Todd Mosby: Land of Enchantment

As Land of Enchantment is New Mexico's state motto, it is not hard to ascertain the motive behind Missouri-bred guitarist Todd Mosby's latest album. As for its target, that would seem to be the light or smooth jazz market, as there is an abundance of rhythmic flow but a lack of what could be considered improvisational focus.

Yes, saxophonist Tom Scott does venture an ad-lib or two, as do Mosby and pianist Dapo Torimiro, but these are the exceptions, not the rule. The emphasis for the most part is on Mosby's compositions and arrangements, which, given the limitations already spelled out, are charming and well-drawn. Mosby arranged every number and wrote all save John Lennon and Paul McCartney's "Norwegian Wood" and Jimmy Webb's "By the Time I Get to Phoenix," which closes the session.

Mosby uses his supporting cast—which at times includes violin, cello, Scott's aerophone and vocals by Laura Vall—to good effect, and also employs the seldom-heard Imrat guitar on "Norwegian Wood." Drummer Vinnie Colaiuta and percussionist David Leach are a nice fit, while Charlie Bisharat's violin adds a delicate ambiance to "Phoenix" (taken at a slow tempo), as does Vall's wordless vocal. Mosby has one tune, the handsome "Emerald Springs," to himself.

The opening "Place in the Sun" is one of the album's livelier numbers, its funky beat amplified by Colaiuta's drums, Vall's ethereal voice and some earnest scatting by the group. Nothing, however, is improvised, which seems to be the norm on almost every number. The following four themes, all by Mosby, are "Moonrise Samba," "Native Dancer" (yes, written for the horse of that name), "A Distant Light" and "Georgia's World," the last a salute to artist Georgia O'Keeffe's New Mexico residence and source of inspiration, Abiqui. "Samba" is an attractive swinger on which Mosby and Torimiro depart from the script to frame a few off-the-cuff remarks.

Scott and Mosby are out front on the frisky "Native Dancer," but again, their pronouncements are more pro forma than inspired, and it is the melody and rhythm that prevail. "A Distant Light" is a lovely ballad with sensitive keyboard work by Torimiro, "Georgia's World" is a pleasant tune, enhanced once more by a samba-like rhythm. This is a respectable album—one would expect no less from musicians of this caliber—but it should not be mistaken for straight-ahead jazz, at least not in the sense of resourceful improvisation or other hallmarks of the genre. Smooth it is; unpredictable it is not. The stars are thus awarded for concept and musicianship, not jazz content.

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