Written by Grant Sturdivant
If this is your first time listening to this group, Jeff Lorber Fusion, don’t worry; you’re not alone. But if you like to listen to an out-of-world experience of instrumental jazz, this is the album for you. They didn’t just appear out of nowhere either, as the group was formed nearly 50 years ago with different members of course but with Jeff Lorber being the center of all of it as he’s recognized as an iconic & all-time great producer/composer in the music industry, as he’s worked with the likes of famous composer Chick Correa [ who helped form Jeff Lorber Fusion], renowned clarinetist Kenny G, Guitarist Mark Lettieri of Snarky Puppy, saxophonist David Mann, rhythm section Novak, and Haslip and many more!
He even spent 25 years recording solo, until in 2010, would be considered their “real return to chart success” after teaming up with drummer Gary Novak and bassist/Yellow Jackets founder Jimmy Haslip to release “Now Is The Time.” After eight more album releases, Jeff Lorber Fusion has returned with another classic of an album called The Drop, which in the title song introduces a lovely welcome of trumpets [David Mann] with the mimic of bass [Cornelius Mims] & the nice groove by the drums [Jason Clark] in the background then it just leads into a funky groove the rest of the way, making you feel like you’re in a club back in the 1970s. The beginning reminds me of the intro of the chorus of “That’s The Way (I Like It)” by KC & The Sunshine Band. It introduces you to what you’re getting out of this song. This title song does exactly that for the album by giving a clear vision of the album’s theme: different instrumental elements of jazz being combined. Which ironically is what the word “Fusion” means. It shows it even more in the next song, “Altered State”, as the tempo dials down while letting the six-string bass [Jimmy Haslip] dominate early with the classic hi-hat, bass drum, and rim shot groove and while Lorber is providing a loose up groove on Piano. There’s even a little duet with the Piano and the guitar. This is just the type of song I enjoy, nothing too fast, slow, rough, or soft; it’s just right. Then it brings you right back into the funky groove of “New Mexico,” the way New Mexico is known for its Chilli Peppers; it brings the spice right back with a great chorus by the trumpets & lead guitar by Mark Lettieri. Then the groove continues with “On The Bus” as the Piano gives a great flow and texture to the song, making you wanna get on the move as it hints with the title itself. The end is my favorite part as the guitar comes in for its solo like Brian May while the violins play in the back, and then the track flows away as if a Fairy Tale just ended.
By the time you get to “Hang Tight,” as a former high school percussionist, this is one of my favorite songs as it adds good rhythm with the introduction of the drums, shaker mimicking the hi-hat and while the well-timed triangle playing in the background. Then, of course, you have a nice guitar rhythm by Lorber with piano. Like Altered States, this is another laid-back, relaxed song from all the rush. Then it brings you back to it with “Liberty” with a beautiful violin intro and introduces us to electronics by Lorber’s own Minimoog [A synthesizer] and an acoustic piano. My favorite part of this song is where it gives you a little tropical or Latin jazz groove in the middle, with the Minimoog dominating. Now we have “Keep On Moving” & “Mindshare” with, as some might call an “Urban Groove,” as both have different qualities in each but give the same feeling as the horns control the entire flow. Then you have the final two acts, “Reception” and “Tail Lights,” which gives a good send-off; it gives off the feeling of a classy closing to a movie with the credits rolling. It reminds you of what you came in listening to & what the theme is about different elements of jazz combined. For instance, Guitarist Mark Lettieri from Snarky Puppy and all-time great Guitarist Paul Jackson Jr. alternating solos in “Reception.” Then you have Lorber taking complete control of the wheel with his Minimoog & piano, with the horns, drums, and guitar making a significant contribution as always.
Overall, The Drop is an album that represents everything good about not just what jazz is but how jazz-funk isn’t dead in the slightest; with his [Lorber] peak of creativity coming full force, I listen to Jazz instrumental songs/albums all the time usually dating back towards to the 1970s-2000s. Still, hearing this type of gem within the 21st Century of Jazz-Funk is a relief.
Photo Credits from: Shanachie Ent. Corp
