4 Pop-culture junkies may recall that Terri Lyne Carrington was the drummer who held down the groove for the Posse on Arsenio Hall’s popular talk show from 1989 to 1994. She’s gained well-deserved respect since then for her composing and producing skills, not to mention her touring and session work with heavyweights like Wayne Shorter and Herbie Hancock. She’s released a few straightahead CDs overseas, but is calling her new one <I>More to Say</I>, a bookend to her 1989 Grammy-nominated debut, <I>Real Life Story</I>. How do we know this? Well, she’s subtitled the new project Real Life Story: NextGen. Arsenio would approve of Carrington’s latest, where the R&B, jazz, pop, rap and vocal songs fit nicely into an adult-contemporary and smooth-jazz framework. Carrington has signaled her shift from traditional to pop-jazz by enlisting such contemporary musicians as George Duke, Kirk Whalum, Lori Perry, Dwight Sills, Everette Harp, Chuck Loeb and more. If you know jazz and its various landscapes, you know where this is going. That established, <I>More to Say</I> mostly lacks modernity and edge. Carrington shows her smooth-jazz knowledge with “Sherwood Forest” and “Mesmerized,” and her blues acumen with “Hold Me Again,” where her pitch-perfect vocals contrast Les McCann’s smoky pipes. And her jazz background shines on “Imagine This,” with the wonderful Nancy Wilson supplying vocals. true 163 2009-11-04T22:47:27-05:00 false 25282 178 true 56 2009-12-01T00:00:00-05:00

Pop-culture junkies may recall that Terri Lyne Carrington was the drummer who held down the groove for the Posse on Arsenio Hall’s popular talk show from 1989 to 1994. She’s gained well-deserved respect since then for her composing and producing skills, not to mention her touring and session work with heavyweights like Wayne Shorter and Herbie Hancock. She’s released a few straightahead CDs overseas, but is calling her new one More to Say , a bookend to her 1989 Grammy-nominated debut, Real Life Story . How do we know this? Well, she’s subtitled the new project Real Life Story: NextGen. Arsenio would approve of Carrington’s latest, where the R&B, jazz, pop, rap and vocal songs fit nicely into an adult-contemporary and smooth-jazz framework. Carrington has signaled her shift from traditional to pop-jazz by enlisting such contemporary musicians as George Duke, Kirk Whalum, Lori Perry, Dwight Sills, Everette Harp, Chuck Loeb and more. If you know jazz and its various landscapes, you know where this is going. That established, More to Say mostly lacks modernity and edge. Carrington shows her smooth-jazz knowledge with “Sherwood Forest” and “Mesmerized,” and her blues acumen with “Hold Me Again,” where her pitch-perfect vocals contrast Les McCann’s smoky pipes. And her jazz background shines on “Imagine This,” with the wonderful Nancy Wilson supplying vocals.

2009-11-07T20:46:10-05:00

4 Karl Denson’s Tiny Universe expands with the first KDTU CD in seven years, one that takes Denson in a surprising new direction, veering sharply from jam-heavy funk and into a more personal style that bears the influences of Curtis Mayfield and Marvin Gaye. Returning is guitarist Brian Jordan, but there’s a whole new lineup with Meshell Ndegeocello on bass, Kenneth Crouch on keys, Zak Najor on drums, Marc Ford (Black Crowes) on guitar and Laura Reed and Debrissa McKinney on backing vocals. <I>Brother’s Keeper</I> is poles apart from the Greyboy Allstars and KD3 jazz-funk trio. Denson is a wonderfully versatile saxophonist, but here it’s his vocals that make this one of the best retro-soul discs in recent years. Although the CD leads with the summer fun of “Shake It Out,” Denson steps into Marvin territory with “Brother’s Keeper” and “The Drums of War,” even if the latter is lyrically heavy-handed. Bob Marley earns an appreciative nod with the reggae rise-up anthem “Mighty Rebel,” which also throws a shout out to the Specials’ “Ghost Town.” And don’t miss “Monica,” a tempo-changing ditty about young love, getting older, experience, pride and a few others twists on life’s great roller-coaster. true 163 2009-11-04T22:50:23-05:00 false 25283 178 true 56 2009-12-01T00:00:00-05:00

Karl Denson’s Tiny Universe expands with the first KDTU CD in seven years, one that takes Denson in a surprising new direction, veering sharply from jam-heavy funk and into a more personal style that bears the influences of Curtis Mayfield and Marvin Gaye. Returning is guitarist Brian Jordan, but there’s a whole new lineup with Meshell Ndegeocello on bass, Kenneth Crouch on keys, Zak Najor on drums, Marc Ford (Black Crowes) on guitar and Laura Reed and Debrissa McKinney on backing vocals. Brother’s Keeper is poles apart from the Greyboy Allstars and KD3 jazz-funk trio. Denson is a wonderfully versatile saxophonist, but here it’s his vocals that make this one of the best retro-soul discs in recent years. Although the CD leads with the summer fun of “Shake It Out,” Denson steps into Marvin territory with “Brother’s Keeper” and “The Drums of War,” even if the latter is lyrically heavy-handed. Bob Marley earns an appreciative nod with the reggae rise-up anthem “Mighty Rebel,” which also throws a shout out to the Specials’ “Ghost Town.” And don’t miss “Monica,” a tempo-changing ditty about young love, getting older, experience, pride and a few others twists on life’s great roller-coaster.

