Smooth Sailing: Jason Miles, Nick Colionne And More

Reviews of new CDs by Jason Miles, Nick Colionne, Eric Darius, the latest Unwrapped, Maysa, Incognito, Willie and Lobo, Victor Fields and Tom Schuman.

JASON MILES
What’s Going On? Songs of Marvin Gaye (Narada Jazz)

The first two songs on veteran producer and keyboardist Jason Miles’ tribute to iconic soul man Marvin Gaye foretell that something special’s at hand. First, Mike Mattison of the Derek Trucks Band alternately sings and growls in the still-relevant protest song “What’s Going On?” Gaye’s spirit is suitably invoked. And the next tune – the equally anthemic “Sexual Healing” – shuffles along with a reggae beat punctuated by Dean Brown’s warbling guitar licks. It’s like no “Sexual Healing” you’ve heard.

Of course, Miles and company – guitarist Nick Colionne, saxophonist Jay Beckenstein and trumpeter Herb Alpert, among others – wrap their chops around many of Gaye’s best-loved tunes. But brownie points need to extended for including lesser-known tunes such as “I Want You,” with Chiara Civello’s sexy vocals bringing the song to life; “Too Busy Thinking About My Baby,” with Guida de Palma’s vocals; and “Distant Lover,” with Bobby Caldwell’s straining voice giving its all. To be fair, all three tunes were pop singles, but they don’t endure today like the biggies do. That would include, of course, “Let’s Get It on,” repackaged here with Alpert’s mellow trumpet lead; “Ain’t Nothin’ Like the Real Thing,” simply stated with Miles’ keys; “Mercy Mercy Me,” taken in a new direction with Ann Drummond’s flute; and of course, “I Heard It Through the Grapevine,” with Colionne’s sleek guitar lines.

With now Gaye and previous CDs giving props to Grover Washington Jr., Weather Report and Ivan Lins, it apparent that future soul, fusion and smooth jazz favorites interpretations are in good hands with Jason Miles.

NICK COLIONNE
Keepin’ It Cool (Narada Jazz)

Nick Colionne’s smooth guitar licks have sweetened earbuds for more than a decade, but it wasn’t until 2003’s Just Come On In that many listeners sat up and noticed. That’s because the CD offered two hit singles – “It’s Been Too Long” and the No. 1 smash called “High Flyin’.” On his much anticipated follow-up, his first for Narada Jazz, the Chicago-based guitarist once again offers fluid electric guitar ditties influenced by – natch – idols Wes Montgomery and George Benson. In fact, Colionne continues his custom of including at least one song on each CD either originally recorded or inspired by Montgomery. This time it’s a recording called “John L,” a languid number that would feel comfortable in the swingin’ 1960s.

The rest of the CD is similarly compelling and tons more of a total smooth jazz package than his previous work, which presented some mainstream jazz moments. On “This Is the Song,” for example, Colionne seems to be saying that he’s got the format down with a just-about-perfect smooth jazz number that builds to a soaring, irresistible hook. The guitarist adds two, live-n-the-studio bonuses: a reworked version of “High Flyin’ ” and a too-cool take on “Rainy Night in Georgia” with low vocals. Welcome to the show.

ERIC DARIUS
Just Getting Started (Narada Jazz)

Technically, 23-year-old sax phenom Eric Darius has indeed started, as he is now three CDs deep. But heck, he is still in college. And he’s on the fast-track to smooth jazz stardom, having spent the past year touring as keyboardist Brian Culbertson’s sexy sax guy. Culbertson is on board as a player and producer, as are Paul Brown and Euge Groove. Thrown in veterans Jeff Lorber, Ron Reinhardt, Paul Jackson Jr., Tony Maiden and Oscar Seaton, and you’ve got a CD guaranteed to make noise.

Fortunately, Darius and friends deliver with catchy, radio-friendly pop-jazz right out of the gate with “Steppin’ Up” and don’t let till the last notes of “Slick.” So is Darius next big thing in smooth saxophone? That’s probably premature, although Just Getting Started is leaps and bounds above his 2004 Narada debut. Then, he revisited a few favorite tunes from his self-produced debut that probably should have stayed there while occasionally flashing brilliance on a few hook-ish nuggets. But with the talent largesse on board for his new project, it was unlikely – nay, impossible – for smooth jazz nirvana to be denied. At the helm of his own compositions, though, like “That’s What I’m Sayin’ ” and “Groove On,” Darius displays a free-wheelin’ style that favors playing more than melody. Refreshing.

VARIOUS ARTISTS
Unwrapped Vol. 4 (Hidden Beach)

A few years ago, someone somewhere realized that kids weaned on hip-hop might like to get their freak on listening to their favorite tunes with a funky-jazz makeover. Many CD sales later, there are plenty of CDs doing just that. But it’s working both ways. The funky fusion has also given contemporary jazz fans some hip-hop samples (pun intended) without having to drop dollars on 50 Cent. In fact, it’s a good bet that most indulging in the latest in the popular Unwrapped series haven’t found the courage to pick up recent works by said 50 Cent and Fat Joe, two of the artists re-worked here.

Back on Unwrapped are its primary musicians, saxophonist Mike Phillips, trombonist Jeff Bradshaw, guitarist Dennis Nelson, keyboardist Frank McComb and violinist Karen Briggs. What’s interesting are the couple of old-school tunes, including the grayest beard in the books: the Sugar Hill Gang’s “Rapper’s Delight,” bass line intact but given a Latin big band treatment, and “Rollin’ With Kid N Play.” Newer classics include Terror Squad’s “Lean Back” and 50 Cent’s “Candy Shop” and “21 Questions.”

The original songs may be all that, but the real winner here are fans who get to hear some top-notch jazz jamming.

MAYSA
Sweet Classic Soul (Shanachie)

When not recording with British funk-jazz band Incognito, singer and songwriter Maysa Leak crafts pop-jazz tunes on CDs that too often get lost among the pile of similarly soulful efforts. But on her latest, just glance at the title to see where Maysa’s going. And with radio’s cover-song-love in full swing, there’s a good chance she’ll perk up some ears. Of course, Maysa has a warm and inviting voice that – critic cliché be damned – make these songs her own. Her strengths are in the lower registers like Anita Baker, which are well-suited to selections like the piano, vocal and drummed-brushed “The First Time I Ever Saw Your Face” by Roberta Flack and with Barry White’s “Playing Your Game.”

Elsewhere, Maysa displays her vocal range with the falsetto-ish “Betch By Golly Wow” by the Stylistics and with Luther Vandross’ “Love Won’t Let Me Wait.” Also getting the Maysa treatment are Chaka Khan and Rufus’ “Any Love,” Stevie Wonder’s “All I Do” and “Love Won’t Let Me Wait,” and Rose Royce’s sublime “Wishing on a Star.”

Any new Maysa CD is worth settling down with to discover her songwriting abilities. With the classic songs on Sweet Classic Soul, she wipes out the middle man, as it were, and allows listeners to waste no time in discovering her joys.

INCOGNITO
Eleven (Narada Jazz)

Incognito doesn’t need a gimmick, but here it is: Eleven is the veteran UK band’s eleventh recording. There are 11 songs. And an 11-piece band. That aside, the latest groove- and brass-happy outing by Jean-Paul “Bluey” Maunick and team brings what it has for more than 25 years – in-your-face, positive-vibe funk instrumental and vocal tunes that just won’t stop, y’all. Recording with his touring band for first time, Bluey wisely brings back longtime friend and collaborator Maysa to drench soul on four exquisite tunes.

Incognito has had a few songs on the smooth jazz charts, so there’s a tendency to lump the group in with that crowd. But Incognito rarely gets played anymore – the airwaves are too tame for Bluey’s jam-band jive, which puts the focus on the playing and the groove instead of a repeated 10-second hook. That’s just fine for the club-goers and for the best way to experience Incognito, which is live.

There’s a ‘70s vibe to Eleven that’s best expressed in “It’s Just One of Those Things,” a disco-strings number featuring a duet of Maysa and Tony Momrelle. And on “Baby It’s All Right,” vocalist Imaani sounds like a new version of Chaka Kahn doing her classic “Sweet Thing.”

WILLIE AND LOBO
Zambra (Narada)

The duo of Willie Royal and Wolfgang “Lobo” Fink can normally hang out in the new age bins. But really, these guys deserve a category of their own. Call it Gypsy-chic meets surfer-dude chic (their music was heard in a surfing documentary called “Blazing Longboards,” and they’re both avid wave hoppers). They’re Ottmar Liebert on mild sedatives, but tuned down a notch from the passionate flamenco sound of guitarist Jesse Cook. On their 10th CD, guitarist Fink and violinist Royal called on longtime friend and trumpet superstar Rick Braun to perform and produce, and the result is some hard-earned magic.

In fact, Braun – who has worked with the duo on four other CDs – helps elevate Zambra to the top of Willie and Lobo’s canon. Their music has matured and diversified, assimilating the festive with the mournful. Mournful is easy with a violin of course, but on the CD’s standout track “Donde Vayo” it’s heightened by Royal’s vocalese and Braun’s smoldering, Spaghetti-western trumpet vibe. Braun again shines in “Vellas Al Viento,” where he takes a turn adding vocal flavorings. Braun also penned song dedicated to victims of last year’s devastating hurricane: “Balada Para Katrina.”

Great chemistry, and a cheap trip to Gypsy land.

VICTOR FIELDS
Victor (Regina Records)

There’s always room for talented R&B vocalists happy to smooth out your workday or precious weekends, and Victor Fields is as good as they come these days. He’s not on the radar like contemporaries Will Downing and Freddie Jackson, but he’s respected enough to have been able to call on smooth stars such as Chris Botti and Jeff Lorber in the past. On his new CD, produced by guitarist Chris Camozzi and mixed by the Braxton Brothers’ Nelson Braxton, Fields kicks things off with a soothing tune written by Chuck Loeb called “This Could Be Paradise.” On that song and others like “Love Will Save the Day,” Fields’ soothing chops are perfect accompaniment to the positive-vibe lyrics.

Like any vocalist on the rise, Fields sprays his songs to all fields. Half the game is choosing what’s appropriate, of course, and he makes spot-on choices with Stevie Wonder’s “Golden Lady” and his husky version of falsetto country singer Vince Gill’s “Colder Than Winter.” For jazz fans, he wraps his chops around well-worn standards “Lush Life” and “Night and Day,” with strings sweetening the overall effect.

Nothing harsh, nothing too out there. Just mellow and soulful songs that celebrate life, with a voice to die for.

TOM SCHUMAN
Deep Chill (JazzBridge Music/Monogram Records)

For most of his career, Tom Schuman has maintained anonymity as the keyboardist for contemporary jazz group Spyro Gyra. Once in a while he feels the need to step out, and now we have his fourth solo CD. Contrary to what the clever title, there’s only a hint of chill music on the CD, best shown with “Everybody Knows.” That tune has groovy computer-enhanced vocal inflections. But most of the CD is filled with jazz, funk, R&B vocals, Latin, pop and fusion.

Schuman called on two smooth jazz performers. Saxophonist Jeff Kashiwa, normally fairly laid back on disc, comes alive on “Fearless Fostic.” And Chuck Loeb’s clean and jazzy guitar lines prop up a tune called “Redondo Beach.” Schuman’s cover choices are interesting – Elton John’s “Your Song” gets a lounge-y treatment that grows on you, but it’s time El Barge’s “All This Love” be retired as a vocal track. Conversely, Aretha Franklin’s “Until You Come Back To Me” comes alive as a gospel-flavored piano rag.

Spryo Grya fans who crave the raw energy of Shuman, Jay Beckenstein and the rest of the boys can pick up the band’s recent CD. But for those on the hunt for mellow, adult-contemporary vibes, Schuman’s not a bad option.

Smooth Sailing: Brian Simpson, Euge Groove, Paul Hardcastle and More

New CDs from Brian Simpson, Euge Groove, Paul Hardcastle, Paul Brown, Kyle Eastwood, Paul Taylor and Earl Klugh.

