Friday, March 22, 2019

Christian Scott aTunde Adjuah Releases New Album Ancestral Recall Out Today via Ropeadope / Stretch Music #jazz

Album Praised by The FADER, NY Times, Afropunk, Highsnobiety, Stereogum, Consequence of Sound, HipHopDX, Cool Hunting, Brooklyn Vegan, Paste, Exclaim!, and more
“The future of jazz is here and Adjuah is shattering boundaries in incredible ways.” - Paste
“[Adjuah] continues to blend high-powered trumpet, ice-cold trap beats, and dense layers of polyrhythmic percussion
from New Orleans, the Caribbean, West Africa and beyond.” - Stereogum
“[Adjuah] is following a path of his own, and so far, it’s still breaking new ground.” - The New York Times
“Cohesive and eclectic, Ancestral Recall is a sonic expedition to remember.” - Exclaim!
“[Adjuah] sort of approaches jazz the way Radiohead approaches rock. The history is there, but it’s such
a drastic departure from the genre’s tradition, that it feels as new and exciting as
the greats who influenced them.” - Brooklyn Vegan
Today, Christian Scott aTunde Adjuah released his new album Ancestral Recall via Ropeadope / Stretch Music. So far the album has also been praised by New York Times, Afropunk, Highsnobiety, Stereogum, Consequence of Sound, HipHopDX, Cool Hunting, Brooklyn Vegan, Exclaim!, Glide, Paste, and more. Collaborators on Ancestral Recall include Saul Williams, Elena Pinderhughes, Mike Larry Draw, Chris Turner, Weedie Braimah, Logan Richardson, and others.
Stream or Download Ancestral Recall:
Ancestral Recall continues Adjuah’s mission to unify people via their musical and cultural voices by tearing down the sonic and social constructs that separate them. As a newly ascended Chieftain in the Black masking culture of New Orleans, he has been deeply committed to turning identity politics, as it is used in music, on its ear. Ancestral Recall seeks to excavate and update hidden histories in sound by displaying a sonic tapestry that illuminates the har-melodic movements found within rhythm. Adjuah explains:
"In its inception, Ancestral Recall was built as a map to decolonize sound; to challenge previously held misconceptions about some cultures of music; to codify a new folkloric tradition and begin the work of creating a national set of rhythms; rhythms rooted in the synergy between West African, First Nation, African Diaspora/Caribbean rhythms and their marriage to rhythmic templates found in trap music, alt-rock, and other modern forms. It is time we created a sound that dispels singular narratives of entire peoples and looks to finally represent the wealth of narratives found throughout the American experience. An experience that shows all forms of expression in sound are valid, as all people are."

In 2015, Adjuah released Stretch Music - the inaugural recording of Adjuah’s vision of genre blindness in sound. The trailblazing document centered around acculturating as many musical forms, vernaculars, and cultures as possible into one fresh and resonate creative improvised concept. The recording garnered Adjuah a Downbeat Critics Poll “Rising Star Composer” win in addition to many “Rising Star Trumpet” wins from the publication. Stretch Music was accompanied by a groundbreaking app by the same name, for which Adjuah won JAZZFM’s 2015 Innovation of the Year honor.
The Centennial Trilogy: Adjuah’s three-album series commemorating the 100th anniversary of the first jazz recordings was released in 2017. The recordings are a sobering re-evaluation of the world’s social and political realities and speaks to a litany of issues that continue to plague the collective human experience. The trilogy was praised by Pitchfork, NPR Music, Stereogum, The FADER, GQ, The New York Times, Interview Magazine, Paste, Noisey, Rolling Stone, Newsweek, and many more. The final album of the trilogy, The Emancipation Procrastination, was nominated for Best Contemporary Instrumental Album at the 61st GRAMMY Awards. The recording marks Adjuah's second nomination.
Christian was also recently featured on Boogie’s “Whose Fault” from the album Everything For Sale, which reached #1 on the iTunes hip hop charts upon release earlier this year.

Upcoming US tour dates for Christian Scott aTunde Adjuah include April 6th at Union Station in LA, April 12th at Harlem Stage in NYC, and June 29th at City Winery in Chicago.

