Songs for Rainy Day Lovers

As this generally favorable Boston Globe review makes clear, despite having moved up to a major label for this slickly packaged LP, Fischer was once again in virtually the same position he'd been in almost a decade before (with the Hi-Lo's, and then Dizzy Gillespie), with his arrangements again uncredited. With some difficulty, the Globe's William Buchanan manages to piece together Fischer's identity, if not with absolute certainty his job description:

A batch of new Columbia albums has included a "sleeper" LP by a pianist named Clare Fischer. When I saw the album cover I said, "Clare who?" The picture on the cover did not help in identifying him. Leonard Feather's liner notes were most helpful and while I had never heard of Clare Fischer, I was, without knowing it, familiar with his work, because for many years he was the musical director for the Hi-Lo's, a superior vocal quartet.

Complementing Fischer's work here is an orchestra working with superb arrangements, probably Fischer's. While the album could be classified as jazz, it's conservative and should have wide appeal.[4]

While acknowledging its 'conservative' or mood music trappings, Down Beat's Pete Welding sees the album as not only meeting but easily transcending those generic expectations:

Fischer's orchestrations do not so much exhaust the possibilities of the genre as they delineate the full richness of its possibilities. [...] His string writing is a revelation. [...] There is none of the syrupy insipidity that has marked much writing for strings behind jazz soloists thus far. [... Fischer's strings] are perfectly integrated into his orchestrations on a footing fully equal to every other element involved.

Citing one of the recording's participants, Welding informs us that, following the first run-through of Fischer's "Sleep Sweet Child," "the string players stood up and to a man applauded Fischer." For his part, Welding also praises Fischer, the performer:

And, man, does Fischer play! His solos, which are fully interactive with the orchestrations, are models of grace, economy, and lyricism of the highest order, flashing in and out of the texture of the orchestrations with a quicksilver fluidity and a coursing force that is always perfectly allied with perfect lucidity.[5]

Side One

1. "On a Clear Day You Can See Forever" (A. J. Lerner – B. Lane) – 2:32
2. "A Time For Love" (P.F. Webster – J. Mandel) – 3:17
3. "I Remember Spring" (Clare Fischer) – 3:50
4. "America the Beautiful" – 2:31
5. "I'm Beginning to See the Light" (H. James – D. Ellington – J. Hodges – D. George) – 2:48

Side Two

1. "Look At That Face" (L. Bricusse – A. Newley) – 2:53
2. "When Autumn Comes" (Clare Fischer) – 3:46
3. "Sleep Sweet Child" (Clare Fischer) – 3:04
4. "Opener" (Clare Fischer) – 2:44
5. "Here's That Rainy Day" (J. Burke – J. Van Heusen) – 2:25
6. "The Shadow of Your Smile" (P. F. Webster – J. Mandel) – 2:30

All personnel information derived from Leonard Feather's liner notes.[6]

• Clare Fischer – nine-foot Steinway piano
• Vince Terri – guitar
• Bob West – bass
• Larry Bunker (side 1) or Nick Martinis (side 2) – drums
• Gil Falco – trombone (side 1)
• French horn, uncredited (side 2)
• John Lowe, plus two additional woodwinds, uncredited
• Gerald Vinci, plus four additional violins, uncredited
• Six violas, uncredited
• Four celli, uncredited
• John Lowe – piccolo soloist on "Sleep Sweet Child"
• Gerald Vinci – violin soloist on "When Autumn Comes"