Eric Marienthal - Just Around The Corner

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 44:15
Size: 101,6 MB
Art: Front

(4:11)  1. Blue Water
(4:27)  2. Times Square
(4:52)  3. Flower Child
(4:13)  4. Open Road
(4:19)  5. 21 Ocean Front
(4:24)  6. Just Around The Corner
(4:13)  7. I Believe In You
(3:38)  8. Dance With Me
(4:36)  9. Your Move
(5:16) 10. Lost Without You

When heard with Chick Corea's Elektric Band or as a sideman in more straight-ahead settings, Eric Marienthal consistently proves that he is a technically skilled and creative jazz altoist. Unfortunately, on his own recordings Marienthal is content to sound as if he is on automatic pilot, caressing insipid melodies, sticking close to the theme in a somewhat generic tone, and playing music that is clearly geared toward smooth radio and romantic backgrounds. Just Around the Corner has the altoist in the forefront throughout while backed by a purposely anonymous rhythm section. 

Whether showing a bit of pseudo-soulful heat or playing a ballad very straight, Marienthal sounds as if every note were planned in advance, with no room for errors, innovations, or spontaneity. The results are predictable instrumental pop performances by musicians capable of so much better. ~ Scott Yanow http://www.allmusic.com/album/just-around-the-corner-mw0000498405

Personnel: Eric Marienthal (soprano saxophone, alto saxophone, tenor saxophone); Jeff Lorber (guitar, piano, keyboards); Ray Parker, Jr. (guitar); Paul Rayner-Brown (acoustic guitar, keyboards, percussion); Michael Stever (trumpet); Brian Culbertson (trombone, piano, keyboards, percussion, drum programming); Stephen Lu (keyboards, programming); Dave Weckl (drums).

Just Around The Corner

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Chuck Loeb - Between Two Worlds

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 65:01
Size: 149,9 MB
Art: Front

(6:48)  1. Let's Go
(5:46)  2. Hiram
(6:43)  3. Mittens
(5:37)  4. Between Two Worlds
(4:22)  5. Oh No You Didn't
(5:19)  6. Let's Play
(4:21)  7. So Tinha De Ser Com Voce
(6:56)  8. The Great Hall
(7:10)  9. Mean Old Man
(5:40) 10. 360
(6:14) 11. Early Turns to Late

As its title suggests, Between 2 Worlds finds guitarist Chuck Loeb's sublimated split personality at last openly revealed. A household name in smooth jazz circles, the former Steps Ahead luminary this time throws the dice with a program heavier on the straight-ahead jazz component that composes the core of his musical upbringing. Does this project mark the dawn of a new beginning, a passage to this other world? Only time will tell. Customarily dressing the table with a set of his glossy, high-sheen wares, the second half of the program finds the agile guitarist delving into some more substantiated, post-bop-type purlieus, not without the same unbridled enthusiasm and passion that characterizes his pop-jazz work. That said, like those that preceded him in such indissoluble mixing of genres (and aesthetics) Lee Ritenour being a rather convenient comparison the final product unfortunately falls flat in the face of artistically more focused covenants. Too much of this, not enough of that, the apanage of the MOR modicum. From the funky, bluesy stroll of the Robben Ford-tinged "Oh No You Didn't" (featuring daughter Lizzy's soulful vocals) things take a radical turn as Dave Weckl's rollicking kit work introduces the supercharged, intervallic theme of "Let's Play."

A brisk minor blues with booming chordal interjections, the piece emphatically celebrates the precise, George Benson/Pat Martino/Mike Stern school of picking. Halting a brief moment for wife-vocalist Carmen Cuesta's grazing Tom Jobim's tranquil "So Tinha De Que Ser Com Voce," Loeb then launches into the open-strings voicings that open "The Great Hall," a luminous waltz recalling John Abercrombie's mid-70's to mid-80's work that most probably got its title after his former teacher, the great Jim Hall. Though the latter composition is rich enough to endure repeated listening, other tracks may, to some, defy the threshold of tolerance namely, "Hiram," a dedication to the late Hiram Bullock, the title track, and the closing sleeper, "Early Turns To Late." A deft technician with years studio experience behind him, Loeb demonstrates with Between 2 Worlds that his straight-ahead fretwork certainly needs to be reckon with, championed even. But, whether learned jazz listeners will buy into such disparate programming remains improbable. ~ Martin Gladu https://www.allaboutjazz.com/between-2-worlds-chuck-loeb-heads-up-international-review-by-martin-gladu.php

Personnel: Chuck Loeb: guitar; Carmen Cuesta: vocals (2, 4, 7); Lizzy Loeb: vocals (5); Eric Marienthal: saxophones, flute; Till Bronner: trumpet (3); Nathan Eklund: trumpet (1), trombone (1); Brian Culbertson: trombone solo (1); Pat Bergeson: harmonica (11); Will Lee: bass (1, 3, 5), fretless bass melody (2); Gerald Veasley: bass (2, 6); Dieter Ilg: bass (8-11); Dave Weckl: drums (1-3, 5-7); Wolfgang Haffner: drums (4, 8-11); Bashiri Johnson: percussion (1-3); David Charles: percussion (5, 7, 10, 11).

