is a 1970's throwback saxophonist, with one foot in the New York City, R&B-influenced jazz of the , and the other stretching to the slick west coast, Los Angeles-based studio sound of and the . A very reliable and lyrical woodwind player, somewhat expands the contemporary jazz music of the pre-disco era with spirit and drive, if not a great deal of derivation. Carefully chosen as sidemen and producers, keyboardist and bassist are the principals in helping to revive this get-down funky jazz, a music more produced than created. It's actually a pretty good revisionist attempt, with expanded horn charts (arranged by ) a la the when was with them, crossed with 's -type of soul-derived music that had fusion audiences compelled to enjoy to an uncomplicated type of electro-acoustic sound. With the more current-day title and his band jump into a typical N.Y.C. skunk funk with s vocal scatting infused with 's Fender Rhodes electric piano. is even more funky with a full horn section including saxophonist and trumpeter , while brings out the influence in 's tenor. Throughout the disc, a flute is heard even though it is unattributed to either or , but perhaps it is 's keyboard assimilation. No matter the source, it fashionably enhances the music, adding a sweetness and light to the danceable beats. There's more unison playing on in a simplified, repeat melody, and where typically lives up to the title in an overt commercial vein, the bass lines of anchor a heavier song with the thankfully natural horn complement. The ballad is the slickest track on the date; more overtly crosses into late-night, sugar-coated territory, and a tambourine shake shades the busy, dense beat of does one cover, the dance song with a vocal chorus that is more disco-oriented than the other cuts, and features guitarist . While not artistic in the purist jazz sense, s soprano, alto, and tenor sax are not so much exploited as they are integrated, making for a solid group sound that would have been well-represented were it released on , , or records back in the day/ ~ Michael G. Nastos