Brian Simpson
It’s All Good
(Rendezvous)

If you were listening to smooth jazz radio 10 years ago, you probably heard a little gem of a ditty called “Closer Still” by a pianist named Brian Simpson. You can still hear the song today, but Simpson hasn’t been heard on the airwaves since. Until now that is, with the release of It’s All Good. Simpson has a good excuse for the delay as the veteran session player for Norman Brown, Everette Harp, Michael Paulo, Najee and many others took on the weighty responsibilities as saxophonist Dave Koz’s music director.

When Simpson decided it was time to record another CD, he conveniently had an in with Koz, who just so happens to be the co-founder and senior VP for creative development at Rendezvous Entertainment. Koz liked Simpson’s demos, and the result is a 10-track CD of laid-back piano jazz that rates as one of the year’s best examples of subgenre. Simpson may have had an advantage as Koz’s musical director, but It’s All Good certainly works as a title. Like David Benoit CDs of years past, it’s a project of all original compositions written or co-written by Simpson that focus on the acoustic piano.

Simpson draws on the talents of Rendezvous labelmates Koz, guitarist Marc Antoine and saxophonist Michael Lington, but it’s the pianist’s knack for melody and the hook that drive the CD. With the title track and “It Could Happen,” he shows that a decade behind the scenes hasn’t dulled his knack for bright and uptempo grooves. And with “Here With You” and “Waiting,” he shows he knows a thing or two about ballads. In fact, the first eight songs are picture-perfect smooth jazz. Simpson draws on his love for straight-ahead jazz on the CD’s last two tracks, but smooth jazz fans will enjoy these as well: “Blues for Scott” is an original song Simpson wrote for his son, but it expresses the enjoyable melody of jazz classics you’ve heard and loved before. Finally, “Au Contraire” is a swinging bopper with a running bass line and Perry Hughes’ funky electric guitar soloing.

Euge Groove
Just Feels Right
(Narada Jazz)

Many artists say their latest CD is unlike anything they’ve done before when in fact it’s hard to tell the difference. So while saxophonist Euge Groove’s fourth does sound a little different while still maintaining his smooth jazz groove, much of what is really different about the CD occurred behind the scenes. To get a true feel for the musical era that influenced him most – the early 1970s – Euge for the most part decided to use only instruments and recording equipment made before 1976, including saxophones. To record the album, which was co-produced by Paul Brown, Groove used analog machines and analog tape, which were widely used before today’s digital era.

In addition, instead of calling on today’s most popular smooth jazz players to help him out musically, the saxophonist recruited old-school musicians Clarence McDonald on keyboards, Freddie Washington on bass, Ray Parker Jr. and David T. Walker on guitar, Lenny Castro on percussion and James Gadson on drums.

The result of all this is sublime smooth jazz that rocks, grooves and succeeds at recalling an earlier era. Although the CD features 11 songs, three are simply interludes that he calls “gimmealilclick,” “gonnatakeyouhigher” and “cantstopthefunk.” The interludes are included since Groove decided to, in another nod to the past, make a complete CD from beginning to end, a rarity in today’s 99-cent downloads. After the first interlude, the CD kicks off with the first single, the raucous “Get ‘Em Goin’,” a bold and brassy musical statement. McDonald’s keyboard solo at the song’s end definitely recalls the groovy ‘70s. And although the next track, “Chillaxin,” is Groove in a modern mood, the rest of the music is definitely old-school in nature. The one cover, “Just My Imagination,” features finger snaps and will put a sunny smile on your face, while “12:08 AM” will do the same.

“Straight Up” is the funkiest tune and is driven by a blues bass line. “This Must Be for Real” and “Just Feels Right” are bookends, catchy singles with a sunny disposition like some of the most memorable songs from the ‘70s. The former features light strings and is even a tad corny in an endearing way, while the latter is a masterful ballad. The CD closes with “Ballerina Girl,” where Groove keeps it simple with his sax over light synth work and some beautiful Spanish guitar.

Paul Hardcastle
Hardcastle 4
(Trippin ‘n’ Rhythm)

British smooth jazzer Paul Hardcastle alternates between his Jazzmasters and Hardcastle CDs, so fans may be wondering – what’s the difference? Well, Hardcastle himself says the Hardcastle CDs are a bit more experimental, while Jazzmasters ones are more controlled. What I’ve discovered, though, is that Hardcastle projects – like the latest one – feature more instrumental selections. And while the Jazzmasters CDs feature the sublime vocals of Helen Rogers, Hardcastle 4 didn’t have to look far for a brand-new singer – Hardcastle’s 19-year-old daughter Maxine. (That’s n-n-n-n-nineteen to all you who remember Hardcastle’s anti-Vietnam War dance anthem from 20 years ago).

Hardcastle fans may recall that he once wrote a song dedicated to his daughter, appropriately enough called “Maxine,” that remains one of his fans’ favorites. Now she’s all grown up and adds her breathy and sexy chops to three songs on the new CD, which she also co-wrote. Her voice sounds much like Rogers’, and does justice to “Was It Love,” “Where Are You Now” and especially on the sublime “Smooth Jazz Is Bumpin'." (The CD closes with an untitled track of a 6-year-old Maxine singing like a rock star as only kids can. Very cute.)

The remaining nine instrumentals are among the best Hardcastle has ever done, beginning with the CD’s first single, “Serene.” As its title suggest, the tune is simple and melodic and features electric guitar from Adam Drake, who also returns with some rock stylings in “Straight Ahead.” Everyone’s using drum machines these days, but Hardcastle of course was a pioneer and the in-the-groove percussion throughout the CD is always a highlight of any Hardcastle project. But Snake Davis and Scott Brooker do add some real saxophone sounds.

Each Hardcastle CD features semi-mystical tracks, and the selections here are “Eastern Winds” and “Journey of the Lost Tribes” with their sampled flutes, strings, vocals and assorted jungles noises. Whether the songs are mystical, mellow or driving, they are all the epitome of smooth and polished music, easy to listen to over and over again.

Paul Brown
The City
(GRP)

Paul Brown should no longer be known as “just” a super-producer hitmaker for Smooth Jazz artists. As his second CD proves, in addition to being smooth jazz’s primary architecture of sound over the past 15 years, he’s also now becoming one of its leading hitmakers. His debut, Up Front, featured two hit singles, “24/7” and “Moment by Moment.”

“Cosmic Monkey,” a trippy track that loops along with the sublime scatting of Jeffrey Osborne. Brown is a guitarist, but he’s also been known to scat on his songs and he does here on “Food for the Moon.” The whole album has a vibe that’s typified by these two songs, a kind of past meets the future. Brown’s ‘60s and ‘70s influences are clear, but they are ushered into modern times by his superb production values – natch – and those of Croatian native D.C., who bring a subtle chill vibe to some of the tunes. The title song speaks to Brown’s fond look back at his favorite music, as here he chooses a slightly obscure 12-minute song by the Mark-Almond Band. Anyone over 35 or so may recognize the song when hearing Brown’s take on it – for those who don’t, he adds an instrumental version of it you’ll probably dig.

The CD’s best moment comes on “Real Mutha For Ya,” where Brown delves into downright funkiness on the Johnny “Guitar” Watson blues classic. Brown picks up a talkbox for maximum trippiness a la Peter Frampton’s “Do You Feel (Like We Do)” from 30 years ago. It just may be first smooth jazz song ever to use the talkbox exclusively throughout. But Brown’s bread-and-butter tunes are the midtempo slow burns such as “Side Steppin’,” with Wendy Moten’s summery vocalese, and the Wes Montgomery-inspired moments like Brown’s “Hello Again” and the Chuck Loeb co-written “Las Vegas.” Throw in a few memorable ballads and a peppy guitar version of Grover Washington Jr.’s “Winelight” and it’s clear that Brown has found his niche as a solo player.

Kyle Eastwood
Paris Blue
(Rendezvous)

It’s not surprising that one of the first things you hear on Kyle Eastwood’s sophomore CD is the whistling of his famous dad, Mr. Clint Eastwood. The senior Eastwood is one of the country’s best-known fans of straight-ahead jazz and obviously has left his mark on the junior Eastwood. Now, the 37-year-old bass player has the distinction of being the first mainstream jazz artist signed to Dave Koz’s Rendezvous Entertainment, which has concentrated on recruiting smooth jazz and chill artists.

Koz shows his musical savvy with this signing. Don’t get the idea that Paris Blue is a traditional jazz record, as Eastwood finally becomes one of the first artists to fuse jazz, smooth jazz and chill music. And much more. What recent jazz record has not one but two dance-hall remixes? Mostly recorded in Paris, where Eastwood lives (he also spends a lot of time in London), the CD has some jazzy moments but probably won’t be the kind of CD jazz purists give their thumbs-up to. But their loss is the smooth jazz fan’s gain, as the CD fuses jazz, chill music, world and – as mentioned – dance.

Clint’s whistling comes on the opening track, “Big Noise (From Winnetka),” a swinging tune originally recorded by the late jazz bassist Bob Haggart. It’s a romp, with spiraling bass lines, record scratches and some jazzy playing by bandmembers Doug Webb on saxophone and Jim Rotondi on trumpet. It’s followed by “Marrakech,” which as you might expect evokes images of the exotic and haunting city and has a chillish vibe. Those first two are remixed later on the CD and are worthy of your feet’s attention, as the reggae grooves, staccato drum loops and Eastwood’s in-your-face electric bass make these infectious listening.

“Muse” would fit on smooth jazz radio, with its muted trumpet lead and midtempo rhythm section, while “Le Pont Royal” and “Solferino” play around with the kind of smoky jazz that’s a joy to listen to. And while the title track harkens back to the jazz-fusion of the 1970s, “Cosmo” recalls the big, bold and brassy funk tunes of the same era. Paris Blue is a bold statement by an artist who uses traditional jazz as simply a starting point. No boundaries here.

Paul Taylor
Nightlife
(Peak)

Saxophonist Paul Taylor’s sixth solo album in 10 years since leaving the Rippingtons isn’t too much of a departure from his polished and sexy sound, which probably suits his many fans just fine. One thing you’ll notice, however, is that Taylor plays more songs on the lower-sounding alto saxophone, which is a change from his previous reliance on the Kenny G-like soprano. Still remaining are plenty of memorable melodies, inspired playing and the overall urban vibe Taylor’s known for.

The first single, the title track, picks up where Taylor’s big called “Steppin’ Out” from his previous album of the same name, left off. There’s the deep bass lines driving the song along, a disco beat in the background and a mélange of saxophones and horns. Elsewhere, there are bits of reggae, bits of funk, bits of Latin, bits of pop and jazz, all providing an up-to-date smooth jazz listening experience.

Taylor reached way back for the CD’s one cover song, the Terry Lewis/Jimmy Jam song from the 1980s called “Tender Love,” a hit for the group Force MD’s. Handling the vocals here is reggae star Maxi Priest (“Close To You”), whose vocal chops only improve with age.

The album utilizes three producers – Rex Rideout, Barry J. Eastmond and Dino Esposito – and features guest appearances by keyboardist Jeff Lorber, guitarist Dwight Sills, bassist Alex Al and drummer Ricky Lawson, among others. Romantic and energetic as ever, Paul Taylor is another one who seems to improve with each outing.

Earl Klugh
Naked Guitar
(Koch Records)

There’s no doubt that Earl Klugh, one of the founders of the smooth jazz format, plays some of the prettiest acoustic guitar around. He’s done if for years, on both smooth jazz and traditional jazz projects. His latest CD is his first since 1999’s Peculiar Situation, which was one of his best smooth jazz efforts, if not the best. But those expecting something similar to that classic will not find it here as – and you probably guessed this from the title – Naked Guitar is simply Klugh playing solo guitar.

As he did on his first solo guitar CD from 1989 called, not surprisingly, Solo Guitar, Klugh goes out of his way to make sure his fans know what they’re in for, even placing a disclaimer on the back of the CD that reads, “This CD contains solo guitar performances.” All that said, Naked Guitar is perfect for background listening – it maintains Klugh’s “pretty” touch – and features mostly recognizable jazz and pop songs that most fans will recognize as Klugh interprets them. Among the titles? You’ll hear new versions of “The Night Has a Thousand Eyes,” “The Summer Knows,” “Moon River” and even the Beatles’ “I Want to Hold Your Hand.” And you’ll be smiling when you hear Klugh take a stroll through “Ding Dong The Witch Is Dead” from “The Wizard of Oz.”

