Take Me Anywhere

Marcus Goldhaber's second release shows the vocalist in a consistently controlled manner in terms of his phrasing, dynamic range, and tonal reticence. He's easily comparable to Chet Baker, Blossom Dearie, John Pizzarelli, Bob Dorough, or even Michael Franks in his understated approach to jazz vocals, very safe and predictable. This time around, he's combined love song standards with his own written material that speaks on the sensitive subject of romance without pushing any envelopes, yet at times he suggests new approaches to matters of the heart that speak in more contemporary terms. There's excellent musicianship here, especially the fine pianist Jon Davis, as much a partner and more than an accompanist. The very capable bassist Martin Wind and drummer Marcello Pellitteri are present, but sound like a sublimated afterthought due to the lack of dynamic presence of the material in general. There are times when Goldhaber mixes it up a bit, like on the wonderful, insular, criminal blues on "A Felony Called Love" where the singer is louder and a touch animated; "Look for the Silver Lining" with a modal chart from Davis and well-timed cymbal splashes advancing the old standard's modernity; or the sweet "Take Me," where two chords lay in luxury's lap, with a brief cameo solo from harmonicist Hendrik Meurkens. There's the slightly Latin tinged song of doubt "In the Oeuvre of the In-Between," the breathy but atypically upbeat samba "I Fall Apart," and a different arrangement in stealth, stalking darkness during "I've Never Been in Love Before" that depart from the conventional. Much of the rest of the material makes no demands, or is so laid-back as to lack any excitement or energy, though not reporting to lounge lizard status. These are the tracks where the excellence of Davis lifts the session beyond mundane, especially on the easygoing "The Walk," the loping 6/8 rhythm of "With Plenty of Money & You," and balladic "I Fall in Love Too Easily," where the pianist dresses his prettiest melody line in satin and lace. Goldhaber is a good, tonal singer, not at all unpleasant, but lacking a certain verve or heightened emotionalism above cooing and crooning to go past a smoky nightclub setting. ~ Michael G. Nastos, Rovi