2009-11-07T20:45:43-05:00

4 Marcus Johnson’s a master at the sort of sophisticated, smooth piano jazz heard best underneath the chatter at late-night cocktails. But on his 11th CD he also keeps his ears tuned to what’s happening today, injecting enough urban-music staples to earn a sort of hip cachet. There’s also enough musical distinction to hold your interest. There are three types of tunes here: mellow smooth-jazz instrumentals with classy piano; instrumental tunes with piano and often sax riding on top of in-the-pocket beats and hand claps; and sophisticated vocal tunes. The first is marked by songs like “Danni’s Song,” “In the Moment,” “Ellicott City” and “This Place Hotel.” The best songs are the funkiest: “Chillaxin,” which may be Johnson’s catchiest song yet; “Cherish the Journey”; and two tunes that make excellent use of the vocoder, “I See You” and the sublime “Say Yes” with Devin (D Monet) Doyd. The vocal tunes are led by “Capice,” with the signature voice of hit R&B vocalist Miles Jaye, and “Master of My Heart,” with the sultry vocal stylings of Incognito’s Maysa. true 163 2009-11-04T22:52:00-05:00 false 25284 178 true 56 2009-12-01T00:00:00-05:00

Marcus Johnson’s a master at the sort of sophisticated, smooth piano jazz heard best underneath the chatter at late-night cocktails. But on his 11th CD he also keeps his ears tuned to what’s happening today, injecting enough urban-music staples to earn a sort of hip cachet. There’s also enough musical distinction to hold your interest. There are three types of tunes here: mellow smooth-jazz instrumentals with classy piano; instrumental tunes with piano and often sax riding on top of in-the-pocket beats and hand claps; and sophisticated vocal tunes. The first is marked by songs like “Danni’s Song,” “In the Moment,” “Ellicott City” and “This Place Hotel.” The best songs are the funkiest: “Chillaxin,” which may be Johnson’s catchiest song yet; “Cherish the Journey”; and two tunes that make excellent use of the vocoder, “I See You” and the sublime “Say Yes” with Devin (D Monet) Doyd. The vocal tunes are led by “Capice,” with the signature voice of hit R&B vocalist Miles Jaye, and “Master of My Heart,” with the sultry vocal stylings of Incognito’s Maysa.

2009-11-07T20:45:06-05:00

4 This is a best-of with a twist. Featuring remakes of compositions from veteran fusion band Hiroshima’s first decade, <I>Legacy</I> is the debut entry in what leaders Dan Kuramoto and June Kuramoto say could be an ongoing series covering the group’s 30-year history. Of most interest to casual fans is the beefed-up “One Wish,” a career-defining instrumental that still earns oodles of airplay all these years later. “Turning Point,” “Another Place” and “Thousand Cranes” are here, as well as the geographically minded titles “East” and “Hawaiian Electric.” There are other gems like “Dada,” which fuses rock guitar, furious koto playing and the lead vocals of Yvette Nii. And the superbly soulful vocalist Terry Steele is a great choice to update such light-pop fare like “Save Yourself for Me.” In addition to Dan Kuramoto’s sax and June Kuramoto’s koto, <I>Legacy</I> features the core group of Kimo Cornwell on keys, Danny Yamamoto on drums and percussion, Dean Cortez on bass and Shoji Kameda on taiko and percussion. true 163 2009-10-12T22:35:05-04:00 false 25199 177 true 56 2009-11-01T00:00:00-04:00

This is a best-of with a twist. Featuring remakes of compositions from veteran fusion band Hiroshima’s first decade, Legacy is the debut entry in what leaders Dan Kuramoto and June Kuramoto say could be an ongoing series covering the group’s 30-year history. Of most interest to casual fans is the beefed-up “One Wish,” a career-defining instrumental that still earns oodles of airplay all these years later. “Turning Point,” “Another Place” and “Thousand Cranes” are here, as well as the geographically minded titles “East” and “Hawaiian Electric.” There are other gems like “Dada,” which fuses rock guitar, furious koto playing and the lead vocals of Yvette Nii. And the superbly soulful vocalist Terry Steele is a great choice to update such light-pop fare like “Save Yourself for Me.” In addition to Dan Kuramoto’s sax and June Kuramoto’s koto, Legacy features the core group of Kimo Cornwell on keys, Danny Yamamoto on drums and percussion, Dean Cortez on bass and Shoji Kameda on taiko and percussion.

