Customer Reviews

Oh, My Nola

5 star:		(45)
4 star:		(7)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

OH,MY NOLA may be Harry Connick Jr.'s most superb big-band release in years. It is obvious from the very first track, first listen, that OH,MY NOLA is definitely on a different level than the good, though not nearly as exceptional 2004 release, ONLY YOU. OH, MY NOLA feels very true to Connick's Louisiana roots in its sound and it's overall concept. Connick's piano riffs/lines are much blusier with the obvious influence of gospel and funk music within the sound. This is inherently obvious on the opening track, "Workin' in a Coalmine" where the classic number feels like the 1970s funk of the late, great Maynard Ferguson's big band. The horns are sounding ferocious, Connick is sounding bluesier and even more soulful than he ever has, and everything is first rate.

"Won't You Come Home Bill Bailey" has the signature "Connick-sound" with a more jazzy feel than "Coal Mine" had. Connick's piano work is as creative and as low-key and plunky as ever. The extended instrumental introduction allows Connick some improvisatory room, moreso than most of his songs tend to showcase. The dissonant horn riffs somehow eventually resolve to consonance making "Bill Bailey" standard Connick territory. "Something You Got" resurrects the funky-blues of "Workin' on a Coal Mine", only it takes the feel to brand new heights. Here Harry truly puts on a show- background vocalists, James Brown worthy horn-riffs, and a killer groove with hints of organ! Connick is 3 for 3.

"Let Them Talk" turns out to be one of my very favorite tracks continuing with the "Nawlins sound". It slows the pace down for the first time and features a six-feel groove that is reminiscent of Percy Sledge's "When A Man Loves a Woman". The southern element and feel of this music is perhaps what makes OH MY NOLA feel more energized than ONLY YOU. Don't get me wrong, I liked ONLY YOU, but it wasn't my favorite Connick release. "Jambalaya (On The Bayou)" continues to assert Connick's souther pride while "Careless Love" feels like it should be the hymn missing from the Baptist Hymnal. "All These People" and "Yes We Can" sees Connick honing in on classic R&B ideals. "Yes We Can" in particular is on my top five from this album with its exceptional vocals and background vocals. Just fantastic, 8 for 8.

"Someday" opts for a jazzier, "standard" feel while "Oh My Nola" opts for a strictly New Orleans-style equipped with tuba within the instrumentation harkening back to the sound of Fletcher Henderson's big band. Trombone smears and glissandos, brilliant trumpet, bluesy piano riffs, and a big tuba sound make this number hot. "Elijah Rock" stands out because it essentially variations on the classic "Dry Bones". "Sheik of Araby" and "Lazy Bones" seek to keep the jazz tradition alive, while "We Make A Lot of Love", "Hello Dolly", and "Do Dat Thing" in the album on a positive note. There isn't one bad song, but I enjoy the ealier ones the most personally.

Overall, OH, MY NOLA is a very fine album. 4 stars.

I saw Mr. Connick, jr. and company last night in Miami at the wonderful new Performing Arts Center in downtown Miami([...]). They were fantastic. The things that I came away with were 1) A recollection of Harry's marvelous rapport with the audience (I had seen him previously in Miami Beach at the Jackie Gleason Theater, but had forgotten just what a natural he is at communicating with the crowd), and 2) His quite impressive keyboard virtuosity.

He played not only a Steinway, but also what I think was a Hammond B3 Organ, as well an upright piano. I have to say that his playing of the upright was the most impressive. He not only displayed amazing knowledge of the music of New Orleans, but also exhibited astounding chops. He used the occasion to, not only display his chops, but to do so in a way that was not cocky, but rather respectful of the musical heritage that belongs to both him and the musicians that accompanied him last night.

His first piece on the upright (a tribute to James Booker) was done in a fashion reminiscent of Leonard Bernstein's classic young musicians series for PBS. He started out by explaining a little of what formed the basis of the piece and then, after playing a bit, explained how Mr. Booker elaborated upon the original idea. Continuing in that vein, Harry added to the complexity of the piece until it reach a feverish pitch ... and then laid it on a bit more.