Thirteen of the 14 songs on the CD have never been recorded by Klugh, who spontaneously takes different approaches with most of the songs’ melodies. The one song that many fans will recognize is one of the guitarist’s best and most famous: “Angelina.” The acoustic, simple version of that classic is by itself worth the cost of the CD. But, in a way, it just further serves to whet the appetite for some new and original smooth jazz or even a more mainstream jazz. There may be some hope on the horizon, as Klugh has said that he’s also writing songs for a CD of melodic music.

CD Reviews: Jonathan Bulter, Richard Elliot, Praful, the Rippingtons and More

Want to hear some good new music? Check out releases by Jonathan Butler, Richard Elliot, Down to the Bone, Praful, the Rippingtons and others.

Jonathan Butler
Jonathan
(Rendezvous Music)

If you’re one of those people who swears that Jonathan Butler makes the prettiest acoustic guitar instrumental songs on the planet, you need to pat Dave Koz on the back. The smooth jazz star is the one who convinced Butler to sign to his Rendezvous Entertainment record label. And here’s the good part – nine of the 11 songs on Butler’s self-titled debut on Rendezvous are instrumentals. Not just instruments, but the hooky and alternately gorgeous and upbeat kind that typified his biggest radio successes, “Dancing on the Shore” and “Song for Elizabeth.” This is big news for Butler fans, since his last album, Surrender from 2003, was half vocals and the one before that, 2000’s The Source, contained just two instrumentals.

Ironically, the CD’s first single is a vocal version of James Taylor’s classic “Fire and Rain” with rockish electric guitar accompaniment by 24-year-old blues guitarist Jonny Lang. But that song, and the other vocal track called “Baby Love,” fit in perfectly with the CD’s overall mellow and bouncy vibe. But of course it’s instrumentals that really shine, beginning with the first track, the tropical-flavored “Rio,” which features the distinctive trumpet of Rick Braun and Butler’s spine-tingling scatting in tune with his guitar. Two other tropical-flavored songs by Butler, who grew up in South Africa but now calls Southern California home, include the bouncy “Mandela Bay” and “10 Degrees South,” both which feature the background female trio of Jodie Butler, Kurt Lykes and Toni Field. Jodie is Butler’s daughter.

Of course, Butler knows his way around a ballad, which he proves on “”Randy’s Song” – where Koz handles the sax – “Precious Things,” “For a Friend,” “Sweet Island Love” and “Spirit of a Nation.” The CD closes with “Move Me,” a bluesy midtempo number with Gerald Albright on sax. Kudos also need to be given to Butler’s band, which includes Dave Dyson on bass, Greg Wachter on keyboards, Eric Valentine on drums and David Diggs with the string arrangements.

This is an amazing return to form for Jonathan Butler. It's hard to imagine anyone else creating a smooth jazz CD this year that's so consistent from beginning to end.

Smooth grade: A+

Richard Elliot
Metro Blue
(ARTizen)

Saxophonist Richard Elliot has more than just a fleeting interest in his 15th release. Metro Blue is the first CD of all-new material by the ARTizen Music Group, a smooth jazz label based in Southern California and co-founded by Elliot and fellow musician and trumpeter Rick Brun. Elliot shouldn’t have much to worry about here, as his robust tenor saxophone consistency lays thick grooves atop some darn tempting pop songs. Produced by Braun and Elliot, the CD once again pays tribute to what must be Elliot’s favorite R&B from the 1970s, the Stylistics. Elliot’s last CD featured a cover of group’s “You Make Me Feel Brand New.” Metro Blue’s first single is a sexy reading of the sweet soul band’s “People Make the World Go Round.”

As Elliot’s albums always are, Metro Blue is heavy on the brass, which is to be expected from a former member of the seminal band Tower of Power. Braun blows his trumpet throughout, sounding especially vivid on “Inside Out,” an upbeat number that starts the CD. This song’s sure to draw raised fists during the Jazz Attack tour this summer, which Elliot is starring in. As will the funky “Mango Tango,” which lays down a groovy echoing sax line, and “Maxi’s,” powered by a Travolta-esque disco beat. Any Richard Elliot CD must have at least song where he coaxes some growls from his sax, and that track here is “Mystique,” which also offers some pretty sweet picking by guitarist Peter White. On “Chill Bill,” Elliot perhaps winks at the chill-music sound filtering into smooth jazz, but the song is more of a traditional ballad. As are the title track and “Camella,” which he sweetly named after his wife.

I remember reviewing Elliot’s last CD in 2003, Richochet, and observing that like many of his albums it was dogged by inconsistency. There’s no such problem here, as each of the 10 songs are solid and, in turn, make for a promising debut ARTizen debut.

Smooth grade: A

Praful
Pyramid in Your Backyard
(Rendezvous Entertainment)

First things first: Except for the lead track called “Moon Glide,” the new CD by Dutch saxophonist/vocalist/multi-instrumentalist Praful is nothing like his smashing debut, One Day Deep. But some background is in order: That album was originally released way back in 2001, but hit the U.S. by storm in 2003 thanks to a U.S. distribution deal and the hits “Sigh” and “Let the Chips Fall.” That album helped Praful become a leader in the chill music crowd, exposed many smooth jazz listeners to the format and even helped Praful get a high-profile gig on the Dave Koz & Friends tour this summer.

With Pyramid in Your Backyard, Praful avoids mining the successful grooves that populated One Day Deep, which would have been the easy and logical thing to do. But, working with producers and Rendezvous labelmates Adani & Wolf, Praful has made a wonderfully exotic CD that further explores his love of Brazilian and Indian music. The album has several guest vocalists singing in English, Portuguese and Indian Hindi. Among them are Sandhya Sanjana from India and Katia Moraes from Brazil – who is a member of Praful’s band – and even Praful himself. The Brazilian bossa nova tracks, “Acredite,” “Ponto de Partida” and “Eternity,” are smooth and sophisticated, while the Indian-flavored tunes, especially “Says Kabir,” are exotic and unusual to Western ears but still maintain the familiar percussion-heavy beats Praful employs to great effect.

Standout instrumental tracks include the spare and jazzy “We Live On,” where you can hear for yourself – and appreciate – Praful’s skill on the sax. “Hand-Cart Puller” features a guitar loop, bountiful percussion and a rapid pace, while “Drop to the Ocean” is a chill/electronica classic with jazzy sax interludes. “Wishful Walk” comes straight from the Pat Metheny school of samba, with a languid beat and wistful vocalese, while “Naked” is a quiet smooth jazz gem with soothing vocals by Praful. And then there's "April Seven," a dirge-like slice of erotic exotica that washes over you like a great movie soundtrack. It's very moody.

Pyramid in Your Backyard takes a little getting used to if you’ve listened to One Day Deep a million times. But it quickly becomes apparent that Praful has made a compelling and worthy sequel on his own terms.

Smooth grade: A

The Rippingtons Featuring Russ Freeman
Wild Card
(Peak)

The Jazz Cat may be back, but as the title of their newest album suggests, he’s leading listeners down a different alley this time. It was five years ago that the Rippingtons’ leader, guitarist Russ Freeman, traded Colorado’s snowy climate for the warm sunshine of Florida’s Boca Raton, north of Miami. Freeman played around with some Latin rhythms on 2000’s Life in the Tropics, as many in the smooth jazz genre do. But on Wild Card, the Latin influence has certainly rubbed off on Freeman and his crack band.

There’s much hear to enjoy for the everyday Rippingtons fan, especially those who appreciate Freeman’s guitar playing. I’ve always considered Freeman to be underrated as a guitarist since he’s much more known as the leader of one of the few actual bands left in the genre. What’s been most enjoyable has been his classical acoustic guitar playing, which he does here on eight songs. It’s quite a treat, as are the well-known Jerry Hey horns, Eric Marienthal’s distinctive saxophone throughout and especially on “Lay It Down” and the title track, and R&B singer Chante Moore’s vocals on a cover of the soul standard “Till You Come Back to Me.”

There’s also some beautiful Rippingtons standards like the closing track “In the End” and “King of Hearts,” both offering the type of pretty guitar ballads the band is famous for. On “Into You,” smooth jazz producer Rex Rideout’s touch is evident throughout the delicious soul groove. And on “Moonlight,” Freeman switches to the electric guitar on a song that has “hit” written all over it.

But the Latin sound is the thing here, and Freeman shines with the laid back, tropical “Gypsy Eyes” and the “Mulata de Mi Amor,” both of which will have you licking the salt off your margarita glass. “Spanish Girl” is the quintessential Rippingtons number, a funky midtempo thing with Latin strings, while “Paradise” is one of the most complex songs the band has ever done. There are layers of classical and electric guitar, and three minutes in there’s even a brief synth guitar solo a la Pat Metheny. It’s a majestic song.

Of course, the two songs that Rippington fans will be talking about are the two with Spanish-language vocals: “El Vacilon” and “Mulata de Mi Amor.” The former features the female singer Albita and the background vocals of the group Ozomatli, while the latter has the robust vocals of Willy Chirino. Don’t skip the tracks, since they fit in perfectly what the Rippingtons are trying to do – and succeeding – on this amazing CD.

Smooth grade: B+

Down to the Bone
Spread Love like Wildfire
(Narada Jazz)

Although considered a smooth jazz band as far as radio goes, Down to the Bone on its sixth CD continues to pump out its hard grooves and brassy horns that defy easy pigeon-holing. The core band remains the same, with producer and composer Stuart Wade, members Neil Angilley and Neil Cowley on keyboards, Paul “Shilts” Weimer on sax, Tony Remy on guitar, Richard Sadler on bass and percussion and Neal Wilkinson on drums.

Like the chill music counterparts, the groove is, of course, the thing. Unlike many of those bands, however, DTTB has incorporating more and more live music on its CDs, with a warmer sound the result. Guest stars always make DTTB CDs fresh, and the big one here is flutist Jeremy Steig, who has performed with legends like Jimi Hendrix, Bill Evans, Jan Hammer and Johnny Winter. He adds a new sound to the DTTB jams “Memphis Groove” and the Brazilian-influenced “Wildfire Woman.”

The standout radio track on Spread Love Like Wildfire is “Tiburon,” which was co-written by Tim Best, who assisted with the song “Brooklyn Heights” on the band’s debut CD. The song has much of the same groove as that classic CD. Like that work, the groove here is relentless, and Down to the Bone remains one of the grooviest groove bands in any musical genre.

Smooth grade: B

Lee Ritenour
OverTime
(Peak)

Veteran smooth jazz guitarist Lee Ritenour, who has been making CDs for 30 years now, celebrates his signing with a new label with a live studio recording that showcases four distinct phases of his career. It has Ritneour’s acoustic jazz period (“Blue in Green”) and his Brazilian music with vocalist Ivan Lins (“She Walks the Earth”), the fusion era (“Captain Fingers,” “Night Rhythms”) and his most current music, featuring songs from his Wes Montgomery tribute (“Boss City,” “Lil’ Bumpin’”) and the compilation “Twist Of Motown” (“Papa Was a Rolling Stone,” with Chris Botti sounding very soulful on the trumpet solos).

The CD is a companion piece to a DVD by the same name. The DVD was shot in a recording studio with a small audience (hi-definition and surround sound), and the music on the CD has an incredible studio sound with the live interaction of all the great musicians on the project. They include veterans Botti, Eric Marienthal, Dave Grusin, Patrice Rushen, Harvey Mason, Ernie Watts, Dave Carpenter and others. Ritenour also showcases two new vocal talents. Kenya Hathaway, the sister of vocalist Lelah Hathaway, contributes her own song called “Possibilities,” and returns to duet with Grady Harrell on Ritenour’s smash hit, “Is It You.”

Because of the fresh interpretations of familiar songs performed live, OverTime becomes not just another artist’s look back over a career, but an artist’s look back who obviously still has a lot to say with his music. For those looking for brand-new music from Ritenour, there’s good news – he’s now working on a melodic album which should be out early next year.

