We Are in Love is the sixth studio album by American musician and actor Harry Connick Jr., released on July 3, 1990 by Columbia Records. A traditional jazz album with swing influences, it features Connick on piano & vocal, Russell Malone on guitar, Shannon Powell on drums, Benjamin Jonah Wolfe on double bass, and Branford Marsalis on saxophone.
Although the album received a mixed critical response, it was a commercial success, topping the Billboard jazz charts and selling over two million records. It also entered the top ten in the UK charts.
Release and promotion
The album was released alongside Connick's trio instrumental album, Lofty's Roach Soufflé, on 3 July 1990 via Columbia Records.[1][2] It was supported by an accompanying long-form music video released the same day as well as a nationwide tour.[3]
In Japan, the album received heavy airplay by J-WAVE and was promoted via commercials for Suntory whiskey.[4]
David Vonke of the Toledo Blade praised the album, calling Connick a "dapper beanpole crooner, a la Frank Sinatra" and the album "a throwback to the 1940s", while noting that the album was "convincing with its "moody, romantic lyrics".[7]The New York Times called it "an impressive vocal album of old-style popular songs, many of them composed by Connick".[8]Cathleen McGuigan, writing for Newsweek, called the album "terrific", noting that the songs written by Connick were "new songs that sound old".[9]Zan Stewart of the Los Angeles Times called the vocals a "dusky, part-Sinatra, part-Torme tenor", stating that Connick "may not have Ol’ Blues Eyes’ magic pipes, but he can handle a tune, and with pretty good feeling, too".[6] Melinda Newman of Billboard called it a "big band vocal album, more in line with music heard on the previous soundtrack".[3]
Gary Giddins, writing for Entertainment Weekly, called the album's vocals "an airy wisp, all charm and no substance, except maybe in its lowest range, where it unfolds in a throaty purr", although he praised the songwriting.[5] Ken Franckling of United Press International criticized the vocals, calling them at best "passable", but praised the work of the orchestra.[10] Jazz critic Scott Yanow, writing for AllMusic, reviewed it favorably, stating that Connick's vocals, "while limited, are personable". Additionally, he positively rated the covers of "A Nightingale Sang in Berkeley Square" and "It's Alright with Me", calling them high points.[1] Dave McElfrish of the Phoenix New Times stated that Connick did not deserve "to be hailed as big-band’s savior", criticizing the production and the album's focus, stating that "his often attractive writing is smothered beneath garish production" and noting that it "sounds more nostalgic than original".[11]
In Japan, the album was a commercial success, selling over 50,000 units by October 1991.[4] It eventually sold over 100,000 copies in the nation, being certified Gold by the Recording Industry Association of Japan in 1993.[13]
↑McGuigan, Cathleen (December 17, 1990). "They're all crazy about Harry". Newsweek. Vol.116, no.25. p.67. He doesn't just sing like a Sinatra wanna-be. Like Frank, he's branching into movies (he made a charming debut in "Memphis Belle"). He also writes new songs that sound old (his latest album of swing, "We Are In Love," is terrific).
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