The year was 1991 and saxophonist Richard Elliot’s career was continuing to grow with his Manhattan release aptly named On the Town.  Several of the songs Richard continues to use in his live shows were from this album.  It covers everything from soulful ballads to fast paced off the charts syncopated riffs.

“Along The Way” starts things off with a snappy backbeat that pushes it along until Elliot’s sax bursts onto the scene.  The horn’s tone is multi-layered as if in harmony with itself.  It’s a completely different sound than most Saxes that I’ve heard before.  Dan Siegel adds a nice piano solo and Richard Smith is brought in for guitar.  The second cut titled “By My Side” is simple yet invokes the soul of the man behind the horn.  The modulations into the upper register make this one worth the price of admission alone.  “Take This Heart” brings in the vocals of the late Carl Anderson.  His vocals are always a favorite of mine, and Elliot’s searing sax will almost bring cold chills to the listener.  This is a nice combo. “Stiletto Heels” is a great little party tune that picks up the beat somewhat.  The backbeat keeps everything going and Richard’s sax is all over the place.  From the throaty low notes to the melodic chorus, he keeps things out front and headed to a nice finale.  “Midnight Passion” is darker and more subdued than the previous cuts.  It’s a primetime to hear the soul that Elliot puts into his work.  Richard Smith’s guitar is a nice touch and plays off the sax very well.

The title track starts off pretty funky with only Siegel, Smith and Elliot listed as artists. This one has a dance feel to it and Elliot’s sax continues to soar.  Siegel’s best solo work is on this cut, so check it out.  “Into The Light” is purposefully laid back and deliberate in the delivery and introduction of its key player.  Sam Mim’s keyboards continue to outline the framework that encases another soulful ballad by Elliot.  The two verses are separated by the wonderful acoustic guitar of Richard Smith.  “Breezer” begins with the hypnotic yet stiletto like piano intro before giving way to Elliot’s tenor that starts off low and crescendos into an amazing wall of sound.  This one doesn’t stop from the time it begins to the end.  There is run after mesmerizing run as the chorus lends itself to being answered with each volley.  It all meets with a signature ending.                  

“Highway1” picks up where the previous song left off.  Although it doesn’t grab you by the throat like its predecessor did, it’s a great tune for traveling down the road (thus the name).  It flows nicely throughout.  Take a deep breath before you start listening to “In Your Face.”  It’s begins innocently enough with some nice anticipative riffs in the first minute.  It’s at that point Naoki Yanai’s bass kicks it up a notch and Richard’s tenor is soon there to follow.  This one has some of the most mesmerizing runs that I’ve ever heard form a sax artist.  They go and go and go.  A little bass interlude at the mid point allows him to either catch his breath or push it up a notch.  It ends in fury of both sax and bass. If you’ve ever seen this one played live then you can only say “wow.”  “Over The Rainbow” is the classic from “The Wizard of Oz.”  Here again Elliot shows his soulful self and hits a homerun on this timeless classic.  What a great way to end the album.

This album is one of the reasons I became a Richard Elliot fan.  There are some cuts here that you won’t find from any other artist around today.  On the Town showcases this artist’s phenomenal technique as well as depth of soul.  It is a longstanding favorite of mine that endures the test of time.  If you don’t have a copy, I urge you to find one.  If you already have one, I suggest putting it back on for another spin.

- Harvey Cline