I blame Miles Davis for a vast many problems in music. Seeing as the man innovated roughly three different times, though, everything should be forgiven. But I just can’t let it go. Apart from Miles helping to establish the West Coast cool thing that pretty much gave way to smooth jazz during ensuing decades, the trumpeter was responsible for re-introducing huge ensemble support during the bop era. Obviously, big bands from years back endeavored to use as many different instruments and sections as possible, but Miles’ work on fair like Porgy and Bess could be seen as a step away from the most artful playing while moving towards a more pop oriented style. His playing didn’t change when accompanied by these groups – Miles realized he’d be able to play roughly the same way no matter who backed him, thus the fusion groups. Regardless of that, though, there was a ratcheting up of big band support after the trumpeter’s work with Gil Evans.

Brother Jack McDuff may or may not have been a tremendous Miles fan. But either way, over time, the bassist turned organ player sought to incorporate more and more rock based instrumentation into his work. That’s nothing to take issue with seeing as McDuff’s playing was given over to funky stuffs. But at some point it was decided that having a huge horn section accompany him on a recording date was a good idea. It wasn’t even if McDuff’s playing didn’t suffer.

Either way, the 1968 date entitled The Natural Thing looks a far sight better than it sounds. The album’s cover obviously attempts to cash in on the then current afrocentric thing cropping up everywhere, not just in jazz. In stark contrast to most of the music, the image is a great deal more tied to funky stuffs from the era. Of course, McDuff doesn’t sell out and do Sinatra songs or whatever. But hearing that swell of horns on every track takes away from the laid back swagger that ingratiated this particular player to the masses in the first place.

On each track, there’s thankfully a few passages void of embellishment. The title track might actually work best as McDuff endlessly solos to open the composition up. There’s that bit of horn support, but as listeners make it through to the saxophone solo, everything seems alright momentarily. Fortunately or not, that huge section crops up a bit too frequently to want to take in the effort a few times more, but that’s how it goes.

It’s really difficult to plainly pan the disc. McDuff is in top form and his rhythm section doesn’t seem to mind the huge band that it’s been engulfed in. And while there’s no way that most McDuff – or soul jazz fans in general – are going to find this disc all that pleasing, The Natural Thing does mark the genre for its experimentation. There aren’t too many ways to work out funk like this. So having all those extra players was at least an interesting idea. That’s about it, though.