A former long-time  student of Branford Marsalis and the 2009 winner of the Capital Jazz Fest Challenge, Anderson has worked the gamut of smooth jazz and, with From The Heart, comes loaded up with grooves from smooth to reggae to funk to classy fusion.  Read full review


Feb. 9, 2010

Jaared -- Manhattan Nights

After tantalizing his audiences with the vibrant 2008 release of Addiction, saxman Jaared, who’s always packed a soulful, to-the-gut wallop on his crystal clear sax, returns with a very Jaared-smooth, expressive,  and sexy release, Manhattan Nights, due for release on March 10.

Jaared’s style is always a well-balanced mix of the romantic and the intense.  Here, with a powerful guest lineup including Jay Soto, Freddie Fox, Cindy Bradley, Tim Bowman, U-Nam, Michael Broening, Mel Brown, and Greg Adams, he spotlights his tenor/alto/soprano sax stylings as he struts through all manner of smooth moods.  There are the jazzy and funky movers like “If You Know What I Mean,” “D’Groovealicious,” and the potent title track, as well as sensuous teasers like “That’s What She Said” and the slow, soulful “Love You All Night Long,” and moderate, exotically beautiful tracks like “Always Together.”  Also along for more than just the ride are a flavorful little Latin-tinged ditty called “No Nachos for Puppies”(which, I might add, is great advice) and the totally cool and swaying soprano sax offering, “Floating On a Breeze.”  Read full review

Kirk Whalum -- The Gospel According to Jazz, Chapter III

In this me age, it is always so refreshing to see people, especially people blessed with the gifts bestowed upon the likes of eight-time Grammy-nominated saxman Kirk Whalum, humbly giving thanks for those gifts.  Here, in his third installment of his Gospel According to Jazz series, the sax wiz inspires and uplifts with a splendid blend of live spiritual and contemporary jazz offerings in the way that only he can.

Whalum began this celebration back in 1998 when he released the first in the series in a live setting.  The marvelous merging of the genres in this manner proved to not just be the launching pad for more to follow but also served as undeniable living proof of the dedication and genius of this man who has never missed an opportunity to point his sax heavenward and proclaim his love and gratitude without pause.  Read full review


Feb. 3, 2010

Kim Waters -- Love Stories

Well, here we are again, ladies, back in that love-soaked, dimly lit room of candles. Just you and that special love of yours, listening to the sound of one of the true masters of the romantic night, the man to whom the sensuous urban jazz vibe belongs, saxophonist Kim Waters. Here again is the saxman with more love in the form of his latest release, Love Stories (what else??).  Full of irresistible longing and want, full of spirit and soul, not to mention the sweetest of sweet melodies and hooks, Waters puts his sax to the test again to see if he can once more coax a meltdown of hearts in the universe of romance. I’m sure he’ll find that he can.  When he’s not teaming up with other great saxmen (as with The Sax Pack) or producing some quality remakes of hip hop/R&B tunes (as with his Streetwize series), Waters is always primed to belt out the solo gem.  Love Stories is such a gem.  Read full review

ZOÉ -- Let's Fly

“The Groove” is a great way to open an album that seems dedicated to just that: The Groove, as in smooth jazz groove.  New kids on the block ZOÉ bring an abundance of freshness and originality with this debut release, Let’s Fly, and that gets this writer going every time. With only one track not written by the band, they captured my attention immediately. They then proceeded to roll through a set of tracks laden with a crisp and melodic flavor so very evident from the beginning that you simply must listen, and listen good.

The very conversational sax offered on each track by Reggie Harris is the centerpiece here, but each instrument does its thing to keep the whole product in balance and directionally correct.  Tunes like the casually smooth and tight title cut, written by bassist H. Maurice Fonville, and spiced up with cool riffs from guitarist Ronald Segers, as well as Harris’ sax, set the table handsomely for this banquet of sound.  Even the one cover, “Ordinary People,” which is sure to bring a smile to John Legend’s lips with its bright and jazzy interpretation, carries the class and charisma this album seems to sport confidently.  Segers' clean and clear guitar work is magnificent, yet you can feel its modesty and humility.  Read full review


Feb. 2, 2010

Michael J Thomas -- City Beat

Interesting scenario.  A man takes pen in hand, writes 9 of the 10 tracks to feature on his debut release (due in stores on March 2), adds one hot cover by the one and only gloved one, Michael Jackson (just for extra flava, I suppose), and boldly steps out into the groove-laden world of smooth jazz and instantly begins making his mark. Hmm… Now, that could work. In fact, in the case of Michael J Thomas, it does.  Saxman Thomas delivers on City Beat the kind of self-confidence and stand-up solid material that has ushered in so many of our smooth jazz greats today.

