“When She’s Dancing” employs a strong Latin flavor, as does “Goodbye,” with Cuban pianos and distinctively muted trumpets spun down to a slow burn for one of those sultry Havana nights under the Caribbean stars. “Why Not” reminds me a bit of J5, with a funky bass line and a tootling flute providing the main musical backing to Wyns’ accomplished raps. “Whatcha Gonna Do?” and “Get It Together” are back to back slow grooves that have enough of a hook to irritate you just enough to get frustrated by the fact that there is nothing more substantial to them. They both feel like recycled, slowed-down funk with a penchant for excruciatingly slow burn. In comparison, tempo-wise, “What Does That Mean?” is about the same, but the addition of some skip beats and Wyns’ ability to create his own complimentary rhythm make this a slow funk worth listening to.

“Cantaloop 2004” is the most well known track on the album. In fact, I’d submit that everyone who reads this review has heard some version of it. It’s one of those smooth jazz/funk tracks that everyone finds readily and easily accessible, no matter their musical tastes. There are two versions here, one the soul mix and the other the bossa mix. The bossa mix gives an indication of the type of energy that is missing from much of the album. This is not to suggest that everything has to be uptempo, but it has a funky irreverence to it that smacks of musical genius, and it is no wonder that Herbie Hancock had a hand in the original arrangements of both.

For the first time not drawing on jazz samples in the Blue Note archives, this Us3 album is 100% original, but this might explain the lack of pizzazz that somehow has infused itself into the album. Wilkinson commented that he was excited to actually be using live musicians, instead of sampling a lot, but while there is definite talent here, some of the arrangements are pedestrian in their sophistication. The jazz/salsa/dance influence has been around for a while, and while Us3 has been at the forefront of the movement, they have capitalized in the past by updating what was, in essence, tried and true material. Technically the performance is sound, but the sheer genius of a jazz master is missing and it shows. In addition, Skeef’s voice is a bit flat and seems to offer little that is truly unique in this day of soulful female singers. Wyns adds an air of intransigence and fun that seems to be lacking throughout much of the album, but he is not enough to override the occasional feeling that this is simply an exercise.