1. Her Arrival
2. I Own the Night (feat. Saul Williams)
3. The Shared Stories of Rivals [KEITA] (feat. Saul Williams)
4. Forevergirl (feat. Chris Turner & Mike Larry Draw)
5. Diviner [Devan]
6. Overcomer
7. Songs She Never Heard (feat. Logan Richardson)
8. Ritual [Rise of Chief Adjuah]
9. Prophesy
10. Before (feat. Elena Pinderhughes)
11. Double Consciousness
12. Ancestral Recall (feat. Saul Williams)

For more information, please contact:
at Missing Piece Group (862) 234-0801

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Thursday, March 21, 2019

Journeyman Phil Madeira follows his jazz muse into the wordless world of “Crickets” #jazz

The award-winning Americana singer-songwriter, multi-instrumentalist and producer indulges his passion for a retro straight-ahead jazz quintet collection that drops April 26.

A Nashville mainstay, Phil Madeira was Americana before it was a thing. His venerable pedigree as a singer-songwriter, multi-instrumentalist, producer and arranger is assured, backed by Grammy-winning credits and a lengthy discography boasting collaborations with Garth BrooksEmmylou HarrisThe Civil WarsElvis CostelloAlison KraussToby KeithAmy GrantMavis StaplesKeb Mo’Bruce Hornsby and Vanessa Williams. Yet when this musician’s musician sits at the piano backstage or at home, it’s jazz-blues riffs that he noodles. On April 26, Mercyland Records will release Madeira’s first instrumental album, “Crickets,” comprised of ten new songs that he wrote and produced for a jazz quintet.     

The straight-ahead jazz rhythms and bluesy harmonies Madeira scripted for “Crickets” harken back to another jazz era.

“It’s slightly sophisticated blues, right out of the 50s and 60s playbook. I can hear bits and pieces of what turned me on as a kid - Ramsey Lewis and Herbie Hancock, and of course, Monk, whom I later discovered. I composed the music that became ‘Crickets’ thinking I would pitch it to a music licensing company for use in film. But then I realized that I had created something far more personal,” said Madeira, who recorded all ten songs in one day accompanied by Aaron Smith (drums), James Hollihan (guitar), Rahsaan Barber (saxophone) and Chris Donohue (bass).

“Crickets” swings with a cool vintage swagger as rendered by the breezy grace of the free-spirited quintet. Madeira’s piano skips with lilting joy through a panorama of melodies and grooves. The acoustic instrumentation makes it sound live - organic, spacious and unpretentious. The players weave in and out of the spotlight without ever infringing upon each other’s turf, taking equitable turns to solo. There’s a palpable lightness of being throughout the album, mirroring Maderia’s own grounded persona.      

Madeira’s co-producer on the session was Sirkka Svanoe Wood whose first name in Finnish means cricket, which is one of the inspirations for the album title. But there was another.

“All of my records up to this point have been lyrically oriented. This is the first instrumental record I’ve recorded, hence ‘Crickets’…as in not a word,” explained Madeira.

Last year, Madeira landed on the Billboard jazz albums chart for the first time with “Providence,” a vocal record that veers into jazz, chronicling his stories of growing up in Rhode Island. Guitarist John Scofield guested on that date. Madeira has been in Harris’s Red Dirt Boys band for eleven years playing piano, guitar, accordion and singing. The seeds of his multi-instrumental prowess were sown after he went from drums to piano when struck by the desire to write songs, before picking up the guitar. He got his professional start in the mid-70s playing with Christian Contemporary Music guitar great Phil Keaggy, leading to the move to Nashville in 1983 where he has been based ever since. Madeira quickly became a fixture there by playing a variety of instruments as a first-call session ace, songwriter, arranger and producer for a lengthy list of country, CCM and pop artists, many of whom were seminal in creating the Americana sound. He has won Grammy and Dove awards as a songwriter, a Nashville Music Award as best keyboardist and an ASCAP award for humanitarian work. “Crickets” is his eighth solo outing.       

“Crickets” contains the following songs:

“Sirkka’s Dream”
“Cut It Out”
“Teamwork Salad”
“Rollin’ With Oti”
“Last Call At Bovi’s”
“In Walked Willis”
“Jazz Hands”
“Coming Home”

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Wednesday, March 20, 2019

Saxophonist Elan Trotman has “Got To Give It Up” to Marvin Gaye #jazz

He drops a tribute album, “Dear Marvin,” on April 2, the iconic crooner’s 80th birthday. The first single, “Got To Give It Up,” is the No. 1 most-added single on the Billboard chart this week.

