As the 1950s came to a close,
Nat King Cole (vocals/piano) continued creating stylish renditions of pop and jazz flavored standards. On
Welcome to the Club (1959) the artist teams up with
Dave Cavanaugh and the
Count Basie combo -- minus the maestro himself due to contractual restraints -- for one of
Cole's most powerful collections supported by a big band. In fact, it is
Cole's unmistakable ultra-cool intonations that flawlessly reign in the fiery -- and at times overbearing -- ensemble arrangements. Right from the start, the vocalist proves that he can swing on the refined and syncopated opening title track "Welcome to the Club."
Cole effortlessly bops with a beat so catchy that toe-tappin' and finger-snappin' feel practically obligatory. The bluesy "Anytime, Anyday, Anywhere" adopts a slightly melancholy torch feel that
Cole ably milks with his unblemished and supple delivery. The same holds true for the definitive take of
Duke Ellington's "Mood Indigo." The number is swaddled with a suitably subdued score that
Cole dutifully conveys to tremendous effect, making it one of the unmitigated zeniths of his association with
Cavanaugh. While on the subject, "Wee Baby Blues" follows a bit later revealing another spot-on example of his expressive technique. The tempo picks back up on the rousing, well-heeled "Late, Late Show" that again re-establishes
Nat King Cole as one of the premiere voices of mid-20th century jazz. His ability to reel off lyrics as if they were conversational is nowhere as evident as it is here. The pace picks up steam with the full-speed-ahead frenzy of "Avalon" and again,
Cole exudes nothing but soul throughout this compact, yet unhurried rendition.