by Scott YanowStanley Jordan switches largely to funk and pop on this disappointing set. The title cut has nothing to do with Lionel Hampton's trademark song, and Jordan, whose phenomenal tapping technique allows him to play his instrument like a piano, waters down the whole effect by using overdubbing, multiple keyboards and a drum machine. Most of the tunes are his originals (other than"Stairway to Heaven") and fall way outside of jazz, being not even good rock. Pass.