Grammy-winning singer, pianist and songwriter Peter Eldridge has a mellifluous voice, often sounding like an alto sax. “Difficult,” a tricky waltz with minefields in many intervals as well as unexpected changes, boasts a gorgeous cello obbligato by Stephanie Winters. “Sunday Driver” swings with Monklike surprises, where Joel Frahm contributes an excellent alto solo and Eldridge adds an all-too-brief scat statement. “Busy Being Blue” and “Surrender” are moody masterpieces. Rhythmically, “Full Grown Man (On the Playground)” is one of the most infectious tracks in the album.
But between busy vocal or instrumental backing and his melismatic twists, Eldridge manages to obscure the vast majority of his biographical messages. One cannot review what is not totally intelligible. A phrase or sentence here and there is insufficient. It would help considerably if Mr. Eldridge would include his obviously clever lyrics in his liner notes.
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