10 Songs, 39 Minutes

EDITORS’ NOTES

Curtis Stigers started out in light R&B and rock with his self-titled 1991 platinum-selling debut. But since 2001’s Baby Plays Around, he’s rebranded himself as a bluesman (as heard recently on the Sons of Anarchy soundtrack) and a jazz singer, with a string of albums filled with acoustic, small-band interpretations of the Great American Songbook, plus modern songs remade in that vein and classic-sounding originals. On this album of slow and midtempo love songs, listeners get the Gershwins’ “Love Is Here to Stay,” a peppy “If I Were a Bell," and a simmering “You Don’t Know What Love Is.” The singer also channels Ol' Blue Eyes for “That’s All” and has the most fun when he’s joined by new star Cyrille Aimee for the Sinatra classic “You Make Me Feel So Young.” Rounding things out, Stigers covers Steve Earle’s “Valentine Day” and writes strong originals like the swinging “A Matter of Time” and the title cut. With an effective marriage of instruments and material throughout, Stigers uses his croon with a light rasp to dig down and mine much of the emotion this material has to offer.

EDITORS’ NOTES

Curtis Stigers started out in light R&B and rock with his self-titled 1991 platinum-selling debut. But since 2001’s Baby Plays Around, he’s rebranded himself as a bluesman (as heard recently on the Sons of Anarchy soundtrack) and a jazz singer, with a string of albums filled with acoustic, small-band interpretations of the Great American Songbook, plus modern songs remade in that vein and classic-sounding originals. On this album of slow and midtempo love songs, listeners get the Gershwins’ “Love Is Here to Stay,” a peppy “If I Were a Bell," and a simmering “You Don’t Know What Love Is.” The singer also channels Ol' Blue Eyes for “That’s All” and has the most fun when he’s joined by new star Cyrille Aimee for the Sinatra classic “You Make Me Feel So Young.” Rounding things out, Stigers covers Steve Earle’s “Valentine Day” and writes strong originals like the swinging “A Matter of Time” and the title cut. With an effective marriage of instruments and material throughout, Stigers uses his croon with a light rasp to dig down and mine much of the emotion this material has to offer.

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