Boz Scaggs - Detour
Prix habituel
€39,00
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Boz Scaggs - Guitar, Vocals [click here to see more vinyl featuring Boz Scaggs]
Seth Asarnow - Piano, Bass
Jim Cox - Piano on "It's Raining,"
Jason Lewis - Drums
Jeremy Cohen - Violin, Viola
String Arrangements by Jim Cox
1 LP, gatefold jacket
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Memphis Record Pressings
Label : Concord
Original Label : Atlantic
Recorded in 1969 at Muscle Shoals Sound Recorders, Muscle Shoals, AL,
Recorded by Chris Tabarez, J. Michael Rodriguez, Adam Muñoz
Mixed by J. Michael Rodriguez, Adam Muñoz
Produced by Boz Scaggs, Jann Wenner, Marlin Greene
Executive-Producer – Chris Tabarez
Mastered by Ken Lee
Lacquer cut at Take Out Vinyl by Jeff Powell
Originally released in September 1969
Reissued in December 2025
Tracks :
Side A:
- It's Raining
- Angel Eyes
- Once I Loved
- The Very Thought of You
- I'll Be Long Gone
Side B:
- Detour Ahead
- I Could Have Told You
- The Meaning of the Blues
- Too Late Now
- We'll Be Together Again
Reviews :
« Detour is Boz Scaggs' first album in seven years. It began as an informal series of demos on which he and pianist Seth Asarnow interpreted some of his favorite standards. They spent a few years casually recording the material with bassist Hans Trowsea, drummer Jason Lewis, multi-instrumentalist Jim Cox, violin and viola player Jeremy Cohen, and guitarists Michael Miller and Ashra Weston.
Detour differs from his previous standards outings, 1996's Fade Into Light, 2003's But Beautiful, and 2008's Speak Low. It's less formal, more intimate, and relaxed, whether the songs were made famous by Frank Sinatra, Lonnie Johnson, Ella Fitzgerald, or Irma Thomas. It also includes a jazz redo of "I'll Be Long Gone" from his eponymous 1969 debut album.
"It's Raining" is a classic NOLA soul ballad composed by Allen Toussaint penned for Thomas. Accompanied by piano, upright bass, and laid-back strings, Scaggs croons but his smooth baritone inhabits the lyric, as if he is the man with the loneliness blues. Revealing the dimension in this classy approach, Scaggs takes on the immortal "Angel Eyes" (written by Earl Brent and Matt Dennis). It's been recorded countless times since the 1930s, the most famous version being Frank Sinatra's. Scaggs' spacious vocal and bluesy arrangement imparts different shades of meaning. That said, his gorgeous reading of Antonio Carlos Jobim's and Vinicius de Moraes' "O Amor Em Paz" (Once I Loved) sensually weaves elegant bossa and chamber jazz. Influential early versions were recorded by João Gilberto and Elis Regina. It proceeds with an innovative read of Ray Noble's "The Very Thought of You" that borrows from Nat King Cole's recording but slides into its own lane thanks to intimate phrasing borrowed from Billie Holiday.
Scaggs' original recording of "I'll Be Long Gone" was redolent in soul-inflected blues, with a revue-style backing chorus and a rock band. Here, it's a jazz ballad with elegant pianism, elastic meter, and ambient space. When Scaggs sings, "I'm gonna get up and make my life shine..." it becomes an emotional reverie sans the revved-up horns and guitars. There are many versions of Sam Coslow's and Will Grosz's "Tomorrow Night;" it was bluesman Lonnie Johnson's signature tune. Scaggs slows it down as strummed guitars and tinkling piano reflect the emotion in the lyrics; and Scaggs digs into them with classy soul. Bobby Troup's and Leah Worth's "The Meaning of the Blues" has been famously recorded by Julie London and Miles Davis. Scaggs' read is highly original in phrasing, shade, and tone; it could easily appear in the soundtrack to a film noir. Closer "We'll Be Tgoether Again" was composed by Carl T. Fischer and Frankie Laine; its definitive version is by Tony Bennett. Scaggs begins reverently, then unveils the core of his iconic talent as a jazz-blues singer yet completely retains the song's trademark grace. Detour is easily Scaggs' definitive standards outing. While its charts are basic, the songs deliberately lean into his changing, yet still phenomenal voice and iconic phrasing. The depth of his interpretations here is unmatched in the 21st century. » AllMusic Review by Thom Jurek
Ratings :
Allmusic : 3.5 / 5 , Discogs :