Julie Is Her Name

About

Julie London's debut album Julie Is Her Name was released in December 1955 by Liberty Record. This minimalist jazz recording marked a significant departure from the orchestral arrangements common in the era, featuring only London's sultry vocals accompanied by Barney Kessel (one of the era's most influential jazz guitarists) and Ray Leatherwood on upright ba. The stripped-down arrangement was revolutionary for its time, allowing London's distinctive vocal timbre and masterful microphone technique to take center stage. Initially released under catalog number LRP-3006 in monaural format, this groundbreaking album showcased an innovative recording approach. The intimate trio setting allowed for exceptional clarity and presence. In response to growing consumer demand for stereophonic sound, Liberty Records reprocessed the original recordings to create a stereo version (LST-7037) released on May 25, 1960. This stereo mix brought new dimension to the interplay between Julie London's vocal, Barney Kessel's sophisticated guitar work, and Ray Leatherwood's subtle but essential bass line. The album's enduring influence led to several notable reissue. In 1992, EMI recognized its historical significance by pairing it with its spiritual successor, Julie Is Her Name, Volume II (1958), in a comprehensive CD release. This compilation highlighted the evolution of London's artistic vision. Hallmark Music later created another significant pairing, combining it with Lonely Girl (1956), allowing listeners to compare London's minimalist jazz trio format with her later, more orchestrated work. These thoughtfully curated reissues helped introduce London's pioneering approach to new generations of jazz enthusiasts and vocalist. The album's 13 carefully curated tracks showcase London's interpretative skills across a range of jazz standard. The breakthrough single Cry Me a River (written by her high school classmate Arthur Hamilton) became her signature song, peaking at #9 on the Billboard Hot 100 and selling over three million copie. The song's intimate delivery and emotional depth established a new standard for torch singing. Other standout tracks include I Should Care by Cole Porter, I'm in the Mood for Love by Jimmy McHugh, and Can't Help Lovin' That Man by Jerome Kern - each demonstrating London's ability to bring fresh perspective to classic material. The album's commercial performance was exceptional, reaching #2 on the US Popular Albums Billboard chart and claiming the top spot on the US Best Selling Pop Albums Cash Box chart - a remarkable feat for a jazz album in an era dominated by traditional pop music. Renowned jazz critic Scott Yanow highlighted it as a career-defining achievement, specifically praising London's understated approach and ability to find new meaning in familiar standard. Her "less is more" philosophy influenced generations of jazz vocalist. .

via Last.fm

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