2009-10-21T09:38:46-04:00

4 Joe McBride went looking for a change, found it, and listeners will be rewarded with a treat unlike anything the veteran pianist has done before. McBride is no slouch on vocals, but he is, after all, primarily a purveyor of acoustic contemporary jazz. Here, however, McBride sings and scats on all 12 songs. There are three originals—all good, especially “Secret Rendezvous”—but the rest are culled from a wide variety of pop and R&B entries, most well known and given a c-jazz styling. McBride hits it out of the park with the lead song, Gnarls Barkley’s “Crazy.” It’s nothing like the original, thank you, and McBride’s joyful scatting at its end brings it to an amazing conclusion. Vanessa Carlton’s “A Thousand Miles” and Cameo’s “Word Up” are likewise turned into winning jazz tunes and supported ably by Roger Hines’ upright bass, Elijah Gilmore’s drums and Dan Wilson’s guitar. McBride had me after Seal’s “Kiss From a Rose” and Corinne Bailey Rae’s “Like a Star,” which I now like more than the originals. If you’re looking for a change with a classy and sophisticated jazz-vocal album, McBride is your guy. true 163 2009-10-12T22:37:25-04:00 false 25200 177 true 56 2009-11-01T00:00:00-04:00

Joe McBride went looking for a change, found it, and listeners will be rewarded with a treat unlike anything the veteran pianist has done before. McBride is no slouch on vocals, but he is, after all, primarily a purveyor of acoustic contemporary jazz. Here, however, McBride sings and scats on all 12 songs. There are three originals—all good, especially “Secret Rendezvous”—but the rest are culled from a wide variety of pop and R&B entries, most well known and given a c-jazz styling. McBride hits it out of the park with the lead song, Gnarls Barkley’s “Crazy.” It’s nothing like the original, thank you, and McBride’s joyful scatting at its end brings it to an amazing conclusion. Vanessa Carlton’s “A Thousand Miles” and Cameo’s “Word Up” are likewise turned into winning jazz tunes and supported ably by Roger Hines’ upright bass, Elijah Gilmore’s drums and Dan Wilson’s guitar. McBride had me after Seal’s “Kiss From a Rose” and Corinne Bailey Rae’s “Like a Star,” which I now like more than the originals. If you’re looking for a change with a classy and sophisticated jazz-vocal album, McBride is your guy.

2009-10-21T00:25:14-04:00

4 It can be tough to cover a well-known pop song on the flute and not make it sound like something you’d hear at a high-end department store, but Sherry Winston succeeds wonderfully on Beyoncé’s “Naughty Girl,” her flute working its Middle Eastern snake-charmer charms. You’d think “Roxanne” might get a bit sappy, but Winston pulls it off by making the chorus her winning own instead of doubling the Police’s note-by-note original. Of course, Winston has an idea of what she’s doing, as she’s been a jazz promoter for GRP, Columbia, Arista and Elektra. She does best with her Latin-inflected tunes such as “Caribbean Nites” and “Overboard,” as well as with a classic like “My Funny Valentine.” On “Silent Prayer” and “Chase the Clouds Away,” the vocals of Isaac Clemon and Lori Anne Williams make for Quiet Storm charm, while the flutist shows she can kick it up a bit with “Sherry Love,” a groove with jangly guitar. true 163 2009-10-12T22:39:04-04:00 false 25201 177 true 56 2009-11-01T00:00:00-04:00

It can be tough to cover a well-known pop song on the flute and not make it sound like something you’d hear at a high-end department store, but Sherry Winston succeeds wonderfully on Beyoncé’s “Naughty Girl,” her flute working its Middle Eastern snake-charmer charms. You’d think “Roxanne” might get a bit sappy, but Winston pulls it off by making the chorus her winning own instead of doubling the Police’s note-by-note original. Of course, Winston has an idea of what she’s doing, as she’s been a jazz promoter for GRP, Columbia, Arista and Elektra. She does best with her Latin-inflected tunes such as “Caribbean Nites” and “Overboard,” as well as with a classic like “My Funny Valentine.” On “Silent Prayer” and “Chase the Clouds Away,” the vocals of Isaac Clemon and Lori Anne Williams make for Quiet Storm charm, while the flutist shows she can kick it up a bit with “Sherry Love,” a groove with jangly guitar.

2009-10-20T12:19:20-04:00

4 <I>All It Takes</I> re-establishes veteran Rick Braun as the leading force of trumpet-led contemporary jazz. After a CD of covers and a high-energy duet CD with saxophonist Richard Elliot, Braun returns with worth-the-wait music coming almost four years after his last solo project. <I>All It Takes</I> is a collaboration with forward-looking pianist, composer and co-composer Philippe Saisse, who adds sophistication and a European flair to the project that is best expressed in “Puerto Allegre Jam.” It features guitarist Marc Antoine, Brazilian vocalist Vanessa Falabella on wordless vocals, and a rolling and percussive melody. “Tijuana Dance?,” a tune inspired by Herb Alpert, is a get-off-your-seat radio hit, its rhythm punctuated by Saisse’s programming flourishes. There are other chart-topping possibilities here, including the punchy “Sleeveless in Seattle” and the spry “She’s the One.” Meanwhile, Braun wrote “Christiane” for his wife, who is from Germany, and the energy and brightness of its capital city is expressed in the disco-fueled “Berlin.” Listen closely to the title track: Written by Saisse, it showcases Braun’s full potential. The disc ends with an ode to one of Braun’s idols, Freddie Hubbard, on “Freddie Was Here,” a touching and heartfelt ballad to the jazz legend who died in December. true 163 2009-10-03T12:50:17-04:00 false 25108 175 true 56 2009-10-01T00:00:00-04:00

