Stimulating times for jazz saxophonist Nick Gomez #jazz #music

His new single, “Stimulus,” dropped on Friday, the same day that the feature film, “Hollywood Grit,” for which he composed the score and cowrote, produced, and arranged ten songs, opened in AMC Theatres.

 

As Nick Gomez walked his first Hollywood red carpet last Thursday night, it was a night to celebrate multiple professional accomplishments made possible by his personal decision to get sober.

 

Gomez’s new jazz-funk single, “Stimulus,” dropped last Friday (August 22). That same day, “Hollywood Grit,” the first feature film for which the saxophonist composed the score and cowrote, produced, and arranged the music for the jazz club-set noir thriller, was released in 22 AMC Theatres. Gomez is also marking the six-year anniversary of his sobriety.   

 

“Stimulus” was written about the period of uncertainty after Gomez decided to get sober.

“‘Stimulus’ was born out of one of the most uncertain moments of my life. I made the decision to get sober in August of 2019. Six months later, the world shut down due to the pandemic. Like everyone else, I found myself in survival mode—unsure, uninspired, and just trying to get through each day. Eventually, I found my way back to music. When those economic stimulus checks started going out, that (financial) spark gave me the freedom to pick up my horn, write again, and turn a strange time into something joyful. ‘Stimulus’ channels that spirit of joy, freedom, and gratitude into song,” said Gomez who plays tenor saxophone on the high-energy song that he wrote and produced for his “the blue one” EP, which was issued earlier this year.

 

Pulling from the classic funk grooves evocative of James Brown and Motown Records, “Stimulus” is a full-throttle workout on which Gomez gives each member of his quartet - guitarist Jon Gus, Hammond B3 organist Steve Aguilar, bassist Russell Walters, and drummer Joshua Zeigler – a turn to rip a solo before the saxman lets loose his own impassioned wails. Trumpeter Chris Lawrence adds horn power to the track that began collecting radio playlist adds on Monday (August 25). Gomez and his band shot a video for “Stimulus” (https://youtu.be/Js-M3cGMwV8) that was released on Monday.

 

“We went old-school with the video with some modern and fun surprises. It was shot at Total Access Studios in Redondo Beach, California and like all my videos, it’s a fun watch and really translates the vibe and energy of ‘Stimulus,’” said Gomez, who will begin a three-month residency on October 12 at the Lighthouse Café in Hermosa Beach playing one show per month.

 

An eight-time Emmy Awards nominee, Gomez composed sixty minutes of music for “Hollywood Grit,” which stars Max Martini, Tyrese Gibson, Linda Purl, and Patrick Duffy. The musician has been collaborating with the film’s director and cowriter Ryan Curtis since 2014. Music plays a leading role in the movie set in a Hollywood jazz club and Gomez was given the opportunity to compose the film score and cowrite eight new songs with Gus and Sarah Cardenas. Gomez also produced and arranged ten songs for the detective movie that astutely balances corruption, loss, addiction, and comedy. The film soundtrack mixing big band, straight-ahead, contemporary, orchestral, Avant Garde, and free-style jazz along with splashes of R&B, pop, and funk is available now (https://ffm.to/nqjxwwb) as is the film score (https://ffm.to/qq3nzq2). 

 

The Los Angeles-born Gomez grew up on Hollywood film and television sets with his family who work in the industry. His first musical instrument was clarinet, but by the time he attended Berklee College of Music, it was as a saxophone player. Gomez has released six albums, and he’s placed multiple singles on the national charts. His music has appeared in films, television shows, commercials, and comedy specials, including “Katt Williams: Live.” Gomez hopes that “Hollywood Grit” was the first of many red-carpet premieres.

 

For more information, visit https://www.nickgomez.net.

 

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Pianist/Composer Jen Allen to release new recording. #jazz #music

Pianist/Composer Jen Allen to release new recording "Possibilities" (Truth Revolution Records) Jen Allen - PIANO, RHODES, WURLITZER Leala Cyr - VOCALS Alejandra Sofia - VOCALS Dan Liparini - GUITAR Jonathan Barber - DRUMS Matt Dwonszyk - BASS Release Date: August 22nd, 2025

About the Recording Possibilities is an album born from a desire to explore beyond the known. The music was written as a way to move past what I already understood and step into new spaces—both musically and personally. Though it's music about the field of possibilities it’s music I believe everyone can relate to, with themes that are universally understood. The original compositions reflect the possibilities I’ve explored as an adult—in nature, relationships, and creativity. Alongside these originals, the album features two of my favorite pop songs, reimagined with a fresh perspective. As a child of the ’80s, pop music was my world—it filled me with a deep sense of wonder and possibility and that's why those songs are included on this album. Through Possibilities, I hope to offer listeners a journey that not only resonates emotionally, but also reminds us of the endless potential within ourselves and the world around us.

