Brian Bromberg, the man of a thousand basses, as well as a man of a million ideas and as many ways of musically expressing them, has again escorted his ideas outside the box, again refusing to color inside the lines. The end product in this case: A superabundance of sound, moods, and colors by the name of Compared to That, scheduled to hit the streets on June 5.

His press release states that this, his 20th solo release, is “a collection of kinetic and combustible jazz…” Yeah, about that. Working with a host of jazz masters, as well as a ten-piece horn section that is as brassy (and sassy) as its name implies, and a full orchestra string section, Bromberg goes his own unpredicatable yet ingenious way as he meshes together all forms of jazz with a strong leaning toward swing (and that’s swing that swings, pops, and snaps).

Some of the contributors to this handsome piece of art are Randy Brecker, George Duke, Jeff Lorber, Vinnie Colaiuta, Gannin Arnold, Alex Acuna, Bela Fleck, Mitch Forman Charlie Bisharat, Gary Meek, Larry Goldings, and Tom Zink.  In addition to a sizzling hot horn section (Tony Guerrero, Willie Murillo, Jason Thor, Vince Trombetta, and Mark Visher), Tokyo, Japan’s Rising Sun Orchestra knocks it out of the park with its stellar performance as the exclamation point on this project.

Pieces of note would be the radio-targeted cover of rock group Chicago’s “Does Anyone Really Know What Time It Is?,” which walks the bass and swings in a manner unlike any I’ve heard before; the horn-heavy and tight swinging title track, a play on the Les McCann/Eddie Harris creation “Compared to What;” the playful, up-tempo “Rory Lowry, Private Eye” with its touch of James Bond and Pink Panther spy-like imagery, lots of Lorber runs, Bromberg bass-walks and lead guitar-like riffs; the crazily funky “A Little New Old School;” more bass walkin’ and sassy brassy commentary on “I’m Just Sayin’;” and one totally unexpected jazzed-up, swingin’ jam from the late Rick James’ collection, “Give It to Me Baby,” certainly unlike you’ve ever heard it. 

If you like real diversity, creativity, lots of cool instrumentation using live musicians and not just computers and the like, this revved-up, ready-to-jam-right-out-of-the-package album has your name written all over it. Spectacular work from one who’s used to producing spectacular work by often spelling it in a notably different fashion.  – Ronald Jackson

Fully knowing that pianist/composer David Benoit has never really been at a loss for musical words or diversity in any of his eclectic and charming projects, it should be no surprise that he has much to say here on Conversation, his upcoming album, scheduled for release on May 29.

“As a writer, I really wanted to dig deep on this and try some things with people who weren’t afraid to try them with me. It’s actually one of the most fun and relaxed records I’ve made in at least a couple years. It was just nice to not have any kind of agenda. The title of the album really sums it up. There’s a lot of conversation going on with this record.” Well said. The people about whom he speaks are guitarists Jeff Golub, David Pack, and Pat Kelley, flutist Tim Weisberg, classical pianist Robert Theis, and a host of others.

The opening track, “Napa Overture,” an airy mid-tempo rhythmic piece with loads of melody and a really cool crescendo, was co-written with former Ambrosia guitarist/co-founder/vocalist David Pack. It is only one of several paragraphs in this wonderful conversation.  Following that is “Feelin’ It,” a jazzy bossa nova-like number that Benoit delivers with much charisma and character.

“Diary of a Wimpy Kid” (what a cool title, eh?) is an up-tempo tune that has the Vince Guaraldi style mixed in with, of all things, a Lynyrd Skynyrd-like “Free Bird” rock guitar run, courtesy of the one and only Jeff Golub. Also present is Benoit’s 11-year-old daughter June, a violin student who, as the pianist makes a point to tell us, is no wimp. She certainly is a quick study on violin from what I can hear on this track.  There was truly a lot of talking going on here as Benoit takes this track to some impressive places.

Deeper in, the timing and feel gets intense as “Q’s Motif” presents Benoit’s dexterity at a dizzying pace on a tune filled with marvelous phrasing and energy.

