HarryConnick,Jr.MusicFromTheMotionPictureWhenHarryMetSally…Recorded:RCAStudioB,NewYorkCity;June6,12&19,1989Label:Columbia/CBSRecordsProducers:MarcShaiman&HarryConnick,Jr.ChiefRecordingandMixingEngineer:TimGeelanReleasedate:July25,1989Aswecloseouttheyearandareinthemidstoftheholidayseason,itisfittingtodiscussafilm(anditstimelesssoundtrack)whosestoryspanstherelationshipofitscharactersover

manyseasonsandholidays.OnJuly21,1989,WhenHarryMetSallyopenedattheatres.Unlikemostromanticcomedieswiththetraditionalsappystoryline,thewittydialogueandobservationalhumorthroughoutthecharacters’romanticmiseriesisbothcandidandheartfelt.Thoughthisreviewisonthemusicandsoundtrack,itisdifficulttodiscussmostsoundtrackswithoutbrieflydiscussingthemovieitself.Thechoiceofmusicforanygreatfilmisafunctionofthestoryline. Forthosenotfamiliarwiththemovie(oneofmyall-timefavorites)WhenHarryMetSallylooksatallthecommonrelationalstrugglesandmiseriesbetweenmenandwomen-dating,marriage,loneliness,sexwithoutlove,andsimplytryingtounderstandandcommunicatewiththeoppositesex.It starsBillyCrystal(HarryBurns)andMegRyan(SallyAlbright)inthetitleroles.HarryandSallyfirstmeetasrecentgraduatesattheUniversityofChicago.TheydrivetogethertoNewYorktobegintheircareers,instigatingabasicantagonism/attractionbasedontheirconflictingpersonalitiesandoutlooksonlife.Sallyhasthefresh-facedsunnydisposition,alwaystryingtoseethingsinthebestlight.She’stheclassicoptimistandneedsallkindsofsuperficialcontrolstohelpdealwithchaosinherlife–sheisstructured,closedoff,andkeepsallthingscontained.Itissummedupinherhumorousandhigh-maintenancemethodoforderinginarestaurant:"ButI'dlikethepieheated,andIdon'twanttheicecreamontop,Iwantitontheside.AndI'dlikestrawberryinsteadofvanillaifyouhaveit.Ifnot,thennoicecream,justwhippedcream,butonlyifit'sreal.Ifit'soutofacan,thennothing."Harryhastheopposingpessimisticpersonality,bestillustratedinhowhereadsabook:“WhenIgetanewbook,Ireadthelastpagefirst.Thatway,ifIdiebeforeIfinish,Iknowhowitcomesout.That,myfriend,isadarkside."Harry,anadolescent-mindedcynicwiththeperfectlytimedpunchline,makesanunsuccessfulpassatSallyandthensetsforththefamouspremise:Harryclaimsit'simpossibleforamanandawomansimplytobefriendsbecausethesexpartalwaysgetsin

theway.Sally,naïvelyargueswithhim.ShedropshimoffatWashingtonSquareinNYC,andawkwardlyandsadlytellsHarry,''Haveanicelife.”HarryandSally’spathsdiverge.

Thestoriedrelationshipcontinueswhentheyrunintoeachotheratanairportfiveyearslater.Harryhasbecomeapoliticalconsultantandsheajournalist.Also,she'sinlove,heisengaged.Butlittlehaschangedregardingtheirantagonismtoeachother.Fiveyearsafterthat,HarryandSallymeetagainataNYCbookstore,findingthatbothoftheirrelationshipsrecentlyfailed(Harrygettingadivorce,Sallywantingmoreinherrecentrelationship).Theyfindcomfortandsolacetogetherintheirrelationalmisery,establishingafriendshipdespitetheircontinualpersonalityconflictsthatgraduallyburgeonsintolove;thus,finallyansweringHarry'soriginalthesisaboutfriendshipandlove.

Themovieillustratesthehumorousattemptsattryingtounderstandtheoppositesexandhowafteryearsandyears,youcanfinallydiscoverthelovethatyoudidn’trealizewasthereallalong.ThefilmsimultaneouslypossessesamodernyettimelessfeelthankstowittydialogueinmodernrelationshipissuescombinedwithnostalgicclassicNewYorksceneryandmusic.Thereisreoccurringmotifflowingthroughoutthemovieofoldercouplesdiscussinghowtheyfirstmetandfellinlove,culminatinginHarryandSally’sstoryattheendofthemovie.Astrueinthemoviesasinreallife–allofushaveastorytotell.

Thefilm’sscreenwriterNoraEphronaptlysummarizes,“Loveneverstopsbeingmysteriousandfascinatingtoallofus.”ThescriptforthemoviecameoutofdirectorRobReiner’spersonalexperiencesafterhavebeenmarried,divorced,andthrowninthedatingworldagain,makinganutterdisasterofhissociallife.Ironically,Reinermethisnextwife(MicheleSinger)whenmakingthisfilm,asdidHarryConnickJr.whenrecordingthesoundtrack(meetingandmarryingsupermodelJillGoodacre).

BillyCrystal,RobReiner,MegRyanonset.ThemusicchosenbyReinerplaysavitalroleinthecharactersandoverallarrangementofthefilm.Weallhavefeltthecumulativepowerofanaptlythemedscoreorsoundtrackinthecinematicexperience.BritishscreenwriterTessMorrishighlightsthiswell:“Musicisapowerfulforceinfilm.Filmmakersarealwaysnavigatingthatfinebalanceofwantingtheaudiencetofeelsomething,

butnotwantingtotellthemwhatthatfeelingis–andmusicistheirholygrail.Forme,awriterofromanticcomedies,it’ssomethingIthinkaboutallthetime.WhenIwrite,IamalwaysthinkingabouthowIcanusemusic.Iwritesongsintothescript;IhaveanongoingplaylistforeveryprojectIamworkingon;Iwritetomusic;Imakeupchoreographeddanceroutinesaroundmyofficetomusic.It’sfairtosay,Ispendalittlebittoomuchtimethinkingaboutmusic.”Reinerwantedtodosomethingdifferent,avoidingthetraditionalinstrumentalscoresorrockn’rollusedinsomanymoviesoftheday.HeselectedthejazzandGreatAmericanSongbookgenreforhisscript,thesongsofGeshwin,Rodgers&Hart,GusKahn,DukeEllington,BennyGoodman,andVernonDuke.IanConrichshowstheinfluencethismusichadonthefilm:“Soundtrackscanoperatetodistancetheviewerfromtheeventson-screenortocommentonthecharactersortheircharactersthroughironicjuxtaposition.Itmay,forexample,worktoinvoketheideasoridealsthataresupposedtobelongmoreproperlytoapast,‘moreinnocentorromanticage,’asintheuseofswingandballadsfromthe1940sand1950sinWhenHarryMetSally.Theoldstandardspayhomagetotheromancemoviesofyore.TheygiveWhenHarryMetSallyatimelessfeelandremindusthatwhileHarryandSallymaybeverymuchalate-'80spair,alovestoryisalovestory,nomatterthedecade.”SomethoughtReinerstolethesoundtrackideafromWoodyAllen’sAnnieHallandManhattansincebothdirectorsusedjazzclassicswhilepayinghomagetoNewYorkCityintheirfilms.Onecan’thelpbutnoticethesimilaritiesinthemusicandthebackdropofthebuildings,famousshopsandrestaurants,streetsandscenery.Itaddsmoredepthtobothfilms.Butaftercloserreflection,itisclearthatReinerusedthejazzgenreinamoresophisticatedwaythanAllen.InhisbookonWhenHarryMetSally,TamarJeffersMcDonaldexplainsthat,“wherethemusicjustaccompanieseventsinAnnieHallandManhattan,inWhenHarryMetSally,itcommentson,undercutsandunderlinesthem.Forexample,theGershwinsong“StrikeUpTheBand,”playedattheendofManhattansimply

