Critical acclaim for Gerald Albright's "Slam Dunk" (release date 8/5) #jazz

“Albright’s decision to play the bass on Slam Dunk might have been the result of a fit of nostalgia, but the move added a challenge to the creative process, and Albright responds with highly competent bass playing and creative and inspired sax playing. It reminds his fans of the broad talent that this music man possesses and gives a fresh, personal sound to this solid release. Recommended.”

Soul Tracks

 

“Albright’s 17th project, it continues his well-developed mixture of smooth jazz, and adult contemporary music. He delivers the expected full, warm tones on his tenor and alto saxes — and also shows off his flare on bass, recalling the likes of Louis Johnson and Marcus Miller…an always solid, and often inspired, collection…”

Something Else! Reviews

 

“Co-produced by Chris ‘Big Dog’ Davis, Slam Dunk continues Albright’s reign as one of the most compelling and consistent artists in jazz. In addition to showcasing his amazing sax prowess, Albright displays his skills as bassist and vocalist on Slam Dunk, with ebullient arrangements of classic covers as well as his own compositions.”

Examiner.com

 

“[Albright’s] latest Heads Up collection Slam Dunk, in addition to featuring covers of classics by Collins and James Brown and a guest appearance by Peabo Bryson, is influenced directly by the classic R&B he grew up with – James Brown, the Philly International sound and Motown. He collaborates for the first time with top urban jazz producer Chris ‘Big Dog’ Davis. The set also features Albright’s talented vocalist daughter Selina Albright”

Jazz Monthly

 

“Overall, Gerald Albright has assessed how to tap into the musical inspirations presented to him and has exploited that creativity. By making Slam Dunk happen today, out of that will grow his next level of aspirations. And that is how Gerald Albright has risen to great heights over the past four decades.”

AXS

 

“Very few artists can be proficient behind the scenes as a studio musician, and then break out with a successful career as a solo artist. Gerald Albright is one such artist.”

iRock Jazz

 

On August 5, 2014, the Grammy-nominated saxophonist/multi-instrumentalist/composer releases Slam Dunk and continues his reign supreme as contemporary jazz’s most compelling and consistent artist. Fans will hear his searing and soulful sax lines on this twelve-track recording. And, they’ll be in for a surprise, as Albright shows off his chops as a bassist, along with his ebullient tenor, baritone and soprano saxophone arrangements on his own compositions, and his super covers of classics by Phil Collins (“True Colors”) and James Brown (“It’s a Man’s, Man’s Man’s World”), with special guest vocalist Peabo Bryson.

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Gerald Albright & Norman Brown’s 24/7 debuts at #1 on Billboard’s Contemporary Jazz Chart AND #1 on the Top Current Jazz Albums Chart! #jazz

Two of the biggest names in contemporary instrumental pop, Brown and Albright are a perfect pair to team up and 24/7 makes the most of the their talents. Sounding slick but never too slick, the album features stylish production by both artists along with keyboardist Herman Jackson. Brown and Albright primarily stick to the more soulful contemporary R&B end of smooth jazz here, and cuts such as the bright and melodic leadoff cut ‘In the Moment,’ the cinematic ‘Perfect Love,’ and the sensuous title track – featuring vocals by Gerald’s daughter Selina Albright – are finger-snapping, head-bobbing numbers that set a romantic, positive-minded mood…For longtime fans of either of these contemporary jazz titans, 24/7 will certainly be a round-the-clock pleasure.” ****

All Music

 

“Two legends of contemporary jazz teamed up to release 24/7, a ten-selection project of melodic exchanges, unison and harmonic phrases on the Concord Jazz label. Gerald Albright and Norman Brown, more than just imprints of classic contemporary sounds in jazz, they're also a mainstay of the genre. First, individually they both have a great collection of work and second, as a collective force, 24/7 proves to be another exceptional offering.”

Examiner.com

 

“Two different musicians, multiple mixes of genres and endless hours spent perfecting it all. After decades of camaraderie and professional overlap due to solo projects and collaborations with the heavy-hitters of pop, jazz and soul, Gerald Albright and Grammy winner Norman Brown have finally joined creative forces on 24/7, a synergistic and spirited collection that fuses Albright’s nimble sax notes, Brown’s heart-plucking guitar licks and generous doses of familial assist…With summer just beginning, expect fans of Mr. Albright and Mr. Brown to scoop it right on up and put it on ‘repeat’ for the first day, the first week…and yes, well beyond. Heartily recommended.”

Soul Tracks

 

“Concord has been on a roll for 2012 and 24/7 simply continues to build on quality music released by one of the finest labels in jazz. A release that is full of flavor as well as some well placed musical surprises including some stellar Latin work from Albright finds 24/7 at the very top of the contemporary heap for 2012. A virtually flawless effort that even the hyper-critical would struggle finding serious fault with.”

@CriticalJazz

 

“After thirty years of friendship, 24/7 is the definitive thank you gift from Gerald Albright and Norman Brown in sharing their musical passion with their fans. Five out of five stars.”

TheUrbanMusicScene

 

“Though the two smooth jazz superstars have been friends for years, this is the first time that they have collaborated in a full album – and what a treat it is. From the opener ‘In The Moment,’ the groove is on from the first moment and doesn’t let up until the closing track ‘Power of Your Smile,’ a soulful ballad that closes the disc with great style.”

