Sarah Vaughan "Crazy and Mixed Up" (1982)

Crazy and Mixed Up

udgivet: 1982

format: vinyl / cd (1985 genoptryk)

[vurdering: 4 / 5] [3,85]

producer: Sarah Vaughan

selskab: Pablo Records - nationalitet: USA

Studiealbum af Sarah Vaughan udgivet på Pablo anses som et af hendes bedre albums fra det sidste årti i hendes lange karriere. Albummet følger umiddelbart lige efter Send in the Clowns (1981) optaget sammen med Count Basie Orchestra, ligeledes på Pablo.

Crazy and Mixed Up er en samling standarder og vokaljazz sange, som tæller to krediteret Rodgers & Hart: "I Didn't Know What Time It Was" og "You Are Too Beautiful", Kosma og Prévet kompositionen "Autumn Leaves" (org. "Les Feuilles mortes") med engelsk tekst af Johnny Mercer, Haymes og Brandt klassikeren "That's All", samt fire andre fine og godt valgte numre skrevet af andre. Alle numre demonstrerer, at Vaughan i sine slut-50'ere stadig var sprællevende og i stand til at fortolke andres sange med stor passion og indfølelse.

Stor anbefaling.

[ allmusic.com 4,5 / 5, Penguin Guide to Jazz Recordings 4 / 4 stjerner ]

Bo Sundström "Det kanske händer" (2021)

Det kanske händer

release date: Feb. 19, 2021

format: vinyl / cd

[album rate: 3,5 / 5] [3,72]

producer: Jonas Kullhammar

label: Columbia / Sony Music - nationality: Sweden

3rd solo album by Bo Sundström and the follow-up to his acclaimed 2018 vocal jazz album Mitt dumma jag - svensk jazz is much of a second coming to an established formula. The title track ['It Might Happen'] is a free translation of the classic "It Could Happen to You" written by Jimmy Van Heusen and Johnny Burke. It's all predominantly old vocal jazz classics in new arrangements with translated lyrics to a common tone to make one coherent whole of originals covering a wider range of genres and styles, and once again, it's a sheer pleasure to listen to Sundström and his hand-picked backing band. One original track by Sundström has also found its way to another mighty fine acchievement, and in this outing, I think Sundström acchieves more at a time when Bo Kaspers Orkester appears to have lost some steam. We only have to see if he will take some of this new-found success back to the band playground and perhaps introduce us to a full circle with BKO returning to a bolder jazz influence and where they began. I for one, would like to see that instead of a band who appears too eager to follow contemporary patterns. But that aside, there's an ocean of classic folk, standards and vocal jazz songs to rewrite, re-arrange and to release as future solo albums, and I'm pretty convinced there will be a growing audience for this 'cause Sundström just seems to have found his way.

Recommended.

Bo Sundström "Mitt dumma jag - svensk jazz" (2018)

Mitt dumma jag - svensk jazz

release date: Jan. 26, 2018

format: vinyl / cd

[album rate: 4 / 5] [3,78]

producer: Jonas Kullhammar

label: Columbia / Sony Music / Mr RADAR - nationality: Sweden

Second solo album by lead vocalist Bo (Sigvard) Sundström of Swedish band Bo Kaspers Orkester. His solo debut Skåne was released as early as 2005 and that showed an artist trying out pop ballads with various stylistic influences, but this is something entirely different as indicated in the subtitle "svensk jazz" ['Swedish jazz']. All ten songs are old staples from vocal jazz with new lyrics - mostly by Sundström. The end result is a new take on the world of classic jazz and with lyrics in Swedish combined with Sundström's gift for jazz pop as heard on several albums with his usual band and this turns out as a most welcome album. The subtitle delicately hints as the legendary Swedish jazz album of them all: Jazz på svenska by Jan Johansson, and it's in this light you should listen to Mitt dumma jag. All compositions have been handed Swedish titles - only on the back cover the original titles are added, and it's quality titles like "(I Love You) For Sentimental Reasons", "The Way You Look Tonight", "Once Upon a Summertime",... "My Foolish Heart", the latter translated to "Mitt dumma jag" (track #5). There's also "Waltz for Debby" translated to "Monicas vals" of course in memory of Monica Zetterlund, who made that song an international hit with Bill Evans, and then there's the end-track "Danny's Dream", originally a 1954 Swedish jazz instrumental by Lars Gullin - here with the addition of lyrics written by contemporary Swedish pop diva Lisa Nilsson.

