Kurt Elling's position and deserved reputation in the firmament of the jazz singer pantheon as one, to some even the greatest, of the very finest male exponents of the art today in the same superstar league as Gregory Porter, is unassailable and won't be altered by whether I or anyone else writing a review loves or does not appreciate this middling record made with guitarist Charlie Hunter and the Fonville and Harrison Butcher Brown sound. Elling is one of the greatest of all time given the long since proven infinite resource of his ability as an improviser and the richness of his classic voice. Little connects with me however on SuperBlue beyond the playfulness of Sarah Vaughan homage 'Sassy' and certainly even more interestingly the elegance of 'Endless Lawns'. Not nearly as compelling as the brilliant Secrets are the Best Stories with Danilo Pérez and a long way off the impact achieved when Don Was produced Elling on 2011 release The Gate I'm puzzled as to why this does not light me up inside as Elling usually does. Recording remotely, perhaps that's part of it (but that happens a lot these days and usually isn't a factor at all so I'm not putting much store on that element of the process). However, nonetheless while disappointed I still can't but admire this marvellous singer whatever he does and realise it's just one of those things this time around. Stephen Graham
Kurt Elling, photo: Cory Dewald
Tags: