| | Hank Crawford After Dark CD Hank Crawford Discography of CDs
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Recorded when he was 63, After Dark finds Hank Crawford excelling by sticking to what he does so well: uncomplicated, blues-drenched, gospel-minded soul-jazz. Warmth and accessibility continued to define the veteran alto saxophonist, who sounds like he's still very much in his prime on everything from "Amazing Grace" to W.C. Handy's "St. Louis Blues" and the standard "T'aint Nobody's Business If I Do." Crawford reminds us how appealing and sentimental a ballad player can be on "That's All," and he demonstrates that Ruby & The Romantics' early-1960s soul-pop gem "Our Day Will Come" can work quite well in a jazz setting. The saxman's noteworthy support includes producer Bob Porter (who, true to form, is smart enough to step aside and let Crawford do his thing), guitarist Melvin Sparks and drummer Bernard "Pretty" Purdie. It's been said that Crawford is jazz's equivalent of a charismatic soul singer like Sam Cooke, Marvin Gaye or his former employer Ray Charles, and After Dark makes it very hard to disagree with that assertion. ~ Alex Henderson
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on February 23 & 24, 1998. Includes liner notes by Dick Shurman.
Personnel: Hank Crawford (alto saxophone); Melvin Sparks (guitar); Danny Mixon (piano, organ); Bernard "Pretty" Purdie (drums).
Liner Note Author: Dick Shurman.
Recording information: Van Gelder Studios, Englewood Cliffs, NJ (02/23/1998-02/24/1998).
Photographer: John Abbott .
Personnel: Hank Crawford (alto saxophone); Danny Mixon (piano, organ); Melvin Sparks (guitar); Stanley Banks, Wilbur Bascomb (bass); Bernard Purdie (drums).
Hank Crawford After Dark Songs After Dark Review
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In 1955, Capitol Records signed Dick Haymes and attempted to do for him what it had done for Frank Sinatra a few years earlier, resurrect his career. Due to a combination of personal and business problems, Haymes had fallen far from his mid-'40s peak, when he was a major rival to Sinatra among the new crop of solo singers emerging from the big bands. The Capitol sojourn led to 12 recording sessions between December 20, 1955, and April 4, 1957, that produced two LPs, Rain or Shine and Moondreams, and a few singles, only one of which, "Two Different Worlds," managed a brief stay in the charts. The recordings were out of print for decades, but were championed by some critics, making this thorough two-CD set, compiled by Ken Barnes, a welcome reissue. It reveals that, if the recordings are not nearly as impressive as Haymes' revisionist supporters have claimed, they are nevertheless creditable. It may be that the tendency to overrate them comes from that very competence; given Haymes' notorious troubles of the '50s, from reported alcoholism to bizarre legal battles and his stormy, tabloid-splashed marriage to Rita Hayworth, it's amazing that he sounds as unruffled as he does in recording sessions that began only eight days after his divorce from Hayworth became final. Actually, it might have helped if more of the angst of his recent experiences had leaked into the performances. The approach on the two LPs (which occupy the first 12 tracks of each CD) was the same: to choose a collection of vintage copyrights almost entirely from the '30s and '40s, many of them previously recorded by Haymes ("It Might as Well Be Spring," "You'll Never Know," "Little White Lies," etc.) and set them to '50s-style arrangements mixing lush orchestral charts with jazzy small-band settings, all put together by Haymes' musical director, Ian Bernard. That sounds like the same formula employed for Sinatra's Capitol work, but the big difference comes in the singing. Sinatra sounded very different on Capitol in the '50s from the way he had sounded on Columbia Records in the '40s -- grittier, darker, older, more emphatic. Haymes tries most of the time to sound much as he did in the '40s, which means that the flaw in these performances is the same one that dogged his career in every aspect. Whether singing or acting, he always relied on a smooth, polished delivery, a surface effect, to get across. As an actor, he was a wooden, humorless pretty boy, which is why he never really made it in the movies. As a singer, he was a smooth, bland, uninvolved deliverer of the lyrics, relying on his rich timbre to please his listeners. That worked beautifully in the '40s when it was the dominant style, but by the mid-'50s Sinatra had ...
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