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You Brought a New Kind of Love to Me

Written: 1930

Words and Music by*: Sammy Fain, Irving Kahal
and Pierre Norman (aka Joseph Pierre Connor)

Written for: The Big Pond

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Seth MacFarlane
The Hollywood Hotshots


"You Brought a New Kind
of Love to Me"

John Reynolds' Hollywood Hotshots at the Steve Allen Theater, Los Angeles, February 2008.


Cafe Songbook Reading Room

"You Brought a New Kind of Love to Me"

Critics Corner || Lyrics Lounge

About the Movie The Big Pond / Origins of the Song

Other songs written for The Big Pond currently included in the Cafe Songbook Catalog of The Great American Songbook: none.


For a complete listing of songs used in the movie, The Big Pond, see IMDB soundtrack.


(Read our discussion on criteria (currently unavailable)for inclusion of songs in The Cafe Songbook To submit a comment, click here.).


sheet music cover: "You Brought a New KInd of Love to Me"
Vintage sheet music for
"You Brought a New Kind of Love to Me"
words and music by
Sammy Fain,
Irving Kahal

and Pierre Norman
from The Big Pond (1930)

*(The British Edition of the sheet music also published by
The Famous Music Corporation
but "printed in England"
specifies on the cover
(though not on the interior title page), "Words by Irving Kahal
Music by Sammy Fain &
Pierre Norman"



Maurice Chevalier introduced "You Brought a New Kind of Love to Me" in The Big Pond a 1930 film starring Maurice Chevalier and Claudette Colbert. Chevalier plays a Frenchman working in Venice as a tour guide. When he meets Colbert's character, the daughter of an American who has made his fortune in chewing gum, he romances her with "You Brought a New Kind of Love to Me." Later in the movie, Chevalier and Colbert reprise the song as a duet while on shipboard travelling back to the states to get married.

Maurice Chevalier sings "You Brought a New Kind of Love to Me"
to Claudette Colbert in The Big Pond (1930)

Chevalier and Colbert reprise "You Brought a New Kind of Love to Me" at the conclusion of The Big Pond. (Colbert, not noted for her singing, is likely dubbed.)


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Critics Corner

The Marx Brothers Silver Screen Collection

























Philip Furia and Laurie Patterson, The Songs of Hollywood, Oxford UP, 2010.

"You Brought a New Kind of Love to Me" in the Movies

David Cairn (film critic at MUBI.com) is not a fan of Maurice Chevalier or of the ubiquity of "You Brought A New Kind of Love To Me" in The Big Pond (1930), except for the fact that the song's use in the 1930 film led to its reappearance in the 1931 Marx Brothers movie, Monkey Business to very funny effect. He writes:

Chevalier sings two songs [in The Big Pond]. "You Brought a New Kind of Love to Me" ("If the nightingales could sing like you / They'd sing much sweeter than they do") gets so many renderings, as gondola serenade and shipboard duet, and picked up by swank party band and street organ grinder, that it seeps into the brain cells like formaldehyde. No wonder the Marx Brothers felt the urge to beat it to death in Monkey Business. Ironically, Claudette Colbert never could sing a note, and her dubbing here must be one of the earliest examples of the craft. Later [in the film], Chevalier introduces "Living in the Sunlight, Loving in the Moonlight," best known for its eccentric falsetto cover version by Tiny Tim.

As for the inclusion of "You Brought a New Kind of Love to Me" in Monkey Business, the director's motive for the scene that features the song were probably less how tiresome the song became in The Big Pond and more how eminently the Chevalier persona lent itself to farcical satire, as well as the popularity of the song itself which by the time Monkey Business was released had already made it onto the charts by three artists and had been recorded by many more. Notably there were records by Chevalier himself and by a young Bing Crosby with the Paul Whiteman Orchestra, this last making it as high as number 3. Ethel Waters also had a popular "blue" version out. The song was virtually as ubiquitous on the American scene as it was in the film and so seemed ready-made to poke fun at, especially with a Chevalier accent.

