Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. When, in 2006, I reviewed Just Feeling It by bass player Michael Manson I described his influence and reputation within the contemporary jazz genre as extending far beyond his home city of Chicago. On the album this was exemplified by the who’s who of smooth jazz superstardom that he enticed to collaborate with him and now, just under two years later, he is back with more of the wonderful same. Of course these are troubled times for smooth jazz and 215 Records, the label with which he recorded Just Feeling It is now defunct. Its demise led to a chronic underexposure of what was a really outstanding CD so it is totally appropriate that the new release, Up Front, provides a welcome opportunity to revisit four of the tracks originally found on this earlier effort. Not only that, Manson reaches all the way back to 2002 and his debut The Bottom Line project for the hit of the time ‘Outer Drive’. In doing so he creates a hybrid collection that is part ‘best of’, part brand new music but all superb contemporary jazz.
Amongst the reprises of what went before, the understated foot-tapping ‘Coming Right at Ya’ serves to create the Manson mood. It affords a stylish platform for his tight playing, a sensational horn section and guest spots from Paul Jackson Jr. and Kirk Whalum. With Jeff Lorber and fellow Chicago native Mike Logan both chipping in on piano, contemporary jazz doesn’t get any better than this. That said, the gentle ‘It’s the Way She Moves’ with Michael Ripoll on guitar, excellent sax from Tom Braxton and more of Mike Logan’s groovy piano also captures the very best of smooth jazz production techniques. Lorber returns for ‘Way Back When’ where he produces, plays both piano and keyboards and generates that trademark jazzy Jeff Lorber sound that here is helped in no small part by top notch trumpet from Rick Braun. Manson ripples nicely through the delightful melody of Bill Withers 1977 hit ‘Lovely Day’ and the track also includes the brother of Kirk Whalum, the under-rated Kevin Whalum. His voice fits the familiar vocal to perfection and the fact that he manages to engender something of a steppin’ beat provides just another reason for liking it.
The laid back and smoky intro of ‘Still Thinking About You’ unfolds into a terrific melody. Here, nice work from Manson is complemented by a guest appearance on guitar by Norman Brown and distinctive piano from Mike Logan. The cut, in common with much of Manson’s music, is built atop a luscious horn driven foundation and another great example of this brass construction comes courtesy of ‘Steppin Out’. With Najee playing flute and rising star Darren Rahn on sax this expansive, jazzy yet ‘in the pocket’ number is a joy while just as good is the equally horn fuelled title track. It allows Manson to turn funky in a controlled kind of a way before becoming remarkably melodic for the smooth jazz gem ‘She’s Always There’. Written for his wife Lana it features Tom Braxton on sax and when Manson needs a sax man for his sensitive rendition of the ‘Babyface’ Edmonds tune ‘End Of The Road’ he turns to none other than fellow Chicago cat Steve Cole. It’s a song where Manson proves he can play mellow bass with the best of them and, when the full sounding vocals of the soulful chorus kick ignite, it is obvious that this may well be one of the year’s best examples of smooth R & B.
Manson’s 2002 hit ‘Outer Drive’ has Logan on keys and a guitar solo from Nick Colionne. It is one of the albums standout tracks and, in every respect, is a slice of pure Chicago smooth jazz yet just as good is the Darren Rahn produced ‘Bring It On’. Rahn also plays sax and is joined by his brother Jason on trumpet for what is a feisty and uplifting chunk of smooth jazz enhanced even further by the contribution of Paul Jackson Jr on guitar and a stunning piano solo from the legendary George Duke.
For a funky bass player Michael Manson sure can ‘do smooth’ and now, under the nurturing wing of NuGroove Records, is set to deliver what, as a solo artist, he has promised for so long.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. Some releases are more special than others and when an artist of Marcus Miller’s stature steps up with a new offering then its time to take notice. Marcus is the Grammy-winning bass supremo’s seventh studio album and is every bit as eclectic as one would expect from someone who has done everything and worked with everybody. Indeed, the varieties and shades that Miller has been able to combine into this diverse thirteen track selection seems to be a perfect culmination of what is now, for him, thirty plus years in almost every aspect of the business.
Performing from an early age and, as a teenager, writing music for Lonnie Liston Smith, Miller has appeared as a bassist on over five hundred albums including discs by such artists as Joe Sample, Wayne Shorter, Donald Fagen, Chaka Khan, McCoy Tyner, Mariah Carey, Bill Withers, Elton John, Bryan Ferry, Frank Sinatra, and LL Cool J. He has toured with Miles Davis and continues to be a ‘first call’ studio musician in his home town of New York.
As a producer Miller was responsible for David Sanborn’s Grammy winning Voyeur, the follow ups Close Up and Upfront plus another Grammy winner, the 2000 Inside. He has also produced for Miles Davies, Al Jarreau, the Crusaders, Wayne Shorter, Take 6, Chaka Khan, Kenny Garrett and Luther Vandross with whom he had a musical relationship that started out when they met in Roberta Flack's band and endured right through to Luther’s untimely death.
Miller stepped center stage in 1993 with the release of his solo album The Sun Don't Lie. Tales followed in 1995 and Live & More was released in 1997. M2, his first release of the new millennium, won the 2001 Grammy for Best Contemporary Jazz Album and was selected by Jazziz as one of the 10 Best CDs of the Year.
Now, with the soul and R & B inspired Marcus, he has got another winner on his hands. Miller includes seven of his own compositions and each of them encapsulates the funkiness for which his playing is famous. The opening track, ‘Blast!’ is a perfect of example of his art which, despite its distinctly Moroccan vibe, is pure funk throughout. Equally so is the aptly titled ‘Funk Joint’ and when Keb Mo steps up on vocals for the streetwise groove of ‘Milky Way’ the result is an urban gem of great quality. Much the same can be said of ‘Cause I Want You’. This hypnotic chiller features spoken word vocalist Shihan The Poet and incredible backing vocals from Ulisa, Kenya, Tavia and the Ivey Sisters. In fact guest artists abound and Lalah Hathaway, who featured on Miller’s previous CD Silver Rain, contributes both as co-writer and performer for the sassy ‘Ooh’. It’s a tune that is further illuminated by Gregoire Maret on harmonica who returns again and again to both enthrall and delight.
Perhaps the best of Miller’s own compositions is the intoxicating ‘Strum’. Tom Scott is huge on sax, Paul Jackson Jr his usual excellent self on guitar and with more great harmonica from Maret they merge to deliver a song that is seriously infectious. Miller uses another of his own songs, ‘Pluck’ as the funky bridge to what is arguably the albums best track. ‘Lost Without U’ by Robin Thicke proved to be a tremendous urban hit and it says much about Miller’s interpretation that it easily surpasses the original. With more sumptuous backing vocals and additional ad libs from Hathaway it is clearly destined to be one of the best covers of the year yet completely different but just as good is the magical ‘When I Fall In Love’. Maret again weaves some of his special magic and with Miller taking the lead on both clarinet and bass they together create a timeless masterpiece of immense beauty.
Clarinet is again Millers chosen instrument for ‘What Is Hip?’ and this stunning version of Tower of Power’s 1973 success is further enhanced by the sax of David Sanborn. He stays on to add a jazzy vibe to Miller’s exceptional version of the Deniece Williams classic ‘Free’ for which Corinne Bailey Rae’s understated vocal works to perfection. Miller gets back on the funky track for his take on Stevie Wonder’s ‘Higher Ground’ and retraces familiar steps for the Miles Davis composition ‘Jean Pierre’. All the more notable is the fact that the 1981 album We Want Miles, from which this tune originally came, featured a young Marcus Miller on bass.
As contemporary jazz moves into a distinctly urban phase of its evolution Marcus Miller is, not for the first time, showing himself to be right on the cutting edge. Marcus is an album with something in it for everyone and comes highly recommended.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. In the world of innovative contemporary jazz 2008 may well prove to be the year of the flute. Its spine tingling vibe has the ability to take the art form to another place and one protagonist with the potential to do just that is the extraordinary Bradley Leighton. His brand new album, the aptly titled ‘Soul Collective’, is replete with a deliciously soulful vibe and it is testimony to Leighton’s growing stature within the genre that a galaxy of stars have come out to collaborate with him.
There is none more in this respect than the legendary Tom Scott who adds his distinctive sax to the succulent ‘Wake Up Call’. With his hip, brass adorned backdrop creating the ideal canvass for Leighton’s intricate yet rhythmic playing they together create four minutes of magic that is a sensation from beginning to end. When Scott returns to lend a hand with the Hall and Oates classic ‘She’s Gone’ his interplay with Leighton is a pure delight. The fact that the tune generates a luscious horn driven warmth is due in no small part to the excellent trumpet and trombone of Mic Gillette. This Bay Area icon and former Tower of Power mainstay is also called upon to play a part in the two numbers for which Leighton joins forces with Pacific Coast Jazz label-mate Tom Braxton. The first of these, ‘It’s On’ is a tremendously zesty slice of smooth jazz while the Latin infused ‘Café Con Leche’ is a wonderful showcase for Leighton’s talents.
The restrained yet jazzy ‘Undercover’ is one of five tracks composed by Allan Phillips who also arranges, produces and plays keyboards throughout. It features another of Tower of Power’s exclusive alumni, trumpeter Greg Adams, plus guitar from Fattburger stalwart Evan Marks. In fact Marks makes a contribution to seven of the nine cuts. When he gives way to Sherrod Barnes for Leighton’s re-imagining of the Bobbi Gentry hit ‘Ode To Billy Joe’ it’s the keyboard and production touches of Jason Miles that faultlessly complement Leighton’s picture perfect playing. Rhonda Smith also features on bass and, with the addition of Katreese Barnes on vocals, it’s this same Miles, Sherrod Barnes and Smith partnership that holds down the groove for Leighton’s take on Wayne Henderson’s ‘Keep That Same Old Feeling’.
If ever there was a doubt that the flute could be funky then the totally compelling ‘Rock Me Softly’ proves it for all time. The tune is another welcome chance to enjoy the muted trumpet of Greg Adams and when Leighton brings him back one more time the result is the retro tinged ‘That Man’. Written by Paula Prophet, who also provides the distinctly 5th Dimension like vocals, the track is further blessed by more magnificent sax from Tom Scott.
