Chris Connor Witchcraft Atlantic 1959

Chris Connor Witchcraft Atlantic 1959 CAT# SD-8032

Kansas City born jazz singer Chris Connor had a pretty impressive career that's largely forgotten. There's still a click of female jazz vocalist enthusiasts (all of whom would be familiar with Connor), but names like June Christy and Julie London tend to be the only ones you still see in print.

This album placed Connor with arranger Richard Wess who surrounded her with a big band and some string arrangements. It's a decent pairing that allowed her to retain her smokey torch style while embracing pop elements that aren't as obvious in her prior work.

Also, let's be honest, the cover is incredible. The font, the early Atlnatic logo and the colors throughout the picture of the eye. It's top-notch and yet another reason things like old LPs are infinitely cooler than CDs.

When Sunny Gets Blue

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.
I Hear Music

Chris Connor I Miss You So Atlantic 1956

Chris Connor I Miss You So Atlantic 1956 Cat #8014

I'm a sucker for vocal jazz or what has become known as Torch Jazz.  Good news about that, I've been picking stuff up at thrift stores for a dollar.  Also good news, if they turn out to suck, they're usually worth more than you think, there's quite a scene for this stuff.

Mind you, I'm not an expert on it and in all actuality, I picked this particular LP not knowing what it was but, was intrigued by an all black Atlantic label.  Put it on, said "fuck, yes, I love this stuff."  Then I did some research.  To my surprise I discovered Chris Connor was a native of Kansas City and attended the University of Missouri to study music.  She would leave KC in 47 to achieve fame in New York.  In the early 50's, she caught on with Stan Kenton (born in Wichita) and worked as a vocalist with him.  That association and a hit sinlge led her to her first solo debut in 1953.

This isn't the most sought after LP of hers and for good reason.  It is vocal jazz, but it lacks any sort of punch, a very pop-orientated effort.  However, you do understand why Connor was able to sustain her career well into the 1970's.  Great voice and not over the top with it like other female singers of the time.  Cool jazz style, very much a female version of Chet Baker.  She restrained herself and doesn't go into absurd fits that are over the top with emotion.