Saxman Eric Marienthal is certainly no stranger in the world of contemporary jazz, and, more importantly, not a stationary or idle figure. Having worked with everyone from Chick Corea’s Electrik Band to the Rippingtons, he has firmly implanted himself as one of the most sought-after saxophonists in the biz. Here with his newest release, It’s Love, the versatile artist draws on the experience and support he’s received over the years.

The masterfully done project is produced by his longtime friend, guitarist/producer and Fourplay newest member Chuck Loeb. Loeb’s presence is almost immediately felt in the production. Says Marienthal of Loeb,”Working with Chuck on It’s Love was a great experience that was in many ways an extension of the creative live performances we had been doing together. His jazz melodies, harmonies, and solos constantly inspired me to up my game and took the album to a whole other level.” Yeah, it’s easy to see how Loeb can have that impact.

Adding to Loeb’s presence, Marienthal calls on (who else?) producer/keyboardist Jeff Lorber for his handiwork on the album, as well as Yellowjackets members keyboardist Russell Ferrante (with whom he’d worked before on such Marienthal projects as Got You Covered) and bassist Jimmy Haslip. The blend of all of these high profile artists splashes such color on the canvas of this project that it’s almost blinding.

In addition to some sparkling originals, Marienthal nods in appreciation to this likes of Brenda Russell, covering her “Get Here” flawlessly; the “Duke” (Duke Ellington), covering his “In A Sentimental Mood” so sentimentally and with much obvious respect; and the Fab Four (Beatles), covering “Can’t Buy Me Love” in a cool, laid-back interpretation of the classic.

The saxman takes care of these covers right up front as the first three tracks, then cuts loose on his original material which includes the romantic title track, co-written with Loeb, and the solidly jazz-lined “Two In One” and “Costa Del Soul,” also co-written with Loeb. On the latter piece, Lorber and Haslip are featured. Of course, as many know, both are now also integral parts of the revived Jeff Lorber Fusion. Lorber also co-wrote the snappy “Babycakes” (one of my faves) with Marienthal. More Yellowjackets influence appears as Ferrante’s keys figure nicely in “Café Royale.”

In the sweet and tender finale, “When I Found You,” keyboardist Brian Culbertson drops by to offer his fabulous skills to complement Marienthal’s telling sax. Alone by candlelight with your heartthrob, ‘nuff said.

There’s much to like here as a true smooth jazz aficionado. There’s not an overwhelming or overbearing amount of R&B here (it’s sprinkled in here and there on a few pieces). This is sweet contemporary J-A-Z-Z, tastefully written and performed. Marienthal’s sax is clear, definitive, and crisp as he announces each track from the depths of his soul. This is what it’s all about, jazz fans. Treat yourselves to a listen. – Ronald Jackson

One of my all-time favorite groups in contemporary jazz is also one of the most elusive in terms of being able to catch them in concert here in the States. I’m talking about Shakatak, the longstanding English acid jazz/jazz funk band noted for some of the most rhythmic, smooth, and well-phrased music, always with the most solid and cool vocals performed in their own unique and collective fashion. Their latest release, Across the World, is simply more of the same exceptionally high quality material as they’ve produced since their beginning in 1980.

This album leaves no stone unturned in terms of presence, style, and flavor. The music is always delightfully full of that snappy, airy, feel-good nature. It so reminds me of a better time — a time when cares were minimal and our senses were loaded with stimuli that were so very good for the soul. While the tracks often have that distinctive collective vocal style, Jill Seward’s sweet and sexy lead vocals on select tracks always stand out. In addition, we get the usual superior quality provided by Bill Sharpe on keys, bassist George Anderson (who recorded his own very noteworthy and solid album a couple of years ago), and drummer Roger Odell. An appealing display of competent backing vocals by Jacqui Hicks and Debby Bracknell, very smooth sax work by Derek Nash, expressive guitar from Alan Wormald, and a dazzling synth solo from Grammy award-winning pianist/keyboardist Don Grusin round out this very special yet typical Shakatak project.