X2THEL

 

“Ah yes, as if you didn’t know that, at some point, these two icons of the serious contemporary jazz groove—saxman Gerald Albright and guitarist Norman Brown—two of the best anywhere and two very amiable cats, would collaborate on a sizzler, here it is—24/7, to be released on June 19 to a lot of happy ears. Considering the artists, you’d expect quality, strength, class, and more. You’ll get that—and much more. These guys are not who they are by accident, as this mighty production will show. The album’s title is derived from the commitment of each to his respective instrument, but then, you should have guessed that. You don’t put together this kind of project without having that kind of commitment not only to the instruments but to the art itself.”

The Smooth Jazz Ride

 

“A tasty, summer sounding set, it’s in the pocket and a winner throughout.  Well done.”

Midwest Record

 

“Titled 24/7, this fine ten-track recording draws on their collective jazz sensibilities in a way that is little short of sublime and with almost fifty years of recording experience between them, there is little doubt that these two fine players sit loftily at the very peak of their respective careers…Again the combined artistry of Albright and Brown is immense and like all great albums leaves the listener yearning for more. 24/7 will hit the streets on June 19 and comes highly recommended.”

Smooth Jazz Therapy

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Embracing Nicole Henry #jazz

The song stylist sells out a pair of New York City shows on the eve of the release of her critically-acclaimed new album, Embraceable

Glowing reviews have embraced the arrival of the fifth album from song stylist Nicole Henry, which was released Tuesday (August 23) by ArtistShare. On Monday night, Henry performed many of the songs from Embraceable at a pair of sold-out, standing room-only shows to enraptured audiences at Jazz at Lincoln Center’s Dizzy’s Club Coca Cola.

Henry was backed at Dizzy’s by a gifted combo, including Grammy nominated guitarist Julian Lage, bassist Larry Grenadier (Brad Mehldau, Pat Metheny, Fly) and drummer Eric Harland (Joshua Redman, McCoy Tyner, Charles Lloyd), each of whom performed on Embraceable. Rounding out the ensemble were pianist Aaron Goldberg (Wynton Marsalis, Betty Carter, Madeleine Peyroux) and saxophonist Dayna Stephens (Roy Hargrove, Quincy Jones, Stevie Wonder).

Produced by Grammy nominee Matt Pierson (Kirk Whalum, Jane Monheit, Joshua Redman), who corralled a collective of world-class musicians, Embraceable is being worked at multiple radio formats, including straight-ahead jazz and smooth/contemporary jazz, the latter of which was serviced Henry’s sterling and totally unique interpretation of the Bob Marley classic “Waiting In Vain.” USA Today’s Elysa Gardner wrote “The silver-voiced songbook interpreter adds Bob Marley to her repertoire, with typical elegance, on Embraceable.”

Profiled last week in a Sunday spotlight feature in the Miami Herald, the suburban Philadelphia native-Miami transplant will support Embraceable with a flurry of performances, events and a radio interview in her adopted hometown. On Sunday, Henry will perform at Unity Church in Fort Lauderdale. Next Monday, she will be interviewed live on public radio station WLRN. On the 30th, catch Henry on stage in Kendall at Blue Martini. An official album listening party will be held at The Stage on August 31st at which Henry will perform. The following night, Henry will dazzle the crowd at Loews Miami Beach.

Below are highlights from some of the early reviews of Embraceable:

Pittsburgh Tribune-Review: “It is true skill when a performer can create a memorable moment with new material. That is exactly what singer Nicole Henry does with the song ‘Even When You're Gone’ on her new album, Embraceable. In a presentation that is rich both in voice and grasp of song, she creates a story about loss that seems poetically deeper than the lyrics state.”

Smooth Jazz Daily: “Nicole Henry combines amazing beauty with blissful talent…Nicole Henry's Embraceable is an impressive artistic statement of an astonishing vocal talent. This lady inhabitates [sic] the songs like the divine Ella Fitzgerald.”

SoulTracks: “Nicole Henry possesses the kind of sing-the-phone-book voice that is both commonplace and necessary among interpreters of the Great American Songbook. Her phrasing is impeccable and Henry also has the kind of vocal pronunciation that ensures that her listeners will understand each word…Embraceable continues a trend of artists putting considerable thought into projects featuring pop standards. It features covers that have not been done to death and a new and attractive sheen on some well-loved songs. Embraceable also includes originals that sport top-flight lyrics and musical arrangements that draw from the church, the blues club and the Broadway stage. On all of this, Nicole Henry and her collaborators strike a great balance and Henry proves herself to be a fine interpreter and song stylist.”

The Smooth Jazz Ride: “With a touch here and there reminiscent of the sweet charm of the Dionne Warwick/Burt Bacharach glory years, the bluesiness of Joss Stone, and her own genuinely stirring soul sound, vocalist Nicole Henry drops in on us with a project that captures the attention almost effortlessly with her release, Embraceable. At times, spinning standards into soul-kissed beauties all her own and at other times using her pure vocals on her own originals (four in all), Henry spells sweetness and depth. Her spirited and uplifting vocals truly carry the day here easily. With special help from John Stoddart and Kirk Whalum on select tracks, this young lady does a wonderful job of combining soul, a bit of gospel, blues, and jazz in a signature fashion that offers as much by way of originality and imaginative interpretation as you could want.”

