|
|
|
|
|
|
|
Best selling smooth jazz at amazon.com
Jazz from Amazon.com
Tuesday, February 25, 2025
Multi-Award-Winning Composer-Pianist Randy Klein to introduce several distinct musical projects for 2025 #jazz #music
Best selling smooth jazz at amazon.com
Jazz from Amazon.com
Tales of the City: Ultrablue shares “New York Stories” on March 21
Seven-time GRAMMY winner Randy Brecker and GRAMMY nominee Chieli Minucci are among the featured guests on the contemporary jazz EP. “The Girl with the Sunflower Tattoo” drops as a single on Friday.
Cram eight million people into a global mecca of commerce, finance, technology, academia, and the arts spanning entertainment, media, and fashion, and colorful stories flow endlessly involving colorful characters. Keyboardist, composer, and producer John Smatla, who makes records under the name Ultrablue, finds New York City an infinite fount of inspiration. He wrote and recorded a six-song EP chronicling his real-life experiences and encounters with people in the sprawling metropolis. A contemporary jazz set liberally stirring soulful R&B grooves, exotic Latin rhythms, and vibrant pop sensibilities, Ultrablue’s “New York Stories” drops on March 21 on SRS Records.
Possessing a powerful energy and towering soundscape worthy of its namesake origins, “New York Stories” is Ultrablue’s third collection and first in nineteen years. A few years ago, Smatla released “Until We’re All Free” as the project’s first single. Three singles followed over the years, seeding the new EP. The fifth single, “The Girl with the Sunflower Tattoo” will begin seducing listeners on Valentine’s Day with its poignant piano poetics tethered to riveting and robust rhythms. Smatla creates on a grand scale, crafting intricate layers of instrumentation rife with luminous harmonies and melodies. Making its presence felt by uniquely coloring and texturing each tune, New York City serves as a compelling backdrop and an engaging playground for Smatla’s adventures to unfold. His lyrical piano play and clever keyboards function as a congenial tour guide.
Opening the EP, “New York Story” sets the scene quite literally. It’s a musical homage to the architecture and mystique of Manhattan, distinct cultural aspects of the city that long fascinated Smatla, who grew up in Cleveland, Ohio. Adding a unique retro twist, the horn-powered track featuring David Mann and bolstered by the New York Voices adds elements celebrating theme songs from 1960s detective movies and television shows like those composed by Henry Mancini, Quincy Jones, and Oliver Nelson.
Smatla wrote what he observed during the struggle for social justice and freedom around the world in 2022. The result is “Until We’re All Free.”
"‘Until We're All Free’ was written during the tumultuous days of the social justice protests. The passion people were feeling in New York City was powerful. In the absence of traditional lyrics, the harmonies and melody lines had to create a certain lack of resolution and a sense of determination. Philip Hamilton’s (Pat Metheny Group) plaintive wordless vocals on the chorus helped fulfill the song’s mission,” said Smatla who is accompanied on the track by James Hodsonhast (brass), Hubert Eaves IV (bass), and drummer Joel Rosenblatt (Spyro Gyra).
While the EP is about Smatla’s own New York adventures, he uses creative license on “Herbie,” a high-energy salute to jazz piano icon Herbie Hancock whose career breakthrough came in the Big Apple. Hancock’s drummer Trevor Lawrence guests on the track that includes bassist Cornelius Mims, The Chop Horns, and a soprano saxophone solo by Eric Knight.
“New York is where Herbie’s career was launched and his association with the jazz scene that
was developed in New York in the late 50s and 60s is obvious. I created some funky riffs that sounded like they could’ve come from one of Hancock’s 1970s albums with the Head Hunters. The riffs were developed into a contemporary jazz tune that employs some Herbie-like jazz altered chords and bluesy jazz piano licks,” explained Smatla.
Bernd Schoenhart’s expressive acoustic guitar shares the spotlight with Smatla’s sensual piano on “Maria in Blue,” a sultry and amorous Latin-tinged cut about a woman from Smatla’s past.