underscoresthesceneinwhichIsaacDavis(WoodyAllen)runsacrosstowntofindhisformerlover:thereisnosubtext,thesong’slyricsarenotbeingevoked,theorchestralversionsimplymatchesthesong’srapidtempotoIsaacDavis’speedymovement.Incontrast,thesong“Don’tBeThatWay”isbeingplayedattheweddingwhenHarryBurns(BillyCrystal)istryingtoovercomeSally’s(MegRyan)frostiness.”“ButNotForMe”(sungbyHarryConnickJr)isheard,fittinglytwice,whenHarryisfellinglonely…ThewaythesongsareusedandcontrastedforeachcharacterinadifferentwayalsospeakstoHarry’sintrospectivetemperamentandSally’scarefreedisposition.Eachsceneandsongiscarefullywoventogether.Whilenotallaudiencememberswillbefamiliarwitheverysongorlyric,orevenrealizethatsuchthingsarebeingconsciouslyemployedtoaddtothemovie’smeaning,itisevidentthatsuchmusicalchoiceshavebeenmadewithgreatcareandusedfordifferenteffects.”FromtheBigEasytotheBigAppleAndnowwefinallygettothehighlightofthesoundtrack,HarryConnick,Jr.MostpeoplearenowfamiliarwithConnick,whoattractssuchawideaudienceduetohisnotorietyinfilm(MemphisBelle,IndependenceDay,HopeFloats,NewInTown,DolphinTale)andtelevision(Will&Grace,AmericanIdol,andHarry).Butinthelate80s,Connickwasfarfromahouseholdname,onlyknowninlocaljazzcircles.Connick’srootslieinhisNewOrleansjazzheritage.Hisparentsworkedtheirwaythroughlawschoolwhilerunningarecordstore(hisfatherwasthedistrictattorneyforOrleansParishfortwentyyears,andhislatemotherwasaLouisianaSupremeCourtjustice).Inspiredbymusictheybroughthome,Harrystartedplayingthepianobytheageofthreeandsoonbecameachildprodigy.

ThoughclassicallytrainedinChopin,Mozart,andBeethoven,HarrywassurroundedbytherichNewOrleansjazztradition,suchasProfessorLonghair,Eubie,Blake,andDr.John.Winningeverypianocompetitioninhisearlyyears,ConnickperformedasaclassicalpianistwiththeNewOrleansSymphonyOrchestrabytheageof9.ButyoungHarrywouldmaketheFrenchQuarterhislocalhangoutandhearthelocaljazzlegends,andjazzquicklybecamehisfocusandultimatelove.Stillachild,Harrywouldoftenbeinvitedtositinandplaywiththebandatjazzclubs,suchasMaisonBourbonintheFrenchQuarter.OnepersonworkingatMaisonBourboncommentsonhearinglittleHarry’stalents:“Whathebroughttothatrestaurantwaslively,spirited,chunky,funky,creative,delightful,classicstufffromNewOrleans.Justwatchinghislefthand–with

commandandprecisionhittingthosestridepatterns...itwastrulystrikingtoseesuchtechniquecombinedwithsuchaplayfulperformance.” Yes,thestarsseemedtoalignfor

Harryashewasdestinedformusicalgreatness-aneagerstudentwithallthemusicalpotentialintheworldsurroundedbyiconicmasterjazzmusicians. Howmanykidsdoyouseeatthelocalbars?ButthatwasConnick’suniquechildhood.TobyKahnsharesoneofmanygreatexperiencesforHarry:“Intheearlydays,HarryusedtostrollintooneofNewOrleans’dark,smokybarstolistentosuchjazzlegendsasLionelHamptonandBuddyRich.Bythattime,hisownreputationasajazzpianistandsingerwasalreadysofirmlyestablishedonBourbonStreetthathewouldfrequentlybeinvitedtositinonsessions.HisraspingimpersonationofLouisArmstrongwasespeciallypopular,andeventuallyhewasinvitedtojoinBuddyRichontour.Lookingback,Connicksayshewouldhaveacceptedinajiffyifonlyhehadn’thadapriorcommitment:Hehadtofinishelementaryschool.Harrywasallof6yearsoldwhenhebeganhittingtheBourbonStreetbars,escortedbyhisparents,andhewas9whenRichinvitedhimtoseetheworldwithhisband.”By10,HarrybeganhangingaroundJamesBooker–NewOrleansjazzpianistknownastheBlackChopin.ThisrelationshipbecametheMaster–Apprenticerelationship.In1977,HarryhadarepertoireofNewOrleansDixielandmusicandbyattheageof10recordedhisfirstrecordwithsomepremiermusiciansinarea.

ConnickalsolearnedunderthetutelageofNewOrleansjazzmasterEllisMarsalisJr.,wherehethenbefriendedsonsWynton(trumpeter)andBranford(saxophonist)Marsalis.Harryhadaphenomenallyretentiveearandimpressivetechnicalmasterythatfewpossessed.Interestedly,Harryhadnovocaltrainingthroughouthischildhoodandevenduringhisteenyears.Hetriedtoimitateartistswhenhehadtosing,suchashisheroLouisArmstrongandStevieWonder.

Hisearlyexperienceswereendless.OneofHarry’sgreatestchildhoodthrillswasperformingwithEubieBlake.“Thatwasareallyspecialtime,”Harryrecalls.“Hewas96andIwas9.He’dseenjazzbeforejazzwasinvented.”WhenHarryaround13,hegotacallfromoneofthegreatNewOrleanstrumpetplayers–JohnnyHorn–askingHarrytoplayagigwithhimweekdaysfrom11pm–3amattheFamousDooronBourbonStreet.ThiswouldbeHarry’sfirstformaljob.Harrythoughthisfatherwouldsay“no”buthewasencouragedtopursuehistalents.Butattheendoftheday,Harry’sfatherwantedhissontoattendandfinishcollege.AfterlastingonlyonesemesteratLoyolaUniversity,HarrydroppedoutandlefttheBigEasyfortheBigAppleat18in1986.

