intended to package together in an album. His sessions intended for album release tend to be more serious, artistically. In the Wee Small Hours was recorded before stereophonic technology, but the fidelity of this monophonic album feels "warm" to modern ears. The album was recorded in five sessions at KHJ Studios, Hollywood. These sessions took place on February 8, 16, and 17, and April 1 and 4, and would start at 8:00 P.M., continuing to past midnight. The sessions were recorded in Studio C, located downstairs, which was a smaller studio designed to record small ensembles. The first four songs recorded specifically for this album ("Can't We Be Friends", "Dancing on the Ceiling", "Glad to Be Unhappy", "I'll Be Around") were not recorded with any brass or strings, but were sparsely arranged. Although the arrangements were Riddle's, there was no need for a conductor, so pianist Bill Miller managed from his instrument. Set against his then-current relationship troubles, Sinatra set out to record "angst-ridden" songs involving lost love. Sinatra was very tense during the recording of the album, reportedly breaking down and crying after the master take of "When Your Lover Has Gone". Rita Kirwan of Music magazine witnessed one of the sessions, and her account goes thus: Nelson Riddle commented on Sinatra's work ethic and its effect on Riddle's arrangements and the studio orchestra: Sinatra was meticulous about the quality of the sessions for In the Wee Small Hours. Guitarist George Van Eps recalls that Sinatra stopped a session after only singing a few notes because he felt his voice did not have "the right sound" at the time. The session was rescheduled for the following night, and Van Eps felt it "was perfect." Sinatra also carefully sequenced the songs, with input from Miller and Riddle, for the LP he personally referred to as "the Ava album." Sinatra's voice was maturing at this point, and he had matured musically regarding intonation and vocal shading. He had also become more comfortable with improvising rhythmically within the confines of Riddle's arrangements. Slight technical imperfections by Sinatra have been found in this recording, but the overall emotional effect compensates completely, so that the listener attributes any shortcomings to the sincere human expressions of the singer. Songs With the exception of the title track, the songs are from the Great American Songbook. "Can't We Be Friends?" opens with a set of chords on