Hill Rag: “Vocalist Nicole Henry’s latest album offers a glimpse of the soul and elegance of this young, vibrant and contemporary jazz singer. Grammy nominated producer Matt Pierson produced the album in exquisite detail, showcasing such winners like ‘A Little Time Alone,’ ‘Even While You’re Gone,’ ‘Waiting In Vain,’ and ‘Embraceable You.’”

O’s Place Jazz Magazine: “This is her fifth release, arguably her best. Nicole continues to improve as a dramatic vocalist with her rich soulful voice. ‘Since I Fell for You’ is a perfect match for Henry and one of several standouts.”

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Larry Carlton "Plays The Sound of Philadelphia" allaboutjazz review #jazz

Regardless of context, guitarist Larry Carlton has built a reputation as one of the tastiest guitarists around, whether he's supporting singer/songwriter Joni Mitchell, jazz/pop hybrid Steely Dan or soulful jazz/funksters The Crusaders. His own records, while always accessible--at times, crossing the line into smooth jazz territory--demonstrate a distinctive blend of sweet and gritty tone, bluesy soulfulness, and plenty of jazz chops, often surfacing in the most unexpected places. Live in Tokyo With Special Guest Robben Ford (335 Records, 2009), was harder-hitting than usual, suggesting that though Carlton (and Ford) chooses easier-on-the-ears contexts, he never sacrifices the core qualities that make him worth scoping out.

Plays the Sound of Philadelphia is Carlton's homage to the songwriting team of Kenny Gamble and Leon Huff, who were responsible for a seemingly endless string of soul/R&B hits in the 1960s and '70s. The songwriting/production duo, responsible for massive hits by artists including The O'Jays (”Backstabber”), Jerry Butler (”Only the Strong Survive”), Harold Melvin & The Blue Notes (”If You Don't Know Me By Now”) and Joe Simon (”Drownin' in the Sea of Love”), built a sound that, ultimately, became directly associated with the town they called home.

Rather than taking these iconic songs and stretching them out for extended soloing, Carlton keeps them short--radio-friendly, and single-length, just as they were back in the day. A couple of background vocalists deliver familiar choruses throughout as a backdrop for Carlton's ever-perfect tonal and melodic choices, and Bill Labounty sings lead on a couple tunes, including the bright “Drowning in the Sea of Love” and anthemic “Only the Strong Survive,” these reverent arrangements never stretching far from their original sources. Six horns drives a five-piece rhythm section that includes, along with pianist/arranger Tony DeSare, Late Show with David Letterman stalwart, Paul Shaffer, on organ.

But, at the end of the day, with a collection of songs near-Jungian in their familiarity, and terrific charts from DeSare and trumpeter Steve Guttman, it's Carlton's visceral tone and ability to get to the heart of each song in an unfailingly personal way that make this 11-song set, at just under forty minutes, a thoroughly appealing look back, for those who miss the days when The Sound of Philadelphia ruled the airwaves. All the while, Carlton's broader harmonic knowledge bolsters his chordal work on “Could It Be I'm Falling in Love”--his warm, clean tone and octave-style playing clearly referencing Wes Montgomery--while at the end of the more up-tempo “Back Stabber,” Carlton combines bluesy bends with the barest hint of bebop sensibility.

And that's the beauty of Plays The Sound of Philadelphia, which also comes with a bonus “Making of” DVD. As much as this fits more in the adult contemporary category than jazz, Carlton peppers the session with plenty of markers that make clear his jazz roots remain an undercurrent beneath everything to which he sets his mind. It may not be edgy or forward-thinking, but it grooves to its sources with plenty of booty-shaking soul, all the while providing the ever-tasteful Carlton with plenty of room to deliver. And deliver he does, from start to finish.


Track Listing: CD: Could It Be Like Falling In Love; Back Stabbers; If You Don't Know Me By Now; Drownin' in the Sea of Love; I'll Be Around; You Make Me Feel Brand New; Bad Luck; Never Give You Up; Mama Can't Buy You Love; Only the Strong Survive; Might Love. DVD: The Making of The Sound of Philadelphia feature.

Personnel: Larry Carlton: guitar; Tony Desare: piano; Paul Shaffer: organ; Tommy Byrnes: rhythm guitar; Christopher Li'Nard Jackson: bass; Andrea Valentini: drums; Vic Stevens: percussion; Bill Labounty: vocals; Carla Benson: background vocals; Charlene Holloway: background vocals; Mark Douthit: saxophone; Darcy Hepner: baritone saxophone; Steve Guttman: first trumpet; Nick Marchione: trumpet; Dale Kirkland: trombone; Chris Komer: French horn.

