Jazz and Blues Report (July/August 2021): Review of Steele in Love

KEN STEELE - PETER CURTIS

Steele in Love BELLA BARKTALK RECORDS

90-year-old crooner Ken Steele combines with guitarist Peter Curtis on this album of love songs. Steele was born in Winnipeg, Manitoba, where he started singing in clubs and radio before moving to Toronto. In Toronto, he became an in-demand singer and regularly appeared on numerous CBC radio and television programs and nightclubs around the city. As musical tastes changed to rock and roll, Ken began writing for tv and radio and eventually moved to LA.

He worked on some sitcoms and won an Emmy writing for Shari Lewis and Lambchop. In 2002, Ken moved to Palm Springs and began singing professionally again. Guitarist Peter Curtis has performed internationally. As a jazz guitarist, he has performed or recorded with no- table jazz and blues musicians, including Claudia Acuna, James Carter, Freddy Cole, Taj Mahal, Barbra Morrison, and James Moody. As a classical guitarist, Peter has given recitals in the U.S. and Canada. The two are joined by bassist Baba Elefante whom Curtis has played with for years.

Listening to this recording, I would not believe Steele was 90 or so when they were in the studio. He sings in a soft, enticing manner with Curtis accompanying as well as playing solos that illustrate his facility and invention. Elefante provides a rhythmic center. As indicated by the album title, this album of love and romantic songs is delivered straightforwardly. This starts with the opening track, a rendition of “Speak Low” with a Bossa-influenced accompaniment and marvelous soloing. Then there is a charming, world-weary treatment of “Don’t Worry ‘Bout Me” and a fresh take on “The More I See You.” There is a nostalgic interpretation of “Darn That Dream,” the precious romanticism of “My One and Only Love,” and “It Could Happen With You,” with a dazzling guitar solo.

Crooner is an apt description of Ken Steele’s vocal art with the warmth he imbues the performances, as well as his relaxed phrasing and interpretive skills. The performances are gems, although the somewhat sparse backing and the narrow range of tempos of the performances make this a recording that might be enjoyed best listening to a few selections at a time, rather than through an entire sitting. Still, there are considerable rewards to listening to these performances. Ron Weinstock

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