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Let's Go Out Tonight

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Album Review

Having previously covered the likes of Ron Sexsmith, Dan Zanes, and Annie Lennox, Curtis Stigers has never been one to rely solely on the Great American Songbook classics, but Let's Go Out Tonight, his tenth studio album, and seventh since his effortless jazz-man reinvention, arguably features the most eclectic selection of material in his career. Not that it's entirely apparent on first listen. Its ten tracks may take in everything from wistful alt-country (Hayes Carll's "Chances Are"), vintage Stax soul (Eddie Floyd's "Oh, How It Rained"), and even atmospheric dream pop (the Blue Nile's title track), but their similar organic production and achingly slow tempos mean it takes some time for their charms to sink in. A country-tinged rendition of Dinah Washington's "This Bitter Earth" provides the highlight, Stigers eschewing his bluesy growl for an impassioned soulful delivery which recalls his early-'90s commercial heyday, while the bittersweet jazz-blues of "Everyone Loves Lovers" (the only original composition), the gentle waltz of Richard Thompson's heart-breaking "Waltzing's for Dreamers," and the suitably mournful take on Steve Earle's harrowing "Goodbye" prove that this is by far his most melancholic offering to date. A few less sedate numbers wouldn't have gone amiss, with only the organic folk shuffle of Bob Dylan's Oscar-winning "Things Have Changed" managing to crawl beyond a snail's pace. But while there are moments of monotony, Let's Go Out Tonight is still a well-crafted, if undeniably slow-burning affair, which impressively shies away from the usual familiar standards. ~ Jon O'Brien, Rovi

Customer Reviews

Well done!

I'm a fan of Dylan, Tweedy, Earle, Crowded House, Blue Nile, and the other artists Stigers covers. One thing I like about them is how unique they sound. But a lot of people can't take the unique singing styles and prefer more technically proficient. Not me. That being said, Stigers brought stunning technical singing AND an emotional delivery that enhanced these songs. I was afraid of schmaltz, or a pop sheen. Instead I got honest interpretations of songs that, frankly, were not my favorite of any of these artists. Yet the delivery - musically and vocally - won me over. It is so rare for me to listen to music with breathing room these days. The production stayed away from studio tricks, and the musicians held back. There is a lot of room in this music. (Producer deserves a lot of props here). A few times, Stigers' delivery caught me for guard with how controlled, quiet, and strong it could be all at once. Brushes on drums, upright bass, clean guitar, well chosen placement of horns and piano, make this music so enjoyable to true musicians. This is a great example of how satisfying it can be to hang back, relax and let good music just roll on. I hate to say it like this, but it feels like a male counterpart to Norah Jones. I just like this entire collection a whole lot better than any of hers. It is consistently strong.

Good Sounds

Have always liked Curtis's music and this does not fail me


im a new fan and this is a great album! well done!


Born: October 19, 1965 in Hollywood, CA

Genre: Jazz

Years Active: '80s, '90s, '00s, '10s

Singer/songwriter Curtis Stigers' interest in music began as a teen in Boise, playing in punk and blues bands as well as receiving classical training in clarinet and saxophone in high school. After graduation, Stigers moved to New York to pursue rock music, but soon found himself more at home in the city's blues and jazz clubs. He attracted label attention as the saxophonist/vocalist of a jazz trio, signing a deal with Arista and releasing two albums for the label: 1991's self-titled, multi-platinum...
Full Bio