All It Takes re-establishes veteran Rick Braun as the leading force of trumpet-led contemporary jazz. After a CD of covers and a high-energy duet CD with saxophonist Richard Elliot, Braun returns with worth-the-wait music coming almost four years after his last solo project. All It Takes is a collaboration with forward-looking pianist, composer and co-composer Philippe Saisse, who adds sophistication and a European flair to the project that is best expressed in “Puerto Allegre Jam.” It features guitarist Marc Antoine, Brazilian vocalist Vanessa Falabella on wordless vocals, and a rolling and percussive melody. “Tijuana Dance?,” a tune inspired by Herb Alpert, is a get-off-your-seat radio hit, its rhythm punctuated by Saisse’s programming flourishes. There are other chart-topping possibilities here, including the punchy “Sleeveless in Seattle” and the spry “She’s the One.” Meanwhile, Braun wrote “Christiane” for his wife, who is from Germany, and the energy and brightness of its capital city is expressed in the disco-fueled “Berlin.” Listen closely to the title track: Written by Saisse, it showcases Braun’s full potential. The disc ends with an ode to one of Braun’s idols, Freddie Hubbard, on “Freddie Was Here,” a touching and heartfelt ballad to the jazz legend who died in December.

2009-10-12T11:08:03-04:00

4 Najee’s first album since 2007’s straightahead-influenced <I>Rising Sun</I> marks the popular saxophonist’s return to the cool and sophisticated urban sounds he’s known for. In fact, Najee calls it a “friendly album,” one influenced by responses received onstage. In fact, on at least half the album he calls on his live touring band, giving the project an intimate feel. He took some of the inspiration for the CD from the late, great Miles Davis, who later in his career took stylish and simple—yet compelling—melodies and played them over memorable grooves. Najee enlists some of the best in the biz to help with songwriting, including saxophonist Darren Rahn for a co-write on the hit-worthy “Sweet Summer Nights.” (Rahn has produced No. 1 singles for Dave Koz and Wayman Tisdale, among others.) And the very capable Jeff Lorber adds his writing and keyboard skills on the retro “Stolen Glances” and the blues-funk of “One More Thing.” Najee is an expert at the ballad, as he shows again in the pensively jazzy “The Journey,” on “Moon Over Carolina” with vocalist Gary Taylor, and on “We Gone Ride,” a sassy and playfully reminiscing tune with Eric Benet on vocals. true 163 2009-10-03T12:52:18-04:00 false 25110 175 true 56 2009-10-01T00:00:00-04:00

Najee’s first album since 2007’s straightahead-influenced Rising Sun marks the popular saxophonist’s return to the cool and sophisticated urban sounds he’s known for. In fact, Najee calls it a “friendly album,” one influenced by responses received onstage. In fact, on at least half the album he calls on his live touring band, giving the project an intimate feel. He took some of the inspiration for the CD from the late, great Miles Davis, who later in his career took stylish and simple—yet compelling—melodies and played them over memorable grooves. Najee enlists some of the best in the biz to help with songwriting, including saxophonist Darren Rahn for a co-write on the hit-worthy “Sweet Summer Nights.” (Rahn has produced No. 1 singles for Dave Koz and Wayman Tisdale, among others.) And the very capable Jeff Lorber adds his writing and keyboard skills on the retro “Stolen Glances” and the blues-funk of “One More Thing.” Najee is an expert at the ballad, as he shows again in the pensively jazzy “The Journey,” on “Moon Over Carolina” with vocalist Gary Taylor, and on “We Gone Ride,” a sassy and playfully reminiscing tune with Eric Benet on vocals.

2009-10-12T11:07:22-04:00

4 It’s a <I>Good Day</I> indeed for fans of Peter White’s sweet-sounding contemporary jazz/pop on the nylon-string guitar, as this is his first CD of original material in five years. An accomplished musician, White doesn’t veer from paths taken before, and there’s no reason for him to. If there’s a reason White’s songs sound more familiar than usual, it’s because he selected the majority of them from a backlog of material going back 15 years, songs that he never finished. Produced by Philippe Saisse and DC, <I>Good Day</I> is highlighted by “Bright,” an upbeat song that reflects the attitude of the late Wayman Tisdale, to whom it is dedicated. “Love Will Find You,” boasting a scatting Basia, was co-written by White’s brother, Danny White, Basia’s longtime musical partner. White’s treasured accordion sounds nifty on the melancholy “(Un)Forgiven,” while Saisse’s vibes add a joyful bounce to the conclusion of the cover track. <I>Good Day</I> doesn’t match the power of White’s last two original works, <I>Confidential</I> or <I>Glow</I>, but it should suit his fans just fine. true 163 2009-10-03T12:54:42-04:00 false 25111 175 true 56 2009-10-01T00:00:00-04:00

