Fourplay: Let's Touch the Sky (2010)

Sometimes you have to shake things up, push a little farther, reach a little higher - even when you're a contemporary jazz foursome that's been operating at the top of its collective game for two decades. After twenty years and a dozen albums, in an industry that has undergone sweeping transformations in the past decade, Fourplay knows that the only thing that's certain, in music or any other business, is change. The latest proof of that axiom is the new face in their lineup - that of guitarist Chuck Loeb, who makes his compelling debut with the quartet on Let's Touch The Sky.

Loeb completes the four-man crew that also includes the band's founding members: keyboardist Bob James, bassist/vocalist Nathan East and drummer/percussionist Harvey Mason. Let's Touch The Sky also includes stirring performances by guest vocalists Anita Baker and Ruben Studdard. The infusion of new blood into the Fourplay lineup creates an opportunity to bring an even newer level of energy and inspiration into a band that is already known for taking chances and pushing the limits of contemporary jazz. "All four of us have been in this business long enough to know that there's always pressure to compromise, and we don't want to do that," says James. "We don't want to end up in the middle of the pack. We always aim to be leaders, and take the music to another level and raise the standards higher. I think the music on this new record, thanks in large part to Chuck's early contributions - and to the ongoing team spirit of the band as a whole - is very much a reflection of that philosophy."

Loeb, who openly admits to being a fan of Fourplay since their earliest recordings, sees his new membership status as the opportunity of a lifetime. "I want to be a part of the legacy they've built, going all the way back to their first recording and right up to their most recent one," he says. "There's been an incredible level of quality in the musicianship, the writing, the whole sonic palette that they're famous for. I'm excited to be a part of the next step in the evolution of all that." That sense of romanticism combined with optimism defining the project makes the rhythmic and exotic title track the fitting opener to the set. Written by James, the song sits atop a comfortable Latin groove and showcases the interplay between the keyboardist and his new band mate on acoustic guitar. The follow-up track, Loeb's driving and intense "3rd Degree" is a reference to his role as the third guitarist in the Fourplay saga (the original lineup included Lee Ritenour, who was later replaced by Larry Carlton in the late `90s). The track is built on a syncopated rhythm that allows plenty of room for everyone on hand to stretch out and demonstrate their virtuosity.

Guest vocalists Ruben Studdard and Anita Baker appear on the soulful "Love TKO" and the dreamlike "You're My Thrill," respectively. Studdard was recruited by East, after the two had appeared together in a live performance in Washington, DC. "They were filming a television special," East recalls. "There was a break to reload the cameras, and I just started playing the bass line of `Love TKO.' Ruben stepped up to the microphone to sing, and everyone in the room just stopped. I knew right then that we needed to have him sing this song on a Fourplay record, and when we asked him, he was very much up for it. The whole thing just came together so easily."

Mason, who has held down the groove for Fourplay since the very beginning, says time has done nothing to dull the edge. The band continues to explore new ways to reach for the next level of musicianship and creativity. "Let's Touch The Sky is the perfect title for where we are right now," he says. "In some ways, bringing someone new into the fold has made us a new band. It opens up new opportunities and new potential, and we want to see how high we can take it."

Tracklist:

1. Let's Touch The Sky

2. 3rd Degree

3. More Than A Dream

4. Pineapple Getaway

5. I'll Still Be Lovin' You

6. Gentle Giant (for Hank)

7. A Night In Rio

8. Love TKO

9. Above and Beyond

10. Golden Faders

11. You're My Thrill

Personnel:

Bob James (keyboards and programing)

Nathan East (bass)

Chuck Loeb (guitar)

Harvey Mason (drums and percussion)

Guest vocalists: Anita Baker, Ruben Studdard

Let's Touch the Sky

Hotfile / Uploading @ 256-320K

Marion Meadows: Dressed to Chill (2006)

Soprano/tenor saxophonist and clarinetist Marion Meadows comes from the smooth jazz sax tradition paved by Grover Washington, Jr. and George Howard. Though his sound is not a full as those two, he makes up for it with his lyricism, which imbues the twelve tracks here. Highlights include the "down-low" quiet-storm track "Miss Know it All," with vocalist Will Brock, "Dance With My Daughter," Meadows' companion piece to Luther Vandross' "Dance With My Father,""and his engaging cover of R. Kelley's "I Believe I Can Fly." The lively "Steppers...Let's Do This" is a high-energy salute to the disco-house dance genre from Chicago. With production by keyboardists Michael Broening and Chris "Big Dog" Davis and some instrumental support from guitarists Chuck Loeb and Freddy Fox, this recording is the right fit for Marion Meadows' contemporary fans. --Eugene Holley, Jr.