Sax salutes sexy soul on Elan Trotman’s “Dear Marvin,” a collection of ten of Marvin Gaye’s best-loved songs that drops on April 2, the late legendary R&B singer’s 80th birthday. Preceding the set’s arrival is the single “Got To Give It Up,” a vibrant reboot of one of Gaye’s funky dance tracks that is the No. 1 most-added single on the Billboard chart this week as an instrumental from the Woodward Avenue Records album produced by Charles Haynes (Marcus Miller, Erykah Badu, Queen Latifah) and Trotman.

image1.jpeg“It’s amazing how this project came about. ‘Got To Give It Up’ has been a huge part of my live show for the past two years and has always been a crowd favorite. That is just one of the many factors that inspired me to record the song and to dig deeper into Marvin’s catalogue and life story. I had no idea that his 80th birthday would be coming up around our time of completing the album, but once I found out, I knew we had to release it on April 2 to mark the occasion,” said Trotman, an award-winning saxophonist who has topped the Billboard singles chart more than ten times.

In reimagining Gaye’s catalogue in instrumental form, Trotman shares the spotlight on “Dear Marvin,” with premier soloists, including Grammy-winning keyboardist Jeff Lorber, seminal urban-jazz flautist Najee, esteemed trumpeter Patches Stewart, soul-jazz-hip hop-funk trombonist Jeff Bradshaw and veteran guitarist Sherrod Barnes. Trotman strategically deploys vocals to illumine a few key tracks. Ray Greene (Santana, Tower of Power) begs on “Mercy Mercy Me”; rapper Obadele Thompson plies his come-on skills to “I Want You”; and Tim “Smithsoneon” Smith provides the cure through “Sexual Healing.” Members of the Boston Symphony Orchestra enhance a pair of tracks with strings. Including Haynes, Trotman’s core collaborators are his former colleagues from Berklee College of Music: keyboardist Mitch Henry (Marsha Ambrosius), bassists Kyle Miles and Keithen Foster (H.E.R.), and percussionist Atticus Cole.        

“It’s been an honor to be able to share my interpretations of some of Marvin’s classics. As with all cover projects, I made an extra effort to learn lyrics and storylines for each composition in order to truly understand his interpretations and performances on each song,” said the Boston-based Trotman, who is planning to be in Los Angeles on April 2 for an 11am ceremony held by the United States Postal Service atThe Greek Theatre to celebrate the release of the Marvin Gaye commemorative Forever stamp

“We, Marvin's family, heard about Elan doing a musical tribute to Marvin. We are very pleased with his album 'Dear Marvin,' and are so happy that it will be released on his birthday, April 2. The musicians are all incredible! Thank you, Elan Trotman. Job well done,” said Janis Gaye, Gaye’s second wife.

“Dear Marvin,” is Trotman’s eighth album and second on the Woodward Avenue Records imprint. The label issued the saxophone-flute player’s 2013 disc, “Tropicality,” an autobiographical album that colors contemporary jazz with native sounds from Trotman’s homeland, Barbados. Trotman curates, produces and hosts the Barbados Jazz Excursion and Golf Weekend annually over Columbus Day Weekend with the sixth edition taking place this October 10-14. Bringing that winning formula closer to home, he will launch the first annual Martha’s Vineyard Jazz Excursion and Golf Weekend in Oak Bluffs, MA on June 28-30. To support the album release, Trotman will perform at festivals, theaters and nightclubs through October beginning with the prestigious Boscov’s Berks Jazz Festival in Reading, PA on April 5.      

“Dear Marvin,” contains the following songs:

“Inner City Blues” featuring Sherrod Barnes
“Got To Give It Up”
“Distant Lover” featuring Patches Stewart
“Ain’t Nothing Like The Real Thing”
“Mercy Mercy Me” featuring Ray Greene
“I Want You” featuring Obadele Thompson
“Sexual Healing” featuring “Smithsoneon”
“After The Dance” featuring Najee
“Trouble Man” featuring Jeff Lorber
“I Heard It Through The Grapevine” featuring Jeff Bradshaw

