Guitarist Joe Taylor returns to jazz on “Westside Chill” #jazz #music

 

His NYC and Lowcountry environs seep into the music on his newly released album.

 

Like his sound and style, guitarist Joe Taylor’s inspiration balances big city grit and hustle with gentle and slow downhome charm. His sixth album, “Westside Chill,” captures his ardor and appreciation for both primary influences in his musical muse as well as in his lifestyle. Taylor wrote all ten songs on the new Moonwatcher Music release produced by four-time Grammy winner Steve Rosenthal and the collection marks the guitar slinger’s first contemporary jazz outing in seventeen years. The haunting nocturnal title track is collecting Spotify playlist adds and is moving up the radio singles chart.

 

For decades, Taylor split his time between living in New York City and escaping to the coast in the South Carolina Lowcountry. Now he spends most of his time nestled in by the water in the Lowcountry, his rural coastal surroundings informing the material he wrote for “Westside Chill.” Equally present is the New York City metropolis’s influence on the setlist. Taylor is joined on the album by jazz pianist Jeff Franzel, bassists Woody Lingle and Brian Stanley (Bryan Adams), drummer Steve Holley (Paul McCartney & Wings), percussionist Blair Shotts, and flutist John Ragusa.

    

Opening the record with the title cut that he wrote with Franzel, Taylor said, “This melody came to me on a quiet late-night walk home up Broadway on the Westside of New York City, feeling that chill wind blowing off the Hudson, seeing the streetlights in the snow.”

 

Decades ago, Taylor used to see the late bass legend Jaco Pastorius playing hoops in a Big Apple playground. Written with Lingle, who is featured prominently on “Jaco’s Court,” the track evokes those vivid memories and concludes with the sounds of a present-day basketball game played on that court.

 

“Back in the day, I would pass by this court, and there would be Jaco (Pastorius), in the twilight, playing a pickup game, perhaps before his gig at Seventh Ave. South or some other Village haunt. I go by there occasionally these days, and it feels like something of him still lingers,” recalled Taylor.

 

Taylor remembers another late icon, Glen Campbell, on “Mr. Campbell,” a soothing melodic and congenial tribute befitting the singer-songwriter country-pop crossover star.

 

“Menemsha Fog” showcases Taylor in a jazz trio configuration flanked by Holley and Stanley, playing his cool electric guitar in a dark, misty, tension-riddled soundscape.

 

“I used to run my old wooden trawler up Long Island Sound, from Greenport to Menemsha Harbor in Martha’s Vineyard every summer. Often, upon approaching the Menemsha Bight, the fog would roll in, making everything quiet and spooky, ‘til I heard that always welcome sound of bell buoy No. 1 at the mouth of the Bight,” Taylor said in his colorful Southern drawl.

 

Taylor lets his imagination loose on “Twenty-Two Rivers,” a vocal tune featuring Jordan Trotter as the female protagonist on this unnerving straight-ahead jazz prowl.

 

“In the grand old tradition of murder ballads, this tune is a story about a girl in New York City. Weary of being abused, she does away with her abuser, taking all his money and his vintage convertible, and makes her escape. It’s said that there are twenty-two major river systems across the continental U.S., and she must cross them all as she journeys west,” said Taylor who penned the song with Franzel.

 

“She’s The Moon” is an ode capturing the radiantly glowing spirit of Taylor’s wife, Stacey. Taylor played a McGill Resonator guitar, a rare instrument that was made for the late guitar great Chet Atkins. 

 

“I was a member of Chet’s Saturday morning breakfast club in Nashville a few years before he passed, and the guitar came to me from its builder, Paul McGill. It is my single favorite and most cherished instrument,” said Taylor.

 

“Available Light” moves at a relaxing pace, written about a photographer friend who “is always seeking that magic, elusive available light.” Referencing the intro to Earth, Wind & Fire’s “Shining Star” is how Taylor opens the vibey “The Cooper and the Thief.” 

 

“A wine cooper is the fellow that makes the cask. A wine thief is the tool used to ‘steal’ wine from the barrel to test the wine throughout the winemaking process. This song is my unabashed attempt to curry favor with my favorite vintner: Cooper & Thief,” Taylor admitted with a sly smile.

 

Taylor’s instrumental storytelling tells the tale of seeing a bobcat in the wild from his boat on “The Cut.”

 

“Stacey and I were aboard the boat one evening heading home through the Ashepoo Coosaw Cutoff when we spied, up ahead, a rather large bobcat, casually swimming across the cut, stepping out on the other side and giving us a nonchalant stare as we passed. Cool,” shared Taylor.