Tracklist:
1. Dressed To Chill
2. Remember Me
3. Dance With My Daughter
4. Miss Know It All
5. Bounce
6. I Believe I Can Fly
7. Coco Flow
8. Just My Style
9. Scent Of A Woman
10. Steppers...Let's Do This
11. 1000 Dreams
12. To Love Her
Dressed to Chill
Part 1 - Part 2 - Part 3 (RS) / Part 1 - Part 2 - Part 3 (HF) flac

Metro: Special Edition North Sea Jazz Festival (2008)

Metro was formed in 1994 by jazz guitarist Chuck Loeb (Steps Ahead) and pianist Mitchel Forman (who has played with John McLaughlin and Wayne Shorter, among others). The two established names came across each other regularly when they worked in the bands of Stan Getz and Bill Evans and they decided to join forces. In the six recordings Metro has made with a series of changing bassists, the band's sound has developed from contemporary jazz to fusion. Although the music is complex with a great deal of improvising, it always sounds funky. In Metro Special Edition the band is supplemented by an unbelievably select company: trumpeter Randy Brecker, saxophonist Eric Marienthal and drummer Dave Weckl.

Tracklist:
1. Metrocafe - Rio Frio
2. Cross Currents
3. The Standard for Michael Brecker
4. Dirty Dogs
5. Field of Diamonds
6. Bing Bang Boom
Personnel:
Chuck Loeb (Guitar);
Randy Brecker (Trumpet);
Mitch Forman (Keyboard);
Eric Marienthal (Sax);
Gerald Veasley (Bass);
Dave Weckl (Drums)

Rapidshare / Hotfile @192K

Paul Brown: Up Front (2004)

Known in the music industry as the "Babyface of Smooth Jazz" due to his enormous success as a top-ranked producer/composer/arranger/engineer for some of contemporary jazz's most recognized talent, Paul Brown steps "Up Front" with his debut for GRP Records. The Grammy award-winning producer, who has had over 38 Number One hits on the smooth jazz charts offers his solo perspective with special guests Rick Braun, Boney James, Chuck Loeb, Jeff Lorber, and Peter White. Additional production from Jeff Carruthers, Jerry Hey, and many others support the style-guru's interpretations that listeners have come to appreciate.

Brown's vocals and smooth jazz guitar offer listeners a winning combination of original songs and great covers that have style, control, that excellent smooth jazz pitch, and a wonderful sense of rhythm. With "Wes Coast Swing," you'll hear Brown with Jeff Lorber on vibraphone playing a breezy blend of shimmery vibes/keyboards and swinging guitar. Brown changes the mood with "My Funny Valentine," and offers a beautiful duet with Peter White, who's playing nylon-string guitar over a percolating Latinesque backbeat.

"Phat City," one of two songs co-written with Jeff Carruthers, gives you a soulful, head bobbing, multi-hued feeling. This song features the dynamic Boney James on saxophone doing what he does best. But the writers do a 360 degree turn with their radio hit "24/7," that features the cool muted trumpet of Rick Braun, and more than one reason to head to the dancefloor. "Dear Ndugu," is a quiet ballad and obvious tribute to the great drummer and educator Ndugu Chancler.

The set closes with the Van Morrison hit "Moondance," and Paul Brown gives it that same enduring smooth jazz essence, with right-on vocals and superb guitar magic. With Up Front, Paul Brown gives listeners 12 excellent reasons to add this to their contemporary jazz collection. — Paula Edelstein, All Music Guide

Tracklist:

01. Wes' Coast Swing (4:30)

02. Angel (3:51)

03. Moment by Moment (4:32)
04. Don't Let Me Be Lonely Tonight (2:55)
05. My Funny Valentine (4:12)
06. Phat City (4:47)
07. Sweet Sweet Love (4:34)
08. Ain't No Sunshine (3:06)
09. Chill Out (3:53)
10. 24/7 (4:28)
11. Dear Ndugu (3:39)
12. Moondance (3:22)
Up Front
Rapidshare / Hotfile @ 320K

Paul Brown: The City (2005)

The City opens up in with the funky and sensuous "Cosmic Monkey" featuring Jeffrey Osbourne's slinky overdubbed harmonies. "Hello Again" is Wes Montgomery-breezy soul samba. Next up is "Side Steppin'"s high-spirited blast of '80s-era disco jazz. "The City"'s dreamy blend of Boney James' soulful tenor saxophone, shivery keyboards, boogaloo congas, bluesy guitar and cognac-smooth jazz vocal follows.

