Customer Reviews

Catching Tales (Dlx)

5 star:		(20)
4 star:		(17)
3 star:		(6)
2 star:		(3)
1 star:		(3)

 

 

On "Catching Tales", Jamie Cullum has modernized his sound. There's electric piano and sampling, and some good mature lyrics (as well as others about, well, catching tail) and Cullum even plays acoustic guitar on "My Yard". But it's not as magical to me as "Twentysomething", which still ranks as one of my favorite albums - perhaps because Twentysomething was more cover-heavy, making the originals that more special.

Musically, this sounds on this album mine from standards (I'm Glad There is You) to 70's style disco jazz (Mind Trick) to trip hoppy jazz (Get Your Way) to bossa nova (I Only Have Eyes for You) to straight ahead pop-rock (London Skies, also with Cullum on guitar). Much of it reminds me of Billy Joel or Ben Folds, and that's a good thing, and there's a lot of Fender Rhodes electric piano, giving the CD a definite 70s r&b jazz feel. It all sounds very good, but I would have like a little more of the organic feel of "Twentysomething". And I don't think the original songs on here have quite the instant hook that those on Twentysomething did, although "My Yard" is ready for top-40 radio and "Photograph" almost captures the greatness of "All at Sea". That said, this is heads and tails above other current releases and is a great breath of fresh air that you can easily lose yourself in.

There have been a lot of reviews up to this point about how this album is no "Twentysomething". And they're right. But does that mean this album is bad? Nope. It's just different. On his latest disc, "Catching Tales", Jamie Cullum flexes his songwriting and genre-crossing wings to span across decades and styles of material effortlessly in another jazz-pop-folk gem.

First off - if you pick up the deluxe edition for an extra buck or two, which I recommend, you get wicked extras like commentary from Jamie on the liner notes...which oddly (or a stealth PR-move) reflect what he discusses on the bonus DVD included with the disc.

In terms of the sound of the disc, it really varies. The "nu-school" variety of songs are written by Jamie, his brother Ben (who contributed fab tracks like "All At Sea" on Jamie's previous album), as well as a few other notables like Ed Harcourt, a mellow rocker- who co-wrote the Tsunami-inspired slower track "Oh God", and Dan the Automator of the Gorillaz who worked on Jamie's first jazz-hop single "Get Your Way".

I tend to lump the guitar & drum filled "London Skies" & the piano-driven "Photograph" together when thinking of this album, as many reviewers will name them as the best tracks, and they are similar in tempo, pace, and style. Jamie's (and my Dad's) fave track is the mod-rock-Coldplay style "21st Century Kid" - an excellent potential single. Finally one of my three faves on the album is the last guitar track, "My Yard".

Jamie also borrows inspiration from other sounds loved in the past and present. "Nothing I Do" is a upbeat swing song inspired by tracks like "Mack the Knife", "Mind Trick" jives to a 70's soul vibe, another fave of mine, "7 Days To Change Your Life" takes an old jazz stance, while "Back to the Ground" swings to a sweet bluesy guitar and keyboard combo.

As for the covers, because really, every self-respecting new-age jazz kid must do some covers, Jamie picks an eclectic mix and certainly makes them his own. "I Only Have Eyes for You" takes on a minimalist approach, while "Our Day Will Come" Is an over-the-top calypso-inspired smash. The Doves cover "Catch the Sun" is fairly forgettable, and the "I'm Glad There is You" is a classic take on a classic song - a well-done standard.

Overall this is a solid album. It takes some getting used to, as it's a bit more scattered than Jamie's last effort. My only complaint is it doesn't have quite the same innocence or warmth attached to it as "Twentysomething" did, as if it almost seems a bit more digitalized. Still - this album kept me listening again & again and I look forward to seeing Jamie in concert next week!