The album is no less than a truly positive surprise. It's not the jazz pop, as some would expect, neither is it pop / rock-styled but instead genuine contemporary vocal jazz in a Swedish tradition that goes hand in hand with jazz greats of former ages.

Recommended.

Mariza "Fado tradicional" (2010)

Fado tradicional

release date: Nov. 29, 2010

format: cd

[album rate: 4 / 5] [3,82]

producer: Diogo Clemente

label: EMI Music Portugal / Capitol / World Connection - nationality: Portugal

Track highlights: 1. "Fado Vianinha (Fado Vianinha)" - 3. "As meninas dos meus olhos (Fado alfacinha)" - 4. "Mais uma lua (Fado Varela)" - 6. "Ai, esta pena de mim (Fado Zé António)" - 8. "Rosa da Madragoa (Fado Seixal)"

5th studio album by Mariza following the album Terra (Jun. 2008). The album is Mariza's return to the roots of the fado after having released albums of more experimental content, where she have challenged the style, or perhaps better: she has widened her repertoire by incorporating stylistic elements from contemporary folk, pop, and latin jazz.

As the title suggests, Fado tradicional is her so far most traditionally shaped album of pure fado compositions. It consists of 12 songs but only reach a total running time of 35 minutes. All songs here are not surprisingly closely bonded songs with small variations, which is also stressed in the arrangements with only acoustic guitars supporting Mariza's vocal. That said, Mariza here reassures her status as one of the best and most wonderful exponents of the Portuguese fado.

Highly recommended.

[ 👍The Telegraph 4 / 5, The Guardian 3 / 5 stars ]

Mariza "Fado em mim" (2002)

Fado em mim [debut]

release date: Apr. 2002

format: cd (2016 reissue)

[album rate: 4 / 5] [3,88]

producer: Jorge Fernando, Tiago Machado

label: Warner Music Portugal / Parlophone - nationality: Portugal

Track highlights: 1. "Loucura" - 2. "Poetas" - 3. "Chuva" - 4. "Maria Lisboa" - 5. "Ó gente da minha terra" - 6. "Que Deus me perdoe" - 8. "Terra d'água" - 9. "Oiça lá ó Senhor Vinho" - 11. "Oxalá" - 12. "Barco negro"

Studio album debut by Portuguese Mariza (aka Marisa dos Reis Nunes) originally released on Dutch label World Connection residing in Haarlem.

Mariza skyrocketed into Portuguese fame via this very album, although, no national label paid any interest in the music as she was an unproven artist; however, Mariza has soon become one of the most valued performers of the traditional fado.

Fado em mim is not only the essence of a national genre, it's also beautifully arranged and displaying elegance and sophistication on the highest level.

Highly recommended.

[ allmusic.com 4 / 5 stars ]

Ella Fitzgerald "Sings the Essential Cole Porter Song Book" (1956)

Sings the Essential Cole Porter Song Book

release date: May 1956

format: vinyl (2022 reissue - Colored Series - yellow)

[album rate: 4 / 5]

producer: Norman Granz

label: 20th Century Masterworks - nationality: USA

Album by Ella Fitzgerald, which happens to be a shortened version of the double album Ella Fitzgerald Sings the Cole Porter Song Book (May 1956) released on Verve Records containing 32 tracks. This 'truncated' version contains 14 tracks, and despite all fourteen songs truly are essential, I see no good reason to leave out the remaining tracks. The album has been reissued in various formats, including longer editions with alternate recordings. Good news is, Verve Records have reissued the 2 lp vinyl album in its original form, which of course is the right one to get.

