| All Through the Night: Julie London Sings the Choicest of Cole Porter | ||||
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| Studio album by | ||||
| Released | 1965 | |||
| Recorded | July 12, 13, 16, 1965; Pacific Jazz Studios, Los Angeles, California | |||
| Genre | Vocal jazz, traditional pop | |||
| Label | Liberty | |||
| Producer | Richard Bock | |||
| Julie London chronology | ||||
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All Through the Night: Julie London Sings the Choicest of Cole Porter is an LP album by Julie London, released by Liberty Records under catalog number LRP-3434 as a monophonic recording and catalog number LST-7434 in stereo in 1965. She was accompanied by the Bud Shank Quintet.
Contents
The album see’s London returning to her jazz roots with a collection of ten Cole Porter standards. This album arrived at a crucial point in London's career, following a period of releases that, while commercially viable, had begun to drift away from the qualities that initially defined her as an artist. The 1960s had seen London experiment with more contemporary material and heavily orchestrated arrangements, some of which alienated her early fans who preferred the more intimate, jazz-oriented style of her 1950s work. In this context, All Through the Night was both a renewal of faith for her audience and a reaffirmation of her strengths as a vocalist.
The album's production, overseen by Richard Bock, who also managed the Pacific Jazz label, is notable for its simplicity and restraint. Bock, who had previously produced Feeling Good for London, took a different approach this time, paring down the instrumentation and focusing on creating an atmosphere that would allow London’s vocals to shine. This decision was a wise one, as it brought the focus back to London's voice, which had sometimes been overshadowed by the lush, sometimes overly complex arrangements of her earlier 1960s records.
In terms of musical backing, the Bud Shank Quintet, featuring Joe Pass on guitar, provides a subtle but sophisticated jazz accompaniment that complements London’s sultry, laid-back singing style. The instrumentation is kept minimal, with a strong emphasis on acoustic textures, allowing for an organic interplay between London and the musicians. The album exudes a late-night, intimate vibe, capturing the essence of what made London a standout performer in the first place. The sound is relaxed and cool, with a focus on mood rather than technical virtuosity, making the album feel like a personal serenade to the listener.
One of the album’s key strengths is London’s ability to breathe new life into well-trodden Cole Porter standards, which, by the mid-1960s, were already seen by some as passé. In fact, there was a sense that London herself had become somewhat out of step with the rapidly changing musical landscape of the time. The rise of rock and roll, along with the growing popularity of more modern jazz and soul sounds, had left some listeners feeling that London’s style was outdated.
Tracks like "I've Got You Under My Skin" showcase London’s relaxed, swinging delivery, where she allows the music to breathe and takes her time with the phrasing. The Bud Shank Quintet is given more room to shine than on some of London’s other albums, with longer instrumental breaks that enhance the overall mood without overpowering the vocals. "You Do Something to Me" is another standout, with London’s deft phrasing and inflection adding layers of nuance to the lyrics. The sax and guitar solos here weave seamlessly between London’s vocal lines, creating a cohesive and engaging performance.
"Get Out of Town" is particularly noteworthy for London’s soft and intimate delivery, where her understated approach brings a new emotional depth to the song. Bud Shank’s sax solo on this track is a highlight, adding a touch of melancholy that complements London’s vocal performance beautifully. The title track, "All Through the Night," starts with a very slow pace, and while London initially seems a bit tentative, she gradually loosens up, delivering a performance that, while not as dynamic as some of the others, still manages to captivate.
On "So In Love," London’s precise diction and ability to convey emotion through subtle vocal shifts are on full display. The track opens with a lively instrumental introduction before transitioning into a soft, tender vocal delivery from London. The interplay between her voice and the supporting flute and piano is particularly effective, creating a rich, textured sound that elevates the song.
Side 2 of the album has its ups and downs, beginning with "At Long Last Love," which, despite a swinging beat, was quoted to be "somewhat uninspiring" compared to the more dynamic performances on Side 1. The solos here are competent but lack the distinctiveness that makes other tracks on the album stand out. However, the energy picks up with "Easy to Love," which features an excellent sax solo and a more engaged vocal performance from London. The retread of "My Heart Belongs to Daddy," which London had previously recorded for Whatever Julie Wants, is given a looser, more relaxed interpretation, with an excellent flute solo adding to the song’s charm.
"Every Time We Say Goodbye" is perhaps the album’s most technically accomplished track, showcasing London’s ability to sing at very slow tempos without losing emotional intensity. The small jazz group accompanying her rises to the challenge, delivering a performance that is both tight and deeply expressive. Shank’s sax solo on this track is a particular highlight, capturing the bittersweet tone of the lyrics perfectly. The album closes with "In the Still of the Night," another retread, this time from Wonderful World, where a walking bass and swinging cymbals drive the rhythm, allowing London to deliver a strong, confident performance that brings the album to a satisfying conclusion.
In terms of production, the recording, while clear and natural, can feel somewhat two-dimensional, with the instruments occasionally sounding thin and lacking in depth. London’s voice is sometimes mixed too low, with a slight echoey quality that can obscure her phrasing, particularly on the more delicate passages. This issue is most noticeable on tracks like "All Through the Night," where the balance between vocals and instruments could have been more carefully managed. The UK pressing of the album offers slightly better clarity, but the overall thinness of the sound remains a minor drawback.
The album’s cover art, unfortunately, does not do justice to the music inside. The concept of Julie in a gown on a spiral staircase was promising, but the execution fell flat. The setting—an unattractive open steel staircase with bright theater spotlights—lacks the sophistication and intrigue that the music deserves. Additionally, the crowded and hard-to-read lettering on the cover, with its mix of three or four different fonts, further detracts from the overall presentation. This was a missed opportunity to visually re-establish London’s presence in the music world at a time when image was becoming increasingly important in the industry, especially as something that was noticeable for giving London a name when she released Julie Is Her Name.
Despite these shortcomings, All Through the Night remains a standout entry in Julie London’s discography. It is an album that reaffirms her ability to interpret classic material with a unique blend of sensuality and sophistication. The combination of Porter’s timeless compositions, London’s intimate vocal style, and the subtle jazz backing from the Bud Shank Quintet makes this album a compelling listen for both long-time fans and newcomers alike. While it may not have propelled London back to the top of the charts, it serves as a reminder of her enduring talent and the lasting appeal of the Great American Songbook when interpreted by a vocalist of her caliber.
