Twentysomething (CD) ~ Jamie Cullum (Artist) Cover Art

Twentysomething (CD)

By: Jamie Cullum (Artist)

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Jamie Cullum Artist Snapshot:

Although his sound is a decidedly vintage one, pianist/singer-songwriter Jamie Cullum's own "Sinatra in Sneakers" persona is unique to the neo-hepcat set. Although Harry Connick, Jr., comparisons are inevitable, Cullum's jazz-crossover appeal has as much in common with Joni Mitchell's open-ended explorations of the form as it does with any neo-classicism. In fact, 2005's CATCHING TALES features a collaboration with hip-hop producer Dan the Automator: it's hard to imagine Michael Buble doing that.

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Track Listing

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DISC 1 for Twentysomething (CD) Album By Jamie Cullum (Artist)
1   These Are The Days
2   Twentysomething
3   Wind Cries Mary
4   All At Sea
5   Lover, You Should've Come Over
6   Singin' In The Rain
7   I Get A Kick Out Of You
8   Blame It On My Youth
9   High And Dry
10   It's About Time
11   But For Now
12   I Could Have Danced All Night
13   Next Year, Baby
14   What A Diff'rence A Day Made
15   Frontin' - (live, bonus track, with Pharrell Williams)
 

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Review

Q (p.44) - "[It] does go nice with Chardonnay and soft furnishings."

Title Note

Personnel include: Jamie Cullum (vocals, accordion, Fender Rhodes piano, Wurlitzer piano, Hammond b-3 organ, Mellotron); John Paricelli (guitar); Alan Barnes (alto saxophone); Ben Castle (tenor saxophone); Martin Shaw (trumpet, flugelhorn); Geoff Gascoyne (bass instrument); Michael Strange (drums); Francis Fuster (percussion).

Recording information: 07/2003.

Young pianist/vocalist Jamie Cullum, made a sizeable splash in a post-Norah Jones world of jazz-influenced, acoustic-leaning singer/songwriters. Whether he's performing "Singin' in the Rain" in a Stevie Wonder style or channeling Jimi Hendrix through Stax via Van Morrison on "Wind Cries Mary," Cullum helps to redefine interpretive singing in the early 21st century on TWENTYSOMETHING. (Who says you can't play a convincing cover of Radiohead's "High and Dry" based on an Ahmad Jamal line?) There is nothing slavish about Cullum's approach, as his soulful swinging and slightly ragged-edged crooning reveal a very musical soul. Playing off Cullum's charming presence, Stewart Levine uses analog production to give the proceedings a deep, warm glow.

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