‘Soul Collective’ follows Leighton’s 2006 album ‘Back To The Funk’ and is his fourth in all. It has the red thread of joyous warmth running right through it and is sure to be one of the highlights of 2008.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. The infrequency with which the flute is heard only adds to its magic as a contemporary jazz instrument. Now, in the skilled hands of the wonderfully soulful Ragan Whiteside, its potential knows no bounds. Her 2007 CD Class Axe is an absolute revelation and, given the album features production from both Bob Baldwin and Dennis Johnson, it has all the credentials necessary to provide Whiteside with the mainstream breakthrough that, on the strength of this collection, she so richly deserves.
Even before she had won the 2006 Capital Jazz Challenge, Mount Vernon, NY based flautist, vocalist, and songwriter Ragan Whiteside had already caught the attention of keyboard maestro Bob Baldwin. She played flute on his 2004 project Brazil Chill and a year later Baldwin included her on his follow up, All In A Day’s Work. In fact, for Class Axe Baldwin writes (or co-writes) six of the fourteen tracks and plays keys throughout. Included within this mix are a number of intro’s, interludes and reprises that serve to fuse the entire work together and whereas Whiteside’s collaborations with Baldwin tend to be strictly instrumental, her pairings with Johnson allow for further exploration of her vocal prowess.
The sumptuous Johnson – Whiteside composition ‘So Glad’ is a shimmering example of her combined talents and there is more of the delightful same with ‘How Do You Know’. This soulful chiller features a keyboard solo from Baldwin and has a turned town yet edgy vibe that Whiteside carries over to ‘Options’. Written by Johnson and Baldwin this is but one of several examples of top notch smooth R & B and when ‘Call Me’ draws Whiteside to the urban side of the tracks she calls upon rapper Short Fuze to invoke a streetwise edge.
Baldwin’s interactions invariably illuminate Whiteside’s instrumental abilities and this is particularly so with the mellow ‘Gonna Fly’. It finds Whiteside in outstanding form and with Baldwin contributing on keyboards, drums and strings they together deliver a complete gem. In similar vein is the excellent ‘In Love’ and with ‘3 AM’ they again unite for a tune that, as its title suggests, is a superb example of late night mood music. The Latin infused ‘Meu Amigo, Meu Amante’ really permits Whiteside’s flute to dance and when she switches back to vocals for ‘Break Me Down’ the result is an earthy smoker of the highest order.
In many ways ‘Funktuation’ is at the heart of the album. It’s hypnotic yet zesty neo soul vibe provides Whiteside with the opportunity to demonstrate her stellar playing which here, expertly coupled with understated backing vocals, really stands out from the crowd. Later in the album the song is joyously reprised then pops up yet again as a hidden bonus track. Far from being overkill, it is simply three times the charm.
Class Axe is predominately mellow, always soulful and a great example of Whiteside’s art. It finds the sweet spot where contemporary jazz meets smooth R & B and comes highly recommended.
For more go to www.raganwhiteside.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. Saxophonist Snake Davis has long been the UK’s leading exponent of contemporary jazz and pop tinged R & B. His recording credits are almost too numerous to mention but include sessions with M-People, Lisa Stansfield, Ray Charles, Tom Jones, Culture Club, Hamish Stuart, George Michael, Tina Turner, Cher, Kylie Minogue, Paul McCartney, Swing Out Sister, Dave Stewart, Paul Young, Pet-Shop Boys and Robert Palmer. Both with his own band and as a solo performer Davis makes hundreds of appearances every year and has also toured with soul legends Edwin Starr, Rose Royce, Sister Sledge, Tavares, Odyssey, The Three Degrees, Mary Wells, Ruby Turner, Martha Reeves and Eddie Holman. A perpetual ‘go to guy’ for recordings by both Acoustic Alchemy and Paul Hardcastle, Davis is now reigniting his own solo career with the brand new CD Talking Bird.
His 2001 debut Snakebites promised much and when Hysteria followed two years later it seemed only a matter of time before Davis would break through into the mainstream. Although five years have since elapsed, it is obvious from the very first notes of the album’s opening title cut that the wait has been worthwhile. This fulsome smooth jazz anthem flows like a river and in similar vein is the soulful, horn driven ‘Harlem Stroll’. Reminiscent of his playing on Acoustic Alchemy’s ‘The Detroit Shuffle’ it is a contender for the album’s best track yet in truth standouts abound. ‘KikBak’, with its funky edge and killer beat, is a wonderful example of sophisticated contemporary jazz while ‘Refuge’ features more of that big trademark Snake Davis sound. When he switches to flute for ‘Cross The Line’ the outcome is intense, complex but always interesting.
‘Day Of The Snake’ finds Davis showing off his jazzier side whereas in complete contrast is the outstanding beauty of the bluesy ‘Dreaming On’. This chilled out smoker includes excellent guitar from Mark Cresswell and when Davis blends a warm soulful groove with zesty world rhythms the result is the captivating ‘Dragonfly’.
The final touches to Talking Bird were applied in late 2007 as Davis toured Japan with Eikiche Yazawa. Consequently it’s no surprise that an oriental feel permeates much of the collection. The stunningly deconstructed ‘Naima’ is a case in point while even better is ‘Fuji-sighting’. This intoxicatingly mellow number is an absolute joy and another Secret Garden favorite is ‘Shiro Sunset’. Here the violins of Veronika Novotna create a melancholy vibe that Davis carries on with his sublimely tender playing.
Recorded during 2007 in Lancashire, Buckinghamshire and Tokyo Talking Bird was released in the UK on February 4, 2008. Complemented by excellent support from Paul Birchall on keys, Bryan Hargreaves on drums, Neil Fairclough on bass guitar and Dave Bowie with double bass, it is Snake’s best album to date and deserves to get him noticed.
For more go to www.snakedavis.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. As well as leaving a huge gap in the market, the news effective from 4-00 pm on February 5 that WQCD 101.9 in New York has switched formats from smooth jazz to rock has delivered a damning indictment on the state of smooth jazz radio in the USA. In fact where the genre does manage to survive, especially when buried within the choice deprived play lists served up on radio by Broadcast Architecture, it is as a watered down version of its once glorious self. Worse still, those mainly independent artists who strive to recapture the music’s traditional edginess struggle to find an outlet. Consequently let’s thank heavens for the publicists, websites and streaming radio stations who are prepared to offer a voice to those performers who otherwise would never be heard. Steve Quirk’s Fusion Flavours at Smooth Radio 100.4 is a shining example. Now in its eighteenth year the show streams worldwide every Sunday at midnight UK time when Quirk’s carefully researched blend of music from both established and up-coming performers provides the perfect antidote to syndicated radio.
Meanwhile its likely that those New York listeners who inadvertently tune into rock at WQCD 101.9 may well hear and relate to Bruce Springsteen’s pointed 1992 commentary on television choice, ‘57 Channels (And Nothin On)’. For smooth jazz fans it now fits radio just as well.
Do you have any comments on what you have found in this edition of the Secret Garden? IIf so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. The brand new nine piece East Bay Soul is the brainchild of Grammy and Emmy nominated trumpeter Greg Adams and award winning vocalist Lenny Williams. With its tight horn filled rhythms and hugely talented line-up the band promises to ignite an R&B renaissance that has it’s roots firmly grounded in the uniquely soul based genre of San Francisco’s East Bay Area.
Of course Adams is a founding member of the wonderful Tower of Power while Williams provided the bands vocals throughout a significant period of its considerable history. Here, as East Bay Soul, the duo is joined by another ex Tower of Power stalwart, trumpeter Lee Thornburg, who more recently has played on the Tonight Show with Jay Leno. If that wasn’t enough, either the dynamic Tom Scott or the soulful Eric Marienthal will feature on saxophone. The decision as to who plays where and when will be dependant on scheduling. In fact, although twenty six cities have already been named for the bands extensive 2008 tour, all of East Bay Soul’s appearances will be predicated on each of the artists own solo commitments.
The East Bay Soul line-up is completed by Joey Navarro on keyboards, Evan Stone on drums, Brian Allen on bass, James Wirrick on guitar, Johnny Sandoval on percussion and Johnnie Bamont with flute plus alto, tenor and baritone saxophones. It’s without doubt that the timeless quality of the East Bay Soul sound will captivate audiences throughout the summer. Get your tickets early and for more information go to www.eastbaysoul.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. In the liner notes for his new CD Chasing The Sun sax-man Mark Hollingsworth offers the view that in recent years a lot of music, including certain kinds of jazz, has become pretty rigid and very predictable. He compares this to the days of his youth when, growing up listening to radio in Chicago, he was able to access a wide variety of styles and genres. Now, as the culmination of a lifetime search to embrace the richness of good music that is unfettered by boundaries or limitations, he has written and produced fourteen of the most diverse tracks found on any single CD this year. In so doing Hollingsworth has delivered a contemporary jazz album that possesses a level of intelligence way above the norm.
The collection opens with ‘Spirit Of Adventure’ which, from its complex intro, smoothes into a passionate slice of ‘on the money’ contemporary jazz. The tune is further enhanced by a terrific organ solo from Curtis Brengle while for ‘Open Throttle’ Hollingsworth allows his full rich sound to take centre stage. Jazzy in an accessible kind of a way it’s a cut that establishes a theme for much of the album and which next emerges with ‘Spice Of Life’. Bill Armstrong on trumpet and Nick Lane on trombone provide the funky backing and in fact Hollingsworth cleverly takes the groove on which the track is built to create ‘Crawfish Pie’ that, unsurprisingly, is replete with influences right out of New Orleans. Later he also harvests the groove from the moody and exotic ‘Darwin’s Voyage’ for the equally atmospheric ‘Stowaway’ which, given adequate imagination, could well evoke reflections of square riggers on warm Pacific waters.
The bluesy introduction to ‘A Higher Plane’ paves the way for a stomping upbeat roller coaster ride while ‘Undercurrents’ is structured around a complex labyrinth of rhythms that at times are soothing and at others invigorating. ‘Doing My Own Thing’ finds Hollingsworth doing just that. In a virtuoso performance he slips effortlessly between tenor, alto and baritone sax and when he switches to flute for ‘Sambarosa’ he weaves a delicious Latin spell that is a joy to behold. The title of ‘Tropic Breeze’ says it all as Hollingsworth’s charming playing suggests the swaying of palm trees and the rushing of surf. It is one of the album’s standouts and another comes with the title track. Latin spiced, and with an intro that would not be out of place on the soundtrack to a ‘Bond’ movie, it evolves into a shimmering melodic delight that is sure to find favour amongst radio audiences. That said the first cut under consideration for airplay is ‘High Velocity’. With Armstrong and Lane again providing a big and brassy foundation the energy is always high and tempered only by Hollingsworth whose tone, on occasions, takes on an intoxicatingly soulful vibe.
