Brian Culbertson: Day Trip

Multi-instrumentalist Brian Culbertson is a musician with a vision, and on his Day Trip, he sets out to share that vision with his listeners. What is that vision? It is that of an artist who understands what music is capable of and his role as an artist to bring that all to fruition: the slow groove that evokes romantic love, the toe-tapper that stirs nostalgic memories, the funk-fueled jam that moves bodies out of their seats. Day Trip feels like a guided musical excursion, carefully crafted to move listeners through the journey.

With that vision established, Culbertson fills Day Trip with music that is chock full of standout moments, thanks in part to an impressive roster of collaborators. "Morning Light," featuring saxophonist Eric Marienthal, offers up a roller coaster of sound. It opens the album with a groove that starts off smooth and easy, but turns into a full-on dance by the song's end, setting the tone for the journey ahead. On "On the Road," bassist Marcus Miller and percussionist Sheila E. raise the funk with Miller's thumping bass line and Sheila E's explosive timbales. The song's opening is reminiscent of Patrice Rushen's "Forget Me Nots," before eventually transitioning into a fun and engaging high-octane conversation between the musicians. Their presence, coupled with Culbertson's soulful keyboard work, gives the track just the right rhythmic punch, adding one more stop on the album's musical journey.

Elsewhere, Culbertson leans into jazz's more expansive and compositional strengths: "U-Turn" unfolds with a measured sophistication, elevated by Branford Marsalis' exceptional saxophone work. At the same time, "In the Vines," with saxophonist Kirk Whalum, adds a layer of warmth and romanticism that shifts the mood into something more intimate and reflective. By the time Culbertson arrives at "A Hundred Miles," featuring trumpeter Randy Brecker alongside Marienthal once more, Day Trip feels less like a collection of songs than a series of carefully chosen destinations.

What is great about Day Trip is that it works because it moves with musical ease. The order Culbertson chooses for the songs feels intentional, moving effortlessly between romance, nostalgia, and funk without ever losing its groove-heavy roots. It is neither stuffy nor pretentious, despite the caliber of collaborators Culbertson brought along for the ride. Instead, the album becomes an invitation to listeners to pause, if only for a moment, and journey along with him through sound. In a genre often dismissed as instrumental R&B, Culbertson reminds listeners that just because the music is smooth does not mean it lacks finesse or sophistication, and that a journey does not need to be heady improvisation to feel meaningful.

Culbertson is open to whatever the music turns out to be. He pairs his talent with some of the best names in the business and does not interfere with what unfolds. His playing is effortless and joyful, while his direction is curious and full of awe and wonder. That is the sum of a musician who is sure of himself and confident in his artistry. That is the sum of an artist who knows what direction he wants his music to go.