Chicago: Night & Day - Big Band (1995)Bill Champlin - Keyboards, Vocals
Bruce Gaitsch - Guitar
Tris Imboden - Drums, Percussion
Robert Lamm - Keyboards, Vocals
Lee Loughnane - Trumpet
James Pankow - Trombone
Walter Parazaider - Saxophones, Flutes
Jason Scheff - Bass, Vocals
Additional Personnel:
(Not too many this time, mostly legitimate guest appearances)
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Chicago (Fred Fisher)
Caravan (Duke Ellington, Irving Mills, Juan Tizol)
Dream a Little Dream of Me (Fabian Andrι, Gus Kahn, Wilbur Schwandt)
Goody Goody (Matty Malneck, Johnny Mercer)
Moonlight Serenade (Glenn Miller, Mitchell Parish)
Night and Day (Cole Porter)
Blues in the Night (Harold Arlen, Johnny Mercer)
Sing, Sing, Sing (Louis Prima)
Sophisticated Lady (Duke Ellington, Irving Mills, Mitchell Parish)
In the Mood (Joe Garland, Andy Razaf)
Don't Get Around Much Anymore (Duke Ellington, Bob Russell)
Take the "A" Train (Billy Strayhorn)
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Okay, here is where I would normally tell you how the album came about, or something about the logic behind it or what the idea was. But the truth is, I don't know. I've read the Wikipedia page for this album several times and I still don't get it. The AMG page is useless. I went to the discography on the official website for Chicago the band (chicagotheband.com, oddly enough) and the page for
Night & Day - Big Band actually links to the Wikipedia page. That's right; the official source is a metasource. Of course, that same website, the official site of Chicago the band, also has a history of the band which mentions that
Stone of Sysiphus has still never been released (it came out five years ago).
Here's the issue:
Night & Day - Big Band is an album of covers of big band tunes and jazz vocal standards from the same period. After the discouraging experience with
Stone of Sysiphus, which Warner Bros. refused to promote on the grounds that it had no commercial potential, prompting Chicago to begin the process of finding a new label, Chicago decided that their next project would be covers of tunes from the 40's, and it was released on Giant Records, a division of Warner Bros.
Everything I can find about the background of
Night & Day - Big Band (which isn't much) says that it's something the band really wanted to do (which I believe, and which makes a lot of sense), but I can find nothing about how in the world it got approved for distribution when Warner Bros. refused to promote
Stone of Sysiphus. Come to think of it, I don't remember seeing any promotion for
Night & Day - Big Band, either, but I missed a lot of the mid-90's. Maybe Chicago decided that releasing an album and not getting any label support is still better than not releasing it at all.
I saw this one in the CD racks at Best Buy and actually got excited. I like big band music. I played in the jazz band in high school, and most people who've played in such bands know that a high school "jazz band" is really more about big band and swing, not traditional jazz. But whatever. James Pankow is a genius at arranging the three Chicago horns to make them sound like six or nine, and big band has always been one of Chicago's most obvious influences, so I was looking forward to hearing what he could do with real big band arrangements.
I'd still like to hear what he could do, because that isn't what you get here. These are not true big band arrangements, but are instead Chicago putting a "modern spin" on big band music. Whereas big band music is largely instrumental, with most songs having at most a sung verse or two, what you get here are most definitely
songs. The horns do sound great, and they have a big band feel, but they aren't the focal point, as you might think. The focus is still on the vocals. You get 12 songs, no instrumentals. In fact, I was familiar with all of these tunes, and didn't even know that some of them had words. For most of them, I've only ever heard instrumental versions.
I'll try to be fair here. The reviews online for
Night & Day - Big Band are overwhelmingly positive. Our own kingshmegland says he loves it, and I don't want to rain on his parade, either. But I do have to be honest. If you're expecting Chicago going full-on big band, kind of like the first disk of
Chicago VII was mostly full-on jazz, you will be disappointed. If you were looking forward to hearing that awesome breakdown during "Take the 'A' Train", you will be disappointed (they skip over it in favor of more vocals). Half of the solo section from "In the Mood" is here, but again, instead of the other half of the solos, we get more vocals. Glenn Miller's incredible "Moonlight Serenade" is sung. The muted trumpet descant isn't even there. It's really a completely different version of the tune. Okay, you get the idea.
It all sounds great. The horns sound great, the arrangements are very good, and the production is crisp and clear. But this is not big band music. It's a modern (or at least 90's) take on big band standards, with the focus on the vocals rather than the instrumentals. If you like big band and jazz vocal standards, you will probably like this album. But if you're an actual afficionado of 40's music, this is not faithful to the genre, and the "modern" spin instead makes it sound dated rather than timeless.
The ones sung by Robert Lamm are the best. "Chicago", "Caravan" and "Take the 'A' Train". He has the voice for it, and he has the feel. He sounds better here than he has in years. Bill Champlin sounds pretty good, too. I wish I had something positive to say about Jason Scheff's vocals, but he just doesn't have the feel for it, and ironically, his efforts to "jazz things up" just make you wish he'd have had more faithful to the genre. It really sounds awkward and out of place.
Joe Perry takes the guitar solo in "Blues in the Night". R&B vocal trio Jade sing on "Dream a Little Dream of Me" and Paul Shaffer plays the piano on that tune as well. Bill Champlin doesn't play any guitar on this album; he restricts himself to keyboards and vocals. Session man Bruce Gaitsch is listed as the guitarist in the band credits as opposed to as a hired gun, but he is generally not regarded as a regular member of Chicago.
In case you couldn't tell, I was very disappointed by this album. But the reviews are almost all positive. The one negative one I read was quite short and said the same thing I've said here: he wished that they'd done an album of actual big band music. But most people aren't as picky as I am. If you like big band, swing, and 40's standards, you'll probably like this album.