When Lyle Lovett and His Large Band was released in 1989, it was clear that Lovett, for his third album, wasn’t interested in playing by Nashville’s rules. Lovett created something bold and utterly unique by fusing big band jazz, gospel, blues, and Western swing with his already offbeat country style. This wasn’t just an album — it was a declaration of artistic independence.

Gone were the leaner, folk-based arrangements of his earlier albums. In their place came a full horn section, gospel-infused vocals, and arrangements that leaned as much on Duke Ellington as they did on Texas country. The album opens with “The Blues Walk,” a brassy, no-vocals cover of Horace Silver’s jazz standard — a daring and unmistakable message that this record would zig where most would zag.

Lovett may be the name on the cover, but the magic of The Large Band lies in its players — some of the finest session and touring musicians of their time. For example: 

• Francine Reed, whose powerhouse gospel and blues vocals bring undeniable soul to the album. Her harmonies and occasional leads — especially on “Church” and “I Married Her Just Because She Looks Like You” — add warmth, sass, and emotional gravity. Her chemistry with Lovett is electric.

• Leland Sklar, a legendary bassist whose resume reads like a who’s who of modern music, provides the glue that holds the record together. Sklar’s basslines are always tasteful and deep in the pocket, whether the track calls for subtle groove or rolling swing.

• Matt Rollings, Lovett’s longtime piano ace, is all over this record. His playing spans gospel licks, jazz flourishes, and honky-tonk fills — often within the same song. He brings a sense of sophistication that elevates even the most playful tracks.

• Russ Kunkel, the veteran drummer known for his work with James Taylor and Jackson Browne, keeps it all grounded with impeccable feel and restraint. His drumming supports the genre-hopping arrangements without ever overshadowing them.

Lovett’s songwriting remains razor-sharp. “Here I Am” is a talk-sung monologue that’s equal parts existential comedy and romantic ramble. “Nobody Knows Me” showcases his gift for subtle heartbreak, while “What Do You Do / The Glory of Love” blends satire with genuine sentimentality.

Perhaps no track sums up the album’s tone better than the closing number, “ Once is Enough.” It’s Lovett at his best — funny, sad, and unexpectedly touching, all wrapped in a deceptively sweet melody with fantastic harmonies.

Lyle Lovett and His Large Band is a masterclass in reinvention. Lovett didn’t just add a horn section to country music — he reimagined what a country artist could do, what he could sound like, and who he could be with standout contributions from Francine Reed, Leland Sklar, Matt Rollings, and Russ Kunkel et al. Al, this album doesn’t just hold up decades later — it still sounds ahead of its time.

An ambitious, witty, and musically rich album that turns genre on its head and never looks back.