Smooth grade: B+

Camiel
Sunset
(Rendezvous Entertainment)

Camiel is the third chill/downtempo act to be signed by Dave Koz’s Rendezvous Entertainment, following Praful and the duo of Adani & Wolf. Like his Amsterdam labelmates, Camiel provides plenty of musical moments appealing to smooth jazz fans. But, also like his labelmates, there’s a sexy European vibe that can either sound fresh or weird, depending on your musical inclinations. The inside of the CD shows two scenes with Camiel strumming a guitar, but this is not a guitar-driven CD.

There’s the feeling with this CD that you never know which direction it’s headed or even if there’s a road map. That’s refreshing. For example, things begin with the downtempo and mellow “Sunset,” programmed drums bouncing happily along in the background. More than halfway through the tune, Camiel offers a pretty guitar solo that rides over swirling synth sounds. “I’m Ready” follows “Sunset,” and features an orchestral disco hook straight from 1970s. Pretty cool. There are other disco forays, as well, with soulful female, “get into the groove”-type lyrics.

There are many great moments: “Sintra” offers Larry Carlton-like guitar playing and lyrical female vocalese; “No Fuzz” is a strange trip with weird vocal-like warbling and a salsa-like melody so infectious you wish Camiel would have given it more of a presence; “El Alba” has a Spanish guitar lead that would sound appropriate on a Marc Antoine CD; and “Eighty-Eight” is an intoxicating, swirling five minutes of bossa beats, guitar, organ and vocalese.

What everyone who hears this CD will be talking about, no question, is the continuing dialog of a man who narrates the pursuit of a classy woman he meets at a bar called Thatcher’s. Preposterously humorous, it continues with “Follow Her” and continues elsewhere on the CD on an interlude and with “I Would.” Soft background music accompanies the man’s escapade, which is narrated by an American living in Amsterdam named Boyd Small. Also narrating a tune is one Cristina Arenas Gonzalez. She speaks in Spanish on “Sigume,” and I’m pretty sure she’s not the woman being chased from Thatcher’s bar. I could be wrong, but she speaks so fast in Spanish I couldn’t get much of what she was saying.

Different. But exotically also very cool.

Smooth grade: B

Various Artists
Golden Slumbers: A Father’s Love
(Rendezvous Entertainment)

Rendezvous Entertainment, a smooth jazz label, has taken a big step with Golden Slumbers: A Father’s Love, a vocal album featuring an all-star cast of some of the most popular singers in the world. The CD is a sequel of sorts to the Grammy-nominated Golden Slumbers: A Father's Lullaby from 2002, which was filled with appropriately sleepy lullabies. This CD, which is “a celebration of the important role father play in their children’s lives,” is more upbeat and diverse enough with its country, folk, jazz, gospel, soul and pop songs.

The CD is the creation of saxophonist Dave Koz, who performs on the album, and his brother Jeff Koz, who also collaborated on the first CD. The 13 songs are reverential in nature, of course, and in most cases poignant and heartfelt. When praising dads, country music singer Buddy Jewell takes Luther Vandross’ “Dance With My Father” in a new musical direction, and of course the lyrics will always manage to pull heartstrings. Richard Marx’s emotive phrasing speaks universally of a father’s responsibilities in “That’s My Job.” Daughter are sung to in Michael McDonald’s “When Scarlett Smiles” and Loudon Wainwright’s “Daughter.” Universal odes to children are handled with great tenderness by Solomon Burke on “Life Is Just a Matter of Time,” Will Downing on Billy Joel’s “Lullaby (Goodnight, My Angel”) and Jon Secada on “Find Me in Your Dreams.”

With Dave Matthews’ “Baby” and Carlos Ponce’s “You’ll Be in My Heart” (written by Phil Collins), listeners will hear the universal longings of parents as protectors. But perhaps the CD’s most touching tune is collaboration between smooth jazz saxophonist Kirk Whalum and his brother Kevin Whalum on vocals. The song is in memory of Kirk’s son, Evan, who died after only three days on this earth.

Rounding out the CD are “You Touch My Heart” by Phil Collins, Joe Cocker’s “You Are So Beautiful” as sung by R&B legend Smokey Robinson, and “Children,” a spoken-word piece by famed actor James Earl Jones inspired by a poem called “The Prophet” by legendary poet and philosopher Kahil Gibran.

A portion of proceeds from Golden Slumbers: A Father’s Love will benefit the National Fatherhood Initiative, which works to improve the well-being of children by increasing the proportion who grow up with involved, responsible and committed fathers. The CD will also be released in conjunction with the NFI’s annual National Golden Dads campaign sponsored every Father’s Day, where celebrity fathers reach out into the community.

Smooth vocal grade: B

Keiko Matsui
Walls of Akendora
(Narada Jazz)

Keiko Matsui’s Akendora may only exist only inside her head, but it’s a place you’ll find yourself revisiting many times over.

Matsui’s latest takes its title from a mythical location of peace. That’s in character for the pianist and composer who for more than 18 years has crafted an art form of grand, cinematic sweeps of sound. Her CDs have a comforting sameness but are filled with new, concurrent strains of energy and melancholy that listening a pleasure. On the eclectic Walls of Akendora, Matsui truly throws everything into the pot, offering pop, jazz and R&B grooves while topping it off with trendy downtempo rhythms.

A wailing trumpet segueing into a swing jazz number signals the CD’s departure from the norm. But “Overture for the City” is about as frantic as it gets. That leads into one of the pure pop of “Crystal Shadow” and its repeated bass line holding up Matsui’s understated piano performance. “Gentle Sounds” sure sounds like the hit of the bunch, while the quintessential Matsui piece, “Bay of Destiny,” offers pretty piano, orchestration a shakuhachi flute from her husband and co-producer Kazu Matsui’s shakuhachi. So beautiful, and it may have you scrambling once again for the best Yanni compositions from the early 1990s.

“Canvas” provides Akendora’s most nutritious listening. It opens with whistles and a Brazilian bossa-boogie rhythm that shakes into thought-provoking and head-nodding downtempo grooviness. Longtime Matsui fans will enjoy her updating of her classic “Mountain Shakedown” from her 1997 CD Under Northern Lights, while those in a jazz mood will dig the swing-jazz of “Walking Through It” and sophisticated drum brushes of “Blue Butterfly.”

As a treat, the CD adds a bonus DVD with eight live performances of songs from previous CDs recorded at a show in Tokyo. There’s also a video of her song “Wildflower” and a home movie shot from the road in 2004. It looks like Matsui enjoyed herself almost as much as her fans surely did.

Smooth grade: A

O’2L
Doyle’s Brunch
(Peak)

The first thing you should know is that the band’s name is pronounced “O’Toole.” Apparently the duo of Jane Mangini (keyboards) and Al Pitrelli (guitar) are big fans of the British actor Peter O’Toole. Mangini is the main force in the band, as she is the writer, producer and mixer. The second is that “eclectic” doesn’t quite do justice to this band, which is equal parts chill, downtempo, smooth jazz, new age, funk and rock.

Oh yeah. They’re a little weird, too, but in good way. The duo previously worked with an experimental collection known as the Trans-Siberian Orchestra, an equally indescribable group.
But no means should you let the unique nature of O’2L get in the way of listening. Amid the many musical and voice samples, there is some genuine music going on here. There’s plenty to sink your teeth into, including an uptempo cocktail-lounge version of the Doors’ “Riders of the Storm.” Track such as “Senor Wilhelm” show off Pitrelli’s manic guitar playing, which he honed while jamming with such metal band Megadeth and shock-rocker Alice Cooper.

“Come and Get It” and “Lonely Women” hark back to the soulful fusion days, while tracks such as “Cali” and “Missing Kate” are reflective, new age-type pieces.

And there’s plenty of playfulness. “Knock Knock” has a Manhattan Transfer-like vocal thing going and, believe me, the barking dog sounds work. “City Chicken” is a funky, cabaret-type groove with wailing guitars, organs and an acoustic piano melody Joe Sample would be proud of.

Different? Oh yes. Fun? Yep. Worth listening to? Go for it.

Smooth grade: B

CD Reviews: Steve Cole, Acoustic Alchemy, Chuck Loeb, Paul Taylor and more

Want to hear some good new music? Check out releases by Steve Cole, Chuck Loeb, Acoustic Alchemy, Nelson Rangell, Ken Navarro, Nils, Tim Bowman, Jason Miles and Urban Knights.

Steve Cole
Spin
(Narada)

Here’s proof that it’s never too late to learn a musical instrument. Steve Cole, who is definitely known for his supreme saxophone sounds, taught himself how to play the guitar for his new CD because he wanted to conceptualize the songs on the instrument. Although you hear Cole strumming his guitar throughout the CD, have no fear – the guitar is in the background and the sax is of course in the foreground. Cole has guitarists (and writing partner) David Hiltebrand, Tim Pierce and Michael Thompson strumming on tracks, as well as Ricky Peterson on organ and Todd Sucherman on drums.

The result is an organic, mostly soft-pop instrumental project that has much in common with a CD called Off the Beaten Path that fellow saxophonist Dave Koz released in 1996. Like that CD, Spin is acoustical in nature and for the most part eschews the glossy, high-production values associated with many smooth jazz works.

Cole says he was inspired on Spin by modern pop singer/songwriters such as Jason Mraz and John Mayer, and the inspiration shows on such tunes as “The Real Me” and “The Things I Do,” which you can visualize with some clever words. But throughout the CD, Cole’s memorable saxophone melodies are once again, of course, the main attraction and make the issue of words mute. Selections such as “Thursday” and “The Real Me” are as good as anything he’s done, but his acoustical approach really pays off in songs like “Spin,” which has a joyous sound while offering rapid beats and bluesy organ riffs. Cole has a way with a ballad, of course, which he does so well here with “Simple Things” and “A Letter To Laura.”

Many artists say their new CDs are unlike anything they’ve done before, but on Spin Cole can say that with a straight face. In addition to the acoustical element, he ends the CD with a hidden track that has an orchestral riff a la Praful and features some very jazzy sax with an undercurrent of chill/downtempo music. It’s delightful. Also different is “Serenity,” a gorgeous midtempo number also borrowing elements from chill music.

If this excellent CD is any indication, it’ll be interesting to see what Cole has planned to follow it up.
Smooth grade: A

Acoustic Alchemy
American/English
(Higher Octave)

The veteran smooth jazz band Acoustic Alchemy continues its focus on a more organic, acoustical sound as displayed on the band’s last album, Radio Contact. This is the band’s fourth album without guitarist Nick Webb, who died seven years ago, and now the chemistry between original member Greg Carmichael and the other guitar player – Miles Gilderdale – is reaching its peak. Webb brought the band a classical guitar sensibility that still sounds fresh today, and Gilderdale offers a blues and soul vibe and even does some scatting (he was a singer in a rock band in an earlier life), as he shows on the funky “Say Yeah.”

The title of Acoustic Alchemy’s 13th album refers to its roots as a British band that has found its niche in America. Old fans will find much to enjoy on this new CD, as the interplay between the nylon and string guitars – the band’s trademark – sounds amazingly fresh in songs such as the ballad “Cherry Hill” and “The Crossing.” These two tracks, and some others, retain the familiar soft touch that Acoustic Alchemy has long been known for.

Having said that, there is still room for advancement and new ideas, shown on “Lilac Lane,” which offers a blistering electric guitar solo and a steady, chill music-like tempo. Likewise, “So Kylie,” which makes reference to Australian dance-pop queen Kylie Minogue, is a late-night dance number with several electronica elements and an irresistible “nah-nah-nah-nah” chorus. “Trinity,” a reggae number, recalls the band’s “Jamaica Heartbeat” from the classic Back on the Case CD from 1991. Elsewhere, the band keeps things fresh with different styles – the feel-good Motown groove of “The Detroit Shuffle,” the Steely Dan-wink of “She Speaks American English,” and the jazzy swing of “The 14 Carrot Café,” a song named after a Seattle restaurant the band frequents when visiting the Pacific Northwest.

