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Tyrell crafts romantic soundtrack

Steve Tyrell

“I’ll Take Romance”

(Concord)

Taking up a suggestion from former President Bill Clinton, who danced to Steve Tyrell’s music at daughter Chelsea’s wedding, Tyrell has crafted an album of romantic standards that can serve as a soundtrack for weddings and other special occasions.

Fittingly, it includes his version of “The Way You Look Tonight” from the 1991 Steve Martin film “Father of the Bride” which helped transform Tyrell from a behind-the-scenes producer, arranger and songwriter into a crooner who embraced the Great American Songbook. Tyrell dips into the Songbook to include a swaggering “Taking a Chance on Love” with a strings-and-horns arrangement and Cole Porter’s “All of You” set to a lilting bossa nova rhythm.

But it’s his R&B roots that distinguish the native Texan from other retro crooners, reflected in his slightly raspy, soulful voice. Tyrell’s repertoire includes mellowed versions of classic R&B songs such as Little WiIlie John’s “Talk To Me,’’ Sam Cooke’s “(I Love You) For Sentimental Reasons,” and Etta James’ “At Last.” Tyrell flavors his songs with jazz influences by including solos from trumpeter Randy Brecker, saxophonist David Mann and guitarist Bob Mann.

Tyrell also includes several less familiar songs of more recent vintage, including David Foster and Linda Thompson’s “A Love That Will Last” and “You Turn Me Around” by Barry Mann and Cynthia Weil.

The album’s biggest revelation is singer Judith Hill, who had been tapped to sing duets with Michael Jackson for his planned “This Is It” concerts, cancelled after his death. Her lightly swinging duet with Tyrell on the title track ― including a steamy solo by Frank Sinatra saxophonist Plas Johnson ― provides a welcome change of pace to an album that takes a fresh look at classic standards. (AP)

‘Black Radio’ issues musical challenge

Robert Glasper Experiment

“Black Radio”

(Blue Note)

In between the grooves on “Black Radio,” the new album from the Robert Glasper Experiment, the band allows time for a little gripe session.

“When people think of jazz musicians, they pigeonhole us, like, just ‘jazz musician,’” says bassist Derrick Hodge over a freestyle melodious mix.

“I don’t think people know what’s good and what’s not good anymore,” says multi-instrumentalist Casey Benjamin, while bandleader and acclaimed jazz musician Glasper chimes in: “Anything popular, even if it’s wack, is like what sets the pace of music nowadays. ... Ninety-eight percent of the stuff you hear on the radio is wack.”

If that’s the case, then “Black Radio’’ is a very smart ― and entertaining ― response to what is ailing the music world. The title reflects an idyllic dream state: Few black radio stations would even play Glasper or the varied music he represents, even if they do play some of his many guests ― which include Lupe Fiasco, Erykah Badu, Ledisi and yasiin bey (the artist formerly known as Mos Def) ― on occasion.

If only those station programmers would listen to “Black Radio.” Through 11 tracks, Glasper and his band (Fender Rhodes, Casey Benjamin and Chris Dave) explore R&B, hip-hop and even rock and make the case that they all belong in the world of jazz, and perhaps more important, that jazz is a part of those genres as well. The album accomplishes that feat with new songs, as well as interpretations of beloved classics like “Afro Blue,” Sade’s “Cherish the Day” and Nirvana’s “Smells Like Teen Spirit.” The latter is the album’s most enthralling performance, as the band turns the grunge anthem into a funky, vibalicous jam.

Among the new songs that stand out are the sexy “Ah Yeah” featuring Musiq Soulchild and “Always Shine,” featuring eye-opening raps from Fiasco.

The album’s liner notes point out that in plane crashes, the black radio is the box that remains in the wreckage. Here’s hoping the music world locates “Black Radio” before doomsday arrives. (AP)

Lovett coasts but still charms

Lyle Lovett

“Release Me”

(Curb/Universal)

On “Release Me,” Lyle Lovett makes like the Brown Eyed Handsome Man and touches all the bases. There’s gospel-tinged R&B (“Isn’t That So”), jump blues (“Keep It Clean”), a murder ballad (“Dress of Laces”), a classic duet (“Baby, It’s Cold Outside”), a Christmas novelty number (“The Girl With the Holiday Smile”) and a Chuck Berry cover (the aforementioned “Brown Eyed Handsome Man”). All are very good.

There’s also an instrumental hoedown (“Garfield’s Blackberry Blossom”), a weepy country duet (“Release Me”), a trucking song (“White Freightliner Blues”), bedtime music (“Night’s Lullaby”) and a closing church hymn (“Keep Us Steadfast”). Those tunes are fair to middling.

This is Lovett’s final album for Curb/Universal, his label since he started making records, which may explain why he seems to be coasting a bit. That was also the case during a recent live performance, when he spent more time talking than singing. But there’s no doubting Lovett remains a man of many muses.

For more than half a century, baseball fans have grumbled about Berry’s lyric, making the count two-three with the Brown Eyed Handsome Man at bat. Did Chuck goof, or was he saying blacks had three strikes against them in the 1950s? Lovett changes the count to three-two ― and gives Henry Aaron a shout-out. (AP)