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| 7.041 Ft
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| 1. | Devil May Care
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| 2. | I Can't Get Started
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| 3. | God Only Knows
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| 4. | Love Won't Let Me Wait
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| 5. | Lookin' Good
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| 6. | Well You Needn't
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| 7. | It Ain't Necessarily So
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| 8. | Too Close For Comfort
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| 9. | Small Day Tomorrow
Bob Dorough |
| 10. | In The Wee Small Hours Of The Morning
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Jazz / Vocal, Jazz-Pop, Contemporary Jazz, Crossover Jazz, Vocal Jazz
Alan Bates Compilation Producer, Liner Notes, Producer
Derek Nash Mastering, Engineer, Mixing, Producer
Geoff Gascoyne Producer, Bass
Jamie Cullum Vocals, Piano, Producer
Marc Connor Producer
Nieves Pascua-Bates Design
Robert Gallagher Photography
Sebastiaan De Krom Drums
Part of the Candid Vignette Series celebrating 50 years of Candid Records.
Jamie Cullum was just twenty two years old when he signed for Candid and the time he was working around the clubs and pubs accompanied by long time associates and friends Geoff Gascoyne on bass and Sebastiaan de Krom on drums. This was the Trio that made the Candid album Pointless Nostalgic which became an instant hit and set Jamie on the road to universal acclaim (no pun intended!) Geoff and Seb's influence and support for Jamie was considerable over their years together the three musicians developed a close bond. This album features tracks from Geoff Gascoyne's own album "Keep it to yourself" as well as a guest track from Bob Dorough - a constant source of inspiration for the young Cullum.
Candid's 2010 release Devil May Care! cannibalizes seven tracks from Jamie Cullum's 2002 sophomore set, Pointless Nostalgic, and since this album is only ten cuts, that's a fair portion of the record. The other three tracks are unreleased material from the Pointless Nostalgic sessions: a spare strings-and-voice arrangement by Geoff Gascoyne of Brian Wilson's "God Only Knows," a nice version of "Love Won't Let Me Wait" that fits right in with the rest of the sessions, and "Small Day Tomorrow," which features the legendary Bob Dorough on lead vocals. "God Only Knows" is the biggest departure from the voice/piano/bass/drums instrumentation of the album but it fits well into the warm, intimate vibe of the sessions, which offer a friendly, well-manicured spin on Harry Connick, Jr.'s Sinatra throwback. While it's unclear why there's a whole new title instead of an expanded reissue of Pointless Nostalgic, this is nevertheless an enjoyable snapshot of Cullum at his jazziest. ~ Stephen Thomas Erlewine, All Music Guide |
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