It’s a Good Day indeed for fans of Peter White’s sweet-sounding contemporary jazz/pop on the nylon-string guitar, as this is his first CD of original material in five years. An accomplished musician, White doesn’t veer from paths taken before, and there’s no reason for him to. If there’s a reason White’s songs sound more familiar than usual, it’s because he selected the majority of them from a backlog of material going back 15 years, songs that he never finished. Produced by Philippe Saisse and DC, Good Day is highlighted by “Bright,” an upbeat song that reflects the attitude of the late Wayman Tisdale, to whom it is dedicated. “Love Will Find You,” boasting a scatting Basia, was co-written by White’s brother, Danny White, Basia’s longtime musical partner. White’s treasured accordion sounds nifty on the melancholy “(Un)Forgiven,” while Saisse’s vibes add a joyful bounce to the conclusion of the cover track. Good Day doesn’t match the power of White’s last two original works, Confidential or Glow , but it should suit his fans just fine.

2009-10-12T11:07:00-04:00

4 If you happened to stumble upon a new ambient-folk/bluegrass instrumental CD spearheaded by satirist Chri-stopher Guest of This Is Spinal Tap and Waiting for Guffman, we’d excuse your guffaw. But Memories of Summer as a Child is no joke. We think. Guest, Spinal Tap musical director CJ Vanston and David Nichtern star in an appealing collection of original songs with a few amusing titles, photos by Jamie Lee Curtis, and laugh-out-loud liner notes mocking all that have come before. It’s released by Dharma Moon, which was created by “Midnight at the Oasis” writer Nichtern, as music to celebrate vibrancy, self-awareness … and yoga. Of course, the Beyman Bros—all established musicians, by the way—aren’t brothers at all, just good friends for life. Their easy intimacy’s established right away with “Tulong” and “Man of La Mantra,” droll titles hiding seriously textured music. It all ranges from relaxing, grooving sounds to reverential new age on “Triad” and “Hidden Passage.” Serious alt-folk types may reject the repeated sentiments and glossy undertones—there’s drum programming—but melodic, smooth types should like it just fine. A mandolin (Guest), accordion (Vanston) and guitar (Nichtern) trio with appealing musical scope, inspired soloing and melodies both mournful and uplifting? Seriously good stuff. true 163 2009-03-27T15:41:23-04:00 false 24460 138 true 56 2009-04-01T00:00:00-04:00

If you happened to stumble upon a new ambient-folk/bluegrass instrumental CD spearheaded by satirist Chri-stopher Guest of This Is Spinal Tap and Waiting for Guffman, we’d excuse your guffaw. But Memories of Summer as a Child is no joke. We think. Guest, Spinal Tap musical director CJ Vanston and David Nichtern star in an appealing collection of original songs with a few amusing titles, photos by Jamie Lee Curtis, and laugh-out-loud liner notes mocking all that have come before. It’s released by Dharma Moon, which was created by “Midnight at the Oasis” writer Nichtern, as music to celebrate vibrancy, self-awareness … and yoga. Of course, the Beyman Bros—all established musicians, by the way—aren’t brothers at all, just good friends for life. Their easy intimacy’s established right away with “Tulong” and “Man of La Mantra,” droll titles hiding seriously textured music. It all ranges from relaxing, grooving sounds to reverential new age on “Triad” and “Hidden Passage.” Serious alt-folk types may reject the repeated sentiments and glossy undertones—there’s drum programming—but melodic, smooth types should like it just fine. A mandolin (Guest), accordion (Vanston) and guitar (Nichtern) trio with appealing musical scope, inspired soloing and melodies both mournful and uplifting? Seriously good stuff.

2009-04-16T16:10:35-04:00

4 More than 30 years after “You Are My Starship” crowned Norman Connors a new quiet storm hero, Connors is now an old-school hero with an up-to-date project. Who’d have guessed that he’d include an updated version of his big hit? How about tight, New Jack-style R&B songs with fresh-on-the-scene vocalists? Instrumental songs with entrenched smooth-jazz heroes like Norman Brown, Bobby Lyle, Marion Meadows and Ray Parker Jr.? Predictable and time-worn cover songs? Yep, it’s all here. What, you were expecting 14 all-new songs by Norman Connors to get green-lighted in today’s slumping music market? Of course, Star Power is tightly targeted to the urban adult-contemporary and smooth-jazz lot, and with that in our sights let’s surprisingly call this a respectable entry in those genres, if it’s not too overly ambitious. Connors, a drummer and producer, calls on old-schooler Christopher Williams for “Used to Be,” the best vocal tune of the bunch. Other old-schoolers like Howard Hewitt and Peabo Bryson (who luckily gets “Starship”) have less successful results. New vocalist Antoinette is a pleasure, but wasting her on “Walk on By” and “The Sweetest Taboo”? The instrumental tracks are serviceable, if predictable, entries into the smooth-jazz canon. The best is the title track, “Star Power,” written by Kirk Wilson with some jazzy piano runs by the same. true 163 2009-03-27T15:45:42-04:00 false 24462 138 true 56 2009-04-01T00:00:00-04:00

