Dial M-A-C-E-O

Performer: Maceo Parker
Artist: Ani DiFranco; James Taylor; Prince; Sheryl Crow
Producer: Daniel Wise; Prince
Distributor: Select-O-Hits

Notes: Personnel: Maceo Parker (vocals, alto saxophone, flute, piano); Prince (vocals, various instruments); Ani DiFranco (vocals, guitar); James Taylor, Corey Parker, "Sweet" Charles Sherrell (vocals); Vincent Henry (tenor saxophone); Ron Tooley (trumpet, flugelhorn); Bennie Cowan (trumpet); Greg Boyer (trombone); Sheryl Crow (harmonica, background vocals); Will Boulware (Hammond organ, synthesizer); Bruno Speight (guitar); Rodney "Skeet" Curtis (bass); Jamal Thomas, Michael Bland (drums); Kevin Hupp (percussion); Diann Sorrell, Audrey Martells, Corey Parker, Charles Sherell (background vocals). Engineers include: Daniel Wise, Hans-Martin Buff, Marcus Miller. Principally recorded at Dan's House Of Love, New York, New York in September 1999; Paisley Park Studios, Minneapolis, Minnesota. Includes liner notes by Maceo Parker. Undoubtedly one of the best known sax players in the history of funk, predominantly through his work with James Brown ("Play, Maceo!"), Maceo Parker has had a spotty recorded solo career. His eighth album as a band leader finds the horn honker expanding his palette by aiming his instrument at smooth jazz and rap, while inviting fans Ani DiFranco, James Taylor (?!), and Prince to add superstar spice to his soul stew. Although it's refreshing that these folks wanted to lend a hand, none of their contributions help define the album, and, in Prince's case, even waters it down. Certainly Parker doesn't need any assistance as smoking versions of the Isley Brothers' "Work to Do," the album's opening stuttering funk salvo of the self-composed "Rabbits in the Pea Patch," and "Coin Toss" (DiFranco's track) makes clear. The talented Parker, who is only slightly less adept at the flute and piano, rips into scorching solos equally as energetic as anything he did with Brown or George Clinton. Unfortunately, a shift to easy-listening fusion with treackly covers of Robert Flack's "The Closer I Get to You" and especially Paul McCartney's icky "My Love" move him into slick, supper club territory as the disc closes. His horn still sparkles, but without the deep R&B party sounds to work with, the latter part of the album sinks into formula. On the other end of the spectrum is "Black Widow," featuring Parker's son Corey rapping over a slow, sparse backing as dad plays flute in an attempt to push his musical envelope, which never quite gels. Nor does an almost unrecognizable James Taylor singing vocal harmony on "My Baby Loves You," a joyously upbeat track. By trying to touch too many bases, Maceo Parker only dilutes his most stunning attribute -- the tough, groove machine fury of his sax. That makes this another good, but not great, release from a legendary artist whose flame remains white hot, but whose albums never quite catch fire. ~ Hal Horowitz While James Brown spent most of the '80s and '90s dealing with the law, former JB Maceo Parker was busy preaching the funk gospel, tearing it up on the road and in the studio. On 2000's DIAL MACEO, Parker puts together another solid collection of songs highlighted by his awe-inspiring sax chops. The former P-Funk-ateer's musical range spans smooth R&B covers (Roberta Flack's "Closer I Get to You"), brassy, Phish-like jaunts ("My Baby Loves You"), and even Brazilian-flavored cocktail music ("Latin Like"). Parker's prowess on flute, showcased on a scorching Isley Brothers cover ("I've Got Work to Do") and on a sinewy soul-jazz original ("Simply Tooley"), are equally impressive. Longtime admirer Prince lends the flatly delivered hip-hop-flavored jam "The Greatest Romance Ever Sold" (originally released on the Purple One's RAVE UN2 THE JOY FANTASTIC) and "Baby Knows." The latter, a nugget with a Revolution-era sound, features Sheryl Crow on harmonica. Parker's son Corey joins forces with his father on "Black Widow," adding a slow-rolling rap to a number accentuated by Maceo's acid-jazz flute and a bed of dark, Goldie-like beats.

Q (5/00, p.117) - 3 stars out of 5 - "Funk's eternal verities pour like water for Maceo....He expounds them in the first 2 tracks of this 6th solo album..." CMJ (5/1/00, p.33) - "...Smears the borders separating jazz, funk, soul and pop....collaborating with Ani DiFranco, James Taylor and Prince..." Down Beat (8/00, p.72) - 3.5 stars out of 5 - "...Completes a sonic makeover of Maceo Parker, creating a contemporary, radio-friendly setting for his expressive alto sax and flute....98% funk and 2% jazz..." Mojo (Publisher) (6/00, p.112) - "...Maceo's pretty much unbeatable, providing an old-fashioned, R&B, dance-yourself-dizzy situation....Funky..."

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