By John Kelman

http://www.allaboutjazz.com/php/article.php?id=38968
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Shilts - "See What Happens " - Debut Solo Project #jazz

Saxophonist Paul "Shilts" Weimar's pedigree as a retro-funk sideman is so extensive and impressive that anything less than a mindblowingly groove-happy solo debut would be a disappointment. He's played behind legendary jazz artists (Nancy Wilson, Mel Tormé) and classic soul groups (the Temptations, the Four Tops), and then became best-known for his touring with the Brand New Heavies and Jamoroquai. From there, he became a founding member of Down to the Bone, which brings all types of wild funk elements into smooth jazzland. He goes crazy from the beginning of the title track, blowing heavy tenor over a wild shuffle groove, Simon Carter's retro keyboard elements, and Tony Remy's echoing vocorder. "Mind the Gap" is all wah-wah and thumping disco beat energy, with Shilts' horn dancing atop the house vibe. Shilts doubles on feisty alto and tenor over a "Superstition"-like keyboard groove on "There's No Wonder," then rolls over a jumpy tropical percussion groove on "Short Island Ice Tea." Shilts is firmly grounded in the present, but he's also honest about his love for classic blues and soul, infusing the blues-drenched "The Word Is Out" and brassy "Stax of Sax" with a total '60s soul sensibility. "Tequila Frenzy" then takes this out to an even further extreme. Rare is the sax recording that features no meltdown ballads, but it's clear that Shilts just wants to keep the party rolling relentlessly. With apologies to Prince and Rick James, it just doesn't get any funkier than this. ~ Jonathan Widran, Rovi All Music Guide

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"The Most Wonderful Time of the Year" Take 6 - Heads Up International #jazz AAJ Review

A recording act that's been around a while eventually presents a holiday album. Take 6, the a cappella jazz group whose roots lie on the campus of Oakwood College in Huntsville, Ala., brings The Most Wonderful Time of the Year.

Claude V. McKnight III formed a group known as Gentlemen's Estate Quartet, which was later joined by Mark Kibble. After a few lineup and name changes, the group became Take 6 in 1987. The group has earned several Grammy awards and has collaborated with a number of other artists, including the Yellowjackets, Stevie Wonder and Don Henley.

“It's the Most Wonderful Time of the Year” has a delightful, swinging groove. Using a combination of finger snaps and wordless vocals, the group sounds like a band more than an a cappella ensemble. The vocal harmony is superb.

McKnight and Chea run point on “You're a Mean One, Mr. Grinch,” injecting a conversational dialogue to introduce the piece. Chea's bass lead does honor to the original recording by Thurl Ravenscroft, while Chea rolls his R's with emphasis. The background vocals responds to the lead, adding a humorous element, particularly on the “stink, stank, stunk” phrase.

The finger-snapping “The Sugarplum Dance” is a clever take on the Tchaikovsky classic, the wordless chant retaining the song's mystique. Although the voices engage mostly in doo-wop style, there are phrases where one member takes on the role of a muted trumpet.

Take 6 keeps the melodies simple, so that these Christmas favorites are easily recognizable and revered. But the group also puts its personal stamp on each song. For those wanting something other than typical Christmas album fare, “Mr. Grinch” and “I Saw Three Ships” help set this collection apart from others.


Track Listing: It's the Most Wonderful Time of the Year; White Christmas; Grinch Introduction / The Grinch / You're a Mean One, Mr. Grinch; Sleigh Ride; I'll Be Home for Christmas; It Came Upon a Midnight Clear; The Sugarplum Dance (Dance of the Sugarplum Fairy); I Saw Three Ships; Jingle Bells; Christmas Time Is Here.

Personnel: Claude V. McKnight III: vocals; Mark Kibble: vocals; Joel Kibble: vocals; David Thomas: vocals; Cedric Dent: vocals; Alvin Chea: vocals; Shelea Frazier: piano (10), vocal (10).

By Woodrow Wilkins - allaboutjazz.com

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Eli Degibri - "Israeli Song" Anzic Records [Review] #jazz

Saxophonist Eli Degibri's name may be the least familiar one on the cover of Israeli Song. His quartet mates on this superb disc are of the highest level; it would be hard to find higher profile or finer accompanists. With that lineup--two legendary stars in drummer Al Foster and bassist Ron Carter--and, in pianist Brad Mehldau, a newer huge talent who keeps gathering momentum--it becomes a matter, for the leader, of holding his own. He does so with high energy, aplomb and originality, with both his playing and composing.

Degibri penned six of the eleven tunes in the set, but the quartet kicks off with Mehldau's “Unrequited,” offered originally on the pianist's Art of the Trio, Volume 3: Songs (Warner Brothers, 1998). Degibri, on soprano saxophone, gives the tune a yearning mood in front of Mehldau's adroit accompaniment and extraordinary solo, evolving from pensive sadness and peaking with anguish, before settling, perhaps, into wistful acceptance.

Full of smooth flowing jauntiness, Degibri's “Mr. R.C.” features the saxophonist on tenor. Another Degibri-penned gem, “Judy the Dog,” rushes full speed ahead, with the leader's tenor sending out flurries of notes in a well-told story, beginning with a smolder and gathering into high flames.

The saxophonist covers Dizzy Gillespie's classic “Bebop” in a duet with Foster. The pair seems to push each other into new territories--two eloquent musicians arguing a point, batting ideas and back and forth, and coming to a tentative agreement in the end.

“Manic Depressive,” written by Degibri and Barak Mori, wends its way through the bluesy wee hours, on a tune that sounds like something Ben Webster would have dug into--a delivery by the leader and his cohorts full of feeling and deep down soul.

Foster and Carter each contribute a tune to the set: the drummer's funky and upbeat “Look What You Do To Me,” and bassist's quirky and tight-grooved “Third Plane,” which gives the leader another chance to stretch out on tenor.

