JASON MILES' MAXIMUM GROOVE
Coast to Coast

Telarc

Jason Miles has had a long career as a composer, arranger, keyboardist, and programmer, working on such projects as Luther Vandross’ Power of Love, Michael Jackson’s HISstory, and, perhaps most famously, Tutu, the recording that launched Miles Davis’ Warner Brothers career and gave him a viable and fresh new sound for the 90s. Now Miles has taken a groove-based rhythm section and added a who’s who of contemporary instrumental music for a project called Maximum Grooves. The resulting CD, Coast to Coast, is perfect summer listening, providing a nice, easy listen without becoming musical wallpaper, in large part because of Miles’ attention to establishing the all-important groove on each number.

Most tracks feature Miles on various keyboards and loop programming, bassist Will Lee, and drummer Steve Ferrone. To this foundation he adds a huge arrage of players, including Gerald Albright, Herb Alpert, Jay Beckenstein, Michael Brecker, Russ Freeman, Jeff Golub, Jeff Kashiwa, and many others. Things begin with a highly programmed groove, “Everyday Magic” to which is added an ersatz horn section (overdubbed Jeff Kashiwa and Miles at the synth), some tasty guitar fills courtesy of Jeff Mironov, and the warm tenor stylings of ex-Rippington Jeff Kashiwa. It’d be easy to give up on Coast to Coast upon hearing all the drum programming and the typical smooth sax sound on this number, but upon further review, one realizes that the groove is well established despite its artificiality and that small touches from Miles and Mironov keep this one real. “Chasing Shadows” makes use of no loops or programming, relying instead on a solid pocket established by drummer Gene Lake and bassist James Genus. Miles provides darkly atmospheric acoustic piano chords, while Russ Freeman works around the dusky trumpet work of Herb Alpert.

“Fabulicious” gets back into the digital land of loops and programmed grooves, but the overall sound is solid thanks to drummer Steve Ferrone and some great keyboard work (listen for the organ fills) from Miles. Saxophonist Andy Snitzer plays both tenor and soprano as well as electric piano on the track. Snitzer has worked with a large number of pop artists, touring with the Rolling Stones on their Voodoo Lounge and Bridges to Babylon tours, as well as playing with Eric Clapton, Beck, and Christina Aguilera. Here he sounds a little cloying until he cuts loose on this tenor solo near the three-minute mark. It doesn’t last long, but it gives you some idea of what Snitzer can do, and the groove catches fire as well.

Don Grolnick’s “Cactus” is apparently something of a touchstone for Miles, who first heard the keyboardist perform the song at an NYC club in 1974 with a band that included Joe Beck, David Sanborn, Will Lee, and Steve Gadd. Here Snitzer plays alto sax on the song’s bridge, but the number is a solid feature for guitarist Buzz Feiten. Feiten came on the scene as a member of the Paul Butterfield Blues Band, and since has performed with Aretha Franklin, Rickie Lee Jones, Bob Dylan, and numerous others. Feiten not only cuts loose on “Cactus,” he gives the entire CD a big boost. Meanwhile Miles (again doing some great things with Fender Rhodes, Hammond, and loops), bassist Lee and drummer Ferrone push this groove along.

As one gets deeper into Coast to Coast one realizes that the collective’s name, Maximum Groove, is very appropriate, as all the tracks are within a narrow range of tempo, each relying on a mid-tempo groove to move it along. That’s not really a limitation, though, since it was clearly considered to be a theme of this recording. “You Da Mann,” a tribute to Herbie Mann, is a little slower and more minimal than many of the other tracks, with Derek Trucks and Dean Brown on guitar over a mellow pseudo-reggae groove. Interestingly, there is no actual flute on the track, though Miles creates a decent approximation with synths. “Krazy Eyes” also stands out a bit, as it utilizes some exotic vocal work from Amanda Moni, as well as featuring the beautiful tenor sax work of Michael Brecker. Many of the sax players featured here probably grew up listening to Brecker’s fusion work, and his ability to fuse a contemporary sound with solid, jazz-based playing and a great harmonic conception should be an example to all of them.

The guest parade continues without flagging through the CD’s second half. “Hipnotize” is a solid old-school R&B ballad groove, with Snitzer joined this time by guitarist Jeff Golub, who acquits himself admirably. The sexy female vocal chorus is provided by Cassandra Reed. “Attitude” featuring Walter Beasley on soprano sax, is nothing special and could have come from any second-rate smooth jazz album released in the last several years. Why do all of these smooth guys have to play soprano sax with the emasculated sound of a twelve-year-old girl? Sure, it’s an instrument that can sound very pretty, but it needn’t be wimpy. Also disappointing is the surefire single “C’est La Vie,” an adaptation of an 80s single by one Robbie Nevil. The groove is much too canned and has no muscle at all, while Jaared’s alto sax work is clichéd and boring. I suppose he’s supposed to be from the David Sanborn school, but there is nothing on his resume that commands the respect Sanborn can still muster, even after a few too many uninspired contemporary instrumental projects.

Fortunately, things get back on track with “Karma Kanic” featuring Spyro Gyra’s Jay Beckenstein playing some tenor sax with character over a bubbling base of scratching and EFX provided by DJU. Rounding out Coast to Coast are “Coming Home,” a duet with guitarist Romero Lubambo and Miles that mines familiar smooth jazz territory but is atmospheric and textured, and “When I Get There” which features Miles, guitarist Dean Brown, and saxophonist Gerald Albright. Albright always gets a good sound and is a good player, but his material is often subpar. Here, things are just a little too bogged down with synthetic drums and percussion, giving the disc an ending that just kind of trails off. Still, Coast to Coast provides fans of the groove and contemporary jazz fans a chance to hear some their favorite performers in the optimal settings provided by Jason Miles and his rhythm section.