 

Dedicated to his friend, Captain Baldwin, the album closes with “The Waterman,” a soulful, bluesy rhythmic cruise. Taylor explains, “There is a long tradition of shrimpers, oystermen and others who pull a living from the saltwater down here in the Lowcountry where I now live. They’re up before dawn and out on the salt all day.”

 

“Westside Chill” is Taylor’s first album since 2015’s “Sugardust in the Devil Wind” and his first contemporary jazz project since 2007’s “Accidental Sugar.” In the interim, he’s played, written, produced, recorded and performed in a variety of settings spanning rock, pop, blues, country, classical and Celtic music along with signing and developing artists for his Moonwatcher Music label.

 

Taylor debuted as a solo artist in 1988 with the ProJazz label release “Mystery Walk,” eventually signing with RCA/Victor to release “Spellbound” in 1995. His contemporary jazz recordings maintained a consistent presence on the Billboard charts. As a session player and producer, Taylor has collaborated with an eclectic list of artists – from Dave Koz and Donna Summer to Nile Rodgers, Al B. Sure! and Andrew Lloyd-Webber. Crafting music for television and film, his credits include “Stephen King's Golden Years,” Discovery Channel's “SpyTek” with Roger Moore, ABC Television's “Turning Point” and A&E's “Spies.”

 

Taylor’s “Westside Chill” album contains the following songs:

 

“Westside Chill”

“Jaco’s Court”

“Mr. Campbell”

“Menemsha Fog”

“Twenty-Two Rivers”

“She’s The Moon”

“Available Light”

“The Cooper and the Thief”

“The Cut”

“The Waterman”

 

 

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

 

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Billboard chart-topping guitarist Jimmy B fondly remembers "My Old Street #jazz

Billboard chart-topping guitarist Jimmy B fondly remembers “My Old Street”

 

The follow up to his first Billboard No. 1 single is one of the most added new releases.

 

 

Mixing nostalgic memories from childhood when he discovered his passion for music and honoring his siblings’ strength and his mother’s courage are the inspiration for R&B/jazz guitarist Jimmy B’s newly released single, “My Old Street.” The follow-up to his first Billboard No. 1 single, “It’s Personal” featuring 9-time Grammy nominee Gerald Albright, “My Old Street” was written and produced by Kerry Wilkins. The WKM Records single was one of the most added new singles on the Billboard/Mediabase chart in its debut week of release.

 

Jimmy B is an instrumental storyteller, using his lyrically expressive guitar-play to tell tales chronicling his youth, family life and seminal moments. “My Old Street” pays tribute to formative lessons he learned from his siblings. His 2018 album, “I’m Still Standing,” reflects the tenacity and persistence that his family exemplified. The new track, which features Wilkins on rhythm guitar and a piano solo by Ted Wenglinski that illuminates the soulful midtempo groove, is an uplifting lesson about the strength and courage instilled in all of his siblings.

 

“My mother had towering strength and courage. Whenever she faced adversity, she did so head on. She stood up and made a change for our family,” explained Jimmy B, recalling when his older siblings orchestrated his mother to move them into a much better neighborhood in Canton, Ohio when the guitarist was ten.

 

“On the particular street she moved us to is where I first embraced my love of music, making me who I am today,” said Jimmy B, who now resides in Houston.

 

Jimmy B debuted in 2010 with “Just The Way I Feel.” He collaborated with Grammy nominated saxophonist/flutist Najee and Emmy nominated urban-jazz pianist Bobby Lyle. On stage, Jimmy B has shared the spotlight with R&B/soul singer Glenn Jones, sophisticated soul singer Phil Perry, and R&B crooner Eddie Levert of The O’Jays. “My Old Street” will appear on “Jimmy B & Friends Two,” his fifth album, which he expects to release in April.

 

Many of the people in Jimmy B’s life try to guess what street “My Old Street” is about. He is amused about the intrigue and speculation, but he declines to reveal the exact street name in order to keep the focus on the song’s broader message.

 

“Many people from my hometown think they know which street I’m referring to, but let it be known, it is still a mystery and I’m going to keep it that way because which street is not really important. Everyone can relate to ‘My Old Street’ because everyone has a past and a journey to get to the street that they are on now.” 

