Herb Alpert really never stopped recording in the years between his Tijuana Brass and his late 70’s comeback album Rise. And he never stopped recording between that album and this either. Yes both of albums have two important things in common. They both bridged different areas of his career. They also allowed him to reinvent his music for different generations. The Herb Alpert that made this album was not the relatively new record label mogul developing very individual artists like Gino Vannelli and recording albums with people like Hugh Masekela.
THIS Herb Alpert is a well oiled record mogul pressed into service to developing careers of videogenic megastars such as Janet Jackson. So he didn’t have to go far to find the right producer for this project. Jam/Lewis,even though really only four years into their career as producers were at this point already establishing what 80’s funk would sound like with Janet’s Control. So it was no surprise what so ever that their rhythmic but highly stylized dance/funk style would have the effect it did on Alpert as well. So here we have it: Herb Alpert’s Jam & Lewis album!
Starting off with the title cut,we’re instantly dealing with a bassy,deeply funky number where the sound of Alpert’s horn is used more as a percussive effect than anything,pushing out the melody in spurts rather than extended notes. “Diamonds” and “Making Love In The Rain”,the two Janet Jackson songs here were seen as the real draw on this album and really have more of Janet’s sound with Alpert more as a guest musician. And they are strong numbers for sure.
But there’s much more here than that. “Hot Shot” and “Traffic Jam” are two more heavy instrumental funk grooves where “Cat Man Do”,”Our Song”,”Rocket To The Moon” and especially the closing “Stranger On The Shore” really bring Alpert back as the star of the show as the primary instrumental soloist. And his distinctive,hyper melodic,vibrato heavy “bull fighting” trumpet style hasn’t changed one iota for this occasion either. On “Pillow” Herb takes over on vocals himself with Lani Hall so,in any spot where he may be vocally weak she can take over a little bit more. This dual lead harmony effect also serves to bring out the moody melodicism of the composition.
I’ve only really listen to this album once but I can already say from listen to it that this is the sort album that you will tend to get more out of each time you listen to it. It owes as much to the artist as it does to the producers. They both know how to keep the songs musically and melodically filled with just enough surprises to keep the music fresh and interesting with each listen. Again as with most things from this era a lot of people are bound to give this album some less than stellar commentary simply because it’s based in the production of the late 80’s.
And that’s not an era seen as very potent in pop music. All the same there was still enough of the kind of arrangement and melodicism that made music of the previous couple decades what it was. And in the era before the beat heavy hip-hop beats took over both R&B and jazz-pop even as the dominant rhythmic pattern that’s,along with Herb Alpert’s musical potency is part of what helps this to be a stand out album all the way.