The Chris Connor Bio-Discography:
Post-Atlantic Period
by Iván Santiago Mercado

Return To This Discography's First Page

In 1963, Chris Connor moved from Atlantic to FM Records, a label that her own manager had just co-established. FM turned out to be a very short-lived enterprise, folding in 1964. Fortunately, Connor was back in the studio in 1965, and that same year a new album of hers showed up in music stores. From that year onwards, Connor's modus operandi involved short-term recording contracts with domestic companies: ABC, Stanyan, Applause, Progressive, Stash, Contemporary and, at the turn of the twentieth century, HighNote. Her association with these American companies resulted in the release of one to two albums per label. Substantial recording activity also took place in Japan, where the singer enjoyed decades of popularity among fans of jazz vocals. Original Chris Connor albums were released by the Japanese labels JVC (1 album), LOBster (1 album), CBS/Sony (1 album), Alfa Jazz (4 albums), and King (1 album, licensed to HighNote in the United States).

Chris Connor (ldr), Alan Douglas (pdr), Michel Colombier Orchestra (acc), Chris Connor (v), Les Double Six (bkv)

Chris Connor At FM Records

In the early 1960s, Chris Connor switched from the well-established Atlantic label to FM Records, a brand new company at the time. The primary reason for the switch was the fact that Monte Kay, her manager, co-owned FM. Kay had just established it in conjunction with another artists' manager, Peter Kameron (and as part of a partnership that they named Village Planners).

In the liner notes for Roulette Jazz CD 094637134627, Chris Connor is quoted on the matter: "Monte said they weren't happy [at Atlantic] with what I was doing, I wasn't selling enough." Kay allegedly told Connor that Atlantic didn't want to renew her contract, and that "she'd do much better with his new enterprise." Yet (according to liner note writer James Gavin), Atlantic Records producer Jerry Wexler would later deny that Atlantic was unhappy with Connor.

Thus, some time in the second half of 1962 or early in 1963, Connor severed her ties with Atlantic and signed with FM. This momentous decision did not turn out for the best. After the new company faltered and ended up declaring bankrupcy (1964), she was momentarily left without a recording contract.

Before FM folded, Connor completed two albums. Only the second one, A Weekend In Paris, is listed in this page. For details about the first (At The Village Gate, Early Show & Late Show, culled from a concert date at a New York nightclub), see Live, Radio & Television page, year 1963.

In the worldwide web, I have come across allusions to a third FM Connor album. Supposedly, FM left it unreleased but the album still managed to make an appearance as a bootleg. Since I have yet to find any further specifics about this mythical bootleg, I doubt the veracity of such claims.

Besides those two or three albums, FM probably was the original owner of 1961 Connor concert material which was released belatedly, on a different label. (Could this be the elusive bootleg mentioned in the previous paragraph?) The concert in question took place in Brazil, as part of a series of music dates featuring touring American jazz musicians. FM actually issued some of the instrumental portions of the event in an album entitled At the American Jazz Festival In Latin America. But the Connor numbers did not appear until 1988, on the German label Eastwind. For further details, see Live, Radio & Television page, session dated July 16, 1961.


Issues

1. A Weekend In Paris
I am not certain that FM LP #312 was released to music stores. The record company folded a short time after the album had been pressed. Extant copies are rare. The stickers and stamps in those which I have seen prove that they are promo copies, sent out mostly to radio stations. The masters seem to have ended in the possession of Roulette, which was one of FM's distributors.


Personnel

1. Michel Legrand
Michel Legrand was originally slated to arrange and play on this date, but a movie score assignment forced him to cancel.

2. Les Double Six Of Paris
3. The Swingle Singers
The identification of the backing group as Les Double Six (also known as The Double Six Of Paris) is tentative, and based on second-hand information. Another second-hand source mentions The Swingle Singers instead.


