Long before the term ‘smooth jazz’ had been invented, the collaborations between Bob James and Earl Klugh were doing much to shape what followed. The seminal albums that they recorded together were memorable not only for the magical quality of the music but also because of the simple yet innovative art work that was used to adorn each sleeve. For the 1979 ‘One on One’ that image was of a match book. Thirteen years later ‘Cool’ predictably displayed a cucumber. The subject of this retrospective, the 1982 ‘Two Of A Kind’, was illustrated with a pair of aces. In fact, as a partnership or as solo artists this is exactly what James and Klugh were, a pair of musical aces, and ‘Two Of A Kind’, does much to demonstrate why.
‘Too Hot’ by sax man supreme Tom Scott is the blistering new radio single from his latest album ‘Telling Stories’. It features a wonderful vocal duet by Paulette McWilliams and Will Downing but, what is less known, a different version of this Kool & The Gang blockbuster appeared, twenty one years ago, on Scott’s 1990 CD ‘Them Changes’. The project was in fact a collaborative effort between Scott and his fellow house band members who played together on a short lived television talk show hosted by ‘Wheel Of Fortune’ stalwart Pat Sajak. Each of those involved went on to enjoy successful careers as session players while one of them, a certain Dave Koz, became a superstar in his own right.
In terms of the evolution of what is known as smooth jazz, there can be no more influential album than ‘Breezin’ by George Benson. This seminal collection was released in 1976 and remains a beacon both for the talent of this consummate artist and the impact it had on those who followed. ‘Breezin’ is crammed full of timeless tunes yet equally, reflects an era when artists and producers were under less pressure to conform. Consequently, although virtually unheard of today, the fact ‘Breezin’ only comprised six tracks, and that three of those tracks had running times of over seven minutes was, back then, simply a statement of quality over format. I originally purchased ‘Breezin’ on cassette tape shortly after its release but recently was fortunate enough to rediscover this superb piece of work, on CD, hidden away in the ‘used’ section of a neighbourhood record store. Needless to say the memories came flooding back.
One of several smooth jazz artists who, in the nineties, were taken before their time, soprano saxophonist George Howard was a pioneer in the fusion of funk, jazz, and urban soul that found a home under the banner of ‘smooth jazz’. In 1982 he released his debut recording, ‘Asphalt Garden’ on the Palo Alto label and although ‘Steppin' Out’ followed two years later it was not until the advent of his 1985 project ‘Dancing In The Sun’ that Howard really made an impression. Released on GRP, it rocketed to number one on the Billboard Jazz Album chart and each of his next three CDs, ‘Love Will Follow’, ‘A Nice Place To Be’ and ‘Reflections’ also topped the chart. However, after the success of ‘Dancing In The Sun’, Howard moved to the MCA label but by 1990 was back with GRP for a succession of memorable albums which included his 1994 effort ‘A Home Far Away’.
Just at that time in the sixties when soul music was first gaining a foothold, it was the blue eyed variety which often built a bridge between the worlds of pop and R & B. One star of this era was Philadelphia native Len Barry who enjoyed hits in 1965 with ‘1-2-3’, and ‘Like a Baby’. Both made the top ten in the UK singles chart while ‘1-2-3’ also peaked at #2 on the US Billboard Hot One Hundred. However, what many don’t know is that before this solo success Barry was the lead singer with Cameo Parkway recording artists The Dovells who were responsible for best selling records such as ‘Bristol Stomp’, ‘Hully Gully Baby’ and ‘You Cant Sit Down’.
Now, as part of its rollout of Cameo Parkway reissues, Collectors’ Choice Music in conjunction with ABKCO Music & Records is all set to release a double CD which combines The Dovells 1963 albums ‘For Your Hully Gully Party’ and ‘You Can’t Sit Down’. Due out on November 23, 2010 it will be in the company of two other double CD’s, Dee Sharp’s ‘It’s Mashed Potato Time’ – ‘Do The Bird’ and John Zacherle’s ‘Monster Mash’ – ‘Scary Tales’.
All three take an enticing glance back to the heyday of Cameo Parkway and are sure to be a lot of fun.
When I recently reviewed the new CD, ‘Realization’, from rising sax star Phillip ‘Doc’ Martin, an unexpected bonus was the discovery of his 2007 release ‘Pride And Joy’. Not only did the album herald in his own Saxtime Entertainment label but also contained a fine blend of well chosen covers and brand new music. Consequently, and to prevent this excellent ten track collection from being consigned to the folder titled ‘buried treasure’, it is not too late to look back to what is a splendid piece of work.
I am indebted to Saline McGuire of Chicago, IL who contacted me regarding a track he had heard on his local radio station by producer and composer St Germain. Unfortunately I was unable to trace the tune to which he referred but I was able to find the sensational ‘Sure Thing’ from St Germain’s 2000 CD ‘Tourist’.
Check it out here. This atmospheric chunk of chill music is a blast.
This excursion into the Smooth Jazz Archives has to some extent been fuelled by the wonderful version of ‘A Love Of Your Own’ that can be found on Paul Taylor’s latest CD ‘Ladies Choice’. With deliciously retro keyboards from producer Rex Rideout, vocals from Lauren Evans at soul factor ten and sax from Taylor that sends shivers down the spine this incredibly soulful smoker is as good as anything you will hear either this year or next. Originally written and recorded by the Average White Band, ‘A Love Of Your Own’ is notable for the quality of the covers it has spawned rather than their sheer number and, in a list that includes versions by Millie Jackson, Melissa Manchester and Walter Beasley, there is none better than the gem recorded by Millie Scott. One of two singles that were lifted from her 1990 release ‘I Can Make It Good For You’ it’s in that delightfully warm place where soul meets contemporary jazz and is an exquisite example of the kind of urban vibe that is currently taking the genre by storm.
