Fusion fans have never forgotten Jeff Lorber’s work, and indeed he’s been in such demand as a session musician and producer that it’s unlikely anyone has a record collection without a trace of Lorber in it. Appearing around 1977 with his band Jeff Lorber Fusion, he created a sensation and earned instant commercial, if not critical, success. He was among a small group of artists who virtually created the smooth jazz/contemporary jazz format we know today. Through the 1980s he recorded a number of albums for the Arista label that were popular and are still sought after today. In the ‘90s he crossed over into a top-selling pop artist on the Warner Brothers label with his hit “Facts of Love” featuring singer Karyn White. Disappearing into the studio, Lorber produced such artists as herb Alpert, Michael Franks, Tower fo Power, and Erik Marienthal. During the same period he keyboard on sessions for artists as diverse as the Pointer Sisters, Manhattan Transfer, Gladys Knight, the Isley Brothers, and Joe Cocker. In 1993 he released Worth Waiting For, his first project under his own name in seven years.

Lorber has returned to recording again in the past couple of years, releasing the album He Had a Hat in 2007. His most recent album, released at the end of 2008 by Concord’s Stretch Records imprint, is Heard That. Here Lorber is in fine form with an album that is as much like his classic fusion work of the 1980s as anything he’s done since. Fans of his work will find Heard That to be a gem, and listeners who enjoy contemporary jazz will enjoy the album whether they are familiar with Lorber or not.

Guitarist Rex Rideout produces this album as well as playing guitar on many tracks. He also functions as co-composer on a number of tunes. Heard that is a sweet, mellow contemporary jazz confection, but one that possesses a lot of musical interest as well. While it isn’t cutting edge modern jazz by any means, it is far from a rote rehashing of Lorber’s previous work. For example, while “Gamma Rays” is all pleasing electric piano tones and a volume level that never really rises or falls, there is an interesting line played by Lorber accompanied by Gary Meeks’ deft flute work and a high energy level courtesy of Dave Weckl’s drumming that lifts it out of the ordinary.

Lorber’s moment of genius here is his matter of fact rendition of the Amy Winehouse hit “Rehab.” Lorber doesn’t change the feel of the song much, but his rendition has a good time feel that one associates with some of Ramsey Lewis’ early work, most notably his hit rendition of the pop song “The ‘In’ Crowd.”
Lorber surrounds himself with studio pros and musicians who have no doubt learned from listening to Lorber’s old albums. Rick Braun brings trumpet and flugelhorn solos to several tracks, while Gary Meeks handles most woodwind duties. Lorber, Rideout, and Darrell Crooks handle guitar, and there are other guests as well. The title track (composed by Lorber and Eric Darius), which closes out the album, has a nice funky feel and features Gerald Albright on alto sax.

Heard That isn’t groundbreaking, but it does give Lorber a chance to be heard doing what he does best and sounding like he’s still at the top of his game.