If you usually like Benoit’s way of chatting it up musically, you’ll definitely want to pull up a chair and engage him on this Conversation. – Ronald Jackson

Note: At the time of this posting, no Amazon mp3 sampler was available. We  will post it as soon as it does become available.

I received my first introduction to Grady Nichols with his wonderfully rich 2003 release, Sophistication. Actually, the veteran saxman had been on the scene making records a few years prior to that. I’m just glad I was able to catch him when I did because I had the chance to watch his growth and the depth of that impressive progression. Here with his sixth release, Destinations, he has picked up the capable talents of producer of Chris Rodriguez and, on select tracks, the powerful skills of keys wiz/producer Jeff Lorber (on “You With Me”) and the true vocals of Bill Champlin (on “You Know Me”).

In addition to a totally slammin’ smooth jazz lead track (“London Baby!”), followed by an equally appealing “Only Dreamin’” and the melodically satisfying and cool “You Know Me,” several genres are poured into the soup on this one. They include a comely reggae track (“Beachside”), complete with resounding steel drums, and a beautiful cover of rock group Journey’s “Faithfully.”

There may be tracks here that don’t necessarily reach you where you live. Still, there is no denying that even the tracks that stray off the beaten path of contemporary jazz –  like the country/pop-flavored “Nothin’ Better” and the cover of Keith Urban’s melodic “Only You Can Love Me This Way” (to which Nichols manages to lend a tender jazzy touch, anyway), and the pop-ish “Superman” — are delivered with a deep passion.

While “Tulsa” hints at some country leanings, as well, there’s a strong whisper of early Dave Koz that I found quite appealing.

As Nichols says, “Like my audience, I enjoy different styles of music. I try to push the envelope a bit in concert to see how the fans will react. I also attend many concerts and realize that a John Mayer or Keith Urban fan may also like my music.”

Ending this journey of genres and styles is a wonderfully poignant and sweeping “Walk Thru My Dreams,” with Nichols providing an almost lullabye-like serenade. Beautiful.  Overall, a CD full of intrigue, charm, and diversity. – Ronald Jackson

Once again, the gates to our contemporary/smooth jazz community are opened to a new and exciting artist, keyboardist Scott Allman, who has released his sparkling debut album, Generations, as proof positive of his qualifications to be among our promising up-and-coming artists who truly come bearing gifts.

With saxman Darren Rahn lending his skills throughout the project, there is plenty of moving and shaking and swagger going on which blends well with all of the groove-filled hooks and melodies.

Not only does Allman demonstrate playing skill but, having written and produced all of the material, he shows a clear grasp of the mechanics of the contemporary jazz vibe, and he knows and obviously feels what’s at the very core of good, solid music. It’s easy to hear that, to feel that, and to be there with him on that.  Tracks like the tight and funky “Flurry,” the joyfully up-tempo “Camille’s Joy,” the melodically catchy mid-tempo “Mag Mile,” and the pumped up mover “Thin Ice” with Darren Rahn’s punctuating sax chilled-out “Home Again” all testify to that…and there’s more where those come from.

The fabric of this debut, made up of a little soft rock, a little pop, a little world, and a lot of smooth, makes for a fine listening experience. The fact that these are ten original tracks is the icing on the cake.

I understand that, even as I write this, Allman is working on his next project. If he is anywhere in the ballpark of this current project, he should be able to continue on his quest to find his way into the hearts and souls of the many jazzers who embrace the efforts of artists who actually do care about their work. – Ronald Jackson

Fancying the piccolo bass, the 4 & 6 string basses, and some smooth accompaniment on drums, keys, synths, organ, piano, and programmed percussions, bassist Simon Sammut charms us with his debut release entitled Bassic Attitude, an 8-track album plump with a bit of everything palatable to the jazz taste, especially attitude.