Blue Arrowheads (A Technical Note)

In a few of this page's sessions, a blue arrowhead is found next to an issue. Click on the arrowhead if you want to see a longer list of albums containing the corresponding Chris Connor performance.

Chris Connor (ldr), Ken Greenglass, At GLG Productions (pdr), Pat Williams (con), Chris Connor (v)

Dating

My source for the dating of this session is Michel Ruppli, who supplies the date in the latest version of his ABC discography. (Presumably, the twelve songs were recorded over three September sessions, the exact days unspecified in the files.)


Record Label And Personnel (Producer)

1. Ken Greenglass
The back cover of the original ABC album bears the legend "produced by Ken Greenglass for GLG Productions, Inc." Connor's second album for ABC also bears a GLC production credit; see sessioons immediately below.

Chris Connor (ldr), Peter De Angelis, Bob Thiele (pdr), Don Sebesky (pdr, con), Chris Connor (v)

Dating

My source for the dating of this session is Michel Ruppli, who supplies the date in the latest version of his ABC discography.


Personnel (Conductors, Producer)

1. Bob Thiele
2. Don Sebesky
3. Peter De Angelis
The back cover of original ABC album Now! bears the legend "produced by Thiele/Sebesky/De Angelis for GLG Productions, Inc." I presume them to be the album's producer(s) and conductors, each responsible for one of the sessions contained in the LP. I have yet to find corroboration of this possibility, however.


Issues, Help Requested & Collectors' Corner

1. Singin' In N.Y. [LP]
I have not been able to locate the track listing for the Japanese LP Singin' In N.Y. (Columbia / Roulette YS 8534 RO), although I have seen a picture of its cover. I suspect it to be a reissue of one of Connor's two albums for ABC-Paramount (Chris Connor Sings The Gentle Bossa Nova and Now!). If such is the case, then this Japanese reissue used an entirely different front cover: a b&w, full-length photo of Connor singing, microphone in hand, circa 1965. Help would be appreciated.

Chris Connor (ldr), Peter De Angelis, Bob Thiele (pdr), Don Sebesky (pdr, con), Chris Connor (v)

Dating

My source for the dating of this session is Michel Ruppli, who supplies the date in the latest version of his ABC discography.


Personnel (Conductors, Producer)

See notes under session dated July 11, 1966.

Chris Connor (ldr), Peter De Angelis, Bob Thiele (pdr), Don Sebesky (pdr, con), Chris Connor (v)

Dating

My source for the dating of this session is Michel Ruppli, who supplies the date in the latest version of his ABC discography.


Personnel (Conductors, Producer)

See notes under session dated July 11, 1966.

Chris Connor (ldr), George Otsuka Trio (acc), Shungo Sawada (g), Takashi Mizuhashi (b), Hideo Ichikawa (p), George Otsuka (d), Chris Connor (v)

Bio-Discographical Note: Chris Connor Tours Japan, 1969

During an interviewed published in the March 10, 1974 issue of Newsday magazine, Chris Connor shared the following with reporter Bob Micklin: "[During the 1960s] I had been drinking quite a bit and I had put on a lot of weight. [In the late 1960s] I started to diet and take better care of myself. I made a wonderful tour of Japan. At one concert I drew 5,000 people all by myself."


Issues

1. Softly And Swingin'
This album was produced in Japan and meant the Japanese record market only.


Arrangers And Arrangements

1. Chick Correa
2. "The Fool On The Hill"
According to an oral source, Chick Correa was the arranger of Chris Connor's interpretation(s) of "The Fool On The Hill." I cannot confidently credit Correa herein because my source did not specify if she was referring to this session's master or to any other (live) version unknown to me.


Venue

1. A Taped Live Date?
According to an uncorroborated report, these numbers were played in front of a crowd of soldiers on leave from duty in Vietnam. The report does not sound particularly credible to me. For one thing, the recording information at my reach indicates that the numbers were recorded over two days. Had Connor and company played these numbers in front of an audience, I would have expected the recording information to list them under one day, not two. (Of course, my discographical source could be wrong. Or, alternatively, Connor could have played for the soldiers more than once.)

