Catching Tales

by

Jamie Cullum

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When I caught Jamie Cullum on "Austin City Limits" in early 2005, I was riveted. Here was an artist worth attention, I thought -- refreshing, 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.

I loved "Twentysomething" so much, if it was on vinyl I would've worn it out by now. Cullum has (had?) the ability to move easily from standards to original compositions, and the CD felt both charmingly respectful of jazz and pop history yet also excitingly new. This time out, lightening doesn't quite strike twice. The opening track is marvellous, with Cullum in a playful yet combative mood ("What game shall we play today/How about the one where you don't get your way"), and the hip-hop beats over jazz piano works wonderfully. Yet Cullum undercuts the songs ingenuity with a weird little mea culpa: "And even if you do/That'd be OK," which takes away all the bite from it. (On the other hand, a couple songs have gratuitous profanity in them which, while not personally offensive, sticks out as uniquely crass and sophmoric.) "Seven Days" has comparable lyrical teeth, buried in a meandering melody that adds up to a pallid imitation of "What A Difference A Day Made." "Catch the Sun" is nicely handled, and the final track, "My Yard" has a lovely mood, but too many of the others blur into generic a coffe-shop soundtrack--an accomplished one, but not one that grabs the listener as on the previous disk. There's nothing wrong with the covers here (a shimmering "Our Day Will Come," a graceful "I Only Have Eyes For You"), but compared to the cheeky "Singin' In the Rain" or the heartbreaking "Blame It On My Youth" on "Twentysomething," they seem a bit like an afterthought. Cullum is way too talented to be off-track for long, so it will be interesting to see what his next disk brings.