Boney James - Detour

Styles: Smooth Jazz
File: MP3@320K/s
Time: 40:35
Size: 93,9 MB
Art: Front

(4:08) 1. Detour
(3:36) 2. Bring It Back
(3:53) 3. Sway
(4:07) 4. Memphis
(4:05) 5. Tribute
(3:40) 6. Coastin’ (feat. Lalah Hathway)
(3:53) 7. The Loop
(4:34) 8. Northern Lights
(3:47) 9. Intention
(4:47) 10. Blur

Four-time GRAMMY nominee, multiplatinum-selling saxophonist Boney James' new album, Detour, marks his 18th release as a leader. Following the success of his 2020 album, Solid (#1 Billboard Contemporary Jazz Chart, #10 Billboard Top Albums Chart), Boney's new record showcases 10 original tracks including "Coastin'" featuring iconic vocalist Lalah Hathaway. Also featured is trumpeter Dontae Winslow, known for his work with the West Coast Get Down.

The new 10-song collection is a subtle stylistic turn that builds on the commercial success of 2020’s Solid, James’ highest charting release ever on the pop charts, peaking in the Top 10 on the Billboard 200.

Featuring vocals from 5-time Grammy winner Lalah Hathway, Detour was recorded largely at Boney’s L.A. home studio (live drums and percussion were tracked at venerable Sunset Sound). The album was produced by Boney with co-production from in-demand writer/producer, Jairus “J-Mo” Mozee (Anderson.Paak, Nicki Minaj, Anthony Hamilton) among others. Additional musicians on the album are keyboardist Tim Carmon (Eric Clapton), longtime drummer Omari Williams and bassist Alex Al, renowned percussionist Lenny Castro and guitarists Big Mike Hart and Paul Jackson Jr.

During his 30-year career, Boney James has released a staggering 18 studio albums – including a pair of Christmas records -with 1995’s Seduction, 1997’s Sweet Thing and 1999’s Body Language all RIAA certified gold. In 2015, Boney’s futuresoul spent 11 weeks atop the Billboard Contemporary Jazz Chart and was the best-selling Contemporary Jazz Record of 2015. Boney has earned four Grammy nominations (“I’m not gonna lie… I’d still love a statue,” he says), two NAACP Image Award nominations and a Soul Train Award, while a dozen of his albums have landed at #1 on Billboard’s Contemporary Jazz Album chart. His collaborators in the past include a Who’s Who of R&B and soul: Raheem DeVaughn, Faith Evans, George Benson, George Duke, Dwele, Al Jarreau, Philip Bailey, Anthony Hamilton, Jaheim, Eric Benét, Dave Hollister, Stokley Williams, Kenny Lattimore and Angie Stone. http://news.theurbanmusicscene.com/2022/08/boney-james-to-release-18th-new-album-detour/ 

“We’ve all been on a detour these last few years,” says Boney. “This album reflects how my music and I have been affected by the times we’re in.”

Personnel: Tenor Saxophone, Producer – Boney James;Bass – Alex Al; Drums – Omari Williams; Guitar – Paul Jackson Jr.; Percussion – Lenny Castro; Piano – Tim Carmon; Trumpet – Dontae Winslow; Vocals – Lalah Hathaway

Detour

---

Rick Braun - Beat Street

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 53:32
Size: 124,4 MB
Art: Front

(4:36)  1. Groovis
(5:14)  2. Papa Dee
(5:06)  3. Club Harlem
(5:25)  4. I'll Be There For You
(5:51)  5. Philadelphia
(4:26)  6. Cadillac Slim
(4:49)  7. The Promises
(4:09)  8. Natalie
(4:28)  9. Ian's Blues
(4:57) 10. Walk The Walk
(4:26) 11. Marty's Party

