By 1999, Harry Connick, Jr. found himself in a curious place.
Undoubtedly, he was one of the artists that kick-started the whole neo-swing movement that peaked in the late '90s.
However, he was always too serious and traditional -- too much of a musician, really -- to fit in with the likes of the Cherry Poppin' Daddies.
Furthermore, he was too much of a veteran.
When he was reviving swing, it was in the late '80s, when nobody else believed it could be hip again.
Surely, he must have been a little irked when he saw legions of groups that were nowhere near as musically fluent or as knowledgeable as he was cultivate huge followings.
So, there was only one solution -- return to big-band swing, after years of attempting some sort of amorphous New Orleans funk and R&B.
Of course, he'd probably be offended if anyone suggested that Come by Me was actually a response to neo-swing, but it's easy to interpret it that way, especially since he shows what the younger swing groups are missing.
Connick knows what makes big bands work.
He makes the classics sound fresh and newer songs sound like classics.
More importantly, age suits him well; he no longer sounds like a young kid singing his father's music, he sounds natural and inspired.
True, he occasionally sounds a bit too close to Sinatra for some tastes, but at least he can really sing, along with knowing how to make a big band swing, which, ironically, not all neo-swing acts can do.
That alone makes Come by Me a welcome comeback.
| Title/Composers | Performer | Listen | Time | Size | Size | |
|---|---|---|---|---|---|---|
| 1 | Nowhere with LoveHarry Connick, Jr. | Harry Connick, Jr. | Play | 03:56 | 9 MB | 24 MB |
| 2 | Come by MeHarry Connick, Jr. | Harry Connick, Jr. | Play | 04:01 | 9 MB | 22 MB |
| 3 | CharadeHenry Mancini, Johnny Mercer | Harry Connick, Jr. | Play | 03:40 | 8 MB | 23 MB |
| 4 | Change PartnersIrving Berlin | Harry Connick, Jr. | Play | 05:43 | 13 MB | 31 MB |
| 5 | Easy for You to SayHarry Connick, Jr. | Harry Connick, Jr. | Play | 04:54 | 11 MB | 25 MB |
| 6 | Time After TimeSammy Cahn, Jule Styne | Harry Connick, Jr. | Play | 05:30 | 12 MB | 27 MB |
| 7 | Next Door BluesHarry Connick, Jr. | Harry Connick, Jr. | Play | 04:11 | 9 MB | 25 MB |
| 8 | Easy to LoveCole Porter | Harry Connick, Jr. | Play | 03:06 | 7 MB | 17 MB |
| 9 | There's No Business Like Show BusinessIrving Berlin | Harry Connick, Jr. | Play | 04:48 | 11 MB | 25 MB |
| 10 | A Moment With MeHarry Connick, Jr. | Harry Connick, Jr. | Play | 04:26 | 10 MB | 27 MB |
| 11 | Danny BoyFrederick Edward Weatherly | Harry Connick, Jr. | Play | 05:15 | 12 MB | 22 MB |
| 12 | Cry Me a RiverArthur Hamilton | Harry Connick, Jr. | Play | 04:46 | 10 MB | 26 MB |
| 13 | Love for SaleCole Porter | Harry Connick, Jr. | Play | 08:29 | 19 MB | 50 MB |
| 62 mins | 143 MB | |||||
| 62 mins | 349 MB | |||||
| Artist | Job | |
|---|---|---|
| 1 | Irving Berlin | Composer |
| 2 | Sammy Cahn | Composer |
| 3 | Harry Connick, Jr. | Arranger, Composer, Orchestration, Primary Artist |
| 4 | Peter Doell | Engineer |
| 5 | Tracey Freeman | Producer |
| 6 | Arthur Hamilton | Composer |
| 7 | Ryan Hewitt | Engineer |
| 8 | Henry Mancini | Composer |
| 9 | Vladimir Meller | Mastering |
| 10 | Johnny Mercer | Composer |
| 11 | Charles Paakkari | Engineer |
| 12 | Cole Porter | Composer |
| 13 | Gregg Rubin | Engineer, Mixing |
| 14 | Jule Styne | Composer |
| 15 | Frederick Edward Weatherly | Composer |
| Quality | Format | Encoding | Description |
|---|---|---|---|
| Standard | MP3 | 320kps 44.1kHz | MP3 is an audio coding format which uses a form of lossy data compression. The highest bitrate of this format is 320kbps (kbit/s). MP3 Digital audio takes less amount of space (up to 90% reduction in size) and the quality is not as good as the original one. |
| CD Quality | FLAC | 16bit 44.1kHz | FLAC is an audio coding format which uses lossless compression. Digital audio in FLAC format has a smaller size and retains the same quality of the original Compact Disc (CD). |