“I have this unforgettable image of Maria. She was a statuesque beauty. One warm evening, I remember being transfixed by her image in a shoulder-less blue summer dress. We locked eyes and it was the start of a passionate love affair,” Smatla recalled.
The most recent single, “We Were in Love” continues the theme of being swept up in romance although this one hurts a bit. Smatla’s impassioned piano climaxes by issuing cascading, swoon-worthy notes feverishly in the distinguished company of seven-time GRAMMY-winning flugelhornist Randy Brecker, GRAMMY nominated guitarist Chieli Minucci of Special EFX, and Brazilian guitarist Romero Lubambo.
“A theme of innocence, nostalgia, and regret, we’ve all experienced that first great love from reckless days of youth and how, sadly we sometimes end up going on living separate lives forever. We’re left with the memories we choose to remember and thoughts of what could’ve been. This bittersweet dynamic permeates ‘We Were in Love’ as the tune shifts from a brooding verse to a lighter, happier chorus with the aid of Darmon Meader’s (New York Voices) celestial vocalization,” said Smatla, who aims to play shows as Ultrablue this summer using a revolving cast of musicians.
The EP concludes with the downtempo “The Girl with the Sunflower Tattoo.” Buttressing Smatla’s evocative piano are Minucci’s electric guitar and Mann’s horns that embellish the taut rhythmic foundation constructed by Rosenblatt and bassist John Benitez.
“This is another story about a real person, a beautiful young woman from a neighborhood in a dangerous part of the city. She had known a life of difficulties and had developed a street tough persona that was impenetrable. But her raw beauty was startling, and her flawless skin was adorned by one large single sunflower tattoo. That single flower suggested a vulnerability and sweetness that otherwise would’ve been hard to imagine given her image. This sunflower was actually a wildflower, beautiful but neglected,” Smatla shared.
Ultrablue debuted in 2003 with “Dusk 2 Dawn,” an album that showcased performances by popular New York City musicians Dave Stryker, Rachel Z, Kevin Mahogany, and Pete Belasco. Three years later, the self-titled sophomore album peaked at No. 4 on the Amazon best sellers list. Buoyed by a top 30 hit titled “Shiver,” Ultrablue’s following grew exponentially, driven by the album that included guest appearances by Brecker, Mann, Belasco, Gabriela Anders, Nestor Torres, and female vocal group Allure. For more information, visit https://www.ultrabluejazz.com.
Ultrablue’s “New York Stories” EP contains the following songs:
“New York Story”
“Until We’re All Free”
“Herbie”
“Maria in Blue”
“We Were in Love”
“The Girl with the Sunflower Tattoo”
Monday, February 24, 2025
Smooth Jazz Chart - Weekly Top 100 - February 24, 2025 #jazz #music
R&B/Jazz keyboardist Charles A. Kelly enters "Phase II" #r&b #jazz #music
The second album in a trilogy dropped on Friday in conjunction with the release of the new single, “Raindrops Under Glass.”
R&B/Jazz keyboardist Charles A. Kelly is focused on transformation, which is evidenced on his sophomore album, “Phase II,” which was released last Friday (February 21). An album of transition and spirituality that is the second in a trilogy, Kelly wrote, produced, and arranged ten new songs for the Innervision Records release. The third single from the project, a deep cut titled “Raindrops Under Glass” that imaginatively mixes classical orchestrations, African rhythms, and movie score melodies, also was released on Friday.
Kelly created his 2022 debut album, “You’re Not Alone,” to be the first in a trilogy. The album was to be like an establishing shot in a movie, one that captures the present moment – or sounds in this case. His muse was the present state of contemporary jazz. Kelly conceived “Phase II” to serve as a bridge album, with the collection pushing the boundaries of the music genre, experimenting, and testing the limits and the definition of contemporary jazz – offering a thesis of what it could become. The third in the series will be a double album, a visionary outing futurizing contemporary jazz, an evolutionary realization.