Despite being born and raised in a part of the country that proudly struts its country music like a badge (i.e., Kentucky), Thomas was fed a steady diet of Stevie Wonder, Earth, Wind & Fire, and Prince by his super-hip parents.  Talk about going against the grain!  Read full review


Jan. 28, 2010

Nate Najar -- Until Now

Good, clean crisp, and vibrant guitar lead this smart effort by Nate Najar on his debut smooth jazz release, Until Now.  Though having released three other solo efforts previously, this marks Najar’s maiden voyage into the waters of smooth jazz. He navigates those waters well with precise melodies, jammin’ funk-laden tempos, and even a touch of rock and Brazilian influences along the way.  Much of his style will remind one of the stylings of Ken Navarro, Jim Adkins, and Drew Davidsen.

Najar has a preference for the classical guitar, and he does craft some interesting tapestries around it, though he shows that he can cut loose on the electric animal as well.  On this diverse and ear-friendly production, Najar makes a run at Michael Jackson’s “Human Nature” with a sense of calm and elegance. A tight and respectful interpretation, for sure.  He follows that track with a funky, bright, and bouncy cut entitled “Holding Pattern,” which has such a built-in groove that resisting its buoyancy is virtually impossible, especially with that comely hook.  The title track, another with a sweet hook, has that soothing, melt-in-your-soul vibe that highlights the seductive rhythm laying claim to your senses--if only for a moment.  My kind of slow jam, complete with adept keys work at the hands of Ron Reinhardt.  Read full review

Lynn Riley -- Too Cool

This debut CD from saxophonist/flutist Lynn Riley, Too Cool, is just that. A cool mix of delicious grooves, controlled funk, and smooth and traditional jazz influences, with a sultry swinging rhythm snaking its way throughout the album.

Lynn Riley is a Philadelphia, PA, native who has seen a large measure of success in the form of recognition via significant awards.  Among them are an award from the Trane Stop Resource Institute for her contribution in preserving and promoting Afro-American Classical Music and an award from the National Association of Jazz Educators for Outstanding Service to Jazz Education.  Read full review

Andrew Neu -- Try Something Neu

Some artists and their material achieve such a comfort level from the very beginning, and that comfort level is conveyed to listeners so early on, that the fact it attracts many of the peers in that particular genre is almost inevitable. Such is the case with saxophonist/composer Andrew Neu and his latest release, Try Something Neu, a delightful musical adventure indeed.

Try Something Neu is the third solo project for Neu. His first two, Inspire (2000) and In Clear View (2007) clearly indicated that the man was developing star power and an impressive amount of respect from his peers (Jeff Lorber, Dave Weckl, and Gerald Veasley, among others, joined him on the second release).  Read full review


Jan. 10, 2010

Maysa -- A Woman In Love

You know, after reviewing several releases in one day, I had put down my “ink pen” for the evening when I decided to listen to just one more release, the new release from the inimitable Maysa, entitled A Woman In Love…and I was again sitting in front of my PC--with enough motivation to rewrite War & Peace!  Is there no end to this songstress’s magic and knack for what works and what should be the heartbeat of jazz?  As she states, “…this project is classic Maysa. Whether I write new songs or sing old ones, you will get my heart and soul and my very best, every time.”  Maysa fans will shout a huge “AMEN” to that.  This project, so clean, so piercing, so Maysa, and so jazz, is more than enough to get you through any evening, or day, for that matter.
 
