Jaime Kent is an interesting story, aside from his music, but all in good time. The singer/songwriter is releasing his debut album Neoteny (Definition: The state resulting when juvenile characteristics are retained by the adults of a species) which contains 12 tracks that challenge description and offer up a taste of familiarity from literature to music. Campaign tagline reads, “If Sting, Frank Sinatra, and Jack Johnson were to have a musical love child, Jamie Kent would likely be it.” That, I’m delighted to say, is only the tip of the iceberg for this artists sound, style, and ambiance.

So onto the story. Kent, a graduate of Babson College, is tackling the music industry in a way that familiar with the 60’s rock movement when The Grateful Dead gave their fans permission to record their live concerts as kind of a thank you for keeping them in business. Kent asks that you join The Collective which in turn makes you a partner in the business of keeping his business alive and his business is music. Benefits include free entrance to all his shows, free merchandise, free music, and the ability to cast your opinion in which direction Kent should lean towards in his future works and travels. To me that’s simply amazing.

Okay enough with that lets get on to the album. The album starts off with Matilda, a mellow tune that reminds me a bit of Taj Mahal’s laid back bluesy style combined with the integration of the Allman Brothers infusion of rock and blues. The track feels a little bit raw vocally but still a great track. Next is Games which includes a ukulele which instantly puts me in the frame of mind to compare the track to the style of Jason Mraz but Kent manages to keep the song his own. I wasn’t wowed entirely by it and thought the chorus was a bit repetitious. The next track, which still feels a little shaky vocally, is a fine tune that is reminiscent of say Paul Simon getting a full on jam sound in its up and down tempos. Isabella, the next track, again is reminiscent of Paul Simon with a mix of Jack Johnson with Bob Dylan’s circa late 80’s New Morning crew. Really the start of the album’s more focused, more complex tunes. Remember that Sting reference, that hit’s the nail on the head on the next track, Ama San. Kent’s vocals are solidified here offering up a steady range really bringing into focus his ability to change up his delivery as far as vocal style goes. Everything simply comes together perfectly. Next comes Mischief man which is a playful number that’s fun  and reminds me a bit of Frank Zappa and Venice Shoreline Chris. Its just a good time done well. Bonofositch has to be one of my favorites coming off like the work of Shel Silverstein making fun with wordplay and just kind of being silly. Good Sex, Bad Conversation really threw me off, coming at you with a country twinge that’s unexpected and off putting as far as the fluidity of the album. Lyrically its possibly the strongest of the tracks but just feels like a b-side at best. From the albums title, and I gave you the definition of it in the beginning, this has to be the most adult of the tracks on the album. Its jazzy, smooth, grown up and an all out jam session. As far as technique is concerned this track own the album and is a great closer. All in all the album has its rough patches but given the success of Kent’s social (business) experiment I could definitely see Kent progressing and keeping his music alive to more and more fans. If you want to check out Kent’s music just follow the many links I’m about to post and enjoy.