 

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

 

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Smooth Jazz Chart - Weekly Top 100 - February 19, 2024 #jazz

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Smooth Jazz Chart - Weekly Top 100 - February 12, 2024 #jazz

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Guitarist Nicholas Mycio to release new solo recording "Nonstandard" #jazz

Nicholas Mycio - Guitar/Programming Album Release Date: March 29th, 2024

"Nonstandard" is Nicholas Mycio’s 2nd album, which answers the unlikely question: “What if Jazz was also Breakbeat?” Blaring synths, amen breaks, hard bass, piercing guitars merged with classic jazz standards. A perfect blend of the virtuosity found in jazz improvisation, and the hard hitting grime of electronic production.

About Nichola Mycio Nicholas Mycio is a New York City based guitarist whose unique sonic palette combines the foundational language of Jazz with modern harmonic innovations brought about in the 21st century. A musician with a clearly defined vision, Nicholas has always strived to play in the same manner in which he speaks. To connect his thoughts to his improvisation perfectly, and perform with the same depth and meaning as a thoughtful conversation. Starting young Nicholas began playing guitar at the age of 4 under the tutelage of his father Wasil Mycio, a music theorist and fellow guitarist. “I wanted to be just like my dad, and I begged him to buy me a guitar,” he recalled. In 2018 Nicholas would begin attending the Berklee College of Music on a full tuition scholarship where he would receive mentorship from immaculate musicians such as Terri Lyne Carrington, Kris Davis, Nir Felder, and many more. Nicholas’ performances have brought him around the world. In 2019 he would tour Western and Eastern Europe performing the music that would metastasize into his 1st album “Secrets From The Streetlights”. Notable highlights include performances at the Kozlov Club in Moscow, Jam Club in Moscow, The Ivan Franko Theatre of National Drama in Kyiv. Nationally Nicholas has had the opportunity to play at some of the most prominent clubs including Cafe Erzulie, The Django, Ornithology Jazz Club, as well as performances for the United States Navy. Nicholas is endorsed by Luka Zaletelj, and Zaletelj Guitars.

For more information on Nicholas Mycio www.nicholasmycio.com

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Jazz guitarist Kay-Ta Matsuno explores the sounds of “Distance” #jazz

 

The new album’s title track begins collecting playlist adds on February 12.

 

Nearly four years ago, the word distance took on an entirely new and different meaning when the coronavirus pandemic forced the world to practice social distancing – i.e., maintain a “safe” gap between people. As the pandemic raged,  economic fear and uncertainty, divisive politics, and civil unrest also gripped the U.S., creating more “distance” between people. Contemporary jazz guitarist Kay-Ta Matsuno journaled his feelings, experiences and observations during this unprecedent period of isolation and turmoil into songs, writing and producing his third solo album, “Distance,” which was released by LCR Music. The title track, an exploration of ethereal jazz and melody, is the first single that will begin collecting playlist adds on February 12.

 

Recording in his home studio near Los Angeles, the Osaka, Japan-born Matsuno performed all the music and instrumentation heard on the ten-track “Distance” album with the exception of “Kraken” that includes drummer Channing Holmes. Known for his gifted guitar artistry in jazz, fusion, R&B, pop, classical, new age and Japanese music settings, Matsuno brings elements from his diverse repertoire to the project. The heart of the songs’ subject matters reflect what was happening throughout the world four years ago with a particular focus on what was happening in America at the time.

 

The album opens with “Distance,” which feels like an emotional journey guided by Matsuno’s reassuring acoustic guitar. Melding atmospheric new age nuances and contemporary jazz sensibilities, Matsuno delivers his thesis using riffs and runs etched with dazzling speed and technical brilliance.    

 

“The word distance means something completely different since the pandemic. It used to have a romantic/melancholic tone to it. But during the pandemic, no matter how much you want to come close to someone, you had to maintain six feet of distance from each other. You can see them, but you can’t touch them. The more you maintain that six feet of distance, the more strongly you realize how important we are to each other. Including the title track, the entire album is based on songs I wrote during the pandemic to stay positive, both as a person and as a musician,” said Matsuno.

 

Matsuno’s desire to find positivity through adversity becomes a sonic affirmation on “Hope Within,” offered in the form of the song’s luminous and rousing melody.

 

There were benefits inherent in the stay-at-home order issued at the onset of the pandemic, with the precipitous reduction in pollution and significantly improved air quality being just two. Matsuno noticed the cleansed and purified Los Angeles skylines, capturing the beauty in a jazz fusion meets neo classical composition titled “Smog-Free.”