“My mission for this album is to stretch the current boundaries of what is considered contemporary jazz. This genre has a rich history, but it has gotten a bit formulaic. For the music to grow, artists need to have the courage to reach deep inside and create music with boldness while building true connections to a wider audience. As a songwriter, I want to reach as many people as possible for the purpose of engaging in a real and genuine connection with listeners. I believe the only way to do this is to create songs openly and honestly, without restrictions. Listeners love authenticity and I want to be right there with them,” said Kelly, a Philadelphia native who has long called the Los Angeles area home.
“Phase II” opens with the snappy, horn powered “That Groove,” anchored by the taut rhythm section consisting of bassist Jerome Randall and drummer Billy “Shoes” Johnson. Trumpeter Michael Stever captains (and arranges) the four-piece horn section alongside Andrew Neu (tenor and alto saxophone), Nick Lane (trombone), and Kelly’s son, Jason Kelly, on soprano sax. Kelly’s piano dances, radiating a joyous spirit.
“This funky and catchy song symbolizes the essence of confidence in oneself. In life when our mind, body, and spirit are in sync, there is a confidence we have, a radiant glow that shines through when others are around. People may not know personal situations or circumstances, but they see a glow and excitement they may want in their lives. When we can be free from worry and we focus on those things that make us better, we grow. From growth comes confidence,” explains Kelly.
Kelly’s piano remains radiant and ebullient on “SunSeeker,” which was the first single. A travel-inspired song, it peaked at No. 4 and spent eight months on the chart.
Another invigorating joint, this one recalling his formative years performing in Philly nightclubs, “‘City Night” was the second single to preview “Phase II.” While writing the song, Kelly turned to Philadelphia music legends for inspiration.
“‘City Night’ captures the spirit of the Philadelphia nightlife from that period in my life, the time I spent playing in the nightclubs by Penn’s Landing on the Delaware River. Those nights are where I had a chance to feel the excitement of playing in front of crowds of people every night. That’s when I got a chance to feel that energy for the first time, the thrill of being on stage and performing. It was then that I knew I wanted to make music my career. I started looking at old videos of The Spinners, Blue Magic, Delfonics, and other legendary Philly International Records groups. Since I used to play with Blue Magic, it was fun and exciting to think about that time in my life,” recalled Kelly.
Incorporating fusion into the mix, “Bring It to Compliance” has a tension, focus, and intensity. Again, the horn section packs a punch to which Kelly adds electric guitar to his piano and keyboards, playing alongside electric guitarists Miles Jenson and Billy “Meech” Chase.
“For us to walk in happiness, love, and success, there is work to be done, which is accomplished by becoming compliant to discipline, consistency, ambitious standards, and focus on the goal at hand. Each step we take in life can take us either forward or backward. We must learn from each step and build from it. As we successfully accomplish small steps, we will develop a love for what we do. That love will generate the energy and spirit required to be victorious in life. However, for this to occur we must bring ourselves into compliance with God’s laws that will transform us from the inside out,” said Kelly providing insight.
Another tune tinged with fusion, “Feathers In Flight” was inspired by an unforgettable scene in the Academy Award-winning film “American Beauty,” in which a plastic bag was tossed around in the wind. Kelly explains, “The image of a plastic bag blowing in the wind shows precisely the freedom that comes from finding happiness and beauty in the simplest things, regardless of life’s difficulties. We must not get caught up in those things that damage us spiritually but focus on the things that edify our souls. That is how to overcome our difficulties. Our spirits must float and rise above the things that attempt to bring us down.”
Bold and daring reflecting the song’s namesake, “Amanirenas” was named after the queen regnant of the Kingdom of Kush known for invading Roman occupied Egypt and negotiating the end of the Roman retaliation. Kelly’s song is offered as a testament to all women, reflecting Queen Amanirenas’s beauty, strength, leadership, and courage.
The soothing and placid Africano melodies and rhythms on “I Only Want You” gives way to a mid-tune spoken word rap delivered by Robert Washington along with a vocal caress from Quiahna.
“The song ‘I Only Want You’ is about understanding our protection in life is rooted in a love for God. With the world in so much upheaval, unhealthy political actions, violence, and hatred we must turn to God for strength, protection, and guidance. The lyrics written by Robert Washington say it all,” said Kelly about the song spawned from Ephesians 6:10-14, “The Armor of God.”
