A bit of free-form studio doodling opens Come on Up on a promising note: players try out their licks, joke semiaudibly among themselves, and create a sense through their banter that you're in for some exceptional interactions in the give-and-take tradition of jazz. What follows, though, is a typical performance for the smooth genre, in which the musicians either play what's on their charts, solo within stylistic limits of almost biblical rigidity (i.e., saxophone solos must adhere to the gospel of David Sanborn), or play against the relentless backbeat rather than anything less predictable.