George Howard

by  Scott YanowGeorge Howard has never claimed to be a jazz artist and his recordings are of minor interest to followers of improvised music. There are a few times on this recording when the soprano-saxophonist (who has made a career out of copying Grover Washington, Jr.) sounds like a solo might cut loose, but the electronic rhythms keep that impulse in check. This set is only passable as background music and will immediately disappoint anyone who gives it a close listen.


A Home Far Away

Rex Rideout

Munyungo Jackson

Miracle (Album Version)

Rayford Griffin

Paul Jackson, Jr.

If You Were Mine (Album Version)

Mark Ellis Stephens

Kevin Chokan

Doria (Album Version)

Until Tomorrow (Album Version)

Deron Johnson

Carl Burnett

You Can Make The Story Right (Album Version)

Professor Philmore

Grover's Groove (Album Version)

Paulinho Da Costa

No Ordinary Love (Album Version)

A Home Far Away (Album Version)

For Our Fathers (Album Version)

Renewal (Album Version)

The Very Best of George Howard

There's A Riot Goin' On

by  Alex HendersonFor George Howard, Midnight Mood is business as usual, and not in a good sense. This predictable CD found the saxophonist (who's heard mostly on soprano) once again resorting to the worn-out pop/urban contemporary/jazz formula that had grown incredibly tiresome by 1985 and wasn't sounding any better in 1998. From the vacuous, knee-jerk elevator music of "Still In Love" and "Within Your Eyes" to a robotic cover of D'Angelo's R&B hit "Smooth," Howard sees to it that every note is in place and is careful to avoid any type of spontaneity. The album does contain a few decent cuts, including the haunting "Africa" and the sexy "Find Your Way" (which features R&B singer Marva King). But on the whole, Midnight Mood is the work of someone much more interested in selling CDs than saying anything meaningful on his horn.

Midnight Mood

by  Jonathan WidranAs one of the pioneers of the sound, the late George Howard was one of the most consistent rhythm and jazz saxmen over the last decade in terms of offering a smooth, light-funk melody that keeps to the status quo without going too far beyond it. Just as we thought he was staying on cruise control, his 1996 release offers a major Attitude Adjustment (GRP) to sizzling effect. There's still a smattering of the soprano silk-o-rama on the ballads, but mostly his horn hits the street at breakneck speed. He may go overboard in incorporating vocal effects, but more important is the fact that the party (a celebratory street scene emphasizing the best of African American culture) never lets up. The title of "A Whole Lotta Drum in Me" sums up the electrified production values, world percussion often meeting industrial punch and ultra-slick hip-hop. Even if the best tunes work better environmentally than harmonically, it's hard to argue with this much joy, which finds Howard more aggressive and tenacious than ever before.


Attitude Adjustment

When Summer Comes

by  Steve AldrichUnlike most of the soprano blowers out there in the pop-jazz market, Howard avoids the "Fuzak" plague, and keeps a stronghold on his R&B roots. At the same, time, Howard's 1992 CD stays away from the vocal-dominated tracks, which pop up all the more frequently in this genre. A solid, masterful set of funk/fusion.

Do I Ever Cross Your Mind

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A Home Far Away

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A Home Far Away

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