Few groups with original members withstand the test of time, and Shakatak has done so with apparent ease and obvious success. While many of those others who’ve survived have done so by transforming their sound and morphing into whatever the listening audience is currently preferring, Shakatak has, for the most part, maintained its essence and trademark sound (e.g., the title track, “So High,” and “Love Holds the Key”). Granted, Wormald’s electric riffs on guitar, like that heard here on “My Heart in 2 Places,” has not been a typical ingredient in Shakatak recordings, but it’s not at all out of place or out of sync with the group’s strong identity.

Shakatak fans can easily relate to what I’ve said and heard here. Those new to this group will find them and their material happily refreshing and, yes, a bit different from what you’ve come to know as acid jazz or jazz funk. Their modest and yet confident approach speaks volumes when trying to rationalize their still-solid presence in contemporary jazz. If only they’d spend some more touring time here in the States! For the time being, relax and enjoy some of the most exhilarating, distinctive, and satisfying jazz to ever claim virtual immortality. – Ronald Jackson

Revisiting his southern roots and the Maceo Parker/James Brown funk themes, saxophonist Patrick Lamb is back with It’s Alright Now, a kickin’, poppin’ jamfest from beginning to end.

Lamb is one artist who’s known and respected by so many in the industry, including the amazing Diane Schuur who says, “He’s sensitive when appropriate, and also very strong at the same time. I love his musicality!”

At the urging of keys wiz/producer Jeff Lorber who once told him, “You know, Patrick, I have played with a lot of people, and you are a world class musician, but you need a world class record,” Lamb teamed up with the keys/fusion giant, and It’s Alright Now was born. Lorber’s funky style can be felt the moment you pop in this CD.  The tracks on the release should definitely take you on a journey to N’Orleans, Mississippi, Atlanta, or wherever you want to go to experience that crazy jazz/soul/funk from the era of J.B. and others.

From the opening, funk-nasty track “Walk Away,” written by Lorber and Alex Al to Lorber’s high-flying “Fuse,” Lamb serenades and gyrates with his hot sax work and revved-up support group (check out the nitty gritty chatter in the title track and tell me this isn’t an all-out bare-bones funkfest designed to move you in every direction at once).

A CD that sounds like it was simply tons of fun to make yet quite serious in its approach and instrumentation, “It’s Alright Now” makes that title an absolutely true statement – regardless of what else may be going on in your life — once you pop it in and settle back to listen. – Ronald Jackson

This Valentine’s Day will be just a little more special and romantic as The Whalum brothers set out to give us a new reason to love love. Sax giant Kirk Whalum, in the role of the great John Coltrane, brings in a trusted ally — brother/vocalist Kevin — who assumes the role of Johnny Hartman in a recreation of the memorable 1963 duet recording of those two seminal artists. The release is entitled Romance Language, and it will be released on that always wonderful day of the year, Feb. 14.

Combining the six Coltrane/Hartman compositions with some modern ballads, the love rose should be in full bloom for all romantics who listen to this alluring material.

The project is produced by Kirk Whalum and John Stoddart and is practically guaranteed to catch you up in the moment and simply sweep you away in splendor.

Accompanying the seductive sax of Kirk and the mesmerizing vocals of Kevin are keyboardist/ producer John Stoddart, vocalist and uncle Hugh “Peanuts” Whalum,  George Tidwell on flugelhorn and trumpet, Braylon Lacy on bass, Kevin Turner on electric guitar, Michael “Nomad” Ripoll on acoustic guitar, organist Ralph Lofton, drummer Marcus Finnie, and percussionists Bashiri Johnson and Javier Solis. Each artist brings through the Spring of life—even in February—and the all-encompassing vibe of love on each precious track. As tributes to the greats go, these guys have surely made Coltrane and Hartman proud.

Magically phrased pieces like “Dedicated to You,” “My One and Only Love” with its bluesy flair, the jazz-and-cocktails caress of “Lush Life,” and the subtle Brazilian flair of “Autumn Serenade” simply must be witnessed firsthand to understand fully the velvety kiss they carry. Ah, romantic jazz has no equal.

One of the most outstanding tracks is the emotionally charged “Almost Doesn’t Count” rendered by the greatly talented 83-year-old “Uncle Peanuts” and his savory vocals. “Wow” should cover that.

