What a relief! A great singer who knows it’s not all about him.Trying a little harder than its generic packaging might imply, Playlist: The Very Best of Charlie Wilson kicks off with a 12" mix of the former Gap Band member's hit "Outstanding" before rounding up all the obvious highlights from the singer's solo career. It doesn’t matter they don’t hurt anything.Ībove all, Mr. Here’s what you do see coming: A cameo by Snoop Dogg (on “Infectious”) and an easy-tempo reggae tune with Shaggy ( “Unforgettable”). The standout songs tend to be produced by the Cartoons, who go in more heavily for updating old-school details - Gap Band grooves, vocoders, 1950s-ballad triplets - and Jimmy Jam and Terry Lewis, who take hard right turns like putting sequencers and keyboard sounds on “Things You Do” to make you think of the “Miami Vice” soundtrack. In sound, “Forever Charlie” plays lightly with nostalgia, befitting someone who suggests the indefinite past. He’ll compliment your birthday dress - without innuendo - and sing “It’s your party, you can dance all you like.” He’s going to compare you to a priceless masterpiece, a glass of lemonade and, best of all, “that good potato salad.” He’ll assure you that he loves your good-night kisses. His new album, “Forever Charlie,” stays aboveboard. Kelly, put him forward as a smooth player - a cliché that at this point would seem too sad and lonely for someone like Mr. His most hardheaded comeback record of recent years, “Charlie, Last Name Wilson,” produced in 2005 by R. Wilson, once the singer of the Gap Band, now an old-school talisman for Snoop Dogg, Pharrell Wilson, Kanye West and Bruno Mars, makes decent R&B records and remains a total treat as a live act in both cases, he reminds you of his past as an important link between the epic, chanting funk of the ’70s and the clipped, efficacious, electronic funk of the ’80s. Crooning Rat Packish ballads like “Make Someone Happy” and “Come Rain or Come Shine,” he can still suggest a junior Harry Connick Jr., accentuating emotional connection over vocal technique.
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Cullum has dodged most of the usual pitfalls, proceeding with respect (but not too much) and a spirit of license (within clear bounds). You could know just that much about the album and dismiss it out of hand, but Mr. 5, follows a spate of arena shows opening for Billy Joel.) “Interlude” has been marketed as his return to jazz, which is true insofar as its repertory skews heavily toward the American songbook, with spruce acoustic arrangements.
(His current tour, which reaches the Beacon Theater on Feb. Cullum, 35, has spent the last decade or so as the rare singer-songwriter to find big success at the crossroads of jazz and pop, equipped with his raffish charm, his limber voice and his uncorked energies onstage. “Too good to last.” Right: Don’t get too attached.
There’s an implicit warning in the title of Jamie Cullum’s standards album, “Interlude.” In case it needs spelling out, the title track - a Dizzy Gillespie tune recorded by Sarah Vaughan, before it became the bebop instrumental “Night in Tunisia” - opens the album with lyrics about an ardent but fleeting love.
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