Chasing The Sun sets Mark Hollingsworth apart as someone who is daring to be different. Consequently it’s refreshing that the album is catching the attention of traditional jazz stations as well as those of contemporary and smooth jazz persuasion. Given that several have already added three or more tracks to their play-lists, the chances are Hollingsworth is set for quite a 2008. For more go to www.markhollingsworth.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. Over the last twenty years the compelling hooks and immodestly rich tones of sax-man Eric Marienthal have ensured his music has remained on the cutting edge of the very best in smooth jazz. Now, with his new CD Just Around The Corner, which hit record stores across the USA on October 16, he is back and better than ever with ten original tunes plus wonderful collaborations in the company of some of the best writers, producers and performers that the genre has to offer.
In fact the scene is set from the very first cut as Marienthal combines with Brian Culbertson for the lusciously mid temp ‘Blue Water’. Co-written and produced by Culbertson, the tune glistens with injections of his distinctive keys and it’s another Marienthal – Culbertson number, the tranquil ‘Lost Without You’, which closes out this excellent album. Sandwiched between is a riotous collection of ‘full on’ smooth jazz that befits the credentials Marienthal earned while with The Rippingtons and ensures that both the title song and the uplifting ‘Times Square’ pass by in an energetic haze. Each of these Stephen Lu produced tracks feature the excellent Michael O’Neill on guitar and the threesome is back, first for the mid tempo ‘Ocean Front’ and again with ‘I Believe In You’ where Marienthal’s playing takes a more tender yet none less attractive path.
Marienthal first worked with Jeff Lorber in 1991 on the Oasis CD and here his contribution on ‘Flower Child’ ensures a smooth masterpiece that is both sultry and catchy. When Lorber returns for ‘Your Move’ his presence on keys is huge and, with Paul Brown featuring on acoustic guitar, the songs understatedly jazzy opening gives no hint of the heights to which Marienthal’s urgent delivery ultimately drives it. ‘Open Road’ is yet another supercharged tour de force that finds Marienthal at his immaculate best. Michael Stever plays trumpet, the inimitable Ray Parker Jr. is on guitar and with Brian Culbertson multi tasking between trombone and keyboards they together blow up quite a storm.
Perhaps the tune that best defines Just Around The Corner, and indeed Marienthal’s own special style, is the edgy ‘Dance With Me’. Co-written by Lu, Culbertson and Marienthal it fizzes with vitality throughout and is right up there with the best tracks of the year. Replete with smooth jazz of the highest order and without a cover in sight Just Around The Corner is well worth trying. For more go to www.ericmarienthal.com.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. If there is a magic formula for making top notch smooth jazz then guitarist Les Sabler has surely found it. His brand new CD release ‘Sweet Drive’ not only features his own picture perfect playing but also includes some of the best contemporary jazz talent around. Rather than marvelling at just how Sabler has managed to assemble so many great performers in the same place at the same time, its more than enough to simply delight in the artistry on show. From the solid foundation provided by the percussion of Alex Acuna, drums from Vinnie Colaiuta and acoustic bass from Brian Bromberg (who also produces), to the soulful heart provided by a horn section to die for, everything about ‘Sweet Drive’ is just right. Those horns, billed here as the Seawind Horns, in fact come courtesy of Jerry Hey, Gary Grant, Bill Reichenbach and Dan Higgins. When the flute of Gary Meek is factored in, plus keyboards from Jeff Lorber and guest performances on sax from Mark Hollingsworth and Eric Marienthal, ‘Sweet Drive’ is an album that just can’t fail.
With four choice covers blending with eight originals, this terrific concoction is quickly up and running with the Stevie Wonder composition ‘You’ve Got It Bad Girl’. The velvety tones of the Seawind Horns merge with stunning vocals from Toni Scruggs and Rahsaan Patterson to create a gorgeous backdrop against which Sabler does his mellow thing. Scruggs and Patterson are delightful and recurring features of the whole album and Scruggs is particularly outstanding when combining with Richard Jackson on Aretha Franklin’s ‘Daydreaming’. As dreamy as the title suggests it ought be this wonderful interpretation is blessed with a subtle string arrangement from Tom Zink and when Zink returns with Scruggs and Jackson for ‘Can You Stop The Rain’ the result is a deliciously fresh take on this haunting Peabo Bryson classic.
The title track is quite simply as fine an example of great smooth jazz as you will hear anywhere. Composed by Allon Sams, it has a cool sax solo by Eric Marienthal at its centre and handsome Hammond B3 from Ricky Peterson while more ‘in the pocket’ contemporary jazz is on the agenda with ‘Club Street’. This is the first cut lifted for radio play and as Gary Meek switches to sax his interplay with Sabler, Lorber and Bromberg makes it really special. ‘Food Chain’ is Sabler’s own composition and, complete with horns and Hammond B3, has all the attributes necessary to recall the golden age of 80’s jazz fusion. Another funky horn arrangement, this time from Mark Hollingsworth, sets up ‘Twenty Two’. It’s a jazzy mover that often threatens to explode but in fact stays tightly in control and when Sabler changes moods for the mellow ‘Who I Am’ he demonstrates a sensitivity in his playing that is perfect for the occasion.
The mid tempo ‘Struttin’ has Sabler laying down his groove amidst more luscious horns and in ‘Could You Be’ he may well have created the kind of sultry stunner that gets in your head and wont go away. Sabler and Marienthal are totally in sync for the familiar David Pack melody ‘Biggest Part Of Me’. Here Patterson and Scruggs again work their vocal magic and when they return for ‘I’m Not The Same’ they contribute to what is arguably the albums stand out track. This soulful smoker has spine tingling guitar from Sabler and a gentle melody that blossoms in the care of Gary Meek on sax.
‘Sweet Drive’ hits record stores across the USA on September 25 and is not to be missed. For more go to www.lessabler.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. Although, to music fans, the name of Bob Jamieson may not be instantly recognizable he is in fact one of the shrewdest business brains in the industry. He is credited with the high profile turn around of the then ailing RCA Records and his work in this respect resulted in him being made the subject of a Harvard Business School case study.
In the music business most of his working life, Jamieson has been responsible for signing some legendary performers. Now he is using that same business nous and passion for music as the driving force behind the new look (and freshly named) All Star Smooth Jazz Cruise. When I caught up with Bob at his office in New Haven, CT I first asked him about his motivation to get involved with the project.
It was simple, he explained. Although fully aware of the phenomenon that smooth jazz cruising had become he was, himself, a cruise virgin. That was until January 2007 when he was invited to join the All Star Smooth Jazz Cruise to find out more of what it was all about. Not only was he immediately captivated by the unique atmosphere that fizzed like electricity between artists and guests, he was also left in awe of the stellar performances that he witnessed there. Later, when he was invited to play an active roll in the 2008 event, he jumped at the chance to build on what was already there and to widen the scope of the musical offering in order to welcome in those guests who draw their reference point of the adult contemporary scene from what they hear on smooth jazz radio.
His first deliberate step has been to drop the word ‘jazz’ from the title and given the difficulty involved in explaining to the uninitiated what the term ‘smooth jazz’ really means the rationale for this change of name is easy to understand. In addition, to further show off the genre in its widest possible sense he has drafted in some overtly R & B acts for the pre-cruise show in San Diego. This all inclusive approach is sure to pay big dividends for those who identify with a smooth groove and who seek the energy and excitement that this avenue of music routinely delivers.
With a line up that is rapidly approaching epic proportions Bob really has combined the best of all worlds. The talent assembled for the pre-cruise entertainment at the Town and Country Resort ranges from Kenny G to The Four Tops and The Spinners to Kool & The Gang. If that isn’t enough, once the ship embarks, the intriguing prospect of ‘new kid on the cruise host block’ Norman Brown rubbing shoulders with the veteran Warren Hill will be breathtaking to say the least. For many, Hill remains as the godfather of smooth jazz cruising and, in actuality, he and Bob Jamieson go way back. Jamieson signed him to RCA in 1993 and they have remained friends ever since.
When I asked Bob what his message would be for those out there who were still contemplating if smooth cruising was for them he recalled that not too long ago he was also new to the scene. He urged them to be like him, to ‘give it a go’, to come along and sample the excitement. He promises that they will find themselves in the magical company of 1100 ‘friends’, all united by the common bond of music, and ready to party.
The All Star Smooth Cruise festivities begin in San Diego on January 19, 2008. For more information on the complete line-up go to www.allstarcruise.com or call 877 529 9729.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. Tom Braxton’s new CD, Imagine This, hit record stores across the USA on August 21 and is already causing quite a stir. It’s his first on the Pacific Coast Jazz label and follows the outstanding 2004 effort Bounce that was produced by Wayman Tisdale and which featured a plethora of top-notch tracks including the hugely radio friendly title tune. The album proved, if proof was indeed necessary, that sax-man Braxton is a master of smooth, sophisticated contemporary jazz and now with Imagine This his status is boosted even further. This is not only by virtue of the eleven faultless cuts but also through the galaxy of smooth jazz stars, including Kirk Whalum, Kirks brother Kevin Whalum, Tim Bowman and Brian Simpson, who have clamored to collaborate with him.
The album starts out in fine style with Braxton’s cool cover of the Steely Dan hit ‘Peg’. It’s the first track to be selected for radio play and is sure to find instant favor with the smooth jazz networks. That said magnificent tracks abound and with ‘Kaanapali Beach’ Braxton evokes warm sunshine and waves breaking on Hawaiian beaches. The subtle horn section of Don Bozman, Larry Spencer and Pete Branham is particularly effective while backing vocals from Kevin Whalum and Selinza Mitchell really capture the mood. Braxton has a skill for painting pictures with his music and does so again with ‘Evening Drive’ where, helped by Tim Bowman on guitar, he creates a languid ‘driving with the top down’ vibe. Later, he slackens the tempo even further for the atmospheric ‘1 a.m.’. With a sultriness engendered in part by more of those same luscious horns this is a superb example of classy contemporary jazz and when Braxton calls on Brian Simpson’s piano virtuosity for ‘Escape’ they together whip up a jazzy, melodic masterpiece.