About Jen Allen Jen Allen is a dynamic pianist, composer, and author who captivates audiences worldwide. From New York City to Europe and beyond, she performs with her own bands or collaborates with acclaimed ensembles, appearing at renowned events like the Winnipeg Jazz Festival and Litchfield Jazz Festival. She’s shared the stage with jazz greats such as Don Braden, Nat Reeves, Freddie Hendrix Jimmy Greene, and Camille Thurman, to name a few. Her discography includes her upcoming release, Possibilities, her sophomore album Sifting Grace, her debut Pieces of Myself, and collaborative works like Raise Up. Jen also appears on many other albums as a sideman. Jen’s creative footprint extends to compositions for big bands, string quartets, and ensembles, earning her a spot in the elite BMI Jazz Composers Workshop. Jen Allen created a new multi-artistic piece called Collective Breath, which weaves together music and visuals to guide audiences through an immersive journey. The work is designed to foster self-awareness, deepen connections with others, and strengthen one’s relationship with the world around them. By integrating breathwork and music, Collective Breath creates a powerful space for personal reflection and shared connection. Jen was the recipient of the 2023 Artistic Excellence Award for the Connecticut Artist Fellowship Program and the 2024 Greenstage Artist Award. Jen’s academic achievements include degrees in performance and composition from The Hartt School and UMASS Amherst. She is currently a Visiting Assistant Professor of Music at Trinity College in Hartford. Passionate about education, her educational contributions extend to masterclasses, clinics, jazz camps and guest conducting engagements across the United States and internationally. Her jazz piano method book Sitting In (co-authored with Noah Baerman) won Music Inc. Magazine's Editor's Choice Award.

Jen Allen Website

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R&B-Jazz guitarist Gregory Goodloe brings "Unlimited" heat this summer #jazz #musci

He reteams with GRAMMY® winner Michael Broening on the hot new single boding to become his third Billboard No. 1 hit.

 

 

Gregory Goodloe is a man of few words, yet his electric jazz guitar sparks unlimited fire, consistently burning up the national radio airplay charts. After scoring his second Billboard No. 1 single last summer with “Groovin’ On,” Goodloe reteams with that track’s producer and co-writer, GRAMMY® winner Michael Broening, to cowrite and produce “Unlimited,” the new Hip Jazz Records single currently collecting playlist adds.

 

Tapping Broening, who won a GRAMMY® for producing George Benson and Al Jarreau’s “Mornin’” and has architected more than 25 Billboard No. 1 hits, and his stable of decorated musicians to craft “Unlimited” was a deliberate move by Goodloe to continue the momentum they created with the success of “Groovin’ On.” Goodloe’s team of collaborators on “Unlimited” are all GRAMMY® winners. In addition to Broening’s elegant yet soulful keyboards and driving, dance floor drum track, Goodloe’s lead guitar dances and prances to the deep-pocketed bass lines sketched by two-time GRAMMY-winning bassist Mel Brown. GRAMMY® winner Freddie Fox adds fullness and color to the harmonies with his rhythm guitar.    

 

Goodloe’s meaning and inspiration for “Unlimited” is two-prong: the simple and the grandiose.

 

“I came up with the title ‘Unlimited’ with the ideal to create something different that expresses my boundless love of music. After reviewing several musical ideas, ‘Unlimited’ was born from a fresh idea of expressing who I am as a guitarist and revisiting my musical roots in jazz and R&B music. Being heavily influenced by guitarists Wes Montgomery, George Benson, and Ronny Jordan, I wanted to create and capture the essence of the traditional sound of the jazz guitar in a modern contemporary style,” said the Denver, Colorado-based Goodloe.

 

The grander intention reflects how far Goodloe has come in music since serving in the U.S. Army.

 

“When I was in the Army, I dreamed about writing and recording music that reaches people and has impact. I dreamt of getting on stage and sharing my songs with the world. The Army taught me about the importance of team and relying on your team, so I realized then that I would need to build a team and rely on that team to help me accomplish my goals as a musician. When ‘Groovin’ On’ became my second Billboard No. 1 hit, five years after my first Billboard No. 1 (“Stylin’”), it made me think that my potential as an artist when working with the right team is unlimited,” said Goodloe who has teamed up with other Billboard chart-topping producers in the past including Darren Rahn, Adam Hawley, Bob Baldwin, and Jeff Canady.

