That question about what sort of project to do next applies even to artists that are slightly less than legendary, like Special EFX. Guitarist Chieli Minucci and percussion maestro George Jinda come pretty close to the lofty status as far as the pop instrumental genre goes, having been cranking out solid hit after hit for GRP and JVC since the early '80s. They cornered the market for a long time in that tasty area where melodic, breezy jazz meets easy worldbeat, but apparently started hitting a few creative walls -- as ...
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That question about what sort of project to do next applies even to artists that are slightly less than legendary, like Special EFX. Guitarist Chieli Minucci and percussion maestro George Jinda come pretty close to the lofty status as far as the pop instrumental genre goes, having been cranking out solid hit after hit for GRP and JVC since the early '80s. They cornered the market for a long time in that tasty area where melodic, breezy jazz meets easy worldbeat, but apparently started hitting a few creative walls -- as potent as each new disc was, it was merely an attractive variation on previous ones. While many thought their 1993 JVC debut Play was just the revitalization agent their creative careers needed, apparently Jinda and Minucci felt a complete stylistic overhaul was in order. Their next album was a complete 180, a total urban jam of an experience, and no discriminating fan will ever pigeonhole the two again. From the opening bouncing curveball of "The Nitty Gritty," it's clear that this new direction is working, and explosively so. Minucci's sweet acoustic strains are still quick as ever, only now they fit in snugly behind cool soul grooves, silky vocal sounds, and the slick bass of Jerry Brooks. Similarly, Jinda's percussion dances over darker edges and danceable funk. For fans who might miss their easygoing ballads, however, the boys serve up the much more mellow "Siana." Even this one has a unique street vibe, however. Much of the transformation is no doubt due to Jinda's smashing success producing new saxman Mark Johnson, whose funk-drenched debut poises him on the brink of true genre stardom. Here, Johnson returns to the tougher territory he and Jinda explored on his own album, with ecstatic results. For purists, the extensive use of programming might be a negative; but anyone who appreciates a band's need to break out will find it all for the best. And just to add to the overall soul effect, there's a vocal cover of Marvin Gaye's "Mercy Mercy Me." Even without this track, Special EFX triumphs high above the crowd walking a very daring Catwalk. ~ Jonathan Widran, Rovi
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