After some time in the land of New Orleans Funk, Harry Connick, Jr. has
returned to the orchestral standards which first got him noticed and which
have since garnered him multi-platinum, Grammy-winning fame. On
Come By Me, Connick combines familiar originals with thoroughly
represented selections from the Great American Songbook. These tunes
include a punchy take on Henry Mancini’s "Charade," a yearning plea to
take Irving Berlin’s advice and "Change Partners," an elevatored "Time
After Time" which takes Jule Styne’s composition to new heights, a Bayou
wail through Arthur Hamilton’s "Cry Me A River" and a sparely stringed
rendition of "Danny Boy" which recalls the feel and tone of Connick’s first
filmed performance in Memphis Belle. Though a few of Connick’s
compositions are more in tune with his own story-driven and occasionally
lyric-heavy style than those of the concise mood masters of old, his
charts and arrangements are greatly authentic to the point of being difficult
to distinguish from the classic copies. Combining his own voice and keys
with his Riddle-d big band and a well Bas(i)ed orchestra, Connick
captures a bit of the live feel of his energetically enchanting concerts while
recapturing the magical tradition he seems destined to carry on.
Harry Connick, Jr. at All About Jazz.
Visit Harry Connick, Jr. on the web.
Track listing: 1. Nowhere With Love
2. Come by Me
3. Charade
4. Change Partners
5. Easy for You to Say
6. Time After Time
7. Next Door Blues [Instrumental]
8. Easy to Love
9. There's No Business Like Show Business
10. Moment With Me
11. Danny Boy
12. Cry Me a River
13. Love for Sale
Style: Vocal
Published: January 20, 2003
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After some time in the land of New Orleans Funk, Harry Connick, Jr. has
returned to the orchestral standards which first got him noticed and which
have since garnered him multi-platinum, Grammy-winning fame. On
Come By Me, Connick combines familiar originals with thoroughly
represented selections from the Great American Songbook. These tunes
include a punchy take on Henry Mancini’s "Charade," a yearning plea to
take Irving Berlin’s advice and "Change Partners," an elevatored "Time
After Time" which takes Jule Styne’s composition to new heights, a Bayou
wail through Arthur Hamilton’s "Cry Me A River" and a sparely stringed
rendition of "Danny Boy" which recalls the feel and tone of Connick’s first
filmed performance in Memphis Belle. Though a few of Connick’s
compositions are more in tune with his own story-driven and occasionally
lyric-heavy style than those of the concise mood masters of old, his
charts and arrangements are greatly authentic to the point of being difficult
to distinguish from the classic copies. Combining his own voice and keys
with his Riddle-d big band and a well Bas(i)ed orchestra, Connick
captures a bit of the live feel of his energetically enchanting concerts while
recapturing the magical tradition he seems destined to carry on.