In Monkey Business, the Marx Brothers are stowaways on a transatlantic crossing (reminiscent, in this way and some others, of The Big Pond). The Brothers, however, are not, at least at first, singing "You Brought a New Kind of Love to Me" on the moonlit deck of an ocean liner, but rather are first encountered below deck hiding from the Captain and crew in four empty barrels marked "Kippered Herring." Once discovered, they are off on a frenzied series of madcap misadventures on shipboard that take up more than half of the film. When the ship finally enters New York Harbor and they need passports to disembark, luck has it that Zeppo has gotten his hands on the passport of the famous French singer/actor Maurice Chevalier -- who never even makes a "live" appearance in the film. In order to fool the customs agent into believing he is Chevalier, even though he bears no resemblance to the passport photo, Zeppo volunteers an imitation of the Frenchman singing his current hit, "You Brought a New Kind of Love to Me." In fact before the scene is over all four brothers try their hand at doing a "Chevalier" by singing the first lines of the song, lines that were widely know at the time from Chevalier's hit recording as well as from his rendition in The Big Pond: "If the nightingales could sing like you / They'd sing much sweeter than they do." Even the mute Harpo manages an attempt by lip-synching the lyric to the Chevalier recording that is playing on a phonograph strapped to his back. The verisimilitude of Harpo's hilarious rendition is betrayed only when the hand-cranked machine begins to run down.

Here is a soundtrack recording from the CD, At the Movies, The Marx Brothers, Vol.2 of the scene from Monkey Business described above.

from the soundtrack of Monkey Business

Amazon iTunes

According to Philip Furia and Laurie Patterson in their book The Songs of Hollywood, The Marx Brothers, at their new studio, Paramount, had had most of their songs cut from their previous movie Animal Crackers because the studio saw them as superfluous and expensive, cutting them despite the brothers' protests that their Broadway and vaudeville successes had depended on the unique combination of comedy and music in their routines. As a result, only "You Brought A New Kind of Love to Me" and another Fain/Kahal/Norman Song, "When I Take My Sugar to Tea" (performed by Chico at the piano) survived, the latter only barely, in the final cut of Monkey Business (p. 112).

In the 1963 Paul Newman / Joanne Woodward movie A New Kind of Love, the 1956 Sinatra recording of the song to which the movie title alludes is played over the credits.

Sammy Sings Fain

Amazon iTunes
Sammy Fain was known as the "crooning composer," having been a successful singer as well as songwriter. (Listen to his 1930 recording of "You Brought a New Kind of Love to Me" in the Record/Video Cabinet, this page.) Along with Irving Kahal and Pierre Norman, Fain received credit for both words and music for "You Brought a New Kind of Love to Me." More often than not credit given to multiple songwriters for both words and music was for business purposes rather than artistic ones. Almost certainly Fain was primarily responsible for the music and Kahal for the lyric, their specialties respectively. Norman was more of a composer than a lyricist so it's a good but far from sure bet that his contribution to "You Brought a New Kind of Love to Me" was for the music more than the words. David Jasen in his book Tin Pan Alley states unequivocally that Fain and Norman wrote the music and Kahal the words. These three songwriters also receive joint credit for both words and music for "When I Take My Sugar to Tea"; and it is interesting to note that the American edition of the sheet music for "You Brought a New Kind of Love to Me" gives credit to all three for both words and music but the British edition credits Kahal for the lyric and Fain and Norman for the music. These variations almost certainly reveal more about what goes on on the business side of songwriting than on the creative side -- that is, who gets paid what for what.

book cover: Gary Marmorstein "Hollywood Rhapsody Movie Music and Its Makers 1900-1975"

Gary Marmorstein
Hollywood Rhapsody:
Movie Music and Its Makers,
New York: Schirmer Books, 1997

"When I Take My Sugar to Tea" sheet music cover
"When I Take My Sugar
To Tea
words and music by
Sammy Fain, Irving Kahal and Pierre Norman originally published 1931

Gary Marmorstein informs us that "You Brought a New Kind of Love to Me" was the "first successful movie song" written by the team of Sammy Fain and Irving Kahal though they had several songs published independently of the movies during the twenties. The two had met in New York in 1927 and had an immediate success with "Let a Smile Be Your Umbrella." Like Fain, Kahal was a singer. Marmorstein writes that their first efforts at writing songs together were "conventional" and so, he adds, was "You Brought a New Kind of Love to Me," except it had an "up-the-down-staircase construction [that] was so winning it was immediately absorbed into the standard repertoire." After this song, the two continued to work together successfully at both Paramount and Warner Brothers studios until Kahal died at age thirty-seven in 1942.

