Smooth Jazz Chart
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Monday, March 29, 2021
Thursday, March 25, 2021
A triumphant return for contemporary jazz guitarist Richard Smith #jazz
His cancer treatment mantra, “Let’s Roll,” is the title of his first single in five years, which goes for playlist adds on March 29.
Last March, guitarist Richard Smith was in a battle for his life. Before the doctors and nurses administered the experimental infusions that he hoped would strangle the stage 3 cancer gripping his throat, his daily response to their inquiries asking if he was ready for the four-hour process that he went through for 45 consecutive days became an affirmation: “Let’s roll.” A year later and now cancer free, Smith is set to drop his first US single in five years, “Let’s Roll,” which he wrote with Billboard chart-topping guitarist Adam Hawley, who produced the uplifting track featuring saxophonist-flutist Jeff Kashiwa.
Shortly before Smith’s diagnosis, the former chair of the contemporary guitar department at the Thornton School of Music at USC’s former student, Hawley, sent a demo track of the single that goes for playlist adds on March 29 from Chillharmonic Media. “Let’s Roll” was to become Smith’s daily mantra before infusions.
“The clinical trial drug that I volunteered for was a daily four hours of intravenous infusion, as well as radiation and chemotherapy that drained my mojo to zombie levels every day. Fortunately, the drug is now in production and is a game changer,” said Smith, who lost 40 pounds during treatment and has an eight-inch scar on his neck from the surgery.
“Let’s Roll” previews Smith’s forthcoming 13th album, “Language of the Soul,” which he plans to drop in the Fall.
“The album title comes from a piece written by great South American poet Pablo Neruda, who I discovered while on tour in Argentina and have become a huge fan. The new album is a lively collection of pieces that I recorded over the last two years while living in Finland, Italy, Greece, London and while isolated here in LA. I wanted to get back in my ‘LA lane’ and working with Adam (Hawley) helped me get back in the musical headspace to produce music for an American audience,” said Smith who remains a full professor at USC.
Smith’s “SOuLIDIFIED” (2003) album spent 17 weeks in the top 10 in terms of airplay and his 2015 set, “Tangos,” spent more than five months in the top 10 of the indie and contemporary jazz charts. As a featured sideman and collaborator, Smith has recorded or shared the stage with contemporary jazz royalty, including Richard Elliot, Peter White, Kenny G, Dave Koz, Gerald Albright, Mindi Abair, Eric Marienthal, Brian Bromberg, Warren Hill, Everette Harp and Dan Siegel. Opportunities over the last ten years to perform, compose and record with international artists and at universities aboard afforded Smith the opportunity to combine his two loves.
“I can’t separate my passion for making music from my passion for teaching it. So, I committed to a musical life away from the States. I get summers off from USC, so I hop on a plane the day after classes and spend May to September abroad. My music has changed a lot, doing arrangements that suit European concert goers. However, when I met American actress Nancy Lee Grahn (General Hospital), I decided to return to full-time life in the United States and get back to my West Coast modern jazz roots.”
Although Smith describes the exuberant R&B instrumental groove on “Let’s Roll” as “very West Coast, very LA,” songs from the upcoming album tackle weightier subjects than just “palm trees, ocean breezes and great vibes.”
“A few songs from ‘Language of the Soul’ have political origins. A big part of songwriting history are songs of protest and struggle. We are in such turbulent times that as an artist, it is impossible to avoid the opportunity to share the inspiration and social commentary that such times provide,” said Smith.
It’s possible that Smith’s cancer experiences may inspire more music that will appear on “Language of the Soul.”
“A typical thing that cancer survivors say is that no one understands except the people who have been through it. That is so true, but it helps those who haven’t been through it to share some of the details – whether it helps them personally or one of their loved ones as they go through it.”
For more information, please visit https://www.richardsmithguitar.com.
Monday, March 22, 2021
Smooth Jazz Chart - Weekly Top 100 - March 22, 2021 #jazz
Smooth Jazz Chart
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Monday, March 15, 2021
Smooth Jazz Chart - Weekly Top 100 - March 15, 2021 #jazz
Smooth Jazz Chart
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Monday, March 08, 2021
Smooth Jazz Chart - Weekly Top 100 - March 8, 2021 #jazz
Smooth Jazz Chart
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Monday, March 01, 2021
Smooth Jazz Chart - Weekly Top 100 - March 1, 2021 #jazz
Smooth Jazz Chart
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Monday, February 22, 2021
Smooth Jazz Chart - Weekly Top 100 - February 22, 2021 #jazz
Smooth Jazz Chart
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Monday, February 15, 2021
Smooth Jazz Chart - Weekly Top 100 - February 15, 2021 #jazz
Smooth Jazz Chart
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Thursday, February 11, 2021
Chick Corea, Jazz Pianist Who Expanded the Possibilities of the Genre, Dead at 79 #jazz
Keyboardist helped Miles Davis usher in the fusion revolution and founded his own revolutionary groups, including Return to Forever
Chick Corea, the virtuosic keyboardist who broadened the scope of jazz during a career spanning more than five decades, died on Tuesday from a rare form of cancer. A post on his Facebook page confirmed the news. Corea was 79.