This good-natured release is a very enjoyable compilation of funk-inflected light jazz that fits Rick Braun's trumpet and flugelhorn around some excellent guitar playing (with lots of wah-wahs on show), steady bass and drums, and supportive keyboards (Braun also contributes the keyboard beds, but this aspect of his production tends not to be showy). Braun and his assorted players (who include Boney James, Jeff Golub and Peter White) have crafted some entertaining melodies that are often built on swaying, sneaky rhythms "Cadillac Slim" for one, and the devious "Papa Dee" for another. Braun's liner notes mention War (the band) more than once, and you can certainly pick up that influence this time around. In terms of approach, Braun kept things loose and improvisational for the recording no charts, no formalities, just a few ideas and a collaborative impulse that's paid off in the way the album flows together. Nice warm work that sneaks in under the guards. ~ Steven McDonald https://www.allmusic.com/album/beat-street-mw0000173372

Personnel: Rick Braun - Flugelhorn, Keyboards; G. Chang (track: 3) - Organ [B3];  Matt Harris (track: 7,10), Curtis Brengle (track: 9,11) - Piano; Boney James (track: 1) - Featuring, Tenor Saxophone; Jimmy Roberts (track: 7) - Tenor Saxophone; David Woodford (track: 11) - Tenor Saxophone, Baritone Saxophone; Lee Thornburg (track: 11) - Trumpet;  Nick Lane (tracks: 4,11) - Trombone; Carl Verheyen (tracks: 1,4), Jeff Golub (tracks: 5,6,11) - Guitar; Peter White (track: 3) - Acoustic Guitar; Carl Verheyen (track: 3,6,9) - Guitar [Wah Wah]; Stan Sargeant (track: 1) - Bass [On End]; Dave Morotta (tracks: 1,4,9), Cliff Hugo (tracks: 2,5-7,10,11), Jack Daro (track: 3) - Bass; Brad Dutz - Percussion (tracks: 1,7,8), Bongos (track: 3); Dave Palmer (tracks: 1,4-7,9,10), Dave Karasony (tracks: 2,11) - Drums. Fred White (tracks: 4,7) - Vocals.

Beat Street

---

Rick Braun - Full Stride

Styles: Trumpet And Flugelhorn Jazz
Year: 1998
File: MP3@320K/s
Time: 49:28
Size: 114,4 MB
Art: Front

(4:47)  1. A Very Good Thing
(4:20)  2. Nightfall
(4:47)  3. Hollywood & Vine
(4:45)  4. One Love
(4:55)  5. Moonshot
(5:12)  6. China Bath
(4:28)  7. Magic Moment
(5:18)  8. Soul On Soul
(6:18)  9. South Of Midnight
(4:34) 10. Aqua Funk

A positive, tongue-in-cheek attitude infuses the trumpeter's Full Stride with a certain balmy optimism that contrasts with the dark moods of most of 1997's Body and Soul and recalls the deeply grooving, party time atmosphere on his breakthrough Beat Street (1995). His relaxed, fun-seeking attitude is apparent from the start, with the catchy light funk of "A Very Good Thing" recalling the restless spirit of Beat Street's "Marty's Party"; he floats a percussive melody, complete with irresistible pop hooks, over his own tropical vibe harmony (on synth) and Dave Palmer's alternating deep drum groove and insistent high-hat. More Herb Alpert than Miles. Likewise, he teams with keyboardist Brian Culbertson and former Rufus guitarist Tony Maiden (who backs Braun's flügelhorn with an hypnotic clicking wah-wah effect throughout) to reflect the fast-paced street life of "Hollywood and Vine." On "One Love," he combines his muted trumpet with Culbertson's acoustic piano as a harmonic backdrop to a dreamy, swaying flügelhorn melody; the effect is a cool tension beneath a soaring spirit. "China Bath" plays like background music at an Asian massage parlor. Chuck Kentis finds a synth tone that approximates an Oriental stringed instrument, which he touches gracefully behind a gentle conversation by Braun and Peter White's acoustic guitar, all while a bubbly, trip-hop percussion groove rolls in the background. Then there is Moon Calhoun's croaking synth bass backing Braun's give and take with the echoing electric guitar of Bruce Conte. Following the lead of Chet Baker, Braun even doubles his own gentle vocal scat with the horn on "Magic Moment."~ Jonathan Widran https://www.allmusic.com/album/full-stride-mw0000600639

