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| 3.851 Ft
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| 1. | I'm Loving You
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| 2. | Boardwalk Walk
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| 3. | Take to the Skies
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| 4. | In the Name of Love
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| 5. | When a Man Loves a Woman
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| 6. | The Grip
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| 7. | In Your Arms
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| 8. | Moonlight in Your Eyes
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| 9. | Down to the Keys
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| 10. | A.M.
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Jazz
Richard Elliot - Keyboards, Lyricon, Producer, Sax (Alto), Sax (Soprano), Sax (Tenor)
Alan Hinds - Guitar
Bob Harsen - Drums, Percussion
Bobby Caldwell - Vocals
Kate Markowitz - Vocals (Background)
Leslie Smith - Vocals (Background)
Marilyn Scott - Vocals, Vocals (Background)
Michael Now - Guitar, Keyboards
Naoki Yanai - Bass
Tom Kellock - Keyboards
* Chad Slattery - Photography
* Jeannine Pinkerton - Typography
* Jeff Frickman - Assistant Engineer
* John Kliner - Engineer
* Lisa Sutton - Design
* Ray Moore - Assistant Engineer
* Steven Miller - Assistant Engineer
* Tom Twiss - Assistant Engineer
The name of this collection is as applicable to Elliot's real life piloting skills as it is to his flourishing solo career. As with his three prior releases, his tenor and alto saxes give you everything -- soul, passion, heat -- Elliot established himself with releases like these as the James Brown of contemporary jazz. Elliot is not as rambunctious as he was on the previous year's The Power of Suggestion, but he made strides toward finding that unique "Elliot sound." He succeeds most of the time here, most noticeably with a soaring, heart-searing rendition of Percy Sledge's "When a Man Loves a Woman," which became a trademark concert tune and one of his legacies on smooth jazz radio. He starts to let loose on the perky "The Grip," then turns on the smooth for "4:00 a.m.," "In Your Arms," and the tropical flavored "Down to the Keys." In place of rockers, Elliot goes for that midtempo groove, but you can't argue with success. What can be argued is the necessity of the two vocals he includes. Neither "In the Name of Love" (sung by Bobby Caldwell) nor "Moonlight in Your Eyes" do any justice to Elliot's formidable talent. In all honesty, he's often given a greater and more pleasurable role as a sideman. Fortunately, eight out of ten isn't bad, and this collection is otherwise a solid, streamlined package of chops.
--- Jonathan Widran, All Music Guide
Richard Elliot
Active Decades: '70s, '80s, '90s and '00s
Genre: Jazz
Styles: Urban, Instrumental Pop, Fusion, Jazz-Pop, Contemporary Jazz, Crossover Jazz, Quiet Storm, Smooth Jazz
Although he's called a "smooth jazz artist," saxophonist Richard Elliot is equally at home with most rock & roll and the kind of classic R&B performed by the group Tower of Power. For five years in the 1980s, he was a big part of the classic R&B band's horn-based sound.
The Scottish-born Elliot was raised in Los Angeles, where he quickly became a fan of West Coast classic R&B. Elliot landed his first job while still a teenager with Natalie Cole and the Pointer Sisters. A few years later, he was tapped to record with some of his idols from Motown Records, which had relocated from Detroit to Los Angeles. In the 1970s, he had the chance to record with Smokey Robinson, the Four Tops, and the Temptations. Elliot was later tapped to record with the Yellowjackets on their second album. After touring with Melissa Manchester for a time, he was asked to become a full-fledged member of the Tower of Power horns in 1982. He stayed with the group until 1987 and looks back fondly on those years for they shaped the style he has today. When he's not playing his over 100 dates a year, Elliot pilots a small aircraft and is partner in PacifNet, an Internet multimedia company that develops websites for the music and entertainment industries.
Elliot's nine albums under his own name include his self-produced Cityspeak (1996); After Dark (1994); On the Town, (1991); Power of Suggestion (1991); Take to the Skies (1991); Trolltown (1991); What's Inside (1991); Initial Approach (1984); and Soul Embrace (1993) all for Blue NoteCapitol Records. Two albums he had recorded for the now-defunct Enigma were re-released on Capitol. His 1993 album Soul Embrace rocketed to the top of the Billboard contemporary jazz charts, and though Elliot has a smooth jazz sound that could be compared with Kenny G.'s, albums like 1999's Chill Factor prove his take on contemporary jazz is more firmly rooted in tradition.
---Richard Skelly, All Music Guide |
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