Our reviews of various smooth jazz CDs. TSJR does not engage in negative reviews. All CDs presented here are releases that we accept as being quite worthy--even outstanding, in many cases. If a release does not warrant such an assessment in our view, we will simply decline to review it.
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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. Read full review
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.Read full review
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. Read full review
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.Read full review
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!Read full review
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. Read full review
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.” Read full review
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. Read full review
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.Read full review
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. Read full review
e 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.
