Chanson Du Vieux Carre

Performer: Harry Connick, Jr.
Producer: Tracey Freeman
Distributor: Universal Distribution

Notes: Personnel: Harry Connick, Jr. (piano); James Greene, Charles 'Ned' Goold (alto saxophone); Jerry Weldon, Mike Karn (tenor saxophone); David Schumacher (baritone saxophone); Derrick Gardner, Joe Magnarelli, Leroy Jones, Roger Ingram (trumpet); Craig Klein, John Allred, Lucien Barbarin, Mark Mullins (trombone); Joe Barati (bass trombone); Neal Caine (bass instrument); Arthur Latin (drums). Harry Connick Jr. has no shortage of musical credibility, not least because of his writing and arranging skills (which often take a backseat to his better-known skills as a singer and pianist). CHANSON DU VIEUX, a 2007 album that coincided with the release of OH, MY NOLA, takes on New Orleans through the lens of post-Hurricane Katrina trauma, yet, like its counterpart, is equal parts history lesson and joyous celebration. Connick doesn't sing here; instead he arranges a host of classic N'awlins gems (from the likes of Louis Armstrong, Sidney Bechet, and Professor Longhair) for big band, while adding tasteful accompaniment on piano. Exciting charts, superior musicianship, and a deep love of the Big Easy drive this fun release. Chanson du Vieux Carre should simply be titled Harry Connick, Jr.'s New Orleans album. The material chosen for this set is comprised of jazz tunes associated with the Crescent City, or simply tunes Connick wrote about it. According to the liner notes, he arranged it all on his computer while traveling from gig to gig over a period of years. The band performed this material as it was developed, making it part of one set or another night after night for the same period of time. Needless to say, the recording of the album is seamless, celebratory, and polished -- maybe too polished, but that's a minor complaint. Connick does what he does: leads the band, plays a hell of a piano, and wraps it all up tight -- without singing. The set opens with a fine reading of Louis Armstrong's "Someday You'll Be Sorry." The swing is there, but none of the master's killer funky butt grooving; again, that's a minor tiff. Connick's own "Ash Wednesday," with its strange minor-key counterpoint horn lines and a smoking little trumpet solo by Leroy Jones, is one of the finer moments here. The arrangement of Sidney Bechet's "Petit Fleur" is a bit on the reverent side, but it is certainly beautiful. Connick's biggest surprise comes at the very end of the disc when he performs a stellar version of Professor Longhair's "Mardi Gras in New Orleans" big-band style. 'Fess is probably dancing in heaven, because the killer rhythms and brassy horn charts are intercut so well with Connick's piano fills. It's a fine sendoff to the most enjoyable record Connick has done in years. ~ Thom Jurek

Down Beat (p.59) - "[Connick is] heard deep within the rhythms section....When he steps out, it's with a spare style that nudges rather than blows all over the groove..."

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