Whether listening in England or America, fans will certainly have plenty to cheer for on this latest effort by one of smooth jazz’s best-loved bands.
Smooth grade: A

Chuck Loeb
When I’m With You
(Shanachie)

After the European and techno inspired eBop, veteran electric guitarist returns with a CD that may just be his best work yet. It’s not a mainstream jazz album, but a smooth jazz one with an organic feel that simply keeps music first and gimmicks at bay. Paying homage to some of his musical heroes, first and foremost is the late saxophonist Stan Getz, who Loeb toured with for several years. What better song than Antonio Carlos Jobim’s “The Girl From Ipanema,” which Getz played on and brought Brazilian bossa nova to the world?

Next up is Ray Charles, one of the musicians who continuously has inspired Loeb. After Charles died last year, Loeb says he felt compelled to write “Brother Ray,” a swinging jazz and blues shuffle that’ll have those toes a-movin’. And “Double Life,” which leads off the CD, is a bluesy number dedicated to another Loeb mentor, the great guitarist Jim Hall.

Loeb can craft a smooth jazz hit as well as anyone out there, and has done so again with the unforgettable “Tropical.” His mellifluous and lyrical guitar has never as good, and the funky and tropical undercurrent will have you reaching for a margarita. And on the title track, Loeb provides a nice change of pace thanks to gorgeous vocals from his wife, singer Carmen Cuesta. It’s dreamy. And then there’s “And Then Some,” which gets into some real jazz playing.

This is the kind of music that Loeb’s many fans would follow him all over the world for. His guitar practically sings, and the jazz suits him well.
Smooth grade: A

Paul Taylor
Nightlife
(Peak)

Saxophonist Paul Taylor’s sixth solo album in 10 years since leaving the Rippingtons isn’t too much of a departure from his polished and sexy sound, which probably suits his many fans just fine. One thing you’ll notice, however, is that Taylor plays more songs on the lower-sounding alto saxophone, which is a change from his previous reliance on the Kenny G-like soprano. Still remaining are plenty of memorable melodies, inspired playing and the overall urban vibe Taylor’s known for.

The first single, the title track, picks up where Taylor’s big called “Steppin’ Out” from his previous album of the same name, left off. There’s the deep bass lines driving the song along, a disco beat in the background and a mélange of saxophones and horns. Elsewhere, there are bits of reggae, bits of funk, bits of Latin, bits of pop and jazz, all providing an up-to-date smooth jazz listening experience.

Taylor reached way back for the CD’s one cover song, the Terry Lewis/Jimmy Jam song from the 1980s called “Tender Love,” a hit for the group Force MD’s. Handling the vocals here is reggae star Maxi Priest (“Close To You”), whose vocal chops only improve with age.
The album utilizes three producers – Rex Rideout, Barry J. Eastmond and Dino Esposito – and features guest appearances by keyboardist Jeff Lorber, guitarist Dwight Sills, bassist Alex Al and drummer Ricky Lawson, among others.

Romantic and energetic as ever, Paul Taylor is another one who seems to improve with each outing.
Smooth grade: B

Ken Navarro
Love Coloured Soul
(Positive Music)

After two CDs with the Shanachie label, guitarist Ken Navarro has returned to the label he founded more than 10 years ago for his latest project. The 10 songs here signal a return to Navarro’s gentler, more acoustic side, and features two fantastic cover songs – a rousing take on Laura Nyro’s “Stone Soul Picnic” and a quiet reading of John Klemmer’s classic “Glass Dolphins.” Of course, those familiar with the veteran guitarist’s work know that he’s able to write some of smooth jazz’s most happy and memorable hooks, and once again he’s able to bring a few more bubbling to the surface. Exhibit A – the CD’s opener, “You Are Everything.”

While some of Navarro’s songs are enhanced by their simplicity, he also cannily combines radio smarts with some pretty amazing guitar playing, which he does on the song “Breathe.” It spins a driving, chugging rhythm section anchored by drummer Andre Webb and percussionist Kevin Prince, but mostly offers some pretty fast guitar picking by Navarro. Not that there was any doubt, but “Breathe” shows Navarro can play – furiously at times – but still works as one of the best smooth jazz songs to come around lately.

On this well-rounded CD, Navarro of course throws in midtempo pop gems like “Parallel Lives” and “You Did It Again.” He also goes for some very jazzy sounds with “Let It Go,” featuring the sparkling piano work of longtime bandmember Jay Rowe. And on “Summer of Love,” Navarro and Rowe quietly share a song that’s as beautiful as anything they’ve done together, and as gentle as a lullaby. It’s a perfect way to finish another winner.
Smooth grade: B+

Nelson Rangell
My American Songbook Vol. 1
(Koch)

Saxophonist and flutist Nelson Rangell, on his 14th album, decided to record songs that were close to his heart. Seeing as how he selected songs from the great American Songbook, it no wonder he’s calling it “volume one.” But as trumpeter Chris Botti showed on last year’s When I Fall in Love, smooth jazz artists are certainly capable of reinterpreting established songs without alienating their smooth jazz bases.

Rangell certainly couldn’t have picked a better song to begin with than Leonard Bernstein’s “America” from the movie West Side Story. A brief prelude, with handclaps, captures the spirit of the gritty but uplifting movie, and Rangell’s flute playing gives the tune an light touch. Whether intentional or not, Rangell also captures the Latin energy nicely, this time on his sax, by segueing into Stevie Wonder’s “Don’t You Worry ‘Bout A Thing,” which features upbeat percussion throughout. He returns to the flute once again for “Freda,” a song by bluegrass fiddler Kenny Baker. Longtime jazz-fusion fans may recognize this gem as performed the classic band the Yellowjackets, and on this tune and elsewhere on the CD, Russ Ferrante of that band plays the piano.

A bookend to “Freda” is “Sonora” by Hampton Hawes, which is one of Rangell’s most popular songs in concert. What makes that song so popular – and why it stands out here – is that Rangell whistles the melody. It may bring up images of classic Western movies, and that’s not a bad thing. It’s a beautiful song, enhanced by Chuck Loeb’s tender acoustic guitar solo.

Nelson also interprets Earth Wind & Fire's "That's The Way of The World" and Vince Guaraldi’s “Cast Your Fate to the Wind,” while getting down and jazzy on the classic “Cherokee” and a very old traditional song called “Billy Boy.” And he combines “In the Wee Small Hours of the Morning” with James Taylor’s “Don’t Let Me Be Lonely Tonight,” giving those classics a very fresh new sound. The one original on the project is “Don’t Forget Those Forgotten,” a ballad where Rangell’s sax has never sounded better.
Smooth grade: B

Nils
Pacific Coast Highway
(Baja/TSR)

Every once in a while, a relatively unknown musician comes along to produce a smooth jazz CD that is as good as anything on the record store shelves and contains one killer song that radio embraces. Meet Nils, a guitarist who is anything but an overnight sensation after having performed with such bigwigs as Paul Brown, George Benson and Gabriela Anders. Nils, who was born in Germany and now lives in Southern California, says he garners his musical inspiration from the scenic road running up the West Coast that he named his album after. That song, “Pacific Coast Highway,” is also the name of the single that has everyone’s attention.

Nils’ musical background shows how he was able to attract top players to the project. In addition to Albright, Chante Moore and Siedah Garrett add background vocals to “Cruisin’” while guitarist Paul Jackson Jr., keyboardist Rob Mullins, drummer Steve Ferrone and percussionists Alex Acuna and Steve Reid all contribute mightily.
Of course, there are plenty of CDs with only one great song on them. This isn’t one, as Nils shows he has the knack for smooth jazz pop melodies while keeping the listening fresh by switching between electric and acoustic guitars. The CD’s title reflects the music’s spirit, as Nils offers top-down car songs with titles such as “Cruisin’,” “Summer Nights,” “Baja California” and “Keep Rollin’,” the latter with a sax solo by Gerald Albright. By the way, if “Keep Rollin’” sounds familiar, it’s because it’s a Nils original that none other than Benson recorded on his Standing Together CD. Here, producer and co-writer of that song, Gerald McCauley, adds the Benson-like scatting.

Although Nils’ cover of Carole King’s “You’ve Got A Friend” isn’t too surprising, it’s got a groovy hip-hop beat, and his sashaying update of the 1980 Toto classic “Georgy Porgy” will brighten any mood.
Smooth grade: B+

Tim Bowman
This Is What I Hear
(Liquid 8)

Tim Bowman is one more example of a longtime session player who has struck it big in smooth jazz. The 45-year-old guitarist is getting tons of radio play for his breezy hit single “Summer Groove,” which comes from his third CD that is stuffed with winning hooks and dexterous guitar playing.

Bowman is a Detroit native with gospel-music influences, which come through on the project. His young life revolved around the church, where he taught himself to play in front of worshippers before getting a scholarship to the Detroit Music School. After briefly settling into work in the General Motors assembly line, he scored a gig with the gospel group the Winans. Bowman played with the band throughout the 1980s when the Winans were the best-selling gospel group in the country.

After leaving the group, he began a solo career which has reached an apex with This Is What I Hear. Bowman has a relaxed, easy way on the electric guitar, which in addition to “Summer Groove” he shows on songs such as “Dance,” “Candy’s Groove” and “New Day.” Bowman is equally adept on the acoustic guitar, and on the ballads such as “Miracle” and “Acoustic Rain” he makes his instrument sound as sweet as the best of Earl Klugh. Bowman also acknowledges his faith in the vocal tracks “Angels,” “This Song’s For You” and the rollicking gospel flavored “My Praise.” Supplying the vocals are Marvin Winans (founder of the Winans), Kayla Parker (who has collaborated with Oleta Adams and Brandy) and Bowman’s son, Tim Jr.

Even if Bowman’s gospel tracks aren’t your cup of tea, the album taken as a whole is highly recommended for its majority of instrumental smooth jazz tracks.
Smooth grade: B

Urban Knights
Urban Knights VI
(Narada Jazz)

Ten years after piano legend Ramsey Lewis created the first in a series of albums by a group called the Urban Knights, the band has decided to concentrate on a core group of musicians. Over its 10-year-history, the collective known as Urban Knights has featured many rotating stars enhancing its polished Chicago jazz-funk sound: Grover Washington Jr., Gerald Albright, Dave Koz, Earl Klugh and many others. In this new direction, Frayne Lewis concentrates on a group featuring guitarist Bobby Broom, keyboardist Kevin Randolph, bassist Maurice Fitzgerald, saxophonist Nick Bisesi and drummer Quinjuan Anderson.

The new focus mixes equal parts modern, drum-heavy funk-pop (“Sly” and the radio-friendly “Fall Forward”) and many nice, quiet classic jazz moments. Ramsey Lewis guests on a romantic new version of his song “Close Your Eyes and Remember,” and a reading of Usher’s “My Boo” is a pleasant surprise. In fact, the band is at its best when updating classic songs, such as Usher’s and jazz greats by Stanley Clarke (“School Days”) and Wayne Shorter (“Footprints”). Shorter’s classic is especially invigorating, with Randolph’s jazzy piano playing taking the place of Shorter’s sax and Maurice Fitzgerald handling the familiar bass line.

New songs aren’t bad, either. Smooth jazz fans will love the samba lines in “Memorias Belas,” a soft and sexy vibe with a classic mellow jazz rhythm. This assured effort should guarantee a seventh CD by the Urban Knights.
Smooth grade: B+

Jason Miles
Miles to Miles: In the Spirit of Miles Davis
(Narada Jazz/Rendezvous)

If anyone was to make an album of original songs with the late, great trumpeter Miles Davis in mind, it had to be New Yorker Jason Miles. The producer behind popular Smooth Jazz concept albums featuring the music of Ivan Lins, Weather Report and Grover Washington Jr. considered Davis a mentor and performed on some of his later fusion albums, including Tutu and Amandla.

This project is unique, though, since there is only one update of a Davis song, “Flamenco Sketches,” and it’s a dandy with guest stars Marc Antoine on guitar and Keiko Matsui on keyboards. The rest of the CD does an uncanny job of approximating the kind of music Davis would probably be making today if he combined his jazz skills on the trumpet with his groundbreaking jazz-fusion vibes and a dash of in-the-pocket smooth jazz.