Degibri explores the ever-familiar “Somewhere Over the Rainbow,” played straight in simple, beautiful glory, with just a hard-blowing tenor horn and Carter's big, solid bass lines. Degibri then wraps things up with the title tune, an inward piece featuring the leader's tenor and Meldau's lovely, near-classical piano explorations.

Degibri, with four previous CDs as a leader to his name, has crafted his breakout set with Israeli Song.

Reviewed By Dan McClenaghan - allaboutjazz.com

Track Listing: Unrequited; Mr. R.C.; Judy the Dog; Jealous Eyes; Manic Depressive; Bebop; Liora; Look At What You Do To Me; Third Plane; Somewhere Over the Rainbow; Israeli Song.

Personnel: Eli Degibri: tenor and soprano saxophones; Brad Mehldau: piano; Ron Carter: bass; Al Foster: drums.

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"Now is the Time" Jeff Lorber Fusion | Heads Up International - Review #jazz

An accepted kernel of jazz historiography states that cats who play what has ultimately become smooth jazz play it because they can't play the real music. But even back in the day--specifically the seventies--I knew this wasn't true across the board ; as evidenced by the undeniable chops of Ramsey Lewis, Grover Washington, Joe Sample, and the Philly-born keyboardist Jeff Lorber. His group The Jeff Lorber Fusion was a mainstay on urban black radio, and his compositions, arrangements and solos, swung in the commercial contexts of the day, so much so that decades later rap artists would resurrect his songs in the hip-hop generation of the nineties.

So we have rappers to thank for this dancing and delightful disc that features dynamic do-overs from Lorber's catalog--specifically from his critically-acclaimed 1977 and 1979 LP's The Jeff Lorber Fusion, Soft Space and Water Sign, along with some new offerings. This new CD, whose title riffs off of the famous Charlie Parker tune, features a new Jeff Lorber Fusion lineup consisting of bassist Jimmy Haslip, trumpeter, Irene B, Randy Brecker, guitarist Paul Jackson, Jr., saxophonist Eric Marienthal and drummers Dave Weckl and Vinnie Colaiuta.

Hot out the gate is the anthemic “Rain Dance/Wanna Fly,” which was sampled by Lil' Kim on her hit “Crush on You.” Lorber and company lay down a twenty first century mid-tempo groove as good as the original one, with Irene B's lithe, uplifting vocals, Brecker's ebullient flugelhorn tones and Lorber's in-the-pocket acoustic piano solo. The laid back lilt of “Curtains/Before We Go,” which provided the foundation for rapper Nelly's naughty “Pimp Juice” remix, is reborn with its original ballad beauty, with a lush orchestral/synth introduction and another Irene B, vocal treatment graced by Marienthal's piercing sax solo. The complex tempoed, samba-fied “Chinese Medicinal Herbs,” is a showcase for Weckl's technically brilliant and crisp drumming.

Two other selections feature the Blood Sweat & Tears horns on the funky numbers “Dr. Moy,” and “Pixel.” Lorber's take on the Wayne Shorter--penned Weather Report classic “Mysterious Traveller,” manages to stay true to its exotic and evocative aural aura, while interjecting some intelligent urban rhythmic motifs to the mix. Lorber's pianism--acoustic and electric--are short and sweet, but to the point; along with Haslip's ingenious basslines, Weckl's lickety--split rhythms. All told, Lorber and his fusioneers serve up a pleasing disc that confirms that old saying that (musically speaking) some things are better the second time around.


Track Listing: Rain Dance/Wanna Fly; Dr. Moy; Pixel; Sugar Free; Mysterious Traveller; Curtains/Before We Go; Black Ice; Las Rosas; Chinese Medicinal Herbs; Sumatra.

Personnel: Jeff Lorber: keyboards; Irene B: vocals (1, 4, 6, 10); Paul Jackson Jr.: guitar (1, 3, 4, 7, 10); Randy Brecker: flugelhorn (1); Jimmy Haslip: bass (1, 3-11); Vinnie Colaiuta: drums (1, 3, 4, 5, 7, 8, 10); Jimmy Branly: percussion (1, 5, 7, 9) drums (6, 11); Eric Marienthal: saxophones (2, 3, 5-11); Michael Thompson: guitar (5, 6, 8, 11); Tony Maiden: guitar (2); Alex Al: bass (2); Li'l John Roberts: drums (2); Lenny Castro: percussion (2); Larry Koonse: guitar (9); Tom Timko: flute (1, 3, 9, 11); Steve Jankowski: flugelhorn (9), trumpet (1, 3, 11); Dave Weckl: drums (9); Jens Wendelboe: trombone (1, 3, 11); Teddy Mulet: lead trumpet ( 1, 3, 11).

By Eugene Holley, Jr. - allaboutjazz.com

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Soulive - "Rubber Soulive" Release On Royal Family Records 9/14/10 #jazz

Soulive has experimented in many directions during the course of its decade- plus career, so it's only natural that the group would eventually go back to the basics, and that's exactly what it's done with Rubber Soulive. Comprised entirely of tunes by The Beatles, this project allows the band to get back to its roots in more ways than one (without even covering that particular Lennon/McCartney tune).

Booker T & The MGs devoted an entire work to The Beatles on McLemore Avenue (Stax, 1970), and the best moments of Soulive's disc certainly bring that splendid work to mind, not because it sounds like it, but because it's equally deceptively inventive on its own terms. Like the best groove musicians, the members of Soulive know just where to find the nexus of melody and rhythm in a song, so it's no wonder “Drive My Car,” like most of these eleven tracks, is instantly recognizable.

