Chris Connor Sings Lullabys For Lovers Bethlehem 1954

Chris Connor Sings Lullabys For Lovers Bethlehem 1954 CAT# BCP 1002

Love everything about this Bethlehem release from Kansas City's Chris Connor.  The cover shot, the title, the now rarely used 10" format, the misspelling on the title, the album is aesthetically pleasing to me.

There's no complaints about the music.  It's a lo-key affair, but still swings.  Connor's voice was in top form and like all her work, she kept things cool.  You also get an almost restaurant/mood music feel from the use of both an accordion and clarinet throughout the album, but it works here, doesn't fall into the hooky category at all.

She was joined by the Vinnie Burke Quartet on the album, hardly a household name anymore, but a capable band nonetheless.  Oddly, the album doesn't credit production.  Apparently in the 50's all that mattered was the singer and the band.

Kinda digging this guy's vinyl rip to You Tube of the album

Chris Connor Chris Bethlehem 1955

Chris Connor Chris Bethlehem 1955 CAT # BCP 56

Kansas City Native, Chris Connors was born Mary Loutsenhizer. She started going by Chris Connor while working as a stenographer and performing as a singer in the Kansas City area. She stuck around KC for awhile but would later move to New York City with the intention of making it as a super star vocalist. Of course, hitting the big time right away was a bit far fetched and she had to start small. She sung harmonies in a background capacity with local New York big bands until she was heard singing on the radio by June Christy. Christy had been singing with Stan Kenton's band and was leaving to pursue her own solo career. She recommended Connor to Kenton and Connor was booked singing for Kenton's big band in the early 50's. By 1953, Connor grew tired of constant touring with Kenton and abruptly quit. She stayed in New York City and was able to secure a gig at Birdland. Legend goes, that during her stay at Birdland the owner of Bethlehem records, Gus Wildi, heard her and offered a recording contract on the spot.

She stayed on Bethlehem for a number of albums before leaving to Atlantic Records in 1956. The Bethlehem albums are far stronger. The Atlantic stuff is a bit toned down, less swing, more pop, whereas the Bethlehem catalog offers more punch and showcases Connors' cool jazz delivery far better. It's still vocal jazz, so the differences sound slight and torch songs are found throughout her catalog.

This album also features some key players, Kai Winding, J.J. Johnson, Osie Johnson, and a young Herbie Mann on flute to name a few. Her early music education from the University of Missouri pay dividends as she's a signer that is in tune with her supporting band, not just bashing out vocal tracks. She finds the tone of the band and replicates it vocally, distinguishing herself not just as torch singer, but a cool jazz vocalists.
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