Flirting with funk, Latin, R&B, and just good solid headboppin’ contemporary jazz, Sammut wraps his music around you like a warm blanket and holds you there to just vibe on the offerings from his bass and the various other contributions from his sidekick Alexander Kuzmin who provides everything else, including some remarkable programming of horns and solo sax that chime in for great measure on such tracks as “Having You By My Side” and “Another Song.”

With the telling skill to be able to play bass like a lead guitar in much the same manner as we remember our dearly departed King of Smiles Wayman Tisdale being able to play, Sammut offers a load of color and melody in this project. From the exotic Latin rhythm found in “Dos Hijas” to the boppin’ style of the finale, the previously mentioned “Another Song,” and many of the tracks ahead of it, the bassist plants his claim to competence and adeptness firmly in the fertile soil of our receptive genre.  It is always such a pleasure to recognize and welcome another suave, smooth example of clean sophistication to the world of contemporary jazz. Simon Sammut’s style and obvious charisma will be virtues that should take the artist to soaring heights. – Ronald Jackson

If subtle, smooth, and fluid trumpet is your thing, you’re sure to enjoy this handsome debut offering from Jackson Rice entitled Firefly.  It has a sweet, refined feel to it combined with just enough thump and bump for the moderate funk rhythms we jazzers so love in our music.

Each track here stands on its own, not resembling any of its album mates but still sharing that melodious magnetism found throughout. Let me clarify here that not all of this project is sweet and smooth as the snappy track, “Sweet Brown,” and the title track will demonstrate with gritty, edgy guitar runs sneaking In on the action. A really cool mix, if you ask me.

“Otra Cerveza” demonstrates Rice’s ability to turn the corner with an interesting touch of reggae and Latin that still sports some of that gruff guitar work in spots again.

Some slow, deliberate reggae power is introduced on “When You Think of Me” which also has the great guitar effects of the wah pedal sitting on top of the piece.

The phrasing and timing in this entire project are certainly worth noticing, as is evidenced on “Why Wait.”

Guitar definitely has a huge share in this album as Mark Wilson lets it fly with equal amounts of style and fire throughout. He does show a softer side as he chills with some charming and mellow runs on “Out of Town.” 

This album has balance and integrity as a contemporary jazz undertaking. Rice is clear on where he wanted to take this work, and the journey is truly a very pleasant one. – Ronald Jackson

Grammy-nominated supergroup Hiroshima has proven time and again that their fame and fan following are no flukes. The group boasts almost 4 decades of wonderfully tasteful music, and their latest, Departure, lacks nothing in style, talent, structure, or identity – qualities that can sometimes take a hit in this business where longevity can either make or scar one’s legacy (it’s called the same everywhere and in all forms of entertainment: Staying too long – something about which this group needn’t worry).

Speaking of legacy, that happens to be the title of one of the two previous releases from this band (the other being Another Place) before this warm and splendid mix of the Far East sound and the soul of R&B and contemporary jazz.

Of course, the exotic and fairly unique instruments and the masterful handling of them are always a key focus with Hiroshima, as well. There is, naturally, one of leader Dan Kuramoto’s iconic fixtures in the group: his own lovely and most talented wife June who always does such marvelous things with the koto.  In a word, the Kuramotos rock.

We are also treated to the unique “throat singing” of one of the percussionists, Shoji Kameda. A word of caution: If you’re not familiar with this form of singing—or more appropriately put, instrumentation, you may get caught by surprise, and the sound may raise an eyebrow, but one must admit that it is this kind of newness, this kind of creativity, and this kind of commitment to give fans more than their money’s worth on each album that has kept Hiroshima among the elites in the business.

While the entire release is simply another superb demonstration of the group’s adeptness and wholehearted embrace of jazz and other  components that make up the band’s signature sound, there are a few (quite a few, actually) faves of mine. There’s the slow, R&B-tinged opening track, “Have You Ever Wondered,” featuring Tetsuya “Tex” Nakamura on harmonica. Working well with June’s koto, this is truly a charmer. There’s also the pristine and silky koto-driven mid-tempo “Koto Cruise,” which is so full of percussion, melody, and drive, building in intensity as it nears its close.

