: Maggie Rojas Seay & Patricia Smith Contractors: Kathy Birch; Gloria Dawson and Joe Soldo Music preparation and copying: Terry Woodson Music Engineers: Rich Breen at EastWest Studios in Hollywood, CA Bob Dawson at Bias Studios, Springfield, VA Mastered by: Mike Monseur at Bias Studios, Springfield, VA Tracks 4, 12, 13, and 14 recorded at EastWest Studios, Studio 1, Hollywood, CA. All other tracks recorded at Bias Studios, Studio A, Springfield, VA. Cover Photography: Keith Emmerich Model: Shannon Million