The ultimate contemporary jazz hyphenate Russ Freeman (guitarist/arranger/producer/keyboardist/composer) became one of smooth jazz's most influential artists through magnificent projects like this one, chosen by Jazziz as the best contemporary jazz album of all time. This third Ripps release is a masterpiece of mouthwatering pop-jazz tunes, featuring strong hooks, gorgeous texturing, and styles ranging from tropical (the sunny "Aruba" featuring Rob Mullins on keys and Carl Anderson scatting away) and Brazilian ("One Summer Night in Brazil," Freeman's lush centerpiece) to soulful (a cover of Al Green's "Let's Stay Together") and rockin' (the locomotive "Earthbound," which shows Freeman's strings at their frenzied peak).
Listening to Sketches of Life is something like finding a diamond midway through a box of Cracker Jack. It starts off with some typically easygoing midtempo quiet storm action that offers more cinders than real fire, but then it suddenly explodes with soul, jazz, and fusion – and some of the leader's finest performances this side of the old Crusaders. Henderson's trombone turbulence finds willing support from friends old (saxman Wilton Felder) and new (Rob Mullins, Dwight Sills), and these all-stars stretch the limits of the pop side of jazz. Especially impressive is Lee Oskar's bluesy, Toots Thielemans-styled harmonica playing. Henderson could do just fine without the rap and chant, but otherwise, he leads a fun-filled cruise through adventureland.
Trombonist Wayne Henderson has had a surprisingly sporadic solo career. During his years with the Jazz Crusaders, he only led two record dates of his own, and it was not until a decade after he left the group that he led his third session. Henderson does take some fine solos on this generally rewarding disc, which also features tenor saxophonist Wilton Felder (his old section mate in the Crusaders), keyboardist Rob Mullins, and guitarist Dwight Sills. The release, which is subtitled "The Next Crusade," is an extension of Henderson's old band, and the selections range from straight-ahead (including "Joshua") to soul-jazz and some funkier sounds. Worth picking up, although this CD will probably be difficult to find.
Although the veteran composer/guitarist's website could use a major update – it is contemporary to 1998 – he's right in the pocket of modern smooth jazz with his 2005 release. He comes with a solid pedigree in the genre, having recorded a duet with George Benson (who also once covered "Keep Rollin'," given a trippy-moody makeover here), and working with Rick Braun, Marcus Johnson and Gabriela Anders. But his all-star associations aren't as important as his facility for melody and groove, and he does well on both counts here, beginning with the bright, vibrant Norman Brown-like title track, playing it snappy and funky on "Back Pocket" and showing a more intimate side with "Coming Home."
Fusion/new age keyboard player Keiko Matsui grew up in Tokyo and took her first piano lesson at the age of five. Influenced by Stevie Wonder and Rachmaninov as well as early fusion masters Maurice Jarre and Chick Corea, Matsui began composing while in junior high but studied children's culture at the Japan Women's University (Nihon Joshidaigaku). She moved to the Yamaha Music Foundation in Tokyo after graduation and formed Cosmos, recording four albums with the new age group.
Wilton been blowin since the days of the Crusaders. All of them are super stars. This joint is jazzy and smooth.