Miles has assembled a fist-rate band, including Michael Brecker, Gerald Albright, the late Bob Berg and the foundation of James Genus on bass and Gene Lake on drums. The music is the thing here, so not every song features the trumpet, although when it does Barry Danielian, Tom Harrell, Randy Brecker and Nicolas Payton are up to the task. Miles adds his expertise on the keyboards, drum machine and computerized loops, and the result is a rollicking good time.

The beats are slamming and in your face, such as on the opener called “Ferrari.” Elsewhere, album scratches and fuzzy guitar sounds create a swirling, dense cacophony of modern-day jazz-rock fusion Davis would surely approve of.
Smooth jazz-fusion grade: A

CD Reviews: Jeff Lorber, 3rd Force, Jesse Cook

Jeff Lorber, 3rd Force and Jesse Cook all have new music.

Jeff Lorber
Flipside
(Narada)

You could say that pianist and producer-extraordinaire Jeff Lorber is getting a new lease on life. Fresh off a live-saving kidney transplant donated from his wife, Lorber now offers one of the best CDs in his storied career. Following Gigabyte and Philly Style, which grooved with fresh and modern sounds, he now returns to an organic and jazzier approach. Lorber says he felt like he’d gone as far as he could with that style, and the result is a fresh and cerebral project that’s a joy to listen to and is an early lock for many of 2005’s Top Ten lists.

Although he keeps the familiar jazzy grooves his fans love, Lorber aims to surprise listeners with the unexpected twists and turns of old-school swing rhythms and modern hip-hop, with a fair amount of be-bop improvisation. The ten songs on the album, co-produced by Lorber and Steve Dubin, feature Ron King on trumpet, Gary Meek on saxophone and additional keyboards by Nelson Jackson.

In addition to a new version of “Tune 88,” a song Jeff originally recorded for his 1980 album Water Sign showcasing the Wurlitzer organ, standout tracks include “Everybody Knows That,” where Lorber’s rapid playing show his tremendous skills; the first single, “Ooh La La,” a languid and memorable musical stroll that swings, baby; the jazzy joy and electric keyboard-driven “Santa Monica Triangle”; and “Sun Ra” and “Enchanted Way,” where King and Meek get a chance to improvise around Lorber’s melody.

This is kind of hip jazz you’ll like.
Smooth grade: A

3rd Force
Driving Force
(Higher Octave)

On their last CD, veteran smooth jazz group 3rd Force slowed things down for the very mellow, and very intoxicating, Gentle Force. Now, as a bookend to that project, William Aura, Craig Dobbin, Richard Hardy and Alain Eskinasi offer the appropriately named Driving Force, the band’s seventh CD. The album pays homage to Detroit funk and adds modern elements such as samples and turntable scratches by DJ Radius.

3rd Force has always had an in-the-pocket groove and high production qualities that left nothing out of place. The sound was chill music before it even existed. You could dance to their music or mellow out to it, all the while keeping your feet shuffling. A few years ago, 3rd Force – always just a studio band – played live for the first time, and this may have led to the energetic direction of Driving Force. New to this project is veteran drummer and musical director Xavier Marshall, who keeps the overall sound funky and hip-(hop)notic with plenty of horns and percussion.

Guest stars add to the vibe, with guitarist Brian Hughes strumming along on the first single, “Believe In Me,” and Greg Adams throwing in some flugelhorn. Guitarist Marc Antoine lends his unmistakable touch to “You Got It,” a dreamy vibe that recalls the band’s mellower mood. Also contributing are saxophonists Eric Darius and Tom Scott.
The upbeat CD closes with “Inside,” a New Age-ish tune featuring the Nepali flute of Reuben Shresha and vocals by Rashmi. It was recorded in Kathmandu, where Aura makes frequent trips to record music.
Smooth grade: B+

Jesse Cook
Montreal
(Narada)

Ten years ago, Canadian rumba flamenco guitarist Jesse Cook burst onto the smooth jazz scene with a CD called Tempest, an exotic and bouncy effort that Ottmar Liebert fans immediately took to. Cook has continued to release music but flamenco and world music stylings have fallen out of favor on smooth jazz radio, meaning Cook hasn’t gotten much notice recently.

Montreal, a live album recorded in July at the Metropolis Theatre during an international jazz festival in the Canadian city, reminds us of Cook’s amazing talents on the guitar. A live album is a perfect setting for him and for listeners. Whether bouncing along with such memorable songs such as “Breeze From Saintes Maries,” “Rattle And Burn” and “Jumpstart” or slowing it down on melancholy ballads like “Cascada,” the crowd’s constant cheers and spontaneous clapping put you right in the middle of the action.

Throughout the 14 songs, the listener absorbs the full range of Cook’s musical influences (he was born in Paris and moved to Canada at a young age with his parents), with elements of sounds from Spain, Egypt, France, Africa, Cuba and Brazil. At the same time, Cook reminds us of why flamenco music continues to have a hold on smooth jazz listeners.

This is the kind of CD that gives live albums a good name.
Smooth grade: A

Holiday Albums 2004

Christmas Day is only a few days away, and no one really wants to hear Christmas music after it’s over, right? With that in mind, here a few holiday CDs that would be worth listening to this week. All were released this year.

Will Downing, Christmas, Love and You (GRP): On Will Downing’s first-ever holiday recording, listeners are treated to a sensual Christmas delivered by one of music’s most emotive singers. Songs include traditional classics such as “The Little Drummer Boy,” “White Christmas” and “Have Yourself A Merry Little Christmas.” Also included are three new original holiday tunes written by Will, “All I Want for Christmas Is You,” “Christmas Time After Time” and the title track. Musical guests include guitarist Jonathan Butler, saxophonists David Sanborn, Gerald Albright and Kirk Whalum, keyboardist Joe Sample and saxophonist Najee on flute.

Vanessa Williams, Silver & Gold (Lava): The velvety voiced singer has always been one of the most popular singers in the smooth jazz genre, and she does nothing here to dispel that. This CD marks her first in seven years, and she has another one on the way in February 2005. Williams’ earlier version of “What Child Is This” remains one of the most popular holiday songs on smooth jazz radio. There are many new classics on this new collection, including a duet with Brian McKnight on "Joy to the World," the touching title track and "Mary's Little Boy Child" has a reggae/calypso beat. And “Merry Christmas, Darling” has the ring of a brand-new hit to it.

Dionne Warwick, My Favorite Time of the Year (DMI): Smooth jazz saxophonist Dave Koz helps Dionne Warwick get into the holiday spirit as he performs on three songs on the legendary singer’s holiday album. You can hear Koz’s distinctive saxophone on "White Christmas," "Joy to the World" and "Winter Wonderland." Warwick’s first holiday project also features duets with Gladys Knight on "Have Yourself a Merry Little Christmas" and BeBe Winans on an original tune Winans wrote called “I Believe in Christmas.”

James Taylor, A Christmas Album (Hallmark): James Taylor's first seasonal collection is a charming treat for his many longtime fans. Trumpet player Chris Botti, vocalist Natalie Cole and pianist Dave Grusin all contribute to the project, his first since 2002’s “October Road.” Botti has a trumpet solo on the album’s opening song, the classic “Winter Wonderland,” while Cole sings a duet with Taylor on “Baby, It’s Cold Outside” and Grusin plays piano on several tracks and also produces the album. Other songs on the album include “Santa Claus Is Coming To Town,” “Deck The Halls,” “Auld Lang Syne” and “Jingle Bells.” “A Christmas Album” is available exclusively at Hallmark stores. Regularly priced at $10.95, the CD is $6.95 with the purchase of any three Hallmark cards.

Hiroshima, Spirit of the Season (Heads Up): The veteran smooth jazz group, celebrating its 30th anniversary this year, re-released its first-ever holiday album, “Spirit of the Season.” It was released independently two years ago, but is now offered for wider distribution by the Heads Up label. The band is led by Dan Kuramoto and June Kuramoto. Song titles include familiar songs such as “Rudolph The Red-Nosed Reindeer,” “Little Drummer Boy,” “White Christmas” and “Winter Wonderland” as well as new original holiday tunes including “Spirit Of The Season,” “Listen (To The Falling Snow)” and “Peace On Earth.” In addition, the album features a new arrangement of the band’s classic song “Thousand Cranes” originally released in 1989.

Christian Jazz Artists, Hymn Favorities (Songs of David): Don't let the title fool you. This delightful CD features several well-known session players, including Alex Acuna, David Diggs, Greg Vail and Ric Flauding. The arrangements are jazzified and alternately funky, smooth and very mellow. The track "Great Is Thy Faithfulness," featuring pianist Ray Lyon, sounds like a composition Lyle Mays and Pat Metheny would write. It's a great CD, available at www.songsofdavid.com. At that site, you can also stream music from Songs of David's Internet radio station.

CD Reviews: Dec. 14, 2005

Chris Botti's sublime When I Fall in Love is one of several great new releases.

Chris Botti
When I Fall In Love
(Columbia)

After the great success of A Thousand Kisses Deep and his nationwide exposure opening for Sting, trumpeter Chris Botti decided to strike again with his popularity at an all-time high. Wise move. This new album has already soared to the top of Billboard’s jazz charts, making Botti one of the few smooth jazz artists who’s been able to successfully cross over into mainstream jazz.

The 13-song CD of classic and new romantic songs is lushly orchestrated by the London Session Orchestra and ably put together by producer Bobby Columby. The mood is mellow and just so beautiful throughout as Botti wisely doesn’t deviate from his romantic, cuddle-by-the-fireplace theme. There are so many instrumental highlights – kudos to band members Billy Kilson on drums, Dean Parks on guitar, Billy Childs on piano and Brian Bromberg on bass – but the vocal tracks really shine.

Paula Cole’s quiet elegance on Irving Berlin’s “What’ll I Do?” is right up there, and the song even showcases Botti’s own vocal chops. Botti recruits Sting to sing on “La Belle Dame Sans Regrets,” a composition Sting wrote for one of his earlier CDs. And gospel singer Jill Zadeh adds vocalese to a cover of Sade’s “No Ordinary Love,” which features Jeff Lorber on piano.

Botti also interprets songs by Richard Rodgers and Lorenz Hart ("My Romance"), Ira and George Gershwin ("Someone to Watch Over Me"), Harold Arlen and Johnny Mercer (the swinging “Let’s Fall in Love,” "One For My Baby" and "One More For The Road"), among others. Another highlight is Botti’s interpretation of the familiar song “Time to Say Goodbye (Con te Partiro),” a worldwide smash for opera singer Andrea Bocelli.

Botti has said that this is the one CD he’s always wanted to make, and it’s obvious that he’s having a good time interpreting jazz songs. This project is so excellent you wonder if Botti will ever return to smooth jazz.

Smooth grade: A+

Garry Goin
Goin’ Places
(Compendia)

Veteran guitarist Garry Goin has paid his dues and is amply rewarded on his debut CD, which is co-produced by his longtime associate David Porter. Goin, raised in Cleveland, has performed as a session guitarist for many years in Memphis, where he was introduced to saxophonist Kirk Whalum. Goin’s influence is all over Whalum’s last CD, Into My Soul, as he co-produces, co-writes and performs on most of the tunes.

Although his songs are crisp and definitely in the middle of a groove, Goin isn’t afraid to play some real guitar and attack melodies. But Goin also has a playful and energetic approach, which begins with the lead song, “Riverside Drive.” It begins as a melody blues dirge, but morphs into a something much more cheerful, propelled by a reggae beat. It’s one of nine original songs on the CD; Goin also covers Bill Withers' classic “Ain’t No Sunshine” and the Emotions ballad “Don’t Ask My Neighbors,” which features an appearance by Whalum, who also contributes to two other songs. Goin is able to evoke many moods, as he shows on the quirky soulfulness of “Blue House” and on the straight-up smooth jazz on “Is It Deep Enough” and “Will You Marry Me.”

With its blues and rock influences, Goin Places is a Memphis type of record. But it also falls nicely into smooth jazz with a bit of a bite, which makes it an interesting addition to any collection.

