The veteran smooth jazz band Acoustic Alchemy continues its focus on a more organic, acoustical sound as displayed on the band’s last album, Radio Contact. This is the band’s fourth album without guitarist Nick Webb, who died seven years ago, and now the chemistry between original member Greg Carmichael and the other guitar player – Miles Gilderdale – is reaching its peak. Webb brought the band a classical guitar sensibility that still sounds fresh today, and Gilderdale offers a blues and soul vibe and even does some scatting (he was a singer in a rock band in an earlier life), as he shows on the funky “Say Yeah.” The title of Acoustic Alchemy’s 13th album refers to its roots as a British band that has found its niche in America. Old fans will find much to enjoy on this new CD, as the interplay between the nylon and string guitars – the band’s trademark – sounds amazingly fresh in songs such as the ballad “Cherry Hill” and “The Crossing.” These two tracks, and some others, retain the familiar soft touch that Acoustic Alchemy has long been known for.
Having said that, there is still room for advancement and new ideas, shown on “Lilac Lane,” which offers a blistering electric guitar solo and a steady, chill music-like tempo. Likewise, “So Kylie,” which makes reference to Australian dance-pop queen Kylie Minogue, is a late-night dance number with several electronica elements and an irresistible “nah-nah-nah-nah” chorus. “Trinity,” a reggae number, recalls the band’s “Jamaica Heartbeat” from the classic Back on the Case CD from 1991. Elsewhere, the band keeps things fresh with different styles – the feel-good Motown groove of “The Detroit Shuffle,” the Steely Dan-wink of “She Speaks American English,” and the jazzy swing of “The 14 Carrot Café,” a song named after a Seattle restaurant the band frequents when visiting the Pacific Northwest.
Whether listening in England or America, fans will certainly have plenty to cheer for on this latest effort by one of smooth jazz’s best-loved bands.
Smooth grade: A
From Brian Soergel [smoothjazzvibes.com]
For the fourth year in a row, several contemporary jazz artists will join forces under the Dave Koz & Friends banner for the latest edition of the A Smooth Summer Night tour. Joining the saxophonist will be vocalist Jeffrey Osborne, guitarist Marc Antoine and multi-instrumentalist Praful. 
Got It Goin On is the culmination of Chieli's evolving vision for instrumental music. Featuring such special guests as hit-making saxophonists Jeff Kashiwa, Kim Waters and Marion Meadows, guitarist Steve Oliver, and bassist Gerald Veasley, all solo recording artists in their own right, Chieli explores many facets of his musical world. For instance, "Love Is Always Young" is a beautiful version of a song written by his father, the noted Italian born composer Ulpio Minucci, when he was in his eighties. There are also good-time funk tracks such as "Good Times Ahead" and "Juice" as well as interesting re-imagining of "Still Waiting," one of Special EFX's signature tunes which is notable for the way it juxtaposes uptempo percussion and drums against semi-classical chord movement. Philip Hamilton delivers an impressive vocal on the studio version of the arrangement Chieli and his band have been playing in concert.
Yellowjackets' music is steeped in the R&B/jazz tradition of the Jazz Crusaders, Junior Mance, Weather Report, and, of course Miles. Russell Ferrante always manages to slip a bit of church into his piano playing, a trend quickly picked up and absconded with by Bob Mintzer. Jimmy Haslip plays the most elastic bass since Victor Bailey, and Marcus Baylor must be the toast of the percussion town. 
