Twentysomething

Jamie Cullum

Product Details

• Audio CD (May 11, 2004)
• Original Release Date: May 11, 2004
• Number of Discs: 1
• Label: Verve
• ASIN: B0001XANUI
• Also Available in: MP3 Download
• Average Customer Review: 4.1 out of 5 stars See all reviews (159 customer reviews)
• Amazon.com Sales Rank: #1,701 in Music (See Bestsellers in Music)

  Popular in these categories: (What's this?)

  #13 in	Music > Jazz > Smooth Jazz
  #47 in	Music > Jazz > Vocal Jazz

Editorial Reviews

Amazon.com
English singer-pianist Jamie Cullum comes into view as an already heralded jazz-pop artist, signed to a million-pound contract and riding a CD that's already registered double platinum in the UK. The "jazz" label doesn't hang that comfortably on the 24-year-old Cullum--he's more in the mold of polished lounge swingers like Bobby Darin and Buddy Greco and has more in common with, say, Billy Joel (definitely a "New York State of Mind") than any traditional jazz artist you might mention. An ironist who covers both Cole Porter and Radiohead, he's aware of the contradictions that he embodies. Those contradictions drive the title track as Cullum's lyrics plumb "twentysomething" uncertainties ("Maybe move back home and pay off my loans/Working nine to five answering phones") while moving to a mock-primitive chanted riff that's pure '50s hip. What surprises most is Cullum's emotional and musical range, and the way he combines methods to create depth and complexity. "Blame it on My Youth" is delivered with the heartfelt delicacy of Chet Baker, while his reading of "The Wind Cries Mary" suggests that Jimi Hendrix might have just about invented smooth jazz. "I Could Have Danced All Night" explodes with playful energy and creativity, launched with scat singing over a rhythm pounded out on drums and piano wood. Cullum has energy and talent to burn, plus a postmodern knack for layering idioms that signals a welcome direction for jazz-pop. As "Lover, You Should've Come Over" attests, he can also project an emotional intensity that breaks through the clever arrangements. --Stuart Broomer

Customer Reviews

Most Helpful Customer Reviews

56 of 61 people found the following review helpful:

4.0 out of 5 stars I Don't Know Much About Jazz, But I Know What I Like., May 24, 2004

By	K. Fontenot "Prairie Cajun" (The Bayou State) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

I definitely enjoy Jamie Cullum's "Twentysomething." Many people have blasted it for being too unoriginal, too boring, too "pop" sounding, etc., but the fact remains that this music is fun to listen to. I'd much rather listen to Mr. Cullum's music than Norah Jones or Diana Krall. Cullum runs through standards and originals as if both were his own. He takes songs by artists such as Radiohead and the legendary Jimi Hendrix and puts a spin on them that others wouldn't dare dream of doing. He takes a "no fear" approach to music. Perhaps that is why I enjoy this album so much. While other artists have become media darlings by pawning themselves to the public, Cullum seems to be content with doing his own thing. By being himself, he's captured the attention of millions. He's even played for the Queen.

Of the songs contained herein, "Twentysomething" is definitely my favorite. I enjoy "Singin' In The Rain" and "All At Sea." There isn't a bad track on this disc. Many have compared Cullum's sound to Billy Joel, and I can see that comparison, but Cullum is in a league all his own. He's fun to listen to and extremely talented. I highly recommend this one.

16 of 19 people found the following review helpful:

5.0 out of 5 stars the leader of the British modern jazz surge, May 11, 2004

By A Customer

Finally hitting American shops, Jamie Cullum's TWENTYSOMETHING is simply the best release so far in 2004. The original compositions -- penned by Jamie and his brother -- stand up amazingly well next to his unique interpretations of jazz standards and showtune hits. What ultimately catches you most off guard -- and holds you in their grip -- are the subtle covers of Jeff Buckley, Jimi Hendrix, and Radiohead, along with the catchy version of Pharrell's "Frontin'" (a bonus track for Americans that was the B-side of the UK "These Are the Days" single). Cullum's originality and energy are best showcased live; however, these analog recordings (under the classy, masterful production of Stewart Levine) give you an amazing sense of his development as an artist. Compared to "Pointless Nostalgic," Cullum's loosened up from his classical training, proves he's having more fun, and infuses the tracks with more emotion thanks to the scratchy, Van Morrison-esque vocals. When I first got the CD, I thought that it would just be background music for Sunday brunches and dinner parties -- but it's ultimately become the soundtrack for my life over the past three months. And as a side note -- it's always cool when you meet someone and find out that he's a really nice guy in person, and Cullum's appreciation for his fans is truly genuine. Highly, highly recommended for any music lover.

6 of 6 people found the following review helpful:

3.0 out of 5 stars OK but overhyped, June 28, 2005

By	Greg Brady "columbusboy" (Capital City) - See all my reviews (TOP 1000 REVIEWER)

I can't claim to be a jazz "fanatic"..it's not a large part of my collection, but I have some jazz and standards in my collection, own the book counterpart to the "Ken Burns Jazz" series, and wish that more people my age (34) and younger had an appreciation for it. Because of that, when I see younger artists doing jazz or even music that hints at it (Norah Jones, Connick Jr., Cullum) I'm rooting for them to be great...someone to carry on the tradition.

First the good news...While Cullum isn't doing "jazz" here, it's clear from the arrangements that he has an affinity for it and the tunes are at least jazz "inflected" pop (and I would argue a few tunes are pretty much straight jazz).

The bad news..What many are saying about Cullum's voice is true. It's not a particularly elastic instrument and sounds best when he's comfortably in the mid-range. In addition, the young Brit's not the most emotive singer in the world, though that comes with time and at "twenty-something" Cullum could still develop better interpretive skills. The rasp could be viewed as a disadvantage for a crooner, but then again, it may prove to be his mark of "distinction" in an increasingly crowded field of "nouveau" standard singers.

HIGHLIGHTS:
The loose lope of "These are the Days" is easily the best original here and a good way to kick off the CD. The understated "But for Now" is situated nicely in Cullum's range and he handles it well. "I Could Have Danced All Night" manages the neat trick of making a showtune funky. Who'd-a thunk it? It's a highly percussive track that veers toward world music territory but also incorporates horror movie string stabs, scatting, and a pretty nifty piano solo from Cullum. "Singin' in the Rain" updates the old Gene Kelly chestnut with some Fender Rhodes and a backbeat courtesy of Michael Strange and bongoist Francis Fuster. While the song flirts with the edges of Cullum's range, the notes that are a strain are brief so it doesn't end up sinking it.

LOWS:
I'm no Radiohead purist but I have to admit that Cullum's muffed notes ruin "High and Dry" for me. It's too bad..the arrangement is really nice. Self-penned "Next Year, Baby" just isn't a good tune. The tempo and tone of Cullum's take on "What a Difference a Day Makes" is puzzlingly melancholy for a lyric that's so obviously joyous. It's a misfire. The high harmonies on "All at Sea" are cringeworthy.

BOTTOM LINE:
This will probably be anathema to jazz purists...and probably many jazz lovers with appreciation of pop also will be turned off by the clunkers on here. If this accomplishes anything, it will be to get Cullum's name wider recognition among the "twentysomethings" he named the disc after. Hopefully, with more maturing, Cullum will become a great artist and bring new waves of fans to jazz.