Personnel: Flugelhorn – Rick Braun,  Bass – Cliff Hugo, John Menzano;  Double Bass [Upright Bass] – Cliff Hugo, Jack Daro; Drums – Dave Palmer, Michael White; Electric Piano – Mitchell Forman; Guitar – Bruce Conte, Carl Verheyen, Jeff Golub, Nils, Tony Maiden); Guitar [Nylon String] – Peter White;  Keyboards – Brian Culbertson, Chuck Kentis, David Garfield, Rick Braun; Keyboards [Additional] – Boney James;  Piano – Curtis Brengle, Mitchell Forman; Soprano Saxophone, Tenor Saxophone – Doug Norwine; Synthesizer [Bass] – Brian Culbertson; Trombone – Nick Lane; Trumpet – Lee Thornburg, Rick Braun;  Vocals – Maysa Leak, Rick Braun

Full Stride

---

Dan Siegel - Inside Out

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 45:27
Size: 104,9 MB
Art: Front

(4:12)  1. Just Like That
(5:31)  2. Inside Out
(4:07)  3. In Your Eyes
(4:47)  4. When The Time Comes
(5:18)  5. Between The Lines
(4:53)  6. To The Point
(5:00)  7. This Time Around
(4:05)  8. Crossroads
(3:23)  9. The Long Goodbye
(4:07) 10. Gone But Not Forgotten

Almost a quarter century after his debut, Dan Siegel remains one of the kings of smooth-as-silk piano smooth jazz. No computer blips or hip-hop samples here. Siegel is such a mellow mood on his first new studio CD in six years that if you're not completely relaxed after his latest, you should probably get your money back. Saxophonists Boney James and Jeff Kashiwa spice things up in solos and as part of a horn section, but their playing enhances the mellowness instead of taking it outside a comfort zone. None of this is bad, of course. On "Just Like That" and the cover track, Siegel's chirpy playing and smooth backbeat are just what my doc might prescribe during the nadir of a hectic work week. Siegel steps outside his comfort zone a little with "Between the Lines," laying down some tasty organ grooves, but soon slips back into his mellow groove with "To the Point." He ventures into Yanni territory on the final cut, "Gone, But Not Forgotten," a spiritual and uplifting four minutes of music cinema. Siegel is from the old school, a defining member of the smooth jazz movement who still believes in music's healing and calming attributes. In today's loud world, there's still plenty of room for that. ~ Brian Soergel https://www.allaboutjazz.com/inside-out-dan-siegel-native-language-review-by-brian-soergel.php

Personnel: Dan Siegel (piano and synthesizer); Brian Bromberg (fretless bass); Alex Al (bass); Robert Bacon (guitar); Lenny Castro (percussion); Boney James (saxophone); Jeff Kashiwa (saxophone); Dave Hooper (drums)

Inside Out

---

Boney James - The Beat

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 42:08
Size: 96,7 MB
Art: Front

(4:56)  1. Don't You Worry 'Bout A Thing
(4:07)  2. Sunset Boulevard
(3:37)  3. Missing You
(4:03)  4. Batcuada (The Beat)
(3:48)  5. Maker Of Love
(4:28)  6. Mari's Song
(4:00)  7. Powerhouse
(4:03)  8. The Midas (This Is Why)
(4:04)  9. Acalento (Lullaby)
(4:57) 10. You Can Count On Me

In the crowded field of 50,000 smooth jazz saxophones, only a handful are blessed with a distinctive sound of their own and if Boney James isn't first in his class he should be high on the list. James can play with both raw power and gentle, soulful restraint. There's more restraint than power on The Beat, the 14th album by the New York-born saxophonist, but James has always opted for underplaying a bit than roof-raising soloing. James' background in soul music playing keyboards and sax for Morris Day, the Isley Brothers, and Bobby Caldwell has weighed heavily in his fondness for R'n'B and hip-hop, but The Beat drops a few hints of his love of Latin rhythms as well best evidenced in a laconic version of Stevie Wonder's "Don't You Worry About A Thing" and on the boppish "Batucada (The Beat)" where James works out with his frequent collaborator, trumpeter Rick Braun. Though they won't remind anyone of Miles Davis and John Coltrane, the James and Braun pairings tend to bring out the most purely "jazz" moments in each other.