 

“During the pandemic, the sky in Los Angeles was as clear as ever before because almost no cars were driving around. The contrast between the clear sky and the gloominess inside our hearts was quite interesting,” said Matsuno.

 

Amidst the pandemic, the climate in the U.S. took on another heated dimension after the beating death of George Floyd at the hands of a Minneapolis police officer. “Elbows & a Knee” musically memorializes that moment with a futuristic electronic contemporary jazz groove tinged with a country guitar twang and hip-hop turntable scratches. 

 

“The season of pandemic changed the meanings and sentiments of a lot of words. ‘Elbows’ became a word symbolizing friendship since we couldn’t shake hands with each other and we were told to bump elbows instead, and Derek Chauvin’s knee on George Floyd’s neck brought a lot of chaos to the entire world. To me, ‘Elbows & a Knee’ is a post-pandemic way of saying ‘love and hate.’ In this song, I mixed slide guitar, which represents country music, and an electronic beat inspired by N.W.A., representing hip-hop, finding a way to seamlessly merge with each other,” Matsuno explained.

 

The uncertainty of the pandemic era felt disjointed, disconnected and dystopian. Matsuno said that his song “‘Uncertainty’ represents the sentiment prevalent during the pandemic. You feel depressed, but when you see your own seven-year-old daughter having a blast communicating with people through a tablet, you start to feel like this world shouldn’t be so bad.” 

 

“Push It Back!” is a fast, frenetic fusion foray that Matsuno said he wrote “to shake off the gloom.”

 

On “Kraken,” the guitarist shifts his sights to the political chaos that inflamed the nation, culminating in the presidential election. The track is a frenzied rock and jazz fusion exposition, ignited by fiery electric guitar solos and licks that include snippets of the American National Anthem.

 

“The 2020 presidential election was a total nightmare. I have never had that many arguments with my colleagues before. In the middle of all the crazy tsunamis of information and news from TV, social media and daily conversations, I just had to write this song to let my thoughts out without using words. This song literally saved my sanity during that time,” shared Matsuno.   

 

Two of the original songs on the “Distance” album were written prior to the pandemic, but Matsuno included them in the setlist because he felt they fit the sound, feel or theme of the collection. The first is “Silky,” a compelling sonic collage of fusion, rock and new age textured by Matsuno’s impassioned electric and acoustic guitars. “Magic Hour” was written for his wedding fourteen years ago and recorded here for the first time.

 

“It would have been so difficult to go through this pandemic without family, so it felt appropriate to include this song (“Magic Hour”),” concluded Matsuno.

 

Near the end of the pandemic, Matsuno’s older sister passed away from heart failure. He remembers her on “Arabesque No. 1,” which closes the album.

 

“She used to play this piece by Debussy often on the piano in the living room. This is my way of commemorating her life.”

 

Matsuno is a first-call session and touring guitarist who has recorded and/or performed with R&B singers Lalah Hathaway, Jennifer Hudson, Jody Watley, Amerie and Chante Moore;  contemporary jazz artists Keiko Matsui, Jackiem Joyner and Michael Lington; and Japanese artists Senri Kawaguchi, Chikuzen Satoh, Junko Yagami, and Marlene. He released his solo debut in 2016 titled “Arrival,” which won the Best Jazz Instrumental Album statue at the Independent Music Awards and spawned his Billboard top 25 single, “Synch With Me.” Two years later, he won the Best Instrumental award for “Spring in Lviv” at the USA Songwriting Competition. In group settings, Matsuno’s classical crossover band Quattrosound was nominated for a Latin Grammy Award in the Best New Artist category in 2013. His current configuration, Kay-Ta Crypto String Society, performs throughout the US, Austria and Japan, the latter country being where they’ll tour again in July. On Valentine’s Day, Matsuno will join trumpeter/vocalist Ilya Serov for a concert in Mumbi, India. The guitarist will perform aboard the all-star Dave Koz Cruise this spring.

 

Matsuno’s “Distance” album contains the following songs:

 

“Distance”

“Hope Within”

“Smog Free”

“Elbows & a Knee”

“Uncertainty”

“Push It Back!”

“Kraken”

“Silky”

“Magic Hour”

“Arabesque No. 1”

 

 

For more information, please visit https://www.kay-ta.com.

