Reviews of the Curtis Stigers in performance. Read what “the experts” are saying.
Curtis Stigers continues his sold out shows in the UK with the Ronnie Scott’s Jazz Orchestra. Click here to read a fabulous review of one of the shows.
John Fordham – The Guardian
Curtis Stigers, the early-90s pop star from Idaho who devoted himself to jazz when middle-age and the millennium arrived, ought to be the kind of comfort-zone artist that annoys the jazz hardcore – but he isn’t. Stigers sings lost-love songs, plays a little bluesy tenor sax, and winds up his sets with his old hit singles (like the 1992 soul-swinger You’re All That Matters to Me) that he knows a big percentage of his listeners have come to hear. But his respect for good lyrics, self-deprecating gags and shrewd use of his sidemen’s improv skills make him an artist of genuine class and laconic charm, if not a trailblazer. Stigers’s current tour promotes his new album Let’s Go Out Tonight – a programme he clearly regards as uncannily autobiographical, even though it’s his first in almost a decade without a single self-penned song.
Clive Davis – 4 stars
Midway through one song, Curtis Stigers’s microphone fell apart. Luckily, the number happened to be You’re All That Matters to Me, the blue-eyed soul hit that helped define his career a couple of decades ago, so his fans were able to fill in the lyrics without missing a beat. “It happened on the right song, at least,” he quipped, as he toyed with a recalcitrant cable. His stage manner is as droll and quick-witted as the very best stand-up comedian’s.
Wall Street Journal
July 29, 2011
By ANDREW MCKIE
When Curtis Stigers came on stage on Wednesday night it felt as if someone had upped the wattage in the bulbs. It ought to have been no surprise that Mr. Stigers is a competent turn on stage—this is, after all, a man whose first album sold more than 1.5 million copies. But I hadn’t quite been prepared for the sheer brio with which he tears into a crowd. The course of his career, and the chat I had had with him that morning, had given me the impression that this was a man backing away from the limelight.
The Rochester City Paper said this about Curtis at The Xerox Rochester International Jazz Festival:
“It was day No. 5 and did we ever kick it into overdrive. Curtis Stigers started off my evening at Kilbourn Hall. Opening with Arthur ‘Big Boy’ Crudup’s ‘That’s Alright’ with a brief stop at ‘Heartbreak Hotel,’ Stigers was all kinds of suave. His voice was sharp and seasoned — downright luxurious — and his phrasing was impeccable without being the least bit indulgent. When he wasn’t crooning tunes ‘genetically engineered to make you cry,’ he bopped heavy and cool on the sax. Serious class act here, folks.”
-Rochester City Paper, Rochester, NY
4 out of 5 Stars
* John L Walters (guardian.co.uk, Sunday 1 August 2010)
Middle age suits Curtis Stigers better than his long-haired youth. Immaculate in tie, suit and breast-pocket handkerchief, he is smack bang in fashion, making the kind of Blue Note post-bop to which 1960s ad executives sipped martinis. He comes across like an amalgam of Mad Men characters Roger Sterling and Jimmy Barrett.
STEPHEN HOLDEN, The New York Times
A lean, pop-jazz hipster whose buzz-saw voice, much like that of Tom Waits, slices away glib sentimentality, Curtis Stigers is not the usual sort of act one finds at the Oak Room of the Algonquin Hotel, although he has played there before. (The last time was five years ago.) Depending on your definition he is either a rock ’n’ roll jazz man who plays a honking saxophone that echoes his raw, craggy singing or a jazz-influenced rocker.