After a few sub-par albums, Down to the Bone is back
Customer Rating: 
(Note: The first paragraph of this review summarizes the evolution of the group's sound leading up to this album which I feel sets an important context for this review - if you want to jump straight to the review of this album, skip ahead to the next paragraph.)
When Future Boogie was released in April 2009, it had been over ten years since Down to the Bone first set the contemporary jazz world abuzz with their debut album From Manhattan to Staten. While all groups evolve their musical sound - some to a greater extent than others - Down to the Bone seemed to fall in the familiar trap of failing to produce albums that matched the funky urban quality of their first two releases. A slightly subpar 3rd album, Spread the Word, was followed by a quality, if slightly more synthesized album in Crazy Vibes and Things. The group's 5th studio release, Cellar Funk, had numerous bright spots, but also a couple of lulls. Spread Love Like Wildfire had a couple of quality tracks, but none were particularly memorable and they all seemed to wear out their welcome by dragging on a minute or two too long. Supercharged was another average album by Down to the Bone standards, and left me wondering if the group had much juice left.
In Future Boogie, the group has answered all doubts as to whether their sound is getting tired. As they remind us on the final track, they've "Always Got the Music." This is the easiest album to listen to straight through since Crazy Vibes and Things, and possibly since the group's sophomore album, The Urban Grooves. Future Boogie walks the fine line by continuing the evolution of the group's musical style, and yet containing a couple of tracks (the lead and final tracks, to be specific) that are like flashbacks to the pure funky urban goodness that made the first two albums contemporary jazz classics in the late `90s.
My only complaint is that there isn't a broader range of saxophones (remember the incomparable baritone sax melody of 3 Days in Manhattan from the debut album?), but James Knight does a good enough job playing the alto in replacement of the group's long-time saxman, Paul "Shilts" Wiemar. Guest artists include, Hil St. Soul for two above-average vocal tracks (Should've Been You and The Brighter Side), and the incomparable Roy Ayers on vibes (Good to Me). Both these artists were guests on the previous album as well, and in my opinion, the collaborations should continue.
There really isn't a bad track on this album, but the highlights are:
Future Boogie - The closest thing to the original flavor of the first few albums (especially the intro, with the train whistle and strong bass line).
Should've Been You - I don't usually like the vocal tracks on contemporary jazz albums, but the combination of Hil St. Soul and Down to the Bone just clicks, especially on this track. This song has a great keyboard solo beginning at the 2:05 mark that really takes it to another level.
Spiderlegs - Pure funky goodness featuring a constant supply of Hammond organ by Neil Angilley, and some great guitar and trumpet solos to boot.
In the Pocket - This track has an incredibly smooth groove. If you like Timeless from the Cellar Funk album, or Parkside Shuffle from the Supercharged album, you'll like this one. Actually, this track can probably be most accurately described as Part II of Parkside Shuffle.
We've Always Got the Music - This track could not be more appropriately named, and is perfectly suited to be the final track of the album. It's a fresh upbeat number with a nod to Down to the Bone's early sound that let's you know that you're still in good hands.
This Review Copyrighted 2010 by J. Smith
Are you Down with the Bone?
Customer Rating: What can I say about this band that has not been said already. This is Down to the Bone striking home. Every track is smooth, after hearing the "supercharge" Cd I thought maybe this band was winding down, But, guess what? No, they not quite ready to fade off in to the sunset, just yet. Incredible production work, this snit right here bro, right here, this snit, is the bomb (Love yah, Katt)!! It's what I thought of when I first put this in to the player.
When this was dropped, they knew what they were doing. "Should've Been You" is a smooth vocal track that features Hil St. Soul and it's so cool, then you have, "Spiderlegs", And cut with MR. Acid Jazz himself, ROY AYERS, jamming with the bone on "Good to Me", "Gotcha", "Smash and Grab" are dope on a rope!! Paul Mendelssohn is doing his thing, you know moving cooling like a trumpet machine. Now all we need is a "Live album starting from the first Cd to this and the sky would be the limit.
Future Boogie
Customer Rating: This is a great record in the style of Brand New Heavies as well as Incognito.
It's lot's of horn arrangements that are funky and much hammond organ as well.
The arrangements of the songs are really good and fresh.
Thou the most songs are instrumental there are some with vocals with for example guest singer Hill St Soul on the songs "Should've Been You" & "The Brighter Side".
Another guest is the legendary Roy Ayers on vibes on "Good To Me".
If this is how the future gonna sound i can't wait to get there!
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