JULIE LONDON — Around Midnight (review)

JULIE LONDON — Around Midnight album cover Album · 1960 · Vocal Jazz Buy this album from MMA partners
4/5 ·
Matti P
As a music listener I have a soft spot for vocal jazz/entertainment/chanson/crooner kind of stuff, preferably orchestrated, dating from the 50's, 60's or the 70's, depending on the artists. In general, if the non-classical music that I listen to predates the year 1967, it's most likely NOT pop/rock (except e.g. Simon & Garfunkel), quite rarely it's instrumental jazz either, it is this particular area I'm talking about. Frank Sinatra and Tony Bennett are IMHO the greatest male artists in this field, and the female entertainment vocalists I have enjoyed include e.g. Dusty Springfield, Astrud Gilberto, Doris Day -- and definitely Julie London whose sensual and sultry "cigarettes-after-sex" voice is a pleasure in itself.

London's career as a vocalist (she was also an actress) started big time in 1955 with the major hit 'Cry Me a River', after which she released albums in a steady pace til the late 60's. Around Midnight is among her best albums, a very rewarding set of orchestrated songs celebrating London's seductive voice.

The Thelonius Monk evergreen 'Round Midnight' sets the tone for this album perfectly. The second track 'Lonely Night in Paris' uses lots of brass and a faster tempo, as if to underline that the album leaning loosely towards the nocturnal theme is not entirely about introspective and moody delicacy. The arrangement in Erroll Garner's classic 'Misty' gives a special role for flute and other woodwind instruments. This must be my favourite interpretation of this famous tune. 'Black Coffee' has been covered by many newer artists too such as Sinead O'Connor (r.i.p.), but the song feels like tailor-made for Julie London. Perhaps it was, I don't know. I like the sensitive saxophone but would prefer to have less of the sharp-sounding brass.

Songs like 'Lush Life' and 'In the Wee Small Hours of the Morning' (the title track of Sinatra's 1955 album) are obvious choices and pleasantly orchestrated here. 'Don't Smoke in Bed' is another heartaching song you couldn't imagine being better performed than by London. The 12-track set of evergreens covers also Irving Berlin and George Gershwin ('But Not for Me'), and closes suitably with 'The Party's Over'.

I have a 2-in-1 CD featuring also Julie... At Home (1959) with intimate arrangements for a small jazz combo, thus being a good pair for this orchestral album.
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