Marmorstein adds a coda to the story of "You Brought a New Kind of Love to Me" by telling the tale of its third songwriter, Pierre Norman who had also joined Fain and Kahal for both words and music on the song "When I take My Sugar to Tea." Norman, like Kahal, was born in Pennsylvania. He started life with the name Joseph Pierre Connor and along with studying music took up theology becoming a priest while making his living writing movie songs. As Marmorstein puts it, his career as a songwriter for the movies became one of the "oddest cases of moonlighting to come out of Hollywood." When he died in 1952, Marmorstein notes, he had devoted himself exclusively to his priestly duties though his estate was significantly enlarged by his royalties from songs like "You Brought a New Kind of Love to Me," which, as it turns out, was written by a Catholic priest and two Jews. When songwriting seemed to dry up for Connor/Norman, he returned to the East Coast and became a chaplain for the New Jersey State Police (Hollywood Rhapsody pp. 58-59).


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Lyrics Lounge

Click here to read the lyrics for "You Brought A New Kind of Love to Me" as sung by Frank Sinatra on his V-Disc album. Frank, like most singers of this song, does not include the verse.

Because Sinatra does not include the verse, it is transcribed below as sung by the composer Sammy Fain in his 1930 recording, which can be heard in The Record/Video Cabinet in the right column of this page.

Sweet one, fairer than the flowers,
Never will I meet one sweeter than you.
Would you turn away or
Could you really learn to care
if I'd ever dare
To say I love you?

Of the remaining performances on this page, only two include the verse. Doris Day in her 1952 recording sings the same version as Fain does -- the same version found in the original sheet music published in 1930 by Famous Music. Interestingly, however, Ethel Waters in her 1930 recording, uses an entirely different verse, the origin of which we have not as yet discovered. She opens "You Brought a New Kind of Love to Me" with the following:

Love Dreams, I remember love dreams,
While the moon above beams,
I think of you.
Now sung, I recall our love song
And the lips that spoke
With a kiss that woke
Life and love anew.
(our transcription from the music video).

Ethel Walers "You Brought a New Kind of Love to Me" (1930)
with variant lyrics in opening verse and refrain

Portions of the lyric in the refrain as Waters sings it, are also unique, and for two reasons: First she creates a "blue" effect by means of hitting a series of accented beats in the refrain with a force and rhythm that sounds and feels a whole lot like sex. And the words she sings with these accents are not to be found in the original sheet music published by Famous Music Corp. in 1930, or in other recorded versions we have heard. Either she created them herself or someone wrote them, perhaps specifically for this recording. In any cse, it goes like this:

Now babe tell me true
What did you do
To bring this new kind of love to me?
Oh, what must I say
When I feel this way
Since you brought that new kind of love to me?

Each word in the first and second lines just above receive a very strong emphasis as do those in the forth and fifth lines creating a drum-like staccato breathlessness. She closes the song by adding a couple of more accented words: I'll work, slave the whole day through / If I could say it's all for you, / For you Brought a new kind of love to me. This "new kind of love" seems certainly to be the sensuality she has discovered with her "king"and in turn shared with us her audience through her singing.

Click here to read Cafe Songbook lyrics policy.

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("You Brought a New Kind of Love to Me" page)


Credits for Videomakers of custom videos used on this page:

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The Cafe Songbook
Record/Video Cabinet:
Selected Recordings of

"You Brought a New Kind
of Love to Me"

Performer/Recording Index
(*indicates accompanying music-video)

Paul Whiteman and His Orchestra
vocal, Bing Crosby

albums: various

same track as on albums at Amazon link below


Notes: The Whiteman/Crosby Columbia recording was made on May 3, 1930, one day before the Chevalier recording (just below) was released. The Whiteman record was one of three of "You Brought a New Kind of Love to Me" to make the charts that year reaching number 3. The other two were the Chevalier recording and one by The High Hatters.
The biggest boost to Crosby's career came while he was still a virtual unknown. He and his early partner (in The Rhythm Boys) Al Rinker were picked up by Paul Whiteman, one of the biggest names in popular music, as an adjunct act to the Orchestra. The association with Whiteman began in 1925 and continued on and off through the mid-thirties.

