Jamison Ross' sophomore full-length album, 2018's
All for One, is a joyous and heartfelt production that builds nicely upon his eclectic, Grammy-nominated 2015 debut. The album also still finds him doing double duty, singing and playing drums; the latter talent being the one that earned him a first place win at the 25th annual Thelonious Monk International Jazz Competition in 2012. Certainly,
Ross holds his own as a drummer here, largely eschewing flamboyant displays of technique in favor of supplying steady rhythms and nuanced brush work. However, as with his debut,
All for One is primarily a showcase for his highly resonant and soulful vocals.
Ross grew up singing in church, and his music reflects this robust, spiritual influence. Joining him again is essentially the same outfit who recorded his debut, including guitarist Rick Lollar, pianist Chris Pattishall, organ player Cory Irvin, and bassist Barry Stephenson. Together, they play a vibrant combination of jazz, gospel, and R&B. There's also an added New Orleans funk-and-blues flavor as evidenced by the lively, party-ready opening track "A Mellow Good Time." Originally penned by
Allen Toussaint for
Lee Dorsey, the song works here as
Ross' mission statement; a proclamation of the goodness to come. It's a vibe they return to throughout the album, with Lollar's twangy guitar licks and Irvin's juicy organ patterns supplying a tasty stew for
Ross to play with, both as a vocalist and a drummer. Elsewhere, tracks like "Safe in the Arms of Love" and "Call Me" are sophisticated, groove-oriented anthems that bring to mind the classic style of artists like
Al Jarreau,
Stevie Wonder, and
George Benson. Similarly,
Ross finds his own distinct route through standards like the romantic "Don't Go to Strangers," "My Ship," and the swinging, poetic
Mose Allison number "Everybody's Cryin' Mercy." There's also a deeper, more personal feeling to many of the songs here, as if
Ross is truly trying to connect on a one-on-one level with the listener. It's a feeling he most potently conveys when looking inward, as he does when addressing his daughter on the sweetly poignant, folk-inflected ballad "Away." He sings "And every time I leave you with a kiss goodbye, you say 'Bye, Bye, Daddy.'/It makes me want to cry." It's these personal, yet universally relatable touches, combined with
Ross' and his bandmates' warm sense of jazz-informed interplay, that help ground
All for One. Consequently,
Ross has crafted an album that feels both wondrously virtuosic and tangibly intimate. ~ Matt Collar