Harry James - The Chronological Classics: 1942 (2001) [Big Band, Swing]; FLAC (tracks+.cue)

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Harry James - The Chronological Classics: 1942 (2001) [Big Band, Swing]; FLAC (tracks+.cue)

Unread postby Mike1985 » 16 Feb 2018, 10:25

Artist: Harry James
Album: The Chronological Classics: 1942
Genre: Big Band, Swing
Label: Classics
Released: 2001
Quality: FLAC (tracks+.cue)
  1. By the Sleepy Lagoon (3:02)
  2. Trumpet Blues and Cantabile (3:03)
  3. Easter Parade (3:28)
  4. Crazy Rhythm (3:46)
  5. One Dozen Roses (3:06)
  6. When You're a Long, Long Way from Home (3:16)
  7. You're Too Good for Good-For-Nothing Me (3:10)
  8. Estrellita (2:53)
  9. You're in Love with Someone Else (3:13)
  10. James Session (3:00)
  11. He's My Guy (3:24)
  12. I Cried for You (3:11)
  13. Let Me Up (3:03)
  14. That Soldier of Mine (3:03)
  15. Moonlight Becomes You (3:24)
  16. I Heard You Cried Last Night (3:03)
  17. Manhattan Serenade (2:55)
  18. My Beloved Is Rugged (3:19)
  19. Cherry (3:15)
  20. Prince Charming (2:41)
  21. Jump Town (3:22)
  22. A Poem Set to Music (3:11)
  23. I Had the Craziest Dream (3:30)
  24. Daybreak (3:09)

Download from alfafile.net

This eighth installment in the Classics Harry James chronology assembles all of his Columbia studio recordings made between February 24 and July 22, 1942, beginning with four superb instrumentals. "By the Sleepy Lagoon," a pretty tone poem later parodied by Spike Jones as "Sloppy Lagoon," is followed with the boogie-woogie-based "Trumpet Blues and Cantabile," a slow sweet "Easter Parade," and an eminently danceable version of "Crazy Rhythm." One change that occurred in 1941 was the departure of tenor saxophonist Vido Musso and the arrival of young Gene "Corky" Corcoran. Much more noticeably, James was continuing to modify the sound of his band with instrumentation most often associated with European classical music. By now the string quartet (first added in January 1941) had expanded into a quintet with the addition of a third violin; Willard Culley began blowing French horn with the Harry James Orchestra on the session of June 5th, and by July 15th the string section had swollen to six fiddles and a cello. There are quite a number of delectable vocals by Helen Forrest (as well as a handful of less substantial ones by Jimmy Saunders) but the most useful and enduring tracks are the instrumentals, during which the interplay of rhythm, reeds, brass, and strings works uncommonly well.
Review by arwulf arwulf

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