Steve
Rawlins (piano, composer, co-composer); Sal Lozano (alto/tenor sax, flute);
Grant Geissman (guitar, acoustic guitar); Ken Wild (bass, upright bass);
Hussain Jiffry (electric bass); John Ferraro (drums)
One
of the ironies of being a constantly in-demand composer, arranger, pianist,
trumpeter and music director for A-List celebrities and for television and
films, is that Steve Rawlins has only released three albums of his own. With Word
on the Street, the third effort, Rawlins steps into the spotlight and, with
the outstanding help of some of the best in the biz, delivers a charm – a bravura
performance.
Moraga Drive, the first of ten Rawlins originals or co-composed originals on the album, hits straight-ahead in a So What groove with Ken Wild’s bass announcing before alto and guitar in octaves state. It’s a throwback cut of sorts with a catchy head whose purpose lights the fires that follow. Fine solos here from Lozano, Geissman, and Rawlins.
Friday
Night is a bright-light samba with Lozano’s
flute and Rawlins’ keys delivering the effervescent melody. No game or TV show or
theme this, it’s a joyous romp.
It’s
Cool is a Tom-Cattin’ prowler of a blues. The
vocal chorus – a family affair comprised of Rawlins’ daughters and his former
wife - adds a nice dimension. Rawlins sends up a tasty ride before Lozano pulls
a gutsy tenor solo. It is a very cagey and hip track.
Sal
Lozano’s lush tenor sings through the lovely Rawlins melody and a sublime solo on
the ballad, Time Is Right. Catch drummer John Ferraro’s sibilant brush
work here.
Word
on the Street is a haughty groove merchant peddling
soul. A stomper and stone “Cannonballer,” it’s a hipster’s hoe-down where the
group lets it all hang out.
Tomorrow
is Yesterday a quirky, bouncy selection with
Guaraldi-esque overtones. Co-composed with Geissman, the melody has all the zing
and zap of an itchy ear-worm. The guitarist funks it up before things swing. A
highlight among highlights.
What
makes Word on the Street so appealing to this listener in addition to
the ridiculously good playing and solos is the fact that Rawlins’ compositions
have evolved from all of the myriad experiences and encounters from his vast musical
career. He’s written, arranged and performed in virtually all genres, grooves
and environments. His is an upbeat, positive pen with great honesty and no
superficial gimmicks or doo-dads. That vibe, obviously contagious among his
sidekicks, runs from the very first note to the last one on the date.
Come
with Me to Brazil spotlights Rawlins alone
before developing into a softer, elegant bossa. With that beautiful melody as Muse,
Lozano dives in with a lyrical solo venture. It’s his best solo on the session.
The
Knuckleball, a selection resurrected from
Rawlins’ Merv Griffin television show past, flitters from a call-response
melody into a straight-ahead groove. Rawlins spins out tastefully here.
Reach
Out is a slow, misterioso statement. With
Jiffry’s bass ostinato and Lozano’s noir alto vibe-rato, this
moving selection has Tuesday night drama show all over it.
Now’s
the Time for Coffee is a caffeinated bossa
nova. Let’s Get Lost, the outlier on the date and long associated with
Chet Baker, has Rawlins alone on an elegant balladic take. An ideal closer.
With
The Knuckleball inspiring the metaphor, Word on the Street is a
450-ft. home run. It covers all of the bases in brilliant fashion. There’s
everything here – great melodies and grooves, stellar solos, great production
values, and a joyous high-five vibe in its clubhouse. Nick Mondello
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