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Lovers of big band music will know Connie Haines as that pert little singer who swung with the orchestras of Harry James and Tommy Dorsey. But her story doesn't stop there for Connie's career continued right on through the ensuing decades via concert performances, recordings and television appearances. Connie waxed over 150 songs in total for nearly all the major record labels of the day and those late 40's and early 50's recordings are hard to come by. While her dance band recordings have been re-released in various incarnations, few of her much sought after solo recordings have seen the light of day on CD. So what a distinct pleasure it is to present this Sepia collection now and we hope it will serve to fill the large gap in the marketplace, while re-introducing fans young and old to this very special lady of song. Connie hails from Savannah, Georgia, which might explain the title of this release. At age fourteen she became the youngest performer ever to appear on stage at the world famous Roxy Theater in New York and was soon hired by band leader Harry James where she got to sing with a young Frank Sinatra. In 1940 the two singers migrated to Tommy Dorsey's band where they were teamed in a series of memorable duets. Connie made her first solo records just after World War II including a rarely heard side "Shoo-Fly Pie & Apple Pan Dowdy" which starts the programme here followed by standards such as "Stormy Weather", "You Made Me Love You" and "My Man". Also of interest is Connie's own updating of her 1941 hit with Tommy Dorsey, "Will You Still Be Mine'" with wartime lyrics now being replaced by "newer, hipper" (for 1947) references. We have also included several sprightly duets on this 27 track CD. With Bob Crosby comes "Destination Moon" and "What Have You Done For Me Lately'" On "Darktown Strutter's Ball" Connie and crooner Alan Dale sing with a Dixie beat, which became a minor hit for the duo. Equally at home on ballads as she is on up-tempo tunes, this CD affords listeners the opportunity to hear her in a variety of settings varying from tight jazz trio to full orchestra. "Maybe It's Because" illustrates Connie's special handling of a ballad, while "Ol' Man Mose" finds her tackling the Teresa Brewer belter with equal aplomb.