While Rod Stewart continues to pump out drippy, uninspired, muzak-worthy "Great American Songbook" CDs (he's up to 4 now), fellow Brit Jamie Cullum is shaking up the standards and writing a few of his own with much more engaging results. Cullum fuses jazz and pop into a fresh sound that gets him invited to edgy musicfests like Coachella, but he's the boy you can bring home to meet mom. His smooth, sexy baritone echoes "The Stranger"-era Billy Joel, while his fingers fly over the 88s with Green Day fury. He takes risks. He experiments. But he never offends. Jamie Cullum is a musical cocktail party full of flirting, dancing and spin-the-bottle. And it's a party kids and parents can attend together. While we still consider "twentysomething" his best, Cullum gets props for stretching out on "Catching Tails" with the funky "Get Your Way" and inspired remakes of "I Only Have Eyes For You" and "Our Day Will Come")

"Catching Tales" stands on its own as a very welcome addition to Jamie's catalog. Yes, there is rather more musical variety here than on his last, also excellent album, but why demand that an artist stay in the same bag forever, particularly an artist talented enough to produce exceptional music in a variety of genres? Jamie himself is the first to admit that he doesn't work in a "pure jazz" medium; he has described his music as "jazz from a pop perspective." Accept that, listen to "Catching Tales," and you're in for a real treat.

What I notice in particular is how Jamie's singing has expanded and matured in the couple of years since "Twentysomething" was recorded. Listen to Jamie's expressiveness and projection on "Oh God," the wry, sardonic delivery on "7 Days to Change Your Life," and the seductive purr and growl of "My Yard" (on this last, I think every woman listening will want to go and call that taxi immediately!), and you'll hear what I mean.

I, for one, thoroughly enjoy the wider mix of styles. The thing with Jamie is, he obviously appreciates many, many types of music, takes them all in, and produces music that is completely his own. You hear influences, yes - Stevie Wonder on the delightful "Mind Trick," Elton John on the beautiful "Photograph" - but the result is all Jamie.

Jamie has said that it's entirely possible that he might choose to release an album of all standards some day. Great if he does, but I'm delighted to have "Catching Tales" to enjoy now.

By the way, if you get the chance, see Jamie live (ALERT: United States tour coming in the early months of 2006: check Jamie's web site for details in the coming months). I was lucky enough to see one of two U.S. performances in early October, and was completely blown away: the CDs are magnificent, but this guy in concert is simply a dynamo, and one hell of a musician. I've never seen a performer give so much to his audience. And I can assure you, no way has he turned his back on jazz, so stop worrying about that. (If you can't get to a live concert, do yourself a favor and get a copy of Jamie's concert DVD, "Live at Blenheim Palace." Next best thing to being there!)

Give "Catching Tales" a listen. Absolutely a wonderful album.

EDIT: 8/15/07: Nearly two years - and 13 Jamie Cullum gigs - later, I stand by everything I've written here. With one tiny, tiny proviso: if you get a chance to see Jamie live, by all means, DO IT! Onstage is where the guy is totally in his element. There is no other live performer like him - NONE. The albums are excellent - but he needs to release another live DVD. Until we're treated to that, at least get what's available so far. Truly an amazing musician and performer.

i just wanna say that i like this album a lot... tell me how many jazz singers these days write their own songs instead of singging old cover songs.

jamie is creative in this CD although is not as good or as jazzy as the previous CD but i still like this CD a lot. although it took me awhile to really feel his music in this CD.

esp: Fascinating rhythm, he features his famous "tapping piano" as he did in all his live shows.. (my friend told me whoever bought his second hand piano is surely getting a damaged one) glad that he put it in this album.. mind trick, photography, catch the sun are really good songs too.

This is my first experience with Mr. Cullum's work. I heard "Get Your Way" on a local NPR station during a fund drive. I never donate to stations during fund drives, but I made an exception since they introduced me to something fantastic that I wouldn't otherwise have heard. I couldn't get that song out of my mind for days ...and I didn't want to.

What a refreshing blend of styles! This guy's got something - besides his obvious talents on the keyboard. The rest of the album seems to be a mix of various music genres with jazz as the basis. I also hear elements of John Mayer, Harry Conick Jr, Stevie Wonder, even Maroon 5! But that first cut miraculously and appealingly blends Big Band, Swing, Jazz, and... Hip Hop!? Go figure, but hey - it works!!

So listen up, Record Execs: release "Get Your Way" as a single so more people will pay attention to this stuff!! There's got to be something more for us thirty- and forty-somethings to listen to than what's on the radio right now.

On the downside, he doesn't seem to able to stick to one style. That's okay when everything sounds great anyway, but it's hard for most people to switch what they're in the mood for that quickly. Also, didn't care for the bits of profanity on some cuts, along with the more jeuvenile topics in his lyrics. I like to listen to music with my kids in the room and company visiting. But it's certainly not over the top, so I can deal with it.

