Blacksummers'Night

Eight years on and the very talented Maxwell is back. He has a new look and a slightly new sound and this initially made me nervous because in my view if something is working then don't tamper with it. But I guess with maturity comes evolution and the result is a fairly short album but one that grows each time you play it. As you would expect from a Maxwell CD, the tracks are dreamy, smooth and soulful and I would be hard pressed to choose a favourite. I also think its genius to end the album with a funky instrumental, which should feel out of place but works very well. I'm pleased this is the first of a trilogy because I very much look forward to parts 2 and 3. A welcome return!

I discovered this album while listening to around 20 albums of various genre on a long haul flight, and I bought it as soon as I got home. I'd never heard of Maxwell, despite having had a liking for soul music since my youth. There were shades of Lynden David Hall on some tracks, one of my old favourites who sadly died young a few years back.

This album sounds like it features top notch session musicians with plenty of brass, piano and great clear, crisp vocals by Maxwell on all tracks. So it's time for me start buying the back catalogue I reckon, and look forward to getting the second part of the Black Summers Night Trilogy when it is released. This is an outstanding album for lovers of soul music.

The cover photograph in black and white indicates that much has changed in the years since 2001's 'Now', and fans might well wonder if the markedly changed physical appearance captured on the cover is likely to be reflected in the music to be found on this album.

Arguably the answer is 'yes'. Lasting just 37.26 the music is like the photograph, lean sounding and shorn of unneccesary production flourishes. The opener 'Bad Habits' opens with the reassuringly familiar Maxwell vocal hovering over a sustained keyboard note before descending to caress over a gradually developing organic groove. Fans of the 'Urban Hang Suite' will recognise the soundscape, but will note the live playing which ends with a delightful instrumental coda featuring the light touch trumpet playing of Keyyon Harrold. Fans familiar with the work of Roy Hargrove and Russell Gunn will likely hear echoes of their work too.

This continues with 'Cold', where Maxwell's voice is married to a searching percussive groove again featuring the notable melodic trumpet work of Harrold. 'Pretty Wings' is instantly recognisable as the standout melodic song on the album, and may well serve as the most commercially viable way for fans unfamiliar with Maxwell to engage with him, supported by the fact that this was the song performed by him at the 2009 Black Entertainment (BET) Awards. 'Help Somebody' is the most obviously rock influenced track, and whilst it might not appeal immediately it has an undeniable quality that will seduce the ear over time.

There are a few moments where the musical and vocal direction do not marry so well - 'Love You' features a prominent drum track that doesn't quite fit the apparent sentiment and vocal line, and 'Fistful of Tears' (despite the arresting title) is notable for the inclusion of lead guitar work (however brief), an instrument that appears to have been resolutely abandoned by many contemporary black artists in their work in recent years. Another indication, perhaps, that the musical pallette being presented here (howsoever sparse) is wider ranging in its musical references.

The album concludes with the instrumental 'Phoenix Rise', which initially stands uncomfortably with the music preceeding it, especially given the prominent synthesised introduction.

Considered as a whole the overall of quality of the work is enough to ensure that it remains musically and lyrically superior to much of the material that is afforded the label 'Urban Music'. It has steadfastly (and quite unsurprisingly) avoided slavishly following the latest musical production techniques, and will perhaps enjoy less commercial success as a result.

Intriguingly, this is apparently projected to be part of a thematically linked trilogy of albums, and it remains to be seen how the work featured here will link or inform the material to follow, and how the later work may help contextualise the former. This might be especially true for 'Phoenix Rise'.

Overall this is a welcome release from one of the most intriguing of contemporary black artists.