1956 double album

Chet Baker "My Funny Valentine [Essential Jazz Masters]" (2006)

My Funny Valentine [Essential Jazz Masters] (compilation)

release date: 2006

format: digital

[album rate: 3 / 5]

Compilation album by Chet Baker, which seems like a reissue but is filed as a 2006 album release, however, all tracks must have been recorded in the 1950s and/or 1960s, which is quite evident from the mono recordings. It features live sessions, hard bop jazz, as well as his romantic cool jazz ballads including one vocal jazz track, which sort of comprises all his styles but also makes it a very uneven compilation of songs.

Chet Baker "Embraceable You: Chet Baker Sings and Plays" (1995)

Embraceable You: Chet Baker Sings and Plays (compilation)

Release date: Jun. 19, 1995
format: digital
[album rate: 3,5 / 5]

This is a fine album if one hasn't got Chet in the collection. The songs are of the romantic and more melancholic type that was his biggest strength. His soft and clear voice and trumpet sounds much alike - in agony of love lost or a love never realised. The album contains 13 fine jazz ballads written by Gershwin, Johnny Mercer, Rodgers & Hart, among others.

Gregory Porter "All Rise" (2020)

All Rise

release date: Aug. 28, 2020
format: 2 lp vinyl (gatefold, pink vinyl) / digital (16 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,54]
producer: Kamau Kenyatta, Troy Miller, Gregory Porter
label: Blue Note / Decca Records - nationality: USA

6th studio album by Gregory Porter is originally released on Blue Note and Verve in the US and on Blue Note / Decca in the EU. The album comes in many formats and in at least two versions as far as track numbers concern. The various cd versions contain 13 tracks as does the European - traditional and pink vinyl - 2 lp editions, but it also comes in a Dutch 3 lp version and a cassette edition both containing two bonus tracks, and it also comes as a 16 tracks digital Deluxe album (Qobuz). This rises a bit of a negative aspect about his releases, I think, 'cause with a running time at just over one hour, the thirteen tracks could be fitted on a normal 1-disc issue, and fifteen tracks would then be "the excuse" to release the Deluxe edition as a double album - though only on vinyl - but it has become a bit of a habit that Porter's album's are released as standard double albums despite not running that long. Three tracks on each side of the vinyl issue results in short playing times at approx. 15 mins. It's hardly compressed adding one or two tracks to each side.
Another thing is the cover art.... and let's just get straight to the point: Porter's front covers have never been about art, or attempts at making great art work, but let's be frank, it has never been this poor, and a triangle with the title alone would even be an improvement.
That bit aside, and speaking entirely of the musical qualities, All Rise is yet another strong evidence of Porter's composer and vocal qualities that simply makes him the king of contemporary vocal jazz. Gregory Porter has relaunched jazz as an everlasting and very modern genre by adding stylistic elements from contemporary popular music - be it funk, pop, or soul. It's remarkable how this man is able to write and compose songs of near classic status over and over again, and that's perhaps where this new collection may feel like an exercise in treading water.
Recommended.

Elvis Costello & Allen Toussaint "The River in Reverse" (2006)

The River in Reverse

release date: Jun. 6, 2006

format: digital (13 x Files, FLAC)

[album rate: 3,5 / 5] [3,58]

producer: Joe Henry (exec. produced by Elvis Costello & Allen Toussaint)

label: Verve Forecast: - nationality: England, UK / USA

Track highlights: 1. "On Your Way Down" - 2. "Nearer to You" - 4. "The Sharpest Thorn" - 5. "Who's Gonna Help Brother Get Further?" - 6. "The River in Reverse" - 7. "Freedom for the Stallion" - 11. "All These Things"

Collaboration album by Elvis Costello and New Orleans-based songwriter, composer, record producer, pianist and composer, Allen Toussaint, who is a familiar name of traditional American rhythm & blues.

