Brian Culbertson might seem like an unlikely funk crusader, but that is just what he is on his latest release, Bringing Back the Funk. The funk in question is of a sophisticated nature that overlays the bass-driven bottom end with horns, vocal harmonies, and layers of keyboards. It’s a commercial funk sound that ‘s also artistically successful, largely because Culbertson has assembled an incredible group of musicians from funk’s heyday, beginning with the album’s executive producer Maurice White. White is a founding member of Earth Wind and Fire, a group that managed to combine the danceability of funk, the excitement of rock, and the hook-laden melodies of pop. “Having Maurice involved from the beginning is what really sparked many others to participate,” Culbertson has said. “Once the cats found out he was producing with me, they” said, ‘Where and when do I show up?!’”

Those cats include Funkadelic alumnus Bootsy Collins and PhelpsCollins, EWF members Larry Dunn and Larry Graham, and horn players such as Gerald Albright, Ronnie Laws, Maceo Parker and Tom Scott. Vocalists Ledisi and Musiq Soulchild also give Culbertson an assist. Even cooler, the whole thing was recorded live in the studio, giving the music a groove that doesn’t emanate from many of today’s pieced-together, superstar-laden recordings. Culbertson also gets cred points because funky grooves have always been an important part of his music, so this project seems like an extension of his interest in funk and not a bandwagon project.

Culbertson gets thing off to a fast start with Bootsy Collins in tow on”Funkin’ like my Father. The part is definitely started when Bootsy starts his verbal riffing (‘Yabba Dabba Do!’) and it never lets up for the length of the track. Other guests include Ricky Peterson, Bernie Worrell, Sheldon Reynolds all rocking the house, forcing Culbertson to rise to the occasion to avoide becoming incidental on his own track. He manages to assert himself fine, playing piano, clavinet, Minimoog, and a killer trombone solo. “Always Remember” features Culbertson’s acoustic piano out front of an ensemble that includes Reynolds, Ray Parker Jr., Paul Jackson Jr, Lenny Castro, Erick Marienthal, Tom Scott, and Larry Dunn. There’s a nice vocal break as well that can’t help but remind the listener of EWF’s gorgeous vocal harmonies.

Kool and the Gang’s “Hollywood Swinging” is up next, and Culbertson provides nice piano fills while Musiqu Soulchild lays down a sharp vocal and Gerald Albright guest solos. Albright has Cannonball Adderley’s bright sound and plays a rousing solo that is hot without being histrionic. “House of Music” is up next. Co-written by Culbertson and Larry Graham, the number also features Graham on bass. It’s solid number with a gospel touch, and features Ronnie Laws on tenor sax. Culbertson and crew manage to work up some sparks on this track and demonstrate why this project is not just another smooth jazz album.

Guest vocalist Howard Chance acquits himself wonderfully on “You’ve Got To Funkifyze,” doing his best James Brown and generally nudging the musicians along their path, while Ledisi brings smooth sophistication to the beautiful arrangement of the Bill Withers tune “The World Kept Going Around,” one of the few ballads here. Culbertson accompanies Ledisi’s vocals beautifully and points out another great thing about Bringing Back the Funk: although it’s Culbertson’s album the entire ensemble gels so well and he shares space with other musicians so admirably that one can easily forget that it’s Culburtson’s album. This is not to say that Brian can’t hold his own with this group, but rather that he is a truly collaborative player who is more interested in contributing to the groove than to putting the spotlight on himself.

The bottom line is that Brian Culbertson has himself a winner here, and album that is loads of fun to listen to but still has plenty of stylistic attitude and musical substance. Bringing Back the Funk will be a great summer listen, and Culbertson’s subsequent tour should also be a blast.