Listening to the James Taylor Quartet you can hear just how fine the divide between retro lounge chic and Raw Sex-ian (Roland Rivron's comedy outfit) peril is. And it's a line that JTQ dither either side of, never quite settling for either cool or camp.
Formed by a post-Prisoner James and ex-Dagger man David, JTQ gave the Taylor brothers an opportunity to nestle deep into the Acid Jazz niche. Unfortunately though, this has always been a dubious genre to command cred in and 'The Collection' gives more than a glimpse of why.
'I Say A Little Prayer', in light of the great ladies of soul who have performed it over the years, is pointless exercise in muzak of the foulest kind; breezy, light-hearted and nauseating. Similarly, 'Always There' is nearly but not quite in the 80s soul sense of missing the hit; over-produced to a sheen of chintzy glamour.
But in a career spanning 15 years, a few duds are bound to crop up, and this album (essentially The Polydor Years), captures each of JTQ's greatest moments - as well as the weakest.
With the quintessial 'JTQ's Theme', Hammond sounds the Charlatans would slither across hot coals for on 'Starsky and Hutch' and 'Fat Boy Stomp' (a slick, acid jazz number that compares in depth and melody to Otis & Carla's 'Tramp' minus the bitchy venom and daggers) it's a must for any fledgling mod and, providing you don't get stuck with the elevator tunes, a fine addition to any non-committal acid jazz experimentalist's collection.
Make the skip button your friend and welcome JTQ into your home.