Toussaint had previously contributed as pianist on Costello's "Deep Dark Truthful Mirror" for his Spike album, and the two had earlier discussed the possibility of a collaboration work, but it wasn't until the hurricane, Katrina flooded New Orleans in 2005 that Costello was concerned about Toussaint, as he was one of many affected artists of the disaster. Both was involved in benefit concerts and Costello initially thought of and performed with Toussaint's song "Freedom for the Stallion" after which the two was paired for live concerts, which ultimately led to Costello suggesting that they made an album together. And in that way The River in Reverse is a requiem on the New Orleans tragedy. Except for the title song, which is written and composed by Costello, the remaining 12 compositions are reworkings of songs composed by Toussaint - a few with new lyrics by Costello.

The result is actually really good. Toussaint has composed lively and traditional music, and Costello delivers some a vocal performance on the majority of the songs with warmt and emotions that at times make me think of Van Morrison. It's a quite different arena than Costello's recent collaborations: Painted From Memory (1998) with Burt Bacharach, and Deep Dead Blue (1995) with Bill Frisell, but it's by no means a left-handed work or a lesser experience - it's just... different, mostly because this album is a genuinely rhythm & blues album, which again shows us how easily Costello adapts to different styles. Not that he masters everything, but I don't think he believes there's a style or genre he cannot handle.

This is a warm and delightful album.

[ allmusic.com 4,5 / 5, 👍Rolling Stone 3,5 / 5, Pitchfork 6,1 / 10 stars ]

Michael Olatuja "Lagos Pepper Soup" (2020)

Lagos Pepper Soup

release date: Jul. 31, 2020
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Michael Olatuja
label: Whirlwind Recordings - nationality: Nigeria

Track highlights: 2. "Lagos Pepper Soup" (feat. Angélique Kidjo) - 4. "Soki" (feat. Dianne Reeves & Lionel Loueke) - 5. "Ma Foya" (feat. Brandee Younger) - 6. "Brighter Day" (feat. Laura Mvula) - 7. "Shadows Fade" (feat. Onaje Jefferson) - 9. "Home True" (feat. Becca Stevens & Robert Mitchell)

2nd album by London-born, Lagos, Nigeria-raised, New York-based electric and acoustic bassist / composer / bandleader Michael Olatuja.
Musically, this is one big blend of genres and styles, although, the overall sensation is one of jazz. It contains instrumental parts that are primarily jazz-founded, it contains vocal jazz and soul pop compositions and it's full of afrobeats (popular African rhythms), but also reveals a strong bond to traditional jazz composers of a you could call a New York tradition.
Aside from well-known studio musicians the album feature a bunch of starring musicians, which include Angélique Kidjo, Dianne Reeves, Laura Mvula, Onaje Jefferson, Becca Stevens, Lionel Loueke, Robert Mitchell, Grégoire Maret, Brandee Younger, Joe Lovano, and Regina Carter.
Production-wise it's a warm and solid collection of beautiful compositions that also showcase the instrumental virtuosity of Olatuja.
The cover illustration seem a bit out of sync with the content as you might expect more traditional African folk music. I guess, Olatuja only hints at his roots, because it might as well have been entirely displaying Autumn leaves in his hometown of New York.
Anyway, I really enjoy this, it's gooood.

Best of 1988:Chet Baker "Memories: Chet Baker in Tokyo" (1988) (live)

'My' lp version

Memories: Chet Baker in Tokyo (live)
Release date: 1988
format: vinyl (K28P 6491) / digital
[album rate: 5 / 5] [4,80]
producer: Shigeyuki Kawashima
label: Paddle Wheel - nationality: USA

*Tracklist: 1. "Stella by Starlight" - 2. "For Minors Only" - 3. "Almost Blue" [Elvis Costello cover] - 4. "Portrait in Black and White" - 5. "My Funny Valentine"
*[original vinyl version]

alternate cover

This album is sooo cool and... absolutely wonderful.
I always found that tiny bit more pleasure from Chet than Miles Davis - no bad feelings about Miles but I think it has to do with some inner feel and slow sincerity that is ever present in Chet's sound. And also, he's not a bad singer. He's not a great vocalist in terms of ability to articulate and produce clean clear notes but there's something extremely authentic and fragile in his voice that you also find in his instrumentation. The only real down side to this album is the short playing time, of course having it on cd as well, the repeat function really comes handy.

