On first listen this offering can seem to be a bright and breezy semi-big band outing that strays into the past. There are familiar tunes and sounds involved in these recordings. Then something fascinating begins to happen. The songs and arrangements begin to slowly reveal themselves and the listener then realizes the artist is filtering the foundations of his music through the lens and perspective of now. That is a subtler and different approach that many of the ‘standards’ artists use. I have often felt that many of these projects have been done by people who are tired of the album tour grind but need a product to fill the gap. It seems to happen usually after the 5th or 6th record by an artist that sticks around. Some, like Harry Nilsson or Willie Nelson do it brilliantly and honestly. Others, whom I will decline to mention, do it for career respite and cold hard cash.
The key to releasing music is incorporating the love in it. You always hear that in regards to a chef. The old line, “The extra ingredient in the recipe was love”. It is true, and nowhere is that more evident than on the new Mr. SuperFantastic record. This is a collection of classic songs done in a very engaging R&B big band style that clearly suits the performer. One of my favorite all-time songs is Billy Preston’s “Will It Go Round In Circles”. This performance is so rooted in R&B and its loose and greasy style that it promotes a freedom that Tyrone exemplifies with the reference to doing “The Hokey Pokey” during the intro. That is the kind of touches that appears to give the songs their edge. Another fine example is the take on the Hal David and Burt Bacharach classic “This Guy’s In Love”. The seventies version was dangerously close to Muzak, redeemed only by the songwriter's skill. You could make a case for or against that kind of tune and both sides could be correct. In the capable hands of this singer, he gives the tune a swaggering type of delivery that was absent from the original. Tyrone does not sound like he is asking permission, which was one of the flaws of the original Herb Alpert take on it.
There can be a little overkill involved when you attempt to do Sinatra. Fortunately taking on the master, in this case, is just fine. Tyrone is not trying to make everyone forget about the Sinatra version. He uses the piano-based arrangement and production style of Frank’s version of “One for My Baby”. He just gives the performance from the perspective of a singer who wants to sing great material. He knows what it was about Frank’s reading that made that song touch so many. He does not try and change what is great about the original recording. He embellishes that aspect. That is what makes this “Long Road” album (released on the Can Do label) such a nice record to spend time with.
