I don't know this Klément Julienne from Black Jacques Shellaque, but this unknown quantity sure makes some welcomingly agreeable background sounds (w/out skimping substance). No, this is not a platter for hardcore jazz sensibilities -- this is jazz-pop or if you will, pop-jazz, or one could file it under "Euro-sploitation soundtracks," but no one (I think) yet made the movie. Panamerican is a cherry mélange of sleek Wes Montgomery-descended guitar, soul-jazz a la Ramsey Lewis Trio and Charles Earland, Latin jazz a la Cal Tjader, a hint of winsome bossa nova groove, medium-luxurious Hammond B-3 organ, early/mid-70s Stevie Wonder, 60s pop riff-ery ("Jerko" finds them taking a bit of "Tequila" to Cuba & Brazil), Hank Crawford/Dave Sandborn/Grover Washington Jr.-style sax-o-philia, sweetly harmonious bebop-based unison horn lines, and knowing retro-cool (slyly, thankfully not heavy-handedly nudge-nudge/ain't-we-hip). This is too cooking, varied, & self-aware to be considered "fuzak" (Fusion + Muzak) or Quiet Storm, yet the easy-listening axis of jazz fandom could likely find themselves slipping into a Saint Tropez/Palm Beach-type reverie. But then, "Pour La Vie," which references to Lady Aretha's "Respect" and recalls the classier side of Chic and the dirtier side of Steely Dan, could actually motivate dancers to strut their stuff. Not to damn with faint praise, but if you've a taste for the manner in which Steely Dan and/or Europeans mix jazz, pop, and Latin elements (bossa nova never totally went out of style o'er there) and you secretly want to be the girl/boy from Ipanema, fly Panamerican. [Jeez, this stuff could give Smooth Jazz a good name.]