HarryreflectsonhisearlyexperienceswithteacherEllisMarsalis,ambitionandnaivetéashemadethemovetoNewYorkatsuchayoungage:

“Man,Iwasyoung.ThefirsttimeIplayedonstageIwasfiveanditwasattheNewOrleansCenterforCreativeArts,whereEllisMarsalis,Branford’sdad,wasteaching.Irememberlookingupoverthepianoandseeingallthesepeopleclapping.Ilikedthat.MymomtookmetoWashington,D.C.,andtherewasapianointhehotellobby,andIaskedherifIcouldplay.Within10minutespeoplewerethrowingmoney.Shemademegiveitallback,butIwasthinking,thisiseasy—Icandothis!I’mnotagoodstudent,I’mnotagoodathlete,butthisIknowhowtodo.Ihadtoworkforit,becausemyteacherskepttellingmeIwasn’tgoodenoughandthatIhadtopracticemore.ThenIhitabrickwallwhenIwas13.IwasstudyingwithEllisMarsalisandhewasnotamused.Hedidn’tfindmecuteorinterestinganddidnotletmethinkIwastalented.Iwasaloosecannon.Iwasundisciplinedandallovertheplace.Myteacherswouldsay,‘Youshouldquitanddosomethingelsewithyourlife.’TheywouldtellmydadIcoulddowhateverIwanted,buttheywouldn’ttellmethat.WhenIwas18,ImovedtoNewYorkCityandmydadaskedEllisifhethoughtIcouldmakeit,andhesaid,‘HarryislikeSecretariatlookingforaracetorun.’”Harrycontinues,“IleftNewOrleansjustbecauseIwantedtoseeifIcouldreallydoit,butIwasinNewYorkforabouttwoyearsbeforeIgotanythingdecent.IlivedattheYMCAforawhileonverylittlemoney.ButIprobablywouldhavedoneanythingtomakeitbecauseItrulyfeelthatifyoureallywantsomething,ifyoureallyhavethedesire,you’llgetit.IknewI’dplayatLincolnCenter,andIdidit.IknowI’llplayatMadisonSquareGardenandsellitout.Ifyouhavethedesire,youcandoit.MyveryfirstgigwasattheEmpireDiner,alittlediveonthelowerWestSide.IgotajobattheKnickerbocker,somethingI’vewantedtodosinceIwasnineyearsold.WhentheysaidIwashired,Isaid“Wow!Thisisgreat!”It’sjustsomethingI’vealwayswanted.IplayedthereforayearanddevelopedasteadylittlegroupofcustomersandthenmovedovertotheAlgonquin.AndthenontoLincolnCenter.”Buttryingtolandarecorddealdidnotcomerightaway.Makingverylittlemoneyandreceivinglittleattentionfromthecritics,HarrystayedwithWyntonMarsalisuntilhegotonhisfeet.Harrytookgigswhereverhecouldfindthem–bars,smallclubs,churchesandwithinayearhewassignedwithColumbiaRecordsattheageof19in1987.Hisfirstalbum(selftitled)wasmeanttobeajazztrioalbum,butthedrummerandbassplayerbackedoutatthelastsecond,soitwasjustHarryplayingsolopiano.

HarryConnickJr.’sfirstColumbiaalbumat19yearsofage,1987Harrycommentedonbeingsignedandreleasinghisfirstalbum:“IhitanotherbrickwallbecauseIexpectedtosignwithColumbia[Records].TherewasaguytherenamedGeorgeButlerwhohadsignedWyntonandBranfordMarsalisandhadmetmewhenIwas14.HetoldmetocallhimwhenImadeittoNewYork.Iwenttohisofficenearlyeverydayforsixmonthsandhewouldn’tseeme.Ibecame

reallygoodfriendswithhissecretarybecauseIsatthereforhours.Finally,hecameintothelobbyandhesaidhe’dsignme[withthehelpofWyntonMarsalis].Man,IleftthatbuildingandIranfrom54thStreetto92ndStreettotheYMCAwhereIlived.ImademyfirstrecordwhenIwas19.IthoughtIwasgoingtobethebiggestthingsinceslicedbreadbecauseIwassopassionate.Butnobodyboughtit.GeorgeButlerwouldn’tletmesingonit.Hesaidonceyoustartsinging,peoplearegoingtoforgetyou’reapianoplayer.Andhewasright.”

KNICKERBOCKERBAR&GRILL,NYCThenextyearin1989,thingswouldallchange.Harryreleasedasecondalbum,20,whichintroducedacoupleoftrackswithHarrysinging,thoughthemajorityissolopiano.HegainedalittlemorenotorietyfromthealbumandmovedontoplayingatChezJosephineandthenKnickerbockerBar&Grillon

UniversityPlace.OnewaitressattheKnickerbockerduringthistime,BibiFarber(whoisnowawellknownsingersongwriter),tellsofherexperiencelisteningtoHarrymultiplesetsaweek:“Ididn’tknowIwasgoingtogetlifechanging,comprehensiveexposuretothehistoryofJazz,NewOrleansandAmericanculture–deliveredthroughthestoriesandpianoplayingofthisverycuteyoungwhiteboyfouryearsmyjunior. Soherehe[Harry]was,thiskid,20yearsold.Icouldn’tevenhaveservedhimadrinkifhewantedone.PlayingtheoffnightsatTheKnickfor$75takehomeforthreesets.Onhisbreak,IbroughthimaCokeandacheeseburger.That’sallheeverordered.IhadtheSundaynightshiftintheloungeandbeforeyouknewit,therestofthewaitresseswerefightingtoworkwhenHarry

played.Itwasn'tevenagoodmoneynight.Certainly,hewassignedandhis[Columbia]labelwasmakingBIGplansforhim,butwordwasn’toutinNewYorkaboutthiskidyet.Hehadsuchmoxy!Hetrulybrighteneduptheplace.Youjustwantedtobethere.Westartedcominginwhenweweren’tworkingjusttohearhimplay.Irememberservingatableofsix,walkingoverwiththeirdrinksonatray–andstoppedinthemiddleofthediningroombecauseHarrywasplayingsomesolothatliterally

stoppedmeinmytracks!Iwentovertothetable,completelyforgotwhateveryoneorderedandjustblurtedoutmostunprofessionally,“Didyouhearthat?Didyouhearwhathedid?” HarryhadnoneofthedeadseriousjazzvibeevenwhenhewasdoingMonkorsomethingintenselikethat!Hewouldplungeintoit,madeitadelightfulexploration.HebroughtAmericanmusichistoryintoourlives,andhisenthusiasmpulledusrightin.Hewokeupmyeartojazz.HemadeitFUN.IneveryperformancehefilledtheroomwithrespectfortheAmericanTradition.Hewokemeuptoallthesongwritingthatcamebeforerock&roll.Hebroughtthismusicdownanddusteditofffor[us]youngergenerations. Hewasasharp,clever,worldlyandyes,disturbinglyhandsomekid.Andakidhewas.Betweensetshe’dstrikeupconversationsaboutracecars,sports,thelatestspytechnology,thatkindofthing.Evenonhis21stBirthday,anightIworked,hedidnotdrink.Itwasthefurthestthingfromhismind.Irespectedthatsomuchinhim.Therewasnoneofthisgenius-headedfordisaster-seductive-coolthreatabouthim.Iwasfascinatedbyhowtogetherhewas,internally.Forgetthefasttrack:thiskidwasn’tgoingtobedistractedbyANYTHING.Itwaslikebeholdingapieceofmachineryperfectlystructuredanddesignedtohandleaspecificjob,orwatchingananimaleffortlesslymoveinthegrooveofwhateveritisdoing.Hiswholebeingwasinperfectcoordinationwithhismission.Hewasgoingtobeanextremelysuccessfulperformer,nodiscussionnecessary.Weallknewhewasn’tgoingtostayaroundTheKnickerbocker.”

