What Made ‘The Best of Fourplay’ So Timeless?

The Best of Fourplay is A Smooth Jazz Time Capsule That Still Resonates

There’s something quietly powerful about a band that never needed to shout to be heard. Fourplay, the jazz supergroup formed in 1991, built their legacy not on flash, but on feel – on groove, chemistry, and a kind of musical telepathy that only happens when every player is both a virtuoso and a listener. The Best of Fourplay, released in 1997, captures that magic in a way that still feels fresh nearly three decades later.

For many, this album was a gateway into jazz. For others, it was a reminder that jazz could be warm, melodic, and deeply human without losing its edge. Either way, it’s a collection that deserves a closer look – not just for what it includes, but for what it represents.

The Early Years of Fourplay

When Fourplay released their self-titled debut in 1991, the jazz world took notice. The lineup was a dream team: Bob James on keys, Lee Ritenour on guitar, Nathan East on bass and vocals, and Harvey Mason on drums. Each had a storied career before the group formed – James as a pioneer of smooth jazz and fusion, Ritenour as a session legend, East as a go-to bassist for everyone from Eric Clapton to Phil Collins, and Mason as a drummer with credits ranging from Herbie Hancock to George Benson.

Their debut album went gold, a rare feat for a jazz record. It wasn’t just the musicianship – it was the vibe. Fourplay made music that was technically brilliant but emotionally accessible. They weren’t trying to impress; they were trying to connect.

By the time The Best of Fourplay came out in 1997, the group had released three studio albums (Fourplay, Between the Sheets, and Elixir) and had already helped shape the sound of ’90s smooth jazz. This compilation distilled the essence of those early years into a single, cohesive listening experience.

Track by Track, Highlights That Still Hit

The album opens with 101 Eastbound, a track that’s become synonymous with the Fourplay sound. It’s smooth, yes, but it’s also layered and dynamic. The interplay between Ritenour’s guitar and James’ keys is effortless, while East and Mason lock into a groove that’s both relaxed and razor-sharp.

Between the Sheets, featuring Chaka Khan, is another standout. It’s sultry without being showy, a masterclass in restraint and mood. The way Khan’s voice floats over the band’s lush arrangement is pure magic.

Then there’s Higher Ground, a Stevie Wonder cover that brings in Take 6 and David Thomas. It’s a bold choice – Wonder’s original is iconic – but Fourplay makes it their own, blending jazz, gospel, and R&B into something that feels both reverent and new.

Other gems include Why Can’t It Wait ‘Til Morning, a Phil Collins ballad reimagined with jazz textures, and Max-O-Man, a funky, horn-driven romp that showcases the band’s playful side.

Bridging Genres, Building Bridges

One of the reasons The Best of Fourplay stands out among the best smooth jazz albums of the 1990s is its ability to bridge genres without losing its identity. The album features collaborations with artists like El DeBarge, Phil Collins, and Chaka Khan – not as gimmicks, but as genuine musical conversations.

This openness helped Fourplay reach listeners who might not have considered themselves jazz fans. It also helped redefine what jazz could be. In a decade where the genre was often pigeonholed as either traditional or experimental, Fourplay carved out a third path – one that was melodic, modern, and deeply rooted in groove.

Lesser-Known Layers with What You Might Have Missed

While the album’s tracklist is familiar to longtime fans, there are a few lesser-known details that add depth to its story.

For one, the 2020 SACD remaster includes The Closer I Get to You, a duet with Patti Austin and Peabo Bryson originally from Elixir. It’s a subtle addition, but one that rounds out the album’s emotional palette.

Another interesting footnote: Harvey Mason Jr., son of the band’s drummer, contributed to the album’s arrangements. He would go on to become a major figure in the music industry, producing for Beyoncé, Justin Timberlake, and more. But here, he was still learning the ropes – under the wing of some of the best in the business.

And while the album was never marketed as an educational tool, it’s been used in music schools for years to teach ensemble playing, dynamics, and groove. There’s a reason for that: it’s a masterclass in musical conversation.

The Fourplay Jazz Legacy

Fourplay’s influence is hard to overstate. They didn’t just make smooth jazz cool – they made it feel vital. Their sound has been cited by countless contemporary artists, from Robert Glasper to Snarky Puppy, as a formative influence.

But The Best of Fourplay isn’t just about influence. It’s about feel. It’s about four musicians who trusted each other enough to leave space, to listen, to groove. That kind of chemistry can’t be faked, and it’s what gives the album its staying power.

Even now, in an era of algorithm-driven playlists and genre-blending experimentation, Fourplay’s music feels grounded. It reminds us that groove matters. That melody matters. That listening – really listening – matters.

Why It Still Matters

There’s a reason The Best of Fourplay continues to find new listeners. It’s not just nostalgia. It’s the sound of four musicians at the top of their game, making music that’s both sophisticated and deeply human.

For those who grew up with jazz, R&B, or adult contemporary radio, this album is a warm return to form. For younger listeners discovering it through streaming or vinyl reissues, it’s a revelation.

And for everyone in between, it’s a reminder that great music doesn’t age – it evolves. It finds new ears, new hearts, new meaning.

A Sound Worth Returning To

In a world that often rewards volume over nuance, The Best of Fourplay is a quiet triumph. It doesn’t demand your attention – it earns it. And once it has it, it doesn’t let go.

Whether you’re revisiting it after years away or hearing it for the first time, this album offers something rare: a sense of place, of purpose, of musical joy. It’s not just a collection of songs – it’s a conversation. One that’s still worth listening to.