1988 Favourite releases: 1. Chet Baker Memories: Chet Baker in Tokyo - 2. R.E.M. Green - 3. Talk Talk Spirit of Eden

[ collectors' item ]

Elvis Costello "North" (2003)

North
release date: Sep. 23, 2003
format: cd
[album rate: 3,5 / 5] [3,42]
producer: Elvis Costello and Kevin Killen
label: Deutsche Grammophon - nationality: England, UK

18th studio album by Elvis Costello following 1½ year after When I Was Cruel is more of a solo album than most of any all his studio releases. Despite having what seems as a full orchestra of strings and brass musicians supporting him and also appearances by all of The Imposters: Steve Nieve, Pete Thomas, and Davey Faragher, the album comes out as a quiet and very ballad-like collection of vocal jazz compositions. Also, the majority of the song titles reveal an album with full attention on love ballads. Apparently, the album both reflects Costello's broken relationship with Cait O'Riordan as well as his newfound love with Canadian pianist and jazz vocalist Diana Krall, whom he married Dec. 2003.

The album bonds nicely with his two collaboration projects, the live album Deep Dead Blue (1995) with Bill Frisell as well as Painted From Memory (1998) with Burt Bacharach - and mostly with the latter by also having a full orchestra as backing band. Having said that, it's not an album that reflects his splendid ability to arrange and compose music - it's really like stretching his hands out to Krall and stating: "You know, I did all that but I can also make really soft vocal jazz and jazz pop music - really much like you do!", which some critics noted by referring to the style as closer to what Krall normally released than was the case with Mr. Costello.

Best thing here is the songwriting.

[ allmusic.com 3,5 / 5 stars ]

Chet Baker Quartet "No Problem" (1979)

No Problem
Release date: Oct. 2, 1979
format: digital
[album rate: 3,5 / 5]

Released as 'The Chet Baker Quartet'. Another album that was recorded and released in Denmark by SteepleChase Records, and it features Chet Baker (trumpet), Duke Jordan (piano), who composed all tracks, Niels-Henning Ørsted Pedersen (bass), Norman Fearrington (drums). The album was produced by Niels Winther. The style is typical for Chet's later career with much focus on cool jazz and vocal jazz.

Gregory Porter "One Night Only - Live at the Royal Albert Hall" (2018) (live)

One Night Only - Live at the Royal Albert Hall (live)
release date: Dec. 21, 2018
format: digital (19 x File, FLAC)
[album rate: 4 / 5]
producer: non-produced / Jeremy Azis (video-producer)
label: Blue Note - nationality: USA

Track highlights: 1. "Mona Lisa" (other concert) - 6. "Miss Otis Regrets" - 8. "In Heaven" - 9. "When Love Was King" (other concert) - 12. "No Love Dying" (live at Polarprisen 2017) - 13. "I Wonder Who My Daddy Is" - 16. "The Christmas Song" - 17. "Smile" (Irish concert) - 18. "Hey Laura"

