Jonah Smith's Search for a Musical Identity

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"Roots music" is a term bandied about far too loosely of late. Defined by Webster as "any music identified with an early culture," roots music has become a catchphrase to describe what is far too often mediocre music disguised as a tribute to the origins of a genre, be it blues, jazz, country or even heavy metal. Hence, the very term is rendered impotent. Eric Clapton is not roots music. Robert Johnson is.

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The PR surrounding Jonah Smith is fond of referring to him as a throwback (which he is) and then taking it one step further and calling him roots music (which he most definitely is not) unless seventies-grounded blue-eyed soul sprang full-blown from some hitherto unknown source. Nonetheless, it is the rock/jazz music of the early seventies that are the root of Smith's music.

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On his eponymously titled major label debut, Jonah Smith attempts to rejuvenate the soul/jazz/rock hybrid genre, as exemplified by bands like Little Feat and Steely Dan, that the too cool for school collegiate clique dug on in the early to mid-seventies. The resultant album, however, offers little in the way of innovation. Rather, it more often than not comes across as a pale imitation of the music that it seeks to exalt. That's not to say that Jonah Smith is a bad work, but only that its potential is unrealized. Smith can't seem to decide whether he wants to be Van Morrison or Steve Winwood and the album reflects that uncertainty.

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Perhaps it's a case of first album jitters, but throughout the album, one is left with a sense that Smith is out of his element. The band is tight and Smith's vocals ring with conviction, but the work ultimately is best left to club venues. It's mildly entertaining but it sounds like a really cool cover band whose originals sound all too familiar.

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While Jonah Smith makes a valiant freshman effort, one can only hope that he cements his own identity on his next outing.