The feisty up tempo ‘Good To Go’ really fizzes while completely at the other end of the emotional rainbow is the tender ‘Downtime’. It’s a number to chill by and chilling of a different kind is on offer with the expansive ‘Rest Assured’. At just under seven minutes in length this moody odyssey has jazz credentials that are unquestioned and as Braxton takes his time he is ably assisted by the excellent Arlington Jones on keyboards.
Braxton’s music is often grounded in his faith and he shares this inspiration through his version of ‘Revelation Song’ that is quite simply beauty personified. Kirk Whalum is another artist whose discography contains a sacred element and here, as the two of them combine for the album’s title cut, Braxton’s soprano sax blends delightfully with the tenor of Whalum. This gently exquisite tune is a real stand out and another personal favorite is Braxton’s interpretation of the Patrice Rushen smash ‘Haven’t You Heard’. Originally from her 1980 release Pizzazz, on which the then fledgling session musicians Gerald Albright and Paul Jackson Jr both appeared, it is given a new lease of life by Braxton who in doing so fashions what is likely to remain as one of the best covers of 2007.
Imagine This has certainly got it all going on. Six of Braxton’s own excellent compositions, production from him throughout and smooth jazz sax of the highest order all make the statement that Tom Braxton has arrived. For more go to www.tombraxton.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
The new look All Star Smooth Cruise from Haven Entertainment has just got a whole lot bigger. None other than contemporary jazz superstar Kenny G has been added to the lineup and is scheduled to play as part of the highly anticipated pre-cruise show in San Diego. He is the latest addition to a roster of artists now approaching epic proportions which, in addition to host Norman Brown, includes Boney James, Paul Taylor, Acoustic Alchemy, Nick Colionne, Marion Meadows, Chieli Minucci, Larry Carlton and Shilts. That’s not all. Both Fourplay and Patti Austin are also new inclusions and when the soul sensations of Kool & The Gang, The Spinners and the Four Tops are factored in, the cliché of ‘something for everyone’ really does become a reality. Multi platinum keyboard player Alan Hewitt will be performing and handling the back stage artist interviews, Steve Oliver will be there to share his unique guitar style and, in an ironic twist, the ‘godfather’ of smooth jazz cruising, Warren Hill, will also guest.
The All Star Smooth Cruise departs San Diego on January 19, 2008. For more information on the complete line-up go to www.allstarcruise.com
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. When I reviewed Brian Simpson’s breakthrough CD It’s All Good I described it as one of the few genuinely ‘complete’ albums of 2005. The title cut and its follow up ‘Saturday Cool’ produced two massive radio hits and fast-tracked him into the forefront of public awareness. In fact for Simpson, who is in his tenth year as musical director for jazz saxophonist Dave Koz, It’s All Good proved to be a tremendous validation of everything he had worked toward for so long. With his brand new release, Above The Clouds, due to hit record stores across the USA on August 28 his consummate skills both as writer and performer are again on display for all to enjoy.
Already selected as the first single for radio play, the tight and catchy ‘What Cha Gonna Do?’ typifies what Simpson’s music is all about and this penchant he has for ‘in the pocket’ smooth jazz is further demonstrated by ‘One More Time’. It has a haunting quality that is breathtaking and which makes it a standout among many yet just as compelling is the feel good ‘Juicy’ where the piano – sax chemistry generated between Simpson and Kirk Whalum is nothing short of precious. Indeed one of the features of Above The Clouds is the quality of the collaborations that Simpson crafts with a veritable ‘who’s who’ of contemporary jazz luminaries. In addition to a unforgettable guitar solo from Chuck Loeb the infectious ‘From The Hip’ is bolstered by the luscious horn section of Darren and Jason Rahn while with the title track it's George Duke who provides the memorable vibe sounds and mini moog solo. This mid tempo smoker is evocative in the extreme and also conjuring up images of places far away is the delightful ‘Bali’. Simpson’s warm yet thoughtful keyboards mesh sensationally with picture perfect guitar from Ramon Stagnaro and he stays in reflective mode for ‘The Last Kiss’ where his jazzy intricate tones create music that is perfect to chill to.
Simpson’s staggering versatility stems in part from traveling the world with pop divas Teena Marie, Sheena Easton, and Janet Jackson as well as touring with George Duke, Stanley Clarke, Larry Carlton, George Howard, Billy Cobham, Gerald Albright and of course Dave Koz. He uses all this and more to blend both classical and blues influences into the deconstructed piano solo ‘Memories Of You’. It serves as a gateway to the hard driving ‘That’s Right’ where Michael Brecker on sax (who sadly died in January of 2007) provides the straight ahead bludgeon for Simpson to counter with his rapier like contemporary keys.
Although Simpson’s outstanding 1995 solo debut Closer Still remains largely as a sumptuous piece of buried treasure it does include the song ‘April’ that he recorded for his oldest daughter. He followed that on It’s All Good by dedicating ‘Blues For Scott’ to his son. Now the tradition continues with ‘Fiona’s Song’. This lovely melodic ballad written for his 11-year-old daughter finds Simpson generously sharing the spotlight with the wonderful sax of Dave Koz and the ultra distinctive bass of Wayman Tisdale yet still making the tune entirely his own. It’s a contender for best track on the album but just edging it is ‘Let's Get Close’. Anchored by a killer bass line from Larry Kimpell and replete with a vibe that oozes sensuality this is mood music of the highest order.
The most important thing for Simpson has always been about connecting with people, especially in the live setting, through the music that he writes. Now with ‘Above The Clouds’ he is making a statement that after so many years behind the scenes Brian Simpson is, as a solo artist, here to stay.
For more go to www.bsimpsonmusic.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on the very best from the world of smooth jazz and classic soul. With the title track from Rick Braun and Richard Elliot’s much awaited duets album already taking the airwaves by storm there seems little doubt that R n R will prove to be one of the smooth jazz events of 2007. Due in record stores across the USA on August 28 R n R is a feisty collection of horn driven grooves that checks all the right boxes and which is enhanced by a stellar line-up of guest musicians that includes Greg Karukas, Jeff Lorber and Chris Standring plus production input from Jeff Lorber, Philippe Saisse and Rex Rideout.
Succulent zesty numbers abound and this is typified both by the title track and with ‘Curve Ball’ where Elliot and Braun give each other the space in which to individually shine while still coming together to generate what is in every respect a veritable horn fest. ‘Down and Dirty’ is a funky swinging number that is right on the money. It evokes, in places, a Tower Of Power kind of a vibe and this essentially retro feel is also evident with the jazzy ‘Q It Up’ and the in the pocket ‘Da JR Funk’. Given that Elliot had such a lengthy tenure with Tower Of Power this is hardly surprising but, that said, R n R is by no means a visit to nostalgia-ville. Examples of up to the minute contemporary jazz are everywhere. ‘Better Times’ has a deliciously sultry groove, ‘The Stranger’ is smoky, jazzy and could well become addictive while the heartfelt ‘Que Paso’ gives Braun and Elliot the chance to take it south of the border. ‘Two Hearts Tango’ with its tight romantic groove and full bodied yet tender playing from Braun and Elliot is seriously good and ‘Sao Paulo’ makes its physical debut after previously only being available as a download from the ARtizen Music Group website. In fact it has become a surprise smash and has enjoyed an extended stay on the top thirty chart of most played on smooth jazz radio.
Personal favourites include the lusciously opaque ‘Sunday Night’ and the stunningly mellow ‘Sweet Somethin’. Anchored by the pulsing bass of Nate Philips and replete with the velvety horn of Braun and Elliot this is smooth jazz how it’s meant to be.
R n R will be released on Braun and Elliot’s own label, the ARtizen Music Group. Place your order now and for more go to www.artizenmusic.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Ever since 1997, when they burst onto the scene with the seminal Manhattan To Staten, Down To The Bone has been all about the groove. The brainchild of non musician Stuart Wade, Down To The Bone came out of the acid jazz movement that was prevalent in the UK during the early 90’s. The bands seventh disc, which was released on June 18, is the aptly named Supercharged and is it’s most powerfully funky yet. The forte Wade has for using his production nous to bring alive his musical idea’s through a frequently changing group of ultra-talented performers has again reaped rich dividends. With the addition of a full horn section to complement Paul ‘Shilts’ Weimar’s blistering sax, his desire to arrive at more of a live jam attitude is fulfilled in spades and exemplified by the storming title track.
In fact the entire album is ‘supercharged’. Cuts like ‘Funkin Around’ and ‘Make It Funky’ provide one thumping number after another and throughout evoke something akin to Tower Of Power goes large.
The raw power of Supercharged is such that when, in relative terms, Down To The Bone choose to turn it down the effect is instantly pleasing. For ‘Parkside Shuffle’ Neil Angilley’s jazzy piano blends beautifully with Shilts sax while Corrina Greyson’s soulful vocal on ‘Shake It Up’ is just right. Jon Radford also comes up big on trumpet for this one and, with the Incognito like ‘Smile To Shine’, the vocal of Hil St Soul (aka Hilary Mwelwa) creates a delightfully retro vibe. Wade includes the legendary Roy Ayers on both vibraphone and vocals for ‘Electric Vibes’ and, in so doing, finally gets the chance to work with one of his greatest inspirations. It’s a track that shifts from smouldering to downright explosive and is in every respect an Ayers master-class.
Still, after all that, Supercharged, and Down To The Bone, is all about the funk. The tracks ‘Cosmic Fuzz’ and ‘Greedy Fingers’ merge with others such as ‘Space Dust’ and ‘Hip City’ to maintain the intensity at ‘funk factor 6’. With top notch performances from Julian Crampton on bass, Tony Remy on guitar and Nigel Cowley on keys along the way the combination leaves the listener exhausted yet wanting more and makes Supercharged an album with which to party and then some.
For more on Down To The Bone go to www.downtothebone.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Producer, songwriter and musician John Bolden (AKA J. Dee) is best known for his production and arrangement credits that include Grover Washington Jr.’s 1992 album, Next Exit. Now as a solo artist Bolden steps out with the stage name of J. Dee for his debut project entitled Tippin' on the Edge of Funk. Laden with true urban, jazz, funk and soul grooves it’s a hugely accomplished first outing that shows off the multiplicity of his talents. As well as writing ten of the twelve tracks he also produces and plays both sax and keyboards. In doing so he paints a lavish picture of urban jazz which pulses with a light and shade that at times is tender and at others addictively funky.