We are also treated to the contemporary magnetism of the Whalum touch with tracks like the sweet and smooth “You Are Too Beautiful,” which adds the pronounced beat of Finnie’s drums to Kirk’s and Kevin’s efforts. Then, there’s the splendid, moving cover of Heather Headley’s “I Wish I Wasn’t,” Joe’s “I Wanna Know,” and Eric Benet’s silky “Spend My Life With You.”

Is this an album speaking the true language of love? Is a rainy day lounging about with your loved one dreamy and ideal? Is the smell of freshly blossoming roses tantalizing? You have your answer. Romance Language will set a marvelous tone this Valentine’s Day. Treat somebody. – Ronald Jackson

It’s been awhile since we’ve been treated to the smooth and driving sounds of Danish saxman Michael Lington. Well, the wait is over as he gives us Pure, a robust CD of contemporary pleasantries, due for release on Feb. 14.

Opening with the powerful track “Roadtrip” with Lee Ritenour tearing it up on guitar, Lington brings both a houseful of talented guests and a repertoire of rousing tunes that indicate the saxman is still at the top of his game and able to deliver the melodic quality we’ve come to know so well.

In addition to Rit, he brings in Brian Culbertson, Ray Parker Jr., Paul Jackson Jr., Jeff Golub, Michael Broening, Jonathan Butler, Paul Brown, and many others. No loose threads here!

This is a very lively, energetic CD, displaying the boogie and jam in Lington almost to a fever pitch. In addition to “Roadtrip,” witness “Playtime” with Jeff Golub’s hot bluesy licks, “Lower East Side,” his rendition of one of my all-time faves, “Shotgun,” with vocalist Michael Bolton taking on the vocals (personally, I still prefer the gut-wrenching vocals of the late, great Junior Walker, but Bolton does no harm to the number at all).

Lington is, of course, still quite capable of slipping in the sweet sauce of the tender and melodic pieces he’s also noted for delivering (e.g., the mid-tempo, lazy “The Serenade” and “Like Old Times”). Another of those sax players with a knack and ear for melody.

A rather funky midtempo piece to check out is the sassy “Movin’ On” featuring Paul Jackson Jr. on guitar. Going in a different direction, the finale, “A Simpler Time,” is a laid-back, light and airy tune with Jonathan Butler on guitar.

It’s been about 4 years since Lington released Heat. Pure makes for a great return, full of spice and bite. – Ronald Jackson

Dutch sax beauty Candy Dulfer has returned to the scene with a thunderous new effort called Crazy, scheduled for release on Jan. 31 and produced by multi-instrumentalist and producer Printz Board–whose work includes serving as the musical director for the Black-Eyed Peas for over a decade.

Crazy is as indicative of the jam-heavy and hook-rich endeavors from this saxtress as any of her previous releases. Full of energy and drive, Crazy allows Dulfer to further cement herself in the mold of the who’s who in contemporary jazz with this release.

The album’s powerful and high-octane pace is preceded by a tell-tale intro called “Stop All That Noise,” where we hear what is apparently a neighbor complaining about the volume of this mover and shaker. Needless to say, the request (actually, a demand) goes unheeded, much to our pleasure as you will find.

The album’s up-tempo title track, with its off-centered sound effects, apparently designed to simulate what “crazy” might sound like, is done in her typically hot foot-stompin’ style. That’s followed by the slow to mid-tempo “Hey Now,” a most attractive, intense, and melodic track with Board on all other instruments and vocals.

The next couple of tracks, “Flame” and “Good Music,” are strictly rousing and full party grooves. Of course, that is no new observation, since any follower of Candy Dulfer knows that the woman has firmly staked out her territory on the party map.

Board and Dulfer do some very interesting things with the delightfully funky “Complic8ed Lives,” definitely one of my favorites here. Between this track and “Electric Blue” is another moment called “Calling Next Door” where that annoyed neighbor tries to reach the jamming Dulfer and Co. again by phone. The call goes unanswered, probably because it wasn’t heard (the caller is then heard resignedly saying “Forget it. I’m just going to call the police.”). Does the party stop? This happens on track 7; the CD has a generous 15 tracks. You tell me.

