The Finishing Touch: A Jazz Gem That Still Shines
Let’s cut to the chase—Charles Thomas All Star Trio’s The Finishing Touch is one of those albums that sneaks up on you. Released in 1996 under Space Time Records, this French jazz gem doesn’t scream for attention but instead whispers its way into your soul. With legends like Ron Carter on bass and Billy Higgins on drums backing Charles Thomas, it’s no wonder this record feels so effortlessly smooth.
Now, I’m not gonna lie, when I first popped this album on (yeah, I still use a CD player—don’t judge), I wasn’t expecting much. But track three, “Pick Yourself Up,” hit me right in the feels. It’s playful yet deeply soulful, with Thomas’ piano dancing around Carter’s steady basslines like they’re old friends catching up over coffee. Higgins’ drumming? Subtle perfection. You barely notice it until you do, and then you can’t stop nodding your head. This tune sticks because it’s got that rare mix of joy and melancholy—a bittersweet reminder to keep moving forward even when life feels heavy.
Then there’s “Bessie’s Blues.” Oh man, this one slaps. The groove is tight, almost hypnotic, and Thomas channels some serious blues magic here. Every note seems to tell a story, as if Bessie herself walked into the studio and said, “Play what I feel.” There’s something raw about this track, like it wasn’t polished to death but left alive and breathing. It makes you want to close your eyes and just… exist in the moment.
Credit where it’s due: Xavier Felgeyrolles coordinated the heck out of this project, and Jimmy Katz’s photography adds a cool visual vibe to the whole package. And let’s not forget Allan Tucker’s mastering—he made sure every cymbal crash and piano chord landed just right. Liner notes by James Williams give you a peek behind the curtain too, which is always nice for us nerds who love context.
What strikes me most about The Finishing Touch is how timeless it feels. Sure, it came out in the ‘90s, but it could’ve been recorded yesterday—or fifty years ago. That’s the thing about great jazz; it transcends time and place. Listening to this album feels like eavesdropping on a conversation between old pals, except these pals happen to be ridiculously talented musicians.
Here’s the kicker though: after spinning this record a few times, I started wondering why more people aren’t talking about it. Maybe it flew under the radar because it didn’t have flashy marketing or big-name label backing. Or maybe it’s just waiting patiently for the right ears to find it. Either way, The Finishing Touch deserves a spot in any jazz lover’s collection.
Final thought? Life’s messy, unpredictable, and sometimes downright weird—but records like this remind us that beauty can come from imperfection. Now excuse me while I hit repeat on “Bessie’s Blues”… again.
