Lorber brings jazz to Colorado
by Tuyet Nguyen
The Metropolitan

Photo by Howard Rosenberg Courtesy of Narada Jazz

Jazz musician Jeff Lorber will be coming to Colorado as a part of the Dave Koz Saxophonic Tour. He will be performing at 8 p.m. on Oct. 15 at the Paramount Theater

The dentist’s office is a Mecca for discomfort and awkwardness. There’s the impending doom of gloved fingers shoved into uncomfortable places, the stiff-backed posture-correcting waiting room chairs and then, of all the tribulations, there is the contemporary jazz softly crooning from the wall speakers like a march of death.

Somewhere in this genre of Muzak is where Jeff Lorber finds his home. Lorber smooth-jazzes it up with the best of his contemporaries on his latest album “Philly Style,” which was released in March 2003 on the appropriate Narada Jazz label. Fancy keyboard playing, traces of R&B and the funky wah-wah sound are all found on what is to be Lorber’s tribute to his Philadelphian roots.

As Lorber’s sixteenth album, “Philly Style,” comes off as well as a Kenny G. album does. Sure, it’s well-done and well-produced, but for non-fans of the genre it is rather tame and not very impressive. Certain bands and artists like Radiohead or Johnny Cash have a ubiquitous sound that can break across musical borders to appeal to a cornucopia of people. Lorber is not one of those artists.

The (sub)urban updated jazz of today is relegated to specific groups of like-minded adults who enjoy the unpretentiousness of artists like George Benson and Chris Botti. This is music for individuals who savor the comforting atmosphere of mellow beats and good-natured grooves. For specialty artists like Lorber who have built a solid fan-base in this genre, it is not necessarily a bad thing to have a sound that shies away from Top 40 radio.

Lorber, who has been making music since the late 1970’s, has fused his inspirations into the polished, cozy definitive of jazz pop and still stands today as a pioneer of the style. Critics have applauded Lorber’s album as an energetic and fresh angle on the jazz crossover. Lorber’s cover of hip-hop group Goodie Mob’s “Soul Food” has been described with sheer delight as new and innovative. And of course, those fans who have been with Lorber since “The Jeff Lorber Fusion” days surely have welcomed this latest effort.

However, what is good for the goose is sometimes of no interest at all to the gander. Smooth jazz really is an acquired taste and not all are up for it. While many may find Lorber’s music a comfortable ride, some may only remember it from the torturous confines of a dentist’s chair. Like fans of Cannibal Corpse or Insane Clown Posse, it takes a certain kind of person to really be into this particular style.

Lorber will be making an appearance on Oct. 15 at the Paramount Theater in Denver. The show promises to be a humble adventure into the land of adult contemporary with synthesizers over quiet rhythms, lite-funk bass and sleek beats. For those who have already planned to attend, this experience will certainly be an enjoyable one. And for those who haven’t been planning to attend, they probably won’t be losing any sleep over it.

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What could possibly cause me to miss out on one of today’s most diverse and imaginative indie-pop bands at least four times? The flu? A rash-inducing social anxiety? Or maybe just absent-mindedness?

The first time I regretfully missed Enon was following the release of 2000’s “Believo,” which was essentially the solo project of ex-Brainiac member John Schermsal. I do, however, have a reasonable excuse for my absenteeism—I wasn’t old enough to get into the bar where Enon was playing that night.

In 2002, Enon released “High Society,” their critically acclaimed sophomore effort, which introduced the now-a-full-fledged-band’s two new full-time members, Toko Yasuda, formerly of Blonde Redhead, and drummer Matt Schulz.

Enon demonstrates a penchant for writing a colorful assortment of clever, uniquely crafted pop songs in the tune of domestic guitar-driven disco dance coupled with the ratty synthesizers found in the more interesting crevices of the Japanese pop world.

Enon will be showcasing their ingenious songwriting capabilities in support of their new full-length “Hocus Pocus,” on Friday, Oct. 10 at the Larimer Lounge, with local openers Black Black Ocean.

I don’t care if the universe implodes AND I get maimed in a shark attack, I’m not missing Enon again.

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Student Recitals -
Every Monday, 2 p.m.
King Center, free

Symphony Orchestra Concert-
Sunday, October 12; 7:30 p.m.
William Morse, director
King Center, free

Artist Faculty Recital: Barbara Hamilton-Primus, viola -
Tuesday, October 21, 7:30 p.m.
King Center, free

Instrumental and Vocal Jazz Ensembles -
Thursday, October 30, 7:30 p.m.
Walter Barr and Fred Hess, directors
King Center, free

Senior Recital: Jennifer Petrie, soprano -
Monday, November 3, 7:30 p.m.
King Center, free
(Senior recitals are tentatively scheduled)

Jazz Combos -
Tuesday, November 11, 7:30 p.m.
Ron Miles, director
King Center, free

Choral Ensemble Concert -
Sunday, November 16, 7:30 p.m.
Michael Kornelsen and MB Krueger, directors
King Center, free

Artist Series: Jessie Levine, viola and Tamara Goldstein, piano -
Tuesday, November 18, 7:30 p.m.
King Center, free

Symphony Orchestra Concert-
Thursday, November 20, 7:30 p.m.
William Morse, director
King Center, free

Wind Ensemble Concert -
Sunday, November 23, 7:30 p.m.
Thomas Blomster, director
King Center, free

Senior Project: Elizabeth Kullman, piano -
Monday, November 24, 7:30 p.m.
King Center, free

Concert Band Concert -
Tuesday, November 25, 7:30 p.m.
Gerald Endsley, director
King Center, free

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