During this time John Klemmer was juggling styles, not straying too far from the work on 1975's classic Touch as well as acknowledging the pop-based changes going on in commercial jazz at the time. While his skills were never in question, the songs he chose to play often were. Luckily, Hush has a few striking moments to cut through the sameness of the production. One of his finest songs, the sensual and playful "Let's Make Love," has great Klemmer riffs and an ultra-smooth vocal from Clint Holmes. That's the good news. The not-so-good news is that good-to-middling numbers like "Hummingbird Bay," "Taboo," and "Feelin' Free" all tend to morph together in a serviceable but unforgettable sound. What saves Hush in the end is that the production values are sharper than most of Klemmer's later 1976-1978 albums and the playing isn't as overstated. Those facts and the presence of "Let's Make Love" will make this particularly appealing to fans of quiet storm and light jazz. ~ Jason Elias, All Music Guide
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