More than 30 years after “You Are My Starship” crowned Norman Connors a new quiet storm hero, Connors is now an old-school hero with an up-to-date project. Who’d have guessed that he’d include an updated version of his big hit? How about tight, New Jack-style R&B songs with fresh-on-the-scene vocalists? Instrumental songs with entrenched smooth-jazz heroes like Norman Brown, Bobby Lyle, Marion Meadows and Ray Parker Jr.? Predictable and time-worn cover songs? Yep, it’s all here. What, you were expecting 14 all-new songs by Norman Connors to get green-lighted in today’s slumping music market? Of course, Star Power is tightly targeted to the urban adult-contemporary and smooth-jazz lot, and with that in our sights let’s surprisingly call this a respectable entry in those genres, if it’s not too overly ambitious. Connors, a drummer and producer, calls on old-schooler Christopher Williams for “Used to Be,” the best vocal tune of the bunch. Other old-schoolers like Howard Hewitt and Peabo Bryson (who luckily gets “Starship”) have less successful results. New vocalist Antoinette is a pleasure, but wasting her on “Walk on By” and “The Sweetest Taboo”? The instrumental tracks are serviceable, if predictable, entries into the smooth-jazz canon. The best is the title track, “Star Power,” written by Kirk Wilson with some jazzy piano runs by the same.

2009-04-16T16:10:35-04:00

4 As soon as Randy Crawford’s vocals grace “Everyday I Have the Blues,” you realize that they’ve maintained their magic, only now they are seasoned with a sexy, come-hither huskiness. Crawford, of course, is still remembered fondly worldwide for her distinctive singing 30 years ago on the Crusaders’ iconic “Street Life.” She’s now in a multi-year gig with Crusaders keyboardist Joe Sample, and No Regrets is their follow-up to their Grammy-nominated Feeling Good from 2006. Drummer Steve Gadd, bassist Christian McBride and producer Tommy LiPuma return for a project that is markedly more bluesy and soulful than Feeling Good. The trick is picking suitable songs, of course, and Crawford and Sample nail it with a varied selection of familiar and not-so-well-known numbers. The familiar include the bopping “Respect Yourself” by the Staple Singers and Sarah McLachlan’s poignant “Angel.” Kudos as well for unearthing such chestnuts as Edith Piaf’s “No Regrets,” the title track, on which Crawford displays her vocal depth with a Broadway-like showing, as well as Randy Newman’s torchy “Just One Smile.” Similar to Feeling Good, Sample holds it all together with his acoustic keys, stepping out for tasteful solos. Here’s music for grown-ups, and music that defines what most people these days hear as vocal jazz. true 163 2009-03-27T15:46:22-04:00 false 24463 138 true 56 2009-04-01T00:00:00-04:00

As soon as Randy Crawford’s vocals grace “Everyday I Have the Blues,” you realize that they’ve maintained their magic, only now they are seasoned with a sexy, come-hither huskiness. Crawford, of course, is still remembered fondly worldwide for her distinctive singing 30 years ago on the Crusaders’ iconic “Street Life.” She’s now in a multi-year gig with Crusaders keyboardist Joe Sample, and No Regrets is their follow-up to their Grammy-nominated Feeling Good from 2006. Drummer Steve Gadd, bassist Christian McBride and producer Tommy LiPuma return for a project that is markedly more bluesy and soulful than Feeling Good. The trick is picking suitable songs, of course, and Crawford and Sample nail it with a varied selection of familiar and not-so-well-known numbers. The familiar include the bopping “Respect Yourself” by the Staple Singers and Sarah McLachlan’s poignant “Angel.” Kudos as well for unearthing such chestnuts as Edith Piaf’s “No Regrets,” the title track, on which Crawford displays her vocal depth with a Broadway-like showing, as well as Randy Newman’s torchy “Just One Smile.” Similar to Feeling Good, Sample holds it all together with his acoustic keys, stepping out for tasteful solos. Here’s music for grown-ups, and music that defines what most people these days hear as vocal jazz.