Chris Connor (ldr), Wade Alexander, Rod McKuen (pdr), Alyn Ainesworth (s-a), George Barnes (g), Chris Connor (v)

Issues

1. Chris Connor Sings The Rod McKuen Songbook [LP]
2. "I'll Catch The Sun"
Like other vocalists who recorded for Rod McKuen's Stanyan label, Chris Connor was scheduled to do a full album of songs written by McKuen himself. In Connor's case, the songbook was planned, according to one of the participants, as her second album for Stanyan. Twelve McKuen songs were picked. For reasons that remain unclear, the project did not come to fruition. (The aforementioned participant assumes that the label might have undergone financial difficulties.) In the end, just two of McKuen's songs were included in Connor's one Stanyan project, Sketches, although she might have recorded a few others. During a concert that took place on October 22, 1976, Connor introduced her performance of Rod McKuen's "I'll Catch The Sun" with the comment that she had recorded it for his label.

3. Guest Star [LP]
The album Guest Star: Chris Connor culls four shows made by Chris Connor for the U.S. Savings Bond Division. All Connor songs heard on those four shows were edited versions of the Stanyan album versions.

The shows' host was Mike Douglas, and there was no studio orchestra. The album's catalogue number (11-71) is probably also an indication of the month and year in which this "Star of the Month" was heard over participating radio stations.

Each program was five minutes long, and began with Douglas singing the line "this is the country land that I love." Only one Connor song was heard per show. A partial exception was the first show: it featured a few, additional bars from a second song, "We've Only Just Begun."

The patter called for Connor to promote savings bonds in every episode, and allowed for one or two quick personal comments from her. In the first show, she credits Rod McKuen for providing her with her most relaxed session to date. In another show, she voices her enthusiasm for Laura Nyro's composition of "Buy Ans Sell." In the final show, Connor announces that she will soon be on a long tour, and professes her intention to keep "working till money falls from trees."

Chris Connor (ldr), Teo Macero (pdr), Lee Konitz (as), Richard Davis (b), Bob Kaye (p), Grady Tate (d), Chris Connor (v)

Issues

1. Chris Moves
Though recorded in New York this album was produced for the Japanese market and release only in Japan.

2. Teo Macero Presents
I have not been able to locate a copy of this album. The scant data available to me suggests that it might be a special issue, possibly meant for radio airplay only. Corroboration or denial from those who own a copy would be appreciated.

Chris Connor (ldr), Teo Macero (pdr), George Opalinsky (f, ts), Richard Davis (b), Bob Kaye (p), Edward Soph (d), Chris Connor (v)

Dating & Masters

1. "A Baby Is Born"
The placement of "A Baby Is Born" in this session (rather than in any of the other Chris Moves dates) is tentative.

Chris Connor (ldr), Teo Macero (pdr), Michael Moore (b), Mike Abene (p), Jimmy Madison (d), Chris Connor (v)

Dating & Masters

1 & 2. "Lilac Wine" & "That's What Friends Are For"
The placement of the songs "Lilac Wine" and "That's What Friends Are For" on this date (rather than on any of the other sessions for the album Chris Moves) is tentative.

Chris Connor (ldr), Teo Macero (pdr), Mike Abene (p), Chris Connor (v)

Chris Connor (ldr), Gus P. Statiras (pdr), Jerry Dodgion (f, as), Michael Moore (b), Mike Abene (p), Ronnie Bedford (d), Chris Connor (v)

Personnel

1. Jerry Dodgion
Jerry Dodgion's flute on "Things Are Swinging," "Any Place I Hang My Hat is Home," and "Just In Time" only.

Chris Connor (ldr), Gus P. Statiras (pdr), Jerry Dodgion (f, as), Michael Moore (b), Mike Abene (p), Ronnie Bedford (d), Chris Connor (v)

Dating & Masters

"Out of This World," "I've Got You Under My Skin" and "I Wish You Love" were overdubbed on February 28, 1978.


