NY Daily News Review
July 2009

Maxwell spent the last eight years in a creative coma, like R&B’s answer to Rumpelstiltskin. Weirdly, he wasn’t alone in his retreat. Two of the other leading lights of modern alterna-soul also went poof, including Lauryn Hill, who became too spooked by fame to risk recording another CD, and D’Angelo, who hasn’t been seen since we saw nearly all of him in his smash nudie video for "How Does It Feel."

Maxwell has said he used his sabbatical to clear his head and get a life. But it’s clear from his new CD, "BLACKsummers’night," he also used the time to woodshed something esthetically unique. While the Brooklyn-based singer has always put an original stamp on soul, never has he devised work of this invention or erudition.

The stop-the-presses result ranks as one of the most sophisticated rethinks of soul music since Marvin Gaye blew up the form in the early ’70s. That’s ironic, because Maxwell’s debut, 1996’s "Urban Hang Suite," found him compared ad nauseam to that earlier icon, and understandably so. Not only did he share Marvin’s diaphanous falsetto, both stars abstracted standard R&B melodies into something more ambient and free.

The latter pursuit got Maxwell into some trouble in his followup work. His melodies became increasingly diffuse; his attention to the mood overtook his focus on songs.

All that’s been corrected this time. The pieces still venture out there, but never to a point that fudges or bores. "BLACKsummers’night" offers that rarest of balances: It’s both embraceable and unbound. Maxwell has structured his songs like mystery stories. Each unfolds slowly and carefully. You can’t get a track’s full story unless you stay to the end.

The opening number, "Bad Habits," begins as a sensual soul ballad only to find its rhythm gathering speed and its funky bass intensifying. Later, Latin bongos rumble in, and further on, a horn section wafts in to deliver a whiff of cool jazz. In every track, instruments swell and fall like waves. One takes the lead in a given moment, holds back the next, only to return with an entirely new melody. Also, the instruments enter at varying velocities, tricking up the overall rhythm.

At times, the result recalls Van Morrison’s more daring pieces, with background and foreground parts trading places as they go.

In some older recordings, Maxwell paid so much attention to the interplay of his instruments, he lost his voice in the mix. Here, that never happens. Rarely has his falsetto sounded creamier. Never have his deep tones carried more masculine authority. Better, Maxwell navigates the distance between those poles with the agility of an aerialist.

As a performance, it’s a wonder to behold, especially given the complex music the star needs to make seem simple. There’s just one piece of news that could top all that: Maxwell has already recorded two sequel CDs, planned for release in as many years. We have a lot to look forward to.


http://www.nydailynews.co...night.html

Chicago Tribune Review
July 2009


After three sumptuous neo-soul albums released from 1996 to 2001, Maxwell dropped out from the recording industry for nearly a decade. While patiently piecing together enough music for what he promises will be a trilogy of albums, he fell in and out of love. That affair informs the first of his comeback discs, "BLACKsummers'night."

It begins with opposing questions: "Can you forgive me?" he asks in the first song; "How can you be so cold?" he mutters in the second.

In exploring the chasm between those two emotional poles, Maxwell explores his vulnerabilities and idiosyncrasies, while toughening up his sound. Darting horns and skittering bass lines frame allusive lyrics and slippery melodies. Once the creamiest of crooners, Maxwell is no longer just about whispery come-on's and feathery falsetto fights. His voice gains some grit, particularly on the pleading "Love You," and the tougher textures add an appealing dimension.

At its best, "BLACKsummers'night" evokes the complex late '70s albums of Marvin Gaye, when the singer was making his most deeply personal music, sometimes without regard to commercial considerations.

It's free of gimmicks (Hey, an R&B record without Auto-Tuned vocals!) or trendy producers (No Kanye, no Timbaland; instead, guitarist Hod David does most of the work). No wonder "BLACKsummers'night" walks its own confident path down the artier fringe of R&B.

http://www.chicagotribune...862.column

Los Angeles Times Review
July 2009


The best way to listen to Maxwell's new "BLACKsummers' Night" is with the volume turned all the way up. The R&B artist didn't take a turn toward heavy metal during the eight years he's spent between releasing albums; this one, like his previous three, is full of meditative jams written on the continuum between ardor and heartache.