Harry Connick, Jr.’s second Columbia album at 20 years of age, 1988 Andworddidgetout.Theopportunityofamonth-longengagementplayingandsingingattheAlgonquinHotelopenedup.Theshowattractedagreatdealofpressattention,specificallyafterlegendarysingerTonyBennettsawaperformanceandproclaimed,"ConnickcouldbethenextFrankSinatra."Harrythoughthissecondrecordwouldhavepushedhimtostardom.Butitdidn’thappen.Harrynotes,“Ididanotherrecord[titled“20,”namedafterhisage]andIsangonit,andIthoughtthisisgoingtobetheone.Anditsoldlike10,000units.Iwasstill

livingattheY,openingforpeoplelikeKennyG,AlJarreau,StevenWright,thecomedian.” ButhispassionfortheGreatAmericanSongbookandallthoseexperienceswerecultivatinghisnextbigopportunity,whenHarrymetRob.WhenHarryMetRobThemusicselectionprocessforWhenHarryMetSallybeganafteraconversationwithdirectorRobReinerandfriendBobbyColomby,theformerdrummerforBlood,Sweat,andTearsandthenCBSRecordsexecutive.Reinerwantedtoimplementtraditionaljazzstandardsintothestory,andColombythensaid,“You’vegottolistentothisguyHarryConnick,Jr.”Robneverheardofhim.BobbybroughtReinerademotapeofConnick(who

wasjust20yearsoldatthetime)toReiner’shotelandReinerwasblownawaybywhatheheard–describingConnick’spianostyleasacrossbetweenBillEvansandTheloniusMonkandhisvoicelikeFrankSinatra.TheoriginalplanwasforConnicktoplaysomestandardsandmixinsomeoriginalstandardsfromiconicartistsandthatwouldbethesoundtrackforthemovie.

IntheRCARecordingStudio:RobReiner,MarcShaiman,HarryConnickJr.ThestandardsperformedbyLouisArmstrong,EllaFitzgerald,andFrankSinatraplayakeyroleinthemovie,butReinerhadtroubleobtainingtherightstoputthosetracksonthesoundtrackalbum.AsConnickrecalls,“IgotacallfromRobReinertodosomebackgroundpianoplayingforWhenHarryMetSally.Notsinging,justplaying.Thenitcametimetodothesoundtrack—whichIwas

notoriginallyon—andtheyhadtroublegettingmusicrightsfromFrankSinatra,EllaFitzgeraldandafewoftheothermusicians.SoRobcalledmeandaskedifIcouldsing‘ItHadtoBeYou’andbeforeIknewitIhadthewholerecord.”ThisalsowouldbeHarry’sfirstexperiencesingingwithanorchestra.FromthekiddoingLouisArmstrongimpersonationswithvirtuallynovocaltraining,nowhewasintherecordingstudiowith60-70musiciansandafullorchestra.Butfittingly,Harry’spersonaoftheoldschoolcroonermatchedthetimelessfeelofthesoundtrack.Connickdevelopedanimageassomethingofathrowback,amatchtotheromanticcroonersofabygoneera.Connick'sthickdrawl,Southernmanners,andslicked-backhairbecamehiscallingcards.

ButReinerstillneededsomeonewhocoulddothearrangementssinceConnickdidnothavebigbandorchestralexperience.BillyCrystalrecommendedMarcShaiman,Crystal’srehearsalpianistfromSaturdayNightLive,toReiner.Shaimankneweverysongimaginable,anditturnedouttobeaperfectcollaboration.Infact,itworkedsowellthatShaimanandConnickcollaboratedonsomeofConnick’slateralbumsaswell.Reinerhadhisselectionofsongshewantedinthefilm,andShaimanwantedtoaddafewlesswell-knownstandards,suchas“ICouldWriteABook.”Reinerselected“ItHadToBeYou”asHarryandSally’stheme,

whichiswhyitappearstwiceonthesoundtrack,onefeaturingConnick’svocalandbigbandarrangement,theotherajazzinstrumentaltriowithConnickonthepiano.Onesignofawell-madesoundtrackisthatwhenyouhearasong,youcannothelpthinkofthemovie.ThatReiner,Shaiman,andConnickmanagedtodothatwiththesetimelesssongsnearly100yearsoldspeaksvolumes.Thesoundtrack(andmovie)wasafull-blownsuccess,asConnickhighlights:“Thatwascrazy.Thiswasbackwhentherewerenocellphones,internet,anyofthatstuff,sopeoplehad[different]waysoffindingoutaboutyourmusic,whetheritwasonaTVshowortheradiooranewspaperormagazinearticle.Iwentfromselling10,000records,whichisalotforanunknownjazzpianoplayer,tomillionsofrecordsinamatterofmonths.I’dwalkthroughanairportandpeoplewouldsay,“Iknowwhoyouare,”orI’dhearmymusicinashoppingmall.Youstartgettinginvitedtobeon“TheTonightShowWithJohnnyCarson”anditwasjustareally,reallyfuntime.”TheWhenHarryMetSallysoundtrackwentmulti-platinumandearnedConnickhisfirstGrammyforBestJazzMaleVocalatjust22yearsofage.Andtherestishistory.Thesoundtrackalbumshotto#1ontheBillboardTraditionalJazzChartandevenmadeittothetop50ontheBillboard200.Andinthepast25yearsConnickhadmorenumberonealbumsthananyotherAmericanjazzartistincharthistory,selling25millioncopiesworldwide.Anditallstartedbecauseofthissoundtrack.Everyonehitthejackpot.Soonafter,Harrywasplayinginvenuesandconcerthalls10xthesizeasbefore.HealsobeganwritingfullorchestralarrangementsandlyricsasasongwriterfromhisexperienceswithShaiman.SoonaftertheWhenHarryMetSallyrelease,inthe1989NewYorkTimesdescribedConnick’stalents“asajazzpianistwhobringstogetherthethunderingjubilanceofNewOrleansboogie-woogie,thequirkylyricismofTheloniousMonk,andtheromanticismofErrollGarnerinsplashy,rough-hewnsolosthatcoverthekeyboardandchangestylefromminutetominute.Vocally,atheart,heisasultrycroonerwhosewayofelidingsyllablesowesagreatdealtoalanguidNewOrleansrhythm-and-bluestradition.Hesuggestsalightervoiced,sultrierhybridoftheyoungMr.SinatrawithstreaksofDickHaymes'breathinessandDr.John'sNewOrleansrhythm-and-bluesgrowl.Ifhestillhasn'tfoundawaytoshadeoneaspectintotheotherseamlessly,thebreadthofMr.Connick'sexpressiveaspirations,fromanextremetendernesstoanticplayfulness,isadmirable.”

Throughyearsoflisteningandgaininganappreciationforalltherichmusichistorybehindthesemusicallegends,whatIgreatlyadmireisConnick’srespectandknowledgeofallthemusicaliconsthathavecomebeforehim.WhenIlistentohismusic,Iamalsolisteningtoallthosewhoinfluencedhisstyleandtechnique.Connicknotes,“I’mattemptingtoplayandsingmusiconahigherlevelandbroadcastittoasmanypeopleasIcan,theyoungerpeople,especially,sotheycanappreciateitasIdo.BecauseIthinkit’sthegreatestkindofmusicthereis:notonlyNewOrleansmusic,butalsoFrankSinatra,DukeEllingtonorLouis

Armstrong,forthatmatter.Wouldn’titbegreatifallthemusicontheradiotodaywerelikethat?Imean,I’vegotnothingagainstrock‘n’roll,butrock‘n’rollseemstohavecompletelycorneredpopmusic.Iwanttochangeallthat.Ifmymusicbecomespopular,thenjazzbecomespopular.IfI’mknown,thenjazzwillbecomebetterknown.Iwantpeopletohearauthenticjazzmusic.I’dliketoelevatejazztoalevelwheremorepeoplewillhearit.”SinceWhenHarryMetSally,Connickhasmanagedtobreaksomeofboundariesthatseparatejazz,bigband,popularmusic,standards,moviesoundtracksandBroadwayshowtunes.Butathiscore,Connickisrightathomewiththelegendsofthepast:Gershwin,Ellington,Berlin,Rodgers&Hart,andArlen.