Personnel

1. Jerry Dodgion
Jerry Dodgion's flute on "Out Of This World" and "I Wish You Love" only.

Ran Blake (ldr), Jerome Harris (g), Rufus Reid (b), Ran Blake (p), Chris Connor (v), Richard Rodney Bennett (ac)

Personnel

Richard Rodney Bennett was a guest -- rather than a scheduled performer -- at this session. His contribution to the song's composition was, therefore, impromptu. (With the session ready to start, but the song still unfinished, the session's participants enlisted Bennett for help.)

Chris Connor (ldr), Ronne McClure (b), Harold Danko (p), Edward Soph (d), Chris Connor (v)

Masters And Issues

1. Alone Together [LP]
2. The Direct-To-Disc Recording Process
The album Alone Together was originally prepared for exclusive release in the Japanese market.

At the session, LOBster resorted to the then-fashionable direct-to-disc process. "Direct-to-disc" meant that all the songs intended for the LP's side A were recorded in a continued, uninterrupted string (as if they all were part of one long take, with no more than a brief pause in-between tracks). After finishing with side A, Connor and the musicians followed the same procedure for the flip side of the LP. For their part, the engineers recorded both sides directly to a master lacquer -- not to magnetic tape, as had been the norm for decades.

By recording directly to a master disc, engineers were bypassing a few steps of what had become their regular process. Obviously, they no longer had to transfer from magnetic tape to the stamper. Also, they could not splice or apply any corrective tecniques to the masters: thre numbers are heard exactly as they were performed, any errors included. (Of course, we should presume that, if any major mistake was made, the proceedings were stopped. In such a case, the personnel would have to start over, taking it again from the very first song of side A or side B.)

Audiophile listeners approved of this process because, from their perspective, the resulting product was "purer." In comparison with the rest of available commercial albums, direct-to-disc LPs were far less removed from what had been actually recorded at the studio session. Also part of the allure was the promise of limited LP quantities. (Quantities were limited by necessity: unlike magnetic tape, master lacquers could be re-used only a few times, because their sound quality noticeably degenerates with each successive use. Eventually, the master would thus be rendered unusable, leaving the company with no other option but to altogether stop pressing from it. At that point (and until the advent of the CD), they would have to permanently terminate pressing or, alternatively -- but in violation of what was promised to customers -- they would have to press from the previously issued commercial vinyl.)

Alone Together has been digitally reissued twice: in 1993 (TDK Records) and in 2004 (Absorb Records).


3. Alone Together [CD; TDK]
4. Alone Together [CD; Absord]
5. Anita O'Day
These CD editions include five bonus tracks by Anita O'Day, also originally recorded for LOBster: "You Go To My Head," "A Sleepin' Bee," "Bluesette," "I'm Old Fashioned," and "Speak Low." The Absord edition is a straight reissue of the TDK version (same artwork, same track sequence).

In September and October 1981, Connor was performing at the Sweel Basil club in New York City. Two dates from that engagement have been commercially issued. Applause Records released one of them in a LP suitably entitled Chris Connor Live (1981).
The other date was issued many years later by the label Evidence, on the CD Lover Come Back To Me: Live At Sweet Basil (1995). For additional details, consult the Live, Radio, And Television page, under the year 1981.

Takao Ishizuka, Hiroaki Itoh (pdr), George Mraz (b), Norman Simmons (p), Tim Horner (d), Ernestine Anderson, Chris Connor, Carol Sloane (v)

Issues

1. Three Pearls
This album was produced for and released in the Japanese market only.


Personnel

The Three Pearls dates featured the following vocalists: Ernestine Anderson, Chris Connor, and Carol Sloane. The trio sings together only in one song, "A Foggy Day." All other numbers are sung invididually. Not entered in this discography are the numbers recorded by Anderson and by Sloane, without Connor's participation. (Anderson's: "What's New" and "Someday My Prince Will Come." Sloane's: "All Of Me," "Love Walked In," "Early Autumn" and "Willow Weep For Me.")