Smooth grade: A

Novecento Featuring Stanley Jordan
Dreams of Peace
(Favored Nations Cool)

Novecento is an Italian pop group which has been around for 20 years and features three brothers and sisters sharing the last name of Nicolosi – Rosanna on bass, Lino on guitar and Pino on keyboards. In addition, Lino Nicolosi’s wife, Dora, adds vocals. This CD is on the new Favored Nations label, which was founded by guitarist Steve Vai and is best-known for a guitar duo release a few years ago with Larry Carlton and Steve Lukather.

The CD marks the return to the studio in a decade for Stanley Jordan, who has toured with Novecento and has a long relationship with them. In addition to his playing, there are also contributions by established musicians such as trumpeter Randy Brecker, drummer Danny Gottlieb, saxophonist Dave Liebman and flugelhornist Guy Barker.

Although Jordan can play some pretty esoteric jazz and helped pioneer a type of guitar playing where he vigorously taps on the strings, this is a smooth and welcoming project. The best songs here are the instrumentals that showcase Jordan’s playing. Novecento lets Jordan let loose on his axe on the frenetic “Spring,” but mostly it’s just pretty good smooth jazz, especially on songs such as “Flying on the Sky.” Wordless vocals and breezy guitar lines make it very appealing. And on the head-nodding “Too Close to the Sun,” Jordan’s guitar lines playfully spar with Barker’s flugelhorn.

Elsewhere, Dora Nicolosi quietly channels the vocals of Basia on “Destination of My Heart,” while her singing on “Tell Me Something” sounds like a cross between Enya and Loreena McKinnet. That’s not such a bad thing. This is good instrumental pop.

Smooth grade: B

Greg Adams
FireFly
(215 Music)

The trumpet is a vital lead instrument in smooth jazz, and listeners have several styles to choose from. Rick Braun offers flawless pop. Chris Botti digs mellow jazz with downtempo influences. With Greg Adams, you get what you’d expect from someone who helped co-found the seminal rock-funk group Tower of Power. Partly due to his long association with that band and his many movie and TV scores, Adams has only released three solo albums. But the first two found favor with smooth jazz radio, which have played “Smooth Operator” and “Midnight Morning” to death.

Now with FireFly, Adams offers 10 more original and funk-inspired songs, including the first radio single, the chugging title track. Adams and his nine-piece band are, as you might expect, energetic and above all brassy. Listen to “Loco Motive” – you won’t like this album if you don’t like horns. Above all, though, FireFly is a project by a seasoned artist in fine form. This is a well-balanced smooth jazz album, with bouncy, Braun-y numbers like “Not So Long Ago” and “5 North” mixing nicely with slow burners like “The Crossing,” “She Still Waits” and “Afterglow.”

Adams closes the CD with “Just Like Breathing,” a quiet, jazzy number that shows that he’d probably do just fine if he decided to make a jazz standard CD like Botti’s When I Fall in Love.

Smooth grade: B

Brenda Russell
Between the Sun and the Moon
(Narada Jazz)

Soulful vocalist Brenda Russell, long a presence on the smooth jazz scene due to hits such as “Piano in the Dark” and her association with Dave Koz’s Christmas tours, offers her first new album in four years. Welcome back.

There’s an international influence here, as Jean-Paul “Bluey” Maunick of Incognito co-wrote and produced two songs – “Make You Smile,” which has a happy bossa-nova beat, and “Ain't No Smoke,” which has the background vocals of Hamish Stuart of Average White Band. Victor Redwood-Sawyer, a member of the band Hil St. Soul, co-produced the languid “Too Cool For The Room,” while the team of Simon Law and Lee Hamblin co-produced “When You Comin' Back to Me” and “You Know Our Day Will Come.” It’s no surprise that vocalist Patti Austin replaced Russell on Koz’s 2004 Christmas tour after Russell was diagnosed with diabetes. The two are close friends, and Austin co-wrote the title track with her during a rare lunar eclipse several years ago. Austin also adds her vocals to the track.

Russell is one of the best representatives of smooth jazz vocals because most of her songs could probably stand as instrumentals without her vocals. But that would be beside the point and a waste of her lovely singing. Standouts here include a cover of Smokey Robinson’s “The Tracks of My Tears,” a personal illumination of Russell’s faith in “The Message,” and the simple and acoustic “Different Eyes.” She closes the CD with the charming “It’s a Jazz Day,” where she uses clever wordplay to pay homage to many of her musical heroes.

Smooth grade: B+

Smooth Sailing Nov. 8

Reviews of new CDs by Steve Oliver, Craig Chaquico, Shades of Soul and others.

Steve Oliver
3D
(Koch)

Five years ago, it’s unlikely that a veteran session player for Steve Reid’s Bamboo Forest named Steve Oliver just up and decided that he just had to be one of the top crafters of smooth jazz guitar songs. With the release of First View, though, he did just that and quickly joined pickers like Peter White and Marc Antoine as experts of an often elusive beast – the catchy instrumental pop song. The album boasted three hit radio singles, and Smooth Jazz News named Oliver the Debut Artist of the Year.

His new CD, the follow-up to the equally compelling Positive Energy from 2002, is Oliver’s first for New York-based Koch Records. 3D offers nine instrumental songs in addition to several cuts where Oliver proves yet again why his vocals are considered one of the best going in any genre. Whether with straight vocals on “You Rescued Me” or dabbling in joyous vocalese on the first single, “Chips and Salsa,” Oliver’s vocal chops are always welcome.

The CD, co-produced by Spyro Gyra’s Tom Schuman, showcases Steve’s first-ever cover song, John Lennon’s “Imagine,” which is both heartbreaking and inspiring as an instrumental tune. With soft background vocalese, strings and a sweet layer of guitar work, it just shows you can never interpret a classic enough times if done in new and exciting ways.

What really drives the album, though, are the hook-filled original instrumentals, especially the CD’s opener, “Magic World.” On that and others like “3-D,” “In the Shade of Cool” and “She’s Got the Way-O,” Oliver’s “positive energy” is never more evident. He even likes to spread the joy around: The song “Funhouse” features guest hoops and handclaps by his neighbors in his hometown of Banning, California. Fun stuff.

Smooth grade: A

Shades of Soul
Shades of Soul
(Narada Jazz)

Nine years ago, keyboardist and composer Jeff Lorber got together with guitarist Marlon McClain and bassist Nathaniel Phillips, who both founded a jazz and R&B group in Portland, Oregon, called Pleasure, and began working on a new album. It was one of those projects that was never released. But Lorber kept it in the back of his mind, and in 2000, Lorber recruited smooth jazz trumpet player and Oregon native Chris Botti to help write and perform on several of the tracks, including “San Vicente” and the catchy “Gazpacho.” Now, partly because of the strength of Lorber and Botti’s name, the CD found a home on the Narada label and has now been released.

As you would expect, the music sounds very modern while still reaching back to the ‘70s and ‘80s for its soul-funk influences on songs such as “Enjoy Yourself,” with its funky Cameo-like vocals and Ohio Players-like guitar riffs. In addition to Botti, guest musicians include saxophonist Patrick Lamb, vocalist Terry Stanton and saxophonist Art Porter, who died shortly after the original recording session in a boating accident. For Porter fans, the album gives them a chance to hear the saxophonist play on songs that have never been released.

Titles include a rousing cover of Evelyn “Champagne” King’s “Love Come Down” and original tunes such as “All Night Long,” “Enjoy Yourself” and “We Got to Live Together.” There’s plenty for smooth jazz fans to grab onto, including Botti’s “Gazpacho" and “Then and Now,” with Porter’s beefy sax lead and Phillips’ plucky bass lines. Shades of Soul is an interesting one-off project for Lorber which should find plenty of fans.

Smooth grade: B

Craig Chaquico
Midnight Noon
(Higher Octave)

There’s no mistaking the guitar sound – and artistry – coming from Craig Chaquico on his seventh solo CD. He uses 50 guitars on the CD, and their sound comes in and out the speakers, stack up on one another to provide some amazing sounds and provide an aurally satisfying listen. Why 50 guitars? Chaquico says he wanted to use exactly 50 since he turned 50 this year.

As the title suggests, the CD reflects the theme of opposites. Musically, this is translated through light moments that can quickly morph into rock-hero guitar runs. The song titles also tell a story, which begin with the first single, “Her Boyfriend’s Wedding,” and continue through the sexy and sassy sax-and-guitar combo in “Dream Date,” the bluesy rock-guitar licks of “Jazz Noon” and the positive and bouncy “Outlaw in the City,” among others.

There are several nods to Chaquico’s guitar heroes. On “Always With You,” one of the CD’s strongest cuts, vocalist April Hendrix – who has sung with the band 3rd Force – lends a refrain of “my love, is always with you, my love, so strong” that adds a haunting quality to the song’s texture. On that song, Chaquico’s guitar often has a trippy, psychedelic sound to it. On “Girls Night Out,” he uses the TalkBox to recall Peter Frampton.

In a departure from recent CDs, Chaquico sticks with the session band that’s played with him for years. That includes longtime co-writer and composer Ozzie Ahlers, saxophonist Kevin Paladini, bassist Jim Reitzel, drummer Wade Olson and percussionist Marquinho Brasil. It all combines for another strong effort for the former guitarist for Jefferson Starship.

Smooth grade: B

Vernon Neilly & G-Fire (With Mark Whitfield)
G-Fire II
(Boosweet)

Vernon Neilly is a Southern California guitarist who runs his own label from the Inland Empire town of Rialto. He’s one of the growing numbers of smooth jazz musicians who use their own wile and pluck to get their music heard, and his music is worth hearing. He may not be heard too often on commercial radio, but he’s a favorite at Internet radio stations and makes music as palatable and enjoyable as the top musicians in the genre.

His first CD was marketed simply as G-Fire and featured him and other longtime studio and touring guitarists Miguel Mega, Kevin Chokan and Morris O’Connor. All wrote four songs each for the album. On G-Fire II, Neilly gets more credit, Mega and Chokan play on a few tunes but O’Connor is gone and in his place is respected jazz guitarist Mark Whitfield. Whitfield really leaves his mark on this project as some songs feature him exclusively while Neilly gets the spotlight on others. They don’t play on the same songs.

It’s a nice mix of guitar styles. Whitfield, for example, lays down some Benson-like lines in the CD’s opener, “LFO,” while Neilly comes back on the next track with the easy-listening “Por Mi Amor.” This song is so lounge-y it’s cool. Imagine you’re in a bar in the 1960s with a martini. Neilly also play keyboards here, and layers both that and his guitar over each other so they often play the same notes at the same time. The rest of the CD lives up to those two songs, which by the way are included on the CD as longer, non-radio cuts.

While it stays firmly rooted in easy-listening smooth jazz (none better than “Smoov Soul”), there are several musical styles that come into play. For example, both “Sweat” and “Twinkle Toes” (with Chokan) give a shout-out to reggae and are so infectiously upbeat it’s hard to grin while playing them. On “Lumi’s Song,” Neilly hands the guitar over to Mena, who plays a funky guitar on the album’s most rock-ish tune. With the marvelous “Afternoon Drive,” Neilly gets to show his vocalese skills a la Benson while programming some wonderfully quirky, 1960s-type drum sounds.

G-Fire II really shows a grasp of smooth jazz. This may be the album of the year for someone you’ve never heard of before, but deserves much wider recognition.

Smooth grade: A

Jon Lucien
A Time For Love
(Sugar Apple)

If you listened to smooth, romantic vocal jazz back in the 1970s, there’s a good chance that somewhere along the way you grooved to a sexy baritone belonging to Jon Lucien, one of the creators of the “Quiet Storm” genre. After a period of musical inactivity, Lucien resurfaced in 1991 with a comeback album called Listen Love that went straight to the top of Billboard’s Contemporary Jazz charts. After a few projects with the Shanachie label – which features many smooth jazz artists – Lucien is back on the Sugar Apple label with another stunning CD of sentimental songs. Lucien, now 62, is unabashed in his offering of sweetness that’s sure to warm hearts coast to coast.