Tippin' on the Edge of Funk opens up dramatically with ‘Jah Jah Can’. With a clanking reggae style thing going on, a loping rhythm and soprano sax from J. Dee that is full rich and melodic this is a track that is different enough to get noticed. Switching moods for ‘Esta Noche’ J. Dee brings the listener into the world of ‘in your face’ Latin jazz that’s a great example of the genre while ‘Slo Yo Roll’, with its distinctly big band feel and a vibe that’s both repetitive and compelling, is completely on the money. The title track is every bit as funky as its name suggests it should be. Tight and mid tempo, J. Dee never lets it get out of control and he shows that same classy restraint with the first of the albums two covers, the Michael Franks masterpiece ‘Rainy Night In Tokyo’. His mellow and sensitive treatment of it is perfect to chill to and equally soothing is ‘A Black Tie Affair’. This laid back tour de force glistens with the evocative vibes that are released through J. Dee’s magnificently melodic playing.
When J. Dee plays smooth jazz he has all the rhythm and melody necessary to make it sound fresh funky and different. Tracks such as ‘Ya Dah’, which is underpinned by a kicking beat, and the extremely edgy ‘Kickin High’ are set apart from the crowd by the high caliber of his production and are in complete contrast to the big bold and funky ‘Wednesday On The Westside’. This ability to changes moods and tempo’s is a sheer delight and adds hugely to the overall quality of the album. The CD’s one true vocal cut is the controlled and soulful ‘Loves Gonna Getcha’. J. Dee’s sensitive sax and Claude J Woods lead vocals that are backed in fine style by Latesha Thierry, Dionne Knighton and Rich Figueroa make this a wonderful illustration of the best in smooth R & B. Woods is back, this time with backing vocals, for J. Dee’s instrumental interpretation of the Smokey Robinson classic ‘Quiet Storm’. As smooth as velvet, J. Dee makes it completely his own and goes one better with the albums standout track, the breathtakingly beautiful ‘Mellow Nights’. Shimmering with a sumptuous quality that will draw you in and leave you longing for more this is contemporary jazz at its outstanding best.
Tippin' on the Edge of Funk checks virtually every box on how contemporary jazz in 2007 should sound. Look out for it, buy it and enjoy.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Ladies Choice from smooth sax superstar Paul Taylor is his fourth CD on Peak Records, his seventh in total and without doubt his most soulful ever. Starting with the concept of blending six of the most accessible instrumental smooth jazz cuts you will find anywhere with tracks featuring guest performances from four of the best female R & B singers around, this is a collection that has everything right about it. In addition, for the third album in a row, Taylor has turned to Rex Rideout and Barry J. Eastmond to variously add their legendary writing, production and performing skills for an end product that is almost indescribably good. Rideout is best known for his collaborations with Boney James, Larry Carlton and Will Downing among others while Eastmond has worked with everyone from Britney Spears to Al Jarreau, Phil Perry to Freddie Jackson and Anita Baker to Jonathan Butler. Taylor was so enthused by the excitement that each of them brought to his 2003 project Steppin Out that he brought them back for the 2005 Nightlife and now, with Ladies Choice, the partnership are redefining the boundaries of sumptuous ‘in the pocket’ urban jazz.
Paul Taylor has a penchant for vibrant up-tempo, uplifting contemporary jazz and the Eastmond produced title track is a superb example of it. Melodic and entirely radio ready it’s in the exquisite company of the wonderful ‘Here We Go’ that also has Eastmond’s magic touch all over it. In similar vein and every bit as good is the Taylor Rideout collaboration ‘Point Of View’ and when Taylor again hooks up with Eastmond for ‘Streamline’ they deliver what can only be described as a mid tempo stunner. ‘Overdrive’ is rich, soulful and just as strong while Taylor’s sensitive playing coupled with Barry Eastmond’s inventive production makes the evocative ‘Summers End’ a thing of real beauty.
These instrumentals are good enough to grace any album but when spliced as they are here with five exceptionally smooth R & B duets the overall quality is ratcheted to new heights. The complex ‘Long Distance Relationship’ featuring Terry Dexter is produced by the redoubtable Rex Rideout. He also plays keyboards and with Taylor slipping into a mellow mood the result is a fine example of fresh urban jazz. LaToya London takes the vocal lead on the sultry romantic ballad ‘I Want To Be Loved (By You)’. Her interplay with Taylor is breathtaking yet even better is the outstanding ‘How Did You Know’. This Eastmond produced number blends Taylor’s smoking alto sax with the sensual vocals of Regina Belle and, with a hook that is down right addictive, is without question one of the highlights of the entire album. Belle is back to tug at the heartstrings with the luxuriant ‘Open Your Eyes’ that she co-writes with Eastmond. Guaranteed to send the listener into a soulful haze its difficult to imagine anything better yet Taylor tops it with his picture perfect interpretation of the Average White Bands ‘A Love Of Your Own’. With Rideouts delicious retro keyboards, vocals from Lauren Evans that are at soul factor ten and sax from Taylor that sends shivers down the spine this incredibly soulful smoker is as good as anything you will hear either this year or next.
Ladies Choice from Paul Taylor is an absolute joy. Go out and buy it now.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. May 11, 2007: On route to the USA for the second leg of their 2007 stateside tour, Acoustic Alchemy blew into the Cinnamon Club, Altrincham for their only appearance in the north west of England this year. Here, in the southern suburbs of Manchester and with Smooth Radio 100.4 DJ Steve Quirk at the helm, the band was in tremendous form and provided the packed audience with surprises that they could not have anticipated. With the brand new CD This Way not out in the USA until June 6 the Alchemy played selected tracks from it and also handed their fans the chance to purchase signed copies. Without doubt the album is destined to be one the most significant contemporary jazz releases of 2007 and marks yet another phase in the bands musical evolution. Their gradual metamorphosis from a seriously acoustic unit to today’s mix of melody and funk has been achieved in part by the astute introduction of guest saxophonists yet with ‘This Way’ the band has pushed the envelope one more time. The addition of trumpet, flugelhorn and even trombone, combined at times with sax to form a fully fledged horn section, has added another dimension. Yet fundamental to what Acoustic Alchemy is all about are the enduring performances of Greg Carmichael and Miles Gilderdale. Their hallmark combination of steel and nylon stringed guitars is the platform for everything that follows and additionally allows the flexibility for the band to play with a variety of line-ups. Last year they successfully flirted with the trio format and at the Cinnamon Club, with Julian Crampton on bass, US natives Greg Grainger on drums, Yorkshire boy Fred White on keyboards and without a horn player in sight, the stage was set for a selection of their more acoustic driven gems.
They opened with an expansive take on ‘No Messin’ from the Radio Contact album and quickly followed it with ‘Say Yeah’ from their 2005 release American English. This gave Gilderdale the chance to build his scat singing, which on the album never grew beyond a ‘bit part’, into a master class and they stayed with American English for ‘The ‘Crossing’. Re-imagining the tune to factor out the horn backing, that on the CD was so expertly provided by Snake Davis, they made it a real delight and when they turned the clock back to the 1991 album Back On The Case for the tracks ‘Jamaica Heartbeat’ and ‘When The Lights Go Out’ the outcome was just as good. It whetted the appetite of the audience for some of the bands earlier work and that hunger was fed first with the spectacular ‘Ariane’ from Blue Chip and later with the equally impressive ‘Lazeez’ from the June 1996 Arcan Um.
Of course much of the hype of the night surrounded This Way. The first glimpse of it was by way of the Latin tinged ‘Carlos The King’ and with Gilderdale switching effortlessly from acoustic to electric guitar this moody atmospheric track really hit the spot. The bands homage to Jamaican guitar legend Ernest Ranglin, the aptly titled ‘Ernie’ did just the same and they also found time to include the jazzy ‘Tied Up With String’ before reverting to their back catalogue for ‘Tuff Puzzle’ from AArt. Rounding off a picture perfect performance by one of the circuit’s most charismatic live bands was the enthusiastically demanded encore number, the passionate ‘The Moon And The Sun’ from American English. Readers of the Secret Garden in the Tuscan AZ area who are looking forward to seeing Acoustic Alchemy at the Rialto Theater on June 22 for the first date of their US tour need to know they are in for a real treat.
Check back here soon for a complete review of This Way. For more on Acoustic Alchemy’s tour schedule go to www.acousticalchemy.net
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. For all sorts of reasons the brand new CD from Norman Brown, Stay With Me, could not have come at a better time. The previous success Brown had with Urban AC radio when garnering airplay for his 2004 vocal debut ‘I Might’ proved he is no stranger to the urban influences currently permeating the landscape of contemporary jazz. Now, with Stay With Me, he totally embraces urban jazz and nails it with ten incredible tracks that are without a single weak link. In fact he writes or co-writes nine of the songs and, as well as displaying his inventive talent as a guitarist, also expands considerably on his vocal prowess. Additionally, it helps that for three of the tracks he has the cutting edge production skill of Paul Brown on tap.
Norman opens up with ‘Lets Take A Ride’ where he slips effortlessly into a superb example of mid tempo guitar driven smooth jazz. It features Herman Jackson on keyboards with whom Brown has been collaborating since as far back as his 1992 debut Just Between Us. Jackson is also around for the equally smooth ‘Every Little Thing’ on which Browns smoky vocal really shows off a different and exciting side of his talent. Repeating the feat on ‘So In Love’ he produces a mellow, sumptuous winner and although with ‘You Keep Lifting Me Higher’ Brown ratchets the tempo accordingly, Nikkole’s sexy vocal ensures the vibe remains silky smooth. ‘It Ain’t Over BWB’ finds Kirk Whalum on sax and Rick Braun on both trumpet and flugelhorn helping Brown to get funky in a controlled kind of a way while with the title song the album moves ever closer to its urban jazz roots.