Chris Connor (ldr), Bernie Brightman (pdr), Bucky Pizzarelli (g), Dick Sarpolo (b), Russ Kassoff (p), Tony Tedesco (d), Chris Connor (v)

Songs

1. "How Little We Know"
There are two frequently recorded songs which bear the title "How Little We Know." Chris Connor happened to record both of them. The one done at this session ("Maybe it happens this way, / Maybe we really belong together, / But after all, how little we know. /
Maybe it's just for a day; / Love is as changeable as the weather / And after all, how little we know" ... ) originated in the 1944 movie To Have And To Have Not, starring Humphrey Bogart and Lauren Bacall.

Chris Connor (ldr), Helen Keane (pdr), Paquito D'Rivera (as), Claudio Roditi (t, fh), Rufus Reid (b), Mike Abene, Richard Rodney Bennett (p, DX7), Akira Tana (d), Chris Connor (v)

Songs

1. "Love Medley"
Performed as a three-song "Love Medley" (4:57) are "What Is This Thing Called Love," "You Don't Know What Love Is" and "Love."


Personnel

1. Mike Abene
2. Richard Rodney Bennett
Acoustic piano played by Mike Abene on "Let's Face The Music And Dance," "Sweet Happy Life," "In Love In Vain," the "Love Medley" and "Brazil."

Acoustic piano played by Richard Rodney Bennett on "Laura," "Ten Cents A Dance," "Blame It On My Youth," "We'll Be Together Again," "Let's Take The Long Way Home" and "The Nearness Of You."

Bennett plays DX-7 on "Sweet Happy Life," the "Love Medley" and "Brazil."

Mike Abene plays DX-7 on "Laura" only.

Chris Connor (ldr), Helen Keane, Lori Muscarelle (pdr), Bill Kirchner (f, cl, ss, as, ts), Dave Valentin (f), Claudio Roditi (t, fh), Michael Moore (b), Mike Abene, Richard Rodney Bennett (key), Buddy Williams (d), Sammy Figueroa (per), Chris Connor (v)

Songs

1. "Astaire Medley"
Performed as a 4-song "Astaire Medley" (5:40) are "Cheek To Cheek," "That Face," "Dancing In The Dark" and "It Only Happens When I Dance With You."

2. "Jukebox Medley"
Performed as a 5-song "Jukebox Medley" (6:03) are "Saturday Night (Is The Loneliest Night Of The Week)," "Little White Lies," "I Wish I Didn't Love You So," "I've Heard That Song Before" and "Everything Old Is New Again."


Personnel

1. Helen Keane
2. Lori Muscarelle
Produced by Helen Keane, with Lori Muscarelle as executive producer.

3. Dave Valentin
Dave Valentin's flute on "Antonio's Song" and "Down In Brazil" only. Flute in other songs by Bill Kirchner.

4. Mike Abene
5. Richare Rodney Bennett
Mike Abene played acoustic piano on some songs ("Dearly Beloved," the "Astaire Medley" and "Mad About The Boy"), and DX-7 on others ("I Wish I'd Met You" and the following selections from the "Jukebox Medley:" "Little White Lies," "I've Heard That Song Before," "Everything Old Is New Again"). He played both instruments in other songs ("Down In Brazil," "I Never Meant To Hurt You," "Antonio's Song," "My Foolish Heart"), too.

Richard Rodney Bennett also played DX-7 in some songs ("Down In Brazil," "Mad About The Boy," "Antonio's Song") and acoustic piano in others ("Love Locked Out," "I Wish I'd Met You;" and the following selections from the "Jukebox Medley:" "Saturday Night," "I Wish I Didn't Love You So," and "Everything Old Is New Again").

