Personnel: Richard Elliot (soprano & tenor saxophones, programming); Bobby Caldwell (vocals, keyboards, guitar); Steve Dubin (various instruments, programming); Rick Braun (flugelhorn); Tim Heinz (organ, keyboards); Dan Shea (keyboards, programming); Ron Reinhardt, Tom Kellock, Robbie Neville, Sam Mims, Steve Bach, Brian Culbertson (keyboards); Richard Smith, Tony Maiden, Alan Hinds, Peter White, Paul Jackson Jr., Carl Verheyen, Wah Wah Watson (guitar); Naoki Yanai, Cliff Hugo, Alex Al (bass); Dave Reinhardt, Bob Harsen (drums, percussion); Lil' John Roberts, Art Rodriguez (drums); Lenny Castro, Luis Conte, Craig Yamek (percussion); Paul Brown, Hilary Bercovici (programming).
Producers: Richard Elliot, Steve Dubin, Paul Brown.
Compilation producers: Cliff Gorov, Eli Wolf.
Personnel: Richard Elliot (soprano saxophone, tenor saxophone, programming); Bobby Caldwell (vocals, guitar, keyboards); Alan Hinds, Paul Jackson, Jr. , Peter White , Richard Smith, Tony Maiden, Wah-Wah Watson, Carl Verheyen (guitar); Rick Braun (flugelhorn); Dan Shea (keyboards, programming); Robbie Neville, Tim Heinz, Sam Mims, Ron Reinhardt, Tom Kellock, Brian Culbertson (keyboards); Dave Reinhardt, Bob Harsen (drums, percussion); Lil' John Roberts, Art Rodriguez (drums); Craig Yamek, Lenny Castro, Luis Conte (percussion); Hilary Bercovici, Paul Brown , Steve Dubin (programming).
Photographer: Pamela Springsteen.
Arranger: Richard Elliot.
This document of Richard Elliot's Blue Note years showcases a virtual master saxophonist who decided that smooth jazz was the pace for him to make his mark, and his money, and he probably did all right at it. Elliot was a mainstay on "contemporary" or "smooth" jazz radio stations for much of the '90s though he began his run with the label in 1976. These 17 tracks document his years with the label and include all of his radio material as well as some other sides consistent in flavor and sound. What differs most from track to track here is the sound of the production more than Elliot's playing, which remains melodic, slightly funky and soulful in a very abstract manner; his tone, unlike say, David Sanborn's or George Howard's is actually kind of cool and distant instead of deeply emotive. It should also be noted that after leaving the label, first for GRP and then Artizen, his records in the 21st century, while still very accessible and in the smooth jazz vein, are creatively more compelling and more interesting production-wise than his earlier recordings. ~ Thom Jurek