"Las Vegas" is an exuberant congress of dancing guitar licks, Michael Paulo's throaty sax and a bouncing hip-hop swing beat. "Old Friends" is a quiet fire ballad caressed by Brown and James' tender interplay. "Winelight"'s blend of Brown's Grover Washington, Jr.-channeling solos and tasty club beats is complemented by the silky-smooth party starter "Jumpin' Uptown." "Food For the Moon"'s cool 'n funky hip-hop jazz groove flows into a faithful/playful voice box-juiced version of Johnny "Guitar" Watson's "Reel Mutha For Ya." Fittingly, the album closes with the sublime Brown/James chillout duet "The City (Instrumental)."

The City proves beyond a doubt that Paul Brown is one of the most exciting and important guitarists in contemporary jazz.

The City

Rapidshare / Hotfile @ 320K

Wolfgang Haffner: Round Silence (2009)

Serenely played music, free from needlessly hectic activity and tension' is, according to the sleevenotes of this, his third album as leader, what drummer/composer Wolfgang Haffner is aiming to produce with his regular trio (completed by pianist Hubert Nuss and bassist Lars Danielsson), augmented now and again by guitarists Dominic Miller and Chuck Loeb, singer Kim Sanders, trumpeter/keyboardist Sebastian Studnitzky, electric bassist Christian Diener, percussionist Ernst Ströer and trombonist Nils Landgren, plus a trombone/flute/clarinet section.

The resulting recording touches a number of stylistic bases, from the mellifluous lyricism of the title-track (which could easily be mistaken for an escape from any one of a number of ECM albums) to more robust, chattering pieces, all with their musical agendas set by Haffner himself, whose playing ranges easily and naturally between relatively straightforward jazz drumming to contemporary-sounding beats and the sort of subtle but driving percussion often associated with so-called 'world' music.

The overall effect of the album as a whole is a mite diffused as a consequence of the constant chages both of personnel and mood, but taken track by track is rich, polished, affecting and invigorating by turns, and the writing, for a variety of musical resources, is of a consistently high quality.

Round Silence

Rapidshare / Hotfile @ 320K

Jeff Kashiwa: Simple Truth (2002) with 5 bonus tracks

If spending 10 years with the Rippingtons, then going solo with one of the most played singles in the history of smooth-jazz radio (2000's "Hyde Park (The 'Ah, Ooh' Song") didn't prove that Kashiwa has learned the formula for airplay success, his fourth album will. He's the everyman smooth saxer throughout Simple Truth, sounding like Dave Koz overdubbing his horns on the Steely Dan-influenced "The Good Life," and Marion Meadows on the title track. Meanwhile, "A Quiet Goodbye" is very reminiscent of the David Sanborn/Bob James chestnut "Moon Tune" from Double Vision. Of course, it's natural that he sounds like "that guy from the Ripps" on "Voices" and "Something About You," plus he's aided by former band mates keyboardist Dave Kochanski and the great percussionist Steve Reid. It would be wrong and offensive to label Kashiwa a generic saxophonist, because there is a dash more respect for traditional jazz in his soloing than the literal lip service paid by many smooth horn players; like the genre itself, Kashiwa is the sum of all his influences. If there is such a thing as a pure smooth-jazz artist, this talented saxophonist might fit the bill. --Mark Ruffin

Buy at Amazon.com
Simple Truth (RS) / Simple Truth (MU)