In September 1990, Chris Connor was performing at the Pizza Park in London. Various dates from that engagement were taped. Audiophile Records issued one CD's worth of them under the title The London Connection. For further details, consult the Concert, Radio, And Television page, under September 20, 21, and 22, 1990.

Chris Connor (ldr), Todd Barkan, Makoto Kimata (pdr), George Mraz (b), Hank Jones (p), Keith Copeland (d), Chris Connor (v), Richard Rodney Bennett (ac)

Issues

1. As Time Goes By
This disc seems to have been originally recorded for the Japanese record market, but it was also licensed to the European label Enja.


Arrangements And Arrangers

1. Richard Rodney Bennett
This album uses head arrangements, with some basic intros and chord sequences supplied by Richard Rodney Bennett. In the arranger's own words: "I know very little about it and I was in London when it was recorded, although I did the 'charts', such as they were. As Time Goes By and another album called Angel Eyes were done strictly for the Japanese market, or so we thought. They were done at the speed of light - I just wrote chord sequences for the players with occasional intro, and the players ... rushed into the studio, did one or two takes and rushed out again."

Chris Connor (ldr), Todd Barkan, Makoto Kimata (pdr), George Mraz (b), Hank Jones (p), Keith Copeland (d), Chris Connor (v), Richard Rodney Bennett (ac)

Songs

1. "Berlin Medley"
Performed as a two-song Irving Berlin medley are "All Alone" and "What'll I Do."


Arrangements And Arrangers

1. Richard Rodney Bennett
This album uses head arrangements. At the session, Richard Rodney Bennet came up with most of the intros and chord sequences.


Issues

1. Angel Eyes [CD]
This disc was recorded for the Japanese record market and released therein only.


Record Labels

1. Alpha Jazz
According to Koji Yoshimura's liner notes (loosely translated from his Japanese) for the CD Angel Eyes, "Alpha Jazz is a famous label created in Japan. Jazz albums by amazing artists such as Hank Jones and Kenny Drew have been on high demand not only in Japan but also abroad. One of the amin selling points of the Alapha Jazz label is that they sell jazz music which is favored by Japanese people ... Alpha Jazz ... started to produce vocal music recently. Chris Connor was the first one they produced.

Chris Connor (ldr), Todd Barkan, Satosh Hirano (pdr), Theodore Nash aka Theodore Nash (f, ts), Jim Powell (t, fh), Chip Jackson (b), Bob Kaye (p), Richard Rodney Bennett (key), Vinton W. "Vinnie" Johnson (d), Chris Connor (v)

Issues

1. My Funny Valentine [CD]
This disc was recorded for the Japanese record market and released therein only.

Chris Connor (ldr), Todd Barkan, Satosh Hirano (pdr), Frank Vicari (ss, ts), Lew Soloff (t), Chip Jackson (b), Mike Abene (p), Dom Chicchetti (snt), Danny Gottlieb (d), Chris Connor (v)

Issues

1. Blue Moon [CD]
This disc was recorded for the Japanese record market and released therein only.


Personnel

1. Dom Chicchetti
Synthetizers by Dom Chicchetti on "All The Way," "The Crying Game," "Wild Is The Wind," "Blue Moon," and "Can You Feel The Love Tonight" only.

Chris Connor (ldr), Mike Abene (pdr, p), Bill Easley (f, ts), Ingrid Jensen (t, fh), Chip Jackson, Steve LaSpina (b), Dennis Mackrel (d), Chris Connor (v)

At The Recording Session

Chris Connor's companion and personal manager Lori Muscarelle has informally reminisced about some of the lighter moments that took place during these sessions: "Drinking Again was the most fun to record. I wish they had put the dialogue between Mike Abene and Chris in the recording. You can almost hear Chris holding back laughter while recording this tune. Michael and Chris worked today in 'those days' so it was funny to hear their comments between takes. Also on Haunted Heart Chris broke us up when both she and the band were screwing up the arrangement and she sang we're haunted, haunted, haunted, we're out of here before the ghost gets us all. Something like that. [Meanwhile,] foolish me, I was searching the sheet music looking for the lyric, thinking, that doesn't sound right!"


