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| 3.570 Ft
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| 1. | Outer Drive
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| 2. | Keys to My Heart
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| 3. | Seven Whole Days
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| 4. | Angel's Serenade
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| 5. | Everlasting Love
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| 6. | Everlasting Love (Reprise)
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| 7. | Just One Touch
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| 8. | The Bottom Line
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| 9. | Close Your Eyes
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| 10. | Goin' Home
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| 11. | The Bottom Line (Reprise)
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Jazz / Smooth Jazz
Michael Manson - Producer, Bass
Brian Culbertson Programming, Sequencing, Keyboards, Producer, Trombone
Craig Bauer Mixing
Dwight Sills Guitar
Ed Simonton Mixing
Elgin Manson Piano, Producer, Keyboards
Gerey Johnson Guitar, A&R
Hal Sacks Mixing, Engineer
Howard Levy Harmonica
Julie Dorsch Producer
Keith Henderson Guitar
Kent Anderson Executive Producer
Lana Manson Producer
Larry Bowen Trumpet
Lenny Castro Percussion
Mike Halperin Trombone
Nanette Frank Vocals
Oscar Seaton Drums
Paul Jackson, Jr. Guitar
Paul Mertens Saxophone
Ron Haynes Trumpet, Flugelhorn
Steve Grisette Vocals
Steve Hall Mastering
Steve Weeder Engineer
Tim Gant Keyboards
The veteran jazz/funk bassist should be invited into a smooth jazz fan's CD player by virtue of the guest list here, first and foremost. Playing with heavyweights like George Duke and Kirk Whalum -- whom he first played with on Whalum's The Gospel According to Jazz -- Manson has made a lot of great friends in the genre; each song here is dominated by significant harmony, melody, or solo time. The hip, jumpy "Outer Drive" was co-produced by and features Brian Culbertson, and plays like a Culbertson keyboard romp, with a standout bubbly bass solo. "Keys to My Heart" is a lush, lite funk ballad with a gentle, bass-driven melody and a rich harmony line by Whalum. The silky cover of Babyface's Toni Braxton hit "Seven Whole Days" balances thoughtful bass ruminations with Steve Cole's rich tenor, which joins in quickly. Manson's tone is very much in the realm of Marcus Miller, but he rarely stretches beyond the pleasant middle ground of his genre. While that will no doubt endear him to radio, the tune "The Bottom Line" shows a great deal of breakout potential beyond the confines of radio-friendly land. He plays thick and hard, surrounded by a sea of horns (including Culbertson's trombone) and supported by Tim Gant's organ sounds, which dig deep into Manson's extensive gospel roots. This is excellent smooth jazz, but it's easy to hear that Manson is capable of so much more. ~ Jonathan Widran, All Music Guide
Michael Manson
Active Decades: '90s and '00s
Genre: Jazz
Styles: Smooth Jazz
A native of Chicago, IL, Michael Manson took interest in the electric guitar at the age of 14. Influenced by the music of Al Jarreau and intrigued by the technique of Jarreau's bass player Abe Laboriel, Manson's love of music soon began to shift towards the bass guitar. At 15, he and a group of friends formed Togetherness, releasing an album and two singles before Manson left to join the Navy six years later. After returning to Chicago to obtain both his B.A. and Master's in Music degrees, he joined City Lights and began performing regularly on Chicago's jazz circuit. In 1999, he was invited to play the Montreux Casino Lights '99 festival. Sharing the stage with the likes of Boney James, George Duke and Kirk Whalum, he made connections that would eventually lead to a spot performing on the Montreux Jazz tour. While a performance there alongside his idol Al Jarreau could have been seen as a career-high, Manson continued to branch out, producing and writing while on tour. In September, 1999, he co-produced Brian Culbertson's "I'm Gonna Miss You" and did the string arrangements on Blaque's debut offering. In 2002, he focused on his own work, releasing The Bottom Line on A440. While the album was the first to truly showcase his talents as a songwriter and solo performer, it also contained "Seven Whole Days," a track written by esteemed R&B artist and producer Babyface.
---Don Kline, All Music Guide |
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