But as genteel and deceptively traditionalist as is Maxwell's veneer, he's always been bent on taking urban music forward: he just takes obsessively careful, small steps, best appreciated through close attention.

And he believes, passionately, in dynamics. Many of the songs on "BLACKsummers' Night," the first part of a trilogy Maxwell plans to unfold over the next few years, are structured around a short musical phrase, played on a keyboard or guitar, on which everything else loops and builds. (Doesn't that sound like Radiohead's approach? That's an inspiration Maxwell has cited in interviews.)

These details are different than the hooks usually heard on the radio. They don't grab; they're not compressed for maximum brightness. Sometimes one recedes and another momentarily dominates -- a horn line might burst through, or a kick drum completes the thought of a bassline.

Maxwell's vocals move in conversation with these elements, growing into the space above and around them. He sings about relationships -- many songs here are about a cherished but disappointing love affair -- and the music replicates the experience of an intimate connection, its ebbs and surges, its sometimes frustrating turns.


Compare this sound to the showiness of other current urban hitmakers, like Jeremiah or even the more laid back Trey Songz. Those singers telegraph their moods, whether they're getting down or opening their hearts. Their music is meant to be catchy and quickly absorbed. Nothing wrong with that, it's just not Maxwell's approach. Even when he's not too proud to beg, he stays true to his own internal clock, timing his pleas as they might unfold in real time instead of on the stage of pop seduction.

This doesn't mean Maxwell isn't a great seducer. He's known as a ladies' favorite and purveyor of "baby-making" soundtracks, and many songs here, whether the directly seductive "Stop the World" or the mournful but still sexy "Pretty Wings," drip plenty of candle wax.

But let's give Maxwell's female fans a little credit for intelligence. His music is libidinally compelling because it is complex. Following the example of his acknowledged influence Al Green, Maxwell's singing teases out the subtle gradations of feeling in a lyric -- even a dubiously "poetic" one like, "Hell hath no fury like the flurry of your snow" -- to express how sexual joy intertwines with loneliness, or anger at a love lost collides with guilt and self-loathing.

"BLACKsummers' Night" spends much time exploring those less comfortable emotions. For all the talk that Maxwell's covered in thrown panties wherever he walks, he often sounds somber, resentful and wrecked. Pop doesn't get much more desolate than "Playing Possum," an elegy for a sweetheart who's literally departed. And "Fistful of Tears" is a plea for mutual catharsis that's so raw it almost fails to communicate.

Maxwell promises more hopeful fare on his next installment, and overall "BLACKsummers' Night" does seem like the first movement in a larger piece that won't offer total satisfaction until it's completed. Still, for those who like their pop delicate and unapologetically deep, this is one for turning up loud and wallowing.

-- Ann Powers

Link

Sun-Sentinel Review
July 2009


The buzz: Like D'Angelo, Maxwell was one of the smooth, smart guys giving neo-soul, whatever that is, a good name in the '90s. Then he disappeared following the release of his most-successful album, 2001's No. 1-debuting Now. BLACKsummers'night, which was recorded with a live 10-piece band, is easily one of the more anticipated records of the summer, at least among listeners in the mood to get down and get funky. Oh, yes: Maxwell's afro is gone now, if you care about that sort of thing.

The verdict: Sympathetic listeners have to hope Maxwell gets everything he wants, but when sorrow and loneliness is this affecting, you also kind of root for him to stay solo.