That this Brian McKnight composition has serious crossover potential is due in no small measure to the fact that, as well as sharing vocals with Brown, McKnight also uses his considerable production skills to inject the track with all the best qualities of modern R & B. Brown takes the vocal credits all for himself on the sensuous ‘So In Love’ and when he returns to smooth jazz guitar for ‘A Quiet Place’ the result is stunning. Built around a hypnotic yet catchy vibe it would in any other circumstance be the albums killer cut. However some of the real gems of this CD have the production genius of Paul Brown written all over them. His expertise is first felt with ‘Pops Cool Groove’ where, as well as producing, he shares the writing credits with Norman Brown and the always excellent Jeff Carruthers. With keyboards from Carruthers, sultry sax from Anthony Long, the usual standout bass of Alex Al and playing from Norman that is evocative of Paul Brown's own style this smoky chill out number never disappoints.
‘I Need You’ finds Norman in a wonderful collaboration with the acoustic guitar of Kenneth Williams who also provides ideal backing to Norman’s soulful vocals. Of course Paul Brown gets the production just right and does so again with another Secret Garden favorite, ‘Soul Dance’. This Brown Carruthers Brown composition features terrific sax from Sam Riney and is a picture perfect example of in the pocket contemporary jazz. A delicious 55 second ‘hidden track’ rounds off the collection and confirms Stay With Me as a top class example of urban jazz at its very best.
Stay With Me is Browns debut on Peak Records and was released on April 24th. It has much to commend it and is all set to become one of the albums of the year.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. The explosive style of drummer Jeffery B. Suttles has been the soulful energizer for artists as diverse as Donny Osmond, En Vogue, Chante Moore, Sheena Easton and, most notably, Taylor Dayne. He appeared in the film Coming to America and has worked with everybody from Quincy Jones to Teena Marie. His debut CD, Time to SuttleDown featuring the all-star lineup of Patrice Rushen, Ronnie Garrett, Eddie Miller, Alex Al, Larry Kimpel and Andre Delano was released in 2006 but, inexplicably, slipped through the Secret Garden net. However this wonderful collection that includes nine of Suttles original compositions plus one excellent cover deserves some belated attention. It’s quite simply one of the best contemporary jazz CD’s of recent times.
The opening cut, the sensational horn driven ‘A Run In The Park’, has an infectious melody and leaves no doubt that Suttles knows his smooth jazz. In fact Suttles repeatedly proves this throughout. The mellow ‘Ride Above The Clouds’ is wonderfully constructed around the synthesizer and keys of Monty Seward while ‘From The Other Side Of The Canyon’ is a slice of ‘in the pocket’ mid tempo contemporary jazz that features cool sax from Alexander. The albums only cover, the Taylor Dayne hit ‘I’ll Always Love You’ is replete with the rhythm and melody that categorizes the best in smooth jazz and another fine example of the genre comes courtesy of ‘The Sunrise’. This time its Bill Steinway on keys that grabs the attention and his contribution is also significant on one of the albums standout tracks, the seductive ‘Sweet Pleasures’. Moody in the extreme and anchored by Alex Al on bass it has haunting flute from Donald Hayes at its centre, an outstanding solo from Steinway and some serious percussion from Rafael Padilla.
Andre Delano steps up on sax for the rhythmic ‘In A Short Time’ and, injecting a smoky vibe that is reminiscent of Tom Scott, also features on ‘The Cheetah’. This is a track that shows off Suttles funkier side yet whatever the mood ‘Time to SuttleDown’ is all about the rhythm. The title cut is a case in point where, driven relentlessly on by the guitars of Wali Ali and Torrie Ruffin and held down by Suttles on drums, the tune is liberated first by an incredible vibe solo from Ndugu Chancler then by the sultry jazz piano of Patrice Rushen. It’s another of the albums many standouts but even better is ‘Springtime Breeze’. With Suttles and Padilla again generating some massively urgent percussion and an outstanding Rhodes solo from Rushen the result is almost indescribably good.
Time to SuttleDown is a must for any lover of the contemporary jazz scene. With every track Suttles makes a great statement on the drums and shows that as well as being one of the best sidemen around he can shine just as brightly as a leader, arranger and composer.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Jean Paul 'Bluey' Maunick has been the heart life and soul of jazz funksters Incognito from as far back as 1980. It was then that the band put out its first demo single, ‘Parisienne Girl’ which, thanks to strong radio and club support, peaked at #73 in the UK charts. Subsequently, and with a panache that has developed through time for including a variety of guest singers, Incognito has continued to push the envelope of its own brand of jazz tinged soul. Its music, often sophisticated, sometimes complex, but always compelling, has helped establish the band as one of the UK’s finest exports. In addition, the reputation of Maunick has also transcended continents and led him to produce for Ray Simpson, Chaka Khan and George Benson. Although it took ten full years from the 1981 release of their debut Jazz Funk for the ‘follow up’, Inside Life, to come along, the momentum since then has been such that their new release Bees + Things + Flowers is the bands seventeenth in all. Featuring the largest number of guest singing stars from the Incognito stable ever to appear on one album it is a collection of re-imaged classics, choice covers and original music that finds Bluey turning down the tempo in favor of sumptuous arrangements and poetic lyrics.
A case in point is the sensitive handling of ‘Always There’ featuring Jocelyn Brown. Singing in falsetto tones and deconstructing the tune to its basic elements she quite simply turns this club classic into a thing of beauty. As expected Maunick’s mark is everywhere. As well as providing stellar production he variously writes or co-writes four new songs and one of them, ‘Crave’, helps position the CD’s overall sound. Bluey’s original intention had been to create Bees + Things + Flowers as a totally acoustic project. However, the warmth of the sound he engendered by use of a Fender Rhodes gave the track a rich tone and became the framework for the whole album. Another brand new song, ‘Raise’, again finds Jocelyn Brown in restrained mode while Tony Momrelle is in charge for Maunick’s gentle ‘You Are Golden’.
Maysa is another Incognito regular and in keeping with the mood of the entire CD she takes a gentle approach to her vocals on the reworking of two of the bands songs from the past, ‘Still A Friend Of Mine’ and the wonderfully sparse ‘Deep Waters’. She also shares vocal credits with Carleen Anderson on the nine minute odyssey of Earth Wind and Fires ‘That’s The Way Of The World’ and its Anderson who is up front for two more imaginative covers. Her smoky take on the Lovin’ Spoonful’s ‘Summer In The City’ is exceptional while her performance on the bands polished interpretation of the America 1974 hit ‘Tin Man’ makes it one of the albums standout tracks.
Bluey reaches back to 1995 and turns to the vocals of Imaani for the jazzily mellow ‘Everyday’ while it’s a line from the albums opening cut, the Roy Ayers classic ‘Everybody Loves The Sunshine’, that provides Bees + Things + Flowers with its title. With Joy Rose on vocals, distinctive keys from Matt Cooper and understated strings from the Millennia Ensemble this is jazz fusion as it’s meant to be.
Recorded in just six consecutive days during the summer of 2006 Bees + Things + Flowers is sure to find a fit with Incognito stalwarts and those new to the band who prefer their jazz with a melodic and soulful twist.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Thinking Of You is the brand new CD from soulful vocalist Victor Fields and it is testimony to his talent and professionalism that some of the biggest stars in smooth jazz have hurried in to perform on it with him. This is Fields fourth solo release and represents a further step on the journey to discovering his true musical identity. It has been an adventure that began in 1998 with his debut album Promise and which passed a significant milestone in 2002 when he forged a partnership with producer Chris Camozzi. This collaboration led to the release of 52nd Street, a recording which found a place on the Billboard’s jazz album chart and featured guest performances from Chris Botti, Jeff Lorber and Gerald Albright. Three years later Fields and Camozzi returned with an expansive collection of love songs. Simply titled Victor it ran the gamut of traditional and contemporary jazz, through R&B to theatrical Broadway like themes. Now, with smooth vocals shimmering over funky tracks, Thinking Of You takes Fields through a further evolution and moves him from being a jazz vocalist with overt urban tendencies to the real smooth jazz deal.
For the most part Fields uses Thinking Of You as a vehicle to re-imagine some the coolest R & B cuts of the last thirty years. However, the depth to which he delves for some really rare and diverse examples means that this is far from simply being a collection of covers. The mellow ‘Butterflies’ that was made famous by Michael Jackson is a case in point and very much in the same mold is Fields exceptional take on ‘For The Cool In You’. Originally from the acclaimed Babyface album of the same name it’s a wonderful example of what might be termed urban smooth jazz. In fact a smooth jazz vibe is never too far away and the featured guitar of Chris Camozzi for the Marvin Gaye classic ‘What’s Going On’ really gets the job done. The excellent Blackbyrds hit ‘Walking In Rhythm’, with Fields gentle tones gelling faultlessly with soulful sax from Richard Elliot, is equally compelling and Elliot’s ARTizen stable-mate Rick Braun maintains the contemporary jazz mood with his atmospheric flugelhorn on the Stevie Wonder composition ‘Creepin’. Fields makes this former Luther Vandross hit feel as smooth as smooth can be but ratchets up the soul factor for his version of the Gap Band's ‘Yearning For Your Love’. With wonderful sax from Vince Lars and picture perfect backing vocals from Nicolas Bearde and Sandi Griffith this is one of the albums standout songs while just as good is ‘When Somebody Loves You Back’. Taken from ‘Life Is A Song Worth Singing’, the 1978 breakthrough album by Teddy Pendergrass that moved him to true solo stardom, this new rendition glistens with a sumptuous and understated horn arrangement plus more great backing from Bearde and Griffith.
Fields restrained handling of the Bill Withers classic ‘Lovely Day’ benefits from the cool Fender Rhodes of Jeff Lorber and it's Lorber who also contributes two original songs to this smoothly soulful collection. The mid tempo ‘Its In Your Vibe’ is in the pocket from the get go and generates, as the title would suggest, a hugely hypnotic vibe. It’s a contender for best track on the album but just shading it is the title track for which Lorber also provides a writing input. With Lars again massive on sax and a haunting chorus that gets in your head and won’t go away this sensuous chunk of chilled out mood music is a modern day quiet storm classic in the making.
As smooth jazz continues to evolve and adapt there is every chance that the vocal component will play an ever more significant part. That being the case Victor Fields is well placed to take the genre to a new and exciting level.
