Artist: Kurt Elling

Album: The Gate

Label: Concord Records

Among modern jazz singers, Harry Connick, Jr. and Michael Bublé have more name recognition, but it's Kurt Elling whom The New York Times has called the "standout male vocalist of our time."

Similarly, Christian publication Books & Culture has scratched its head "wonder(ing) why the gatekeepers of our culture never feature him on late-night talk shows." A onetime divinity student turned devout song stylist, Elling continues to deserve—and may achieve—that breakthrough with The Gate, a sophisticated new vocal album built on rich, creative, sometimes playful reinterpretations of classic tunes by Miles Davis, The Beatles, Stevie Wonder, and more.

Produced by Don Was (Rolling Stones, Bob Dylan), The Gate opens with an unexpected choice—a slow burning take on progressive rock band King Crimson's 1981 track, "Matte Kudasai," its title a Japanese phrase meaning "please wait."

Dialing down the original's busier guitar parts and defined rhythm, Elling sets an atmospheric, meditative jazz tone to complement the clear beauty and strength of his voice. Next, a swinging version of Joe Jackson's 1982 pop hit "Steppin' Out" offers a fun, distinct nod to Frank Sinatra.

On "Come Running to Me" Elling surprises again, transforming a 1977 Herbie Hancock fusion piece first sung through a robotic vocoder into a harmony steeped, sweetly melodic gift to his five-year-old daughter. A smoky arrangement of Earth, Wind & Fire's "After the Love Has Gone" from 1979 showcases a deep R&B vocal element one might not expect based on Elling's slicked-back white guy appearance.

Approaching the legends, the Chicago-born artist is duly respectful of The Beatles' "Norwegian Wood" as he beefs up into a piano-driven contemporary groove touched with a dash of scat. And there are layers of reverence as Elling takes his angelic instrument to new heights covering Al Jarreau's 1992 lyrical rendition of the landmark 1959 Miles Davis cut, "Blue in Green."

The Gate's coolest moments come when Elling matches his ingenuity with his inspirations. "Samurai Cowboy" is his vocalese reintroduction of "Samurai Hee-Haw," a 1985 instrumental for bass guitar by Marc Johnson now featuring the singer's funny and philosophical words that read like refrigerator magnet poetry. "Nighttown, Lady Bright" mixes new ideas with a spoken word excerpt from Duke Ellington's 1976 memoir.

Describing the latter selection, Kurt Elling said, "Part of being a jazz musician means investigating jazz history and not only remembering the beautiful parts, but conveying them in a way that helps people fall in love with the jazz idiom as well." For serious jazz fans and fringe listeners alike, The Gate makes that happen.

*This Review First Published 2/15/2011