Al Jarreau
Look To The Rainbow

After his studies, obtaining his first dan black belt in karate, and starting a promising "normal" job as a psychology consultant for rehabilitation, in 1968 "Alexander Jarreau from Milwaukee" decides, against all logic and sensible forecasts, to professionally pursue what he enjoys most: composing and singing. Gifted with great vocal range and adequate lungs, as well as rare and real compositional skills, Al finds immediate success, especially in Europe.
After the first records, the Grammys, and such, in 1977 it’s time to sum things up a bit and release a live album. Generally, a live album comes out during an artist's "tired" periods or in transitional phases. However, "Look to the rainbow" remains to this day one of the finest pieces of contemporary music available. Passionate, cohesive, and well-blended, excellently arranged in both vocal and instrumental parts: in short, beautiful from the first to the last note and appreciable by all those who have ears not just to keep their wool hat in place in winter or the arms of their glasses!

A wealth of great music from the European tour of that year is available, so the album comes out as a double (today, all on a single CD, therefore even more "delicious"). The ensemble accompanying the leader is at least unique: Tom Canning on keyboards (90% of the time a Fender piano, little acoustic piano, and scattered string keyboards here and there); Joe Correro on drums, Abraham Laboriel on bass, and Lynn Blessing on vibraphone. But the choice proved to be successful because, over a robust bass and drum foundation, the interplay between the Fender piano and vibraphone is magical, as the music seems to reside in large soap bubbles, gently pierced or accompanied by Al Jarreau's histrionic voice.

Not a note out of place or a drumbeat to change in this perfect work. Ideal for both a trip from your house to the sea and, on another level, to understand what Music is and how five minds can interact on stage in a sometimes astonishing symbiosis. Words, words, words. But words are still an integral part of the artist Al Jarreau and constitute his own expressive means, along with original and fascinating musical ideas that continue to pour out incessantly over the years. The latest albums are a testament to this, and the latest "Accentuate the positive" sees him still riding high. But back to us: this album in particular seems to be in perfect balance between quality jazz and high-class easy listening needs.

1) "Letter perfect" Electric piano intro, string keyboards, and the Artist's entrance (in the style of… Wanda Osiris!), with vocalizations and right after with an absolutely confidential tone. The piece slows, follows, and climbs, climbs; it rises in intensity following the voice. Cohesion is the right word.

2) "Rainbow in your eyes" Starts a bit more upbeat, on a funky base: an ideal ground for Al's acrobatics. Suddenly, the singer leaves space for the quartet for a dirty, aggressive electric piano solo called "Take no prisoner" which leaves you breathless. The scat singing dialogue between voice and band resumes slowly, relentlessly. This group’s granitic compactness is sensed, like very few in this field.

3) "One good turn" Very intimate and demanding; emotions to convey with a soft voice and vocal dynamic range exploited beyond permissible. An impression of strong telepathic dialogue with the audience and mutual enjoyment in the exchange of emotions.

4) "Could you believe" This track, composed by Jarreau (8 pieces out of 12), has a strong spiritual influence and unfolds in a crescendo of intense emotions and spiritual communion between Tom Canning on electric piano and the voice only, without rhythm. Al's vocal and interpretative skills are very evident in this album: maybe it wasn't clear? ;-).

5) "Burst in with the dawn" It’s a "journey through the night" track. Incessant rhythmic base and beautiful sound interplay between electric piano and vibraphone. Sounds typical of the early seventies. It very much reminds of the Pino Daniele of that period, perhaps more real and passionate than ever.

6) "Better than anything" A crafty piece (a standard) that serves as a style exercise for any singer with acknowledged abilities who wants to play with the audience. A lot of swing and intelligent exploitation of dynamics. There's a moment when the voice is left alone to "vocalize" in front of the ecstatic audience.

7) "So long girl" It's a rhythmical piece, also funky and captivating; decidedly appreciable is the ensemble mood and the brief vibraphone solo.

8) "Look to the rainbow" A contemporary psalm gently rises on a monotone pedal-rug before starting the actual track. Effective and relaxing with grace. It's no coincidence that it gives the album its title.

9) "You don't see me" Starts with a series of low vocal exercises reminiscent of tribal songs and then settles on a syncopated tempo. Very particular and full of energy. The tribal chant resumes towards the end, accompanied by bass, to finish in the most correct way: a pinch of rap and lots of music. Abrupt stop. Final "long" chord in the Duke style. (Love you madly).

10) "Take five" There's always some track in a live setting that, although originally without its own lyrics, gets twisted with the addition of lyrics and consequent personal elaboration by the singer at hand. Usually, the results range from fair to good, but typically the original is still preferred: if you have nothing to say, don’t say it! Unless you're the Manhattan Transfer with Birdland. Here, however, we're in a different context: Al Jarreau’s voice chirps, spins, and twirls, and it seems like this track was born with him: an impromptu creation and engaging dialogue with the band and audience, over the well-known obsessive 5/4 rhythm.

11) "Loving you" Well, the electric piano returns in horse doses (with a "sulky" that discreetly trots, though!), to lull you, indeed, and sway your heart while your ears listen to a rhythm that moves your fingers and makes them snap in time automatically. Here too a brief but intense and full of ideas vibes solo. Charlie Parker used to say: "you must be able to say everything in three choruses; the rest is practice". Certainly said by him…

12) "We got by" Slowly and inexorably, it drags you to have a drink and waste time at the club under your house. Acoustic piano sounds and chord changes suited to a perfect crooner performance from the 50s. A doll perched on the edge of the piano, wrapped in red chiffon, and smoke in the air. Forget jogging and mountain biking. Whistling that heralds the key change. "Cooked and eaten" on the spot by one of the greatest vocalists of the contemporary scene. Supported by a band and an organization with fireworks: Tommy Li Puma is the deus ex machina behind a lot of very valid products. For everyone: Tutu.

An unmissable album, dedicated to enthusiasts and seekers of rare music pieces beyond the ten out of ten benchmarks, wherever they may nest. In an incessant sea of musical notes raped, poorly accompanied out of instruments or throats; buried by an indefinable quantity at this point of good, mediocre, and sometimes even decent records, this CD rises to 8000 meters altitude. Perhaps even higher.