Back in 1989 when keyboardist and composer Dave Grusin was the “G” in GRP Records, he released an album called Migration.  Smooth jazz was still in its formative years, and GRP was the place to be if you were a smooth jazz artist.  Back then, the division between smooth and contemporary was not as pronounced as it is now.  There was more cohesion between the two styles of music.

When you start with good material, and then you get the right players – people who know what to play and how to play it, and you have the right person at the helm of the project, then this is the result you get.  Dave Grusin assembled a group of very talented musicians and created this wonderful album, which to this day still represents just how good smooth/contemporary jazz can be when done right.  Branford Marsalis, Omar Hakim, Hugh Masekela, Marcus Miller, Mike Fisher, Harvey Mason, Abraham Laboriel, Carlos Rios, and Don Grusin lay the foundation for the music on this Southwest/Tex-Mex-themed album.

The CD opens with “Punta Del Soul” featuring Branford Marsalis on soprano sax, while Marcus Miller and Grusin play in unison in the chorus of the track.  Grusin keeps his playing very easy on this opening track until he accelerates at the end of the song.  “Southwest Passage” again highlights Grusin’s easy piano and keyboard style as well as his synthesizer talents.   “First Time Love” was co-written by Grusin and drummer Harvey Mason.  Patti Austin recorded a vocal rendition of this love song a few years back, but Grusin’s keyboard is the appropriate voice for this version.  “Western Women,” written by his brother Don Grusin, is an upbeat, fun tune which gives a nod to the cowgirl.

One of my favorite tunes on this CD is “Dancing in the Township.”  Who else but South African trumpet and flugelhorn player Hugh Masekela can bring to life a song about a township?  This song works on several levels.  One is the musical communication going on between Masekela on flugelhorn and Marsalis on tenor sax as they play off of each other.  Another is how the rhythm section of Omar Hakim (drums) and Marcus Miller (bass) kick it into high gear and go for it, so by the end of the song there’s an incredible jam session going on between all the musicians.  And finally, it works because Grusin’s playing holds the whole piece together, supplementing, while the other players take the lead.

Another favorite tune on this album is “In the Middle of the Night.”   This song has a repetitive groove, laid down by Harvey Mason and Abraham Laboriel (bass) which Grusin builds upon and plays off of.    He does this throughout the song and then brings it all home in the end.  “T.K.O” is a Marcus Miller song which showcases Omar Hakim and Miller doing what they do best.  It is an upbeat contemporary number which once more features Marsalis on tenor sax.  Again, Grusin lets his players come center stage, but then has his say in the middle of the song.  

By far my favorite tune on the whole album is “Polina,” written by Masekela for his mother.  You can hear the passion and emotion in every note that he plays on his flugelhorn.  It’s almost mournful, in a sense.  Grusin matches his playing with some soft, expressive keyboard work, which totally complements Masekelas’ playing, note for note.

The CD ends with the “Suite from the Milagro Beanfield War,” a series of short songs from the Robert Redford directed movie.  Dave Grusin is no stranger to soundtracks, having written many over the years for film and television.  “Lupita,” “Coyote Angel,” “Pistelero,” “Milagro,” and “Fiesta” continue the Southwest/ Tex Mex theme and make up the suite.

This album represents Dave Grusin at his best, whether he’s playing, composing, or producing.  He’s confident and talented enough to know when he should take the lead and when he should let others lead.  He doesn’t over play.  He doesn’t overshadow his musicians.  He simply lets the music happen.  Over the years I’ve wondered how this would have turned out if this were someone else’s project.  Would it have been as good?  Would it have turned out as well?  I don’t know.  I’m just glad that the heavens were aligned, and everything fell into place the way it did for this album.  Migration has stood the test of time.    

- Mary Bentley