1. Get Your Way 
2. London Skies 
3. Photograph 
4. I Only Have Eyes for You 
5. Nothing I Do 
6. Mind Trick 
7. 21st Century Kid 
8. I'm Glad There Is You 
9. Oh God 
10. Catch the Sun 
11. 7 Days to Change Your Life 
12. Our Day Will Come 
13. Back to the Ground 
14. Fascinating Rhytm
15. My Yard

Alan Barnes - Sax (Alto)
Isabella Cannell - Vocals (Background), Voices
Ben Cullum - Bass (Electric), Vocal Arrangement, Vocals (Background)
Jamie Cullum - Beats, Fender Rhodes, Guitar, Moog Synthesizer, Omnichord, Organ (Hammond), Percussion, Piano, Vocals, Wurlitzer, Xylophone
Mark Emms - Vocals (Background), Voices
Geoff Gascoyne - Bass (Acoustic), String Arrangements
Ian Thomas - Drums, Percussion
Terri Walker - Vocals (Background), Voices
Gavyn Wright - Orchestra Leader

British pianist/vocalist Jamie Cullum's previous effort, Twentysomething, was an uncomplicated mix of piano-driven melodic pop with a jazzy twist and some reworked jazz standards. 2005's Catching Tales follows a similar format but falls short of its predecessor's simple approach by muddying up the production with dated electronic flourishes. Which isn't to say it's a bad album. On the contrary, despite some ill-advised attempts at would-be-hip DJ-style tracks, Catching Tales features more of Cullum's superb songwriting. Essentially a singer/songwriter in the tradition of such icons as Billy Joel and Randy Newman, Cullum is at his best when performing simple melodic songs with some jazz harmony that make the most of his burnished croon and verbal wit. To these ends, the beautifully melancholy "London Skies" brings to mind Joe Jackson covering a Radiohead song. Similarly, the romantic and folky "Photograph" reveals the often sardonically snotty Cullum to be a top-notch balladeer. It's also at these soft rock moments, when he isn't attempting to gun down the jazz canon, that Cullum's improvisation sounds the best. Also impressive is his mid-tempo swing-cum-soul track "Nothing I Do," which marries Harry Connick, Jr.'s neo-croon to Stevie Wonder's R&B harmonies. If Cullum's only attempt at contemporary hipness was his inspired cover version of the Doves' "Catch the Sun," the album would be a rousing success. Unfortunately though, Cullum's expansive vision finds him collaborating with Dan the Automator on the leadoff track, "Get Your Way." What may have been an attempt to try something new ultimately sounds more like early-'90s hip-hop jazz à la Digable Planets replete with scratchy vinyl record sound and canned beat. Also disappointing is his reworking of the Harry Warren classic "I Only Have Eyes for You," which, while an attempt at a Massive Attack-style trip-hop track, sounds more like U2's equally atrocious 1990 Cole Porter redo "Night and Day." However, when Cullum sticks to his piano and a good melody Catching Tales actually bests Twentysomething and easily shakes the "new-jazz" tag he has been working against. ---Matt Collar

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 1 What a Difference a Day Made 5:07
2 These Are the Days 3:20
3 Singin' in the Rain 4:06
4 Twentysomething 3:39
5 But for Now 3:55
6 Old Devil Moon 4:11
7 I Could Have Danced All Night 3:23
8 Blame It on My Youth 3:10
9 I Get a Kick Out of You 4:10
10 All at Sea 4:32
11 Wind Cries Mary 3:37
12 Lover, You Should Have Come Over 4:47
13 It's About Time 4:05
14 Next Year Baby 4:48 

    Alto Saxophone – Alan Barnes (2, 4, 6, 17), Jamie Talbot (10, 11, 13, 14)
    Cello – David Daniels (5, 6, 7, 14)
    Drums – Michael Strange (3, 10, 12, 13), Sebastiaan De Krom (1, 2, 4, 9, 11, 14 to 18)
    Electric Bass, Acoustic Bass – Geoff Gascoyne
    Guitar – John Paricelli (1, 3, 7, 10, 13, 17)
    Percussion – Francis Fuster (1 to 4, 6, 7, 10, 11, 14)
    Tenor Saxophone – Ben Castle (2, 4, 6, 10, 11, 13, 14, 17)
    Trombone – Mark Nightingale (6, 17)
    Trumpet, Flugelhorn – Martin Shaw (1, 2, 4, 6, 10, 11, 13, 14, 17)
    Tuba – Oren Marshall (6, 17)
    Viola – Bruce White (3, 5 to 7, 14)
    Violin – Gavin Wright (3, 5 to 7, 14), Jackie Shane (3, 5 to 7, 14)
    Vocals, Piano, Electric Piano [Rhodes], Mellotron, Organ [Wurlitzer, Hammond B3], Accordion – Jamie Cullum

Already a sensation in his native England, 22-year-old piano man Jamie Cullum comes off like a hip amalgamation of Harry Connick, Jr. and Randy Newman on his sophomore effort, Twentysomething. As with Blue Note's crossover wunderkind Norah Jones, Cullum works best when he's not trying too hard to please hardcore jazz aficionados, but it's not too difficult to imagine his bonus-track version of Pharrell Williams' "Frontin'" turning some jazz fans onto the Neptunes. Showcasing Cullum's sardonic wit and lounge-savvy attitude, the album deftly flows from singer/songwriter love songs to jazzy barroom romps and reappropriated modern rock tunes. Cullum has a warm voice with a slight rasp that retains a bit of his Brit accent even though his influences -- Nat King Cole, Frank Sinatra, Tom Waits -- are resolutely American. Truthfully, Cullum isn't the most accomplished vocalist and his piano chops are pleasant at best -- Oscar Peterson he ain't. That said, he's still a kick. What he lacks in technique he makes up for in swagger and smarts as many of his original compositions reveal. On the swinging and wickedly humorous title track -- a take on postgraduate slackerdom -- Cullum sardonically laments, "After years of expensive education, a car full of books and anticipation, I'm an expert on Shakespeare and that's a hell of a lot but the world don't need scholars as much as I thought." It's a timely statement in our overeducated, underemployed "dot-bomb" economy and deftly posits Cullum as a jazz singer as much of as for his generation. Also compelling are his choices of cover tunes, as he is able to imprint his own persona on the songs while magnifying what made them brilliant to begin with. To these ends, Jeff Buckley's "Lover, You Should've Come Over" gets a gut-wrenchingly minimalist treatment and Radiohead's "High and Dry" comes off as the best Bruce Hornsby song you've never heard. Conversely, Cullum treats jazz standards as modern pop tunes, reworking them into contemporary styles that are neither cynical nor awkward. In fact, his atmospheric, '70s AM pop take on "Singin' in the Rain," replete with string backgrounds and Cullum's percolating Rhodes keyboard, is one of the most appealing cuts on the album, lending the Great American Songbook warhorse an air of virginity. ---Matt Collar, Rovi

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