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Maurice Chevalier
album: Maurice Chevalier's Greatest

Amazon iTunes

Notes: The Big Pond , the movie in which "You Brought a New Kind of Love" was introduced by Chevalier. was released on May 4, 1930, starring Chevalier and Claudette Colbert. This recording, unlike the soundtrack in the center column (at left), is Chevalier's studio recording made on April 4, 1930 for Victor, but not released until June 19 of that year.
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Sammy Fain
album: Sammy Sings Fain

Not the same track as on the album
referenced above


Notes: Sammy Fain's rendition of his song "You Brought a New Kind of Love to Me" was recorded on May 14, 1930 on Harmony Records a mere ten days after the movie The Big Pond, for which the song was written, came out. Fain who accompanies himself on piano was known as the "crooning composer," and indeed along with Irving Kahal and Pierre Norman, received credit for both words and music. Pierre Norman's role in the song's composition is unclear. Almost certainly Fain was primarily responsible for the music and Kahal for the lyric. Norman was more of a composer than a lyricist, so it's a good but not a certain guess that his contribution to "You Brought a New Kind of Love to Me" was on the music side more than the words.
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Ethel Waters
album/s: various

To listen to Water's 1930 rendtion of "You Brought a New Kind of Love to Me," Listen on the music-video in the Lyrics Lounge below.

Amazon iTunes

Notes: Several of the albums at the above links are anthologies of bawdy songs of the era. "You Brought a New Kind of Love to Me" does not have bawdy lyrics per se, but Waters inflects parts of the lyric to emphasize the sexual. It won't be difficult to pick up on this.
When choosing an album that includes Waters' rendition of "You Brought a New Kind of Love to Me," be aware that on albums with remastered tracks you get a distinctly crisper and punchier sound that works better, we think, than the muffled output on the albums without remastering.
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Peggy Lee (and Frank Sinatra)
album: Complete Small Group Transcriptions (and others)

Amazon iTunes

Notes: The "You Brought a New Kind of Love to Me" track on this 2016 CD, which has three discs and 61 tracks of Lee's work with smaller instrumental groups, was recorded May 7, 1946. She is accompanied by her then husband guitarist, Dave Barbour. On piano is either Buddy Cole or Hal Schaeffer, both of whom were at the session, a broadcast transcription. The intimacy yielded by such settings is immediately apparent and allows the listener to appreciate Lee in ways different from her big swinging band accompaniments.
"Lee had a successful tenure with Benny Goodman in the early '40s. After completing a hiatus as a homemaker for her husband, Dave Barbour. . ." but got back into things when she started recording with Capitol in 1946. "Her languid, laid-back approach that was to characterize her singing for the next 50-plus years was pretty well-developed by this time" (quotes from CDUniverse.com).

Earlier in the same year of the above recording, 1946, Lee appeared as a guest on a Frank Sinatra radio show. On the January 2, broadcast, she and Frank sang a duet on "You Brought Me a New Kind of Love."

Peggy Lee and Frank Sinatra duet
from Frank Sinatra, Selections from
A Voice on Air 1935-1955