Between Two Worlds

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Brian Culbertson - The Trilogy, Pt. 1: Red

Styles: Smooth Jazz, R&B, Funk
Year: 2021
File: MP3@320K/s
Time: 55:25
Size: 127,2 MB
Art: Front

(6:52) 1. Feel the Love
(5:26) 2. Just Let Go
(4:45) 3. Come on Over
(5:09) 4. Infatuation
(5:59) 5. Deep in the Night
(5:20) 6. Whispers
(5:02) 7. Eyes Closed
(4:23) 8. Lost in You
(6:34) 9. One More Kiss
(5:50) 10. Dreamstate

Hitmaker Brian Culbertson never imagined hanging with fans online would lead to something of a collaborative masterclass spawning an album trilogy, but that’s how “The Trilogy” was conceived. The first album in the series, an intimate, passion-themed set titled “The Trilogy, Part 1: Red,” dropped Friday from BCM Entertainment. Written, produced and performed by Culbertson, the multi-instrumentalist credits members of his Hang Club with helping him craft the tracks, title the songs, and even assist with the cover artwork via weekly members-only YouTube Live sessions. As viewership for Culbertson’s Friday night Facebook Live show, The Hang, took off in the spring of 2020 while he was unable to tour, he hatched the idea of creating The Hang Club, providing exclusive perks and behind-the-scenes opportunities for tier two members and above, including access to smaller Monday and Wednesday night live streams via YouTube unlisted. The Monday night sessions evolved into somewhat of a masterclass at which “Professor BC,” as Hang Club members dubbed him, wrote songs with immediate input from the Hang Club.

“What was cool about it was I truly got instant fan feedback of what they were digging and what they may not like. I got to bring them along, educating the fanbase on what an early demo sounds like, which is nothing like a finished record. I had to educate everyone’s ears to understand where it starts - the beginning, middle and end - after it’s mastered and how it really transforms over time and gets better and better and better slowly. That’s been a fun part both from my side and for them,” said Culbertson about Hang Club members. As he wrote more material, Culbertson began to notice that the songs emotionally fell into three distinctive categories: passion, melancholy and hope. Then he envisioned assigning a color scheme to each theme: red, blue and white.

“When I first started the process, I did not have ‘The Trilogy’ in mind. I was just writing new songs at that point. I started writing a bunch and it slowly came into focus that they all sounded sonically similar in terms of the production style. However, the feeling that you would get from the songs became clear in three distinct groups. For instance, on ‘Red,’ all those songs were clearly about passion and love. Some of the songs were melancholy, sad really made you think…introspection. Then, the third section of songs were more fun, happy and hopeful. ‘The Trilogy’ mirrors a relationship arc. ‘Red’ is the steamy beginning, ‘Blue’ is the rocky middle, and ‘White’ is the ‘and they lived happily ever after.’” "The Trilogy, Part 1: Red” is an alluring, atmospheric listen. The rhythmic grooves churn seductively as deep bass and captivating melodies bathe and caress body, mind and soul. Romantic and desirous, steamy and intense, sultry and sexy.

Keeping with the cozy nature of the material, Culbertson plays most of the instruments himself, including piano, keyboards, Fender Rhodes, Wurlitzer, Hammond B3 organ, bass, drums and percussion, trombone, and even some guitar. The record includes contributions by guitarists Isaiah Sharkey, Randy Bowland and Darnell “Showcase” Taylor; bassists Alex Al and Rishon Odell, and vocalist Micaela Haley. Culbertson also surprises with dreamy, layered vocalese on “Infatuation” and a full lead wordless vocal on “Lost in You.” In fact, the latter made it onto the album at the urging of the Hang Club. https://thejazzworld.com/brian-culbertson-the-trilogy-part-1-red-out-now/

The Trilogy, Pt. 1: Red

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Brian Culbertson - Music from The Hang

Styles: Jazz Funk, Smooth Jazz
Year: 2020
File: MP3@320K/s
Time: 57:21
Size: 133,4 MB
Art: Front

(6:20) 1. The Hangout
(1:28) 2. It's Friday Night with Opening Drone
(5:19) 3. Keep Movin'
(4:44) 4. Hey There
(1:00) 5. It's Monday Night
(4:37) 6. Let's Go
(3:55) 7. When I'm With You (Solo Piano)
(1:13) 8. Happy Birthday
(3:18) 9. Bootsy's Road Story Soundtrack
(1:42) 10. It's Wednesday Night
(2:07) 11. Stars and Stripes Forever
(1:58) 12. Sitting by the Fire (Solo Piano)
(5:50) 13. Together Tonight (2020 Version)
(1:22) 14. It's Friday Night
(6:16) 15. Sexy Love
(6:05) 16. A New Beginning

