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Come By Me

4.3 out of 5 stars 120 customer reviews

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Audio CD, June 1, 1999
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People first smitten with Harry Connick Jr. due to his easy, timeless charm and swoon-worthy croon on the 1989 soundtrack When Harry Met Sally are in for a big treat. Come by Me, a delightful sequence of treasures both old and new, is Connick's first big-band record since 1991's Blue Light, Red Light. What's not to like? With equal precision and confidence, Connick and his 16-piece band (and at times a full symphony orchestra) move seamlessly between the boisterous self-penned title cut, the Mancini standard "Charade," and the Cole Porter gem "Love for Sale." He gives a straight and moving voice and piano take on "Danny Boy," a stepped-up freshness to "There's No Business Like Show Business," and "Cry Me a River," following his unique vision, becomes an emotionally broken Bourbon Street funereal march. Strings swell, horns wail and skronk, high hats tap time, and those magic fingers dance across the keys. All told, Come by Me is a welcome invitation. --Paige La Grone
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Product Details

  • Audio CD (June 1, 1999)
  • Original Release Date: June 1, 1999
  • Number of Discs: 1
  • Label: Sony Legacy
  • Run Time: 63 minutes
  • ASIN: B00000J7SC
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (120 customer reviews)
  • Amazon Best Sellers Rank: #199,977 in Music (See Top 100 in Music)

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Top Customer Reviews

Format: Audio CD
In this album he did more of his big band style stuff and it was just such a joy to listen to. It just makes you excited about life and that is definately one of the signs of good music. Harry is a genius as we fans already know and this just takes it to even greater heights. Some people complain about his funk stuff and such because they don't understand that it's all a part of what Harry grew up with -- it's all a part of New Orleans and the feel of what Harry is all about. So I don't say thank goodness he came back to the more big bandish, swing style -- but instead I say thank goodness that he came out with another CD so soon after the last one(I was starting to get major withdrawals). Harry always comes through for his fans and that is something that doesn't happen very often -- or so it seems -- in the music world. He's consistently amazing and never dissapointing. His music is always filled with life and this CD is no exception. THANKS HARRY!!
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By A Customer on November 26, 1999
Format: Audio CD
I haven't been a harry connick jr fan until now. i just bought this cd b/c of a friend's comments, and I absolutly love it. I like that he mixes the songs with those he wrote and old classics as well, like "change partners" and others. He sings them nice and slow, and has such a fantastic voice. But, my favorites on here are "Nowhere with love" and "Come by me." They're really catchy tunes. And the big band sound is what makes it great jazz. I'm delighted to say this made me a fan of his! It's smooth and relaxing, I really recommend this! :)
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Format: Audio CD
Popular music is littered with fads and reworks and technical wizzardry that hides the true brillance and melody of great music.The great male voice delivering a great lyric with the timeless*umph and zing* of a big band or orchestra has been sadly missing throughout the 90s..until NOW!!! ..prepare to be entertained with *Come By Me*.
What is there not to like on here?This is a reunion recording between Harry and the Band,not since his ,I think the 1981 release ,has he sounded this way.I liked Harry on the *She* CD of some years ago,that cajun New Orleans sound with the delta funk..and I must say that I am impressed with his *big band* sound..no one does it quite like our Harry!!!
The song selection is first class and the delivery exquiste,with Harry Connick originals spread evenly with the songs of Irving Berlin,Cole Porter,Sammy Cahn,Arthur Hamilton,and the incomparable Mercer and Mancini.Each gets the Harry Connick *touch* which hasnt been delivered for too long a time for my liking.I would recommend that you savour the timeless and magical renditions of *Charade* and *Love For Sale*and *Easy To Love*,sounds written in the golden era of songwriting and lovingly reproduced here.
The cheekiness of Connick can be seen in his renditions of *A Moment With Me* and *Come By Me*,and that delevoping style that has set Harry apart over the years, is evident throughout this recording.If you like your lyrics with romance,cleverness and feeling ,you will love this set.
The Band and orchestra sound marvellous,they individually shine on some tracks and then are brilliant together on others.The sound of the band in full swing is a delight that is sadly missed in modern music.Harry conducts arranges and writes ,sings and croons his way through this tour de force.
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Format: Audio CD
A musical prodigy who studied with Ellis Marsalis and James Booker, Connick soared to fame in 1989 when movie director Rob Reiner tapped the singer-pianist to record a standards soundtrack for the romantic comedy When Harry Met Sally. Connick's fresh take on "It Had to Be You," "Don't Get Around Much Anymore," and "Where or When" drew comparisons to the young Sinatra during his years with Tommy Dorsey. After composing and performing a promising album of big-band melodies, We Are in Love (1990), by decade's end Connick recorded Come by Me, a much more mature and ambitious work.

However, it's also a more uneven work. Come by Me is simultaneously Connick's best and worst album. To fully enjoy it, it's best to have an Ampex reel-to-reel tape deck, a good pair of demagnetized scissors, and lots of splicing tape.

Connick begins with a great title track, a composition from his own pen that starts off jaunty with a small combo and builds to full-out big-band swing. Come by Me shows him at his most innovative: great romantic lyrics set to a rousing and robust arrangement. He follows up with an off-the-beat version of Henry Mancini and Johnny Mercer's "Charade," which captures the simultaneous thrill and despair of the original.

After that, though, the album just falls apart. He opens a high-swinging "Time After Time" with a gratuitous, heavy-handed interlude that tries hard (but fails) to sound like Thelonious Monk, is longer than the song itself, and finally propels me to the kitchen to microwave a TV dinner. His "Danny Boy" is so slow and overwrought that it makes Chopin's "Funeral Sonata" sound like the "Minute Waltz." There's a ridiculous instrumental, "Next Door Blues," that tries to blend Louis Armstrong and Duke Ellington with jazz/funk fusion.
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