Album Notes: "Filling in a gap in Frank Sinatra's history, Legacy's 2015 box A Voice on Air collects over 100 radio broadcasts recorded between 1935 and 1955. This is the first collection to chronicle this era -- over 90 of its 100 tracks are previously unreleased -- and it's pulled from a variety of sources, including the Sinatra estate's vaults, the Library of Congress, and the Paley Center for Media, each strand assisting in sterling re-creations of original broadcasts from Frank's bobby socks days, World War II, and the nascent saloon singer of the '50s. Sinatra wound up singing some of these songs in the studio but not necessarily in these arrangements, a wrinkle that would be tantalizing enough but a good portion of A Voice on Air is devoted to songs he only sang on the air. Some of these are little more than novelties -- the flashiest being "(Li'l Abner) Don't Marry That Gal," a song co-written by cartoonist Al Capp cashing in on his hit strip -- and there is a fair share of duets, with both musicians (Nat King Cole, Slim Gaillard) and cultural figures (Gov. Jimmie Davis comes in to sing his "You Are My Sunshine"). Part of the appeal of this set is how the very fact that it's grounded in specific years accentuates transience: there are jokes that need footnotes, broadcasts from World War II, commercials for cigarettes, and other musty conventions that never quite seep onto Sinatra's studio recordings. Here, they're part of the main text. There might be a fair amount of standards peppered throughout the set but they're unwitting anchors for a set that's proudly not timeless. Instead, it showcases a Sinatra on the rise, a singer relying on his inventive phrasing and incandescent charisma, elements that are undeniable and vital even when heard in these appealing old-fashioned surroundings." Stephen Thomas Erlewine at CDUniverse.com.

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c. 1952
Doris Day
albums: multiple

Amazon iTunes

Notes: Like the Peggy Lee recording from 1946, Day works with a small group that is as much jazz as pop, The Page Cavanaugh Trio.
This same recording of Doris Day accompanied by The Page Cavanaugh Trio performing "You Brought a New Kind of Love to Me" has been anthologized on over thirty Day albums. Perhaps the first of these collections was The Uncollected Doris Day With The Page Cavanaugh Trio,Vol. 2: S'Wonderful! According to the Doris Day Tribute website,"This US CD contains songs from live radio broadcasts taped between 1952-3. All of these recordings were rare until 1986, when the American record label Hindsight released them on vinyl LP."The 16 Tracks on the 2nd volume of the Hindsight album exactly match a later compilation that can be viewed at Amazon.
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Benny Goodman et. al.
album: B. G. in Hi-Fi

Amazon iTunes

Notes: This recording of "You Brought a New Kind of Love to Me" features Mel Powell on piano, Ruby Braff on trumpet and Goodman on clarinet in a studio recording from November, 1954.
Scott Yanow writes at CDUniverse.com, "On this all-around excellent CD, Benny Goodman performs a dozen selections (mostly Fletcher Henderson arrangements) with a big band filled with sympathetic players in 1954 and eight other numbers with a pair of smaller units that also feature pianist Mel Powell and either Charlie Shavers or Ruby Braff on trumpets. Although the big-band era had been gone for almost a decade, Benny Goodman (then 46) plays these swing classics with enthusiasm and creativity and shows that there was never any reason for anyone to write him off as "behind the times."

Album personnel include: Benny Goodman (clarinet); Hyme Schertzer, Paul Ricci (alto saxophone); Boomie Richman, Al Klink (tenor saxophone); Sol Schlinger (baritone saxophone); Charlie Shavers, Chris Griffin, Ruby Braff, Bernie Privin, Carl Poole (trumpet); Will Bradley, Cutty Cutshall, Vernon Brown (trombone); Mel Powell (piano); Steve Jordan (guitar); George Duvivier (bass); Bobby Donaldson, Jo Jones (drums).

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Frank Sinatra
album: Songs for Swingin' Lovers!

Amazon iTunes

Notes: Recorded on October 17, 1955 and on January 9-17, 1956. Originally released on Capitol.

"When Sinatra teams up with conductor/arranger Nelson Riddle, you know the results are bound to swing, and swinging is what this brash, jazzy and very upbeat album is all about. Though the Chairman has staked his claim as the preeminent saloon singer, telling tale after tragic tale of love gone awry, this album represents the sunny side of Sinatra. He is bold and energetic here. His undeniably authoritative readings of songs like "I've Got You Under My Skin" and "You Make Me Feel So Young" MAKE them into standards, no matter who has sung them before.

