Dean Martin & Frank Sinatra Live at the Westchester Premier Theater, Tarrytown, New York - 1977

Dean Martin & Frank Sinatra Live at the Westchester Premier Theater, Tarrytown, New York, May 28th, 1977.
In 1977 Frank Sinatra and Dean Martin performed a number of venues throughout the United States. One stop was the Westchester Premier Theater in Tarrytown, NY. This auditorium was a new facility and the two legends were brought there to initiate it’s status. The performance was filmed by famed producer Greg Garrison who believed that ABC would purchase the rights as a televison special. In the day’s following this concert, a photograph circulated that had been taken backstage, It featured Frank surrounded by numerous Mob figures. It was then suggested that the theater was built with syndicate funds and that Sinatra and Martin appeared as a favor. The poor publicity surrounding this tale eliminated any TV deal.
Setlists.
Dean Martin:
01. Dean Martin intro
02. When you're drinking
03. Bad bad Leroy brown
04. Welcome to my world
05. That's amore
Frank Sinatra:
06. For once in my life
07. I love my wife
08. It was a very good year
09. One for my baby
10. My way
Frank & Dean
11. Monologue From The Bar
12. I Can’t Give You Anything But Love
My Kind Of Town
Pennies From Heaven
A Foggy Day
Chicago
Embraceble You
The Lady Is A Tramp
Where Or When
They Can’t Take That Away From Me
Oh Marie
When You’re Smiling
18) The Oldest Established (Permanent Floating Crap Game in NY)
Francis Albert Sinatra ~ December 12, 1915 - May 14, 1998 ~
Dean Martin (born Dino Paul Crocetti) ~ June 7, 1917 - December 25, 1995 ~
Sinatra & Martin, Rock Stars.
FRANK SINATRA and DEAN MARTIN brought their show to the Westchester Premier Theater on Tuesday for a week‐long run. Both men still radiate tremendous presence; the popping of flashbulbs when each came on stage created an almost blinding strobe effect. And both are still masters of the relaxed, improvisational timing that Mr. Sinatra learned from Louis Armstrong, Billie Holiday and Bing Crosby and established as the dominant approach in American popular singing.
One no longer expects musical revelations from Mr. Sinatra. His voice grows somewhat grainy when he strains, which happens more often than formerly, and his sense of swing seems to have atrophied. The latter problem may be due to his insistence on tackling contemporary material.
Songs like “For Once in My Life” and “Everybody Ought to be in Love” do not offer sufficiently mercurial harmonic changes for him to exercise his gifts as a melodist, but above all they are different rhythmically from the songs of his heyday. If they are to work, they must prance to a deliberately syncopated, two‐beat sort of rhythm; they simply do not fit into the mode of evenly flowing swing that is Mr. Sinatra's métier.
More and more, he scores his most conspicuous successes with melodrama and bombast, as in a labored version of “I Write the Songs” that brought his audience to its feet. On the other hand, his slower, more reflective numbers showcased his spectacular articulation and intonation well. This was the sort of singing that has always delighted musicians and jazz fans, although there was little enough of it at the Westchester Premier Theater.
Mr. Martin sticks to familiar favorites and throws away half the lines in many of them. He is a pleasant enough crooner, but his real strength is as an improvising comedian. Using his celebrated fondness for alcohol as a kind of stage prop-he seemed to be in complete control throughout the show-he trips, slurs, jokes, pretends to forget lines and engages in pantomime, all with the split‐second timing of a master entertainer. His comedy of errors is much more effective in person than it is on television.
It is amusing to remember Mr. Martin's hostile comments about the Rolling Stones and other rock groups during the 1960's. In point of fact, he does many of the things followers of the older pop have decried when rockers do them. He advertises drugs-alcohol and nicotine-with in‐jokes and conspicuous consumption onstage. He sacrifices musical qualities for theatrical ones and limits himself to a familiarly lightweight repertory-his “hits.”
Rock and the older mainstream, once mutually hostile and mutually exclusive, seem to be converging slowly but inexorably. Rock is becoming more harmonically, melodically and rhythmically varied and subtle and moving closer to an acceptance of its place in the tradition of show business. Mr. Sinatra is singing to rock rhythms as best he can, and even Mr. Martin seems to be taking advantage of the more relaxed performing postures introduced by rock.
(The New York Times / By Robert Palmer / May 19th, 1977).
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