Saxophonist and composer
Boney James
has been on a roll during the second decade of the 21st century. His three studio albums --
Contact
,
The Beat
, and
Futuresoul
-- have all topped the jazz charts (the later for 11 weeks); in addition, the first decade netted another in
Shake It Up
, as well as a handful of number twos.
Honestly
is his 16th album, and finds him celebrating his 25th anniversary as a solo artist after stints with
Morris Day
and the
Isley Brothers
. While his tone and phrasing are instantly recognizable, the production aesthetic on
differs considerably from
. Arrangements are a bit sparser, leaving more room for each instrument in the mix: his horn, keys, and drum programming, as well as the session players on guitars, basses, and other keyboards, including a lovely Rhodes piano on the airy opener "Kicks." Vocalist
Avery Sunshine
assists on the title track single, a lyric presentation of neo-soul that dovetails with the contemporary jazz aesthetic. She is resonant and sultry as
James
adds ballast in his saxophone fills and synth tags. "Tick Tock" is the instrumental single co-produced
Jarius Mozee
(
Anthony Hamilton
Robin Thicke
). Not only does it dig into contemporary R&B, it harkens back to the glory days of
CTI
and
Kudu
with its lush horn section, grand piano fills, and
pulling out his best
Grover Washington, Jr.
in his funky phrasing and solo. "On the Prowl uses a B-3 and a celeste to get at a film noir vibe with guitars accenting blues changes in a minor key as
blows a nocturnal melody. "We Came to Party" has an early
Earth Wind & Fire
feel, as it lays back through the opening lyrics and choruses to break wide open during the solo saxophone to become a beat-conscious celebration. The biggest surprise is a spectral yet lovely cover of
Hoagy Carmichael
's standard "Skylark," delivered with restraint and elegance. With an acoustic piano at the forefront,
' horn delivers a contemporary urban tinge. It's followed by another understated soul jam, "If I Can't Hold You," with a fine lead vocal by
Eric Roberson
. The album closes with "Up All Night," a party jam with slapped basslines, tight, funky, locking rhythms, hummable sax, and bright horn charts. It's all groove, ready for that moment when the party explodes into wildness. This is
at his best, delivering tight vamps and tasty sax lines in a creative exchange with the rhythm section. By any standard,
is another winner by
, and the charts should respond in kind. ~ Thom Jurek