Buy Leslie's debut album here (Amazon UK)
Read my review of his new album, Simply Christmas, here (MyFestivePop)
For all my love of Hamilton (the smash Broadway musical - finally coming to UK next November) and my admiration for the stars who bought the characters to life in such a vivid way on the soundtrack CD, I somehow missed that Aaron Burr, Leslie Odom Jr, had a solo debut album out. Luckily, my dedication to Christmas music means I discovered not only his flawless seasonal contribution (see review link above) but also found a link to his eponymous debut album, Leslie Odom Jr, on the purchase page for Simply Christmas. Leslie has the type of voice that seeks out the emotion of the lyrics and presents it with nuanced understanding to the listener. He performs with a quiet dignity that pays deference to the words he sings, the melodies he guides yet is never lacking in power or emphasis. And he is at one with the instrumental that accompanies him, producing a symbiotic relationship that relies on each other to bring out the message of the song in the very best way. It is no wonder this debut album is named after the man himself - it feels very much a personal, intimate affair that reflects the suave, sophisticated nature of one of this generation's finest voices. Words written here won't come close to doing the album justice, but I will persevere for my own posterity of albums I have fallen irrevocably in love with...
The album opens with Look For The Silver Lining. It is the perfect introduction both to the voice of Leslie and also the style of music he embraces. A lovely, languorous jazz score, including a shuffling percussion and stunning piano riff, wraps his voice in a vibrant instrumental that enhances each word he sings. His voice is mellifluous magic, imbuing the song with a glorious sense of hope yet keeping just the slightest touch of wistfulness that hints at the sorrows in life that make songs like this so very necessary. Backing singers come in towards the end of the track, like rays of sunshine through a cloudy sky, brightening the song and elevating your spirits as the listener begins this sumptuous album journey. Joey Joey Joey provides a more stripped back setting for Leslie, yet no less compelling. Once again, we are treated to gorgeous piano that cocoon his voice in cascading notes that are like raindrops falling down a window pane - a perfect setting for this reflective song. This falls away for a prominent percussion, enabling Leslie to guide the melody like a captain of a ship - firm hand on the rudder as he breathes life into his poignant reminiscing and sharing of life's lessons. He's a masterful narrator of other people's words with an insightful ability to make them sound like they were always meant for him. It is one of the joys of this album. This continues on Autumn Leaves. Here the vivid score crafts lucent images that feel like a crisp October morning, juxtaposing the beauty of the music with the melancholy in Leslie's voice. He's perfectly captured that feeling when you are lost in a thought, memories swirling in your mind as you transfix on the ruminations of times gone by. The listener is a willing passenger to his thoughts whilst his smooth tones elicit your own stirring memories.
Brazil introduces some Latin flavour into the jazz soaked music, making this a fiesta you won't want to miss out on. Playful piano dances alongside bossa nova rhythms, making you want to grab the one you love and shimmy. And if there is anything more seductive than Leslie's voice in this song, I'd be hard pressed to pin point what that was right now. Leslie has a skillful ability to segue between tempos without skipping a beat, something he does so easily as he sings Love Look Away. His impassioned pleading on the song is his most emotive vocal thus far on the album (quite something on an album filled with dynamic performances). The timeless nature of the music is well suited to a voice that is one for the ages. You are left reassured that this is a song that will sound as wonderful and have as much resonance in twenty five years, fifty years as it does today. I love that in the musical, Flower Drum Song, this is sung by Helen - and Leslie gives the lyrics a new point of view by singing so sweetly from a man's perspective. Next up is Nobody Knows You When You're Down and Out. This classic song gives Leslie the opportunity to be his most elegiac and gracious; the lyrics are all about being down on your luck yet still knowing that there is a way out of it if just given the chance - and the piano accompaniment caresses Leslie's voice making this an exquisite balance between poignant regret and eternal optimist. It is one of the finest versions of the song I've ever heard and a favourite on this album full of highlights. The Guilty Ones is best known as the opening Act II song from spectacular musical, Spring Awakening. An organic instrumental that feels like heart and soul manifest gives Leslie a backdrop for an earnest, honest vocal. He doesn't just sing the words, he draws from his own experiences, his pains, his pleasures to give the listener the type of sincere singing that gives them an instant and irrevocable connection to the song. It may be melancholy but from this comes beauty and it is a joy to listen to.
I Know That You Know is a Nat King Cole song, one that is in safe hands with Mr Odom. It is like the passing of the torch from one generation to the next with Leslie now being the curator of this song, introducing it to a whole host of new people. There is a reverence to the original version that can't be denied but the rousing feelings emitted through Leslie's performance, combined with the crescendoing music, make this a glorious new version that makes you want to stand up and applaud. An extended (and breathtaking) piano middle 8 really allows the song to breathe, holding the listener in rapt attention. Cheer Up Charlie is a lilting lullaby that gives the impression that Leslie is the older, wiser him singing to his younger self - or maybe just imparting that knowledge to any young person struggling to find their way in the world. The charming, serendipitous way he sings "just be glad you are you" is an aural hug we all need from time to time - and in a world that is still belittling minorities from all works of life, just as relevant and important a message today as it was when written. And then the album comes full circle with final track, The Party's Over. If the opening number was the start of a journey filled with expectation, soul searching and hope, this song is the chance for you to reflect on what you have learned about yourself and immerse yourself in one final, magnificent, opulent piece of musical mastery. This has been one spectacular ride and the type of album you should dig out every time you need a glimmer of sunshine in your life. Sir, you have excelled yourself and I couldn't be more grateful.
Top 25 songs of the week:
25 ~ Sophie Ellis Bextor, Crystallise (NE)
24 ~ Roxette, Why Don't You Bring Me Flowers? (NE)
23 ~ The Summer Set, Figure Me Out
22 ~ Bright Light x2, Symmetry of Two Hearts
21 ~ Michael Buble, Nobody But Me
20 ~ Michael Buble, I Believe In You (NE)
19 ~ Pet Shop Boys, Burn
18 ~ Fitz & The Tantrums, Hand Clap
17 ~ Debbie Gibson, Wonderland
16 ~ Tom Chaplin, Quicksand
15 ~ Louisa Johnson, So Good
14 ~ Christie & The Dreambeats, Learning To Dance Again
13 ~ Sean Smith, Turn Me On
12 ~ Bright Light x2, Little Bit
11 ~ Olly Murs, Grow Up
10 ~ Mans Zelmerlow, Hanging Onto Your Love
09 ~ X&Y, Secrets
08 ~ The Heydaze, Hurt Like Hell
07 ~ DNCE, Body Moves
06 ~ Fitz & The Tantrums, Roll Up
05 ~ Maroon 5, Don't Wanna Know
04 ~ Jakil, Truth Is
03 ~ Little Mix, Shout Out To My Ex
02 ~ Paul Varney, Kiss and Make Up
01 ~ Robbie Williams, Party Like A Russian (3 weeks)
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