Tony Lindsay with the Michael ONeill Quintet at The Sound Room

Vocalist Tony Lindsay is best known for his two-decade-plus tenure in Santana, a run that included Carlos Santanas career-reviving monster hit Supernatural. But dont even think of filing Pacific Standard Time in the bin of mediocrity reserved for rock n rollers trying to eke out a second or third act via a misguided run at the American Songbook. Lindsay is a singer steeped in soul and R&B, and his smooth, sweetly imploring tenor sounds utterly at home interpreting well-loved standards. Backed by a talent-laden quintet led by veteran multi-reed player Michael ONeill, Lindsay navigates some fairly intricate arrangements with unassuming aplomb....

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Vocalist Tony Lindsay is best known for his two-decade-plus tenure in Santana, a run that included Carlos Santanas career-reviving monster hit Supernatural. But dont even think of filing Pacific Standard Time in the bin of mediocrity reserved for rock n rollers trying to eke out a second or third act via a misguided run at the American Songbook. Lindsay is a singer steeped in soul and R&B, and his smooth, sweetly imploring tenor sounds utterly at home interpreting well-loved standards. Backed by a talent-laden quintet led by veteran multi-reed player Michael ONeill, Lindsay navigates some fairly intricate arrangements with unassuming aplomb.

ONeill has carved out a distinctive niche on the San Francisco Bay Area jazz scene working regularly with the regions top vocalists, including Denise Perrier, Tiffany Austin, Clairdee, and most importantly the insuperable Kenny Washington, whos featured on three previous albums by the saxophonists working band. Featuring trumpeter and Electric Squeezebox Orchestra leader Erik Jekabson, trumpeter Mike Olmos, drummer Alan Hall, pianist John R. Burr, and bassist/engineer Dan Feiszli (who co-produced and recorded the album), the quintet accompanies Lindsay with fire and imagination. He establishes his swing bona fides with the fleet opener, Just Friends, set to a galloping 6/8 groove by Hall. Just about everyone in the ensemble contributes charts, and Lindsay never seems fazed by the array of ideas they throw at him, whether its a molasses-tinged 12/8 arrangement of Carmichaels Georgia or Burrs subtle reharmonization of The Way You Look Tonight.

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