McCann proving that soul jazz never needed to apologize for feeling good and swinging hard.
By 1994, Les McCann was well past the point of needing to prove anything. His 1969 recording of "Compared to What" had made him a crossover name, sampled across hip-hop and absorbed into the broader culture in ways most jazz musicians never experience. "On the Soul Side" arrived quietly — not as a statement, not as a comeback, but as a seasoned musician doing exactly what he wanted. It landed with modest commercial attention and no particular critical fanfare, which is exactly what you'd expect from a veteran soul jazz date released during the grunge and alternative era. This was not the moment the industry was championing acoustic jazz, yet McCann recorded it anyway.
What makes the album work is its refusal to shrink. Les McCann plays throughout with the same directness that made his earlier work matter — no searching, no second-guessing. The rhythm section of Abraham Laboriel on bass and the dual percussion attack of Tony St. James and John "JR" Robinson keeps everything grounded and moving. Keith Anderson on saxophone and Jeff Elliott on brass add color without fussiness. These are players who understand their role: support the momentum, don't clutter it. The writing and arrangements stay focused on what soul jazz does best — make the listener want to move.
This is not McCann's peak, and that's not really the point. The album sits comfortably in his late-career catalog as a solid, unpretentious reminder that the man could still deliver the goods when he felt like recording. For listeners already deep in his discography, it's a natural step. For newcomers, start with Swiss Movement (1968) instead — that's where the fireworks are. "On the Soul Side" is what you spin when you want proof that McCann's approach never got tired, even if the rest of the world had moved on.