Jessy J—True Love

Here’s an interesting and romantic project, True Love, from the gorgeous Latina sax sensation, Jessy J. With the stylish contributions from producer/guitarist Paul Brown (who actually produced this effort, as well as Tequila Moon) and keyboardist Gregg Karukas, among others, the artist has managed to lock into her rich Latin heritage for a light, airy, laid-back journey through the tropics and beyond. There are distinct differences between True Love and Tequila Moon, and I’m still deciding if I like this latest venture better—or even as much--as that debut wonder, but this project is replete with comfortable and pretty melodic passages and hooks, as well as sexy Latin vocals, that soothe and beckon and certainly take nothing away from this young lady with a host of gifts.

Paul Taylor – Burnin’

People often talk about hearing an artist as he or she has never been heard before. Well, truer words were never spoken when listening to this new project, Burnin’, from master saxman Paul Taylor, scheduled for release on July 21. Here is Taylor in a new but no less electrifyingly appealing fashion. His use of the tenor sax on 9 of the 10 tracks, with a lot of retro or old school touch (think Junior Walker & The All Stars and other drivers and churners of that era), is a welcome and fresh diversion.

How this approach came about is humorously interesting. As Taylor puts it, “The focus on the tenor happened by very happy accident. I thought it would be cool to bring my tenor along with my soprano and alto to the sessions…When I got to the studio and opened up my cases, I saw that the soprano was damaged.” Now, a more unprepared, unimaginative, and rigid artist might have postponed the sessions and replaced the soprano. Taylor, being quite insightful and adventurous, decided to plow ahead and write, along with veteran producers/keyboardists Barry Eastmond and Rex Rideout, some of the gutsiest and tightest material Taylor has released to date.

What We're Listening To ** June

B R I A N * S O E R G E L

Paul Brown/Marc Antoine: Foreign Exchange (Peak)

Jay Soto: Mesmerized (NuGroove)

Joyce Cooling: Global Cooling (Group 2)

Torcuato Mariano: So Far From Home (NuGroove)

Will Downing: Classique (Peak)

The Jazz Attack – Live at the Birchmere Music Hall in Alexandria, VA

Last Thursday, June 25, I had the distinct satisfaction of attending a concert by the Jazz Attack (Richard Elliot, Jonathan Butler, and Rick Braun) at one of our esteemed local hot spots for smooth jazz, the Birchmere Music Hall in Alexandria, VA. To say I definitely received my money’s worth is like saying LeBron James is an "o.k." basketball player!

These guys are only one of two acts I’ve seen so far this year that could qualify, in my mind, as the concert of the year. Seriously. Flawlessly exhibiting style, charm, charisma, a genuine love for the music and its fans, the Jazz Attack was the concert you always hope you’ll get but perhaps, more than once and for whatever reason, don’t.

Killer Groove Band Hosted By Las Vegas Jazz Society

The Killer Groove Band performed at the Whitney Library Amphitheater in Las Vegas on June 14th, and debuted material from their upcoming release called "Get Out" on Misatajo Entertainment. The band was very well received and had the opportunity to bond several generations of jazz aficionados.

Andre Rieu, dutch violinist and showman, who has sold more than twenty-five million albums worldwide, performs at the Orleans Arena on Wednesday, June 24th.

Blu7 performs this week at the House Of Blues in Las Vegas. Blu7 is also another very original, eclectic jazz ensemble emerging in the City Of Lights.

Darcus Speed, talented r&b jazz vocalist, performs weekends at Bugsy's.

Saturday nights have been hosting packed crowds at the Palms Hotel with Santa Fe And The Fat City Horns and their funked up fat grooves shaking the walls of the house.

Alexander Zonjic – Doin’ the D

“In the classical world, the flute has a huge stature, but it has struggled in recent years to be considered as a solo jazz instrument on the same level as the saxophone or guitar or piano.” So says jazz flutist Alexander Zonjic. Well, with his persistence and perseverance-- along with that of fellow flutists like Althea Rene and Nestor Torres-- the flute, as an enticing entity with its own personality and presence, is certainly on course to being anything but “lightweight.” This is quite evident with Zonjic’s latest effort, Doin’ the D, a reference, by the way, to a popular catchphrase in the Detroit area, where Zonjic has resided for the better part of 30 years. The phrase is said to mean spending an evening or a weekend checking out any of the various cultural attractions offered by the city’s rich musical history and cultural diversity. This recording captures the essence of that adventure.