Tracklist

Forthosenotfamiliarwiththeterm“TheGreatAmericanSongbook”(onwhichthissoundtrackisbased),itcontainsthecanonofthemostimportantandinfluentialAmericanpopularsongsandjazzstandardsfromtheearly20thcentury.Itincludesthemostpopularandenduringsongsfromthe1920stothe1950sthatwereinitiallycreatedforBroadwaytheatre,musicaltheatre,andHollywoodmusicalfilm.Themusicofthisgenreisalsooftenreferredtoas“Americanstandards.”Thesesongscontainsomeofthegreatesteverwrittenandcomposedwiththeirtimelessmelodiesandcaptivatingreflectivelyrics.Theyhavebeenperformedcountlesstimesinmanydifferentstyles.ProminentsingersofthesongbookgenreincludeEllaFitzgerald,FredAstaire,JuneChristy,DinahWashington,NancyWilson,RosemaryClooney,TonyBennett,NatKingCole,SammyDavisJr.,JudyGarland,BillyHoliday,LenaHorne,DeanMartin,FrankSinatra,MelTormé,andMargaret

Whiting,andcountlessothers.Therehasbeenarecentresurgenceinthisgenre,asartistshavecrossedoverlaterintheircareers(WillieNelson,Sting,BobDylan,LindaRonstadt,etc.).I’veincludedabriefreviewofeachtrack’shistoryaswellasConnick’srenditiononthesoundtrack,oftenincomparisontootherwell-knownartists’versions.Onthesoundtrackarebiggerscaletracks,withbigbandarrangmentsandvocals,aswellassmaller,moreintimatetracksfeaturinginstrumentaljazztrioandsolopianoarrangements.Itisawell-balancedalbum,reflectingthenostalgicappealofthatgoldenera.1.ItHadToBeYou(withBigBandandVocals)–Thissongappearstwiceonthesoundtrack–thisonefeaturingabigbandorchestrawithConnickonvocals,theotheraninstrumentaljazztrio(bass,piano,drums).TheoriginallyricsandmelodywerewrittenbyGusKahnandIshamJones,respectively.Kahn’srepetitivecatchphrase“ItHadtobeYou”setsanonchalantlyresignedtonethatperfectlymatchesIshamJones’casualmelody,revealingalovertrappedbyfatefinallycomingtotherealizationthatoneisinlove.ThistimelessclassicandfittinglyricsprovidesaperfectaccompanimentfortheHarry/Sallynarrative.CraigDuffofTIMEMagazinecommentsonthissong:“Somanylovesongs—particularlythosepennedduringtheTinPanAlleydays—putlove,andlovers,onapedestal:allsweetness,lightandperfection.Butain’tnobodyperfect.Andifwe’relucky,wefindsomebodywholovesusandcan’tlivewithoutus,inspiteofourfaults.That’swhatmakesGusKhan’swordssorefreshinginthe1924song“ItHadtoBeYou.”Hereissomeonewhoisabsolutelysmitteninspiteofthesignificantother’sbossyandcrankynature.MarriedtoIshamJones’tune,withitssurprisingandsultryhalf-toneshiftonthesecondmentionof“you,”thelyricshavebeencroonedbyeveryonefromMarionHarristoDianeKeaton’sAnnieHall.BythetimeBettyHuttonrecorded“ItHadtoBeYou”forthe1944filmIncendiaryBlonde,itwasfullyentrenchedasastandard,aromantic—andrealistic—additiontotheGreatAmericanSongbook.”Hutton’sversionthatcementedthissongasadefinitelyclassicismoreofalamentingballad,muchsofteranddarkerinitsmood.FrankSinatra’sversion(usedinthefinalclimaticsceneofWhenHarryMetSally),aballadisaswell–bass,piano,andtrumpet,orchestraaresecondarywithaverymellowfocusonSinatra’svocals.Mostperformanceshaveaverysimilartempoandrhythmwithmorereflectiononthelyrics(seealsoBillieHoliday’s1955versiononClefRecords).Inatwist,Connick’sversioncertainlyswingsandworksverywell.Hedoesn’tlosetheintimacyofthelyricsyetdefinitelyaddsanedgetothem.MarcShaiman’sarrangementdoesn’tfeeloutofplaceeither,sharingsimilaritiestoNelsonRiddle’sarrangementsinhisSinatracollaborations.Thereisanoticeableemphasisontheorchestralarrangementcomparedtothesimplicityoftheolderversions.Connick’svoiceisnotasemotionallysensitiveorsophisticatedastheotherversions,buthisplayfulnessofthelyricsseemsfitthemoodoftheswingfeelandtoneofthemovie.2.OurLoveisHereToStay–Originallycalled“It’sHeretoStay,”thisclassic(originallyadown-tempostandard)wasoneofthelastsongswrittenbytheiconicGeorgeGershwin.George(thecomposer)diedinJuly1937ofabraintumorattheyoungageof38,afterwhichhislyricist,elderbrotherIra,addedwordstoGeorge’smelody.Thissongfirstappearedinthe1938filmTheGoldwynFolliesandwassungbyKennyBaker(Georgedidnotlivelongenoughtoseeitunfortunately).Thesongwasgivenverylittleattentionin

thefilmandwasalmostrelegatedtobackgroundmusicwithBaker’sperformancepartlycoveredbydialogue.Despiteitson-screentreatment,“LoveIsHeretoStay”wentontobecomeahittwicein1938byLarryClintonandHisOrchestra(BeaWain,vocal)andRedNorvoandHisOrchestra(MildredBailey,vocal).ButitwasnotuntilGeneKellysangittoLeslieCaroninAnAmericaninParis(1952)thatthesongbecameastandard.Gene Kelly & Leslie Caron, dancing Gershwin’s Our Love is Here to Stay

AnAmericaninParisalsousesanextendedinstrumentalstringarrangementforadancesequencebetweenthegreatKellyandCaron.InWhenHarryMetSally,LouisArmstrong&EllaFitzgerald’sversionisusedinanopeningsequence.Onthesoundtrack,Connick’sversionhasamoodyvocalintroductionwithalotofdeeppercussion,whichisuniquefromthemorecommonrenditionsthattreatitasasimplisticballad.Aftertheintro,thetriocomesintoplay

withamoretraditionalfeel,andConnick’svoiceispalpablysensitivetothelyrics.HisvoicehasasweetnessandwarmthunlikefewversionsI’veheard.Thisisadistinctiveoverallarrangementthatstaystruetotheoriginal(especiallyintempo)buttakessomewonderfulinterpretativedivergences.Astandoutfeatureincludesaprominentsaxophonethroughouttheextendedimprovisationalsolo.3.Stompin’AtTheSavoy–Composedin1934byEdgarSampsonthoughmadefamousbyBennyGoodmanin1936,thisjazzstandardwasnamedafterthefamousHarlemnightspot,theSavoyBallroom.TheSavoyopenedin1926andfeaturedalarge10,000squarefootdancefloor,attractingthebestdancersinNewYork.In1927theSavoybegansponsoringjazzbandcompetitions.Anumberofdancecrazesbeganoratleastwereinitially

popularizedattheSavoy,mostnotablytheLindyHop,apartneredjazzdancethatevolvedintothe“jitterbug”andsubsequentlyEastCoastSwing.Sadly,theSavoyBallroomwastorndownin1958tomakewayforahousingproject.

