A quartet of 2021 albums show some of the best of contemporary jazz: Dan Siegel, Marion Meadows, Jeff Lorber and Marc Antoine demonstrate what can happen when strong melodies and good players come together:
Siegel’s relaxed, jaunty Faraway Place does indeed transport the listener to a place where life is easygoing. From the first notes of the opening “Old School” to the closing “Once Again,” Dan Siegel’s music engenders memories of ’70s crossover jazz, without ever going completely retro. “Once Again,” in particular, brings back memories of Joe Sample, while “Something You Said” has echoes of the accordion-esque timbres successfully utilized by the likes of Lyle Mays and, more recently, by Gil Goldstein.
The horn riffs on “Tried and True” that back Siegel’s piano and organ bring to mind bands such as Sea Level or Special EFX. The martial rhythms of “Some Time Ago” and subsequent massed voices put a twist on jazz, while “Looking Up” boasts additional percussion swirling around Dan Siegel’s keyboards. If you like your jazz light and breezy while still moving enough to be interesting, start with Faraway Place.
Jeff Lorber has been at this longer than most. Some may remember his initial albums back in the ’70s on the Inner City label, which included heavyweight guests like Joe Farrell and Chick Corea, or maybe blame him for introducing Kenny G to the world. Whatever the recollections, he’s since released nearly three-dozen recordings with various musical compatriots. Most recently the roster has included bassist Jimmy Haslip, serving as co-producer, and drummer Gary Novack.
The trio is joined on Space-Time by a number of special guests, including Hubert Laws, Bob Mintzer, Paul Jackson Jr. (Lorber’s bandmate in Jazz Funk Soul) and Gerald Albright. The uptempo title track opens the proceedings, with Lorber on guitar and synth bass along with keyboards. Mintzer’s sax then joins in, the two playing off the insistent riff.
“Chick” is a tribute to the late, great Chick Corea, one of Lorber’s heroes and mentors. The sunny outing features longtime Corea collaborator Hubert Laws on flute alongside Jeff Lorber’s electric piano. The interlocking parts recall Corea’s penchant for busy lines that relax into engaging melodies. “Sun Princess” features some of Lorber’s prettiest playing. Renowned for Rhodes, here it’s his acoustic piano that takes the spotlight, complemented by Michael Landau’s bluesy guitar.
“Memorex Reprise” is the biggest surprise and (unfortunately) shortest track on Space-Time. Clocking in at a mere 49 seconds, it features Jimmy Haslip soloing his way through the “Memorex” theme and changes. More please.
Smooth jazz is littered with smooth saxophonists, and Marion Meadows is one of the smoothest. But his unerring sense of melody serves him well, lifting him from potential anonymity. “On the Uptown,” the opening track on his new album Twice as Nice, sets the mood, with a wah-wah guitar and his fluttering saxophone leading the way. Think a modern, slightly updated Crusaders, and you’re not too far off the mark.
The insistent beat of “Step to This” would no doubt drive jazz purists crazy. Too bad. “Yesterday Is Gone” is the requisite vocal track, but it’s the title track on Twice as Nice which follows that’s the highlight. Meadows’ sinuous soprano is balanced against the bouncy backing by horns and keyboards.
Marc Antoine favors a Latin-esque approach to contemporary jazz. Something About Her is a love letter of sorts to his wife of 25 years, and Antoine’s playing is exquisite throughout. His acoustic guitar combined with the keyboards of guests like David Benoit and Brian Simpson makes for a delightful outing.
While it’s Antoine’s affair throughout, Philippe Saisse plays Robin to his Batman. On “Eclectic World,” Saisse’s harmonica-like melodeon is a welcome surprise. Elsewhere, Saisse adds vibes on the very relaxed “Velvet Night,” which he wrote. Saisse also contributed “Corto Maltese,” which conjures up images of a seaside resort. “Marco Polo” offers a hint of mystery, while the title track on Something About Her features the composer on piano. With Antoine out front, of course.
Go ahead, call it smooth jazz if you must. But if that makes you think of soporific melodies played by an anonymous instrumentalist with programmed rhythms, you’re in the wrong place. None of this is that.
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