Days Like These documents the musician's latest incarnation in a decade-long professional career, ranging from the teenage prodigy's boogie woogie piano roots, to a deeply influential infatuation with New Orleans' groove-addled funk, to his current CD showcase of budding vocal talent and surprisingly mature songwriting skill.

The handsome, boyish keyboard wonder still tears up the piano on a series of fleet-fingered, eclectic instrumentals. But, more impressive, his phenomenal keyboard technique now serves as singular, expressive punctuation to a canon of well-crafted originals and clever versions of songs by reggae star Jimmy Cliff, blues great Willie Dixon, and folk legend Ewan McColl. Michael even brings new life to well-worn standards like St. James Infirmary and I Found a New Baby.

"I love being in front of an audience and have learned to just give them who I am. On the new CD I've tried to write and record music that satisfies me and reflects how I want to contribute to the music world. Once I began to live my life with that intention, writing lyrics and music became very easy and effortless."

Kaeshammer's polished, but warm live shows pack concert halls across North America and Europe. Spiking his onstage patter with a droll, but quick-witted humour, the young pianist is a consummate entertainer. This year, on top of his own headline concerts, he did a national co-headline tour with Harry Manx followed by a 20 date theatre tour as Colin James' special guest where he earned a standing ovation at every show, sometimes as early as the second number. This summer he's touring with Holly Cole on her tour of Canadian jazz festivals, and in the fall he's scheduled to play intimate theatres in Canada, Europe and the U.S.

"Michael is like a thoroughbred racehorse," explained veteran bassist David Piltch, who produced the new CD. "He has an air of confidence and a level of musical sophistication that is very unique. He's an incredibly physical piano player, very sensitive, very strong. We had a great time working together," Piltch continued, "because Michael is very open to personalizing the jazz history he knows so well. He's really delightful, and working on the recording was like being in a band. It was a real collaboration."

On the new recording's opening track, Michael's original Cinnamon Sun, veteran Hammond B3 organ master, Doug Riley, a brass section, and a soul vocal trio light a fire beneath Kaeshammer's vocal and keyboard pyrotechnics. It's an infectious, ferociously swinging romp with deep R&B undertones that ground David Piltch's juicy production.

In addition to laying down heartbeat bass on three tracks, Piltch lined up a studio super-group for Kaeshammer's new CD that includes alumni and current members of bands led by Harry Connick Jr., Holly Cole, k.d. lang, Elvin Jones, and Beck.

Kaeshammer's version of Jimmy Cliff's Stop That Train is a grooving, countryfied boogie woogie jam, a playful mash-up of Hank Williams, Count Basie, and Cliff's original reggae hit. Michael's radical remake of Willie Dixon's gut bucket blues, My Love is a slinky, seductive modern pop gem featuring his understated, horn-like vocal and the band's muscular groove. Juno-nominated vocalist, Dione Taylor leads a trio of blues and gospel-inspired divas framing Kaeshammer's confident reading with deliciously sanctified back-up vocal harmonies.

Michael's duo rendition with Taylor on The First Time I Ever Saw Your Face is another soulful highpoint in a recording that is rich with epiphany-inducing, majestic performances. Her vocal take on the song echoes of Roberta Flack's famous hit, but the sultry fire she brings to the lyric and the brilliantly natural harmonies she creates with Michael make the song brand new.

Kaeshammer's original, Too Far Down is another highlight and perhaps the finest example of his emerging prowess as a songwriter. His succinct, wise lyrics are reminiscent of the Great American Songbook. They are clever and funny and painfully honest. Sometimes the musician's talent and maturity is simply breathtaking.

Classically trained in Germany before falling in love with boogie woogie piano, Kaeshammer has released four previous CDs of blues and jazz. 2003's Strut featured Michael's studio debut as a breathy, jazz vocalist. Michael's earlier recordings laid the groundwork for Days Like These. The new CD is a landmark, a surprise-filled marriage of wide-ranging jazz forms and Michael's other musical passions. Country, blues, funk, reggae, and myriad pop influences inform Kaeshammer's music. Jazz, from boogie woogie to bebop are at the heart of his songs, but Michael is singing his own song now. It's a brilliant and original jazz meets pop musical gumbo.