Cyrus Chestnut Albums (17)
What The Critics Say
Cyrus Chestnut's straight-ahead mainstream jazz has always been shaded by the church, gospel, and spiritual music of his heritage. So it is no surprise that he would turn to this aspect of his inner being for inspiration on this program of solo piano inventions and interpretations. But it is not all hymns and pew-based songs turned into instrumentals, although that aspect is clearly represented here. Chestnut mixes in pop tunes and jazz standards, while his arrangements of well-known religious themes are cleverly modified or updated with his personal stamp of modernity and voicings, delightfully rendered with every phrase. This mix of traditional and contemporary styles is heard from the outset in the modal 5/4 touch placed on "Oh, How I Love Jesus," the straight-ahead and a bit off minor "Lift Every Voice & Sing," or the bouncy, confident "Blessed Assurance." A typical choice, "Wade in the Water" is energized, the Bill Withers hit "Lean on Me" takes into account its soul-jazz base while adding a mid-tempo reverence, "I Surrender All" is cast in a light trot, "Gospel Improv #1" is less made up and more a thematic blues, and "Old Time Religion" is a nice waltz but arranged quite differently. The rest of the program is much more serene, laid-back, and solemn. "Bridge Over Troubled Water" is a twinkling and cascading cover, Duke Ellington's "Come Sunday" an appropriately stock choice, as is Horace Silver's "Peace" as the pace of the remainder of the CD completely slows down. This recording would be perfect for holiday family dinners, and as it stands musically, it's clearly a labor of love for the always impressive pianist, still an underrated player in the general scheme of things. ~ Michael G. Nastos, All Music Guide
What The Critics Say
You've got to give Cyrus Chestnut credit for not playing by the rules. Although he had little familiarity with the music of Elvis Presley, 15 years into his recording career the gifted jazz pianist decided -- virtually on a whim -- to record an album of Elvis songs. Chestnut did some homework, and working with his trio members bassist Dezron Douglas and drummer Neal Smith, set out to explore. It's a great idea -- in theory, but not always in practice. Like any standards -- and Elvis' catalog certainly falls into that category at this point in time -- the Presley canon is ripe for interpretation. Presley never wrote his own material, but he had the best in the business at his disposal, and the more substantial songs he chose to record (that would mean no "Do the Clam") certainly boasted memorable melodies -- the key component to an artist seeking to offer his own interpretive non-vocal take on a song. But Chestnut doesn't always make the most of those melodies here. Cyrus Plays Elvis is most satisfying when the pianist breaks loose from the original setting and leaves it way behind. On the album's opening track, "Hound Dog," he sticks cautiously close to the root melody and tempo until it's solo time, at which point Chestnut turns out a thrilling cascade of tuneful keyboarding. Like a number of other tracks on the album, it's reminiscent of the Ramsey Lewis Trio's approach to interpreting pop in the mid-'60s, not a bad thing by any means, but not very challenging jazz. At its lamest, Cyrus Plays Elvis is too simplistic and loungey, adding nothing to these familiar songs. The smooth jazz treatment utilized on tunes like "Can't Help Falling in Love" and "Suspicious Minds" probably makes sense if Chestnut's sole aim is to get those songs played on "lite" radio stations, but as an involving listening experience it leaves something to be desired. "It's Now or Never," despite the clever Brazilian/Latin swing arrangement, feels ready-made for a noisy hotel bar where it will be played to oblivious tourists over the sounds of clanking glasses and dumb pickup lines. And "Suspicious Minds," though performed deftly by the trio, doesn't really possess the desperate sense of impending loss that Elvis' version did. There are moments of brilliance, to be sure, and three of them close out the album. "Heartbreak Hotel" is as close to free and adventurous as this record gets, a rolling, unleashed improvisation loosely based on the theme. The first segment of the track serves as a showcase for the drummer, and when Chestnut takes over midway through he immediately proves just how inventive he can be, and how willing he is to let go and venture into uncharted waters. Most of the song sounds nothing at all like the Elvis tune, and it works because of its lack of allegiance to the original melody, not in spite of it. "In the Ghetto" is soulful and heartfelt, as it should be -- Chestnut is closer to the song's intent than he is to, say, "Don't Be Cruel" -- but it's the final track, "How Great Thou Art," one of many religious-themed songs Elvis recorded over the years, that suggests just how special the entire effort could have been. Like Elvis, Chestnut is a man of faith -- he's recorded in the Christian vein before -- but he eschews a standard gospel format here and instead delivers a solo piano rendition that is regal, warm, and, yes, inspirational. Perhaps next time Chestnut should stick with Cyrus Plays Elvis Gospel. ~ Jeff Tamarkin, All Music Guide
