Huh? was a word that popped into my head when I first learned of this latest effort, Lookin’ For A Change, by veteran pianist/vocalist Joe McBride. Wow! quickly replaced that one word when I heard this cool and innovative approach to pop tunes masquerading as strictly acoustic straight-ahead jazz. How magnificently clever... and, simply put, it works.

While McBride has always felt comfortable in the contemporary jazz arena, he shows here that he is equally as comfortable everywhere else, as he makes it clear that the difference between the genres is oftentimes just about interpretation and feel. How else could he have dug this deeply into a tune, extracted its essence and definition, and translated it so effortlessly to fit into this mosaic metamorphosis?  Sometimes—oftentimes--music is more than just music.  Read full review


July 25, 2009

Leela James – Let’s Do It Again 

O.k., let’s get one thing out of the way right now. I have always thought that R&B vocalist Leela James’ debut album, A Change Is Gonna Come, which often integrated a blues/jazz touch, was a meteoric smash out of nowhere. Seeing her perform that album was yet another phenomenal experience for me. This sophomore release, Let’s Do It Again, while not yet clearly surpassing that debut in my mind, is still another example of the power and remarkable drive of this young lady’s vocal style. Handling covers in such a way as not to offend the originators is one thing, but to repaint those covers with such passion and to present them with a vocal personality that clearly distinguishes them from the original is another. As obvious as that sounds, it’s not always the case.  Read full review
 

Jay Soto -- Mesmerized

One thing that can definitely be said about the style of guitarist Jay Soto: There is always enough bounce and ambience to go around, and his latest release, Mesmerized, is no exception to this observation. His constantly smooth, tangle-free delivery seems to aim high and hit its target with each release since he landed on the scene back in 2005 with his debut album, Long Time Coming.

Not one to shy away from crafty, catchy hooks and melodies, the guitarist demonstrates his adeptness on the fretboard again with satisfying results. Backed up here by guitar ace Freddie Fox and noted bassist Mel Brown, Soto’s easily likable phrasings and rhythms are matched with tight riffs, as is evidenced on tracks like “A Love Like Mine,” the snappy and  funky “Groovalicious,” “Diggin’ It,” “Sunday Smile,”  and the title track, which features sunny backing vocals by Jodi Light. To add variety to this spice, Soto switches gears in between all this with the sweet and soulful “Together At Last” and the (obviously) bluesy “Bayou Blues” before finishing with “Cacophony,” the driving finale.  Read full review


Jeff Kashiwa – Back In the Day

Saxman Jeff Kashiwa has been riding the high tide since his emergence on the scene some 20 years ago as the main horn man for Russ Freeman’s supergroup, The Rippingtons. He would exit the group some 10 years later to embark upon a lucrative solo career that just seems to get better with each release. His feel, energy, and intensity have always been quite something of serious note in identifying Kashiwa, and Back In the Day exclaims that loud and clear.

This production has Sax Pack mate and fellow saxophonist, Kim Waters, joining in on the writing/producing end, as well as contributing some keys work on a couple of slices of this impressive collection. The collection, by the way, includes tight funky cuts like the opening track, “When It Feels Good,” a tune getting much airplay these days--as well it should because of its brightness and very hooking hook. Others of note here would be the mid-tempo slinky funkster, “Creepin’,”  a sax-chatty and ultra smooth jam called “Meet You There” (so nicely phrased and worked that it is quickly became one of my favs here), and my prime fav here,  the melodic and hook-tight, “The Attraction”  Read full review

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. 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.  Read full review

Gianna – Something True 

For an R&B vocalist to capture your attention even before you catch the melody is a testament to the strength and full-bodied presence of that vocalist. Newcomer Gianna Welling (aka Gianna) is such a vocalist. Her debut release, Something True, produced in large part by the superb R&B/smooth jazz duo, Kloud 9, has a distinct air and quality that was instantly alluring to me. Then came the melodies: At once and in varying spots classy, bouncy, reflective, and neatly arranged.

While mostly in an R&B vein, gentle tones of smooth jazz subtly edge their way in on this attractive production. Gianna’s voice seems to gently ride the wave of the music like a surfer in a manageable current. The two elements definitely complement each other. Evidence of this can be found in the opening track, as well as in the soulful and enticing “In You” and the Kloud 9-like phrasings and dance grooves in “Maybe I Can Be” and the title track. My favorite tune, “The Things That I Do” is a magnetic and magical charmer sporting an unpretentious but lively hook that you’ll sing to yourself over and over again. Another handsome track, “Took the Last Train” adds the cool, calming effect of a touch of flute, acoustic guitar, a very catchy hook, sweet verses, and an interesting bridge to create a collage of sound that’s hard to resist. There’s also the treat of some smooth handling of Basia’s “Time and Tide.”  Nice touch with the sax. The album closes with an up-tempo dance number, “One Step Closer,” that somewhat resembles the movers and shakers found on albums by the British jazz group, Shakatak.  Read full review 

June 25, 2009  

Cindy Bradley -- Bloom

Newcomer trumpeter Cindy Bradley is escorted onto the smooth jazz scene here by the Trippin N Rhythm record label with a ton of class and finesse in this beautifully sassy and sexy debut album, Bloom. Full of sultry rhythm and passion, this young lady adds a distinct touch of silky-to-the-soul flair in such a manner as to make it undoubtedly a part of her identity now and, hopefully, in future endeavors. 

Bloom’s first and title track is about as soft and swaying a rhythmic introduction to this lovely addition to our world of smoothness as one could imagine. It’s a delicate piece with a very catchy and delightful melody, a strong preview of what’s to follow. What immediately does follow is another “groove-while-you-stroll-or-ride” tune with a lot of body.  Read full review