| March 2000 |  |
News, infos and CD reviews by Peter Böhi - your host and fellow smooth jazz aficionado |
| March 2000 | |
News, infos and CD reviews by Peter Böhi - your host and fellow smooth jazz aficionado |
| March 12, 2000 | |
| MARC ANTOINE: A UNIVERSAL LANGUAGE Acoustic guitarist Marc Antoine's contribution to the excellent Jazz FM's Night of Guitar and Saxes will live long in the memory. His relaxed fusion of jazz, classical, flamenco and no little measure of soul commanded attention through its sheer virtuosity and overall musicianship. Thus it was a decided pleasure to subsequently speak with the talented Mr. Antoine for the lowdown on his brand new album Universal Language. "The album is a culmination of what I've been working towards over the last four years with my previous records and includes the many diverse elements of my music such as classical and flamenco. It's also very groove-orientated, but high on melodic content. I try always to keep the jazz element there too; there's always a part where I can improvise, but I enjoy mixing different cultures in my music. "It's the first time I've used Phillipe Saisse as a producer. We recorded it in New York whereas my previous albums were done in LA - New York musicians bring a ditterent vibe so there was another element of freshness in the project. I tend to mix up elements, for example flirting with drum 'n bass flavours, or a Latin vibe using a horn section plus some Brazilian inspiration. There's also an African singer, Lokua Kanza, on one track ("Elikya"). So, as you can see, this album has a bit of everything and that's a situation that I really love. Radio response so far in the US has been good as was the reaction of your Steve Quirk at Jazz FM." Marc enthuses. What about the Guitar/Saxes gig? Picked up some excellent reviews.
So how exactly did he get into the Smooth Jazz scene? "I moved to the US in the early 90s, when Smooth Jazz was taking over the Jazz airwaves. I live in LA, and you can hear Smooth Jazz at the Doritos Lounge in the background; everybody is tuned in. However, in America it is the format that dominates, whereas it is the vibe that counts in London. People listen to the music for what it is. Radio stations in the US are generally all about power. The people who own them are pretty powerful figures who know little or nothing about the music. DJs know the music and mix songs, now that is done by machine. US radio has, as a result, become formularised. On a personal level, I listen to all music. I would be quite happy buying a Madonna production or the new Santana." And the Marc Antoine background? "I was born and raised in France, and was classically trained at the Paris Conservatory. Unfortunately I had a major car accident when I was 19 and cut all the tendons in my leff hand. It cost me three years and it took several long microsurgery operations to get things right. It was touch and go whether I would play again. But eventually I graduated from the conservatory. I'd always been into jazz, classical, and it was my ambition to be the French Django Reinhardt. My father bought all Joe Pass' albums, also John Coltrane and Charlie Parker as well as Brazilian music. So I was exposed to some pretty significant styles. I came to London in '87 and auditioned for Basia's band. And it all kinda snowballed from there. I spent a few years in Tokyo and built a production company with someone else that didn't quite work out. I moved to LA to concentrate on my own career as a writer and guitarist. I guested on Greyboy's first album "Freestylin" back in '93 and got a deal with NYC Records, and now I am on my fourth album. I'm more confident now that the albums come out on a substantial label like GRP and are distributed by a major. My last album Madrid did well in France and in the UK; my new album has a bonus track that is only available in the UK. And by the way I would like to come back to the UK sometime during the Spring, so I hope to see you then." Taken from Blues & Soul Magazine issue 812, March 2000 |
| March 18, 2000 | |
New CD out on May 15th 2000 This album will be released in the U.S. on Instinct Records in June |
SOUNDSCAPE UK - UPTOWN GROOVE
Recorded in London and New York City summer 1999 – spring 2000, Uptown Groove takes a whole new angle at contemporary jazz funk mixing the best elements of smooth jazz with funky soul beats and the vocal talents of Opal recently with Urban Species and the big cheese allstars on three original tunes and a cool cover of Terri Wells Classic "you make it heaven ". Uptown Groove takes in influences from Urban Groove, Jazz Funk and Smooth Jazz to create a contemporary soundscape with a whole flavour of it’s own and features Mick Talbot, Keyboard Ace from Yada Yada and The Style Council - Nigel Price, guitarist from The Quiet Boys and Sambada plus special guests Lisa Grahame on Sax. Dave Priseman of Flavournauts on Trumpet Cyril McCammon from Push on Fender Rhodes and Martin Pyne on vibes. Produced and arranged by DJ Chris Bangs this album is going to make a lot of new friends for Soundscape UK and the UK Jazz scene in general … Info - email: uptowngroove@soundscapeuk.com |
| March 19, 2000 | |
Visit Patrick Yandall's website. |
PATRICK YANDALL - OF TWO CITIES (Zangi Records ZNG-1368), 60:20
After A Lasting Embrace which has been released back in 1997 on the now defunct Brainchild label and the follow up album That Feels Nice which was distributed via mp3.com we get a new independently released studio album entitled Of Two Cities by guitarist Patrick Yandall. The album kicks off with the smooth and radio friendly "Marcus St." featuring some nice guitar playing over a laid back groove. The title track "Of Two Cities" is a melodic uplifting uptempo tune featuring the sax of Greg Vail next to the leader's guitar while the title "Nocturnal Maneuvers" give you an idea of the late-nite feel of this cool guitar tune. On the next tunes Patrick Yandall plays also acoustic guitar and offers some more funky and spirited songs. After the first tunes which stay firmly in the realms of smooth jazz things get a little bluesier with "Playing The Price" with its melodic guitar not unlike Carlos Santana marking the first highlight of the album only to be topped by the following tune "Blues On 5th Avenue" - this great blues-rock tune really delivers. Great sax work by Greg Vail and an uplifting groovy playing by Greg and Patrick make this tune a real winner showing that smooth jazz doesn't have to be laid-back and radio friendly all the time to score. From there on I think that Patrick decided to play what he really likes showing lots of fun playing these bluesy guitar tunes like the great "Cajun Blue" featuring some nice organ playing. This album by Patrick Yandall not only gives you great smooth jazz tunes but also dares to delve a little deeper into blues, rock and the like. A very satisfying and rewarding album which I heartily recommend.