What The Critics Say
There's just no way not to like Cyrus Chestnut. His playing is robust but tasteful, and he plays ballads with a liquid fluency; his original compositions brim with good cheer; he favors middling tempos that neither tempt him to show off excessively nor to bog himself down in extended, self-indulgent elaboration. His first album for the Telarc label showcases all of his strengths. He can take the unlikeliest melodies and make them sound like standards: on this album, he manages to spin equally refined musical gold out of both a schlocky 1970s love ballad (Bread's "If") and a faux folk song turned soul hit (Ewan MacColl's "The First Time Ever I Saw Your Face"). And he can handle knotty Latin rhythms with offhanded ease (though the rhythmic structure on "Baby Girl's Strut" feels a little bit disorganized). Best of all, he plays gospel tunes with a heartfelt fervor that never descends into sentimentality. Chestnut's own "Mason Dixon Line" is one of the album's high points, a joyful bebop number that makes you hope he'll someday do a whole album of Bud Powell compositions. The album's relentless, midtempo pleasantness makes it easy to stop paying attention by about halfway through, but every time you catch yourself drifting and start listening closely again, you'll notice something else wonderful. Highly recommended. ~ Rick Anderson, All Music Guide
'The Nutman Speaks Again'
Release Date 6/23/2003
Tracks 8
Label Pony Canyon
See Album Tracklist and Review
'The Nutman Speaks'
Release Date 6/23/2003
Tracks 7
Label Pony Canyon
See Album Tracklist and Review
'You Are My Sunshine'
Release Date 1/1/2003
Tracks 13
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Cyrus Chestnut offers his listeners joy, inspiration, and a different approach to some classic material on You Are My Sunshine. This recording differs from Soul Food, his 2001 chart-topper, in that he digs deeper into the blues, gospel, and jazz traditions. Chestnut also uses his influences in a collective arrangement rather than using each influence separately. For example, on "Precious Lord, Take My Hand," Chestnut alters this gospel piece to form a New Orleans sound. Instead of the meditative tempo the song is known for, he adds a Stevie Wonder harmonic influence on the interlude after the bass and piano to take the predictability out of the song. On "Errolling," he pays homage to the great pianist Erroll Garner. "Flipper" is a melody that offers fun and simplicity. Cyrus Chestnut is an excellent improviser, composer, arranger and pianist. With You Are My Sunshine, his virtuosity continues to shine just as radiantly. ~ Paula Edelstein, All Music Guide
What The Critics Say
One thing one can say about this popular swinging trad jazz pianist -- he's definitely not selfish when it comes to passing the musical soul food around. The punchy, heavy-swaying eight-minute title track begins with a sizzling brass section and then Marcus Printup's thoughtful, several-minute trumpet solo, while Chestnut takes a supporting harmony role. "Brother With the Mint Green Vine" opens with a moody, dark chord foundation (very reminiscent of Joe Sample), but is largely fashioned as a duet between Chestnut's plucky ivories and Stefon Harris' whimsical vibes. Harris gets more solo time than his host. "Fantasia" has a classic trio sound in the Vince Guaraldi vein and is most memorable for Christian McBride's inventive upright bass solo over the soft brushes of Lewis Nash; Chestnut, of course, is at his elegant best, as he is on the one solo showcase he allows himself, a mournful rendition of "Swing Low Sweet Chariot." He shows off his improv skills most effectively on the free-for-all trio piece "Minor Funk." Just in case listeners should grow complacent that this is just another multifaceted jazz project, Chestnut tosses in a little musical humor with the peppy, horn-driven, New Orleans-styled "Brother Hawky Hawk." It's Chestnut's first album of original tunes since 1998, and he's back stronger than ever. ~ Jonathan Widran, All Music Guide
'A Charlie Brown Christmas'
Release Date 9/12/2000
Tracks 14
Label Atlantic
See Album Tracklist and Review
What The Critics Say
On their update of Vince Guaraldi's A Charlie Brown Christmas, the Cyrus Chestnut Trio and friends -- which include Michael Brecker, Kenny Garrett, Steve Cole, Manhattan Transfer, Vanessa Williams, and the Boys Choir of Harlem -- infuse classics like "O Tannenbaum," "What Child Is This," and "Linus and Lucy" with a modern holiday spirit. Brian McKnight joins Chestnut, drummer Steve Gadd, and bassist Christian McBride on "The Christmas Song," and Williams and the Boys Choir of Harlem appear on "Christmas Time Is Here." "Hark the Herald Angels Sing" and the Chestnut original "Me & Charlie Brown" are some of the other highlights from this sophisticated, warm Christmas album. ~ Heather Phares, All Music Guide
'Tribute to Duke Ellington'
Release Date 5/24/1999
Tracks 11
Label Keyst
See Album Tracklist and Review