On this 12-song collection, Lucien chose to cover songs from some of America’s finest composers with his primary musical partner and song arranger, pianist Bill O’Connell. Lucien is thoughtful enough to actually hip you to the musical style of each song in the liner notes, so you’ll hear bossa nova, swing, six-eight rhythms and swing-funk, which he calls “swunk.” He also includes an original song called “Mi Bolero,” a Spanish ballad with a soft accompaniment of congas.

On much of the CD, Lucien sings with such a determined mellowness that he almost lulls you to sleep. But on the best moments – on the swing songs “They Way You Look Tonight” and “Speak Low,” as well as the samba-ish “This Is All I Ask” – Lucien stretches his vocal chops and you can picture his energetic band smiling as they get a jazz workout.

Smooth grade: B+

Smooth Sailing Sept. 7

There are so many smooth jazz, vocals and instrumental CDs released these days that it’s easy for many artists not named Boney, Mindi and Kenny to get lost in the shuffle.

Here’s a look at some CDs that are worth listening to:

James Hollihan
The Funky Misfit
(Nuevotron)

You know by looking at the CD cover and title that this is going to have its “weird” moments. Surprisingly, though, this album has some of the best musical moments of the year. Guitarist Hollihan is influenced by cocktail composers such as Henri Mancini and Michel Legrand, but he also has a real ear for mellow jazz, such as on the “The Waltz of Leaves” and “The Hush of Love.” On “Cypress Shores,” his Wes Montgomery-like guitar makes this tune sound like it came gift-wrapped from the groovy 1960s.

A solid CD throughout, The Funky Misfit will appeal to those who enjoy jazzy guitar and piano work in songs that are easy to listen to. Think mellow jazz from a Clint Eastwood movie. This CD is destined to become one of the best CDs no one’s ever heard of.

Smooth grade: A

Various Artists
Unwrapped Vol. 3
(Hidden Beach)

Like hip-hop and R&B served with your smooth jazz? Hidden Beach Recordings has your cup of tea with Unwrapped Vol. 3, which features jazzy interpretations of some of today’s hottest urban and rap music from such contemporary musicians as guitarists Dennis Nelson, bassist Andrew Gouche, violinist Karen Briggs and saxophonist Mike Phillips.

Here are hits like 50 Cent’s “In Da Club,” Eminem’s “Lose Yourself” and Outkast’s “The Way You Move.” The CD also honors three late rap stars, Tupac Shakur, Biggie Smalls and Jam Master Jay, with medleys of their songs. Keyboardist Jeff Lorber appears on three tracks: “P.I.M.P.,” “Tupac Tribute Medley” and “Doo Wop (That Thing).”

Smooth grade: B

Plan 9
Rearview
(Plan 9)

Plan 9 is a quirky, fun band that on its new album offers 13 versions of songs from the ‘60s, ‘70s and ‘80s that have definitely stood the test of time. The first single is "Watcha Gonna Do," which features David Jenkins on vocals, who performed on the original 1977 version of the Top Ten hit with the '70s pop group Pablo Cruise.

The album, a combination of instrumentals and vocals, features vocalist Larry Hoppen on “Dance With Me” (an original member of the group Orleans, which had a big hit with the song) and Rick Melvern on “Blinded by the Light.” Other tracks on this delightfully fun CD include two – count ‘em – two version of the “Gilligan’s Island” theme, “You’ll Never Find,” “FM,” “Too Hot” and “Superfriction.”

Smooth grade: B

Various Artists
Windham Hill Chill 2
(Windham Hill)

Given today’s popularity of chill music, it’s not surprising that the original chill label, Windham Hill, has released another compilation of music from its ultra laid-back catalog. These songs may not get played in trendy New York clubs, but it’s worth a listen to hear the great, new age-ish compositions but such top artists as Jim Brickman, Patrick O’Hearn, Liz Story, Yanni, Shadowfax, Will Ackerman, Scott Cossu and many others. More than two hours of music makes this a great buy.

Smooth grade: B

Patrick Yandall
From the Ashes
(Apria)

Patrick Yandall is a San Diego-based guitarist who was forced to flee devastating fires in Southern California in 2003. He made it, and so did his house, but he was inspired enough by others’ show of courage that he used the experience to guide his latest CD. Yandall doesn’t get much airplay, but he writes memorable smooth jazz songs and has a sweet, Lee Ritenour style of guitar playing that goes down easy. “Heart Promise,” “Club Humphrey’s” and “Hope Springs Eternal” – the first three songs – could all find favor on radio if given a chance.

Although Yandall knows how to play smooth jazz, it’s obvious that there’s a rock star just dying to get out and show his stuff, which he does on the last song, “Firestorm.”

Yandall makes smooth, intelligent guitar-based instrumental music that draws from his rock, jazz and blues influences. It’s good stuff.

Smooth grade: B+

Alan Hewitt Project
Noche de Pasion
(215 Records)

Alan Hewitt is a keyboardist who biggest coup was gathering some pretty impressive players for this CD, including Euge Groove on the title track, Michael Lington on “Love Feeds the Fire,” Jonathan Butler on “Sweet Thing” and Mindi Abair on “U Touch Me.” The best songs on the album, though, don’t have the big stars. “Blue Sky” is a jazz ride with guitarist John Defaria and “Reminisce” is a gorgeous ballad with Gerald Spikes on saxophone.

This is a pretty typical smooth jazz album, but it’s also one that has its good-to-great moments.

Smooth grade: B

Rhian Benson
Gold Coast
(DKG)

Rhian Benson is a vocalist who is marketed to the smooth jazz audience much like Sade is. Benson obviously has a great voice, deep and jazzy, and she puts it to good use on 14 songs. Actually, there are only 13, but Benson is obviously the superstitious type, as track 13 is four seconds of silence. Track 14, “Spirit,” is the best one of the album – it has choruses are sung in the Ghanaian and Ashanti languages. It’s a very spiritual song.

If you like soulful vocals over a smooth-jazz/pop beat, you could do a lot worse that Gold Coast.

Smooth grade: B

Ed Johnson & Novo Tempo
Movimento
(Cumulus)

Guitarist Ed Johnson’s third CD is a musical treat, a breezy slice of Latin rhythms featuring five vocal tracks sung in English, Portuguese and Spanish. But the CD has an overwhelming Brazilian presence, which is helped by a stunning cover of Antonio Carlos Jobim’s “A Felicidade.” Johnson’s guitar takes most of the leads, of course, but there are plenty of horns, samba shuffles and beautiful vocalese. And, of course, Johnson has the kind of lilting, sing-song voice perfect for this kind of music.

Especially compelling is “For T,” which is the kind of dreamy ballad with wordless vocals that Pat Metheny would have done on his Brazilian-influenced CDs. Put it on and be transported to the beaches of Rio.

Smooth grade: B+

William Joseph
Within
(143/Records Reprise)

Pianist William Joseph is a protégé of legendary composer David Foster, who leaves his classical and movie-theme imprint all over this CD than can for the most part be described as “beautiful music.” Joseph is best when accompanying sweet strings on the original and utterly gorgeous “Stella’s Theme” and on the album’s best track, Bach’s classic “Ave Maria.”

To show he’s a modern guy, Joseph interprets Led Zeppelin’s “Kashmir” and Kansas’ oft-heard “Dust in the Wind,” which both break up the mood a bit. Overall, though, Within is the kind of CD that fits nicely on the shelf next to Jim Brickman, Yanni and John Tesh.

Smooth grade: B

Ron Fattorusso
Up All Night
(Secret Formula)

You don’t have to hear much of the first song on this CD to realize veteran session player and saxophonist Ron Fattorusso knows his way around a smooth jazz song. His throaty sax leads a memorable melody, and a guitar solo breaks things up nicely.

It’s hard to maintain that pace over 15 songs, however. “Up All Night” has some nice moments, but to make a more memorable CD Fattorusso has to concentrate more on the melodies and hooks.

Smooth grade: C

Here are some brief reviews of other CDs:

On Rare Requests Volume III (Liquid 8), the third installment of this popular series, you can find all in one place 12 songs that may be hard to find. They “Last Look” by Torcuato Mariano, “Passion Theme” by Warren Hill, “Always There” by Ronnie Laws, “Rise” by Leo Gandleman and “Tell It Like It Is” by Michael Lington and Bobby Caldwell. Smooth grade: B

Jazz trumpeter Vince Mai says his newest CD, Subte (Mai-Music) is inspired by Latin American music and the European club scene. This eclectic mix is a delightful combination, and while this is far from a smooth jazz CD it’s very listenable with some memorable songs. Highlights include the blues-samba of “U&I,” the Chris Botti-like horn lines in “El Castillo” and “For Carole” and the radio-friendly “Nova Bossa” and its dreamy vocalese. An impressive CD. Smooth grade: B+

The British musical funk and groove adventure known as Incognito, with lead man Jean-Paul “Bluey” Maunick, returns with slamming instrumental grooves and soulful vocals with Adventures in Black Sunshine (Narada), the group’s 10th Cd. The 15-song album is inspired my soul music from the 1970s and features such songs as “Don’t Turn My Love Away,” “Autumn Song,” “Beyond the Clouds” and a cover of the Doobie Brothers’ classic “Listen to the Music.” Vocalist Maysa, who earned her chops with the band, returns to sing on the vocal tracks. Smooth grade: B

You’ve probably heard the work of guitarist Daryl Stuermer many times. He’s played on all of Phil Collins’ solo CDs and is currently touring on Collins’ slyly named First Final Farewell Tour. On Stuermer’s work, Retrofit (Urban Island), he offers nine original songs plus one, “The Least You Can Do,” that Collins co-wrote. Stuermer likes to rock with his electric axe, but he can also play pretty smooth jazz songs and even layers his guitar a la Craig Chaquico on “I Will Remember You.” That and “Promises” and “Midnight Traveler” are the smooth jazz highlights. Smooth grade: B

Alto saxophonist Tom Meston on Upside (Stir-Fry) offers 11 songs that combine fusion, funk, R&B all into one tidy package. Jazzy and meaty, it’s worth a listen for adventurous types. Smooth grade: B

Smooth jazz fans who like Brazilian music may be interested in In Your Dreams (Exit) by vocalist and acoustic guitarist Barry Wedgle. It’s easy listening, and Wedgle has a nice style that recalls Earl Klugh. Standout tracks are “Sea Level,” “Lluvia en Avila” and “Voce se Lembra.” Smooth grade: B+

To hear two of the best chill-music CDs around, check out the Higher Octave label’s Jazzy Chill Out (featuring Eric Jan Harmsen) and Bluesy Chill Out (featuring Dave “BK” Jeffs). You’ll understand what all the fuss is about on these eighth and ninth in an amazing series of music that relaxes, inspires and even make you want to dance. Many jazz and blues samples wrap around ambient grooves that are perfect for those after-party chill sessions. Smooth grade: A

Smooth Sailing: Aug. 23

New reviews of Boney James, Soul Ballet, Rick Braun, Everette Harp, Al Jarreau and Theo Bishop.

Boney James
Pure
(Warner Bros.)

Saxophonist Boney James is one of the few smooth jazz artists who is able to cross over into the R&B genre, which is one reason why his latest CD, the follow-up to 2001’s Ride, entered the Billboard Top 200 charts at No. 66. He’s able to do this because he picks either established or up-and-comers to sing on his vocal tracks. But James is also savvy enough to actually make sure that his vocal tracks are memorable, instead of throwaways. You can hear this on “Better With Time,” the first single to R&B radio featuring singer Bilal. It’s a righteous groove that’s “getting better baby, like a stone-soul record, baby.” On the equally good “Appreciate,” soulful Debi Nova adds a rapid vocal groove that harkens to radio soul songs of the ‘80s and has a killer hook, to boot.

Of course, no one does smooth sax songs better that Boney J. His first single, “Here She Comes,” is racing up the smooth jazz charts, and there are plenty more to follow. Hooks and unforgettable melodies abound. The title track, “Pure,” opens with groovy organ and seamlessly segues into James’ sensual and deep sax sound. “2:01 AM” is a slow burning ballad with Boney blowing long