OntheSavoyBallroomcommemorativeplaquestates:“HereoncestoodthelegendarySavoyBallroom,ahothouseforthedevelopmentofjazzintheSwingera.Visuallydazzlingandspacious,theSavoynightlyfeaturedthefinestjazzbandsinthenation,anditshousebandsincludedsuchfamousorchestrasasthoseofFessWilliams,ChickWebb,andTeddyHill.Thegreatjazzdancerswhoappearedonitsblock-longfloorrangedfromprofessionalslikeWhitey’sLindyHopperstoeverydayHarlemites.Duringatimeofracialsegregationandstrife,theSavoywasoneofthemostculturallyandraciallyintegratedofinstitutions,anditsfamewasinternational.ItwastheheartbeatofHarlem’scommunityandatestamenttotheindomitablespiritand

creativeimpulseofAfrican-Americans.Itwasacatalystforinnovationwheredancersandmusiciansblendedinfluencestoforgenew,wide-spread,andlong-lastingtraditionsinmusicanddance.Whethertheyattendedornot,allAmericansknewthemeaningof”Stompin’attheSavoy.”

BennyGoodman’sfamousrenditionof“Stompin’attheSavoy”hasamorelaidback,traditionalorchestralbigbandarrangement,asopposedtoConnick’smoreupbeattrioonthissoundtrack.Connick’sversions’openingpercussionbyJeff“Tain”Wattssetsthejitterytoneofthesong,harkeningtheupbeatswingfeeloftheSavoyballroomitself.ThemelodyisplayedsolelybyConnickonthepianowiththerhythmandbackingsuppliedbythebass(wonderfulpacingbyBenjaminWolfe)anddrums.Eachinstrumentisnoticeablyprominent(thankstoawonderfulrecordingandmastering).Thetrioblendsperfectly,

culminatinginwonderfulnoteworthyperformancethatranksuptherewiththebestofthem.Connick’suniquepianostylewithhiscrunchingNewOrleanstechniqueandgrunting solos, covering the entirety of the piano’s keyboard from minute to minute, are evident in this piece. His ability to still keep the melody front and center in a repetitive, addictive feel will make this stay in your head for days once you hear it (in a good way). This is definitely one of the standouts on the soundtrack.

Left:ConnickwithBenWolfeonbass.Right:JeffWaitsondrums

4.ButNotForMe-ThissongwasoriginallywrittenbyGeorgeandIraGershwinforthe1930musicalGirlCrazyandsungbyGingerRogers.JudyGarlandlatersangitinthe1943filmadaptationofGirlCrazy.ButunlikemostofGeorge&IraGershwin’sclassiccompositions,thistookyearstofinditsplaceinthepoparena.TheiconicperformanceofthisgoestoEllaFitzgerald’scoveronheralbumEllaFitzgeraldSingstheGeorgeandIraSongbook.Herrenditiontookhomethe1960GrammyAwardforBestFemaleVocalPerformance.Soonafter,thisbecameoneofthemostrecordedballadseverwritten.Thissong’slyricsareactuallytheantithesisofthemovie’sthemeandoveralloneofthedarkersongsintheAmericanSongbook.Sohonestandrawarethelyrics(butfewrenditionsincludealloftheverses):“Oldmansunshinelistenyou,Nevertellmedreamscometrue.BeatriceFairfaxdon'tyoudare,Evertellmeshewillcare.I'mcertainit'sthefinalcurtain.”ThatdarknessisfeltimmediatelyandportrayedintheorchestralopeningofConnick’sversion.Thesameorchestralpreludealsoconcludesthesong,actingasthematicbookends,withthelyricsinthemiddle.Connick’semotivelyricsbringthesorrowandsadnessallthewaythrough.Hisperformance,hisvocalsandpianosolo,displaytenderness,despair,andlongingthroughhistone,phrasingandvocalpauses,andpersuasivefinish(contrastthistoEllaFitzgerald’ssmoother,sweetertonethroughout).

5.WinterWonderland–Theloneholidaysongonthesoundtrack.ThemoviefeaturesBingCrosby’s“HaveYourselfAMerryLittleChristmas”andRayCharles’versionof“WinterWonderland”,butthistrackisaninstrumentalConnickpianosolo.ThisisamasterfularrangementbyHarry.Everythingaboutitmakesyoufeelthelyricswithoutevenhavingthemsung.Thesong’sopening32ndnotesplayedbrisklywithhisrighthandisarrangedtomakeitsoundlikesnowfalling,whilehislefthandopenswiththejinglebellsmelody.Creatively,hislefthand’scrunchingbassinstridepianostylemakesitsoundlikeyouarewalkingwithyourfeetcrunchinginthesnow.

Withjustapiano,Harry’sNewOrleansstylereproducesalltheelementsofalargerband,suchasapercussivesoundwiththebasssyncopation,thehornsandstringsplayedwiththepianotrillstoaddabluesyfeeltoit,etc.Thesongbuildswitheachprogression,addingmoregruntandcomplicatedrhythmsasitdevelops.ItpleasantlyendswithjinglebellsmelodyandthetypicalHarrypianoslide.Tis’theseason–thisoneshouldbeonyourplaylist.6.Don’tGetAroundMuchAnymore–ThisstandardwasoriginallywrittenbyDukeEllingtonin1940underadifferenttitle,“NeverNoLament.”Lyricswerelateradded

tothemelodyin1943byBobRussell,thuschangingthenameto“Don’tGetAroundMuchAnymore.”OneofRussell’sbest,thelyricstellthestoryofajiltedloverwhopreferstostayathomeratherthanbehauntedbythememoriesofhappiertimesspentatdancesandnightspots,summedupintheline“Whystirupmemories?”PopularrenditionsincludetheInkSpots,NatKingCole,andLouisArmstrong/DukeEllington.Thisisoneofmyfavoritesonthesoundtrack.Connickcapturesthemelancholicmoodofthesong.Hisvoicedeliveryhasasmokyfeel(contrastthistohismorecheerfuldeliveryin“ICouldWriteABook”lateron).Itisauniquearrangement,beginningwithaveryslowmoodytempoandtonewithlowpianobassnotes,andfeaturingonlyHarryonthepianoandvocals.Connick’spianocapturesthesulkingandmorosemoodofthelyrics.Ashebeginsthelyricswithextendedpauses,heincorporatesasimpleyetbeautifulstridepianotechnique(hittingthebassnotefollowedbyablockchordvoicing).Thebassandpercussioncomesinverysoftlyafterthefirstcoupleoflines,stillcapturingtheslowertempo.Connick’struebaritone(Sinatra-like)qualitiesshinethroughout,andinclassicConnickstyle,afterabriefpausehejumpsintoasolothatbuildsandbuilds,withhornsandstringsandcrescendosfromsimpletomorecomplexrhythms.Hisvocalsthenbegintobeltoutintoaswingfeelincontrasttoballadstylebefore.Healsotakesmorevocalimprovisations,againinSinatra-style,attheendofthesong.ItfinisheswiththeclassicCountBasielickonthepianoandpunchyhorns(almostidenticaltotheinfamousBasieendingonhisFlyMeToTheMooncollaborationwithFrankSinatra–seetheBasie/SinatraItMightAsWellBeSwingalbum).

