Jamie Cullum
Catching Tales
With a textured, mature voice that belies his 25 years, Jamie Cullum readily blends jazz, blues and lounge on Catching Tales (Universal) in the manner that won him so many admirers on Pointless Nostalgic and Twentysomething.
But, like the bewildering array of fonts used to display the lyrics in the CD booklet, musical variety and innovation is what will keep Cullum’s sound fresh. He delivers a slightly more modern sound than on his previous two albums, and his subject matter is also a bit more hip — possibly to inject some life into his somewhat staid fan club.
Opener Get Your Way (“Dinner at 8, that sounds fine / ‘Spose that means you’ll turn up ’round 9”) starts the album with its playful jazzy tale of romantic conquest, much like Cullum’s earlier work. But on track two, the reasonably straightforward ballad London Skies; the piano-led Photograph; and Catch the Sun he approaches the sound of some of his popular contemporaries, such as Daniel Powter or James Blunt (though he has a long way to go to catch up with their media appeal).
Photograph, by the way, tells of “the first time that I tried that stuff / I think I look a little green / I remember throwing up behind a bush / and I found it hard to use my feet” — hardly the adventures of the boy next door who crooned on Twentysomething.
A 1930s standard pops up, smoothly adapted for smoky bars and late nights, in I Only Have Eyes for You, and Cullum’s lighthearted delivery shines on Nothing I Do; other tracks fit well on the album but don’t stand out, such as Mind Trick (a touch of early Billy Joel), Oh God and 21st Century Kid.
All said, Catching Tales is more appealing than just another Twentysomething would have been, albeit predictably gentle, warm and reassuring. The subtly new Cullum might just be catching.
ALSO ON THE SHELF
DNA Strings
El Niño (Merchant)
Nominated for a South African Music Award for best instrumental band in 2005, DNA Strings offer a contemporary fusion of classical, world and electronic music. It is an effective album for it being able to pass as background music while holding one’s attention. However, the upbeat country tones that the violin lends it are just not my personal taste. The album comes with a music video and biographical information on the band. — Nadine Botha
Leela James
A Change Is Gonna Come (Warner)
Were we living in a fair world, Leela James would be a superstar and “it” girl of the moment. Alas, we don’t, and many a great talent goes by unnoticed. Her debut album, A Change Is Gonna Come, is a sexy, sophisticated and soulful ride. Working with a range of producers, from hip-hop’s Kanye West to the legendary Raphael Saadique of Toni Tony Tone fame, James’s delivery is perfect and the beats chosen for her don’t overwhelm her amazing voice. She has been compared to the queen of soul, Aretha Franklin, a comparison that not unfounded. The title track — for some reason also one of the hidden tracks — is one of the gems on the album. She also adds a bit of funk to No Doubt’s hit Don’t Speak, although I still prefer Gwen Stefani’s version. Hopefully a change is gonna come with this release to make the industry and greater public alike sit up and take notice. Joss Stone wishes she sounded like this. — Sthembile Gasa
Lemar
A Time to Grow (Sony BMG)
Lemar tells us that he is “no gangster” but a soul man on his follow-up album to Dedicated — and, yes, he is one soulful brother. A graduate of the British version of Fame Academy, he is a poster child of the you-don’t-have-to-win-to be-number-one theory. This usually has many a hack bringing up the anecdote of Elvis Presley coming second in some or other talent competition and nobody recalling who won, and such is the case with Lemar. From the syrupy sweet Call Me Daddy and the much-loved If There’s Any Justice Lemar proves his musical talent and one can only hope his 15 minutes of fame last longer than usual. — Sthembile Gasa
Jennifer Lopez
Rebirth (Epic)
Great production from R&B legends such as Rodney Jenkins (who has produced for the likes of Brandy and Destiny’s Child) does a lot to save Jennifer Lopez’s latest offering, Rebirth, from falling flat on its face. J-Lo’s voice is flat as ever — what type of world do we live in where people who can’t sing are still allowed to record albums? She has a commendable work ethic and puts a lot of effort into all that she does — be it her latest movie, perfume or clothing line — but the endless attention she receives from the media has possibly perpetuated her belief that she is a good singer. The beats are the only thing that this album has going for itself, which is evident on the first track and single Get Right — it’s all horns and drums, and when Lopez starts singing, the whole effect is ruined. Definitely not an album on which I would recommend spending any money. — Sthembile Gasa
Hugh Masekela
Almost Like Being in Jazz (Bowline)
Post-drugs, Hugh Masekela moves away from his recognised lively South African sound to a more conventional set of jazz standards. With a gentle, laid-back approach he offers jazz for Sunday afternoons or late nights. Somewhat eerie and lonely, Masekela’s arrangements use a minimal amount of notes, attesting to his great ability to communicate the mood. Playing a flugelhorn, Masekela is joined by Larry Willis on piano, John Heard on bass and Lorca Heart on drums. — Nadine Botha
Various
Real Earth (Amabala Records and Urban Pulse)
A quick look at the liner notes of this release puts this eclectic album into perspective. It is designed to redefine the genre of “world music”, or at least how it is understood, especially in an African context. A mix of hip-hop, jazz and dance beats come together as KB, Blk Sonshine and Egyptian Nursery represent South Africa, and a range of underground names from across the world fill the rest. It is the underground gems that Amabala wishes to showcase, and on this album it achieves just that, as the choice of songs will keep the ears pricked and the imagination sparked. — Nadia Neophytou
Jill Scott
Beautifully Human: Word and Sounds Volume 2 (Hidden Beach)
Jill Scott is in love and wants the whole world to know, and effectively does so on her follow-up to Who is Jill Scott? Words and Sounds Volume 1. Filled with lush, soulful ballads, Beautifully Human has Scott revelling in her role as newly married soul star. From the self-affirming single Golden to the tranquil Talk to Me and the funky Betta at Home, she delivers in every sense of the word. She sings faultlessly over classy beats and exudes plenty of confidence. On Not Like Crazy, one can’t help but want to fall in love as well. Amazing production coupled with an even better vocal ability cements Scott as one of the pioneers of neo-soul, and she doesn’t fall prey to the sophomore curse. A true masterpiece. — Sthembile Gasa
Various
Now That’s What I Call Music: Years: The Best of NOW 1995-2005
Now, this is what I call second-rate. It doesn’t get much less imaginative than this double-CD line-up of Queen, Micheal (sic) Learns to Rock, Shania Twain, Steps, Shaggy, Avril Lavigne et al. Here and there a fun tune pops up; the rest is dire. — Riaan Wolmarans