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Smooth Jazz Chart - Weekly Top 100 - February 5, 2024 #jazz

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Patient Valentine: R&B/jazz guitarist 2unes releases “Let’s Wait Awhile,” produced by two-time Grammy nominee Chris “Big Dog” Davis, on Monday. #jazz

In a world of instant gratification, R&B/jazz guitarist 2unes aka North Woodall invites pausing, patience and peace. Releasing just ahead of Valentine’s Day, his new single, “Let’s Wait Awhile,” encourages listeners to savor the beauty and anticipation of romance with his sensual instrumental remake of Janet Jackson’s Billboard hit. Two-time Grammy nominee Chris “Big Dog” Davis (Will Downing, Dave Koz, Rick Braun, Gerald Albright) produced the single dropping on 2uneswave Records that will begin collecting playlist adds on Monday (February 5).    

 

2unes plays an electric jazz guitar on “Let’s Wait Awhile,” soulfully intertwining with Davis’s swooning keyboard melodies, seductive rhythmic groove, lavish horns and dreamy strings. Releasing in conjunction with the single is an accompanying video: https://www.youtube.com/watch?v=MLbrBkxY5YE. 

 

“Recording ‘Let's Wait Awhile’ was a deliberate choice stemming from a desire to encapsulate a moment in music that transcends the fast-paced nature of our world. In a society often rushing from one moment to the next, I felt compelled to create a space for patience and reflection. This recording is my way of inviting listeners to pause, to reflect, and to find joy in the moments of quietude,” said 2unes about his latest collaboration with Davis, following last summer’s “Sensual,” on which he played an intimate acoustic guitar.

 

Jackson penned “Let’s Wait Awhile” with Jimmy Jam and Terry Lewis for her “Control” album. The song topped Billboard’s Hot R&B/Hip-Hop Songs chart and peaked in the second spot on Billboard's Hot 100 singles chart in 1987. The song lyrics are about sexual abstinence, but reimagined as an instrumental by 2tunes, the tune takes on different meaning and undertones that embrace stillness and serenity.

 

"‘Let's Wait Awhile’ is not just a song; it's a musical sanctuary where time slows down, and where the simple act of waiting becomes a celebration in itself. The song, to me, represents more than just musical notes and lyrics; it's a plea to savor the beauty of anticipation, to embrace the power of waiting, and to find solace in the stillness between breaths. In a world that often rushes towards the next big thing, ‘Let's Wait Awhile’ is a reminder that some experiences are worth the patience, and that the journey itself holds a beauty that can only be discovered by allowing time to unfold naturally,” said 2unes, a Dayton, Ohio native who is a longtime Atlanta resident.

 

Woodall has been recording as 2unes for nearly twenty years. He’s released four albums, mixing up an alchemy of R&B, jazz, soul and hip-hop. 2unes has shared the concert stage with Brian McKnight, Lakeside, Ohio Players, Roger Troutman and Zapp, Roy Ayers, Millie Jackson, Tom Browne and Will Downing.

 

2unes’s “Let’s Wait Awhile” is available at https://ffm.to/letswaitawhile.

 

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Saxophonist Stephen Harvey to release new recording "Library Card" #jazz

Stephen Philip Harvey, tenor saxophone Max Murray, bass Jordon Stanley, drums

Release Date: March 1st, 2024

About Stephen Philip Harvey: Stephen Philip Harvey (1992) is an African American saxophonist, composer, arranger, and educator. As a musician and bandleader, Stephen has throughout the Mid-Atlantic and Midwest regions of the United States. He leads his ensembles with a drive to explore a vast array of avenues in improvisation and composition.These ensembles include his chordless trio SPH+2, his electric quintet, Sphinx, his mid-sized jazz combo, the Stephen Philip Harvey Octet (SPH8), and his large ensemble the Stephen Philip Harvey Jazz Orchestra (SPHJO). He has four full album releases under his belt: Suite Childhood (2016, Self-Released) and Smash! (2022, Next Level an imprint of Outside In Music). Elemental (2023) and his recent eponymous quintet release, Sphinx (2023). The latter two releases were released on Harvey’s label, Hidden Cinema Records. As a composer and arranger, Stephen has worked with a diverse array of musicians and instrumentations; composing for solo instrument to wind ensemble, jazz combo to large ensembles. It is his practice to funnel his eclectic musical background into his compositions, fusing Jazz and Classical with Popular, Funk, Hip- Hop, Rock, and Gospel. His compositions have been performed by ensembles at universities throughout the USA. As an educator, Stephen has held instructional positions at all levels of education in diverse areas of music education. He currently holds instruction positions at Wicomico High School, Salisbury University, and Youngstown State University. Please visit: www.stephenpharvey.com

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