Dan renders a comely version of a bluesy mix on “Blues for Sendai” with the shakuhachi. On that same track, June struts her ever-present koto, and there’s some nice piano work from pianist/keyboardist Kimo Cornwell while bassist Dean Cortez lays down the bottom lightly, steadily, and easily.

“Smiling Jack” picks up the tempo in th good ol’ jammin’ contemporary jazz style. June’s koto and Dan’s sweet sax carry the day here, with Cortez’s bass once again performing splendid rhythm duty, this time with a heavy funk bottom. Also, big kudos to pianist/keyboardist Cornwell here. A real let’s-get-at-it jam.

The sweet jazz-filled aura created by the beauty of Dan’s riveting sax work on “See You Again (Ja Mata Ne Moody)” is just that: riveting.

Then comes the “new” sound, the throat singing of Kameda. A big “wow” for a number of reasons. He then hops into a resounding display of percussions and energized shouts. “Moving” and “interesting” just don’t quite cut it as adjectives for this sensational and emotional exhibition. I can only imagine this tune performed live!

As a finale, the group revisits one of their earlier hits from the Another Place album, “One Wish.” This version is a more laid-back, acoustic version featuring the Kuramotos on their respective instruments (sax and koto) and Cornwell on piano. Sweet and appropriate as a finishing touch.

Departure is certainly no departure from the excellent gems Hiroshima has delivered to us over time, and my personal one wish for them (along with their continued success, of course) is for them to continue spoiling us with their magnificently happy charm and ability.  – Ronald Jackson

It’s not often that I hear the perfectly balanced and phrased combination of fine soul music intermixed with touching contemporary jazz. Such a combination is present in the new effort from Lake Effect, Road to Irene’s, a cool, saucy, and confident array of original tunes by the nucleus of the sound, guitarist Robert Davis and keyboardist Neil Artwick and featuring the striking vocals of Michael Avery.

The album is the kind of album you can put on and either settle back and groove with your honey or simply get into that “me” zone with yourself and a glass of whatever floats your boat. Whichever scenario you choose, just go there and let Lake Effect take the controls for this ride. The deliciousness of their sound is surely a commanding one.

The sweet and soulful lead track, “Last Night,” can remind you at times of The Isley Brothers; at other times, Phil Perry; at yet other times, whoever turned the lights down for you during that period of solid soul. Ummm. The magic and the melody. A splendid melding.

“Renee’s Song,” with its strong guitar interplay between Davis and guest artist Jeff Golub (who steams it up on 2nd guitar) is a mid-tempo funky little gem with sass, while “Where’s Bill” turns up the rhythm just a tad and gives the tonal sweetness of the melody a nice tweak.

Going even a bit further on tempo and intensity, “Close Cover” gets a little hotter, though not scorching – just the right temperature for a well-crafted contemporary jazz tune with direction and some strut. “Happy Music” is just that – happy. Avery’s vocals breathes a wonderful waft of airiness and life to this one.

The cleverly titled “Theme For A Horse Thief” has that slick and jazzy saunter one might associate with a Steely Dan laid-back track while “Stay With It” beckons you to the dance floor to put on some of those classy moves you’ve been boasting about to your friends and anyone else who’ll listen. Now’s the time to “show up.”

A little Marvin Gaye style slips in on “Let Me Into Your Heart,” as Avery again seeks to mesmerize.  A true lady pleaser, I’m sure. “Smooth Nova” should give itself away through its title. Yes, a smooth, comfy little bossa nova number to bring in the island breezes and exotic night and drinks.

The finale, a bluesy, gutsy little tune with much flavor bids us adieu with style and charm.

