With the lead and title track drifting along in a dreamlike state, GRAMMY award-winning master producer/keyboardist/composer/arranger George Duke, an icon for the ages without a doubt, offers his first release since the death of his beloved wife Corine. The CD is entitled Dreamweaver, and Duke says he just had to do this to get back on track after being so unmotivated after the tragedy. He calls this latest work of art his “most honest album in several years.”

The master keyboardist/producer was again stirred in re-entering the music world and the studio while on a Capital Jazz Cruise. For the first couple of days, he didn’t play any music but did check out some of the other bands. On the third day, returning to his cabin at around 4 a.m., inspiration struck. Sitting on the deck as the sun came up, a couple of tunes came to mind, he took to pen and paper, and here we are — Duke in one of his finest moments in life, making that eclectic and soul-stirring music.

Dreamweaver, available on July 16, comes packed with guest talent, such as bassists Christian McBride and Stanley Clarke, vocalists Lalah Hathaway, Rachelle Ferrell, the late Teena Marie, and Jeffrey Osborne; guitarists Paul Jackson, Jr. and the late Jef Lee Johnson, among others.

As is always the case with Duke, the CD is full of everything from soup to nuts. Totally touting diversity, so many tracks are easily my faves. They would include the sweet and light mid-tempo autobiographical “Trippin’,” the strong and funky “Ashtray,” and the inspirational “Change the World,” a tune done much in the tradition of “We Are the World” and the late Michael Jackson’s “Man in the Mirror,”  the highly charged, high-steppin’ “Jazzmatazz,” the slick, tongue-in-cheek “Round The Way Girl,” and the drivin’ “You Never Know.”  There are more (this is a generous CD of 15 tracks with one mind-blowing 15-minute track,“Burnt Sausage Jam,”which is  simply a must-hear).

There is also the charming, bluesy ballad from the late vocalist Teena Marie. It’s a track on which Duke worked with Marie to place on her 2009 album Congo Square. Afterward, Marie wanted Duke to produce a full-length jazz album for her. This track was to be included on that album before Marie’s passing. Duke presented the track for inclusion on Beautiful, the 2013 posthumous album from Marie, but the producers declined. So, with the blessings of Marie’s daughter, Alia Rose, and Marie’s estate, he added it here.

Duke fans – and fans of good jazz everywhere – should view this as the consummate Duke, back from so much pain to the inspired artist we have come to know and love. You can bet that Corine smiles upon him just for having worked through the grief enough to present this wonderful work which just has to be therapeutic to him. Two thumbs up. – Ronald Jackson

Note: At the time of posting, no Amazon mp3 sampler was available for this CD. As soon as it becomes available, we will post it here.

The post George Duke – Dreamweaver appeared first on The Smooth Jazz Ride.

They’re back and as funky and tight as ever.  Super trio Rick Braun, Kirk Whalum, and Norman Brown (aka BWB) only know one way to jam, and that’s to put both feet into a project . They’ve done just that here with a stirring tribute to the King of Pop Michael Jackson aptly titled Human Nature.

Choosing material is as important as one’s skills. These guys picked some of MJ’s most electric and powerful tunes (i.e., “Another Part of Me,” “Billie Jean,” “Beat It,” “Shake Your Body Down to the Ground,” and “The Way You Make Me Feel”) and coupled them with a few of the more somber tunes  (a bluesy “Who’s Lovin’ You,” “She’s Out of My Life,” the title track with flawless vocals by Sheléa who certainly does MJ justice, “I’ll Be There,” and the reflective, introspective “Man In the Mirror”). Wonderful selections and performed as you’d expect BWB to present them…exacting and with much emotion in every song.

Co-produced with John Stoddart and Dave Rideau, the album is full of musical memories done right. Needless to say, each artist brings his “A” game to the project, from Braun’s cool signature touch on trumpet, to the crisp, lightning-fast riffs offered up by Brown to the thick, often bluesy tell-tale sound of Whalum’s sax.

Quality jazz music is not really hard to find nowadays, but consistently great music is on another, higher, tier. BWB stands proud and tall on that tier…but, then, you as a true contemporary jazz aficionado, knew that, right?

It’s very exciting and refreshing to see what I had thought might be another ad hoc group focused on producing one good record turn out to be a group  apparently so satisfied with its chemistry and ability to work so well together that it’s decided to keep the groove going.  Lucky us. – Ronald Jackson

The post BWB – Human Nature appeared first on The Smooth Jazz Ride.

Just as silky as you please, saxman Andre Ward pours on the saxilicious charm from the very first note of the lead track on his latest endeavor, Caution. You just know from that point, you are at the right party. Pass me a groove and let me settle back for this ride.

