On a Misty Night, by Karin Krog & Georgie Fame

On a Misty Night

by Karin Krog & Georgie Fame

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Cover photo: Songquan Deng / Shutterstock.com
Design: Max Franosc

Includes unlimited streaming of On a Misty Night via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.	On A Misty Night 07:17	buy track
2.	I’m Never Happy Anymore 05:59	buy track
3.	If You Could See Me Know 07:49	buy track
4.	Accentuate The Bass 05:35	buy track
5.	That ́s The Way It Goes 04:11	buy track
6.	Take A Chance On Spring 05:00	buy track
7.	Dig It 03:52	buy track
8.	The Happy Heart 04:06	buy track
9.	Never Been In Love 05:21	buy track
10.	Good Bait/Laidybird 06:31	buy track
11.	Fointainbleau/Trane 05:16	buy track
12.	That ́s The Way It Goes 05:36	buy track

about

Karin Krog is one of the great jazz singers. Few others worked within so many different areas of the music and fewer still could have done so with the same assurance, commitment and elegance. Last years six CD box set “The Many Faces Of Karin Krog” released on the occasion of her eightieth birthday received glowing reviews all over. The new album “On A Misty Night” collects her recordings of Tadd Dameron ́s music with the great Georgie Fame and includes two previously unreleased tracks – all brilliantly arranged by Norwegian pianist, arranger and composer Per Husby.

Per Husby: “The project started out with the instrumentation. From my earliest years as a jazz listener I was always fascinated by the warm, encompassing sound created by the inclusion of French horn and tuba in a jazz ensemble setting by arrangers like Benny Golson and Marty Paich, and around 1980 I decided I’d like to try my hand at this instrumentation myself. Upon mentioning this project to Karin Krog, she immediately remarked, “You should look more into Tadd Dameron – he wrote a lot of wonderful songs that not many people know about, perhaps I could even sing them with your band”. And when Karin says anything about jazz vocal history, I listen. Besides being one of the world’s leading jazz vocalists for a good 60 years now, she is also by far the most reliable expert on this subject that I have ever met.

An initial recording session was done in Oslo in 1983, but only produced four tracks that, in the end, were never issued. The project was then presented live at the Molde Jazz Festival in 1984. Again, a recording tape was running, but there were a number of sound problems that made a full issue of the concert impossible.

Thanks to the support and help of Jon Larsen and his label Hot Club Records, we at last. managed to record a selection of Dameron’s music in January 1985. By this time I had also presented this project to Georgie Fame, who volunteered to write lyrics to some of the numbers that were originally written just as instrumentals.

The resulting CD in fact became what in the jazz world might be labelled as something of a success –earning a Norwegian Grammy for best jazz record of the year, as well as ending up on lists of critics’ favourites in magazines like Cadence (US), The Gramophone (UK) and Jazz (France). The realities of jazz economy soon hit the project after this.

After a few local club gigs around Oslo the project as a live act was shelved. Ten years later, however, jazz enthusiast and record label owner Bjørn Petersen volunteered to finance a rebirth of the project – this time taking it over to its homeland and recording it in New York with local musicians.

History repeated itself however, so that after another impressive batch of critics’ endorsements the project again ended up on the shelf – there being no way of finding the funds needed to do more with it. And on that shelf it would probably still have rested if it hadn’t been for Karin, who last year intiated the idea of reissuing the Dameron tracks from the two CDs. The original title for the first CD was ‘Dedications’ – and there is therefore
nothing more appropriate for me, 32 years later, than to dedicate this reissue to Karin Krog and Tadd Dameron – without whom the project would not have been possible.

credits

released November 2, 2018

TRACKS 1 / 3 / 7 / 8 / 9 Previously issued on:
PER HUSBY ORCHESTRA ‘IF YOU COULD SEE ME NOW’ (Gemini Records, 1996)
JEROME RICHARDSON alto saxophone, soprano saxophone
CHRIS POTTER alto saxophone
FRANK WESS tenor saxophone, flute
SCOTT ROBINSON baritone saxophone
EARL GARDNER, MICHAEL LEONHART trumpet
PETER GORDON French horn
JIM PUGH trombone
HOWARD JOHNSON tuba
TED ROSENTHAL piano
BUCKY PIZZARELLI guitar (7 only)
JAY LEONHART bass GRADY TATE drums
KARIN KROG vocals (1 / 3 / 7 / 8 / 9)
GEORGIE FAME vocals (1 / 7)
Trumpet solo on 3 by MICHAEL LEONHART

Recorded at Clinton Studios, New York, November 14-15th 1995
Recording engingeer: Ed Rak
Mixed at Rainbow Studios, Oslo, February 10-13th 1996
Remix engineer: Jan Erik Kongshaug

TRACKS 2 / 4 / 5 / 6 / 10 Previously issued on:
PER HUSBY ORCHESTRA ‘DEDICATIONS’ (Hot Club Records, 1985)
GUTTORM GUTTORMSEN soprano saxophone, alto saxophone, clarinet, flute
VIDAR JOHANSEN soprano saxophone, flute
KNUT RIISNÆS tenor saxophone, flute
JOHN SURMAN baritone saxophone, bass clarinet
MARTIN DROVER, JAN ALLAN trumpet
ODD ULLEBERG French horn
FRODE THINGNÆS trombone
STEIN ERIK TAFJORD tuba
EGIL KAPSTAD piano
TERJE VENAAS bass
EGIL JOHANSEN drums
KARIN KROG vocals (2 / 5 / 6 / 10)
GEORGIE FAME vocals (4 / 5 / 10)
All trumpet solos by JAN ALLAN

Recorded and mixed at Rainbow Studios, Oslo, January 6-7th 1985
Recording engineer: Jan Erik Kongshaug

TRACKS 11 / 12 Previously unissued
11 Recorded Oslo, 1983 / 12 Live recording Molde, 1984
GUTTORM GUTTORMSEN soprano saxophone, clarinet, flute
VIDAR JOHANSEN alto saxophone, flute
KNUT RIISNÆS tenor saxophone, flute
JOHN PÅL INDERBERG baritone saxophone
PETTER KATERAAS, ATLE HAMMER trumpet
ODD ULLEBERG French horn
FRODE THINGNÆS trombone
STEIN ERIK TAFJORD tuba
EGIL KAPSTAD piano
TERJE VENAAS bass
EGIL JOHANSEN drums
KARIN KROG vocals
Trumpet solo on 12 by ATLE HAMMER

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about

Karin Krog & Georgie Fame Norway

Karin Krog is one of the great jazz singers. Few others worked within so many different areas of the music and fewer still could have done so with the same assurance, commitment and elegance.