Bottom line is that this is definitely worth buying just to hear his fancy finger work on the piano and keyboard or just for the first cut - let alone the refreshing change from the usual. If you appreciate artistry in music, you'll appreciate this.

"Catching Tales", Jamie's follow up to the refreshing "Twentysomething" is hard to criticize, because it still ranks miles ahead of the new-wave jazz movement of the last few years. The piano playing remains exuberant, and the vocal stylings are both poignant and fun, but Jamie doesn't take things a step further as many had hoped he would.
There's no cover tunes here that demand attention (such as the brilliant take on Radiohead's "High and Dry"), and the originals sound derivative of many singing pianists (Elton, Billy Joel...). Again, its not that the material isn't good, because it almost always is (and even reaches great on "London Skies", the best song on the disc).
Still, this is an artist that you want to love, and play over and over. His leather persona, his gleeful singing, and his "I can do anything with my piano" approach to playing are all over this record, but they don't come together quite as well as they did on "Twentysomething".

When I caught Jamie Cullum on "Austin City Limits" in early 2005, I was riveted. Here was an artist worth attention, I thought -- fresh, passionate, and engaging, with an original style that reflected diverse musical influences. The next day I ordered Twentysomething and couldn't wait to get Catching Tales as soon as it came out.

No, they're not jazz, but they're also not pop, soul, or hip-hop and who cares? Cullum's music is all of the above fused into several of the most fascinating compilations available today. Who limits their music collection to just one genre anyway? Should a singer/songwriter be forced to fit one category to satisfy radio formats or CD sales bins? That's just crazy talk. (I remember when the artist labelers couldn't figure out what to stick on Lyle Lovett, too.)

The only reason I give Catching Tales four stars instead of five (and would offer the same rating to Twentysomething) is to reserve the top spot for the music Cullum will record in the future. Because if he can create "London Skies," "Nothing I Do," "Mind Trick," and enthralling versions of "Wind Cries Mary" (from Twentysomething) and "Our Day Will Come" while in his early to mid 20s, imagine what he can do as a seasoned musician and songwriter.

I'm eager to learn what this fresh young talent will bring to music as a thirtysomething. No doubt music will be better for it.

Jamie Cullum's follow-up to his sensational "Twentysomething" goes a fairly different direction. Jazz purists may be a little upset by the majority pop influence that flows through the album. The sound is very modern, with drum programing and electronic keyboards dominating several tracks. The redeeming factor is that Cullum has changed up his sound in order to play to the mainstream without forsaking his roots. It would have been very easy for him to take the Justin Timberlake track and probably be far more sucessful than he has already been. The jazz roots are still dominant, the song writing is incredibly mature and the whole finished product is enough to just steal your heart. Cullum still cooks up a few great fresh interpretations of a few jazz standards (including the haunting, acidic "I only have eyes for you" and the heart melting "I'm glad there is you.") Cullum's interpretation of "Catch the Sun" makes for a wonderful cover. Cullum also gets a chance on several tracks to show of his flashy piano chops in spite of the pop influence. Cullum serves up a lot of variety with this album and while it is a step below "Twentysomething" it's a mighty high pedestal to step down from.

A young English jazz-pop crooner who's intent on proving how much hipper he is than Norah Jones, Jamie Cullum updates his crisp throwback sound on the follow-up to his more conservative American debut, 2004's Twentysomething. Like that disc, Catching Tales presents a mix of songbook standards, contemporary pop tunes, and originals by Cullum and his brother Ben. There's a pensive version of "Catch the Sun" by the British guitar-rock act Doves as well as renditions of such wedding-band evergreens as "I Only Have Eyes for You" and "I'm Glad There Is You," the latter likely endearing Cullum to the same grandmotherly types who took a shine to recently deposed American Idol hopeful Kevin Covais. But Catching Tales' modern vibe has less to do with the repertoire than it does with the disc's ear-tickling production: in opener "Get Your Way," Dan the Automator layers Cullum's piano over a head-nodding beat jacked from an Allen Toussaint composition, and "Our Day Will Come" twinkles with leftover trip-hop atmospherics. The sonics are cool, and though Cullum still seems as if he might be a real chore to hang out with, they make the album a lot more fun.