Customer Reviews

Complete Harry James in Hi-Fi

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This double CD brings together three of Harry James's best LPs of the 1950s, and the reproduction is magnificent. James is here at the height of his powers, a brilliant, dazzling trumpeter capable of both the most formidable technical pieces and slow, expressive ballads, all played with his instantly recognisable tone. The first CD contains several re-recordings that made Harry famous in the '40s; the second contains the 'Wild about Harry' LP (1957), which is full of some of the best arrangements of the day. This is a CD set to savour. Absolutely indispensable.

The recorded sound is great! The collection has many tracks not found on other Harry James CD's. The lush big band sound featuring the smooth trumpet of Harry James can not be beat. Listening does not get any better!

This is essential for any James fan who doesn't already have albums from this 1950s period. The sound is great. Personally I preferred the second disc because it's got the hotter, harder numbers.

For my money, the best of the Harry James recordings. These are a must have for James' fans or any big band/dance band music fans. This 2-disc collection is actually a compilation of three albums from the mid-late 1950s: Harry James in Hi-Fi (1955), More Harry James in Hi-Fi (1955-56, including bonus tracks not on the original album release), and Wild About Harry (1957). The "Trumpet Blues" collection was pulled from this source material, but these full albums more than deserve a listen. Many of James' standards are re-recorded here to take advantage of glorious hi-fidelity sound--beautifully remastered, with stunningly crisp and enjoyable sound quality when compared to the original recordings of the late 30s and 40s. Listen to the remarkable clarity of the guitar that opens and closes the track "I'm Beginning To See the Light" to appreciate just how good the sound quality is on these discs.

The band was at it's performing peak during this period, featuring some legendary instrumental talents including Juan Tizol and Buddy Rich. Another plus for this set are four guest (vocal) tracks with Helen Forrest, who recorded several hits with James in the early 40s, and who worked with Benny Goodman and Artie Shaw as well. To be sure, there are a few dated touches, notably the very 1950's choral refrain by the Starlighters in "Don'cha Go 'Way Mad" and Forrest's somewhat overwrought interpretation of "I Cried For You," but, as a whole, these classic arrangements stand up pretty darn well after 50+ years. One fun moment for listeners--a performance error in "Carnival" at 1 minute 45 seconds--note an unexpectedly loud horn entrance where none was obviously planned. This is more typical of the era of recording before digital doctoring spliced together performances in a computer, and is actually a rather endearing quality in these albums--it feels like hearing the band perform live. Through every track, you will be dazzled by the unparalleled trumpet work of Harry James.

These are the discs I leave in my CD player--I've been through them dozens (and dozens) of times, but still find myself wanting to listen to them again. Highly recommended.

I had this as an LP in the 1950s -- that album plus a second volume that was later released are included on this two-CD offering. It is easy to hear why Harry James was still going strong in the last half of the 1950!! His trumpet's tone and Harry's own emotional styling of this music, plus truly chart breaking arrangements are brought to life in stereo CD offering. Highly recommended for all. These recordings will explain the popularity of Big Bands and the importance of "Big Band Sounds" of the middle half of the last century. Just excellent!!

"Wild About Harry" had some superb numbers and featured delicious drumming from Buddy Rich which kept it from bogging down like some of James' more ponderous blues on later records. Willie Smith gets lots of solos and plays with that rich R&B tone he'd developed. In my opinion when he played that way he was as good as it gets, as good as Hodges or Carter. James always played well but I think these other musicians gave him a push on this recording. James also took composer credit for a couple of terrific numbers he seemingly adapted from "King Porter Stomp" ("Barn 12" and the hilariously titled "Ring for Porter"). Also loved "Countin'" and the superb Herb Lorden clarinet solo on Ellington's "What am I here for."