's solono pun intendedis one of the highlights. Hearing the full orchestra behind a funky jazz lead is a treat, as Miller delivers some of his signature slaps during his solo, supported mainly by Bell's rim shots.
engages in a lively dialogue with Midon, trumpet and guitar shifting easily from harmonious duet to call-and-response, with Hargrove answering in scat-like fashion. Midon demonstrates range and precision, combining the skills of a jazz vocalist with those of an auctioneer.
A tranquil classical piece merges into a fiery Brazilian anthem with Miller accompanying the strings at the front end of Puccini's "O Mio Babbino Caro," with drums, percussion and brass signaling a quick segue into "Mas Que Nada." Voice and strings are in sync during the chorus but, underneath it all, Miller's bass line is hard-charging. Hargrove's solo morphs into a scat and guitar solo from Midon; the two then trading off, with Midon voice emulating a trumpet. Miller recaptures the energy and emotion first visited when he arranged and produced Jarreau's recording of "Mas Que Nada" in 1994, one of the more thrilling adaptations of the Jorge Ben classic.
Better-known as a bassist, Miller also plays bass clarinet on some of A Night in Monte-Carlo's tracks, while fellow Grammy winner Herbie Hancock