Andrew Neu: Try Something Neu (2009) mp3 @ 320K

Essayez quelque chose de Neu est le troisième album Andrew Neu et il est certainement quelque chose de Neu. De la première à la dernière piste, il va falloir vous Groovin 'dans votre chaise, si pas sur vos pieds danser sur les rythmes. La chose qui définit ce cd en dehors de sa dernière sortie, «In Clear View», est le régime de la Corne. Les travaux klaxon a la vieille école se sentent de la Tour de cornes de puissance et pourtant capable de livrer un orchestrational de sauvegarde en cas de besoin ou de produire un sentiment de jazz big band. Une chose est certaine ...... n'importe quel mode ils sont acceptés, ils ne perdent jamais le projet groove.This vient avec des invités de certains des plus beaux noms du jazz en douceur aujourd'hui. Le coup d'envoi du CD est Chuck Loeb, à la guitare, partageant la vedette avec Andrew sur un air appelé Chez Cool. Ce morceau donne le ton à la perfection. Il existe certains échanges fine entre Loeb et Neu et un grand travail de soutien de Demetrios Pappas sur le organ.Next up est Libra Rising, une chanson écrite par Brian Bromberg, dans lequel Bromberg gère les droits d'extrémité inférieure avec le travail bass solide. Il s'agit davantage d'une mise tempo mélodique titre smooth jazz, avec Neu livrer la mélodie et les cornes, avec Bromberg, fournissant groove et support.South By Southwest est d'autant Neu Andrew. Il a le calendrier accrocheur et une coupure très cool au milieu où Neu affiche un certain travail en solo amende. Puis c'est le retour à la mélodie et le back-end. De là, nous allons à une belle piste prévue de retour avec Dan Siegel sur les touches intitulé Open Mind. Andrew fixe les mélodies et les parts d'un échange ou deux avec Siegel. Ce morceau suivant, The Way Forward, a été écrit par Chuck Loeb et est seul Neu et les cornes. Andrew escalier extérieur sur celui-ci et affiche un très beau solo d'improvisation, alors que les cornes de fournir un appui et à maintenir la circulation douce smooth jazz de cette tune.This reprise de la chanson 1987 Bobby Caldwell "Next Time I Fall In Love" est interprété par Bobby Caldwell et ressemble beaucoup à l'original. Travaux sax Andrew's est une addition très gentille à l'arrangement. Il existe également une version instrumentale sur la cd.No Hang Ce soir, c'est un de mes morceaux préférés. Il démarre avec un Billy Preston évangile saveur style et va dans une grande jazz Horn Section sentir. Il garde encore le groove avec quelques travaux clavier fin, un solo très cool trompette, saxophone et d'Andrew à cravate together.Wanderlust tout est une chanson écrite par Neu et est une autre piste mélodique smooth jazz avec une flow.Back très agréable au funk avec l'écrou. Voici les cornes, avec quelques sons magnifique école ancienne. Ils ne perdent les rênes à André pour certains travaux sax funky, mais ils poussent cette piste, du début à la fin. Qu'est-ce qu'un groove!! Immédiat pour la grande finale, essayez quelque chose Neu. À mon avis, ce devrait être la tête d'affiche pour l'album. Elle est l'aboutissement de tout ce dont il dispose, en ce sens qu'il a un débit accrocheur, le travail en solo fine, un accord de grande corne et il donne un sentiment de satisfaction que vous vouliez seulement ressentir après avoir mangé quelque chose de très bien. Toutefois, elle pourrait très bien être le début de quelque chose de très good.To résumer ..... c'est de loin l'un des meilleurs CD contemporaine out à l'heure actuelle, mais c'est un album très difficile d'examiner en ce qu'elle peut 't être placés dans n'importe quel moule emporte-pièce. La dimension à la musique dans ce projet est incroyable, comme une seule piste peut sonner funky, ont alors un sentiment smooth jazz et même de passer à un big band tout droit groove jazz. Je garantis ce CD peut contenir votre intérêt et va certainement vous inspirer d'essayer quelque chose Neu.

Examen par Dick Fairchild: citysoundsradio.com

Gerald Veasley: Your Move (2008) mp3 @ 320K

Contemporary jazz bassist Gerald Veasley makes no claim to be a master chess player, but there are certain unmistakable parallels between his line of work and the small-scale war game that has challenged great minds for centuries. Like chess, Veasley sees music as a pursuit that involves a combination of strategy, quick thinking and even a bit of blind faith.
"There's a multiplicity of decision making in the game of chess, and there are consequences to every action," says Veasley. "In a lot of ways, making music is like that too. There are so many choices, especially in jazz, where the situation is never the same twice. That's always exciting to me. You're creating new scenarios at every turn - every time you step in front of an audience, or every time you step into the studio. That's what drew me to this kind of music in the first place - the idea that it was always fresh, there was always an opportunity and a new challenge. Unlike chess, though, winning in jazz doesn't mean someone else has to lose."
That same combination of challenges, opportunities and win-win is at the heart of Your Move (HUCD 3130), Veasley's new Heads Up International CD. The album is the latest - and perhaps most innovative and audacious - maneuver in the game that Veasley has been playing since his early days as an up-and-coming musician in his native Philadelphia.