Vivid
Michael Lington's ironic inclusion of aRandy Crawfordvocal version ofBurt Bacharach's "Message to Michael" on the saxman's debut offers an open invitation for smooth-jazz fans to tell him what we think. The message we send might begin positively: it's a tough gig to compete withBoney James,Warren Hill, andDave Koz, so it's a great idea to enhance your intensely soaring, doubled-sax melody on "Twice in a Lifetime" with Tony Guerrero's gently drifting flugelhorn. It's also a sharp call to take a torchy harmony role behind Brad Cole's dark-toned keyboard melody over the pitter-patter percussion on "P.J. (Pamela Jean)." Oh, and balancing more pedestrian funk jams, like "Too Good to Be True," with the much more intoxicating Brazilian rhythms of "Por Do Sol (Sunset)" helps keep our interest. On that tune, Lington's edgy alto weaves in and out of jittery acoustic guitar lines in a perfect blend of pop balladry and exotica. It's a mixed bag here, otherwise--an easygoing but unremarkable take on the R&B; classic "Love Won't Let Me Wait," aKenny G-like soprano line finding a few sparkling moments between the verses of the pretty vocal ballad "Everlasting Love." Lington approaches the power balladry of Warren Hill on one of the best genre ballads in a long time, "Sarai." Overall, the message is that while Lington makes for a powerful, very likable, and sometimes imaginative new voice on the scene, he's not yet offering enough uniqueness to rise high amid the veterans. Let's hope he takes the message to heart and develops the great potential already in evidence.--Jonathan Widran