7.AutumninNewYork–TheNewYorkCitylandscapeandsceneryplayaprominentroleinReiner’sfilm,andNewYorkhasinspiredmoresongsthananyotherAmericancity.Itisonlyfittingthat“AutumninNewYork”isfeaturedinthemovieandonthesoundtrack.DavidGuiondescribestheoriginforthisclassicstandard:“TheseasonofautumnhasinspiredsomeofAmerica’sbestpopularsongs.That“AutumninNewYork”becameastandard,recordedbydozensofthegiantsofAmericanpopularmusicwasnotinevitable.Inaway,thestoryofthissongbeginswhenayoungRussianimmigrantmusiciannamedVladimirDukelskyarrivedinNewYorkin1921andmetJacobGershowitz,thesonofRussianimmigrants.Butbythattime,GershowitzhadchangedhisnametoGeorgeGershwinandhadbeguntomakeanameforhimselfasacomposerofpopularsongs.DukelskyhadstudiedcompositioninKievwithReinholdGliereandwantedtopursueamusicalcareer.Gershwinpersuadedhimtotryhishandatpopularsongsaswellas“classical”musicandsuggestedVernonDukeasasuitablepenname.VladimirDukelsky(VernonDuke)

Fromthattimeon,Dukelskywrotemusicfororchestra,chorus,andchamberensemblesunderhisbirthnameandpopularsongsasVernonDuke.In1934,whenhewasinWestport,Connecticut,DukesuddenlybecamehomesickforManhattan.Sohewroteapoeminhissecondlanguageandsetittomusic.ButDukeapparentlywasn’tthinkingofsomethinghecouldpublishasahit.Helateracknowledgedthatitcontained“notaparticle”ofwhathispublisherconsideredpopularappeal.Hecalledthesong“agenuineemotionaloutburst.”“Boththelong‘conversational’verseandtheconstantlymodulatingrefraincontainednotaparticleofwhattheHarms(publishingcompany)mogulscalled‘popularappeal’;thesongwasagenuineemotionaloutburstand,possibly,thisgenuinenessaccountedforitssubsequentstandardstatus.DukeplayeditatoneortwoWestportget-togethersand

foundthelistenersretreatingtothebarinthemiddleoftheverse.BackinNewYork,MurrayAndersonwasproducingarevuehecalled“ThumbsUp.”HetoldDukehestillneededonesong,andwhathehadinmindwassomethingthatwouldevokenostalgiawithanimageofredleavesinCentralPark.HeexactlydescribedthesongDukehadalreadywritten.EventhoughDukewarnedhimthatitsfrequentmodulationsfromkeytokeymadeitdifficulttosing,Andersondecidedtouseisasthefinale.Dukelatercharacterizedtheshowas“adecent,averagerevue[that]receiveddecent,averagenotices.”Itranforfivemonths.Noonetookmuchnoticeof“AutumninNewYork.”Butovertenyearslater,though,boththeHarryJamesandCharlieSpivakbigbandsplayeditontheradio.Louanne

HoganandCharlieParkerbothrecorded“AutumninNewYork”in1946andthenbeganavirtualfloodofrecordings.”TheConnickinstrumentalrenditiononthesoundtrackfeatureshimonsolopianoanddisplayshistremendoustechnicalmasteryoftheinstrument.Heincorporatesastrongcommandofrhythm,containingapropulsivecha-chaandjoyousfeelthatcapturestheessenceofVernonDuke’snostalgiclongingforManhattanverywell.Theleftbasshandaddsthecompingcha-chafeel,providingalotofdepthtothemusic,asifalargerbandwereplayingthesong(withbassandpercussiondrivingtherhythmandbeat).ConnickaddshistypicalNewOrleanstwisttoit,withrandombluesyDixielandtrills.AsinWinterWonderland,Harryexpressesthissonginawaythatmakesyoufeelthelyrics,easilyimagingonestrollingthroughthescenicManhattanstreets.

8.ICouldWriteABook–ThisRodgersandHartromanticfavoritefirstappearedinthe1940filmPalJoey.Inthatfilm’scontext,JoeyEvans(GeneKelly)singsthissongasasmoothbutphonydeclarationoflovetowootheinnocentLinda(LeiliErnst).AsThomasHischackstates,“Rodgersmelodyisintoxicatingasitflowsupanddownthescale,andthelyricsbyLorenzHartisseductiveandconvincing.NowonderLindafellforit.”Connick’sarrangementandvelvetyvocaladdawhimsicaltexturetothesong,averynostalgicandmagicalfeel.Connick’ssilkysmoothvocalssoundmorespokenthansungandpairsperfectlywiththebigbandaccompaniment,especiallytheMarkMullins’ssoothingtrombonesolowhichcouldmelteventhehardestofhearts.Towardtheend,thebigbandorchestracomesinwithmoreenergyasConnickbringsoutamoresustainedvocal,bringingthepoeticlyricstoaclose:“Thentheworlddiscoversasmybookends,howtomaketwoloversoffriends.”Thistrackleavesaverywarmandsweetoverallimpressionfromstarttofinish.9.Let’sCallTheWholeThingOff–IncognitoinCentralParkanddodgingrumorsoftheirnon-existentsecretmarriage,celebritydancersPete(FredAstaire)andLinda(GingerRogers)introducethisGeorgeandIraGershwinsongwiththeirfamousroller-skatedanceinShallWeDance,1937.Fred&GingerdancingonskatestoLet’sCallTheWholeThingOff

Whenyouseethefilm,thesong'sintroductionmakesmuchmoresensethanitdoeswhenplayed"standalone",whichiswhymosttimestheintroiscutandstartsplayingwith"Yousayeither,Isayeither"(asisdoneonthissoundtrack).TheEllaFitzgerald/LouisArmstrongversionisusedinthefilm.Thelyricspossessasillinesstothem,andConnick’svocalsonthesoundtrack

embodytheplayfulnessofthesong.ThesongfeaturesjustthejazztriowithHarryonvocals(withbandmemberschimingintowardtheendinrepetitivefashionwhichConnickdoesoftenonfuturealbums).ThesongopenswiththeprominentbassrhythmbyBenWolfewithHarrysnappinghisfingers.HarryaddshisNewOrleansflavorintothelyrics:“Yousay"tomato"Isay"creoletomatah."Onceagain,Harryutilizestheentirekeyboardinhispianosolowiththejustthetriobacking.Therecordingofthissongontherecordisabsolutelysuperb.Alltheintricaciesanddetailsareclearlyheard.OnecanalsohearHarrymoreastheentertaineronthissong,takingalotofvocalliberties(heskatsattheendofthesong)butstillmaintainsthatsmoothcroonerstyleasheadlibs“Sugar,what’stheproblem…Webettercallthecallingoff-off.”AveryfunandentertainingversionthatstaystruetotheoriginalwithaNewOrleansflair. 10.ItHadToBeYou(InstrumentalTrio)-Thisinstrumentalversionengagesacompletelydifferentstylecomparedtothebigbandvocalbefore.Harryonthepianoisfrontandcenterwithsofterbackingfromthebassanddrums.Asimpleyetenergeticarrangement-ConnickbringshispunchyswingfeeltothenoteswithclassicNewOrleanstrillstoprovideamorejumpyfeel,almostinstaccatofashion.Buthestillmaintainsasmoothandconnectedarrangement.Butunfortunately,itisarathershortarrangement,noteventwominuteslong.OnetrackthatIwishwouldbelonger,butitistwogreatminutesnonetheless.11.WhereorWhen–ThisclassicwaswrittenbyRodgersandHartforthe1937musicalBabesinArms,andsungbyMitziGreenandRayHeathertonwhosecharacters,asaresultoffallinginlovewitheachother,aresufferingfromacaseofdejavu.Theyfeelasthoughtheyhavemetbeforebutareunabletorememberexactly"whereorwhen."MGMboughtthescreenrightsandreleasedafilmwiththesametitleayearlater(starringMickeyRooneyandJudyGarland).

