![]() Even the most hostile have (rightly) praised his contribution. Hutcherson plays on four tracks and is exemplary - eloquent and graceful but always airily funky. These two indicate some of the problems this album has had with more staid commentators and some of the prejudices underpinning those comments. Vibesman Bobby Hutcherson and ex-Zhane soulstress Jean Norris make the most telling appearances. Apart from Miller, guests include guitarist Randy Razz and trumpeter Patches Stewart. Garrett’s quartet consists of himself (alto and soprano sax), Vernell Brown (piano), Chris Dave (drums), and Charnett Moffett (acoustic bass). None of it is particularly groundbreaking and as a package it is sometimes too unthreatening, but monotone and mindless it most certainly is not. The material includes down-the-line jazz-funk and soul-flavoured uplift, incorporates some Korean and Japanese themes, takes in the odd winsome ballad and finishes with an extended post-Bop chaser. Both Miller’s distinctive bass and his recent track record do not currently go down well with the cognoscenti, but here his playing is excellent and his production well suited to the aims of the disc. Garrett and producer Marcus Miller manage to keep things in groove-mode to the extent that someone who wants their sax playing no more demanding than Grover or Gerald Albright should find much to enjoy, while demonstrating a creativity and a diversity that ought to (but won’t) placate those who are keener on the experienced altoist’s earlier, more “orthodox” efforts.Ĭhoice of producer, material and fellow musicians for such a project are crucial and, in this case, are appropriate to the task and prime reasons for its success. It is true that such is the easy, feel-good flow that you hardly notice that Happy Days is actually awash with “real” jazz’s requisite triumvirate - 6/8 time signatures, Far Eastern motifs and some unrestrained (if not exactly “free”) soloing. At its best, this album shows that you can be melodic, funky, and pop-friendly without sacrificing boldness and imagination. If he does, jazz will be the winner, for it might encourage a few other more formulaic musicians to stretch out a little. This is jazz, do not believe some of what you may have read.ĭespite the rush to condemn, Garrett has attained enough respect and industry clout not to worry overly and I think, if the radio stations of whichever ilk back him, he could attract plenty of new listeners while retaining the support of the less Leninist of former devotees. ![]() display an improvisatory drive that will test the bravery any standard smooth jazz radio programmer. However, to my coarsened ears, Garrett and Co. The taste-guardians have been busy and reviews have echoed to a dismissive mantra - “Cloying”, “Bland”, “Commercial”, etc. ![]() Indeed, it strays far enough down the populist road to have made the “serious” critics’ hit list. It is not a smooth album as such but may find itself competing more in that market than in that of its rarefied and increasingly distant cousin. ![]() Happy Days, while not short on experimentation and post-bop edginess, leans heavily towards warm, soul-tinged fusion. Instead of two separate schools (late modernist and smooth),we might instead be used to hearing more albums like this one. LListening to Kenny Garrett’s sweet-tough sax on Happy Days, his seventh outing for Warners, it is tempting to speculate on what might have happened if smooth jazz had not appeared on the scene. ![]()
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