During Ravi Coltrane's short-lived stint on RCA/BMG, he came into his own as a saxophonist, composer and bandleader after years of perfecting his craft and sound in the shadow of his heavyweight-champion father. On "In Flux," his debut for Savoy Jazz, Coltrane continues to dig deeper, further forging his personal voice in the jazz tradition. He doesn't blow with bravado on soprano and tenor, but muses, romances, ponders, pines and, on the spirited "Coincide," trills with dance-like joy. Half the tunes are penned by Coltrane, highlighted by the heartfelt "Dear Alice" and the poignant "For Zoë." Other noteworthy tracks include four one-minute-plus reflective-to-free vignettes (two of which are improvised collectively by Coltrane's quartet) and a sprightly flight through Wayne Shorter's "United." Recorded with authority, "In Flux" marks yet another giant step in Coltrane's maturation.—DO [billboard.com]
For their sixth recording, Urban Knights utilizes a core quintet comprised of keyboardist Kevin Randolph, veteran guitarist Bobby Broom, Nick Bisesi on tenor and soprano, electric bassist Maurice Fitzgerald and drummer Quinjuan Anderson. Although Urban Knights has never really had its own distinctive sound, it creates pleasing music that is danceable, funky, soulful and safe. Along with the group originals, Urban Knights romps happily on Stanley Clarke's "School Days" and Ramsey Lewis' "Close Your Eyes And Remember." The latter has a guest appearance by one of the group's original members, pianist Ramsey Lewis. The music overall has a light (some one would say lightweight) feel and should appeal to a large audience. Just do not expect originality, risks or any chances to be taken, for Urban Knights sticks closely to their chosen format/formula.
"They're old fuddy-duddies, old farts," grumbled Marian McPartland, speaking about the jazz radio programmers who dare to tamper with her widely syndicated and much loved radio show, "Piano Jazz."
The first four slots on Billboard’s jazz chart remain the same as last week, with, in order, Michael Bublé’s It’s Time, Chris Botti’s When I Fall in Love, Madeleine Peyroux’s Careless Love, and Diana Krall’s The Girl in the Other Room.
This recording by alto/soprano saxophonist Nelson Rangell features his unique take on the great American standards. With bassist Jimmy Haslip and keyboardist Russell Ferrante of the Yellowjackets and other sideman, Rangell's tart and tight sax tones and pithy flute solos take straight-ahead jazz, Broadway tunes, folk ditties, and soul numbers, and translates them for smooth jazz radio. On "Introduction to America and..." the wordless vocal and the handclaps are reminiscent of Pat Metheny's "First Circle." Stevie Wonder's Latin-tinged number, "Don't You Worry 'Bout a Thing," retains its Spanish Harlem swing, while Earth, Wind and Fire's "That the Way of the World," keeps its soulful message. Jazz pianist Hampton Hawes's "Sonora" may seem out of joint here, but Rangell's fans know it as the "Whistle Tune," because he whistled the melody when he played in a noisy club. Rangell has been compared to David Sanborn. This effort may change that. --Eugene Holley, Jr. - amazon.com
Celebrating over 60 years as home to the catalog of one of the most important figures in jazz, Savoy Jazz releases "The Genius of Charlie Parker." The specially-priced deluxe 2-disc set compiled by Savoy Jazz Senior Director of A&R Joshua Sherman includes the best recordings from his years on Savoy Jazz and Dial Records digitally re-mastered from the original sources. Studio tracks as well as the best of his live performances at New York's premiere club at the time, The Royal Roost, make up this stellar collection. "The Genius of Charlie Parker" also includes classic Parker photos and extensive liner notes by Orrin Keepnews, Dick Katz, Loren Schoenberg and others.
Once in the studio, Di Meola and Agutin expected peak performance from every participant. Together they laid the foundation for the pieces, then each of them set to work in New York and Moscow on polishing the songs. Even the recording took over a year. "We gave a lot of attention to each individual number," Agutin relates. They were very critical in selecting which songs should go on the album. They came up with ten wonderful numbers in which every note rings true. And yet: there is always room for improvement, at least according to Agutin.....
By late spring, the Metropolitan Atlanta Rapid Transit Authority will become the first North American subway to pump television and radio feeds into its rail cars. Each of its 230 rail cars will be outfitted with 15-inch flat screens that will offer a local television news loop from ABC affiliate, WSB-TV, and transmitters that will offer three formats of on-board music -- top 40, jazz and R&B.
In a basement apartment on Charlton Street in the West Village, there are eight tall file cabinets stuffed with hundreds of dog-eared manila folders.