Najee – Mind Over Matter

This latest from veteran saxophonist Najee is pure Najee with new motivation and vision. Mind Over Matter, the CD’s title (a title inspired by the late Miles Davis’ improvisational approach to songwriting toward the end of his career), is due to hit stores on August 25 and focuses on the feel and groove of the music as opposed to the usual mechanics of it all (phrasings, harmony and melody balancing, etc.). This is an at-its-core production that simply goes with the flow, and what a flow it is. Najee’s inherently polished skills in both musicianship and songsmithing remain clearly intact and devoid of the ho-hum of some jazz that’s rushed through just to keep the bills paid.

Noel Webb – Give It All

Five tunes. Ordinarily, seeing an album offering just 5 tunes might give one pause. That’s if they were just 5 tunes. These are five tunes from the very talented and insightful violinist Noel Webb who manages to wrap so much of himself in a tight fusion net that he unfurls here with equal doses of fervor and finesse. Give It All does just what its name commands and in electrifying fashion. These are not even long tunes (average is about 4 ½ minutes). Geez, it’s over before you can grasp what’s going on, you say? Wrong! This short ride is as enjoyable and defined as any 12-track project you’ve experienced. Obviously when you’ve limited yourself to such a short amount of time to strut your stuff, you want it to be with everything you’ve got. Webb has done that here.

The opening, very catchy tune sets the indelible mark on this project, and the rest of the album simply sails along, punctuating that opener. The fresh version of the classic “Where is the Love” with some really effective vocals provided by Trena Steward and Joel Gaines is quite refreshing, as is the popping, rather funky mid-tempo ditty at track three, “Take the Journey”, and track four with its lazy, soulful melody caressed by Webb’s fluid violin. Track 5, appropriately entitled “Cool,” is a finale that leaves us with a slinky, catchy melodic groove that has a mind of its own as it rolls along before the hook explodes in a marvelous crescendo.

Noel Webb is one who can definitely get away with a truncated CD. This production is loaded with some nicely arranged aural pleasures that most won’t have a problem replaying and replaying, despite its length. More is not always better. Sometimes, as singer Joss Stone once put it, “Less is More.” Case in point is certainly found in Give It All.

Marion Meadows - Secrets

Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a personal perspective on the very best from the world of smooth jazz and classic soul. Sax-man Marion Meadows has been at the cutting edge of contemporary jazz since 1990 and the release of his debut album For Lovers Only. Over the intervening years eight more highly acclaimed collections have followed with the last four being on the consistently outstanding Heads Up label. Now he is all set to strengthen that association with his ninth solo recording, Secrets, which hit record stores across Europe on June 8, 2009.

Indeed, from as far back as his 2002 CD, In Deep, a significant feature of Meadows music has been the input as writer and producer of Michael Broening. With Secrets Broening again sprinkles his groove drenched magic over six of the twelve choice cuts and, in the company of regulars Mel Brown on bass and guitarist Freddie Fox, helps deliver some of the best contemporary jazz you will hear this year or next. With four more original compositions and two sublime covers Meadows ensures that Secrets is an album of the highest quality imaginable.

Hiroshima--Legacy

Well, there are “best of” collections and then there are testaments to legacies. Heads Up recording artists Hiroshima couldn’t have tagged their latest project in a better manner. Having more years under their recording/performing belt than some artists have had birthdays, this veteran jazz fusion group dropped in on us with its unique brand some 30 years ago and has been welcomed back with robust enthusiasm ever since. Legacy, in stores on August 18, captures some sensational moments in the group’s career, and while including original members, also includes appearances and stellar performances by guest artists embraced as "family" by the group (e.g., Terry Steele -- "Save Yourself For Me" will always be one of my favs!).

I understand that founders Dan and June Kuramoto hope to build a series from this pilot. Personally, from what they’ve presented here, they could do that successfully and easily. By the way, they’ve not only chosen the tunes well, but they’ve made certain that more than a few lengthy ones are tossed in. Such generosity is not lost on this writer.

Jason Weber--5

Jason Weber is one of those cool, smooth saxmen who can pour out funk, attitude, and polish all in one note. Five is the latest undertaking by this artist who now has--you guessed it--five albums under his belt, each with its own personality.

I first learned of Weber a while back, just after the 2002 release of his funky Something Blue album. I was so impressed then that I dashed off a note of personal congrats to him (I don’t even think I had started reviewing CDs as a contributing editor or staff writer for any site then). It certainly gives me great pleasure to report here that the man still “has” it and simply lays on the line all of his fine smooth, funk, and bluesy touches, just as he did “way back” in 2002.