With some help from artists/producers like Rahni Song, Ward takes this one on another satisfying, jam-heavy journey that also sports a heavy dose of sensuality and memorable hooks.

Having been pleased with Ward’s material since 2001’s Feelin’ You, I must confess to not being in the least bit expecting less from this saxman who has obviously wrapped the contemporary jazz groove around his very soul.

Hopping with melody and drive from “Crossing the Border “(the lead track) to the stirringly sweet “I Will Love You (the wedding song)” (sung by Jamie Knight in nightingale fashion) to the jammin’ tribute to the late crooner Marvin Gaye called “Marvin’s Medley” to the tender and moving “Night Flight” (with Ward putting in a performance on flute and EWI, as well) to the catchy mid-tempo funky “Curiosity” and beyond, this album leaves no one wanting.  It is the kind of consistency yet originality that Andre Ward fans have come to know well.

Reaching out in an obvious show of eclecticism and diversity, the saxman closes out with an interesting vocal arrangement by Janice Dempsey who performs the soft piano-driven “What If,” a slight turn away from the typical contemporary jazz vibe to a much more chilled-out kind of Eartha Kitt/Nancy Wilson breathiness.  Surely, you didn’t doubt that Ward could go there. The consummate musician.

Whatever the climate, Ward can create a storm of sound that is often most tantalizing. Caution is no different. – Ronald Jackson

The post Andre Ward — Caution appeared first on The Smooth Jazz Ride.

Not an everyday sight in this contemporary jazz age, a totally competent female bassist with all the funk and class you can possibly imagine has emerged:  Robin Bramlett.  With her, she brings her debut offering entitled This Is My Life, a cozy, funky, thick and tight project with an abundance of power, soul, and that “it” we often so long to hear in our jazz.

Playing and writing with authority, Bramlett is not only refreshing but most original. You can easily hear that in her self-penned melodic title track as she employs PD Wright to tell the spoken word story of this talent’s life. A very engaging and clever approach.

Other tunes of note would be the also-self-penned “Sunny Skies,” the soulfully charming “Home Alone” (a tune perhaps calling for a little “me” time to reflect?) complete with a strings backdrop and cool piano work from Donald Factory, and the up-tempo and thunderous funk jam called “Steal Your Heart” (it certainly stole mine), again—and interestingly–with some solid strings in the background and a tight guitar riff from one Kat Dyson. This latter track is guaranteed to leave one gasping from the energy and weightiness of it. Mind you, I’ve only touched on a few of the gems here.

In tribute to our departed and beloved brother Wayman Tisdale, Bramlett cuts loose on a kickin’ finale called “Party For Wayman,” much in the style of Tisdale’s classic remake of “Ain’t No Stopping Us Now.” To say Bramlett did the late bassman justice is an understatement.

This new bassist on the scene will raise heads and hands as she struts through, seeking her place at the contemporary jazz table of up-and-coming sizzlers.  Already touring with Jazz in Pink and putting in an appearance at the Capital Jazz Fest, will she find her seat there at that table?  All signs scream “yes.” – Ronald Jackson

The post Robin Bramlett – This Is My Life appeared first on The Smooth Jazz Ride.

Flautist Kim Scott has just released  her sophomore project, Rite of Passage, and it is as impactful – if not more so– as her most appealing debut. Here is truly a young lady born to create this kind of vibe, this kind of all-enveloping touch. With a style so sweet and alluring, Scott takes it where she says her band and producers challenged her to take it – to the next level. She also believes that this CD will hold its own. Well, I’ll go one better and predict that it will surpass the expectations of her and her comrades.

This is about as tight and solid a recording as you could want, and it never misses a step in maintaining that tender airiness that makes it so well-rounded.

Accompanying Scott on this fascinating journey are the guys for whom she rightly holds high regard (and I apologize in advance if I’ve omitted any of the fine members of this great collage of sound): On select tracks,  Eric Essix on guitar, Clarence “T Lee” Hill handling keys and drum programming,  J “J Fly” Flynn on percussion, James “PJ” Spraggins on drums, keys, piano, percussion, and bass, Sean Michael Ray on bass, Kelvin Wooten on guitar, Keith Williams on guitar, Brandon Pair on drums and percussion, and Phil Davis on keys and drum programming. You may or may not be familiar with some or any of these guys, but trust me when I describe them as a group of wonderfully talented and skilled musicians.

The lovely flautist steps into this project with bold confidence, fully knowing that it has that oomph so craved by jazzers everywhere.  Leading off with a mover called “Landscapes,” she makes sure that every note is not only heard but felt from way down deep inside where the soul awaits such completeness of sound.

Transitioning from that lead track, Scott hops into another moving and shaking up-tempo number called “Treetops,” a tune that is so complete in its feel that you can imagine gliding through those treetops without a care in the world.

