Al Jarreau Albums (23)
What The Critics Say
If ever there was a singer suited for a holiday album it was Al Jarreau, whose friendly, honeyed croon always felt warm and welcoming. Those traits are evident on his 2008 seasonal album Christmas but so are his scatting roots, perhaps a little bit too much so for this to be the kind of soothing soundtrack to a Christmas party that it might initially seem to be, particularly as the first section of the album is loaded with just a little bit too much syncopation and swing. As Christmas rolls on, things settle down into a smooth quiet storm groove, never pushing too hard on either the vocal or arrangement front, which is a bit of a relief after the slightly overcooked first half. This back-end -- containing a silken "Have Yourself a Merry Little Christmas," a light "The Little Christmas Tree" and a mildly funky "Gloria in Excelsis" -- is what Jarreau fans would hope, even expect, from an Al Jarreau Christmas album and it's the reason to give this a seasonal spin. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Although centered around songs from the 1940s, Al Jarreau's Accentuate the Positive is another stellar modern jazz album that continues the winning streak he began with his 2000 comeback, Tomorrow Today. Similar to his previous effort, the R&B-infused All I Got, the album features classy production from Tommy LiPuma and a natty cast of backing musicians, including bassist Christian McBride and guitarist Anthony Wilson, among others. Centered around Jarreau's still limber and evocative vocals, Accentuate moves from uptempo bluesy numbers like Eddie Henderson's "Cold Duck" to lush ballads, including "My Foolish Heart" and reworked standards, most notably "Ac-Cent-Tchu-Ate the Positive," turned here into a funky and expansive toe-tapper. This is a solid, poignant, and straight-ahead album that showcases Jarreau's unique gift in the best light possible and should appeal to longtime fans and contemporary jazz listeners alike. ~ Matt Collar, All Music Guide
'One Note Samba'
Release Date 10/8/2002
Tracks 8
Label Traditional Line
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What The Critics Say
Al Jarreau hits you with all he's got on his second release for the GRP/Verve recording label. The 11-song program, appropriately titled All I Got, features Jarreau's imaginative vocal stylings, lots of innovative urban sensibilities, and top-tier performances from a stellar band that includes his longtime musical director, Freddie Ravel, and a duet with guest star Joe Cocker. Urban innovation is more than a buzzword here. The urban sound of producer Paul Brown imparts a soulful message on such songs as "Random Act of Love,""Secrets of Love," the title track, and the very hip a cappella rendition of "Route 66," each of which reflects Jarreau's pioneered use of unfolding a musical story layer by layer. A prime example is his reverse take on street violence called "Random Act of Love," something this world desperately needs. Instead of just another range of excessive scatting and vocal gymnastics, Jarreau presents his listeners with real-world concepts that make a difference in your interpretations of these aural pleasures. He becomes a vehicle of revelation on the gospel-tinged "Feels Like Heaven to Me." On the other side of his musical personality is the lovely fullness of "Until You Love Me" and "Jacaranda Bougainvillea," both of which feature a string orchestra set against an oasis of vocal skills. Overall, All I Got showcases the award-winning Jarreau's unmistakable stylistic diversity in settings that are fluid, soulful, jazzy, and romantic. In some ways, the music even exceeds the versatility heard on the critically acclaimed Tomorrow Today. ~ Paula Edelstein, All Music Guide
What The Critics Say
After leaving Warner Bros. in the mid-'90s, the legendary singer (and only one to win Grammys in pop, R&B, and jazz) kept busy enough with his endless concert globetrotting and occasional symphony gig to wait until the right new situation came along. Signing with GRP meant reuniting with label chairman Tommy LiPuma, who produced his first album in 1975 and has known Jarreau's unique multi-genre vision for over a quarter century. That combination sounds as fresh now as it always has. Working with top soulful smooth-jazz producer Paul Brown (best known for his association with saxman Boney James, who appears here) helps the singer bring out his adult contemporary best. Depending on the track, he modulates his voice from soft and airy -- as on the coolly romantic "Just to Be Loved" and the dreamy "another chance" tune "Let Me Love You" -- to crazily percussive a la Bobby McFerrin on the irrepressible a cappella closer "Puddit (Put It in Your Pocket)," co-written with Joe Sample. The best part of Jarreau is his joyous unpredictability. He draws us into a thick funk jam like "In My Music" (featuring a chunky guitar solo by former Rufus member Tony Maiden), then drenches himself with a spicy Latin horn splashes on the wacky title track. That song, co-written with keyboardist Freddie Ravel, begins with a tongue-in-cheek Jarreau approximating Ricky Ricardo, then switching off between his unique vocal percussion and a softer tone. The tune can be enjoyed as both a danceable Latin jam or as a social statement wondering about "tomorrow's child today." On the more spiritual side, one of the most beautiful tracks is the anthem like "God's Gift to the World," a duet with Vanessa Williams. Whether it's yesterday, today, or tomorrow, Al Jarreau never fails to keep listeners on their toes. ~ Jonathan Widran, All Music Guide
'Tribute to Bill Withers'
Release Date 6/30/1997
Tracks 8
Label Culture Press
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What The Critics Say
Rather than do a strictly studio or strictly live album next, Jarreau recorded a "live in the studio" affair before an invited audience -- and this time he would not be bothered with the latest new mediocre R&B tunes. Spreading his net from the Gershwins through Lennon-McCartney to Jorge Ben, Elton John and himself, Jarreau assembled a core band that includes vets like Joe Sample, Steve Gadd, the late Eric Gale, and producer Marcus Miller and turned himself loose on the songs with a freedom that hasn't been heard extensively on his records since the '70s. As then, he transplants standards of whatever school into his own cross-genre idiom, squeezing his tone through the syllables and flashing his speed scatting. He produces some lovingly drawn-out reprises of "She's Leaving Home" and "We Got By," a semi-funk "Summertime" with echoes of Gil Evans in the horns, and fits into the rapid-fire "Mas Que Nada" in the Brazilian manner-born. Opera diva Kathleen Battle's breathless coloratura soprano makes for an odd, unsettling contrast with Jarreau's snake-like wanderings in "My Favorite Things" (the only track recorded at a separate session in New York; the others were cut in L.A.); Michael Brecker's tenor sax adds a third alien voice to the mix. Those who were first drawn to Jarreau from his live and recorded performances of the mid-'70s are going to like this CD -- and this time, the new material ("Wait for the Magic," "Dinosaur") is not only interesting and thought-provoking, it makes good use of Jarreau's voice. As with Live In London, a home video of the sessions is available, but contains only ten tracks. ~ Richard S. Ginell, All Music Guide
What The Critics Say
In yet another attempt to crack the R&B market in search of a hit, Jarreau turned to producer Narada Michael Walden, who, in tune with the times, tunes a few of the rhythm tracks to a truckin' hip-hop pace, mixes in some ballads, stirs, and hopes for the best. Little of this mixture catches fire...you guessed it, the material often lets the hardworking Al and his cast down. Parts of "Blue Angel" kick butt in an acid-jazzy way, and the lonely muted trumpet wafting through "Superfine Love" is very effective, but we can do without things like the bathetic title track and the streetcorner soap opera of "Whenever I Hear Your Name." But then suddenly, the CD throws out the R&B and concludes with an imaginative vocal treatment of Miles Davis/Bill Evans' "Blue In Green (Tapestry)" -- at first leisurely and lush and then Latinized. Finally, we hear something utilizing Jarreau's multifaceted expressive capabilities, but not for long enough to justify the price of the CD alone.Yet it's good to know that this is here. ~ Richard S. Ginell, All Music Guide