Slated to be the album’s fourth single releasing on April 15, “When We Are One” bobs to a hip-hop loop crafted by Kelly that runs through the song about agape love.
“‘When We Are One’ explores the endless opportunities when two people are totally connected by agape love for each other. After the initial infatuation period, exploration and discovery period, adaptive period, the commitment phase, we finally experience the acceptance phase, which is the deepest part of any relationship. This is also where the real blessings happen with couples that can endure and embrace this special period in life. Selfless love, characterized by a deep care for another person without any sexual implications, particularly when it is spiritual in nature, can be considered an ideal form of affection,” offered Kelly.
Kelly gets deeply personal on the closing composition, an intimate solo piano piece written for his late daughter titled “Song For Sharlise.”
“The final song on the album is about reconnecting in the spiritual world with my daughter, Sharlise, who passed away quite a few years ago. The music represents a living being going into the spiritual world to tell her how much she is loved by my wife and myself. I tell her that although there was much pain when she passed away and how the family dynamics changed with her passing, we were made stronger, and she will never be forgotten. ‘Song For Sharlise’ also represents a reconciliation rooted in the acceptance of her death. I think any parent who loses a child thinks about what they could have done differently to prevent something tragic from happening. Finally, the end of the song represents that our entire family will be united again. The synths at the end represent Sharlise going back to her spiritual home and me returning to the physical world. This song focuses on loss, love, hope, healing, reconnection, and reconciliation,” revealed Kelly.
Other musicians who contributed to “Phase II” are four-time GRAMMY®-winning percussionist Munyungo Jackson, drummers Tony Moore and Land Richards, and guitarist James Greene.
Kelly is a musician, songwriter, producer, arranger, and band leader who has collaborated with a galaxy of luminaries including Stevie Wonder, Neil Diamond, Elton John, Nile Rodgers, Sister Sledge, The Pointer Sisters, and Nathan East. He’s also flourished in the contemporary Christian space, playing with CeCe Winans, Mary Mary, Jeremy Camp, and Israel Houghton. As an actor, Kelly was in the cast of the “Fame” television series. “You’re Not Alone” launched four singles onto the charts, including the title track, "Endangered Species,” “I Know You,” and “I’m Good.” For more information, visit https://www.charlesakelly.com.
Kelly’s “Phase II” album contains the following songs:
“That Walk”
“SunSeeker”
“City Night”
“Bring It to Compliance”
“Raindrop Under Glass”
“Feathers In Flight”
“Amanirenas”
“I Only Want You”
“When We Are One”
“Song For Sharlise”
Roberta Flack, ’70s R&B Vocalist Known for ‘Killing Me Softly,’ Dies at 88 #pop #r&b #jazz #music
Legendary pop/R&B vocalist Roberta Flack, who was launched to stardom in the early ’70s by the Grammy-winning hits “The First Time Ever I Saw Your Face” and “Killing Me Softly With His Song,” has died, according to a statement from her rep. No cause of death was cited; she was 88.
“We are heartbroken that the glorious Roberta Flack passed away this morning, February 24, 2025,” the statement reads. “She died peacefully surrounded by her family. Roberta broke boundaries and records. She was also a proud educator.”
The classically trained singer-pianist only belatedly found fame when Clint Eastwood employed her 2-year-old version of “The First Time Ever I Saw Your Face” in his 1971 directorial debut “Play Misty for Me.”
She reached her peak with the 1974 pop and R&B smash “Where Is the Love,” which claimed the apex of both charts.
In all, Flack’s supple, slow-burning style brought her six top-10 pop hits and 10 top-10 R&B singles, some of them in partnership with vocalist Donny Hathaway.
Economically summarizing her appeal in “The Rough Guide to Soul and R&B,” Peter Shapiro wrote, “Urbane, genteel and jazzy, Roberta Flack was, in many ways, the perfect soul act of the early ’70s. Her pretty, sensuous ballads appealed to the Burt Bacharach/5th Dimension crowd, while her shimmering keyboards and flawless diction made her the poster child of the penthouse soul crowd.”