“In or Out” finds Dulfer belting out some sexy vocals, imploring her love partner to make a choice. Nice mix of electronica, jazz, and R&B here.

Breaking it down to a mid-tempo, rather sexy pace, Dulfer emphasizes that sweet side of her musical persona with “No End” and its lovely melody and hook. This tune’s intensity builds with a riveting and snappy guitar solo produced by multi-instrumentalist Ulco Bed.

Dulfer’s long-time cohort, keyboardist/vocalist Chance Howard, joins her on “Please Don’t Stop” for some seriously sensuous moments (this one goes way beyond sizzle. You may want to put the kiddies to bed before listening to this one!). That’s followed by the sexy, slow finale “Too Close.” Smart and sweet.

So it goes with the Dutch wonder with the crazy sax. The jams are hot, tight, and more than expressive. Grab this one for yet another adventure in Candyland. – Ronald Jackson 

With the caress of cool, smooth guitar, celestial strings, solid rhythms, and attractive melodies, hooks and harmonic chords, veteran guitarist Gary Fuston comes forward with a commanding hold of his third and latest release, Octave Motives.

The album has a lot of charm, and most of the selections – all written and produced by Fuston – are both well-formed and well-defined.  I am grateful that artists such as Fuston continue to make very decent contributions to this genre.

There are many tracks here that will stick with you, making this CD one that should be easy to recall. There’s the up-tempo charmer “I’m Falling,” which makes great use of the previously mentioned strings, as well as exhibiting tight, supportive horns; and there’s the handsome mid-tempo “Cool Mode,” a track Fuston offers as a single, as well.  Also available as a single is the tastefully lazy, somewhat reserved “2nd Chance.”

For a heavier flavor, try the snappy “Groove Scape,” the sharp, head-boppin’ “Love Step” (my personal fave) or the rhythmic “Red Alarm.” I must say that the latter track is a bit too monotonous for me due to the repetitiveness of the somewhat overbearing keys-heavy verse and absent bridge. While there are other tracks here that are absent a bridge, they work because there is great balance and nothing appears too imposing.

Another danceable track can be found on the finale, “What It Was,” with its touch of funky.  This track shines with personality because of a strong hook, a well-pronounced melody, a nice bridge, and some very stylish guitar work from Fuston. 

All in all, Fuston does a good job of pulling this album together and molding it into something quite palatable. – Ronald Jackson

After a delightfully thunderous revival of his early fusion years with the release of Now Is The Time, keyboardist extraordinaire Jeff Lorber returns with Jeff Lorber Fusion and its newest release, Galaxy, due for release on Jan. 31. Seeing this as “a part two” of what he restarted in 2010, Lorber says Galaxy “features the same rhythm section, but it’s even more into the jazz fusion direction. It’s more energetic and the performances are tighter.”

Joining him again is Yellowjackets bassist–and co-producer of this work–Jimmy Haslip, as well as a firestarter crew of luminaries such as Eric Marienthal (sax), Vinnie Colauita (drums), Lenny Castro (percussion), Dave Weckl (drums), Paul Jackson, Jr. (guitar), Larry Koonse (guitar), and Randy Brecker (trumpet).  This winning coalition revisits some of Lorber’s early fusion achievements like “City,” “The Samba,” “Wizard Island,” and “The Underground,” adding a slice of modern flavor to each.

The tracks here are fresh, well-defined (do you ever expect less from Lorber?), and reflective of a period when fusion was truly fusion. It’s also quite expressive with lots of great chops and an unspoken commentary on what really well-conceived jazz sounds like, whether from the modern perspective or from the treasure chest of earlier gems. In either case, Galaxy shows JLF’s grip on the soul of jazz, as well it should, considering that the group helped pioneer and shape fusion.

This is not the R&B-infused jazz that we’ve come to embrace as smooth jazz, as appealing and expressive as that music may be. This is contemporary jazz of a different persuasion—one that reaches back and grabs hold of the memorable experience of creating a bright, tight new direction and feel directly from straight-ahead jazz. In fact, this music can be regarded as the original catalyst for thinking outside the box in interpreting jazz as a whole. Having known both worlds intimately, Lorber brings such a well-rounded and comprehensive viewpoint and style to the genre.