Yet Soulive don't just proffer easy listening renditions of material like that or ”Taxman”; this is not muzak in any way, shape, or form. Rather, the trio--and that's what Soulive is here, shorn of the vocalists and horns that have adorned past projects-- finds the best way to shape a number like “In My Life,” where guitarist Eric Krasno states the main melodic motif, touching upon the melancholy and allowing Neal Evans (playing only piano and organ) to extend the emotion with a surge of Hammond B3.

“Eleanor Rigby” works much the same way, as Soulive never allows schmaltz to form on the sentiment at the heart of the song. And that may be what is most remarkable about the execution of this concept: Soulive creates an economical take of “I Want You (She's So Heavy),” for instance, and never succumbs to the temptation to drag out its performance. The group gets right to the heart of such famous songs with not a whit of self-consciousness, and no track exceeds five minutes in length.

So, not surprisingly, Soulive's take on “Come Together” captures both the whimsy and angst at the heart of John Lennon's composition. The sound quality plays no small part in the equation, as Neal Evans manages to create formidable keyboard bass lines and sibling Alan is just authoritative hammering out a 4/4 beat as he is gently accenting “Something.” Of the three musicians, the drummer may be the most astute in maintaining the essence of Ringo Starr's original parts, all the while maintaining his unique approach.

The sole exception to Soulive's admirable loyalty to The Beatles is its reinvention of “Revolution.” With the tighten-up drumming and dancing piano, the track is prime R&B--light years from the hard rock of the single version and the mix of music hall jazz and blues on The White Album (Apple/EMI, 1968). As such, it hints at the possibilities open to Soulive when the group plays this music in concert and avails itself of the opportunity to improvise on songs that have already proven themselves durable fodder for reinterpretation.


Track Listing: Drive My Car; Taxman; In My Life; Eleanor Rigby; I Want You (She's So Heavy); Come Together; Something; Revolution; Help!; Day Tripper; While My Guitar Gently Weeps.

Personnel: Eric Krasno: guitar; Neal Evans: piano, organ; Alan Evans: drums.

Review By Doug Collette allaboutjazz.com

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6 String Theory - Lee Ritenour | Concord Music Group - Review #jazz

The very gift that makes a session musician great can also be a curse. Oftentimes expected to be chameleon-like, it's that very act of becoming a credible musical shape-shifter that can sometimes lead to a loss of individuality. Lee Ritenour is a consummate and complete guitarist if ever there was one; his varied discography supporting a seemingly insatiable appetite for anything to do with the six-stringed instrument and all its variations. Often (and, in many cases, unfairly) linked too heavily with a genre that he helped formulate in the mid-to-late 1970s through his own “fusion lite” albums like Captain Fingers (Epic, 1977), to call Ritenour a smooth jazz guitarist would be unfairly exclusionary, as 6 String Theory proves in spades.

Not that there's anything wrong with smooth, but there's none to be found amidst 6 String Theory's multiplicity of styles, all-star guests and a cohesion surprising for an album so eclectic. Instead, Ritenour goes for the throat with some down-and-dirty blues (”Give Me One Reason,” featuring guitar slingers/blues belters Robert Cray and Joe Bonamassa) and mainstream jazz (the incendiary “L.P.,” with Ritenour joined by straight-ahead hero Pat Martino and organist Joey DeFrancesco, and a swinging “Moon River,” with the equally mislabelled George Benson in full-out bop mode). There's some pedal-to-the-metal guitar pyrotechnics when Steve Lukather, Neal Schon and Slash get together for the high octane shuffle of “'68'”; a classier blues, “Why I Sing the Blues,” where elder statesman B.B. King is joined by relative youngsters Keb' Mo', Jonny Legend and Vince Gill, who not only turns in a searing solo, but as impassioned a vocal turn as his partners. And just to prove he still can do it, there's a nod to Jeff Beck on Max Middleton's classic boogie, “Freeway Jam,” where Ritenour tears it up with Mike Stern and Japanese guitarist Tomoyasu Hotei, supported by legendary British drummer Simon Phillips.

There are also nods to the acoustic side with guest steel-stringers Joe Robinson and Andy McKee. A guitar competition as well as a CD, 6 String Theory closes with its winner, classical guitarist Shon Boubil, performing two Legnani “Caprices.”

The entire set kicks off with Ritenour's funky “Lay It Down,” capably sharing the bill with contemporary John Scofield. As well as Ritenour plays here and throughout 6 String Theory--humbly leaving more than ample room for his guests as he appears, in fact, on only eight of the album's fifteen tracks and never dominates--it highlights the disc's one and only flaw: Ritenour plays undeniably well throughout, but it's the very strength of the voices around him that highlights his own lack of one. It's hard to criticize a player so accomplished and so diverse, but while many of his guests will be remembered for their distinctive musical personalities, it's far more likely that Ritenour's legacy will be as an exceptionally talented chameleon, capable of fitting into any context--not, by any means, a shabby accomplishment, however, and especially when the result is as thoroughly enjoyable as 6 String Theory.


