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Smooth Jazz - CD Reviews (474)

"They Say It's Wonderful," the first track on this marvelous new record from Kirk Whalum, opens cleverly with a sample (or a fresh recording made to sound like a sample, complete with the scratchy LP and old AM radio speaker sound effects), of McCoy Tyner's piano at the top of the classic John Coltrane & Johnny Hartman cut of the same tune from their eponymous 1963 record that serves as Whalum's inspiration.  But following that clip, nothing further is lifted directly from Coltrane and Hartman except the spirit of excellence in musicianship and the mellow, romantic mood. Whereas Coltrane and Hartman--the latter not well known at the time but nonetheless a brilliant vocalist--set out to make a recording of pop[ular] tunes in a jazz form (trio plus tenor sax and vocals), the Whalums instead are making a smooth jazz record on a core of what became jazz standards, then adding some of their own new music. Because great songs are great songs, both versions work very well. But don't think Kirk Whalum was trying to remake the original; this is a modern recording with its own fresh and eloquent voice.
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My Next Heartbeat is keyboardist, producer, engineer, composer and Founder and Pastor of Northview Christian Church Hart Ramsey's second release as a leader.  This lively set of smooth jazz music doesn't skimp on nice easy-going grooves or compromise on room for Ramsey's accompanying musicians to express themselves on those grooves via long improvised solos.
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Watching smooth jazz artists embark on new ventures, new arenas and new paths is actually one of the more exciting things to happen to music in 2011 and still now in 2012.  With the death of smooth jazz radio we've witnessed George Benson return to the kind of music he played on his CTI and early Warner Brothers recordings, watched Richard Elliot move to soul-jazz, and Candy Dulfer gravitate more fully towards dance music.
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Joe Blessett makes an interesting case for going into the studio and doing your own thing.  His sixth release as a solo artist has him everywhere, laying down music tracks on several instruments, voicing over for effect, mixing, and even marketing his own product.  The result is a pastiche of music that runs from smooth to funk, and tracks that run in and out like a fever dream. 
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It's been two years since vocalist Anders Holst released a recording and his newest one, Soho Suite, may very well be his best. Originally from Sweden, Holst is now based out of New York. In the style of Kenny Rankin, Holst has a rich lower tenor voice that is full of deep romantic leanings that falls into either the smooth jazz or adult contemporary vein. Recorded with a variety of Swedish backing musicians and vocalists, every track is richly produced, but not over produced and is so popular these days in the smooth jazz world.
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In this, the age of being able to record your own CD in your basement, the adage, “just because you can record your own CD doesn’t mean you should,” has never been more true, especially in the smooth jazz realm. The market has been flooded with, let’s face it, tons of just terrible recordings, mostly done by artists playing all the parts themselves on their keyboard workstations. None of the above applies to the new CD by saxophonist Neamen, So Free.
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Self-taught native Washingtonian Jeff Logan today lives in Maryland, near where we grew up. While he has a day job as an administrator in Prince George’s County detention center, Logan has opened concerts for artists such as Martha & The Vandellas and Junior Walker & The All-Stars. This, his seventh release, finds Logan playing all of the instruments as well as releasing the CD on his own BASS-mint Records. With 12 tracks, 10 of them originals, Logan has recorded a sweet recording of subdued instrumental R&B.
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Player A is a loose collection of studio musicians out of Nashville who have come together under the direction of keyboardist, producer and Creative Soul label President Eric Copland. While all of the musicians on the disc are heavy hitters, there is no way they are household names unless you like to read liner notes on the records of others because it’s there where you’ll find their names. The cast of musicians rotates and revolves depending on the composition, but the one stable element throughout is Copeland’s playing, his compositions and arrangements; besides the two covers, one by the Brothers Gibb, “Staying Alive,” and the pop chestnut “Windy.”
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Primarily known as a session musician, pianist Eddie Gip Noble has worked with artists such as Gerald Albright, Patti Austin, Wayne Henderson, Etta James and Johnny “Guitar” Watson. In The Lite Of Things is Noble’s second release, following 2004’s Love T.K.O. Like a number of keyboard oriented albums by Kim Pensyl, this recording was totally done by Noble, playing all of the parts on a keyboard workstation. In this case it’s the Korg Triton Studio Musicworkstation Sampling Keyboard. There is one exception. On “I Don’t Want To Be Alone Tonight,” Noble adds a guitarist and vocalist to great effect. The material covered on this R&B uptempo-oriented smooth jazz recording is all covers, save for one Noble original.
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Monrovia Liberia born guitarist Martin Mathelier was raised mostly in Port-au-Prince, Haiti. First learning the guitar from his well-known Haitian guitar virtuoso brother Marc Mathelier, the younger brother focused, as he got older, on Brazilian Bossa Nova. In 1981, in New York, Martin, along with two others, founded the group Vibes, a long lasting band featuring Haitian Kompa music.  
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