Reed Seed, like its immediate studio predecessor Secret Place is a transition album from jazz-funk to what would become contemporary or, if you will, smooth jazz. That said, it is no less compelling than Mister Magic or Feels So Good. It follows those recordings in formula, beginning with the solidly funky "Do Dat," written by sidemen John Blake (keyboards and violin) and Leonard "Doc" Gibbs (percussion, vocals). Kicking it with a popping, repetitive bassline, Washington's tenor enters on the melody amid handclaps and the sounds of a backing chorus (provided by Rita & Lita Boggs). Containing a killer bass solo and bridge, it's a perfect length at 4:27 to be a single, and it was. This is followed by the uptown groover "Step "n" Thru," introduced by Blake's violin and synths, as well as nice guitar work from Richard Lee Steacker (the track's author). But the real prize is a smoking soprano solo from Washington as the tempo begins to move. The title track is a feature for Blake's violin to shine along with killer bass and percussion work, with Grover's soprano being intentionally restrained to providing its own sense of lyrical groove. There's a very fine cover of Billy Joel's "Just the Way You Are," and "Santa Cruzin'" sets the template for the direction he would follow in the future. It's a midtempo stepper with lithe funk and lots of acoustic piano and a very simple, direct melody that focuses on atmosphere as much as lyricism. The album's final number, "Loran's Dance," is a nocturnal one with Washington overdubbing his saxophone lines (alto and tenor); it develops on a Spanish-tinged theme, and the Rhodes work by Blake is exceptional. When Washington begins to solo, the atm
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