Then comes the funk. On a down-n-dirty mid-tempo jam called “Block Party,” she shows what she’s made of by delivering all the feel and no fluff here. This one is for you dancing funksters, for sure. Following that is a 180-degree turn toward a self-penned pair of slow, honey-dipped charmers – the title track and the honey-dipped, R&B-infused “Sweet Obsession,” featuring her own velvety vocals.

I could go on and on about this splendid piece of art, but suffice it to say that Ms. Scott has successfully completed her rite of passage. Contemporary jazz has yet another darling. – Ronald Jackson

The post Kim Scott – Rite of Passage appeared first on The Smooth Jazz Ride.

Saxophonist Tony Craddock, Jr. is one interesting artist. Besides being a talented musician, he is a degreed meteorologist and devout Christian. All of the titles to the tracks on his latest work, Convection, are related to weather, using it as a metaphor for communicating a message related to Christianity. Craddock states, “The title ‘Convection’ is a direct reference to one of the most important processes that impacts weather, but it’s also a reference to my conviction in Christ (ironically, the words are only one letter apart)…The goal is to not only engage the listener musically but also spiritually, as they see the symbolism used to connect God and the weather.” Like I said, interesting.

Working both soprano and alto saxes in quite an effective manner to convey his message, Craddock has personally composed most of the tracks here. Partnering with guitarist Ken Navarro on one track and vocalist Ashli Rice on another, the young saxman has begun to network in a way that places his collaborators directly in the path of his own positive perfect storm.  I suspect that they’ve found it a bit hard to resist the energy he has poured into this project.

The material is quite pleasant, almost as pleasant as the artist himself who resides in the Washington, DC, suburb of Woodbridge, VA, home of this very site. The rhythms are tight and the compositions well-conceived.

Leading off with the driving title track, Craddock does a clean job of bringing off some polished material. While I’m not personally blown away by all of the melodies here, it is clear that Craddock knows his way around a sax as easily as he probably knows his way around a weather map or frontal system. I do have my faves: The title track, “1102 Bradfield Hall” with Navarro, the Brazilian flavor of “Let It Rise,” the cool caress of “Second Glance,” the soft exoticism of “Tropical,” and seductive smoothness of “Virga.”

In my opinion, there is more than enough here in which to sink your teeth. This young man is on his way. The storm that you may feel brewing in the distance just may be called Tony Craddock, Jr. – Ronald Jackson

The post Tony Craddock Jr. – Convection appeared first on The Smooth Jazz Ride.

Mellow, serene, and as satisfying as that first summer breeze, this release, Smile, from vocalist/songwriter Carol Duboc, hits the spot for those seeking that soothing mood of contemporary jazz vocals.

For those fans of Duboc’s embracing style, you will not be disappointed. Even though this release was inspired by the demise of Duboc’s marriage, it is anything but a “woe is me” accounting of that dissolution. The singer, in fact, uses it as fuel for her creative fire and the catalyst for her soul-cleansing story told here in such honorable and classy fashion.   

Despite its underlying theme, this album embraces you with warmth and inspiration from the opening notes of the lead track, “Elephant,” a reference to the elephant in the room that could no longer be ignored with respect to her marital troubles.

I have always seen such honest cleansing as most honorable and fearless. Like another top-tier and charmingly candid vocalist who once opened up her book of life via an online diary, Duboc allows one to see and regard her story as a learning experience for all of us, especially those who unrealistically think that they may be immune to disappointment. It’s all in the delivery of the message, however, and this lady does it in such a way as to fully endear you to her.

Duboc co-produced this project — as she has done on more than one occasion over a period of 10 years –  with keyboardist/composer/producer and fusion giant Jeff Lorber.  Lorber brings along most of his Jeff Lorber Fusion band to add that extra exclamation point. The Lorber influence and style is most present yet subtle enough to allow Duboc to glow brightly.

These tunes are meticulously presented, and each song reveals a clear sentiment — always leading back to her experience. The entire story here is told without Duboc losing an ounce of poise. There is no anger or bitterness (just listen to the title track and the airy Latin jazz piece “Parachute” for examples).

Duboc and Lorber have produced a thought-provoking, moving, and alive project here. The musical beauty of this album is full of appeal and smiles…not tears. As Duboc sings in “Gliding,” she’s flying high, and “nothing’s gonna bring me down.”  Well said. – Ronald Jackson

The post Carol Duboc — Smile appeared first on The Smooth Jazz Ride.

This cool quartet hailing from Colorado struts its debut release, Pinnacle, with a great deal of energy and drive.  Inspired by the Colorado mountains, the Dave Erickson Project allows us a generous look and listen at contemporary jazz their way. Smooth yet packing a powerful punch where needed; sweet yet spicy when appropriate, the album is a clear satisfier throughout.