Live album by Gregory Porter recorded Apr. 2, 2018 at Royal Albert Hall, London. The album contains 19 tracks and is also issued in a cd + dvd combo-edition with the same material on both cd and dvd, also featuring an additional interview with Porter. The majority of the songs here are taken from the most recent studio album Nat King Cole & Me from 2017 as all twelve songs from that album are represented with the addition of seven songs from various studio releases. The band musicians supporting Porter are Chip Crawford on piano, Jahmal Nichols on bass, Emanuel Harrold on drums, and with Tivon Pennicott on saxophone - his usual backing band. Aside from these great jazz instrumentalists they're all supported by The London Studio Orchestra conducted by Vince Mendoza.
It's not an easy task to select highlights from this album where all compositions are fine examples of Porter's capacity as a vocal jazz and jazz standards crooner. He is in no need of modernised auto-tune equipment, nor a producers golden post-production touch - it's recorded as is, and it's the second best when you missed being there.
Basically, this is the best album release in 2018 - I just don't want to include live releases in my top-3 end-list, which is why it isn't there. But asked to choose between this year's studio releases by Robyn, Nils Frahm, Gorillaz and Porter's live album, I'd go with Porter anytime, as it's absolutely wonderful.
Highly recommended.
[ 👍allmusic.com 4 / 5 stars ]

Elvis Costello with Burt Bacharach "Painted From Memory" (1998)

Painted From Memory
release date: Sep. 28, 1998
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Burt Bacharach & Elvis Costello
label: Mercury Records - nationality: UK / USA

Track highlights: 1. "In the Darkest Place" - 2. "Toledo" (live) - 3. "I Still Have That Other Girl" (live on Letterman) - 4. "This House Is Empty Now" - 9. "Painted From Memory" - 10. "The Sweetest Punch" - 12. "God Give Me Strength"

Collaboration album by Elvis Costello and Burt Bacharach subtitled "The New Songs of Bacharach & Costello", which is the result of a collaborative partnership that had been initiated with the song "God Give Me Strength" for the comedy film "Grace of My Heart" (1996). Apparently, all songs were made with Costello writing sketches of songs, sending demos to Bacharach - as well as to Bill Frisell, who would later release his interpretations of the Costello (and Bacharach?) demos as The Sweetest Punch (1999). All songs are credited Costello / Bacharach and the duo are credited for voice / piano respectively and they are supported by Steve Nieve on keyboards, Jim Keltner on drums, Greg Cohen on bass, and with Dean Parks on guitar. Bacharach is also credited for his role as arranger and conductor as both a horns and strings sections participate.

Musically, it represents a variety of styles ranging from baroque pop, vocal jazz, singer / songwriter and some folk and country elements not to forget chamber pop, and then it's all arranged with heavy use of horns and strings much in a Bacharach tradition.

The album was met by positive reviews and acclaim from near and far, and it was nominated to a number of prizes.

I heard about the project quite early and just purchased the album without actually listening to it, and I may not have spent my money on it immediately, had I listened through the whole album first. From my perspective, critics seems overly happy about the songwiting qualities - a dimension I've always found difficult when speaking of music. It really doesn't matter how good the lyrics are, if the music is crap. Now, this is far from that, but I just don't find that the Costello / Bacharach excessive production cocktail an interesting lyrical foundation. That said, it's far from bad, it just sounds too much as a replication of former Bacharach productions where, in fact, Costello heighten the quality thanks to his strong vocal performances. I like it because of Costello's vocal jazz performance, but to me the later Bill Frisell interpretations of the songs is simply a better album.

[ allmusic.com 4,5 / 5, Spin, Rolling Stone, Q Magazine, NME 4 / 5 stars ]

Chet Baker "The Touch of Your Lips" (1979)

The Touch of Your Lips
release date: Jun. 1979
format: digital
[album rate: 3,5 / 5]

An album recorded and released in Denmark by SteepleChase Records. The album is a beautiful collection of Chet's typical tracklist when performing live, at this point of his career. It's his trademark of cool jazz and vocal jazz, and it features Niels-Henning Ørsted Pedersen on bass.

Gregory Porter "Nat 'King' Cole & Me" (2017)

Nat 'King' Cole & Me
release date: Oct. 27, 2017
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Vince Mendoza
label: Blue Note Records - nationality: USA

5th studio album by Gregory Porter is as the title suggests a tribute to and an album exclusively featuring songs recorded by Nat "King" Cole arranged and produced by Vince Mendoza.

