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Kérjen
árajánlatot! |
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| 2. | Music, Maestro, Please!
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| 3. | On the Street Where You Live
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| 4. | After You've Gone
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| 5. | I'm an Old Cowhand
From the Rio Grande
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| 6. | Moment's Notice
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| 7. | Tangerine
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| 8. | Didn't He Ramble
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| 9. | Caravan
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| 10. | Lazy Bones
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| 11. | Muskrat Ramble
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| 12. | This Time the Dream's on Me
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| 13. | On the Atchison, Topeka and the Santa Fe
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Jazz / Vocal; Swing; Traditional Pop
Recorded and mixed by Gregg Rubin at BMG Studio A, NYC, October 2-4, 6, 9, 1992
Harry Connick Jr. - Piano, Organ, Vocals
Ellis Marsalis - Piano on "Stardust"
Johnny Adams - Vocals on "Lazybones"
Ray Brown - Bass on "On the Atchison, Topeka and the Santa Fe"
Ned Goold - Tenor Saxophone on "On the Atchison, Topeka and the Santa Fe"
With Harry Connick, Jr., the numbers tell the tale -- five Gold and three Platinum albums, two Grammys, scores of sold-out concerts and millions of enraptured fans worldwide. Now, it's time to add two new numbers to the tally, ELEVEN and 25, Harry's newest Columbia albums. Though released simultaneously, these recordings couldn't be more different. 25 is a moving new collection of jazz and pop standards performed on solo piano, while ELEVEN is a rare set of traditional New Orleans classics from an ensemble of New Orleans jazz masters, including Connick at the tender age of…you guessed it, 11.
It has always been Connick's way to delight audiences with a wide variety of musical moods and styles, and the two new albums certainly do that. 25 is his latest opus, recorded in October 1992. Connick, who wrote his own extensive liner notes with detailed deCopyright
107tions of each song, says, "This is about as raw as it gets. This is what I sound like when I'm all alone, away
from the lights and the crowds. This is what I sound like when I play whatever comes to mind. This is what I sound like at 25."
Connick's musical maturity has long impressed fans and critics, but he's made even greater strides in 25. Sitting alone at a piano, Connick's unadorned artistic vision comes through. From the album's first track, an intimate rendition of Hoagy Carmichael's "Stardust," with Connick's mentor Ellis Marsalis on piano, it's clear 25 is Connick's labor of love for the great American song. The syncopated instrumental, "Music, Maestro, Please," displays all of Connick's brazen wit, while his swinging version of "On The Street Where You Live," with its stride rhythm pattern and dense chording, typifies Connick's increasingly complex musical language.
The muted ragtime piece "After You've Gone" is followed by a lavish pounding interpretation of Johnny Mercer's "I'm An Old Cowhand (From The Rio Grande)" done in pure N'Orleans style. "Moment's Notice," by John Coltrane, emerges as a dark, disjointed yet strangely beautiful instrumental, while "Tangerine" is given a wispy Argentine spin. The Gospel-flavored "Didn't He Ramble" is one of Connick's best vocal performances, while his subdued camel-paced piano playing sheds new light on Duke Ellington's "Caravan."
For a twist, Connick plays organ and is joined by New Orleans blues singer Johnny Adams on Johnny Mercer's "Lazybones," in a delightfully dry vocal "competition" between the two. And, in a heartfelt salute to both his own past and the traditional New Orleans jazz he loves so much, Connick performs the frenzied rag "Muskrat Ramble," which also appears on ELEVEN.
Next comes the Arlen-Mercer ballad, "This Time The Dream's On Me," one of the most elegantly understated performances ever from Harry Connick, Jr. The album ends with a sleek trio performance of "On The Atchison, Topeka, And The Santa Fe," on which Harry is joined by the great Ray Brown on bass and Ned Goold on tenor sax. It's an invigorating conclusion to an album from a musician growing more confident and able by the year.
ELEVEN was originally recorded in New Orleans in November 1978. The album saw limited release at the time and has remained largely unavailable until today. Although only a child at the time, Connick had by then won over the hard-boiled jazz community with his precocious abilities and single-minded passion for the music. The album itself consists of nine jazz classics performed by a sextet of sterling players, including trumpeter Teddy Riley, clarinetist Liston Johnson, trombonist Jim Duggan, bassist Walter Payton, and drummer Freddie Kohlman, all towering figures in native New Orleans jazz for decades. Connick's refreshing piano accompaniment blends seamlessly with the masters' seasoned polish.
Included are such immortals as "Sweet Georgia Brown," "Tin Roof Blues," "Wolverine Blues," "Doctor Jazz," "Lazy River," and "Muskrat Ramble." Great songwriters like Bix Beiderbecke, Kid Ory, and "Jelly Roll" Morton are represented here, all giants of traditional jazz and idols of Connick from his earliest days. As Paul Lentz says in his original liner notes, "Young Harry seems to be having a ball with his musical efforts, and that, to me, has always been one of the great strengths of the New Orleans traditional style…that he is but 11 speaks highly of both his present accomplishments and what should be a glowing future."
As it turned out, Connick's future glowed far brighter that Mr. Lentz might have imagined back in 1978.
But with all the sound and fury surrounding Connick, his tremendous career, his fame and his fortune, it's a double pleasure to hear the introspective mature artist at work all alone on 25, and to discover his budding brilliance unfolding on ELEVEN. No matter what or when, Harry Connick, Jr. finds a way to reach you. |
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