‘Saturday Street’the brand new album fromAustralian bass greatWayneJonesThere's a reason why you don’t hear so many solo albums by bass players ... and no... I’m not about to launch into an onslaught of bass player jokes. The real reason,and any musician will know this ... is because only the very best bass players can betechnically skilled and creatively inclined enough to pull it off. On his 2006 debutrelease ‘Forgotten Melody', Melbourne bass great Wayne Jones proved to all he's one of the rare few who candeliver an album full of beautifully constructed musical storylines featuring the bass as the central character.Proving he's no one trick pony, Jones has done it again. Merely three years after his first solo effort, WayneJones offers us ’Saturday Street’, another rich slice of sophisticated jazz flavoured pie.The key to any successful musical endeavour in this genre is the quality and allure of the instrumental conversations betweenmusicians. On 'Saturday Street' Wayne's collection of virtuosic buddies talk it up big time. Assisting Jones in creating his latenight lounge grooves are the considerable talents of Gerry Pantazis (drums), Ron Peers (guitar) James Sandon, BenjaminNorthey, Andy O’Connell (sax), Daniel Beasy (trumpet), Dave Carter, Mal Logan, John Grant, Ash Crick, Mike Oliphant(keyboards), Cheryl Beattie (vocals), Alejandro Vega, and Kintsho Tshabalala (percussion).There's no doubt the accompanists shine, but in the end it’s Jones' street party. His command of the bass and those nimble yetfluent licks will remain embedded in your mind long after the disc has come to a close.‘Saturday Street’ track by trackOpening proceedings with ‘Strictly Dan’, Jones wears hismusical heart on his sleeve, as he pays tribute to Americanmusic icons Steely Dan. Fat bass slaps feature as the band infull flight forge ahead with purpose and precision.The title track, ‘Saturday Street’ finds Jones with a springin his step, as he and his ensemble strut down his funkifiedthoroughfare.The ‘Back in Five’ vibe is one of a world we sometimesforget, a stop and smell the roses kind of feel, where thingsreally don’t seem so bad after all.Track four is the self-descriptive ‘Slow and Mellow’, adangerously seductive device for those quiet moments with aspecial friend.‘Sneaky Pete’ finds the band neatly in the pocket right outof the blocks. Not only are Jones’ chops remarkable, but hiscompositional ideas and improvisational skills are impressivetoo.‘MK3’ provides a leisurely walk down a sumptuouslytextured path. A scintillating sax solo adds a scent of spice tothe air.‘Time Traveler’ employs some interesting time signaturesas Jones’ displays his immense range of exceptional bassskills. However, his licks are never gimmicky and never doeshe give the impression of showing off. The bass ideas areeternally tasteful and executed with style.Any attempts to resist the samba flair of ‘Latin Tyme’ arefutile.From the opening few moments of ‘Hiraeth’ you realisethere’s some major musicianship goin’ down. Utilising thebass in a variety of guises, Jones takes total control of thissubstantial sonic brew.Much like a well-deserved nightcap, ‘I'm In The Mood’ is anappropriate end to a perfect day. Cheryl Beattie adds asmooth as silk vocal over a heart-melting melody.In a world turning upside down, where it’s easy to get caught up in the rapid pace of life and all its negativity andcomplexities, it’s comforting to know that at the end of the day it’s really all about how you choose to perceive things. You cansimply shut your door, kick off your shoes, and immerse yourself in life's more pleasurable pursuits. Better still, I heartilyrecommend a gentle stroll down Wayne Jones' 'Saturday Street' in the company of someone you love. Greg Phillips, Editor Australian Musician magazine. April 2009.