 

A spiritual man who has been assembling a catalogue of instrumental and vocal recordings in R&B, jazz, and gospel music, Goodloe has played with GRAMMY® winners Ben Tankard, Shirley Caesar, Howard Hewett, and B2K; GRAMMY® nominee Tank, and R&B vocal trio Surface.

 

For more information, please visit https://gregorygoodloe.com.

Best selling smooth jazz at amazon.com

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Contemporary jazz guitarist Joe Taylor settles into his new "Home" in instrumental Americana #jazz #music

He invited three musician friends from New York City into his South Carolina studio to create “Last Boat Home,” which drops on August 22.

 

Guitarist Joe Taylor’s physical and musical homes have been transitional in recent years, which is exhibited on his two latest recordings. Last year’s “Westside Chill” captured Taylor in his New York City environs where he took subways, buses, and planes to get home on a contemporary jazz-influenced album, which was reflected in the image on the album’s cover. The cover of the new “Last Boat Home,” which arrives from Moonwatcher Music on August 22, shows Taylor awaiting “the last boat” for the final transition to his new musical home - a rootsy blend of instrumental Americana blues and jazz.

 

During transitional moves, people often call on friends, which is exactly what Taylor did to usher in this new sound and style. He invited three of his accomplished New York City-based musician friends to embark on the transformational journey with him. Pianist Jeff Franzel (Frank Sinatra, Shawn Colvin, Mel Torme, Dianne Reeves, Sammy Davis, Jr.), bassist Paul Adamy (Freddie Hubbard, Phoebe Snow, Joan Osborne, Carly Simon), and drummer-percussionist Ray Marchica (James Brown, Roy Buchanan, Barbra Streisand, Jimmy Webb) traveled to Taylor’s Bennetts Point, South Carolina fortress to spend a week in his island studio, Salt Creek Recording. There the four friends cowrote and coproduced ten new songs for “Last Boat Home,” which required a second weeklong visit to complete.

 

“There are two places I have been able to call home. Having lived most of my adult life in Manhattan, it became home. The familiar neighborhoods and many wonderful people I know all over the city gave me a sense of refuge in what can be a daunting environment. My Southern home is a more natural environment, having grown up on the water down here. Upon my return, I wanted to build a place where my musical friends could comfortably stay and create, away from the pressurized atmosphere of New York City. I built the house for my wife, Stacey, and me, with a state-of-the-art recording studio with guest quarters for

our visiting friends. This has become a way to offer some creative refuge, perhaps as a way of thanking them for embracing me when I first ventured to New York,” said Taylor who introduced his “city slicker” guests to the Southern lifestyle on the water during evening hangs on the boat, shrimp dock, and at B&B Seafood’s general store.  

 

Two tracks from “Last Boat Home,” the title cut and “Goodnight Gracie,” were issued as singles to whet the appetite of listeners. Taylor describes writing, recording, and producing the album as truly a collaborative creation.

 

“Rather than come in with pre-conceived compositions, we each came with snippets and threads of grooves, melodies, and colors, and fed off each other’s vibes and ideas - live and on the spot. We wanted the whole record to have that old-school rootsy feel of an ‘in the studio’ recording. Having played with these master musicians in various recording and live situations in New York City over the last thirty or so years, we all fell right into that pocket that occurs when longtime musical friends are let off the leash together,” Taylor said.   

 

The album opens with “Last Boat Home,” on which Taylor emotes lyrically on his McGill Resonator guitar while Gary Morse adds steel guitar accents. Franzel’s piano serves as a protagonist on the emotional ballad.

 

Adamy wrote the gorgeous melody for “Goodnight Gracie” for his beloved dog, Gracie, while Taylor switches to an electric guitar to recall the late George Burns’s signature sign-off.

 

A simple and modest man, Taylor laughs when discussing the title of “Mason Jar,” another electric guitar-led tune that shuffles into Steely Dan-like territory.

 

“During playback while we were sitting in the control room, Paul was keeping time with a pencil on my wine glass, which is invariably a Mason jar. All my pals laugh at my inelegant use of a Mason jar when I have a glass of wine, but it comes from my grandfather, who was an actual moonshiner that served his toxic mixture in a Mason jar.”

 

On “I See A Spider,” Taylor’s electric guitar slinks along deliberately, winding its way into a call and response banter with Franzel’s genteel piano. Taylor’s Bennetts Point home is nestled in the middle of the ACE Basin Wildlife Preserve. His big city guests anticipated seeing various forms of wildlife during their stay, but the spider that entered the recording studio was the only wildlife they encountered.

 

Veering off into the exotic, “Bumba Meu Boi” has a Brazilian jazz feel providing Marchica with the opportunity to show off his formidable percussion skills.

 

Taylor pulls from another unexpected source on “Burnin’ Daylight.”

