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While listening to this album’s opening track, “I hear the Great American Songbook compressed into a brilliant point of light,” said Walden Green in Pitchfork. Cameron Winter, the frontman of the rock band Geese, was just 23 when he took the stage at Carnegie Hall last December for a single solo performance in which he put away his guitar to accompany himself alone on a grand piano. The resulting album—and the concert film that’ll soon accompany it—may be exercises in mythmaking, but Winter earns his acclaim here. The more he strips down his sound, “the closer he gets to some platonic ideal of music,” and though his 2024 solo album provided most of his set, the three new tunes are “some of Winter’s very finest.”
Still, this record “might drive a further wedge between the believers and the skeptics,” said Mark Richardson in The Wall Street Journal. Winter’s “unusual” singing style is even more conspicuous here; if you can’t get past that, his gifts as a songwriter may escape you. Still, the album is inspiring “precisely because it’s challenging.” It’s fun engaging with music “that needs time to sink in.”
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“There seems no reason why Troye Sivan should still be a relative cult figure within pop rather than an actual multiplatinum star,” said Alexis Petridis in The Guardian. The fourth album from the 31-year-old Aussie native is packed with “very hooky” songs and evidence of his many A-list backers. They include Madonna, who signed off on his cribbing of a past hit for “Party,” a deadpan good-times anthem. But at least Sivan “seems to be using the space he occupies to his advantage, to push and experiment,” and to write lyrics “as unapologetically queer” as they are here.
She’s the Best is “easily his finest collection of songs to date,” said Craig Jenkins in NYMag.com. “On the surface, the album is an ode to women Sivan has called friends, collaborators, and defenders,” but it’s “perhaps more interested in unpacking the invisible strings of lust and yearning that drag Sivan off the couch night after night.” For now, club life answers his worries about failing to find a forever mate, and an array of producers help him connect to today’s “time-travel-pop wave” as he expresses those feelings. The effort leaves him “redefining himself from song to song.”
‘Dedicated to You’ by Branford Marsalis Quartet & Dianne Reeves
★★★
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The 1963 album John Coltrane and Johnny Hartman “will always remain sacred,” said Jim Hynes in Glide. But in Coltrane’s centennial year, saxophonist Branford Marsalis and singer Dianne Reeves have reinterpreted the most revered ballads album in jazz and made it newly stunning. “For so many of us who have grown used to Hartman’s warm baritone over countless listens,” hearing a new vocalist sing the same six standards “can be ear-bending.” But Reeves “wrings every drop of emotion from the title track,” delivers a “flawless interpretation” of “You Are Too Beautiful,” and teams with pianist Joey Calderazzo for an endearing “My One and Only Love.”
Marsalis and his quartet fill out the album with three Coltrane instrumentals, said Chris Pearson in The Times (U.K.). Still, “it’s those vocals that stay with you.” Reeves, to her credit, “becomes very much part of the band, embedded, one of the instruments.” On “Lush Life,” she does so by singing the intro alone, then stopping halfway through for solos from Marsalis and Calderazzo that “echo and expand on her initial vocal, as if they are her thoughts.” It’s an “exceptionally brilliant” take.