Though her chart eminence faded at the close of the ’70s, Flack continued to record into the new millennium; her last album, the Beatles recital “Let It Be Roberta,” was released in 2012.
Born to a musical family in Black Mountain, N.C., Flack was inspired as a girl by the gospel work of Mahalia Jackson and Sam Cooke. He began studying piano at the age of 9; something of a musical prodigy, she entered Howard University in Washington, D.C., at 15 on a full scholarship.
Her graduate work was cut short by her father’s death, and she taught school in North Carolina and the District of Columbia. She also began work as a nightspot performer in D.C.; a fateful engagement at the club Mr. Henry’s was attended by jazz pianist Les McCann, then a crossover star at Atlantic Records. McCann brought Flack to the attention of the label, which signed her in 1968.
Released in 1969, her Joel Dorn-produced debut “First Take” didn’t catch fire. However, “The First Time Ever I Saw Your Face” — a ballad composed by English folksinger Ewan MacColl and cut by the American folk-pop act the Kingston Trio in 1962 — supplied popular liftoff for Flack after Eastwood used it behind a love scene in his thriller “Play Misty for Me.”
Flack had already garnered a No. 8 R&B hit with her version of James Taylor’s “You’ve Got a Friend,” but “The First Time” became a No. 1 pop ubiquity, and pushed “First Take” to No. 1 for five weeks. In January 1973, it collected the record of the year Grammy.
Almost simultaneously, “Where Is the Love,” Flack’s second pairing with the similarly subdued and sensuous soul singer Hathaway, reached No. 1 on the R&B chart and No. 5 on the pop list. The number was named best pop vocal performance by a duo or group at the ’73 Grammys and pushed the LP “Roberta Flack & Donny Hathaway” to No. 3 on the pop rolls.
Flack reached the height of her popularity among both the public and her peers with “Killing Me Softly.” Penned by Charles Fox and Norman Gimbel, the number was inspired by singer Lori Lieberman’s reaction to a performance by pop folkie Don McLean. Lieberman’s 1971 recording of the tune failed to chart, but Flack quickly recorded it after hearing it during an airline flight to New York.
Produced by Dorn, Flack’s lustrous version shot to No. 1 on the pop chart and No. 2 on the R&B charts in early 1973; the “Killing Me Softly” album peaked at No. 3 and went double platinum. The song was named record of the year and best female pop vocal performance at the 1974 Grammys ceremony, and was inducted into the Grammy Hall of Fame in 1999. The Fugees’ 1996 cover, featuring vocals by future Grammy winner Lauryn Hill, was also a No. 1 R&B hit.
Flack continued to log chart hits through the ’70s, topping herself with the double-barreled pop and R&B No. 1 single “Feel Like Making Love” in 1974. She also notched another chart-topping pop single, “The Closer I Get to You,” with Hathaway in 1978.
However, that teaming was tragically sundered by Hathaway’s suicide in January 1979; the duet “Back Together Again,” issued posthumously in 1980, reached No. 8. Her subsequent pairing with vocalist Peabo Bryson yielded a No. 5 R&B single, “Tonight, I Celebrate My Love,” in 1983.
Flack’s adult contemporary-oriented sound waned in popularity in the late ’70s, as listeners increasingly gravitated to the harder sounds of funk, rap and hip-hop. Her final top-10 album, “Blue Lights in the Basement” (No. 8), was issued in 1978. Her last major pop singles were the Burt Bacharach-penned movie theme “Making Love” (No. 13, 1982) and “Set the Night to Music,” a duet with reggae singer Maxi Priest (No. 6, 1991).
Nominated a total of 13 times, she received her last Grammy nod in 1995, for best traditional pop vocal performance, for “Roberta,” on which she essayed the standard songbook.
Flack, who was divorced from Stephen Novosel in 1972, was predeceased by her son Bernard Wright, who died in 2022.
Best selling smooth jazz at amazon.com
Jazz from Amazon.com