Track Listing: Lay It Down; Am I Wrong; L.P. (for Les Paul); Give Me One Reason; "68"; In Your Dreams; My One and Only Love; Moon River; Why I Sing the Blues;] Daddy Longlegs; Shape of My Heart; Drifting; Freeway Jam; Fives; Caprice, Op. 20, No. 2 and 7.

Personnel: Lee Ritenour: guitar (1, 3, 5, 6, 9, 12, 13), nylon string electric guitar (11), arrangement (1-3, 6, 9, 11-13); John Scofield: guitar (1); Harvey Mason: drums (1, 2, 9); Melvin Lee Davis: bass (1, 13); Larry Goldings: organ (1, 5, 14), Fender Rhodes (2, 9), clavinet (2), Wurlitzer (4); Nathan East: bass (2, 9); Keb' Mo': guitar (2, 9), vocals (2, 9), arrangement (2, 9); Taj Mahal: guitar (2), vocals (2); Will Kennedy: drums (3, 8, 11); Pat Martino: guitar (3); Joey DeFrancesco: organ (3, 8); Joe Bonamassa: guitar (4), vocals (4), arrangement (4); Robert Cray: guitar (4), vocals (4); Vinnie Colaiuta: drums (4-6, 14); Tal Wilkenfeld: bass (4-6, 14); Steve Lukather: guitar (5, 6, 11), arrangement (5, 6, 11); Neal Schon: guitar (5, 6); Slash: guitar (5); George Benson: guitar (7, 8), arrangement (7, 8); B.B. King: guitar (9), vocals (9); Vince Gill: guitar (9), vocals (9); Jonny Lang: guitar (9), vocals (9); Joe Robinson: guitar (10), arrangement (10); Andy McKee: steel string acoustic guitar (11), guitar (12), arrangement (12); Paulinho Da Costa: percussion (11, 12); Jimmy Johnson: bass (11, 12); John Beasley: keyboards (11, 12), Fender Rhodes (13); Mike Stern: guitar (13); Simon Phillips: drums (13); Tomoyasu Hotei: guitar (13); Guthrie Govan: guitar (14), arrangement (14); Shon Boublil: guitar (15).

By John Kelman - allaboutjazz.com

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Jeff Lorber Fusion - "Now Is The Time" - Heads Up [Review] #jazz

Only a handful of pioneering musicians can adapt the perception of fusion jazz into a contemporary mindset and make it palatable. With the release of Now Is The Time . Keyboardist Jeff Lorber demonstrates why he has maintained his stature and reputation, while producing music which is easy on the ears and accessible to a broad audience.

Now Is The Time represents a reinvention of Lorber's original musical trajectory, culled from his early catalog but given a fresh approach and identity. For his new version of the Jeff Lorber Fusion group, the keyboardist recruits bassist Jimmy Haslip and drummer Vinnie Colaiuta, joined by guitarists Paul Jackson Jr. and Michael Thompson on alternating tracks. Vocalist Irene B penned the lyrics to the four selections on which she is featured, and contributes a soulful element to the production, notably the opening “Rain Dance/Wanna Fly,” (with Randy Brecker on flugelhorn) and the sultry “Sugar Free.”

While acknowledged for his layered textural sound, Lorber also provides lucid piano accompaniment in just the right places. The band lays a supporting foundation for special guest Eric Marienthal--a saxophonist perfectly suited for interacting with Lorber's weaving keyboards--on Wayne Shorter's title track to the Weather Report classic, Mysterious Traveller (Columbia, 1974), revived here with a funky treatment that works well. Marienthal also teams up with the Blood Sweat and Tears horn section on full-bodied arrangements of “Pixel” and “Sumatra.”

Now Is The Time offers a variation of tempos for nice conceptual listening, the songs flowing seamlessly from one to the next. This seems to be the intention of Lorber as producer, and stays true to the tradition he established early in his career. The recording could easily fall into the popular or smooth jazz category, and there is nothing wrong with that. Lorber states that he wants to “bring fusion back, with a twist,” and with Now Is The Time, the keyboardist has clearly accomplished his objective.


Track Listing: Rain Dance/Wanna Fly; Dr. Moy; Pixel; Sugar Free; Mysterious Traveller; Curtains/Before We Go; Black Ice; Las Rosas; Chinese Medicinal Herbs; Sumatra.

Personnel: Jeff Lorber: keyboards; Irene B: vocals (1, 4, 6, 10); Paul Jackson Jr.: guitar (1, 3, 4, 7, 10); Randy Brecker: flugelhorn (1); Jimmy Haslip: bass (1, 3-11); Vinnie Colaiuta: drums (1, 3, 4, 5, 7, 8, 10); Jimmy Branly: percussion (1, 5, 7, 9) drums (6, 11); Eric Marienthal: saxophones (2, 3, 5-11); Michael Thompson: guitar (5, 6, 8, 11); Tony Maiden: guitar (2); Alex Al: bass (2); Li'l John Roberts: drums (2); Lenny Castro: percussion (2); Larry Koonse: guitar (9); Tom Timko: flute (1, 3, 9, 11); Steve Jankowski: flugelhorn (9), trumpet (1, 3, 11); Dave Weckl: drums (9); Jens Wendelboe: trombone (1, 3, 11); Teddy Mulet: lead trumpet ( 1, 3, 11).