2009-04-16T16:10:35-04:00

4 If Oli Silk is the British version of Brian Culbertson, Jonathan Fritzén is the Swedish edition of Brian Culbertson, the 36-year-old American pianist known for his melodic and much-imitated style. That style puts memorable pop music, much of it love songs, at the top of the to-do list, with liberal proffering of warm and fuzzy piano runs. It’s a highly likable style, and one that seems easy but is actually difficult to pull off. Like Silk, Fritzén succeeds. The pianist, who has a master’s degree in jazz studies from the Royal Academy of Music in Stockholm, is an auteur in the studio, as he plays guitar, bass and programs multiple instruments and sounds. His smooth-jazz is mellow for a twentysomething performer, but he’s also a romantic at heart. His music has a groove that takes it far out of the standard easy-listening category, which Culbertson also designs to perfection. Acoustic keyboards are accented by electric keyboard shout-outs and a profusion of computerized blips. “Temple of Dreams” and “Back 2 to the Club” would sell as hits on any smooth-jazz radio station in the States, while tracks like “Deep Down” and “Far Away” are snuggle-worthy or just a fine complement to an equally fine companion. true 163 2009-03-27T15:47:15-04:00 false 24464 138 true 56 2009-04-01T00:00:00-04:00

If Oli Silk is the British version of Brian Culbertson, Jonathan Fritzén is the Swedish edition of Brian Culbertson, the 36-year-old American pianist known for his melodic and much-imitated style. That style puts memorable pop music, much of it love songs, at the top of the to-do list, with liberal proffering of warm and fuzzy piano runs. It’s a highly likable style, and one that seems easy but is actually difficult to pull off. Like Silk, Fritzén succeeds. The pianist, who has a master’s degree in jazz studies from the Royal Academy of Music in Stockholm, is an auteur in the studio, as he plays guitar, bass and programs multiple instruments and sounds. His smooth-jazz is mellow for a twentysomething performer, but he’s also a romantic at heart. His music has a groove that takes it far out of the standard easy-listening category, which Culbertson also designs to perfection. Acoustic keyboards are accented by electric keyboard shout-outs and a profusion of computerized blips. “Temple of Dreams” and “Back 2 to the Club” would sell as hits on any smooth-jazz radio station in the States, while tracks like “Deep Down” and “Far Away” are snuggle-worthy or just a fine complement to an equally fine companion.

2009-04-16T16:10:35-04:00

4 Jean-Paul “Bluey” Maunick’s Incognito has always been equal parts R&B, soul and funky beats throughout its 30 years. The British band has legions of fans in the dance and concert realms as well, and it appears this remixed CD of Incognito’s latest studio album is a shout-out to the gyrating masses. More Tales Remixed offers an international cast of DJs spinning and cutting up new house tunes. There’s disco, dub, Latin, and just about everything else as re-honed by Dimitri and DJ Meme, Tortured Soul, Simon Grey, Mark De Clive-Lowe, Yam Who? and Ski Oakenfull, among others. There’s a retro 1980s synthesized groove to Tortured Soul’s “Love, Joy Understanding,” while Yam Who?’s “Freedom to Love” revisits Bluey and the band’s early jazz-funk roots. DJ Day’s “I Come Alive (Rimshots and Basses),” meanwhile, combines ’70s in-your-face soul-funk with scratches, wah-wah effects and some delicious vocalese. Remixes are nothing new, of course, as many established artists, most notably Bebel Gilberto, have their stuff fiddled with almost immediately after the official release date. As far as More Tales goes, pick the remix over the original. true 163 2009-03-27T15:48:15-04:00 false 24465 138 true 56 2009-04-01T00:00:00-04:00

Jean-Paul “Bluey” Maunick’s Incognito has always been equal parts R&B, soul and funky beats throughout its 30 years. The British band has legions of fans in the dance and concert realms as well, and it appears this remixed CD of Incognito’s latest studio album is a shout-out to the gyrating masses. More Tales Remixed offers an international cast of DJs spinning and cutting up new house tunes. There’s disco, dub, Latin, and just about everything else as re-honed by Dimitri and DJ Meme, Tortured Soul, Simon Grey, Mark De Clive-Lowe, Yam Who? and Ski Oakenfull, among others. There’s a retro 1980s synthesized groove to Tortured Soul’s “Love, Joy Understanding,” while Yam Who?’s “Freedom to Love” revisits Bluey and the band’s early jazz-funk roots. DJ Day’s “I Come Alive (Rimshots and Basses),” meanwhile, combines ’70s in-your-face soul-funk with scratches, wah-wah effects and some delicious vocalese. Remixes are nothing new, of course, as many established artists, most notably Bebel Gilberto, have their stuff fiddled with almost immediately after the official release date. As far as More Tales goes, pick the remix over the original.