For more on Victor Fields go to www.victorfields.com.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Jackiem Joyner is now just 27 years old yet it’s a sign of his amazing maturity that he has been catching the eye with his live performances since 2001. He has opened for India Arie, Boney James, Spyro Gyra and George Benson but was first noticed by Marcus Johnson who hired him as his touring sax-man. Since then this native of Norfolk Virginia has gone on to work extensively with Bobby Lyle, Jean Carne, Angela Bofill and the great Ronnie Laws. Those who saw him perform at the recent 2007 Smooth Jazz Cruise will have marveled equally at his distinctive soulfully urban sound and the way in which he connected with his audience in both the large and small venue settings that this event threw his way. Relocated to LA, and after taking a year out to create his own new music, he is now fashioning an exciting solo career with his debut release for ARTizen Music Group, Baby Soul.
Produced by Joyner, who also writes ten of the eleven choice cuts, the CD is further improved by ARTizen’s own Rick Braun who executive produces, mixes and variously plays trumpet and flugelhorn on three of the tracks. Together they achieve commendable balance and, with an array of moods and emotions that range from funky dance elements to a more romantic vibe, Joyner always remains soulfully smooth and in control. That said the most up-tempo track on the album is the tight groove driven title cut. It has a compelling thread running right through it and the luscious full sounding ‘Just Groove’ starts out that way too. Helped in no small part by excellent trumpet from Rick Braun, Joyner flatters to deceive by at first toning it down with his cool melodic playing before really blossoming into a funky finale.
Rick Braun is also there for ‘This Time Around’. It has all the rhythm and melody necessary to place it up there with the best examples of good contemporary jazz and these staple elements are also well to the fore with the album’s first radio single, ‘Stay With Me Tonight’. The instantly recognizable Peter White, who has an exemplary record of contributing to the success of many up-coming artists, gets this one moving and his interplay with Joyner is terrific throughout. ‘In Love Again’ is underpinned by a smoky vibe that provides a tasty platform for Joyner’s mellow playing while with ‘Share My Tears’ he turns it down one more notch for a lusciously romantic groove that he gets just right.
The horn driven ‘Lola’ is dappled with Latin influence and skips pleasantly between Joyner’s heartfelt playing and the big brassy chorus. With a freshness that is invigorating this is a track that shows off his versatility and he switches moods yet again for the warmly gentle yet still soulful ‘Innocence’. Joyner stays predictably tight as he ratchets up the tempo for the compelling ‘Elevation’ then deftly changes gears for the album’s one cover, his sultry rendition of ‘Say Yes’. This erotic slow jam was written by Marsha Ambrosius and Natalie Stewart (aka Floetry) and appeared on their 2002 CD Floetic. It’s a candidate for best track on the album and another personal favorite is the mellow ‘Unforgiven’. Right in the pocket from the get-go this slice of retro tinged late night jazz features wonderful flugelhorn from Braun and excellent electric guitar courtesy of Iouri Ionidi.
Due out in May 2007 Baby Soul is an extremely accomplished collection and signals an association between Joyner and ARTizen that could well be a partnership made in heaven. With the nurturing qualities of the label gelling with the obvious talent and sizzling potential of the artist the name of Jackiem Joyner is bound to be around for a long time to come.
For more on the great music available from ARTizen and latest news on Jackiem Joyner go to www.artizenmusic.com.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Paul Brown has an approach that is always innovative, different and fresh. His prowess as a producer is unrivalled and the extension of his talents to that of solo performer has been seamless. His debut album, the 2004 Up Front proved to be an instant radio favourite and his follow up, The City, did just as well. Not only that, as an artist, it demonstrated his growing maturity. This increased self assurance, which capitalized on the skill he has in exploring new areas for sounds previously unheard in contemporary jazz, spilled out into the creation of what fast became his own distinctive sound. It made the statement that it was suddenly OK to blend smooth jazz with guitar driven rock and he has built on this platform for his latest project. In doing so he has further refined that special ‘Paul Brown sound’ into a delicious blend that lays somewhere between rock, smooth jazz and chill. The result, White Sand, hits record stores across the USA on February 27.
In fact, by bringing together artists that Brown has worked with over the years he has, for the most part, created a duets album. However, despite the awesome contribution made by each of these guest performers, the unique nature of the sound that Brown has created labels White Sand as very much all his own work. A case in point is ‘Mercy Mercy Mercy’. Made popular by Cannonball Adderley, and covered by everyone, Brown’s inspired use of Bobby Caldwell on vocals, his own bluesy guitar and a big sounding horn section makes this feel brand new. He does it again with ‘For What’s Its Worth’ where he is joined by Jeff Caruthers on keys. This Stephen Stills composition was a hit for Buffalo Springfield back in 1967 and here, deconstructed into a chunk of chilled out rock; Brown’s own vocals fit the mood perfectly. Brown calls on up-coming female sax star Jessy J for the mellow and atmospheric title track. Her playing intertwines delightfully with his own picture perfect guitar and another top notch guitar sax duet comes in the form of ‘Ol’ Skoolin’. This time Brown’s collaborator is none other than Boney James and the empathy that so clearly pulses between them adds to the ultra tight feel of this foot tapping track.
‘R n B Bump’ is co-written by Brown, Bobby English and Johnny Brit. It starts out with Latin tinged piano from David Benoit and, in sync with its title, rapidly moves to a more earthy place. This, in no small part, is due to the sax of English and sumptuous horns from Brit’s own band, the excellent Impromp2. Brown’s writing partners for the cool and jazzy ‘Makes Me Feel So Good’ are Gerald McCauley, Joe Wolf and Al Jarreau. Each impact the recording in their own special way with keyboardist, composer and producer McCauley singing backing vocals and sharing keys with Wolf while the ultra distinctive voice of Jarreau adds all the star quality anyone could ever need.
The albums third and final cover, ‘I Say A Little Prayer’ is hugely different but no less special. The vocals of Hidden Beach recording artist Lina gives this Dionne Warwick classic a shimmering quality and sets it up as a radio hit of the future. Of course, having been released as the advance single, ‘The Rhythm Method’ is already on radio and is now tearing up the chart of thirty most played. With Jeff Caruthers contributing hugely on both strings and moog this sparse edgy piece has a chill factor that is off the scale. Its clearly one of the standout tracks of the entire collection and another personal favourite is the cleverly titled ‘More or Les Paul’. Browns cool guitar is again firmly in chill territory, his production weaves that special PB magic and Euge Groove on sax tops it off flawlessly with the melodic groovy chorus.
The onomatopoeic ‘Mr Cool’ could be the signature track of the whole CD. With production from Brown that is right in the pocket, and restrained trumpet from Rick Braun, its tranquil yet compelling vibe is a comforting constant. It reinforces the fact that with White Sand Paul Brown has created what will undoubtedly be one of the standout albums of 2007.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Throughout the week of the 2007 Smooth Jazz Cruise the contribution of Brian Simpson was nothing short of immense. Shifting roles effortlessly from Musical Director to sideman to headline artist he consistently hit all the right buttons and in doing so showed himself to be an engaging, amusing and downright entertaining performer. Indeed Simpson demonstrated these talents perfectly during the late evening show he played in the intimate jazz club atmosphere of the Queens Lounge. Here, only minutes after stepping from the main concert stage where he had directed music and played keyboards for Jonathan Butler, he kicked off a really outstanding solo set with ‘It Could Happen’ from his 2005 run-away success It’s All Good. Fittingly, Simpson’s co-writer of this one, bass player Andre Berry, was there with him as was Randy Jacobs on guitar and Dave Hooper on drums. This well practised trio was joined from time to time by the excellent Jimmy Roberts on sax and the predictably tight combination provided the perfect backdrop to Simpson’s virtuoso playing. As well as delivering a ton of funk, Roberts, a long time member of Rod Stewart's touring band, also brought with him a huge slice of blues and this was an attribute he employed to particularly good effect while playing his part on the bands rendition of the old Jimmy Smith number ‘The Chicken Shack’ which, purely for cruise purposes, Simpson jokingly dubbed the ‘Zuiderdam Blues’.
It’s All Good was one of the few genuinely ‘complete’ albums of 2005 and as such the packed house would have been delighted had he simply played every number from it. Although he did enthral them with the seductive ‘Waiting’ and the albums two radio hits, the hip ‘Saturday Cool’ and the chart topping title track, he also provided a reminder of his first album, Closer Still. Released in 1995, a full ten years before It’s All Good, this sumptuous piece of buried treasure is an almost definitive example of what smooth jazz should be. In fact, after tempting his audience with ‘Brazilia’, which he composed during his first tour in Brazil with George Duke, and his sensational cover of the Janet Jackson hit ‘Because Of Love’, the copies of the album on sale in the ships record store sold out within hours. Fortunately Brian Simpson’s rapidly growing fan base will not have to wait ten more years for his next offering. His new CD is now eighty percent complete and is expected out in early summer. He used the tune ‘One More Time’ as a sneak preview of what is to come and if it is anything to go by then Brian Simpson is set for quite a 2007.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. With his excellent Cool To The Touch now on release it’s as a recording artist that trumpeter Greg Adams has featured here of late. In a solo discography that stretches back to 1995, and includes the critically acclaimed Hidden Agenda and Firefly, he has constantly delivered sophisticated contemporary jazz with an edge. His second solo album, the 2002 Midnight Morning, evoked memories of the legendary arrangements he fashioned during his many years with Tower Of Power and it’s this ability that betrays a side of his musical genius that many may not be aware of. In fact since 1971 he has been creating musical arrangements for a galaxy of stars that include Rod Stewart, Neil Diamond and Elton John. This extended discography, which takes in Santana’s ‘Everybody’s Everything’ and ‘Fools Paradise’ from Rufus, is overwhelming testimony to the calibre of artists he has routinely been invited to work with. Indeed everyone from the Rolling Stones to Paul Schaffer to Madonna has called on him to contribute to their projects and, in addition, Greg’s hallmark ensemble sound has made the concept of the horn section an American treasure.
The Secret Garden has chosen a very personal way to process his arranging achievements so, without further ado; here is our take on the all time top ten arrangements of Greg Adams. Record companies watch out: this would be one of the best compilation albums ever.
1974 - Tower Of Power and ‘So Very Hard To Go’ from the bands self titled album
1980 - Heart and ‘Tell It Like It Is’ from their album Greatest Hits – Live.
1986 - Huey Lewis and ‘Doing It All For My Baby’ from the album Fore.
1989 - Linda Ronstadt and ‘When Something Is Wrong With My Baby’ from Cry Like A Rainstorm, Howl Like The Wind.