This is truly one album that I had so much fun enjoying that it wasn’t until the end of the recording that I realized I was at the end –and hadn’t heard a single “so-so” or bad track.  I find that most commendable. Wherever the Road to Irene’s begins, I want to join in on that trip. – Ronald Jackson 

On the heels of a marvelous tribute to the late, great Michael Jackson with Never Can Say Good Bye, keyboardist/producer Bob Baldwin marched back into the studio with a handful of gems to pay homage to the living legend Thom Bell, one of the true architects of “The Sound of Philadelphia.” Betcha By Golly Wow: The Songs of Thom Bell showcases classics made famous by the luminaries of that wondrous and great feel-good period, especially for baby boomers.

You’ll have a hard time resisting that drift back in a cloud of euphoric nostalgia as you listen to the crafty versions of tunes originally caressed by The Delfonics, The Spinners, and The Stylistics.  With help from Rippingtons guitarist and founder Russ Freeman on “Didn’t I (Blow Your Mind This Time)?;” guitarist Paul Brown’s funky wah pedal and Ragan Whiteside’s cool flute on The Spinners’ “Rubberband Man;” vocalist Vivian Green’s adept handling of The Delfonics’ anthem “La La Means I Love You;” vocal master Will Downing and sax icon Gerald Albright on The Stylistics’ “Break Up to Make Up;” the wonderful sax work of Marion Meadows on The Spinners’ “I’ll Be Around” and The Stylistics “People Make the World Round;” Paul Taylor’s sweet soprano sax on “You’re As Right As Rain;” and, on the title track, the ever-sensuous “Betcha By Golly Wow,” vocals by Toni Redd with a fantastic tribute to Phyllis Hyman, all send this project soaring high into the heavens.

There are interpretations that I personally prefer over others, but the entire tribute is a powerful gesture to a man who has placed his distinguishable mark on the very essence of R&B/soul music. The sound he helped to create will always stand alone and as solid as steel. Just as he demonstrated with the Michael Jackson project, Baldwin’s insightful recognition of such an accomplishment speaks volumes about the type of artist he is and what he appreciates as true art. – Ronald Jackson

Hitmaker saxman Darren Rahn is at it once again, stoking the flames of creativity and stirring the juices of the some of the most alluring, smoothest, and funkiest contemporary jazz runs and grooves to grace the music lead sheets of the genre today. Here he belts out the naughty tracks of Speechless, his latest and celebrated return to the studio, a return much anticipated since his last release, 2009’s Talk of the Town.

One of the fastest rising stars in the biz, Rahn found respect quickly as he became a favorite of luminaries like Dave Koz and the beloved late Wayman Tisdale, producing smashes for both, as well as for guitarist Tim Bowman and saxman Eric Darius.

It’s little wonder why Speechless carries the firecracker punch it does. This album packs energy, power, passion, and even a glimpse back into the eyes of the late great gloved one, Michael Jackson (just listen to “Magical” and tell me that you get a sense of MJ ‘s energy driving this piece as vocalist Joshua sends it sailing over the moon).  Maxine Hardcastle’s sexiness and come-hither vocals on the title track leaves one just that…speechless.

With other contributors, including twin brother Jason on trumpet and acoustic guitar, his keys wiz pal Nate Harasim (who doubles on whatever else is needed from him), and the renowned flutist Najee, all lending a hand on this muscular exhibit of work, the oomph becomes almost overwhelming.

Rahn is truly a force with which to reckon, hands down, whether it be in the studio behind a production panel or in front of a mic with that blazing sax. This cat cuts the mustard every way it can be cut.  

O.k., so what track is the mightiest, you ask? Pick one. You’re all the way down to the track featuring the dynamic Dave Koz, “Flashback,” and the dancing hasn’t stopped, the groove hasn’t let up, the vibe is as thick as it was when you heard the opening track, “Wave of the Future.” Now, you’re listening to the settle-back, calm-down, collect-yourself finale, “The Healing,” as sweet, serene, and gentle as a summer night’s breeze. Different dance, same effect, much like the title track a few tunes back. You choose. With an album title like this, an artist would hope he or she can have an effect that will make it an appropriate title. Mission accomplished, Mr. Rahn. – Ronald Jackson