It wouldn't be a Boney James record without a few guest vocalists dropping by and The Beat is no exception with three; "Missing You" featuring guitarist Jarius Mozee and Abi Mancha's nicely understated whisper, "Maker of Love" gives Raheem DeVaughn an opportunity to give praise to an attractive lady's attributes, and Natalie "The Floacist" Stewart gives the gents equal time on "The Midas (This Is Why)."  If you aren't already a member of Team Boney, The Beat may not be the release to get you to sign up. For the faithful who helped propel the album to the top of the charts James remains a formidable force in contemporary jazz, standing at the top and giving his competition an even steeper hill to climb. ~ Jeff Winbush https://www.allaboutjazz.com/the-beat-boney-james-concord-music-group-review-by-jeff-winbush.php
 

Personnel: Boney James: soprano, tenor and alto saxophone, flute, keyboards; Brandon Coleman: keyboards (1, 2); Vinnie Colaiuta: drums (1, 9, 10); Lenny Castro: percussion (1-4, 6-10); Rob Bacon: guitar (2, 4, 7, 10); Dewayne “Smitty” Smith: bass (2, 10); Omari Williams: drums (2, 4, 7); Jarius Mozee: guitar, keyboards, programming (3); Abi Mancha: vocals (3); Tim Carmon: keyboards, keyboard bass (4, 6, 8); Alex Al: bass (4, 6, 7, 9); Rick Braun: trumpet (4); Raheem DeVaughn: vocals (5); Phil Davis: keyboards, programming (5); Mark Stephens: keyboards (7, 9); Natalie “The Floacist” Stewart: vocals (8)

The Beat

---

Boney James - Futuresoul

Size: 104,2 MB
Time: 41:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Drumline (4:15)
02. Vinyl (4:05)
03. A Little Attitude (3:59)
04. Watchu Gon’ Do About It (3:37)
05. Either Way (4:05)
06. Hand In Hand (3:49)
07. Fortuneteller (4:33)
08. The Moment (4:22)
09. Futuresoul (4:04)
10. Far From Home (4:16)

Title aside, there is something very familiar about Futuresoul, Boney James' follow-up to 2013's Grammy-winning Beat. With a modern production approach, there is a deliberate look back at his great inspiration, Grover Washington, Jr., in particular, the late saxophonist's groundbreaking period between 1975 and 1983. Washington, then recording for Kudu, was deeply influenced by vintage soul music and equally taken with funk. He melded them seamlessly with warm, melodic jazz in a welcoming tone and songlike phrasing that virtually created the "smooth jazz" genre. Those tropes influenced and benefited James greatly; he's continued to evolve and transform the music since his 1992 debut album, Trust. His tone here is pure retro analog, while the rest of Futuresoul's sounds derive from the current production techniques of R&B and pop. He collaborated with several co-producers, including Jarius Mozee on the slinky club floor opener "Drumline," and with Dwele on the fingerpopping summertime groove in the title track. Stokley (Williams) makes a vocal appearance on the lovely crossover tune "Either Way." While the scratchy sample at the intro to "Vinyl" is perhaps too obvious, the melody is low, sexy, and slow, with elegantly layered and harmonically staggered saxophones. Rob Bacon's chunky guitar and Nutty P Beats' loops and spacy synths are tastefully stitched into the backdrop. The ballad "Hand in Hand," with Darrell Smith's programmed loops and low-end keyboard bass, is lithe and romantic, though the earthy, Southern gospel tinge of Tim Carmon's B-3 adds roots and depth. Closer "Far from Home" features the muted trumpet of Marquis Hill as a lyric foil for James. Carmon's acoustic piano fills, Vinnie Colaiuta's impressionistic drums, and Lenny Castro's illustrative percussion add a restrained yet cinematic feel to the track. While Futuresoul may not have the outward propulsive force of Beat, it is its flip side: a more lyrical outing that tastefully and thoughtfully melds grooves from the history of smooth and contemporary jazz to modern adult R&B.

Futuresoul

---