Flow

In light of Richard Smith's ongoing growth as one of smooth jazz's most memorable composers, it's interesting that the one tune that best summarizes the guitarist's acoustic-electric switchoff approach on Flow is a cover of Kenny G's "Pastel." Smith eases in gracefully with a subtle nylon-string melody which wafts gently over Tim Redfield's moody synth washes before cranking up the cool blues-funk energy and changing to a Wes Montgomery electric breeze style. He combines this more aggressive stance with Redfield's own change to a synth organ harmony, adding brassy accents with the combination of saxman Sean Holt and trombonist Dave Ryan. The energetic blues shuffle approach also works wonders on a hip-hop flavored cover of Miles' familiar "Milestones," which finds Smith taking a percussive approach to the melody and giving way to a zigzagging brass chorus section. As colorful as these two tunes are, however, instantly memorable originals like the balmy title track (which blends a laid-back guitar lead with skittery electronic percussion), the sly, throbbing, bass-driven blues of "Drive Time," and the easygoing ballad "Love Looks Without Eyes" are testament to a strong flair for writing straight to the point. Then again, Smith was showing promise of this from the beginning; with an hypnotic, soundscape thick reworking of the gorgeous "The Great North" (from his 1987 debut Puma Creek), he reminds us what a perfect smooth jazz guitar-sax ballad is all about.