Monday, February 08, 2021
Smooth Jazz Chart - Weekly Top 100 - February 8, 2021 #jazz
Smooth Jazz Chart
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Wednesday, February 03, 2021
Contemporary jazz guitarist Les Sabler finds “Tranquility” on new album produced by GRAMMY winner Paul Brown #jazz
“Crescent City Strut” earns Billboard’s Most Added and Most Increased Plays single status
Like a trusted friend, contemporary jazz guitarist Les Sabler finds that playing guitar brings him tranquility, especially when the noise of the world becomes too much. He can disappear by slipping into an electric guitar groove and find calmness while exploring a nylon string guitar riff. While sheltering in place in his Nashville home during the early months of the COVID-19 pandemic and as civil unrest erupted, Sabler quieted his mind while getting to know the vintage Gibson Johnny Smith guitar model recommended by his producer, two-time GRAMMY winner Paul Brown. The resulting album, “Tranquility,” a soothing cocktail of cosmopolitan jazz, soul-powered R&B grooves and mellifluous pop instrumentals, dropped last Friday on the New Vista label.
After tracking two songs last February in Brown’s Los Angeles recording studio, work on the 10-track set, Sabler’s eighth album and first since 2014, had to be put on hold. When the project resumed in July, they were joined by the socially distant bassist Roberto Vally, drummer Gorden Campbell, percussionist Lenny Castro, Lee Thornburg (trumpet and trombone) and saxophonist Greg Vail. Sabler and Brown teamed to write eight songs for the set, collaborating on compositions with Shane Theriot (“Crescent City Strut,” “City Rhythm,” “Three Dee,” “Esselle’s Dance” and “Tranquility”), Lew Laing (“Keep Pushin’” and “Where Has She Gone”) and Jeff Carruthers (“Easy Moves”).
The seeds of “Tranquility,” which hit No. 7 on Amazon’s New Releases in Jazz chart, were planted nearly two years ago when Sabler wrote, recorded and released “In The Light.” He re-recorded his guitar parts for the slick cool jazz single that spent three weeks at No. 1 at WAVE.FM in Sabler’s native Canada.
While in lockdown last May, Sabler issued “Keep Pushin’” as a single. It was the first track recorded using the guitar suggested by Brown. Sabler’s 1967 instrument has an expressive tone that gives him a new sound on an electric guitar reputed for bringing high-quality amplification and high-quality acoustic sound together for the first time. The guitarist describes the chill groove with a sweet melody as a song that is “a subtle call for resiliency and the unwillingness to let up on the drive to press on during challenging times.”
Theriot’s New Orleans heritage informs Sabler’s new single, “Crescent City Strut,” which has earned Billboard’s Most Added and Most Increased Plays honors in recent weeks. Like the Crescent City itself, the tune offers mystery, intrigue and seductive allure marked by crafty guitar play amplified by lush horn section work.
Another “Tranquility” highlight is “Esselle’s Dance,” an exquisite dalliance on nylon-string guitar that has already received over 800 plays on YouTube. “Tranquility” concludes by revisiting George Benson’s “Sunrise,” an apropos selection that ends the disc with the striking rays of hope and promise of a new day.
Below are excerpts from a couple album reviews:
“A memorable musical experience from start to finish, Tranquility is a modern day, instrumental jazz classic.” – Roots Music Report
“Les Sabler's album Tranquility offers a select collection of exquisite guitar pieces that are rarely found.” – Smooth Jazz Daily
For more information, please visit http://www.lessabler.net.
Monday, February 01, 2021
Smooth Jazz Chart - Weekly Top 100 - February 1, 2021 #jazz
Smooth Jazz Chart
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Monday, January 25, 2021
Smooth Jazz Chart - Weekly Top 100 - January 25, 2021 #jazz
Smooth Jazz Chart
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Saturday, January 23, 2021
On “Just Passing Thru” Miles Donahue makes himself comfortable #jazz
A Welcome Guest
On Just Passing Thru
Miles Donahue makes himself comfortable
Miles Donahue’s latest album, coming on the heels of The Bug (Whaling City Sound, 2017), Just Passing Thru is large in scope and beautiful in execution. The absurdly talented player, vibrant on both tenor and soprano saxes, trumpet, and keyboard, shows just how broad his musical wingspan is. It certainly helps that he has an amazing crew behind him. Joe Santerre provides power grooves on electric bass as does Larry Finn on drums. They are joined by percussionist Ricardo Monzon, keyboard player Alain Mallet, and a handful of tracks featuring guitarist Mike Stern. With a vision that includes Crusaders’ style R&B, Weather Report fusion, and lovely, soulful turns, Donahue is masterly and versatile.
