Worth Waiting For

Worth Waiting For is the tenth studio album by jazz keyboardist Jeff Lorber, released on Verve Forecast in January 1993.[1] The album topped the U.S. Billboard Contemporary Jazz Albums chart at the end of July 1993. Worth Waiting For is the only album by Lorber to hit number 1 on that chart; five others rose to number 2.[3] The album also hit number 33 on Billboard's Jazz chart, and number 71 on the R&B chart.[4][5]

Worth Waiting For
Studio album by Jeff Lorber
Released	January 1, 1993[1]
Studio	JHL Sound (Pacific Palisades, California); Bill Schnee Studios (North Hollywood, California).
Genre	Smooth jazz, jazz fusion
Label	Verve Forecast
Producer	Jeff Lorber
Jeff Lorber chronology
Private Passion (1986) Worth Waiting For (1993) West Side Stories (1994)

Professional ratings

Review scores
Source	Rating
Allmusic	[2]

The album marked a return by Lorber to his solo work, after a break of eight years in which he produced music for other artists.[6] In the interim, Lorber produced a number of dance remixes, including ones for U2 and Paula Abdul.[2] In 1990 he put together saxophonist Dave Koz's self-titled solo album, and in 1991 he produced saxophonist Eric Marienthal's successful Oasis smooth jazz album.[7] But Lorber was growing dissatisfied with compromising in favor of the artist; he said "My attitude became less positive".[6] Years later, he said he came back to solo jazz albums because he "wanted to be more in creative control and express myself."[8]

Worth Waiting For continued the 1980s series of Lorber's smooth jazz/jazz fusion albums featuring prominent synthesizer sounds, mixing jazz with elements of contemporary R&B, funk and pop.[6] The album sold very well compared to straight jazz recordings, as the American public in the 1990s was demanding contemporary jazz. Worth Waiting For stayed on Billboard's Contemporary Jazz chart for 30 weeks in 1993, selling more than 100,000 units. Similarly, Art Porter Jr.'s album Straight to the Point was also released later in 1993 in the jazz fusion style, produced by Lorber at Lorber's own JHL recording studio. Porter characterized both albums as having uncomplicated melodies supported by danceable beats. He said, "This music is entertaining and it has energy. It definitely has a groove, and we play it with integrity."[9] In the 2010s Lorber would shift away from synthesizers to emphasize more acoustic jazz sounds.[6]