The Dave Erickson Project is comprised of names you may or may not know, but, with one listen, I doubt that you won’t feel like you’ve known them for awhile. The group has its namesake on guitars, Chuck Leichner on keys and piano, Deon Kuhl on drums, and Richard Brough laying it down on bass. Each of these guys could have probably easily made it on their own…probably. However, as a group, they stand very tall.
 
Coming dressed to impress, these guys head right for your ears and soul with grooves like the up-tempo, bright title and lead track. That’s followed by more infectious grooves like the rockin’ “Fat Cat” with its Santana-like cadence and hook, the hook-tight and rhythmically clever “Know the Way Up,” the funky “Found It,” and the guitar/ keys-driven funkiness  of “Essence.” That’s all just for starters.

There is a smooth, rather laid-back mid-tempo track titled “Do It Again,” and should not be confused with the classic jazz/rocker from the iconic Steely Dan. This is a totally different tune, very much the charming chilled-out pleaser for that after-work moment or two.

The very “up” fusion/acid jazz gallop that one will experience on “Drive It Home” should convince listeners that Erickson & Co. can work that eclectic vibe as well as anyone.

The Dave Erickson Project, if it stays in this funky-cool pocket, will be a name to watch as it continues its ascent to that pinnacle.  – Ronald Jackson

The post Dave Erickson Project — Pinnacle appeared first on The Smooth Jazz Ride.

I became quite interested in the work of  Cal Harris Jr. ever since hearing his silky smooth debut album Inside Out. I knew then that we had a keeper in this artist. Proving me right, he’s released a very solid and well-balanced new project called Shelter Island.

From the lead and title track, a mid-tempo melodious piece that will surely catch listeners immediately, he strokes and tickles the ivories throughout the album convincingly.

With a lot of romance and seduction oozing from this set, it’s hard not to be taken by this project. With this album, and in the right setting, you could just lose yourself in the moment with that special someone.

Among those helping out here as guest artists are saxmen Marion Meadows and Elan Trotman and guitarist Joel De Rosario. Yes, they do add that shimmer to the album.

No, this is not your typical mover/shaker funky party, but what it is will make you forget that it isn’t that kind of party. It’s serene, comfortable, and, as I’ve mentioned, romantic. Oh, there are enough seriously funky mid-tempo tracks– like the title track and “Smooth”– to provide that balance to which I referred earlier on. There’s also the catchy “Wave Rider” which offers you the opportunity to get your head boppin’ on.

Among my other faves that make up this striking collage would be the “Sunset Chaser,”  “By the Bay” (conjuring up images of that slow stroll along the moonlit beach shore), and the finale “Reflections.”

Shelter Island is not just a feel-good album; it’s a feel-good-and-sexy album. It has peace within itself, and you’re bound to be taken by that. – Ronald Jackson

The post Cal Harris Jr. – Shelter Island appeared first on The Smooth Jazz Ride.

To me. some of the most alluring and beautiful music in the world (outside of my obvious loves) is Celtic, New Age, neo-classical, and World music. One of the well-regarded icons in this field is composer/producer/multi-instrumentalist David Arkenstone. His new release, Loveren, is another masterpiece that I’m sure is headed for yet another GRAMMY nomination.

On this journey, he features the golden-voiced Charlee Brooks and a full orchestra. Featuring Brooks turns out to be one of the best things Arkenstone could have done. Her celestial, all-enthralling, and lilting voice carries you on gossamer wings through the wonderful world and imagination of this 3-time GRAMMY-nominated master of sound and mood.

Loveren is based on an original story commissioned by Arkenstone who, by the way, is celebrating his 25th year as a recording artist.

There is so very much to the Arkenstone story. It’s an understatement to say that he has done quite well. To learn more about him, I invite you to visit www.davidarkenstone.com.

Focusing on this moving, touching, shaping latest project, Arkenstone & Brooks begin – where else? – at the beginning with the lovely “Origins.” They gently escort us though a world of enchantment, silky veils, and melody…plenty of melody.

Beyond “Origins” lie such light and tasteful tracks as “The Forbidden Sea,””Luminara,”  “Sessa Nulma,” “Lost,”  and one of the most hypnotically melodic tracks I’ve heard in a while, “Slip Away,” presented by the dreamy and impassioned voice of Brooks. This tune alone is reason enough to grab a copy of this album. So full of the warmth and caress of the message and story Arkenstone & Brooks set out to tell.  However, you will find so much more to love about this album.

Arkenstone considers this “one of my best in many ways.” No argument here. – Ronald Jackson

The post David Arkenstone & Charlee Brooks — Loveren appeared first on The Smooth Jazz Ride.