record reviews

PJ Morton

Album: “Gumbo”

Grade: B

PJ Morton may be the keyboardist for pop-rock band Maroon 5, but he returns to his New Orleans musical roots on his new solo album.

Morton, who joined Adam Levine and friends in 2012, meshes an easy-flowing sound of contemporary soul with gospel elements on “Gumbo.”

His fourth offering is a short listen, lasting less than 30 minutes. But in nine tracks, he takes advantage of every last second, speaking on various topics, from love to religion.

On “Claustrophobic,” Morton sings and raps about being musically stifled after someone suggested they wanted to tinker with his sound because he wasn’t “mainstream enough.” With horns blaring, he answers with the follow-up track “Sticking to My Guns.”

The rest of the tracks are just as enjoyable as Morton continues to raise his musical talents to another level.

—Jonathan Landrum Jr., Associated Press

Robert Cray

Album: “Robert Cray & Hi Rhythm”

Grade: B+

Robert Cray teams up with the Hi Records rhythm section for a Memphis stroll of soulful sounds and evocative songs. Working with drummer and producer Steve Jordan, Cray soaks up the character of the room for a set led by his expressive vocals and classy guitar licks.

“Robert Cray & Hi Rhythm” opens with a cover of “The Same Love That Made Me Laugh” from Bill Withers, as the steady sparkles of Jordan’s hi-hat immediately harken back to the famous Hi sound.

Tony Joe White adds guitar and harmonica to a few of his own compositions — “Aspen, Colorado” is a passionate burner in the mold of his own classic “Rainy Night in Georgia,” while “Don’t Steal My Love” is deeply funky near-psychedelia.

Cray only takes three writing credits on the album but makes some wonderful and distinctive choices on the rest. They include “I Don’t Care” by Sir Mack Rice — who wrote “Mustang Sally” — and a split take on “I’m With You,” written by guitar hero Lowman Pauling of The 5 Royales.

After getting the vocals out of the way on part one, Cray closes the record with an extended, searing solo on part two.

—Pablo Gorondi, Associated Press

Joan Shelley

Album: “Joan Shelley”

Grade: B

“Joan Shelley” reflects the beauty of simplicity.

On her self-titled fourth album, Shelley is often accompanied only by acoustic guitar as producer Jeff Tweedy wisely puts the spotlight on her luminous dimming-of-the-day alto.

More than ever, the Kentuckian explores the connection between the British folk tradition and Appalachia. This is music found on a pub crawl, or on a porch overlooking the Blue Ridge Mountains. Half of the songs were recorded on the first take, and the result is a relaxed mood throughout.

Shelley’s lyrics are occasionally undercut by choppy syntax, but she uses distinctive imagery to describe the tug of love — and the tug of the countryside. Her allusion to a roll in the clover involves a foal, and she sings about the pleasures of planting, fruit and idle time.

Graceful melodies adorn the slow, short songs, where subtle variations in tempo and arrangement loom large.

Spencer Tweedy’s subdued drumming lends a swaying lilt to “Where I’ll Find You,” but the pace remains leisurely throughout, and even “Go Wild” is a ballad.

With a voice like Shelley’s, there’s no need to rush.

—Steven Wine, Associated Press