I can honestly say that, in my estimation, this is how jazz should be approached, smooth or otherwise. This is, as Maysa herself has termed it, real music.  To the smooth jazz critics,  and even to those who have attempted to play around the edges of the genre in the hopes of being included, even fully knowing they may not be ready, this is the project to which you need to fully listen.  Smooth jazz has begun to embrace more of the classics--but not at the expense of smooth jazz (Joe McBride and Everette Harp come to mind—and now, Maysa).  If I sound a bit biased, it’s only because listening to this absolutely refreshing and fulfilling revival of the music that many had written off is an astounding and very moving experience for me. Read full review  Hear audio synopsis

Alan Hewitt -- Retroactive

Keyboardist/producer Alan Hewitt (who has one of the coolest L.A. looks in the biz, by the way) is regarded as the “Platinum Producer to the Stars,” and rightly so, considering his extensive and impressive studio work with so many of the “A” list in showbiz (movies, TV, music).  His previous releases include a 1996 effort called Native Heart, Noche de Pasion in 2004, and Metropolis in 2006. I came on board as a believer with the last two, having never heard the ‘96 release, and he has been on my radar ever since.  Now signed with NuGroove Records, this keys master will surely maintain his oh-so-pleasant grip on jazzers’ aural senses with his latest project, Retroactive, scheduled for release on Jan. 19.

With musical comrades Paul Jackson, Jr., Steve Oliver, Greg Adams, and Steve Madaio lending a helping hand with appearances on this release, Hewitt again proves to be quite the musical architect as he builds a formidable repertoire of funky tracks and the sweet and mellow, all done with the smart nuances you’d expect from one so seasoned in the art of smooth jazz.  Read full review  Hear audio synopsis

Pamela Williams -- Chameleon

Saxophonist Pamela Williams (aka The Saxtress, who also doubles on keys quite effectively, by the way) has been serenading the smooth jazz world for over 10 years as a solo artist.  Spinning off from Patti Labelle’s band in the mid-90s was a calculated move that has obviously paid off handsomely over the years.
 
Her latest project, Chameleon, is her first on her own indie label, Saxtress Entertainment.  It is an exciting look at the different sides of Williams, from a tribute to the funky days of George Clinton and his living-on-the-edge marvelous bands, Parliament and Funkadelic, to a nod to the fusion funk of Herbie Hancock’s "Chameleon," then to a return to her early sinfully sensuous offerings with “Eight Days Of Ecstasy” (from the album of the same name), to the bluesy “Breathless” and on to her trademark smoothness on tunes like “Summer Sun.”  Hard-charging funksters like “Ultraviolet” and “Camouflage” are done as only one such as Pamela Williams, who knows funk by its first name, can do them: forcefully rhythmic, funky, and emotional.  Her cover of Sylvia’s hit, “Pillow Talk” is both rousing and sexy…in both instances (the vocal and the instrumental versions).  Read full review  Hear audio synopsis

Gregg Young & The 2nd Street Band -- Instrumentally Yours

The combination of funky keys, soulful sax, solid percussions, muscular bass lines, the call of the steel drum, and a searing guitar here on guitarist Gregg Young’s Instrumentally Yours all make for a nice concoction of slightly retro funk, rock, and reggae passages here. The project only sports 7 tracks, but they’re pretty solid.

Young and his band, The 2nd Street Band, deliver it nice and smooth, with plenty of punctuation in the right places. The opening track features saxman Eric Marienthal and starts this colorful journey off with a nice touch of some throwback  funk (he returns later to contribute to an appetizing jazz samba). That’s just the first page in this book of goodies.  Listen to the steel drum in the cover of Bob Marley’s hit “3 Little Birds,” and you develop a respect for Young’s interpretations  pretty quickly.  His rather bluesy guitar riff not only complements the steel drum but the very essence and charm of that piece.  Read full review


Vivian Male -- Our Day Will Come

I’ve indicated a few times here that I’m not partial to a lot of covers on any given CD, unless we’re talking about a truly exceptional interpretation.  Vocalist/producer Vivian Male is such an exception.  Her debut release, Our Day Will Come, showcases her lovely voice in a remarkably pure, rich, and pitch-perfect fashion.
 