Personnel

1. Bill Easley
Flute or tenor saxophone, played by Bill Easley, on "By Myself," "Snowfall," "But Not For Me," "Stairway To The Stars" and "Day In, Day Out."

2. Ingrid Jensen
Trumpet or flugelhorn, played by Ingrid Jensen, on "By Myself," "Haunted Heart," "But Not For Me," "Key Largo" and "Day In, Day Out."

3. Chip Jackson
Bass played by Chip Jackson's on "By Myself," "Haunted Heart," "Only The Lonely" and "Day In, Day Out."

4. Steve Laspina
Bass played by Steve Laspina on "Snowfall," "But Not For Me," "Stairway To The Stars," "Key Largo" and "I Wished On the Moon."

5. Dennis Mackrel
Dennis Mackrel's drums on all songs, except "Drinking Again."

Chris Connor (ldr), Naoki Fujimoto, Shigeyuki Kawashima (pdr), Andy Snitzer (sax), Joe Magnarelli (t), Roger Blanc (g), Chip Jackson (b), Dave Matthews (p), Terry Silverlight (d), Chris Connor (v)

Issues & Collectors' Corner

1. Lullaby Of Birdland [King CD, KICJ-456, Japan, 2003]
2. Everything I Love [HighNote CD, 2003]
This session's songs were recorded while Chris Connor was under contract with the HighNote label. I do not know if her contract with the label was an exclusive one.

King issued the album in Japan under the title Lullaby Of Birdland. HighNote released it in the United States under the title Everything I Love. Both issues came out the same year. According to online data, the HighNote edition was released first, on July 29, 2003. The King edition is listed as issued exactly two months later, on September 29, 2003.

I have been told that the session was made for King Records Ltd. (not for HighNote) and that King later licensed the masters to HighNote. Similar details were included in various obituary notices. I am somewhat doubtful about the accuracy of this piece of information, however.

The artwork used for the respective King and HighNote front covers is different. Whereas HighNote picked a contemporaneous (albeit rather unflattering) photo of Connor, King used a drawing of a dark city avenue, with cars in sight, and a sunset as background.

Chris Connor (ldr), Mike Abene (pdr, p), Arthur Sussman (s-a), Bill Easley (r), Jack Wilkins (g), Chip Jackson (b), Dennis Mackrel (d), Memo Acevedo (per), Chris Connor (v)

Personnel

1. Bill Easley
Reeds, played by Bill Easley, on "Route 66," "That Old Black Magic," "Serenade In Blue," "Shall We Dance" and "On The Road Again" only.

2. Jack Wilkins
Jack Wilkins' guitar on all tracks, except "How High the Moon" and "This Heart Of Mine."

3. Memo Acevedo
Percussion, played by Memo Acevedo, on "Route 66," "Quiet Nights," "That Old Black Magic" and "On The Road Again" only."

A Note About "Live" Albums
Readers looking for live albums done by Chris Connor (be it during this period or during any other) should consult the page for Concert, Radio & Television Dates. Legitimate record labels that have released live dates by Connor include Atlantic (September 13, 1959), FM (1963), Applause & Evidence (both: September-October, 1981), and Audiophile (September 20-22, 1990).


Help Requested: Missing Album Information
Due to lack of data about the following album, I have been unable to enter it in this discography. I would appreciate your help in tracking down the details missing. (Contact me at ivansantiagomercado@earthlink.net )

1. Chris Connor Singin' In N.Y. (Columbia Roulette LP #YS 8534 RO)
Track listing and release year are missing. I suspect this album to be a reissue of one of Connor's two LPs for ABC-Paramount (either Chris Connor Sings The Gentle Bossa Nova or Now!).

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