Review

Jeff Goldblum, that most mercurial of Hollywood treasures, has once again swapped the silver screen for the ebony and ivory with his latest offering, "Still Blooming," alongside his now-established musical companions, The Mildred Snitzer Orchestra. This fourth studio album arrives as a delightful spring bouquet in an increasingly frosty cultural landscape. From the moment the needle drops, one is transported to a dimly lit jazz club somewhere between 1950s Manhattan and Goldblum's own gloriously eccentric psyche. The actor-pianist, now comfortably ensconced in his musical persona, exudes a confidence that permeates every track. The album opens with a positively effervescent rendition of "Cantaloupe Island," where Goldblum's fingers dance across the keys with unexpected dexterity. His playing is neither technically flawless nor particularly revolutionary, but it possesses something far more valuable – genuine joy and enthusiasm that prove utterly infectious. Throughout the collection, Goldblum's musical director, John Batiste, has crafted arrangements that showcase the orchestra's considerable talents whilst providing enough space for their famous frontman to express himself. The brass section, in particular, delivers performances of remarkable vigour and precision. Guest vocalists appear strategically, including a rather splendid duet with Gregory Porter on "Straighten Up and Fly Right" that somehow manages to sound both reverential and refreshingly contemporary. Elsewhere, Goldblum's whispered asides and characteristic vocal interjections punctuate the proceedings with charm rather than distraction. The album's emotional centre arrives with a surprisingly tender interpretation of "Autumn in New York," where Goldblum demonstrates genuine sensitivity at the keyboard. Here, one catches glimpses of a musician who has moved beyond mere celebrity dabbling into something approaching artistic sincerity. Not everything works quite so splendidly. A somewhat overambitious take on "Take Five" feels unnecessarily cluttered, and occasionally one senses the band compensating for their leader's technical limitations. Yet these moments are few and far between. "Still Blooming" succeeds precisely because it embraces Goldblum's peculiar charisma rather than attempting to disguise it. This is jazz filtered through the prism of personality – unorthodox, occasionally bewildering, but thoroughly engaging. One leaves the album with the distinct impression that Goldblum's musical journey is neither gimmick nor vanity project, but rather the continuation of a genuine love affair with jazz. Much like the man himself, this collection is idiosyncratic, slightly mad, and utterly, gloriously entertaining.

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