Fusion fans will immediately recognize the dynamics of the JLF sound, and Galaxy does yet more justice to the preservation of this fine art form. – Ronald Jackson

Note: No Amazon MP3 sampler was available at the time of this posting. However, samples are available via the Amazon site. Simply click on the CD cover.

From the robust opening track, a medley of Barry White gems, veteran songwriter/musician/producer Rahni Song shows right away his merits and credentials for surviving in this business of music. His new release, Breakin’ the Rules, essentially does just that. The pre-conceived notions we carry regarding what constitutes smooth or contemporary jazz get a massaging and tweaking here with these 10 tracks of innovativeness and charm.

Tracks like the sweet, seductive, and silky “Timeless,” featuring sax great Marion Meadows, “Should I Let Go,” featuring the sexy vocals of Chantel Hampton, and the very melodic and stirring “One Love,” and “Star of the Story,” both again with Hampton’s alluring vocals, display the utter romanticism and soul of Song. In fact, this very melodic, soulful, and sensuous CD is chock full of enhancing female vocals that give the project a sense of morphing into an actual living, breathing entity of sorts. It’s full of soul-gripping presence and sound. Almost hypnotic in places.

The soulfully powerful touch he adds to the classic Roberta Flack/Donnie Hathaway “The Closer I Get to You” with the help of vocalists Aregnia Ryles and Kevin Lee is truly noteworthy.

To demonstrate that he can handle the funk element as well, Song displays that very side as he enlists the aid of the Meadows’ telling sax again on the mid-tempo “91 North” and closes with a “Flashlight”-like tribute to Bootsy Collins and George Clinton on “It’s Funkalicious Baby.” In a word, nasty. The kind of nasty that would make Clinton quite proud.

Diverse project? To an extent. Charm, melody, and sweet romanticism are the watchwords here; yet, funk gets a standing ovation, as well. A well-conceived, well-produced CD, indeed. – Ronald Jackson

With a career in music spanning almost six decades (nope, that’s not a typo), singer/drummer/ producer/writer Poppa Steve Mutimer certainly appears to know what gets the heads boppin’, the feet stompin,’ and the fingers snappin’ as he demonstrates on his latest smooth jazz release appropriately titled Sweet. The grooves are silky, charismatic, and fluid—not to mention enticingly melodic.

Having started out in rock in the 50s, Poppa Steve crossed over to the land of contemporary jazz about 7 years ago. He brings with him an impressive resumé that includes musical scores, jingles, and working with some of the most notable TV and sports celebs such as Kevin Costner, Dick Butkus, and Kellen Winslow. He states that, while he has trouble categorizing his music — which can be seen as a fusion of rock, pop, blues, and R&B– listeners have dubbed it as Rockin’ Jazz. Pretty appropriate, I think.

Going the whole spectrum with respect to sound production (live tracks with actual bodies in the studio, computer-generated fills, and musician-created sound loops), Poppa Steve has found a nice little niche in which to get quite comfortable. The music is undeniably appealing and fulfilling. It has enough sophistication to proudly stand among other jazz compositions and be termed just that: Jazz—not some weak hybrid that leans more in the direction of some other genre that just doesn’t mesh well. While the music is itself a hybrid of sounds, the overwhelming theme is just good contemporary jazz, and I like that…a lot. Good, crisp sax work, the draw of the Hammond B3, pulsating rhythms, nicely placed trumpet runs, and just providing those “feel-good” vibes.

There are several tracks that catch one’s ear, including the lead track, a mellow but strong and melodic piece called “Whisper It In My Ear,” that does a great job of setting the “table.” The album continues to delight with the R&Bish, Barry White-like “Feels Right Tonight” that includes sexy interchanging trumpet, sax, and guitar leads. The cool, breezy “XOXOXO,” and the funky finale, “Lovin’ Good Times.” are also excellent examples of the veteran’s artistry.

This pleasant and delightfully catchy arrangement of tunes is a safe bet to satisfy. Sweet is sweet. – Ronald Jackson