 

“I stole the opening lick from the Luther Vandross tune ‘Never Too Much’ in fond remembrance. I got to hang with Luther a little bit at Sony Studios in New York when I was recording my album ‘Spellbound’ and Luther was in the next studio over. One night, I walked in, and he had ordered bags and bags of Mrs. Fields’ chocolate chip cookies that were spread out all over the credenza with gallons of milk for everyone. He was a kind and lovely man,” recalled Taylor fondly.

 

“Melba” is a cozy and affectionate tune penned for Franzel’s late mother who used to come watch her son and Taylor play gigs in New York City nightclubs.

 

Dancing to a distinctly New Orleans rhythm, “Royal Street” is named for Taylor’s favorite part of the French Quarter.  

 

“We always stay at the Cornstalk Inn on Royal Street. On our last trip, our beloved bloodhound, Ida Mae, was with us, and she loved NOLA, too. Great memory of her lying at the door of Preservation Hall listening to the music. She was a true aficionado and had been on the tour bus and on stages with us all over the country,” shared Taylor.

 

Adamy constructed a fun bassline for the groovy “Well, I Reckon,” while his funky bass groove on the album closer, “Kinda Greasy,” sets a Memphis soul vibe.

 

Taylor will reunite with Franzel, Adamy, and Marchica for four upcoming concert dates to launch “Last Boat Home.” They have a pair of Michigan shows slated for August 20 and 21 in Elk Rapids and Glen Arbor respectively, followed by a pair of South Carolina dates on September 5 in Charleston and in Camden on September 6.

 

Taylor’s 1988 solo debut album, “Mystery Walk,” led to a record deal with RCA/Victor for 1995’s “Spellbound.” His releases consistently landed on the Billboard contemporary jazz albums charts. An in-demand session musician and record producer, Taylor has collaborated with a wide array of artists such as Dave Koz, Donna Summer, Nile Rodgers, Al B. Sure!, and Andrew Lloyd-Webber. Composing music for other media, his television and film resume includes “Stephen King's Golden Years,” Discovery Channel's “SpyTek” with Roger Moore, ABC Television's “Turning Point,” and A&E's “Spies.”

 

The “Last Boat Home” album contains the following songs:

 

“Last Boat Home”

“Goodnight Gracie”

“Mason Jar”

“I See A Spider”

“Bumba Meu Boi”

“Burnin’ Daylight”

“Melba”

“Royal Street”

“Well, I Reckon”

“Kinda Greasy”

 

 

To pre-save “Last Boat Home,” please go to https://orcd.co/lastboathomealbum.

 

For more information, visit http://www.joetaylormusic.com.

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Najee Releasing “Under the Moon Over the Sky” Tomorrow! #jazz #music

Grammy-nominated and internationally acclaimed jazz saxophonist and flautist, Najee, will release his highly anticipated and mesmerizing new album that pushes the boundaries of contemporary jazz while honoring its rich traditions. It blends modern jazz with the lush beats and melodies of Brazilian music. Available August 12, 2025, on all major streaming platforms, the album truly captures the energy of modern jazz and R&B while embracing the warmth and vibrancy of South American influences.

Featuring an exceptional lineup of musicians and vocalists, “Under the Moon Over the Sky” showcases intricate vocal and instrumental delivery, hypnotic grooves, and effortless musical ingenuity. Tracks like “La Costa” and “Under The Moon and Over The Sky” highlight Grammy Award winner Regina Belle’s ability to weave together dynamic jazz arrangements with the soul of Brazilian music. This project is produced by several producers, including Barry Eastmond (New York), Robert Hebert (Brazil), and Jean Paul “Bluey” Maunick (UK) of the legendary group Incognito.

“I am extremely honored to present this special project to the world. Working with artists such as Regina Belle, Will Downing, Eric Roberson and Chris Walker offers a diverse cultural experience, I think everyone will enjoy.” – Najee

With a career spanning over four decades, multiple platinum-selling albums, and a devoted global fan base, Najee once again redefines creativity with his signature jazz inflections.

Tour Dates:

Mable House Barnes Amphitheatre
Jul. 19 Harrisburg, PA
Aug. 1. Louisville, KY
Aug. 9 Temecula, CA

Thornton Winery
Aug. 15 & 16 Las Vegas

Aliante Casino
Aug. 30 Memphis, TN (POSTPONED)
Sep. 13 Oxnard, CA
Sep. 21. Pensacola, FL

Gulf Coast Jazz Festival
Nov. 1 Kansas City, MO
Nov. 7 New Haven, CT
Nov. 8 Alexandria, VA

The Birchmere
Nov. 9 Ramshead, Annapolis

Source: Najee

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