The songs are not that far from Porter's usual style and it really gives you the opportunity to hear from where he got much of his influence. The songs are nicely arranged with the abundance of strings and brass that were associated with Nat Cole, and needless say, it also fits Porter's smooth vocal like hand in glove.

The album comes in various formats - in a standard single cd edition containing twelve tracks, a Deluxe edition containing fifteen tracks like the double vinyl album.

The album hasn't been met by the 'usual' overwhelming positive reviews, and I do understand some of the critics indicating that it's like Porter's voice doesn't compare to the strengths of Cole. In these vocal jazz standards Porter contributes with his honey-dripping warm vocal but doesn't add new dimensions to already classic songs and in that regard has made a bit of the redundant tribute.

Elvis Costello & Bill Frisell "Deep Dead Blue" (1995) (live)

Deep Dead Blue (Live 25 June 95) (live)
release date: Aug. 14, 1995
format: cd
[album rate: 3,5 / 5] [3,66]
producer: ?
label: Warner Bros. / Nonesuch - nationality: England, UK

Collaboration live album by Elvis Costello and Bill Frisell recorded live at the Meltdown Festival, Queen Elizabeth Hall RFH2, London, Jun. 25, 1995.

The album may be regarded as a Mini-album with its relatively short running time at just less than 27 minutes. It consists of seven tracks of which two are covers and only the title track is credited the duo (track #7).

Stylistically, it's primarily ballads of vocal jazz and jazz fusion, and Costello is alone credited his vocal and Frisell is alone credited his guitar work with no other musicians contributing. The American guitarist is very likely to be capable of playing anything but his primary domain is jazz fusion, and on this it's his touch with bolder melodic instrumental jazz.

Despite being really stripped down arrangements this concept works surprisingly well. Costello 'plays around' with his most intimate vocal with Frisell adding that swirling and appropriate foundation that makes it all sparkle.

[ allmusic.com 3 / 5 stars ]

Gregory Porter "Take Me to the Alley" (2016)

Take Me to the Alley
release date: May 6, 2016
format: 2 lp vinyl (gatefold) / cd
[album rate: 4 / 5] [3,92]
producer: Gregory Porter and Kamau Kenyatta
label: Blue Note Records - nationality: USA

Track highlights: A) 1. "Holding On" - 2. "Don’t Lose Your Steam" - 3. "Take Me to the Alley" - - B) 2. "Consequence of Love" - - C) 2. "In Heaven" - 3. "Insanity" - - D) 1. "Don't Be a Fool" - 2. "Fan the Flames"

4th studio album by Gregory Porter is released as a double gatefold vinyl lp containing 12 tracks with three compositions on each side and a total running time at just above 51 mins. The cd release comes in various issues where most contain 13 or 14 tracks. Porter has already established himself as a shining star and a renewer of jazz, and he obviously likes to work with familiar collaborators. Producer Kenyatta has taken part as either producer, engineer or studio musician on all his albums and many others are old friends found on his previous albums, including Chip Crawford, Aaron James, Emanuel Harrold, Keyon Harrold, Yosuke Sato, Tivon Pennicott and Ondrej Pivec.
Porter has successfully relaunched the jazz genre into popular music by combining it with soul and rhythm & blues and this is also what he does on this with the continued style found on his two previous fine albums, Liquid Spirit from 2013 and Be Good from 2012.
The album has, like Porter's other albums, been met by international acclaim, and it's really no big surprise. You may argue that the album doesn't provide much new other than repeat the formula he delivered on his 2013 album, where he brought his jazz and pop soul combo into popular music territory, but it's not a mere reproduction of the blueprint to success rather than a display of musical ingenuity. He sings like a prodigy and he has written and composed the majority of the tracks - why shouldn't he be allowed to dwell on what he does better than anyone else. Porter is a gift - and not just to jazz, but to the world of popular music.
A highly recommended album.
[ allmusic.com 3,5 / 5, 👍The Guardian, The Telegraph 4 / 5, AllAboutJazz, PopMatters 4,5 / 5 stars ]