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Monday, March 18, 2019

Smooth Jazz Chart - Weekly Top 20 - March 18, 2019 #jazz

TW - LW - Artist - Album - (Label)
1 - 1 - Jazz Funk Soul - "Life And Times" - (Shanachie Entertainment)
2 - 2 - Paul Brown - "Uptown Blues" - (Woodward Avenue)
3 - 3 - Norman Brown - "The Highest Act of Love" - (Shanachie Entertainment)
4 - 4 - Keiko Matsui - "Echo" - (Shanachie Entertainment)
5 - 5 - Paul Hardcastle - "Hardcastle VIII" - (Trippin 'N' Rhythem)
6 - 10 - Chris Standring - "Sunlight" - (Ultimate Vibe)
7 - 8 - The Rippingtons - "Open Road" - (Peak Records/EOne Music)
8 - 6 - Brian Bromberg - "Thicker Than Water" - (Mack Avenue Records)
9 - 13 - John Novello - "Good To Go" - (529 Music)
10 - 11 - Eric Darius - "Breakin' Thru - (SagiDarius Music)
11 - 7 - Byron Miller - "Psychobass 2" - (Byron Lee Miller Studios)
12 - 12 - Darren Rahn - "Moxified" - (Side 2 Music)
13 - 18 - U-Nam - "Future Love" - (Skytown)
14 - 9 - Nick Colionne - "Just Being Me" - (Trippin 'N' Rhythm)
15 - 14 - Adam Hawley - "Double Vision" - (Kalimba)
16 - 15 - Will Donato - "Infinite Soul" - (Innervision Records)
17 - 25 - Blake Aaron - "Color And Passion" - (Innervision)
18 - 17 - Gerald Albright - "30" - (Bright)
19 - 30 - Brendan Rothwell - "Sentiment" - (Independent)
20 - 16 - Lindsey Webster - "Love Inside" - (Shanachie Entertainment)

Our thanks to smoothjazz.comVisit to view the latest complete top 50 chart. Visit to view the latest weekly chart recap.

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Thursday, March 07, 2019

"Bright Idea" Greg Murphy Trio - Release on Whaling City Sound #jazz

The world of jazz, despite legends of gloried lore, is fraught with contradictions, dichotomies and some of the most unlikely stories that boggle the imagination--untold tales lying just beneath the maelstrom of mainstream media, tucked away as a sanguine keepsake measured only in the hearts and minds of those involved. Stories of heartbreak. Stories of triumph.

