Notwithstanding that ‘Dreams’ by writer, producer and keyboard player Attila Molnar has been a personal favourite for some time, it is now set to get even better.. Although this tight twelve track collection (which includes eleven original Molnar compositions) was released in 2009, he has now decided to revisit the majority of the tracks, have them remixed and use more live instruments.
With a reputation as the undisputed master of sensual smooth soul, Will Downing is all set to take the bar even higher. His latest CD, the velvety ‘Lust, Love & Lies (An Audio Novel)’, is a quiet storm story of a brief love affair that was developed by Downing over a 5 year period and which includes eleven of his own compositions plus one choice cover. What makes ‘Lust, Love & Lies’ something several steps beyond “just another Will Downing album” is the sequence of short dialogue vignettes that fuse the entire piece together, tell the story and keep the listener entirely engaged.
Smooth Jazz Therapy favorite Nate Harasim really seems to be ruling the groove. Whether it is on keyboards, as part of the stunning collective DeNate, or from behind the control panel, Nate's impressive grasp of what a contemporary jazz vibe should be appears to know no limits. Most recently his production skills have been instrumental in the propulsion of Steve Oliver's ‘Fun In The Sun’ to the top of the Billboard Chart while he is also writing and producing for Paul Hardcastle’s daughter Maxine.
Amid much anticipation, and with guest performances from Everette Harp and Gerald Albright, the brand new EP from jazz and R&B vocalist Aysha will hit the streets on August 24. Titled ‘Stay With Me’, this tight and extremely personal collection is the follow up to her CD ‘Love Is A Rock’ and has been produced by the legendary Monty Seward whose credits include work with The Jacksons, James Ingram and Howard Hewett.
With three of the five choice tracks already garnering airplay on Broadcast Architecture's Smooth Jazz Network there seems little doubt that ‘Stay With Me’ is set to make quite a splash.
Check back here soon for a complete review of ‘Stay With Me’
Back in 1990, and following the release of his debut recording ‘Hidden Treasure’, guitarist Les Sabler had based himself in the sunny climes of Sarasota, FL. He was performing there with his band whilst laying down tracks in Richard Elliot’s Tampa studio for what he expected to be his second CD. However, in the event, the project was abandoned; the tapes went into storage and stayed there. That was until recently when Sabler, in collaboration with producer and keyboard player Allon Sams, returned to the studio to complete what had begun nineteen years ago. The result is the excellent ‘Crescent Shores’ which is out now on Big Deal Records.
For fully thirty years Shakatak has remained at the forefront of British jazz-funk and for much of that time the band’s bass player has been George Anderson. In fact Anderson’s introduction to Shakatak coincided with the release of its 1982 sophomore project ‘Nightbirds’ from which the title track and the equally impressive ‘Easier Said Than Done’ both found a way into the UK top ten. With a line-up that has remained commendably stable, the band has stayed in chart contention with a succession of albums in Europe, the USA and, most significantly, Japan where this ultra cool collective continues to enjoy immense popularity. Now, brand new for 2010, and with a few of his Shakatak friends around to lend a hand, Anderson has released his debut solo recording, the wonderful ‘Positivity’.
I am indebted to my good friends Bruce Nazarian and Marissa Caliguire for news of Detroit native Keith Ferguson. His brand new CD ‘Honest I Do’ is full of smooth, rich vocals that seamlessly blend with beautifully melodic solo lines. A case in point is the sumptuous title cut where Ferguson’s silky smooth tones glide atop a sensationally restrained yet compelling dance floor beat. Not withstanding its origins in the Motor City, which for many is the cradle of soul, smooth R & B never sounded better than this.
Check back here soon for a complete review of ‘Honest I Do’.
Ever since he was plucked from his senior year at the University of Connecticut to play bass with Ray Charles, the multi talented Mo Pleasure has racked up an impressive list of touring credits. Both as a session musician and live player he has performed with some of the most accomplished stars of jazz and R&B including George Duke, Natalie Cole, Dianne Reeves, Jonathan Butler, Rachelle Ferrell, Michael McDonald, Oleta Adams, Roberta Flack, Marcus Miller and Frankie Beverly and Maze.
A regular in Earth Wind &Fire’s line-up, Mo has movie score credits that extend to the Disney production ‘Three Men and a Little Lady” and Spike Lee’s “Get On The Bus” while as a writer he has worked with Najee, Philip Bailey and another E W & Fire band-mate, Sonny Emory, with whom he co-composed ‘Brazilian Rain’ for the Ramsey Lewis project ‘Urban Knights II’.
Now Peter Lund has produced a video that showcases this versatility and includes commentary from members of the Earth Wind & Fire family.
Check it out here now and for more on Mo Pleasure go to www.mopleasure.com
In a move designed to increase his market exposure, Smooth Jazz Therapy favorite Dee Lucas has signed with VMG Worldwide, Inc., the wholly-owned subsidiary of Vexiom Corporation, one of the world’s most diversified sports, media and entertainment companies. This exclusive management and marketing agreement lays a foundation for the fall release of his album ‘Standing Room Only’ and an upcoming compilation titled ‘Rebirth of The Smooth’.
When George Duke released his 2008 album, ‘Dukey Treats’, it marked a return to the funk driven energy that made him a platinum-selling artist and commercial superstar. Duke stays with this theme for the brand new ‘Déjà Vu’ which revisits the synthesizer sound that characterized his most memorable recordings. Although in comparison to its predecessor the CD features several more straight-ahead and contemporary influences, it nevertheless delivers a collection that will prove to be a ‘must have’ for fans of George Duke everywhere.
On March 10, 2011 smooth jazz will honour two of its own. At San Diego’s historic Balboa Theatre, and as a precursor to the much anticipated Oasis Awards (that will take place two nights later), the stars will come out to tip their hats to the memory of Grover Washington Jr and Wayman Tisdale.
Events co-producer Chris White has announced that Jason Miles will produce and lead the Grover tribute set while Tom Braxton will direct the homage to Tisdale. Gerald Albright, Jonathan Butler, Jeff Golub, Tom Scott and Gerald Veasley are all scheduled to perform with indications being that this will be a sensational beginning to a wonderful smooth jazz weekend.
Attention all ‘old schoolers’ everywhere. Almost thirty years after the legendary Incognito made its debut with the album ‘Jazz Funk’, leader Bluey Maunick has reached back to the inspirations he originally took from 1970’s jazz, funk and fusion. The result is the stunning new release ‘Transatlantic R.P.M’ which, with fifteen all new Maunick compositions (plus one sensational cover), captures to perfection the vibe of an age that, for many, was magical.
Time was when people headed for a railway station to catch a train. Well, many still do but when I went along to London’s newly restored St Pancras International station on the evening of July 29 I caught a great performance by neo soul vocalist Natalie Williams. Those who know Natalie from her now regular appearances at Ronnie Scott’s will recall the powerful backing she typically enjoys from a ten piece band but here, as part of the terminals ‘Station Sessions’ series (and with a limited line-up) she delivered a short but none the less soul drenched set.
When, back in 2002, I reviewed Jason Weber’s album ‘Something Blue’ I described it as an above average example of good smooth jazz. The 2005 follow-up, ‘Can U Feel Me Now’ proved to be a high octane chunk of funk that was entirely off the chain yet for his current release, the altogether more circumspect ‘Five’, he has chosen a far more understated approach. In doing so Weber has achieved a splendid balance between the funky and the mellow, the restrained and the raucous.