Set for release July 21, 2009, Burnin’ is produced by veteran R&B/jazz hit makers Barry Eastmond (Al Jarreau, Peabo Bryson, Jonathan Butler, Anita Baker) and Rex Rideout (Richard Elliot, Gerald Albright, Boney James, Najee).

“I really love getting into the studio with Barry and Rex,” he says. “It’s something I am so grateful for and never take for granted. But nothing tops the moment when I get a chance to connect with the audience.”

The clever Eastmond to Rideout to Eastmond track-to-track flow on Burnin’ essentially echoes the way Taylor has switched off on his previous collaborations with the producers, which include 2003’s Steppin’ Out and 2005’s Nightlife. Casual listeners might be having such a blast swaying and grooving that they may not notice the switch off. Another reason for this is the consistency of Taylor’s rhythm section under both producers--all the tracks feature Darrell Crooks on guitar and Michael White on drums; Melvin Lee Davis plays bass on seven tracks, while Ronnie Garrett handles it on three others.

With Burnin’, Taylor follows the spectacular success of his 2007 disc Ladies’ Choice—the saxman’s first ever 1 (and 1 debut) on Billboard’s Contemporary Jazz Chart—with the most powerful and robust musical statement of his career. Burnin’ is an explosive set of decidedly retro and old school soul influences, which reunites the saxman for the fourth time with veteran R&B/jazz hit makers Barry Eastmond (Al Jarreau, Peabo Bryson, Jonathan Butler, Anita Baker) and Rex Rideout (Richard Elliot, Gerald Albright, Boney James, Najee). Pushing his artistic envelope as never before, Taylor stretches beyond his usual soprano and alto comfort zone and plays lead melody on nine of the ten tracks on tenor sax for the very first time.

“The focus on the tenor happened by very happy accident,” Taylor says. “I thought it would be cool to bring my tenor along with my soprano and alto to the sessions which kicked off the project. When I got to the studio and opened up my cases, I saw that the soprano was damaged. It made sense to use both alto and tenor to start writing, and I really started liking the way the lower tones of the tenor sounded. One of Barry’s strengths in jazz is producing the tenor, so we just kept rolling with it. It’s got a gutsier sound and as things turned out, lent itself to the retro ‘70s soul sounds that naturally emerged from our writing and recording sessions. I always think back to that Junior Walker ‘Shotgun’ blast and this was just my time to go in this direction.”

If the cool guitar, laid back retro grooves and Taylor’s simmering tenor don’t conjure images of life “Back In The Day,” singer Billy Cliff’s vocals about singing our favorite songs during the summertime just might do the trick. Taylor then fires up a few more blasts from the past with the blues-and-gospel driven “Revival” and the R&B party jam “Groove Shack,” which brings to mind Ramsey Lewis’ “The In Crowd” and Marvin Gaye’s “Got To Give It Up.” After the lone alto sax tune, the lush and sexy “Remember the Love,” the saxman gets down to business on the infectious title track “Burnin’,” which mixes a scorching horn textured hook, percussive tenor soloing, shimmering synth elements and an irrepressible rolling groove.

The good feelings continue into the night as Taylor takes us into the “Side Pocket,” where he struts his cool tenor melody and gets caught up in a hypnotic swirl with soaring synth atmospheres that scream and whisper: ‘70s! On the similarly vibrant and up-tempo “It’s Like That,” Eastmond creates a Stevie Wonder-like clavinet sound behind a potent sax hook, then conjures up a wistful synth Rhodes harmony beneath some of Taylor’s sensuous and slow burning Gato Barbieri like playing. On the festive “Juke Joint,” Eastmond creates a piano jam foundation and spirited organ harmonies that inspire Taylor to let loose on a true blues jazz jam session. After the set’s lone cover, a fired up blues twist on War’s “Me and Baby Brother,” Taylor closes the set on a high energy note with “So Fine.”

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