From song to song, there are wide swings of style and substance, from moments of tenderness, passages of grandeur, and fistfuls of exhilarating, technical wonder. The opening “Hear My Words” kicks off with an ingenious, shuffling melody that settles into a samba, and then finishes with a little funk. “Living Room Blues” swings with verve and passion, showcasing Santerre’s powerful bass. “A Man of a Few Words” opens with an introspective statement that morphs into alto soulfulness, buoyed by Mallet’s beautiful electric piano. “Railroaded” has a funk foundation to go along with its zesty ensemble playing. Joining that performance is none other than Mike Stern, one of the great voices in jazz guitar, and his solo here is proof of that. And then there’s the surprising “Ireland,” a nod to Donahue’s ancestral homeland that is both respectful and anthemic, in the way a rock song is anthemic. Talk about unexpected!
Throughout Donahue’s lovely Whaling City Sound recording, he never fails to challenge convention. In many, often subtle ways, he ventures out on the unexpected limb rather than the sturdy one that’s already been tried. His adventurousness is gratifying. Donahue finds a myriad of ways to reward his listeners and we are grateful for that. It may or may not be a fact that jazz musicians age with grace and class. In Miles Donahue’s case, the concept bears out. It is a joy to follow his risky explorations, as he makes his way through a labyrinth of unexpected turns. More than simply Just Passing Thru, Donahue is staying a while, long enough to leave a permanent impression on today’s jazz landscape.
Tuesday, January 19, 2021
For 2/12/21 Release: Journey to the Heart of Africa 🎹 Greg Murphy’s "Cool Water" is a genuine jazz revelation #jazz
Journey to the Heart of Africa
Greg Murphy's Cool Water is a genuine jazz revelation
Greg Murphy's Cool Water is a genuine jazz revelation
Every recording has something of a story associated with it, especially in jazz. For Greg Murphy’s victorious new album, the story is especially intriguing and uniquely spiritual.
“The inspiration for the concept of the album and title track, ‘Enkare Nairobi,’ (which means ‘cool water’ in Maasai and refers to the Nairobi River which flows through the Kenyan capital) came from a dream,” Murphy recalls, “and was a direct connection to my trip to Kenya in March of 2019.” Murphy woke up after dreaming a melody and sang it into his phone’s recorder and wrote it out that day. Months later, when he was putting the song together, he watched the video he recorded of the Maasai women singing their greeting song when he visited their village.
“When I saw the video,” he says, “I realized there was a melodic and rhythmic connection from that music that came to me in my dream.” Murphy lowered the key of the song a half-step, added some harmonies and the whole thing came together beautifully.
Murphy spoke with Neal Weiss of Whaling City Sound about the project to get it off the ground. “I told Neal I wanted an African theme as a central aspect of the record,” says Murphy. “And Neal suggested that I incorporate the actual Maasai audio into the song.”
Loosely translated as, “Thank you, God, for allowing our visitors to arrive safely,” the greeting song and the subsequent title track for his beautiful recording was possible because Murphy had been invited to Nairobi originally by Jon Alpert and Slava Fetisov in coordination with the United Nations Environment Programme to play hockey with the Kenyan Ice Lions in an ongoing effort to promote climate change awareness. “Another coincidence occurred when my wife Nancy and I touched down on the plane in Africa only to find out that our previous release, Bright Idea (WCS 111) returned to #1 on the JazzWeek charts!”
Cool Water is fascinating beyond its title track and chief inspiration. While “Enkare Nairobi” is the literal and figurative heart of the recording, the rest of the session also soars. The recording opens with the ebullient “Chim Chim Cher-ee,” segues into a chancy take on Steely Dan’s “Green Earrings,” careening through a battery of brisk melodies and beautiful playing, including the astonishing “Cuttin’ Trane’s Corners,” a dark, surprising cover of Wayne Shorter’s “Lost,” and the funk-filled closing celebration, “You Decide.” Murphy’s fingers find delicate and exciting ways of expressing themselves across the keys. It is the sound of a blissful talent with a renewed belief in both his life and music. Murphy’s bandmates Jeff “Tain” Watts on drums, Eric Wheeler on bass, and a bevy of guests also elevate the experience. “I’m so proud of the topflight contributions from all of my friends who made this album possible,” says Murphy. “Their ideas, energy, patience, professionalism, experience, humility, and camaraderie were invaluable.”
Appearances by special guests Kaïssa Doumbe Moulongo and Dave Kikoski also added superb flourishes. “I invited Kaïssa to sing on the session and lend her voice to the title track,” Murphy recalls. “I asked her to translate the greeting song into her native language of Duala, (Cameroon) and sing along with ‘Tain’s’ drum solo towards the end. She added a West African vibe to the song, which connected to the original melody from East Africa.”
Kikoski’s work ethic also inspired Murphy. “When Dave recorded the solos for ‘Green Earrings’ and ‘Friendship,’ if he didn’t nail something on the first take, he'd do multiple takes until he was satisfied, going back and forth to the piano, rewriting the chords so they made more sense to him, etc. … he’s a great friend and a true professional.”
In the end, Cool Water is just as its title says: long and fresh, a ride with the top down with a bunch of good friends, rife with optimism and full of freedom and discovery. Greg Murphy is motivated, inspired, ambitious, and energized. About his career and musical journey, he says, “Where I’m headed? No limitations, not even the sky.”
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