Smooth jazz has many complexions and one particularly distinctive hue is that which shines back from the laid back music confines of San Diego. Maybe this is due in part to the now legendary winery events that populate the musical calendar of the area. Perhaps it’s simply the routinely wonderful weather that gives the plethora of great open air shows at hotels and resorts their own special feeling. Whatever the reason, a sure thing is that if one musician epitomizes that San Diego vibe it is guitarist Patrick Yandall. Having grown up in Bay City, Michigan he moved out to the west coast in the early 80’s and has stayed busy ever since combining session work with headlining his own shows, long-term side gigs with Fattburger's Carl Evans, Jr. and the release of a string of distinctive solo releases. The latest of these, ‘Samao Soul’, hit record stores in September 2006 and is already getting noticed.
One of Yandall’s first ever gigs was with the band Devotion, a popular Earth, Wind & Fire type band of the time that boasted a five piece horn section. Twenty plus years on he recaptures this full horn sound with the title track of the new CD. With jangling keys and Yandall’s tight playing this one is a real foot-tapper. Excellent examples of that ‘San Diego sound abound. ‘Passion Avenue’ reeks with radio appeal, ‘Fade To Black’ is restrained yet accessible and ‘Smile For Today’ has a delightful mid tempo melody. It really is a great tune and just as good is ‘The Beat Generation’. Although this is a slice of relaxing smooth jazz with a melody that flows it has, as the title would suggest, a beat is strong enough to keep things interesting.
Produced and engineered by Yandall, who also writes nine of the eleven tracks, ‘Samoa Soul’ is very much, his own project. He also picks up the vast majority of the musical credits but one of only a couple of exceptions comes with the tune ‘London’s Way’. Ushered in by Yandall’s smoky rock guitar, it morphs into an edgy and compelling melody with Andre Mayeux making excellent contributions on clavinet, B3 and piano. ‘Who’s The Bossa’ drips, not surprisingly, with a delicious Latin vibe and ‘Back In The Day’ is a mid tempo feel good number into which Yandall injects, by shrewd use of the Fender Rhodes, something of a retro feel.
With the cover version of ‘Sailing’, the familiar melody of Christopher Cross provides the perfect platform for Yandall’s pleasing playing while his cool guitar work on the honest interpretation of ‘Funkin’ For Jamaica’ makes this club classic from 1980, despite the obvious Tome Browne-esque horns, sound fresh and different.
The album ends in bluesy fashion with ‘Dawn Patrol’. Although a regulation piece of edgy smooth jazz Yandall uses the music, not for the first time, to evoke thoughts of San Diego. Close your eyes and you could indeed be sipping margarita’s at the Humphries By The Bay jazz Sunday brunch.
Smooth jazz should be all about rhythm and melody. The fact that Patrick Yandall has rhythm and melody pumping through every vein of his body should make his music worth looking out for. For more on Patrick Yandall and on ‘Samoa Soul’, go to www.patrickyandall.com.