Pianist Greg Murphy’s story, his all-too-human story, is made of that same kind of tangible heroic fabric--from wandering in the valley low only to gain a celebratory emergence--a joyful spiritual attainment over and above a craggy, pit-laden adversity.
I met an enthusiastic Murphy in the summer of 1980 one afternoon at my downtown Chicago loft venue for jazz, Aziza Artist Space. The set that day was led by the late saxophonist, Fred Anderson. Recommended by his friend and bassist Tyler Mitchell, Murphy was on the gig. Showing a promise that would only be realized years down the road, Murphy exhibited an indelible pianistic presence. His bluesy orchestral swing-filled stylistic technique crackled with an exuberant intensity far beyond his youthful age.
Upon a chance encounter with Marsalis patriarch Ellis Marsalis in Chicago, as fate would have it, soon Murphy was headed for New Orleans. Duly noticing the young pianist’s potential, Murphy was Crescent City bound--this at the height of the Young Lions movement of the early 80s. Recalling their initial meeting, “Ellis Marsalis came to my house, gave me a free piano lesson and subsequently suggested that I apply for a National Endowment for the Arts Jazz Study Grant.”
After several months of study with Marsalis and a couple years of performances under his belt, Murphy felt it was time for his New York debut. Finding himself in the hardball, thick pace of the jazz capital of the world, he hit the ground running--gigging and sitting in with a gaggle of who’s who musicians, from leaders to sidemen.
The move was not without its life-altering challenges, however. Murphy, consequently swept up in the netherworld of New York’s swirling, turbulent and unforgiving drug subculture, found himself with a nagging addiction, homeless and scrounging for gigs. After years of struggle and hitting ‘rock bottom’, the pianist sought help not only to bring the desperately needed healing of sobriety but also to resurrect a once budding career, the precipice of which was well within reach.
“The music scene and the fast paced lifestyle in New York kicked a lot of musicians’ asses and sent them back home with their tails between their legs,” Murphy recalls. “I swore that would never happen to me, but it did, and I went back to Chicago wounded. When I returned to Harlem I started to get my act together and began focusing on life, music and recovery.”
Jazz mythos is replete with numerous fringe characters who should have made it to the top echelons, yet for some reason faltered, never to be heard from again. There are countless tales of brilliance, yet their shooting stars ebb and wane, fading into an on-waiting obscurity. Pianist Greg Murphy’s everyday toil and sweat equity is the stuff legends are made of, beating incredible odds against an ofttimes societal indifference when it comes to the needs of those pushed to the castigated margins of American society.
As an adept pianist of universal appeal, Murphy has done it all--from the backroom bar jam sessions, to accompanying a litany of singers, to countless man hours of solo piano gigs in hotels and eateries, to mounting outdoor festival stages with some of the famous and not-so-famous, Murphy’s resume is incredibly outstanding by any measure. Yet it was his association with multidirectional drummer, Rashied Ali, that helped verify his protean credentials as a solid accompanist and soloist. Having met the iconic drummer previously in Chicago, before arriving in New York, was something predestined. Little did he know that he’d become Ali’s pianist of choice. Murphy recalls, “Working with Rashied helped me tremendously as a musician and as a person. He was a father figure and best friend at the same time and we used to hang out a lot on and off the road. When we were on the bandstand, he was a leader both rhythmically and spiritually. He was the most complimentary musician I’ve ever played with.”
Murphy’s 20 year plus tenure with Rashied Ali historically plants him firmly in the branches of the John Coltrane lineage. Through the fruition of the Ali/Trane tree, Murphy would achieve a wider acclaim of peer recognition, particularly with one-time Coltrane bassist Reggie Workman. It turns out that Mr. Workman was originally sought out by the pianist for this recording. Talking with Workman over a period of time, Murphy said, “Reggie’s always working and it was just too difficult for us to find time to get together.” And while the session with Workman (who proposed the June 19th recording date) didn’t work out, Murphy kept his head above water and sought out his long time bassist Eric Wheeler.
The natural choice of in-demand bassist Eric Wheeler was a no-brainer. “Eric’s my favorite bass player and I was happy he was available for the date,” Greg says. “He’s got a huge sound, intricate articulation and a tremendous improvisational conception.”
Key to the overall emotional soundscape and rhythmic projection of this recording is one of the most important drummers of his generation, Jeff “Tain” Watts. His conversant dexterity and unexpectant dropping of syncopation, undergirds flavorful nuances of color and timbre, making Tain not only a drummer for all seasons but an unfailing rhythm mate to be counted on always. “I met Tain after he first started playing with Wynton in the mid-eighties,” Murphy remembers. “I always knew he was a bad cat but didn’t realize the depth of his power, subtlety and musicianship until I played with him. He’s truly one of the great drummers.”
Elemental to any jazz trio session is the profound yet subliminal reciprocity of the players. Underpinned by the blues and swing, so vital to the panoramic musical narrative, Murphy, along with Eric Wheeler and Jeff “Tain” Watts, pour into each tune every drop of sweat and blood they have. Furthermore, the band keeps the music contemporary and timeless, calling attention to themes reflected in the songs, Juneteenth Notes, Earthlings and Happy. These three tunes in and of themselves set the tone.
Also in the program is the newly discovered Coltrane composition, Untitled Original 11383, a twelve-bar blues that Murphy and crew had the foresight to do a fresh cover of. Greg recalls, “I had planned to record a different Bb blues (Theme for Ronnie--written for the late great alto saxophonist, Ron Sutton, Jr.) but after listening to Trane’s tune at the suggestion of bass player, Dezron Douglas two days before the session, I decided to transcribe it and take a shot at it.”
Juneteenth Notes, a showcase for Tain’s telepathic rumbling interplay, pays tribute to the African American holiday recognizing newly freed black slaves of Texas, months following Lincoln’s signing of the Emancipation Proclamation. “Many Americans aren’t too familiar with Juneteenth and what it means historically,” says Murphy in regards to the reconciliation of the nation and its sad and unfortunate legacy of slavery. The territory of Texas got the news of freedom later than most of the southern states on June 19th, hence the title Juneteenth.
Of the most memorable pieces is the trio’s rendition of saxophonist Joe Ford’s Earthlings. Murphy recorded the tune as a solo piano vehicle on his Blues for Miles album (JazzIntensity 2016). Surprisingly enough, Jeff “Tain” Watts was the drummer on the original Larry Willis recording, Heavy Blue (Steeplechase 1994). “I heard it on the radio a lot in the mid 90s and loved it,” says Murphy. “Joe Ford’s original version is in 4/4 but Larry needed a ballad so they adapted it to 3/4. It sounds great either way.” This solid trio version should get just as much media attention if not more, as Murphy and crew deliver a classic performance.
Always playing with a burning fire beneath his fingers, Bright Idea, Greg Murphy’s second Whaling City Sound project and fifth overall is perhaps his strongest recording as a leader. Swinging with the best of pianists today, the hunger and desire of Murphy’s fleet, yet muscular edginess and his valiant triumph in life and music lead us to believe that Bright Idea is destined to become a valued aesthetic document in the pantheon of jazz piano recordings. -- Lofton A Emenari, III
Lofton Emenari is a journalist, master of ceremonies, photographer, former jazz format chief and on-air personality at WHPK in Chicago, IL.