I would encourage anyone who wants to hear some real good, real 'feel good' music to grab a copy of 'Oh, My Nola!' I bought the disk at the show last night and, having heard it today, I can say that it is a gem.


God Bless New Orleans,
Mark Edward Hendricks

I feel I must begin this with a disclaimer that I am a dedicated Harry Connick jr. fan. That said, I am finding this to be one of his most creative and exciting CD's. Harry mixes his own piano playing prowess and vocal charms, while still humbly showcasing the extraordinary talents of his fellow musicians. Harry almost holds back at time, making sure that it is the music that gets the spotlight instead of himself.

Jambalaya on the Bayou is my favorite track as it really gets me dancing and really shows off the talents of his band. I think it is pure genious the way the song totally changes tempo, style, beat, and range right in the middle and changes to a big band swing type sound.

Most of the songs on this CD are ones I have heard a gazillion times by many different artists in many different ways (there are only 4 new songs on the CD). But Harry has arranged them so differently and has put his own musical spin to them that makes them sound totally new!

Harry also mixes in moving tributes to post-Katrina New Orleans, but with a hope and passion that makes me know that pre-Katrina New Orleans music will not only come back, but will thrive and be better than ever!

By the way, if you arrange the order of the songs correctly on your iPod, it makes for a great workout CD, complete with warm-up, high energy, and cool down.

Native son and N'Awlins hometown hero, Harry Connick Jr. pays tribute to the city of his birth and residence, its music and, most importantly, its musicians. Stepping back to let the band swing, Harry proves time and again that this is not just a vanity production, letting the musicians shine and carry the weight even taking time to pay tribute to Nola musicians who have passed on. The collection of songs, including four original Connick Jr. compositions, is an eclectic bunch that you've probably heard many times before but never quite like this. "Won't You Come Home Bill Bailey" is pretty straightforward but the jazzy, askew versions of Hank Williams' "Jambalaya On The Bayou," and "Sheik Of Araby" sparkle and an off-kilter reading of "Working In A Coal Mine" brings a whole new understanding to that chesnut. The originals all hit their targets especially "All These People" and "We Make A Lot Of Love." Harry's in good voice consistently and, more importantly, has totally discarded his "Sinatra Reincarnate" style here, which is just as well since that gimmick has been co-opted by Michael Buble.

Nevertheless it is the musicians he has surrounded himself with and given the space to strut their stuff that makes this tribute CD worth the money out of your wallet.

Sit back and get ready to smile.

Harry gets back to his roots with this impressive collection of covers and original recordings honoring his New Orleans legacy. One can't help but smile as he puts his unique stamp on old favorites and makes his new "classics" sound like they have been kicking around NOLA for years. Simply put, this cd swings!

This was my 1st Harry Connick, Jr. CD--recommended, no less, by my 95 y/o mother who lived in New Orleans all her life until Katrina. I was born and raised in New Orleans, but moved away after college; the whole album is such a great mix of New Orleans sound--jazz, blues (Harry Connick,Jr style), soulful pop, spiritual, big band, honky-tonk piano,etc. You name it, it's there. Thank God for iTunes and the computer and iPods, because I think I'm going to wear this one out! I get tears in my eyes everytime I hear "All These People". Because of this album, I've bought more of his CD's---but this one is my favorite.

I love every track on this this CD. I admit to trepidation upon hearing his version of "Jambalaya" but I think I prefer his version.

One of the best songs on the track, IMHO, is "Elijah Rocks", a song I'd never heard before. Usually repeat this one before gpoing on to the next tune.

His versions of "Bill Bailey" & "Hello Dolly" are equally excellent. They don't sound like I remember them, they sound better.

Also, he is definitely the star here, but he allows his band mates to have their turn in the spotlight. It isn't all about him.

Knowing the history behind "All These People" makes it even more poignant. Another new fave song of mine.

I esp like the fast upbeat songs, but even slow numbers like "Careless Love" & "We make a Lot of Love" are excellent.

"Yes We Can" is another one I remembered well by the Pointer Sisters. The message is esp. timely today & I love his version of it.