GarlandsingingWhereorWheninBabesinArms(withMickeyRooney)Inahumorousscene,MickeyRooneyyellsouttothecouplesinging“WhereorWhen”,“Willyouputsomelifeinthatsong?...Iftheysingitanyslowerpeoplewillthinkitisalullaby.”AndthenJudyGarlandbeginssingingthetuneinherbeautifulangelicvoicetoRooney.Garlandthencomments,“Youhavetoknowwhatyou’resingingaboutbeforeyoucangettheideaovertootherpeople.”

GaryMarmorsteininhisbiographyofHartgivesperhapsthebestexplicationofthethemeof"WhereorWhen"whileputtingitwithinthecontextoftheshow's[BabesinArms]plot:Atitssimplest,"WhereorWhen"suggeststhatoldfeelingofre-connectingwithsomeoneyou'venevermetbefore("Welookedateachotherinthesamewaythen/ButIcan'trememberwhereorwhen").Inninelinesofverseandamereelevenintherefrain,thesongdescribestheanamnesis--arecallingtomind--inwhichtimeisflightyandillusive("Thoughthaswings,andlotsofthings/Areseldomwhattheyseem"),butgraspableatmomentsofoverwhelmingemotion.Theversesustainsthemetricalbalanceofthetitlewithphraseslike"thingsyouthink"and"dreamsyoudream,"andtheemotionisgroundedineverydayreality("Theclothesyou'rewearingaretheclothesyouwore").Themosteloquentofalldéjavusongs,"WhereorWhen"penetratesthedazeofnewromance-evenasexperiencedbyteenagers.”Thissongcanconjureupsuchemotionandtenderfeelingwhendoneright.Oneofthefinestperformancesofthissongisthepared-downrecordingthatPeggyLeeandtheBennyGoodmanSextetmadeinaNewYorkstudioonChristmasEve1941,barelytwoweeksafterAmericaenteredtheSecondWorldWar.JazzcriticBenjaminSchwarznoteshow“itspeakstothequaveringuncertaintyofthathistoricalmomentandremains,forme,themostpoignantjazzrecordevermade.” Connick'sexquisitelyquietrendition(justhisvocalandhispiano)of''WhereorWhen'”showshimtobeamoreexpressive,carefulsingerwhencrooningsoftlythanwhenswingingout.InthewordsofMickeyRooney,heputslifeinto.Slow?Yes.Boring?Certainlynot.Thearrangementfitswellwiththereflectivenatureofthesong–nobigbandarrangements,nochangeintempo,novocalfreedom…justHarry’sreflectivesoftvocalsandhisgentlepiano.ItisveryreminiscentofEllaFitzgerald’sstyleonherLetNoManWriteOnMyEpitaphalbum.ItalsoseemsthatDianaKrall’sparticularloveforthissoundtrackisevident,asheropeningpianopreludeonherversionof“ABlossomFell”iseerilysimilartoHarry’sopeningon“WhereorWhen.”Harry’sperformanceonWhenHarryMetSallyinspiredandinfluencedDianaKralltopursuejazzprofessionally.Krallreflects,“IthinkIstartedinaverygoodtime.WhenIwenttoseethefilmWhenHarryMetSally,andIheardHarryConnickplayingthepiano,Ithoughtthere'ssomebodywho'smyageandhe'splayingthemusicthatIlove.AndIfeltliketherewasakindredspiritanditinspiredmetogo,"Iwanttodoexactlywhathe'sdoing."AndIstillowealotofthankstoHarry.I'veonlymethimlikeacoupleoftimes,buthe'sstillafavoriteartistofmine.”Overall,thissongprovesthatsimplicityistheultimatesophistication.

VinylReleases&Reviews

1989USAColumbiaRelease1989Netherlands/HollandRelease

1989UKCBSRecordsRelease2015MusicOnVinyl180gRelease

Theoriginalvinylreleasein1989wasissuedundertheColumbiaorCBSRecordslabel,dependingonthecountry.TheUSpressingbyColumbiarecordshasallofthestellarsonicattributesonecouldaskfor-themasteringandpressingqualityissimplysuperb.

Connick’svocalsarerich,textured,palpable,andimmediatelypresentasonlygreatanalogcanachieve.Hisdeepchestybaritonein“OurLoveisHereToStay”andlighterandsweeterstyleon“ICouldWriteABook”areeasilydiscernableandshinesthrough.Instrumentsareclearlyseparatedandnotmuddiedtogether,yetstillinherentlymusical.Eventhepianosoloshaveafullnesswithoutanysoniccompression.Forexample,therhythmicbassonStompin’attheSavoyisnotpushedbackanddistant,butsoundsjustaspresentatConnick’spianomelody.Theringingofeachpianonoteisappreciated,particularlyonthetrillsandpunchytechniquesthatConnickimplementsthroughout.Intermsofsoniccharacteristics,thispressingcanstandwiththebestoftheminanycollection–wonderfulwarmmidrange,openandtransparentdetail,largesoundstageanddynamics,fantasticseparationandimaging,etc.IownnumerousGerman,UK,andNetherlands/HollandpressingsofotherConnickalbums,thoughIdidnothaveanyinternationalcopiesofthisalbumonhandduringthereview.However,Iwouldnothesitaterecommendingthemifoneisavailable.TheConnickUKpressingsareonparwiththeUSpressings,asaretheNetherlands.ItshouldbenotedthattheNetherlandspressingshaveabitmoreforwardvocalandmidrangeandhaveanoverallwarmersoundquality.TheUSpressingsaremorecrisp,clear,andsubtlymoretransparent.Allareeasilyrecommended.Thisalbumwasalsoreissuedin2015bythelabelMusicOnVinyl(MOV)andmarketedasanaudiophilerelease.Itispressedoncleartransparent180gramvinyl(ascomparedtotheblackvinylofalloriginalreleases)andthepackagingisverynicelydone.However,thisisoneofthosecaseswhere“audiophile”canbeusedasamarketingploy.Comparedtotheopenandcleardynamics,warmanalogsound,3dimagingandinstrumentseparation,andrichtexturedsoundoftheoriginalpressings,thisreleaseissomewhatcompressedinallareasandlacksthebodyandanalogrichnessthroughout.Connick’svocalswerenoticeablyrecessedandthinsounding.Thisisanotherexampleofamarketed"audiophile180gram"vinylthoughttobebetterthantheflimsieroriginals.Ifitmatterstosome,thecoverandpackagingwasnicelydoneandsoistheclearvinyl.Itisaquietpressingwithblackbackgroundswithoutanypopsornoise.Butitappearsyouarepayingapremiumforlooksandnotthemusic.Iwouldstayawayfromthisrelease,sinceoriginalsarefarsuperiorineveryareaandcanstillbefoundfairlyeasilyontheusedmarketforlessmoney.Thisappearstobefromdigitalsourcesfrommylisteningexperience.Conclusion:ThealbumthatputHarryConnick,Jr.onthemap,theWhenHarryMetSallySoundtrackprovideslistenerswithsomeofthebestsongsintheGreatAmericanSongbook.Connick’sinterpretationsofthesetimelessclassicsareworthyinanycollection,andthesuperbsoundqualityonalloriginalpressingsmakesiteasytorecommend.Itisinmytop-10albumsofall-time(partlybecauseitisasentimentalfavorite),anddeservesalistenforanymusiclover.