1992 - Michael Bolton and ‘Knock On Wood’ from the CD Timeless – The Classics
1994 - B.B. King's ‘Woman’s Got Soul’ from A Tribute To Curtis Mayfield.
1994 - Luther Vandross and ‘Going In Circles’ from the CD Songs.
1999 - Sammy Hagar and ‘Don’t Fight It’ from the CD Red Voodoo.
2000 - Raphael Saadiq and ‘Blind Man’ from the CD Instant Vintage.
2004 - Santana and ‘Brown Skin Girl’ from their CD All That I Am.
Check some of them out if you can. It’s a musical catalog that will blow you away. For more on Greg Adams go to www.gregadamsmusic.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Greg Chambers is a young man in a hurry. This former student of classical saxophone at San Jose State University has attended UCLA on a scholarship awarded by the American Youth Symphony and has been one of the winners of the Atwater-Kent All-Star Concerto Competition. In the process he has studied with some of the countries premier classical saxophonists, recorded at Capitol Records, participated in the Idyllwild Arts Summer Festival and taught music in Compton with the Music Partnership Program. If that wasn’t enough he has just received his B.A. in Saxophone Performance from UCLA and is currently working towards his Masters in Music Performance. Despite these classical leanings he cites David Sanborn, Dave Koz, Michael Lington, Steve Cole, Warren Hill, and Gerald Albright as some of his major influences. It’s therefore not surprising that his debut release, City Lights is a rarified blend of the classical and the contemporary.
Truth to tell Greg Chambers ‘doesn’t do funky’, he simply doesn’t need to. With City Lights he has created an album that is so different it breaks new ground into a sub genre perhaps best summed up as ‘smooth classical jazz’. The opening track, ‘This Friday’, the first of ten original compositions, is a great example of the panache Chambers has for music that, in the main, is both melodic and tranquil. In similar vein are ‘Midnight Rendezvous’ and ‘I Burn for You’ while with ‘Chelsea’s Song’ he shifts emotions into something altogether more moody and atmospheric. The tune ripples with the classical vibe that Chambers calls his own and this special sound he seeks to produce also manifests itself in his selection of backing musicians. Isaac Melamed on cello is a case in point. This, the most melancholy of instruments, is rarely found in contemporary jazz yet here in Melamed’s skilled hands it takes the music to another dimension. His playing has a huge impact on the relatively up tempo title track and is a good illustration of how prepared Chambers often is to hand the spotlight to his fellow performers.
Hide Mercury takes center stage for the albums raunchiest track, the full on ‘Full Throttle’. His electric guitar is evocative of Jeff Golub at his wildest yet, in complete contrast, Chambers turns to the classically pure vocals of Karen Vuong for ‘I’ve Let You Down’. Her haunting tones gel delightfully with Chambers stunning sax and another delicious, although this time instrumental, blend is created with ‘Promenade’. This Gaelic tinged mid tempo melody is blessed with more sensational cello from Isaac Melamed and excellent guitar from Hide Mercury. It’s one of the albums better tracks and equally good is ‘Coming Home’. Melamed and Mercury again make outstanding contributions and Chambers turns this luscious mid tempo tune into a real ensemble piece by the subtle addition of Elizabeth Morgan on keyboards. In fact the CD’s best track also features Morgan. Her playing on ‘In Springtime’ is nothing short of beauty personified.
City Lights by Greg Chambers is an album different enough to get him noticed. For more on Greg and for details on how to buy the CD go to www.gregchambersmusic.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Bill McGee is a special kind of guy with a biography just waiting to be written. It’s an account that starts in the late 1960’s with a group of young African Americans who, despite all the odds, believed they could be anything they wanted to be. It goes on to chronicle the evolution of black music over the last forty plus years and, in addition, reveals the remarkable story of a man who, for twenty years, gave up the music industry in order to teach in the public school system. In fact Bill is currently a school administrator with Richmond Public Schools, Richmond, VA. However, since 2002, and the release of his first solo CD This Ones 4U, this talented trumpet and flugelhorn player who at one time was musical director for Evelyn ‘Champagne’ King and has recorded with the likes of McFadden and Whitehead, The O’Jays, The Stylistics and Leon Huff has again been making his mark. With his very own project 804 Jazz Records he is harnessing the talents of some of the best musicians and singers that Virginia has to offer. He calls these special friends the 804 Jazz All-Stars and they are very much to the fore on his latest CD, the brand new for 2007, Chase The Sunset.
The album is a choice blend of five cool originals and seven classic covers that without exception are played with a quality and finesse that sets them apart. This is immediately evident with the slick production and execution of The Stylistics 1971 smash ‘Stop Look And Listen’. McGee’s mellow and reflective playing gels delightfully with the sax of James Holden while the vocal chorus that comes courtesy of Wanda McGee, Thomasine Johnson and Joshua Hodari is quite sublime. The picture perfect vocals of Hodari are again put to good use on the Marvin Gaye standout ‘What’s Going On’. McGee finds a vibe that is just right and partners with the great sax of James Gates to serve up as good a cover as you will hear all year. Gates is back, this time combining with McGee and Hannon Lane, to co-write and perform ‘The Groove’. The mellow product of this rarified mixture of sax, trumpet and guitar is an outstanding piece of contemporary jazz that, from the get go, is right in the pocket while in the same smooth jazz vein is ‘Chill’. With McGee joined on the track by guitarist Jim Adkins, the wonderful fabric that is woven by piano, flute and guitar makes this one very special indeed.
McGee builds a real masterpiece with his interpretation of Earth Wind and Fire’s 1973 hit ‘Keep Your Head To The Sky’. He turns to his long time horn section partners Hannon Lane and Lynwood Jones to set the mood, has Brandon Lane holding it down on bass and brings in the classy vocal of Shawn Chappelle to complete the picture. It’s a super track but perhaps even better is McGee’s six plus minute take on ‘Go Outside In The Rain’. Originally from the Dramatics 1972 LP Whatcha See Is Whatcha Get, this quiet storm version is blessed by soulful vocals from Chyp Greene.
Retro jazz fusion that is both tight and funky would be an apt way to describe ‘Gold Baby’. It’s McGee’s tribute to his father Bill McGee Sr. who was given the nickname of Gold Baby at birth by virtue of the gold coins with which his mother paid the hospital bill. The gold actually came from her husband, Bishop F W McGee, who was a noted pioneer of gospel music in Chicago and beyond. The title track, also penned by McGee, features nice interplay with guitarist Tom Reaves and engenders a mellow late night vibe while another McGee composition, ‘Kickin And Screamin’ finds co-writer Debo Dabney in fine form on jazzy piano. That said McGee’s playing is even jazzier and the whole piece is topped off with a horn riff reminiscent of Tower of Power. Also big and brassy is Stevie Wonder’s ‘I Wish’ and although it is played out primarily as an instrumental, ex Trussel vocalist Mike Spratley pops up for the final chorus.
The familiar tones of ‘Sway’, the Latin tune given a new lease of life when it was featured in the movie ‘Shall We Dance’, provides another platform from which McGee shows off his multi instrumental talents. With the exception of flute from Joe Taylor McGee handles everything else and he is at it again, providing all the rhythm tracks and brass work on his classy controlled cover of the Outkast song ‘I Like The Way’. Here Gates is again huge on sax, Tom Reaves contributes on guitar and the familiar chorus is delivered in terrific style by Virginia based vocal group Bak N Da Day.
The life of Bill McGee is about achievement and dedication. It’s also about wonderful music and Chase The Sunset is a great example of his art. Currently there is a vast and under served audience out there who enjoy contemporary jazz but not so secretly hark back to the soul music of the seventies. They need smooth jazz with soulful attitude and Bill McGee might be just the guy to provide it.
For more on Bill McGee go to www.billmcgeemusic.com
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. Writing this on an English Christmas Eve makes it worth reflecting on how seasonal songs are such a huge part of the holiday experience. Whether it be pop and folk, rock and country or soul and funk there is a Christmas tune to whet every musical appetite. But sometimes, when the partying is over, when the embers of the fire are burning low in the grate and that last glass of Christmas cheer has engendered warm feelings of friends, family and celebrations gone by, something special is called for. In this context there can be none better than Ken Navarro’s 1996 album Christmas Cheer. It’s an exquisite collection of Christmas music played with a contemporary jazz twist that nevertheless remains grounded in the magic of this special season. Released immediately before his seminal CD Smooth Sensation, Navarro demonstrates huge focus and respect for his subject by simply yet stunning use of acoustic guitar supported only but significantly by consistently excellent acoustic piano from regular contributor Jay Rowe.
There is something deliciously comforting about the sparklingly traditional way in which Navarro delivers timeless classics such as ‘Silent Night’, ‘Angels We Have Heard On High’, ‘We Three Kings’ and ‘Hark The Herald Angels’. Each, in its own way, evokes images of flickering fireside flames and crisp white snow while more contemporary but equally delightful is ‘Skating On Central Park’. Originally from John Lewis’s score of the hard hitting 1959 ‘film noir’, Odds Against Tomorrow, it quite simply has Christmas dripping from every note. Navarro’s stellar version of the Mel Torme modern day classic ‘The Christmas Song’ provides a master class in how less can undoubtedly be more and also memorable is the reflective, mellow way in which he approaches the David Sanborn track ‘Rain On Christmas’.
Despite Navarro’s lovely interpretations of ‘We Wish You A Merry Christmas’ and his subtly jazzy ‘O Christmas Tree’ the best track on the album is ‘Skating On The C & O Canal’, (Chesapeake and Ohio). The tune is wonderful not only for the fact that it is a Navarro original but also because it is an outstanding example of contemporary jazz for anytime of the year.
If you are tired of the frenzy that Christmas has come to represent then why not take some time out to chill to Christmas Cheer by Ken Navarro. If this year it’s too late to do so, go to www.kennavarro.com for more information on how to purchase the CD ready for Christmas 2007!
Do you have any comments on what you have found in this edition of the Secret Garden? If so please contact the Smooth Jazz Vibes Guest Book or e-mail me on DenisPoole2000@Yahoo.com.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a British perspective on all that’s good, and not so good, in the world of smooth jazz and classic soul. The Meeting Place is guitarist and composer Ken Navarro's brand new CD and his seventeenth in a solo career that dates back to 1990. His discography is generously scattered with gems of contemporary jazz and there is none more so in this respect than his 1997 release Smooth Sensation.