George McRae: Being Here

To feature the instrument’s sound, McRae chooses a trio format with just bass and drums backing. Moreover, he’s composed the all-originals program in a manner that allows the dynamic range of the piano to shine. “A Little Taste” and “The Funky Pigeon Stomp” reflect a groovy sensibility. The medium tempo “A Simple Wish” conveys the sweet side of things. And “Woman” aptly closes the set. Here McRae plays unaccompanied. Stripped bare of effects, the keyboard’s pristine electric hum beautifully complements the song’s haunting melody.

Besides the Rhodes, rhythm—manifested through Alan Berliant’s fretless electric bass—defines the session’s focus. On virtually every song Berliant busts out a thundering intro before McRae establishes the theme. With its ‘70s flick soundtrack riff, “Drive” epitomizes the album’s emphasis on heavy rhythm. In this one instance, melodic development takes a back seat to honking bass lines.

McRae definitely places a premium on melody, rhythm and composition, but cogent improvisation also occurs. The leader’s solo on “Running Man”—replete with short phrases, right-hand runs and , at times, a free sound—rewards concentrated attention. Berliant finds an opportunity to stretch out on “A Simple Wish” and “The Funky Pigeon Stomp” offering, respectively, charming and funky solos. Being Here succinctly covers a lot of bases while highlighting an unorthodox jazz instrument. Dig that funky Rhodes!