Track Descriptions ("Cut-By-Cut"):

A Philly favorite, "Lincoln Drive" (track 1) is inspired by a beautiful stretch of road that winds through Philadelphia's Fairmount Park. This is the ultimate road tune: put the top down and enjoy the easy, flowing groove, subtle harmonic changes, and the scenery. 

"Sula's Groove" (2), "Dorcas's Lament" (4), and "Milkman's Dues" (8), were conceived as a suite. Titled after characters in three Toni Morrison novels, the pieces—like others on the CD—are musically indebted to the late-1970s jazz-funk in which writers like Bob James, Joe Sample, Herbie Hancock, and Jeff Loeber combined commercial success and deep musicality. My three pieces listed above were written in honor of the inauguration of Amy Gutmann, the University of Pennsylvania's eighth president.

After a delicate intro, "Sula's Groove" (2) rocks back and forth between enchanting melodic contours and other sections that feature appealing funk grooves, hearkening back to Quincy Jones's great R&B work at the height of his popularity.

"Dorcas's Lament" (4) is a beautiful ballad whose graceful melody serenely floats above a lush and layered background. The harmonies of this piece toy with your emotions as they cleverly shift between key centers. Turn the lights down, put up your feet and let the plush sounds surround you. 

"Milkman's Dues" (8) is indebted to Eddie Palmieri's and Art Blakey's circular inventions that combined jazz and Latin music. The melody is modeled after the hard bop tunes of the late 1950s, though updated in this contemporary setting. Guest artist and Philly original, Jef Lee Johnson, a guitar virtuoso, makes this cut infectious

as he twists and turns through the changes with a driving force reminiscent of Carlos Santana's style. Drummer and Philadelphia legend Lucky Thompson, and percussionist Rick Morales bring it home as they lock forces in this tight groove.

"Cliffhanger" (3) finds its inspiration in the writing styles of Curtis Mayfield and Steely Dan. It has a song-like quality with tuneful melodies that enhance bassist Cliff Kellum's and guitarists Tyron Cooper's and Joe Battaglia's spot-on rhythmic lock. 

With its "Jeff Loeber meets the Doobie Brothers" style, the tune "Lucky Seven" (5) is a showstopper in our live performances. The simple melody belies the deep funky rhythm track that gains momentum as the song progresses. When saxophonist Tony Peebles solos on a 12-bar blues in the middle we hear MusiQology at its best—a tasty cocktail of blended styles.

As one of the few songs on the album featuring acoustic piano throughout, "A Month of Sundays" (9) is a ballad designed for chilling out. Listeners will be drawn into the simple story of this relaxing ballad.

The title track "Y the Q?" (7) sends a musical shout-out to George Duke's blues-tinged, deep pocket grooves. The call and response between Jef Lee and Ramsey poses the question: how small is a piece of funk? Begun as a jam session idea in a rehearsal, the tune reflects my Chicago roots: jazz, blues, and funk combine with the purpose to make your body move.

"Reverse Commute" (10) is an easygoing song that glides along as if soft breezes are blowing and clear roads are ahead. The tasteful percussion track makes this piece a delightful experience, like relaxing after a hard day's work. 

"Subjunctive Mood" (6) and "Lago di Como" (11) were written in a villa overlooking Lake Como in northern Italy. "Subjunctive Mood" (6) has an ethereal quality that captures the serenity of the stunning beauty of this region. Its title comes from a poem by Hettie Jones about her lovely, young daughter learning foreign languages. The hymn-like intro eventually opens out into rich blanket of textures, timbres, and gentle motions. 

"Lago di Como" (11) is a brief acoustic piano piece that reflects the ebb and flow of Lake Como's tides. Embedded in its subtle harmonic shifts and rolling arpeggios are my memories of picturesque views of sun, water, mountains, and timeless architectural detail.