2009-04-03T11:06:50-04:00

4 Boney James is late to the concept CD, but the dreamy saxophonist with the full-bodied sound certainly nails it. It’s a cohesive, slow-jam vibe perfect for cuddling. James is respectful enough of his fans that although he covers six worthy songs, he also wrote four new tunes. Here, James sets his sights on the ’70s, a decade of disco and power funk but also sensual standouts. A true crossover artist, James keeps urban adult-contemporary fans in mind with the new “Wanna Show U Sumthin’” with vocalist Sue Ann Carwell, and James Taylor’s “Don’t Let Me Be Lonely Tonight,” featuring new R&B vocalist Quinn. But this is mostly for his instrumental fans, with romantic tunes like Barry White’s “I’m Gonna Love You Just a Little More Baby”; Stevie Wonder’s “Send One Your Love” (James’ soprano sounding marvelous, in addition to the live orchestration); the Brothers Johnson’s “I’ll Be Good to You”; and “Stop, Look, Listen (To Your Heart),” famously performed by the Stylistics, as well as the duo of Marvin Gaye and Diana Ross. James makes the latter a dark-hued but optimistic delight. The most intriguing song, though, is John Klemmer’s famous “Touch.” While keeping the song’s melodic appeal intact, James also throws in various cool licks. The other new tunes are all instant classics. “Hold on Tight” is a slow-burning ballad with strings, while “City of Lights” is a melancholy piece that pays homage to the subject of its title, the romantic city of Paris. Finally, “Butter” is a spare and elegant number that is as smooth as its moniker suggests. true 163 2009-03-27T15:49:13-04:00 false 24466 138 true 56 2009-04-01T00:00:00-04:00

Boney James is late to the concept CD, but the dreamy saxophonist with the full-bodied sound certainly nails it. It’s a cohesive, slow-jam vibe perfect for cuddling. James is respectful enough of his fans that although he covers six worthy songs, he also wrote four new tunes. Here, James sets his sights on the ’70s, a decade of disco and power funk but also sensual standouts. A true crossover artist, James keeps urban adult-contemporary fans in mind with the new “Wanna Show U Sumthin’” with vocalist Sue Ann Carwell, and James Taylor’s “Don’t Let Me Be Lonely Tonight,” featuring new R&B vocalist Quinn. But this is mostly for his instrumental fans, with romantic tunes like Barry White’s “I’m Gonna Love You Just a Little More Baby”; Stevie Wonder’s “Send One Your Love” (James’ soprano sounding marvelous, in addition to the live orchestration); the Brothers Johnson’s “I’ll Be Good to You”; and “Stop, Look, Listen (To Your Heart),” famously performed by the Stylistics, as well as the duo of Marvin Gaye and Diana Ross. James makes the latter a dark-hued but optimistic delight. The most intriguing song, though, is John Klemmer’s famous “Touch.” While keeping the song’s melodic appeal intact, James also throws in various cool licks. The other new tunes are all instant classics. “Hold on Tight” is a slow-burning ballad with strings, while “City of Lights” is a melancholy piece that pays homage to the subject of its title, the romantic city of Paris. Finally, “Butter” is a spare and elegant number that is as...

2009-04-03T11:06:50-04:00

4 Kinda hard to believe that childhood friends James Lloyd and Curtis Harmon, founding members of Pieces of a Dream, have been kickin’ it for 30 years, especially since they’re still only in their 40s. They were popular from the start, and their early 1980s CDs established a fan base that has only grown larger over the years, thanks to Pieces’ touring, steady creative output and consistently winning contemporary jazz. Of course, those early albums were true studio works: no e-mail and no yousendit.com. Recording in those days forced musicians to gather in the studio, which is what keyboardist Lloyd and drummer Harmon wanted to return to with their latest. (To be truthful, it doesn’t really matter how Lloyd and Harmon record their CDs, as most listeners couldn’t tell and likely wouldn’t care less how it was assembled.) With the help of bassist David Dyson, saxophonists Tony Watson Jr. and Eddie Baccus Jr. and guitarists Randy Bowland and Rohn Lawrence, Pieces has another solid if not spectacular effort. Their secret, in swinging tunes like “Sway On” and “Vision Accomplished” and funky numbers like “Step on It” and “Soul Intent,” is to stay true to their vision of muscular contemporary jazz unburdened by thoughts of radio airplay. Ironic, really, since Lloyd is a call-to guy for many smooth-jazz artists looking for airplay. true 163 2009-03-27T15:50:11-04:00 false 24467 138 true 56 2009-04-01T00:00:00-04:00

Kinda hard to believe that childhood friends James Lloyd and Curtis Harmon, founding members of Pieces of a Dream, have been kickin’ it for 30 years, especially since they’re still only in their 40s. They were popular from the start, and their early 1980s CDs established a fan base that has only grown larger over the years, thanks to Pieces’ touring, steady creative output and consistently winning contemporary jazz. Of course, those early albums were true studio works: no e-mail and no yousendit.com. Recording in those days forced musicians to gather in the studio, which is what keyboardist Lloyd and drummer Harmon wanted to return to with their latest. (To be truthful, it doesn’t really matter how Lloyd and Harmon record their CDs, as most listeners couldn’t tell and likely wouldn’t care less how it was assembled.) With the help of bassist David Dyson, saxophonists Tony Watson Jr. and Eddie Baccus Jr. and guitarists Randy Bowland and Rohn Lawrence, Pieces has another solid if not spectacular effort. Their secret, in swinging tunes like “Sway On” and “Vision Accomplished” and funky numbers like “Step on It” and “Soul Intent,” is to stay true to their vision of muscular contemporary jazz unburdened by thoughts of radio airplay. Ironic, really, since Lloyd is a call-to guy for many smooth-jazz artists looking for airplay.

2009-04-03T11:06:50-04:00