"Riddle's orchestrations are subtle but powerful, and SWINGIN' LOVERS finds Sinatra's voice bouncing off punchy horn stabs and floating gently along sweet rivers of woodwinds. One of the most impressive aspects of Sinatra's talent is his control over the tone and shape of his voice. His singing is expansive and fluid-sounding, but it's plain that every atom of that sound is crafted with the utmost precision. Sinatra's depth of musical understanding makes his delivery of even light-hearted songs like "Anything Goes" and "Makin' Whoopee" cut as deeply as his most romantic ballad" (liner notes by Pete Welding -- from CDUniverse.com).
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1958 and 1961
Ella Fitzgerald
album: Ella Swings Lightly
(Recorded in Los Angeles,
November 22-23, 1958
, studio)

Amazon iTunes

Notes: Ella Fitzgerald (vocals) with the Marty Paich Dek-tette: Marty Paich (arranger, conductor); Bud Shank (alto saxophone); Bill Holman (tenor saxophone); Med Flory (baritone saxophone); Don Fagerquist, Al Porcino (trumpet); Bob Envoldson (valve trombone, tenor saxophone); Vince De Rosa (French horn); John Kitzmiller (tuba); Lou Levy (piano); Joe Mondragon (bass); Mel Lewis (drums). This recording of "You Brought a New Kind of Love to Me" is Ella's first of this song.
"Digitally remastered edition of this 1958 album from the Jazz vocalist including bonus tracks. Ella Swings Lightly was the first of Ella Fitzgerald's very few collaborations with the great conductor and arranger Marty Paich. All of the music recorded during those 1958 sessions has been included here, as well as four rare tunes from 1959 and 1962 that complete Ella and Paich's collaborative recordings prior to 1966. Includes 12-page booklet. Essential Jazz Classics. 2010" (from Amazon Editorial Review, refers to the album listed at the Amazon link above.)

album: Twelve Nights in Hollywood

recorded in Los Angeles, May 12, 1961 (live)

Amazon iTunes

"An appearance in Hollywood for a first-rate jazz vocalist was not necessarily an opportunity to broadcast your visage and pander to everyone from Tacoma to Tallahassee. It could also include a date at the Crescendo, the Sunset Strip's best chance to find premier jazz. Gene Norman's nightclub hosted dozens of jazz legends (and a comic or two), and produced more than its share of excellent LPs recorded on location. Better even than Mel Tormé's 1954 classic, the Ella Fitzgerald LP that resulted from her May 1961 appearances generated one of the best (and certainly most underrated) live records in her discography -- and almost 50 years later, it became a four-CD set compiling ten days' worth of performances. All of her hallmarks (technical wizardry, breakneck scatting, irrepressible humor and warmth) are on full display, with a small but expressive quartet backing her performance, including pianist Lou Levy, guitarist Herb Ellis, drummer Gus Johnson, and bassist Wilfred Middlebrooks. Although it's full of brilliance, the highlights are clear: a seven-minute scat masterpiece of 'Take the 'A' Train,' with chorus after chorus of variations, and the shorter but still excellent 'Mr. Paganini.' The balladry is masterful as well, with 'Baby, Won't You Please Come Home' high on the list. Verve label-head Norman Granz recorded each of Ella Fitzgerald's sets between May 11th and 21st, 1961, at the Crescendo, and Twelve Nights in Hollywood contains the fruits of that labor -- 75 songs with nary a repeat in the list (although the fourth disc actually consists of a 1962 date finding Fitzgerald back at the Crescendo). Although its comprehensiveness may be a hindrance, Twelve Nights in Hollywood is a classic glimpse of Ella at her on-stage best" ~ John Bush at CDUniverse.com.
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Les Paul and Chet Atkins
album: Chester and Lester

Amazon iTunes

Notes: Recorded in 1975 in Nashville and released in 1977 this album features two of the great American guitar masters running the gamut from country and western to jazz.

"Les Paul is known not only for his contributions to the development of the electric guitar, but for his wizardry in the studio as well (he was a pioneer in the use of multi-track recordings). Part of what makes Chester and Lester such a treat, however, is the straightforward, easy feel of the session, which seems leagues removed from Paul's painstakingly meticulous experiments. A duo date with Chet Atkins (who was greatly influenced and inspired by Paul), Chester and Lester showcases two guitar icons playing together as friends.