Who is Vivian Male? Well, she currently travels around the New England and New York regions, charming listeners with her sterling vocals.  She is the president of her own production company, Vivian Male Productions, and, among other things, is a member of the Board of Trustees of Berklee School of Music.  She was also recently inducted into Boston’s “Steppin’ Out” Hall of Fame with George Benson.  Read full review


Jan. 8, 2010

BK Jackson -- On The Move

I have heard—and am in agreement with—many statements by artists and smooth jazz fans alike that the genre needs fresh new talent and a means of attracting younger listeners, those coming after the baby boomers. Well, I have certainly been encouraged by the influx of young people listening and appreciating the music lately, as well as those who have elected to actively participate in the advancement of it by entering the performing arena. They seem to be coming in younger and younger, and now, we have before us young BK Jackson, who struts in with his alto and tenor saxes at the ripe old age of 17.  This young man brings a ton of talent, promise, and vigor to smooth jazz and immediately places it on full display and in high gear on his debut release, On the Move.

All new artists are confronted with that infamous “proving ground” when first introduced to the world.  Jackson seems to take it all in stride and simply proceeds to enjoy himself doing what he loves to do, and he does it so impressively well.  Not only can the young man play, he has penned several of the gems found on this ultra-cool, yet white-hot, release.  Read full review


Jan. 6, 2010

Marty Q -- Table for 2

A cool mixture of smooth enticing melodies and a bit of pop make this release, Table for 2, the fourth from saxophonist Marty Q, with help from producer Chris “Big Dog” Davis, a quality effort designed to introduce the artist in the highest possible light.  The effort doesn’t go unnoticed by this reviewer.

Marty Q, who has appeared on such albums as Shanachie’s Smooth Jazz Plays Motown’s Favorite Love Songs CD (he is featured on “My Girl”) and Vesta Williams’ Distant Lover CD, playing “Ooh Baby Baby,”  has had three other solo releases: Smooth Sax (2007), which was pretty replete with covers; Full Circle (2000), an easy listening collection also replete with covers; and Sentimental Christmas (1999). Nice exposure, but I think this production really gets at the heart of the artist’s ability to present some original and well-produced smooth goodies.  A bona fide sax player with a feel and touch just right for this genre, Marty Q reaches out to jazzers through a diverse set of tracks ranging from bouncy, soothing, and funky to the downright sexy and romantic.  Read full review


Jan. 4, 2010

Ava Lemert -- From My Soul

New vocalist/saxophonist Ava Lemert is an artist who’s clearly excited about her debut release, From My Soul, and that excitement was alive and well in the studio as she recorded this effort. Such energy, zest, and drive make this young lady one to watch.  The album simply drips with enthusiasm, clearly from her soul, and it’s plain to see (or hear) that she wants you to know she was having a party in the studio throughout the entire time that she was laying down the tracks for this collection of well-produced R&B-laced smooth nuggets.
 
After a sweetly seductive opening track entitled “You Know You Got It,” she cuts loose on a Candy Dulfer-like funkster, “I Want to Funk It Up.” With a title like that, you really need to be able to “bring it,” and “bring it” she does.  Nice way to break the ice and cozy up to jazzers.  O.k., so I think the vocals on this one track weren’t quite pitch-perfect in spots (hmm, I sound like Randy Jackson or Simon Cowell!), but that does nothing to slow this artist’s groove and pace, as she climbs back in the saddle and continues her seduction.   She then slows down the pace to a syrupy, sexy crawl with a very nice and soulful piece called “Rhodelea.” Umm, umm, umm! is all I could muster on this one.  Read full review


Jan. 3, 2010

Elan Trotman -- This Time Around

Barbados native Elan Trotman offers a neatly dressed collection of tunes here on his latest release, This Time Around.  The saxophonist, whose love of sports and whose relationship with several pro athletes and teams (e.g., Boston Celtics, Boston Red Sox, L.A. Dodgers, and Cincinnati Reds) have led him to such opportunities as performing the National Anthem at several ballgames, as well as performing at weddings and charity events for a great many of these athletes, seizes another opportunity here as he captures one’s attention with some really slick and solid grooves.
 
Reminding one in spots of another notable saxman, Everette Harp (an example would be the popping title track), the passion in Trotman’s playing can be felt from deep within and with each note.  When you listen to the peppy “Me and My 22’s” and how easily and comfortably he lays into the smooth lead sax solos, you are reminded that there is so much to love about smooth jazz sax, in addition to all of its other warm and fuzzy elements.  Read full review