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Order this CD at www.jazznow.com for $15.00. |
BOB BANGERTER - BLUE GROOVE (Jazz Now 70016), 46:17
This is the third album by guitarist Bob Bangerter who is located in Hawaii. He scored with his last album Playin' the Right Thing which contained the radio friendly "Drive Time". This album opens with some blues-drenched guitar tunes over a classic jazz backdrop with hammond organ which are laid-back and cool. The first smooth jazz and radio-friendly tune is "C-Smooth" - the tune which opened the first Paul Brown produced George Benson album Standing Together and is delivered here in an appropriate manner sticking closely to the original. Next are some covers of classic tunes like "On Broadway" which is delivered in a funky and bluesy way, Janet Jackson's "Let's Wait A While" as a beautiful quite acoustic guitar track and "The Look Of Love" as an earthy jazz tune. Duke Ellington's "Prelude To A Kiss" is a smoky jazz tune with brushes and nice sax playing by David Choy. Vocal tune "Too Much To Ask" featuring Maurice Bega could stand a chance at radio with is laid-back melody. |
| March 25, 2000 | ||
| Bob James is truly one of the greats of Jazz Fusion. With over 25 classy solo albums to his name, the success of his Tappan Zee label, and a string of fine productions and arrangements to his credit including the classic Grover Washington Kudu albums, Freddie Hubbard, and Roberta Flack amongst many others.
In March, he plays his first UK gigs at the Barbican, London and the Manchester Apollo. Via transatlantic phone lines I caught up with this most genial of musicians.
"l am happy to be bringing Chuck Loeb and David McMurray with me as they are an integral part of the Joyride album. They are great artists in their own right, and we have been using the same band to tour the US. I am very lucky to have them on board as they are both so busy, and the week after the UK tour we return, my daughter, Hilary is getting married, so there was no time to add European dates." So what about the latest album? "I am delighted the album has been nominated for a Grammy. This album is a bit different, because I have used outside producers. However, I was very open to the idea because one of the Joyride producers, Michael Colina, has worked with me before. Numerous times in my career I’ve been asked to play as a guest on other artists’ albums, and always enjoyed playing under those circumstances as there was little pressure and a lot of enjoyment. I would go home and notice I was delivering some of my best playing but with your own albums, you take more responsibility. So I approached a number of people, whom I trusted to put myself in their hands - such as Chuck Loeb and Paul Brown. I treated the Joyride sessions as though I was just the piano player. Though I couldn’t resist getting a little bit more involved with the production. "I stuck to the basic concept of my role, for example there was less of my own compositions. But the production is wholly compatible with my music, though musicians like Norman Brown had never played with me before, but the producers threaded the whole job together superbly." Joyride has a very contemporary feel to it, more so than say Playing Hooky Bob’s previous album. Was this a conscious decision? "I love the challenge of playing current music and not getting locked into one style like some other jazz musicians, it is more challenging to try to figure out and adapt to what’s going on. Working with younger musicians like Richard Bona, an extremely talented young guy, helps. But I try not to follow trends, otherwise you end up in the middle or at the bottom of the pack. Also working with outside producers on this album means they put their own stamp on things and give the album a wider appeal" Bob James is an accomplished artist and Jazz FM in conjunction with Continental Airlines are putting on an exhibition of his work at the Barbican on the day of the concert (3rd March). "Art is important to me, and the Joyride cover is a self portrait. I’ve been involved with the artwork for my albums before, but this is the first time that I’ve created a painting specifically for an album cover. This is also the first time my work has been shown in Europe. Initially painting was a hobby. If you have the instinct to do it, don’t get hung up on what critics say. I have so false notions about blazing trails in the art world, but if you have the chance to communicate in two different ways, why not, it’s good to reach people in whatever medium you choose."
Finally, any message for the hordes of UK Bob James fans. "I’d Just like to say that l am very happy to be coming back to England and I look forward very much to performing. It’s always a privilege and I can assure you that the feeling of respect is totally mutual." (Malcolm Prangell) Taken from Blues & Soul Magazine issue 810, February 2000 |
| If you would like to read what I wrote in previous issues of "Peter's Smooth Jazz Page" check out the vaults! |
"Coming back to London, the response was a big surprise. I did not expect the audience to be so into it (Smooth Jazz). I lived in London twelve years ago, but the audience is now more adult than it was back then. The industry is also more adept at marketing to a mature audience. This music has also benefited from technological advances such as Internet access, and (almost) everybody has a CD player, whereas in the 80s not everyone had such good sound systems as they're relatively cheaper now. But the thing that always strikes me about British audiences is how well informed they are. I did a phone-in on Jazz FM, and the lines were jammed with people asking really intelligent and informed questions."