STEVE RAWLINS, "It's Cool"

Three years after exploring the more intimate side of his artistry on his Solo Piano release, veteran pianist, composer and arranger Steve Rawlins returns to a dynamic full-band format for the first time in four decades with “It’s Cool,” the irresistible, infectiously grooving lead single from his forthcoming ensemble album Word on the Street. If this buoyant opener is any indication, the project promises to be a joyful celebration of melodic jazz, first-rate musicianship and the enduring thrill of musical conversation.

The title couldn’t be more fitting. From its opening low-register piano motif, punctuated by crisp drum flourishes, “It’s Cool” quickly settles into an easy swinging rhythmic flow that never loses its effortless swagger. Rawlins hooks the listener with a memorable riff before inviting the entire band to the party, creating the kind of sparkling ensemble chemistry that makes the track a joyous, engaging affair throughout.

One of the track’s most distinctive touches comes courtesy of three special guest vocalists: recording artist Isela Sotelo and their daughters Marisa Bradfield and Victoria Rawlins. The trio’s recurring breezy refrain of “It’s cool…yeah, it’s cool” floats throughout the performance as an integral part of the arrangement, adding personality, warmth and a playful spirit while giving the tune an unmistakably personal dimension.

Likewise, Rawlins is joined by an exceptional, powerfully intuitive lineup of jazz legends, including tenor saxophonist Sal Lozano, guitarist Grant Geissman, bassist Ken Wild and drummer John Ferraro, and each musician contributes to the song’s unique, ever shifting momentum. Lozano’s soulful, emotion-charged tenor and Geissman’s tasteful guitar energies often move together in bright, brisk unison before branching into expressive counterpoints, while the rhythm section keeps the overall vibe dancing with understated confidence.

The centerpiece is the exhilarating exchange between Rawlins and Lozano. Rawlins launches into an imaginative piano improvisation filled with rhythmic invention and lyrical turns before handing the spotlight to Lozano, whose flowing solo grows from melodic elegance into fiery spontaneity without ever abandoning the song’s propulsive pockets. Rather than feeling like isolated showcases, the solos become natural extensions of the composition itself, reflecting the overall aesthetic of thoughtful and witty interplay.

Ironically, the memorable vocal hook wasn’t born from an elaborate lyrical concept. Rawlins says the two-syllable phrase simply emerged as he developed the melody, making it the lone vocal piece among the album’s eleven tracks. Encouraged by vocalist and lyricist Mark Winkler to introduce the project through streaming singles, Rawlins selected “It’s Cool” because its instantly recognizable melody and family vocal collaboration made it the perfect ambassador for the upcoming collection.

For long-time jazz fans, Rawlins hardly needs an introduction. Across an accomplished, highly versatile career, he has arranged, composed and/or served as musical director for an impressive range of artists including Smokey Robinson, Bette Midler, Chaka Khan and Lainie Kazan, while also contributing music to television, major awards shows and concert stages from Carnegie Hall to the Kennedy Center. Yet “It’s Cool” isn’t about looking backward. Instead, it captures an artist embracing the excitement and adventure of a new creative chapter.

More than forty years after Step Right Up introduced Rawlins as a bandleader, “It’s Cool” feels like both a welcome reunion and a confident fresh start. Lively, memorable and overflowing with musical rapport, it leaves listeners eager to hear where Word on the Street will lead next.