To be honest, I didn't find a bad song on the entire CD & I think this is his best work yet.

I have always been fascinated with the rich musical history of New Orleans. Native son, Harry Connick Jr. pays tribute to this rich musical legacy with this outstanding representation of the city's heritage. He features old classics like "Bill Bailey" (done in a classy style that reminds me of Count Basie's big band sound), the Lee Dorsey classic "Workin In a coal mine" really kicks butt, "Yes we can can"...
makes me want to join the Mardi Gras parade, the bluesy "Someday" is fascinating etc. etc. There really isn't a bad cut on this album. Mr. Connick is a master musician/arranger and singer and he's made himself a classic album. Buy it and you won't regret it.

Truthfully, this c.d. hit me at the high 4-low 5 level. I'm rating it as 5 stars for two reasons: first, although the c.d. is uneven, when it's good it's fantastic; and second, this is Harry Connick, Jr.'s valentine to his native New Orleans in the wake of Hurricane Katrina (including the title track and the even more effective "All These People", both self-penned). All c.d.'s released with that kind of intent deserve an upgrade in rating.

In listening to this c.d., and comparing it to Connick's "20" from nearly two decades, what impresses me is how far he has come as an arranger. Some of these arrangements are dynamite. My personal favorite, "Sheik of Araby", and "Won't You Come Home, Bill Bailey", sound like the best of Frank Foster/Count Basie--tight and finger-snappin' good. "Jambalaya" goes from cut-time to a grooving, swingin' 4, with a bunch of cool-sounding countermelodies. And "Hello Dolly" and "Do Dat Thing" (with an incantation of the names of some of Nawlins' most underrated session musicians) do the memory of Louis Armstrong most proud.

Far be it from me to break the string of all of these 5-star reviews. If you've not heard this c.d. before, I recommend it. But what I really recommend is you download the above-mentioned tunes from I-Tunes or Napster and put them into your I-Pod/computer. RC

Although Michael Bublé seems now poised to take the mantle of Sinatra the crooner, Harry Connick, Jr. does not appear to want to let it go since he was the one first anointed heir apparent with his swinging vocals on the "When Harry Met Sally" soundtrack. With his acting career in full swing (most recently as Grace Adler's errant husband Leo on "Will and Grace") plus notable Broadway credits for "The Pajama Game" and "Thou Shalt Not", Connick seems to have the advantage when it comes to replicating the all-around entertainer Sinatra was. This time, he comes back to his New Orleans roots for a jazzy, upbeat tribute to help resuscitate the city's musical legacy post-Katrina.

For the most part, the selections are flavorful treats enlivened by the good spirits involved, especially Connick's swaggering performance on keyboards and vocals. Some tracks take on more of a big band sound such as Huey Cannon's "Won't You Come Home, Bill Bailey?" and Hoagy Carmichael and Johnny Mercer's "Lazy Bones". Relatively unfamiliar tracks like Raymond Anthony Myles' "Elijah Rock", Chris Kenner's "Something You Got" and Dr. John's "Careless Love" capture much of the feeling of the area. Even the tried-and-true songs like Allen Toussaint and Lee Dorsey's "Workin' in the Coal Mine", Hank Williams' "Jambalaya" and Jerry Herman's "Hello Dolly!" get revitalized in sharp arrangements.

With its sauntering nightclub tone, Dave Batholomew and Pearl King's "Someday" actually sounds more like an outtake from the "When Harry Met Sally" soundtrack. And perhaps because I prefer the soulful four-part harmonies offered by the Pointer Sisters' more churchy 1973 version, I think Connick's take on Toussaint's classic "Yes We Can Can" is a little too loping for my taste. Connick contributes four original compositions on the recording of which the Dixieland-infused title tune, "Oh, My Nola", and the horn-heavy closer, "Do Dat Thing", fit more seamlessly into the program. The pointed commentary of "All These People" and the 1960's-style anthem pop of "We Make a Lot of Love" sound rather anomalous by comparison. Overall the disc is an infectious worthwhile tribute well worth a listen.