Published on Apr 27, 1999
I’m going to say two words that could evoke one of three
reactions with you: Smooth jazz.
Chances are, you fell into one of these groups: those who can’t
stand this type of music; those who think it’s okay in small doses,
and those who are more or less indifferent to it.
I consider myself to be in the middle category; there are some
artists whose work would fall into this category that I enjoy,
while there are others whose work I wouldn’t mind avoiding for the
rest of my life. But I’ve developed enough of a palate to learn an
appreciation for a form of music that has – often unjustly – been
vilified.
Jeff Lorber is a musician who has only cracked the top 40 once
in his long career, yet he has a name that always seems to ring a
bell with music lovers. His keyboard work is strong yet peaceful,
as his latest release
Midnight shows – but this is an album that is best listened
to when broken up over several sessions. (In a way, that’s not a
recommendation you want to make for an album that clocks in at just
under 45 minutes.)
There is no doubt that Lorber is excellent behind the keys,
allowing his flowing lines to often blend in with what the rest of
the band (made up of a sizeable group of excellent musicians, whose
work I know best as session players). Instead of turning the
keyboards into the lead instrument, more often than not, Lorber
makes the whole band the focal point, as on “Watching The Sun
Set”.
And there are times that Lorber takes chances, such as his take
on The Beatles’s classic “Dear Prudence”. It’s interesting to hear
a jazz-rock version of this song, especially with fragmented lyrics
(vocals provided by Robin Dixon), and though it may be sacrilege to
the diehard fans of the Fab Four, it is a refreshing spin on a
track from a rather dark album.
If only the experiments with vocals were all like this. The
other two vocal tracks (provided by Chelsea) don’t always have the
same kind of staying power, and end up seeming like breaks between
the instrumentation of
Midnight. “Never” is the best track out of the vocalized
bunch, but “I Ain’t Thinkin’ About You” is not up to the level one
would expect after Lorber started the album off strongly with three
powerful instrumentals. (By the way, I’m not putting full blame on
Chelsea’s vocals; the songs themselves aren’t structured as well as
their comrades, so it’s a disappointing effort all around on
these.)
Ironically, there are times where vocalization might have been
welcomed; as good as Lorber and the other musicians are, by the
time that “Perugia” and “Feelin’ It” kick in, the listener is ready
for a break. (Yes, I know these songs are preceded by “Never” – a
vocal track.) While Lorber and crew do a decent job, at times it
feels like
Midnight is an album that is mentally taxing, especially for
a listener who might not be familiar with this style of music. It’s
one thing to challenge the listener; it’s another thing altogether
to tire them out before the last note can be played.
Midnight is still a good album with plenty of material to
recommend it to anyone who enjoys this style of music. If you’re
just getting your feet wet regarding smooth jazz, this one isn’t
the worst place you could start, but it might not be enough to make
you want to discover more music in this vein.