From the liner notes: Byrd, in this album, has taken a rather wider view in exploring the guitar's possibilities in jazz. His use of finger style on the unamplified Spanish guitar reveals all the delicacy of shade and colour to be wrought from the instrument and the way Byrd infuses a rich jazz flavour into his playing makes really beautiful listening. In the years since this LP was recorded, Byrd has passed through several important phases – he was one of the main contributors to the bossa nova explosion of the early '60ies when he partnered Stan Getz on the million-selling Desafinado – and his musical presence has continued to make itself felt in many diverse areas of music, yet "Blues for Night People" remains the high spot of this recording career. In short, one of the great jazz guitar records of our time.
"…This album is a must-have for Julie London fans and thankfully she worked with Bagley again on the more upbeat but no-less-languid Nice Girls Don't Stay for Breakfast, which keeps the guitar heard here, but after the title track replaces the strings with a jazz organ and horn."
This is another swell two-for-one album pairing from the British wing of EMI. This one features two of June Christy's classic Capitol recordings, each of which showcases her in small-group jazz settings. The superior Ballads for Night People features Christy backed by a superb cool jazz group led by her husband, Bob Cooper. As befits its title, this session is generally dark in tone but it also really swings. The Intimate Miss Christy is more warmly romantic and finds the vocalist backed only by guitar, bass, and the occasional flute. This one is geared more toward fireside smooching then Christy's usual nocturnal regret or daylight exuberance. Christy was always a great interpretive vocalist, but she was at her most relaxed and natural in the type of small-group jazz settings that are featured on these two albums.