THIS WEEKEND: 31ST ANNUAL PLAYBOY JAZZ FESTIVAL

Written by The Jazz Gypsy

There's no better way to spend the upcoming weekend than at the legendary Hollywood Bowl enjoying great food, good friends and exceptional jazz at the 31st Annual Playboy Jazz Festival.

2009 PLAYBOY JAZZ FESTIVAL

Saturday, June 13, 2009, 2:30 P.M.--11:00 P.M.
Sunday, June 14, 2009, 2:00 P.M. -- 10:30 P.M.

Hollywood Bowl, 2301 North Highland Ave, Los Angeles, California 90068

TICKETS: www.ticketmaster.com, over the phone by calling (213) 365-3500 or (714) 740-7878, at any Ticketmaster outlet or by downloading a ticket order form available at www.playboyjazzfestival.com.

Paula Atherton - Groove With Me

Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a personal perspective on the very best from the world of smooth jazz and classic soul. As if from no-where, and courtesy of her brand new project Groove With Me, singer, songwriter and woodwind player Paula Atherton has dramatically emerged as a major player on the contemporary jazz scene. This sensational collection features eleven of Atherton’s original compositions plus one well chosen cover and, with the perfect blend of instrumental and vocal cuts, oozes quality throughout. The production of Lou Gimenez (who also makes significant contributions on acoustic and electric guitars) is never anything short of top-notch and with some fantastic guest musicians to lend a hand the entire recording is a total delight.

Dave Koz, Capitol Part Ways; Signs With Concord

Smooth jazz saxophonist Dave Koz and the legendary Capitol Records have ended their almost 20-year partnership as Koz has been signed by the Concord Music Group. The label is expected to release a new CD by Koz later this year.

It was back in 1990 that Koz released his self-titled debut on Capitol, and followed that in the 1990s with Lucky Man, Off the Beaten Path, December Makes Me Feel This Way and The Dance. This decade has seen Saxophonic, At the Movies, Memories of a Winter’s Night and Greatest Hits. The latter CD features the current Top 5 single “Bada Bing.”

In 2002, Koz co-founded Rendezvous Entertainment, where he released music by other artists but not his own. Last year, Rendezvous was sold to Mack Avenue Records. Koz joins an impressive list of artists at Concord, including Boney James, Kenny G and Vanessa Williams. Concord also releases smooth jazz music through its Peak and Heads Up labels.

Peter White’s ‘Good Day’ Has All New Tracks, One Song With Basia

Popular smooth jazz guitarist Peter White has finished a brand-new CD titled Good Day that features all-new original songs. The CD is his follow-up to 2006’s Playin’ Favorites, which boasted two #1 Smooth Jazz singles, “What Does It Take (To Win Your Love)” and “Mister Magic,” which combined spent 24 weeks at the top of the charts.

Produced by White, DC and Philippe Saisse, the guitarist says that seven of the CD’s 10 songs sprang from ideas that he has accumulated over the past 10 to 15 years. Those songs include “Always, Forever,” “Temptation,” “Mission 2 Mars” and “Bright,” the latter dedicated to the late Wayman Tisdale.

Other songs include the title track by Michael Egizi, who also co-wrote Peter’s smooth jazz hit “Turn It Out”; “(UN) Forgiven,” based on a musical idea by David Kochanski and DC; and “Love Will Find You,” recorded around a pre-existing track by White's brother, Danny White, and featuring new vocals by Basia.

Says White: "My last CD, ‘Playing Favorites,’ was all cover songs. So I won’t be doing any more cover songs for quite awhile, I think. But I’m been working on a new album, and I brought in Philippe Saisse, who I think is a genius. And he’s really kicked it up quite a few levels. I think the world doesn’t want another mediocre smooth jazz album. I have a feeling it might be my best album ever. That’s all I can say. I mean, I’ve really taken my time with it and I’ve been drawing on material that I’ve had over the last 10 years that I’ve stockpiled to put the album together."

Good Day track listing

Good Day (White/Egizi) – 5:55
Always, Forever (White/DC) – 5:08
Just Give Me a Chance (White) – 4:39
Love Will Find You (White/White/Basia) – 3:16
(Un)Forgiven (Kochanski/White) – 5:18
Temptation (White) – 6:18
Mission 2 Mars (White) – 5:46
Bright (White) – 4:13
Lamont’s Lament – Ramon’s Revenge (White) – 6:56
Say Goodnight (White) – 3:38

Trumpeter Offers Free Download Of Hit Single

Trippin N Rhythm, the U.K. based Smooth Jazz label that releases CDs by Paul Hardcastle, Gregg Karukas, Oli Silk and others, has signed American trumpeter Cindy Bradley and will release her major-label debut CD at the end of the month. The CD, titled Bloom, features the smooth jazz hit single of the same name.

