The heart of a fan beats like 's bass, driving the lifeblood of warm sounds through the speakers and into the brain. Some bassists, in their own sessions, favor percussive and percolating arrangements that place the instrument in the role of soloist. actually seems to downplay the bass on , ceding the spotlight to guests like and . 's domain here is the rhythm section, adding programmed drums to his basslines in order to get the right foundation in place. As the captain of this ship, ensures a smooth ride, absorbing the shock in 's potentially bumpy and making sure a track like has the right amount of snap to it. Though built his reputation largely on , is more of a crossover album, lyrical and light on its feet. There are certainly stretches of substance, such as 's piano solo on but even here the soprano sax washes away the intellectualism in a simple, cleansing motion. This session doesn't completely qualify as ; there's more afoot than sweet sounds and mildly funky rhythms, yet even the most complex passages are never far removed from an ingratiating and warmly rendered melody. If you enjoy the sound of the soprano sax but find a little light for your tastes, might be right for you. The disc was reissued by in 2002, with a different cover and slightly scrambled track order that essentially flip-flopped the opening and closing songs, among other things. The original 1997 recording is rich, vibrant, and clean, so you can't go wrong with either copy. ~ Dave Connolly