From the Seattle PI: the guy is an idiot what can I say although he does list a lot of the song list, since I can never remember: Harry Connick Jr. gets show half right, anyway
Wednesday, March 27, 2002By BILL WHITE
SPECIAL TO THE POST-INTELLIGENCER
For the first half of a two-hour concert, Harry Connick Jr. and his 16-piece band brought the magic of a lost musical era to the elegantly lit stage of a sold-out Benaroya Hall Monday night.
Stylishly dressed in casual black, the singer began on a slightly introverted note with a version of "I Still Get Jealous" that was like Sinatra gone cerebral.
Moving to the piano for a syncopated "Charade" accompanied by the crack rhythm section of Neal Caine (bass) and Arthur Latin (drums), Connick took the tune through some wild choruses before being joined by the orchestra, at which point he dominated the arrangement with a commanding vocal.
Connick spotlighted several soloists from his band, most notably baritone saxophonist Dave Schumacher, who brought a rough melancholy to "Petite Fleur," and the irrepressible Leroy Jones on trumpet. Tenor sax player Jerry Weldon was featured on an unsentimental, yet powerful reading of "I'll Be Seeing You," which was followed by the seasonally appropriate "Spring Is Here."
Following a lengthy monologue on the disappointments of fishing, Connick sang two songs from his new release, "Songs I Heard," which was intended as a children's record, but not promoted as such, leading to some confusion among his fans.
"Supercalifragilisticexpialidocious," from "Mary Poppins," was played as New Orleans street music, heavy on the brass, with a strong rhythmic inflection on the vocal. Written for, but cut from, "The Wizard of Oz," was a strange piece of whimsy titled "The Jitterbug."
Connick then introduced a special guest, guitarist Jonathan Dubois, who joined the band on "There's Always One More Time." Opening his mouth wide and swinging his head around, Debois played his facial expressions more than his guitar. He stuck around for another song. And another. Although his crowd-pleasing antics earned him a standing ovation, he needs to be told musicians do not have to "walk the bar" anymore, especially at Benaroya.
From this point on, the show went downhill. Connick introduced trombonist Lucien Bardarin as a "complete and total nuclear freak," then handed over the stage to him. Earlier in the concert, Bardarin had proved an exceptional musician. Performing "Luscious," a song written for him by Connick, he resorted to bad Louis Armstrong impressions to garner applause.
What had begun as a classy re-creation of big band music, played by one of today's finest working orchestras and led by a pianist/singer/arranger who combined the swing of Sinatra with the cool of Nat Cole, had degenerated to the worst kind of pandering clownishness.
They encored with an "If You Go to New Orleans" that featured some light-stepping dance moves from Connick.
^^ we don't like that guy. Here is the one from the Seattle Times:
Connick Showcases New Orleans jazz roots
By Paul De Barros
When Harry Connick Jr. started out, he often ws compared to crooner frank Sinatra, because of his cool attitude, sultry good looks and elegant, finger-snapping swing.
But at his sold-out, two hour show Monday night at Benoroya Hall, the dashing singer/pianist came across more like his homey from New Orleans, entertainer Louis Prima.
Connick sang a ton of Cresent City-themed material, such as Hoagy Carmichael's "New Orleans" and Sidney Bechet's signature tune "Petite Fleur," as well as knocking the piano for several loops and contiually showcasing members of his slam-bang big band. Tenor saxophonist Jerry Weldon, with his throaty growl and bow-legged antics, played Sam Butera to Connick's Prima.
Suprisingly, the audience appeared to adore this new, insturmental Harry, showing no signs of disappointment that the cool crooner of yore has been put on the back burner.
Connick was in a goofy, relaxed mood, on the second date of a tour to support two new discs: the children's album, "Songs I Heard," and his piano effort, "30", both on Columbia. Wearing black slacks and a sports shirt to match, the rakish, tousle-haired pop idol bounded about the stage, danced along to the solos, sat on the grand piano with his legs dangling, and at one point told a fish story about getting skunked on Elliott Bay.
"That's an industrial river out there," he declared with mock indignation, "There are barges full of rocks going to China and boats as big as this auditorium!"
A masterful New Orleans pianist, in the key-tickling, rumba-tinged tradition of Dr. John, Connick showcased his chops often and well. He conjured Erroll Garner on "This Masquerade" and let the good times roll on his own, rollicking "Come by Me"
The stage was set like a fancy nightclub in a Fred Astaire movie, with the musicians seated at silver, wrap around band stands, and four enormous, chiffon drapes wafting behind them.
Connick's voice, often thin at the start of his career, has filled out nicely, especially in the lows. This was particularly evident on "Spring is Here" and the inspiring, pick-yourself-up-again Doc Pomus ballad, "There is Always One More Time."
On this tune and two others Connick brought out gospel guitarist Jonathan Dubose, whose bluesy licks and eerie sustains brought the crowd to its feet. "The Jitterbug," a tune cut at the last minute from "The Wizard of Oz," was another highlight.
The Mardi Gras spirit popped up often.
At one point, Connick, button coated tromonist Lucien Barbarin and high-note trumpeter Leroy Jones turned their backs to the audience and did the funky butt, slowly gliding stage left.
Connick is a family man who turns 35 this year. With both albums in the jazz Top 10, why not indulge some affection for his hometown, and the sentimentality of parenthood? It was a welcome change of pace.
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"We Got Jazz Bands, Trad Bands, Funk Bands and Brass Bands, Whatever your heart desires...if you can take that southern heat, then you can party with me, meet me on Frenchmen Street~Shamarr Allen