To promote the CD and single, the label is now offering “Bloom” as a free download. To get the single, go to trippinrecords.com. Bradley’s CD, due in stores June 23, includes nine other original songs written and composed by Bradley and Michael Broening.   Guests include Marion Meadows, Tim Bowman, Jaared and Jay Soto.

Joyce Cooling – Global Cooling (and interview)

Joyce Cooling is happy. No, I don’t just mean her mood at any given point in her obviously productive and lucrative career. I mean she represents happy. Her music sings happy, it cries happy, it feels happy. Her latest release, Global Cooling, with all of its smoothness and bluesiness and even exoticism, is happy. You feel the smiling groove from the opening notes of track one, a mid-tempo funky blues ditty, and that feeling follows you throughout this fine production.

What We're Listening To ** May

P E T E R * B O E H I

Terri Lyne Carrington - More To Say... (2009)
Female drummer TLC releases a superlative album, it is deep and has a lot of substance, featuring smooth jazz and contemporary grooves by a stellar line-up of the highest order. "Hold Me Again" and the soul-jazz version of the Beatles' "Let It Be" will blow your mind. A revelation!

Jay Soto - Mesmerized (2009)
Guitarist Jay Soto offers another picture perfect and mesmerizing smooth jazz album full of top-notch playing and catchy compositions. Smooth jazz bliss!

Gregg Karukas - GK (2009)
Keyboardist Gregg Karukas delivers another smooth jazz gem, strong compositions and great playing from beginning to end, just perfect. Gregg rules!

Chris Botti - In Boston (2009)
I just watched the Blu-Ray of this concert that defies categorization - Chris Botti crosses every musical border you can imagine boasting a dizzying array of world-class guest artists ranging from Sting to Yo-Yo Ma, backed by the Boston Pops and his incredible band in the gorgeous Boston Symphony Hall. From jazz to pop to classical, it is a great amalgam of music. World class!

Miles Davis - Kind Of Blue (50th Anniversary Box Set, Collector's Edition) (1959)
As usual I would like to make a nod to a classic album of the past, and after the Chris Botti DVD, this milestone of music history by Miles Davis is an appropriate choice. 50 years after its original release, Legacy bring to us this incredible super deluxe packaging with a gatefold media carrier that contains a 180 gram single-LP pressing on blue vinyl, two discs complete with previously unreleased tracks along with a bonus DVD. Also included is a 60-page 12x12 book, memorabilia envelope, and large fold out poster. Still mind-boggling after all these years. Belongs to every collection!

Smooth Jazz Dead? Look again!

O.k., here’s how the optimist in me sees this dramatic—and seemingly traumatic-- scenario being played out by broadcasters, advertisers, and program directors all across “Radio America:” The smooth jazz format is being flipped more than a stack of pancakes at IHOP. There’s no denying that anymore (although I admit to being in such a state of denial for quite awhile). For advertisers and broadcasters, being the kind of marketing beings they were trained to be, the format is spelling so-called disaster to them now, even though it was the rave for well over 20 years. Why? I’m told because there is frustration over “what the music has become.” What has it become that is such a turn-off? And who’s saying this, by the way?

Torcuato Mariano—So Far From Home

So Far From Home is the fifth effort by Argentinian guitarist Torcuato Mariano and is quite a refreshing and crisp production. His skill on guitar is more appealing with each release. There are those signaling that this may be his best to date. That may well be true, although I still hold a certain affinity for his 2006 “Lift Me Up” release. The very pleasant hints of Brazil and Latin influences on this latest project do a remarkable job of enhancing the mood and flow of the album.

Mariano lists several artists who have influenced or caught his ear, but the artist he considers to be his primary influence is rocker Jeff Beck, whose unique style often included some really decent jazz fusion material. Apparently, Mariano listened well, as is evidenced here.