Few modern singers put so much soul and feeling into such righteous grooves, as he often focuses on regrets, forgiveness and women he lost or never had. Maxwell's lyrics aren't always on par with his voice — on Cold he sings, "Global warming ain't got nothing on this chick" — but everything is delivered with such wonderful falsetto-based yearning that it barely matters. Plus, the arrangements now feel more like songs than vamps. From the juicy, brass-punctuated opener Bad Habits to the surprisingly funky Love You to the ode-to-bad-timing lead single Pretty Wings, these are either sex jams for summer lounging and spiked lemonades, or for a hormone-laden picnic that's about to get very, very interesting.

Did you know? This album is only the first in Maxwell's planned trilogy, which will be completed with blackSUMMERS'night in 2010 and blacksummers'NIGHT in 2011. According to press materials, "BLACK is a much darker but soulful compilation, SUMMERS' leans more toward the gospel side and NIGHT is more a cool collection of slow jams."

http://www.sun-sentinel.c...4995.story

Purchased the album over lunch today. Fantastic!!. Really enjoying it. God, it's great to have Maxwell back.

Didn't buy the Deluxe version, since the extras were interviews and videos, not additional music.

I'd highly recommend this, either verison.

coltrane3 said:

Ditto...I just need music, and heck, in this economy Im guarding my dollars with a seriousness. If this weren't Maxwell, I wouldn't have been shelling out at all!
Anyway, I picked it up mid day and just had a chance to listen to it through now, settled at home. It's a winner. I don't think I can rank it yet compared to Urban or Embrya, but it is certainly worthy of their company.

He really appreciates and uses his band well. I have always felt and this record reinforces, that I could take a "maxwell" album even without his gorgeous voice. Great musicality on this record. Heck, the non vocal phoenix rise is one of the best tracks on the album. My "ranking" of the tracks:

Stand outs: phoenix rise, bad habits, pretty wings, fistful of tears
very good: cold, stop the world
good: playing possum
lukewarm: help somebody, love you

A couple of other random thoughts. It is a really short record for Maxwell, just 38 minutes. I found the liner notes to be really "polished" with all of the photos, which is kind of different for him.

All that to say, Im going to enjoy this record.

I just finished listening to it...Classic Maxwell..great album..if this is part one of a trilogy..I cant wait for the next two

The deluxe was only $2 more at Best Buy, so I got that.

I agree with you guys, I normally don't spend the extra money. I think the last time I bought a deluxe version of a CD was Duran Duran's "Astronaut" in 2004.

Awww:

to all of you who went and got the RECORD.... thank you... from the bottom of my HEART...

about 1 hour ago from TwitterBerry

mcw00 said:

I thought every song was great. Seriously, not a weak song.

My favorites are Stop The World, Fistful of Tears, and I think Playing Possum is outstanding. Love the horns. But, it's all good.

Again proving what I always say, quality not quantity. I like it only being 9 songs. It all holds together.

YES!!!!!

My first listen after buying the cd/dvd combo today for $11.99 at Dimple Records.

Maxwell gets it.

Thank you to Maxwell for moving me this am.

Thank you to Maxwell for making some real music that I feel - without silly gimmicks or compromise.

The bass is moving - his falsetto is perfectly on pitch. The lyrics are thoughtful and thought-out. Chris "Daddy" Dave is killing the drums - especially on Stop the World.

Harmony!

SOUL!

I agree that I love the idea of only 9 songs...remember this is part one of a three part trilogy..A nice little tease of what to look forward to on album number two..hey at $8.99 I cant complain...Cant wait to see his show in Albany in a couple of weeks

Wow.....maybe I need 2 listen again. This is the best he can do after 8 years?

Graycap23 said:

That's what I'm saying. I have listened to it twice and I'm not that impressed with the set.

daPrettyman said:

Not even a lil.....below average.

Quote:

Columbia R&B star Maxwell’s BLACKsummers’night, his first new release in eight years, since 2001’s Now, has an excellent shot at debuting at #1 next week on the HITS’ Top 50, with a total that looks like it will reach between 275-300k.

Nick715 said:

That's if MJ doesn't beat him (at least in the digital realm of things).