"There is a heavy country flavor to these proceedings, but that doesn't keep either guitarist from flinging around stylistic references to jazz and other genres. Atkins' laid-back finger picking style is the perfect counterpoint to Paul's fretboard flurries. The sheer mythic weight created by these two innovators playing side by side is almost enough in itself to recommend the album, but--not surprisingly--the music is wonderful too" from CDUniverse.com.

album sidemenl: Bobby Thompson (guitar); Paul Yandell, Ray Edenton (guitar); Randy Goodrum (piano); Henry Strzelecki, Bob Moore (bass guitar); Larrie Londin (drums).
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Harry Allen, Jr.-Keith Ingham Quintet
album: Are You Having Any Fun?: A Celebration of Sammy Fain

Amazon iTunes

Notes: album personnel: Harry Allen (tenor saxophone); John Pizzarelli (guitar); Keith Ingham (piano); Oliver Jackson (drums).
Arranger: Keith Ingham.
". . . Harry Allen, Jr. and British pianist Keith Ingham hold forth on no less than 17 Fain strains. John Pizzarelli is the superb guitarist, harmonizing with Ingham as if turning the key in a series of small treasure chests. Rounding out the rhythm section, drummer Oliver Jackson proves his affinity for both pianists and saxophonists while bassist Dennis Irwin counts his chord changes like tour revenue. The songs are given compact performances, 'Something I Dreamed Last Night' suggesting that only a subject related to sleep would inspire this combo to head toward the five-minute mark on a recorded track. Ingham's career began in Hong Kong, where Tin Pan Alley standards such as the deceptively amorous 'Secret Love' and the darkly gentle 'Tender Is the Night' were no doubt standard fodder in piano lounges. The saxophonist, son of big-band drummer Harry Allen, Sr., plays the melodies of this program as if familiar with the words, all of them, even the ludicrous "A High Hat, a Piccolo and a Cane" -- perhaps following the advice of one of the great instrumentalists, tenor saxophonist Lester Young." ~ Eugene Chadbourne at CDUniverse.com.
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Lillian Boutté
and The Boutté-L'Ettiene Jazz Ensemble
album: Having a Good Time

Amazon iTunes

Notes: Lillian Boutté is "a versatile singer based in New Orleans, Lillian Boutté is capable of singing both New Orleans Dixieland standards and New Orleans R&B, swing-era tunes, and contemporary originals. She sang as a child (winning a vocal contest when she was 11), performed with her college's gospel choir, and then in 1973, was hired by Allen Toussaint as a backup singer for the many projects recorded in his studio. Boutté appeared as an actress and singer in the musical One Mo' Time during 1979-1984, recorded a gospel album with the Olympia Brass Band in 1980, and in 1982, made her first jazz album. Boutté has spent time alternating between living and performing in Europe and New Orleans, and she has been closely associated with reed player Thomas L'Etienne who usually leads her backup groups. Through the years, Lillian Boutté has recorded for many labels (mostly in Europe) including Herman, Feel the Jazz, High Society, Turning Point, Timeless, Southland, Storyville, GHB, Calligraph (with Humphrey Lyttelton), Blues Beacon, and Dinosaur Entertainment." ~ Scott Yanow at iTunes
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Robin McKelle
album: Introducing Robin McKelle

Amazon iTunes

Notes: Introducing Robin McKelle is McKelle's debut album. Since then she has released several more. On the track on this first album she is joined for a duet by Robbie Wykoff on "You Brought a New Kind of Love to Me," Ken Dryden comments at CDUniverse.com, that "The orchestra, which sometimes adds a string section, brings life to the charts adapted or transcribed by trumpeter Willie Murillo and trombonist David Stout, while the band includes veteran jazz instrumentalists like clarinetist Gary Foster, guitarist Larry Koonse and tenor saxophonist Pete Christlieb."
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c. 2014
David Kerr Canastra Trio

Notes: David Kerr - vocal/trumpet; Rodrigo Braga - piano; Gustavo Sato - bass. For more about this group, see their
YouTube channel

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