So Far From Home has some melodic moments that are both stirring and appealing. There’s “Back to the Road,” a mid-tempo “conversation” that has a lot of rock and fusion guitar bite and clarity. Adding some nice sax work by Marcelo Martins, it’s definitely one of my favorites here. The tight and funky “British Time” gets my vote, as well, for its spunkiness and brilliant instrument phrasing. The romantic and soothing piece, “Tell Me Your Dreams” is quite enough to coax those dreams out of you with ease. In addition, the coolness of some great straight-ahead tendencies blend well with smooth jazz elements on “DF,” and the exotic allure of Brazil abounds in “Ipanema Sunset.” The adept guitarist even treats the blues with his own interpretation, flavor, and soulfulness in, appropriately, “Blues Days.”

Diversity is the order of the day on this project. Obviously conceived with such eclecticism in mind, Mariano has hit his mark dead-on here.

Tony McGhee--The Jazzy Side of Smooth

Last year, I wrote at Jazzreview.com about an up-and-coming drummer, Tony McGhee, his right-hand man, a heavy-handed funk bassist named Darryl Braswell, aka “Brazz,” and their smokin’ release, Who Is Tony McGhee? Anyone following my lead and picking up a copy of that album quickly and happily discovered the answer to that question. Well, to further elaborate on this artist’s—and his cohort’s—identity, the pair has just released a follow-up album, The Jazzy Side of Smooth, which keeps the groove in that slick, funk vein.

The bite and “phatness” of the bottom-heavy tunes here are quite prevalent. After a brief and interesting “Intro,” the project comes out of the starting gate with a smooth and snappy little piece called “Come On Let’s Ride.” This overall “ride,” by the way, gets quite interesting very early on as, on its heels, comes the tight, slinky, and funky “Bounce,” surely to appeal to all those sexy ladies who love to take their time strutting their stuff on the dance floor in that oh-so-deliberate, seductive fashion. That’s a visual that’s simply commanded by the piece.

Other funksters include “Lil’ Heartbreaker,” “Brazztone” (hmm…wondering how they arrived at that title?), and “Cha Cha Momma” with its catchy vocals and hook (I just wish this one had been longer. It’s quite an addictive groove and is my fav here). These are just the tip of the iceberg, as the album struts tasteful funk throughout.

The Jazzy Side of Smooth is not only laced with good, solid funk, it’s well-written and contains very tasteful melodies, runs, and quite decent vocal harmonies. It’s a consummate piece for the jazz funkster who likes his/her material with teeth. The Jazzy Side of Smooth is available via CDbaby.

Smooth Jazz Rides The 'L' To Find A New Home At WLFM Chicago

No sooner had WNUA 95.5, Chicago slammed shut its door on smooth jazz than WLFM, which broadcasts from atop the John Hancock Center, activated its 87.7 FM frequency in the Chicago-land area and acquired broadcast rights from the Smooth Jazz Network for the smooth jazz format. The new station will go by the nickname of ‘The L’ and will have the catchy slogan of “Smooth Jazz Rides The L, WLFM 87.7 FM, It’s New Radio Home In Chicago”.

Although initially the output will be nothing more and nothing less than the syndicated programming from Broadcast Architecture that some blame for the demise of the radio we knew and loved, press reports suggest that ‘The L’ plans to reconstitute the cutting-edge community approach to smooth jazz in Chicago that, in its heyday, WNUA demonstrated so well. One of its main goals will be to create a station that has a very strong Chicago identity with a musical mix that represents what Chicagoan’s have been asking for

Over the next few months ‘The L’ will use extensive market research to formulate an increasing amount of locally based programming. However, for now, we should all rejoice that, in Chicago, smooth jazz is back on the dial.

KKSF And WNUA Pull The Plug On Smooth Jazz

WNUA 95.5, the once proud voice of smooth jazz in Chicago, is no more. Effective May 22nd, 2009 at 9-55am the station flipped formats and, in so doing, sadly deprived a city that has music pulsing through its veins of an outlet which had served it well for the past 22 years. Although the station will retain an ‘on-line’ smooth jazz presence this is another indication that the days of contemporary jazz radio as we knew it and loved it are now strictly limited. As a frequent visitor to the mid west this hammer blow carries with it a very personal significance and I am saddened that an entire listening community has, in effect, been disenfranchised.

The news from Chicago only made what was already a bad week for contemporary jazz radio even worse. On May 18 KKSF 103.7, which has been providing San Francisco and the Bay Area with smooth jazz for the last twenty years also switched formats, in this case to something it is describing as ‘103.7 The Band’ but which in reality is no more than an oldies station playing hits from 60’s and 70’s.

Both broadcasters have cited economic considerations and a loss of advertising revenue as the main drivers for this change and KKSF even claims the decision was only made following ‘exhaustive market research’.

One is left to ponder on just where does the genre go from here.