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Monday, March 04, 2019

Smooth Jazz Chart - Weekly Top 20 - March 4, 2019 #jazz

TW - LW - Artist - Album - (Label)
1 - 1 - Jazz Funk Soul - "Life And Times" - (Shanachie Entertainment)
2 - 1 - Paul Brown - "Uptown Blues" - (Woodward Avenue)
3 - 4 - Byron Miller - "Psychobass 2" - (Byron Lee Miller Studios)
4 - 19 - Chris Standring - "Sunlight" - (Ultimate Vibe)
5 - 6 - Brian Bromberg - "Thicker Than Water" - (Mack Avenue Records)
6 - 3 - Nick Colionne - "Just Being Me" - (Trippin 'N' Rhythm)
7 - 10 - Keiko Matsui - "Echo" - (Shanachie Entertainment)
8 - 15 - Norman Brown - "The Highest Act of Love" - (Shanachie Entertainment)
9 - 12 - John Novello - "Good To Go" - (529 Music)
10 - 6 - Vincent Ingala - "Personal Touch" - (Shanachie Entertainment)
11 - 5 - Paul Hardcastle - "Hardcastle VIII" - (Trippin 'N' Rhythem)
12 - 17 - Darren Rahn - "Moxified" - (Side 2 Music)
13 - 21 - Will Donato - "Infinite Soul" - (Innervision Records)
14 - 18 - Adam Hawley - "Double Vision" - (Kalimba)
15 - 14 - Gerald Albright - "30" - (Bright)
16 - 16 - Lindsey Webster - "Love Inside" - (Shanachie Entertainment)
17 - 8 - Eric Darius - "Breakin' Thru - (SagiDarius Music)
18 - 51 - U-Nam - "Future Love" - (Skytown)
19 - 20 - The JT Project - "Backyard Brew" - (JT Project Records)
20 - 11 - Jazmin Ghent - "The Story Of Jaz" - (Jazmin Ghent Music)

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Monday, February 25, 2019

Smooth Jazz Chart - Weekly Top 20 - February 25, 2019 #jazz

TW - LW - Artist - Album - (Label)
1 - 3 - Jazz Funk Soul - "Life And Times" - (Shanachie Entertainment)
2 - 1 - Paul Brown - "Uptown Blues" - (Woodward Avenue)
3 - 2 - Vincent Ingala - "Personal Touch" - (Shanachie Entertainment)
4 - 5 - Nick Colionne - "Just Being Me" - (Trippin 'N' Rhythm)
5 - 6 - Byron Miller - "Psychobass 2" - (Byron Lee Miller Studios)
6 - 14 - Brian Bromberg - "Thicker Than Water" - (Mack Avenue Records)
7 - 4 - Paul Hardcastle - "Hardcastle VIII" - (Trippin 'N' Rhythem)
8 - 19 - Keiko Matsui - "Echo" - (Shanachie Entertainment)
9 - 13 - John Novello - "Good To Go" - (529 Music)
10 - 7 - Boney James - "Honestly" - (Concord Music Group)
11 - 16 - Gerald Albright - "30" - (Bright)
12 - 17 - Norman Brown - "The Highest Act of Love" - (Shanachie Entertainment)
13 - 8 - Eric Darius - "Breakin' Thru - (SagiDarius Music)
14 - 9 - Lindsey Webster - "Love Inside" - (Shanachie Entertainment)
15 - 23 - Darren Rahn - "Moxified" - (Side 2 Music)
16 - 10 - Adam Hawley - "Double Vision" - (Kalimba)
17 - 18 - Chris Standring - "Sunlight" - (Ultimate Vibe)
18 - 11 - The JT Project - "Backyard Brew" - (JT Project Records)
19 - 20 - Will Donato - "Infinite Soul" - (Innervision Records)
20 - 12 - Jazmin Ghent - "The Story Of Jaz" - (Jazmin Ghent Music)

Our thanks to smoothjazz.comVisit to view the latest complete top 50 chart. Visit to view the latest weekly chart recap.

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