Paul Simon is currently traversing the globe on his Farewell Tour. His new album clearly accompanies that. It’s a thoughtful look backwards wherein Simon has plucked numbers from his catalogue he feels deserve another go-round, recording them with guest artists, often from the world of jazz (notably Wynton Marsalis). It is, by its nature, somewhat self-indulgent, for there are none of his most famous songs here. These are numbers he wants to bring out of the shadows; that he reckons are worth further attention. On occasion, he’s absolutely right.
The album opens with "One Man’s Ceiling is Another Man’s Floor", originally a chugging rock’n’roll frolic on 1973’s There Goes Rhymin’ Simon. It has become a faintly Christmassy piano jazz shuffle that recalls Cab Calloway. It’s not unpleasant, not better, just different. The singer is famed for the pithy wit of his songwriting and, at the album’s best, he grabs the listener by the mind and heartstrings. A good case in point is “Darling Lorraine” from 2000’s You’re the One (from which four of this 10-song set are drawn). The poignancy was arguably submerged on the original’s twangy “adult contemporary” arrangement but here, in more pared-back form, the song is affecting.
Elsewhere New York chamber sextet yMusic get involved on "Can’t Run But" and "Rene and Georgette Magritte With Their Dog After the War". The latter is a particularly literary song and the delicate orchestrations forefront the ache at its heart. Something about it recalls Al Stewart.
I suppose your preference regarding these versions and their originals depends on your relationship with Paul Simon. I possess none of his records and his existence generally passes me by. Music journalists should occasionally make such matters clear with artists who have long, storied careers. It tempers the relevance of what they have to say. From where I’m standing, then, In The Blue Light is an album that, in some places, has a delicate beauty, but in others, overeggs the pudding towards sentimentalism.
