Glow

1	Chasing the Dawn 5:21
2	Who's That Lady 4:30
3	Turn It Out 5:30
4	Bullseye 4:44
5	Just My Imagination (Running Away With Me) 4:51
6	Bueno Funk 4:15
7	Glow 5:12
8	Pedro Blanco 4:22
9	When I'm Alone 2:40
10	Life Story 3:49
11	Baby Steps 5:18

Barnes & Noble

The silky-smooth guitarist Peter White can make an acoustic guitar sing, even when surrounded by high-tech synthesizers and drum machines. His light-handed, frisky way with smooth jazz is a delightful reminder of how expressive authentic musicianship can be in a musical genre often swamped by synthetic qualities. It doesn’t hurt that White is also in touch with his R&B roots: easy-grooving funk penetrates nearly everything he touches, and his specific homages to the tradition, in his interpretations of the Isley Brothers' “Who’s That Lady” and the Temptations' “Just My Imagination,” are nicely adapted to contemporary taste. Tasty touches of Latin-inspired smoothness also slip in, noticeably on “Bueno Funk” and “Pedro Blanco.” While White’s gleaming guitar playing stays in the foreground, some smooth-jazz luminaries pitch in as well, including saxophonists Dave Koz and Kirk Whalum, keyboardist Jeff Lorber, and trumpeter Rick Braun, who also co-composed and added flugelhorn, keyboards, and drum programming on the effervescent closer, “Baby Steps.” In all, Glow shines. William Pearl

All Music Guide

More than most jazz lite artists, Peter White flaunts a restless improvisational sense, which is fully evident on Glow. Aside from a few incidental fills tossed into the breeze by this or that horn player, this is entirely White's show. His performance on all these tracks, typically over a backdrop of gauzy major-seventh string pads, provides a lesson in long-form jamming against a steady, sensuous backbeat, with octave passages and a buoyant rhythm feel that echo Wes Montgomery. Despite these similarities, White displays a distinctive sound, with blues and Spanish influences perfuming his romantic phrases. The original material is unmemorable, and even such familiar titles as "Just My Imagination" and "Who's That Lady" stretch into one- or two-chord vamps that serve as broad thoroughfares for his solos; without having to twist through a maze of chord changes, White can kick back, close his eyes, and let long, liquid lines flow. This is, of course, a pretty standard formula among easy listening artists, but White shows an unusual ability to keep things interesting while cruising through open musical vistas. Nothing particularly stands out, nothing detracts or distracts; with the rhythm on autopilot and the wind of White's acoustic guitar blowing past, it's a smooth ride all the way. Robert Doerschuk