By James Nadal - allaboutjazz.com

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Paul Hardcastle - "Jazzmasters VI" Review [AAJ] #jazz

To understand why Paul Hardcastle's latest Jazzmasters album is such a tedious drag it's first necessary to understand that the multi-instrumentalist has taken an unfortunate interest in a subdivision of smooth jazz, called Chill.

Chill relies on ambient sounds, airy vocals, quietly tinkling keyboards, and the occasional alto sax bubbling away in the mix. It's so smoothed-out and laidback that it's nearly comatose. Chill is less ambitious than smooth jazz but not quite as lightweight as New Age. Take a marshmallow, pour honey over it, dip it in a sugar bowl, then swallow the gooey, gloppy mess whole in one bite. That's Chill.

There's a lot of Chill, but not much jazz to Jazzmasters VI. There's nothing left to chance. Everything is programmed, arranged and premeditated to drain away even the remotest possibility of something spontaneous, improvised or even mildly interesting. Nobody has ever confused Hardcastle's synth-driven style with Keith Jarrett, but he's done much better on previous recordings. Here he seems to be merely going through the motions.

Each song drifts languidly by like fluffy white clouds on a windy day. It's all quite pretty, dreamy and passive, and, as soon as it's over, the realization that there isn't a single memorable moment on Jazzmasters VI sets in. The album is nearly evenly divided between dreary, droning instrumentals that leave little impression and listless vocal tracks with slight variations on a theme of “I love you, but you don't love me and now my poor heart is broken.”

Hardcastle calls his “band” the Jazzmasters, but it's just a Hardcastle side project, plus the occasional vocalist and saxophonist. Becki Biggins provides some impassive vocals to lyrics that are supposed to invoke feelings of love and loss, but the only emotion that comes through is that of disinterested passivity. Paul Hardcastle Jr. is among the three sax players on the record, but none of them makes much of an impression.

“Jazz” is a catch-all for various genres that are only loosely connected to each other. Hardcastle has carved out a niche for himself as a staple of the smooth jazz/Chill division, but there's very little mastery of jazz evident on this recording.

Hardcastle's popularity was built upon creating pleasant, if not mind-blowing music, and his expertness has made him a fixture on smooth jazz radio. Unfortunately, Hardcastle is showing signs of a veteran musician merely recycling old riffs instead of breaking new ground and that makes Jazzmasters VI something of a yawner.


Track Listing: Awakening Thoughts; Touch and Go; One Chance; Cloud Watching; I Really Like; Solar Sky; I Can't Get By; In the Key of Time; The Vision; Dimensions of Light; So Into You; Return of the Rainman Reprise; One Chance (full version).

Personnel: Paul Hardcastle; keyboards, guitar, percussion; Becki Biggins: vocals; Paul Hardcastle Jr.: Saxophone; Maxine Hardcaste: backing vocals; Chris "Snake" Davis: saxophone, flute, shakuhatchi; Rock Hendrix: saxophone.

By Jeff Winbush - allaboutjazz.com

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Esperanza Spalding - "Chamber Music Society" - Review [AAJ]

On the opening track of her much-lauded, self-titled major label debut, EsperanzaMilton Nascimento's timeless gem, “Ponta de Areia.” Rather than covering another of the singer/composer's tunes on Chamber Music Society, Spalding recruits Nascimento to perform on her own “Apple Blossoms.” It's but one example of a highly intriguing set that blends her classical training with jazz, pop and soul tendencies.  (Heads Up, 2008 ), bassist/vocalist Esperanza Spalding covered

This might seem to be a risky endeavor, but not for Spalding, who not only keeps an open mind, but a radar-like ear that is able to absorb many sonic influences and still make them her own.

Evidence of this is “Winter Sun,” another original composition that has elements of soul and jazz without too many complications. Here, she is supported solely by her trio and some multilayered backing vocals, before taking an unexpected bass solo that comes just as the tune might have headed in a pop direction. Her cover of Antonio Carlos Jobim/Aloysio de Oliveira's “Inutil Paisagem” (known in English as “If You Never Come To Me”) goes far away from the beaches of Rio; instead, there is a classically-inspired duet between Spalding and vocalist Gretchen Parlato, who perform in both English and Portuguese, backed solely by the bandleader's bass. 

The inclusion of strings is a plus here, enhancing the musicality of tracks including “Knowledge of Good and Evil,” an up-tempo original with wordless vocals that showcases Spalding's vocal dexterity; the opening “Little Fly”; and “Apple Blossoms,” where they flow around Nascimento's improvisations without interference. Also worth a few more spins are “Wild Is The Wind” and the closing “Short and Sweet,” both demonstrating that Spalding will certainly be the inspiration for many music students, scholars and fans for years to come.


Track Listing: Little Fly; Knowledge Of Good And Evil; Really Very Small; Chacarera; Wild Is The Wind; Apple Blossom; As A Sprout;What A Friend; Winter Sun; Inútil Paisagem; Short And Sweet.
Personnel: Esperanza Spalding: vocals and bass; Terri Lynne Carrington: drums; Leo Genovese: drums; Milton Nascimento: vocals (6); Gretchen Parlato: vocals (2, 10); Quintino Cinalli: percussion; Ricardo Vogt: guitar; Entcho Todorov: violin; Lois Martin: viola; David Eggar: cello. 

By Ernest Barteldes - allaboutjazz.com
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