I bought the Deluxe edition. This album is weak. Its only saving grace being the high caliber of musicians playing on the album. Bad Habits, Cold, and Pretty Wings are the only keepers (along with the instrumental Phoenix Rise). BLACK proves to continue down the slippery slope NOW (also less than stellar record) started. I'd say his albums by importance would go:

Embrya
Urban Hang Suite
Unplugged EP
Now
BLACKsummers'night

I hope blackSUMMERS'night will be a little better than the first disc, because I am totally disappointed.

Robert3rd said:

Interesting you say that. I didn't like Embrya at all. I've pulled it out over the years and still cannot make it through the whole thing. I still think his debut and the Unplugged cd are his best efforts. I didn't like "Now", but I thought it was better than "Embrya". So far, Blacksummer's night is horrible to me.

Its not Embrya (my favorite album of his)..but i didnt expect it to...I'll admit that i set my expectations kind of low and was pleasantly surprised, but weak?..Its the same vibe, Sweetback isnt the in studio band, but it still sounds like classic Max to me..and for him to stay true to form after 8 years is saying something..average to your ears ok..but weak?...There was no way to expect another urban hang suite

I think all of Maxwell's stuff is good, with this album being no exception!

My Favorites

Pretty Wings- I was nervous a couple years ago when the snippet came out because I didn't think he could top it. I don't think he did. This is one heck of a song. It might be his best song yet.

Stop the World- Smooth as can be.

Love You- Cut from the same cloth as "No One" from 'Now.' Dig it.

Help Somebody- Reminds me a little of 'What's Going On?' This one is growing on me.

Fistful of Tears- Prince inspired. I like the lovesick feel of it.

Bad Habbits- Any song with the line "I feel you from the floor to the ceiling. Girl I feel you when you comb your hair" is gold.

The So-So songs:

Playing Possum- Cool song. Sounds like a demo. I guess I'm used to glossy production on Maxwell's albums.

Phoenix Rise- Pretty cool instrumentsl.

Not Feeling It:

Cold- This one hasn't grown on me yet.

SavonOsco said:

"Classic Max"? Has he been around that long to be considered "classic"?

Man, the only bad thing about this album is that it's super short. Otherwise, it's outstanding. Loving 'BadHabits', 'StopTheWorld', 'FistfulOfTears', and of course 'Pretty Wangs' ; but the whole album is superb. Why didn't he just make a 3-disc set instead of making us wait another full year for the second disc and another two years for the third? Oh, well, if they're anything like this one, I won't be all that upset with the wait.

I just got through listening to this album again and it is not all of that to me. It's average at best.

daPrettyman said:

MJ won't beat him, because of Billboard's rules. MJ can only be on the Top Catalog sales, not the BB 200.

daPrettyman said:

OK, can u leave my thread now? I hate when people feel the need to post their negative reviews over and over. U don't like it, please move on. Thanks.

daPrettyman said:

I agree. Compared to his older stuff, this is pretty average, but it's better than 98% of what's on the radio nowadays, but that's just my opinion. He seems to have grown up a lot more than I was expecting, so I really wasn't expecting this album to be anything close to his other releases because this is a different, more mature man. But, it will never beat 'Fortunate', 'Til The Cops Come Knockin', 'Woman's Worth, or 'Whenever, Wherever, Whatever', but it's nice....I do miss the hair though.

estelle81 said:

People say the same stuff about Prince, Duran Duran, Mariah Carey, etc. As fans we have our old favorites,the new stuff is not going to come close in most cases. Just the way it is.

Can't people just be happy that artists they admire are still recording?

Nick715 said:

The difference between Maxwell and the people you mentioned is that the other artists have released a LOT of albums. Maxwell only has 4 previous projects.

For some reason, I feel that Maxwell is not a "music machine" like Prince or some others. His first album was supurb and had audiences singing every lyric within a week of the album's release. His other projects didn't garner the attention like his debut did. I know the guy is trying to be different,but his b-sides from the first album outshine a lot of stuff on the last 2 albums.