Even though Brian Culbertson might be categorized as jazz lite, his music has enough "oomph" to keep you interested. The talented composer, arranger, keyboardist, and trombonist displayed a talent beyond his years at an early age, and credits his dad with helping him develop an ear for the type of music he makes. His father, Jim Culbertson, a respected high-school jazz band director and trumpeter, cultivated a love of sanguine sounds in the young Brian, who eagerly listened to anything his dad put on the stereo. Their Decatur, Illinois, home would be alive with the recorded sounds of Maynard Ferguson, Buddy Rich, the Brecker Brothers, and David Sanborn. Growing up, Culbertson also listened to '70s R&B/pop/funk bands like Blood, Sweat & Tears, Tower of Power, and Earth, Wind & Fire. He began his musical training at the age of eight with piano lessons; at nine he moved to drums, at ten trombone, and at 12 bass. Bored with classical recital pieces, he began composing in junior high. By his freshman year in high school, Culbertson was experimenting with the then-new Yamaha DX-7 synthesizer and an old four-track recorder in the basement of his parents' home. His dedication earned him six individual and five group Down Beat student awards.

During his high-school years, Culbertson started getting into MIDI sequencing and synthesizers. He couldn't find musicians who were able to play his songs on the level he wanted, as most of his peers were into heavy metal, so Culbertson, who cites pop producer/songwriter David Foster (Earth, Wind & Fire's "After the Love Is Gone") as one of his strongest influences, learned how to play all the parts himself. After graduation, he headed to Chicago to begin studies in the music program at DePaul University. On campus, he began to run into high-level musicians and started playing in a band. A family friend helped Culbertson get a deal with Mesa/Blue Moon in 1994. In the bedroom of the apartment he shared with three college buddies, he recorded his debut album, Long Night Out, playing most of the instruments himself but also enlisting a small backing group. The LP spent ten consecutive weeks in the Top Five of the adult contemporary charts. On his follow-up album, Modern Life, Culbertson eschewed the one-man band approach in favor of a live band made up of some of the best musicians in Chicago, plus stellar saxophonist Gerald Albright.

He put out several other albums in the '90s, including After Hours (1995), Secrets (1997), and Somethin' Bout Love (1999). Culbertson's productions include albums by Bob Mamet and Steve Cole. Having gotten into composing advertising jingles, Culbertson set his sights on soundtracks. In 2001, the pianist (who could play the trombone, trumpet, and percussion as well) released Nice & Slow, followed by Come on Up in 2003. Two years later, he issued It's on Tonight, and in 2006 Soulful Christmas, a collection of holiday favorites as well as an original. In 2008, Culbertson released Bringing Back the Funk, an acclaimed album that is credited with bringing new life to the urban jazz genre. It featured a sizable list of collaborators including Bootsy Collins, Larry Graham, Ray Parker, Jr., and David T. Walker. He followed it with a live album in 2009 and XII, a return to the studio, in 2010. In June 2012, Culbertson released Dreams, his 13th album, featuring a host of all-star contemporary jazz and R&B session players and vocalists. Later that year, he set about realizing a dream project. Now an independent artist, Culbertson had long desired to revisit the music from his 1994 debut offering, Long Night Out, initially cut in his apartment on a very limited budget. In 2013, he re-recorded the same tracks with a large all-star lineup that included Nathan East, Russ Freeman, Steve Lukather, and Candy Dulfer, to name a few, plus a 33-piece orchestra. Entitled Another Long Night Out, it was issued on his own BCM label in February 2014. Two years later, he delivered the concert album Live: 20th Anniversary Tour, showcasing his band in concert at Yoshi's in San Francisco. The full-length Colors of Love appeared in 2018, and reached the top of the Billboard Jazz Albums chart. A trio album, Winter Stories, arrived the following year. In 2020, Culberston issued his 20th studio album, the aptly titled XX, featuring guest vocals from Bootsy Collins, Avery Sunshine, and Noel Gourdin. https://www.allmusic.com/artist/brian-culbertson-mn0000521564/biography

Music from The Hang

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Brian Culbertson - Secrets

Styles: Piano Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 45:01
Size: 104,1 MB
Art: Front

(4:12)  1. So Good
(4:29)  2. On My Mind
(4:02)  3. Backstreet
(3:53)  4. Straight to the Heart
(5:04)  5. Secrets
(4:35)  6. You'll Never Find
(4:47)  7. One More Day
(6:00)  8. You're the One
(7:55)  9. At the Backroom

One of smooth jazz's brightest young keyboardists seems to be caught in the same marketing trap as his contemporaries aiming to please radio programmers first, and waiting till very late in the running order of the disc to challenge himself and listeners who have many other new and similarly likeable keyboard releases to choose from. When he finally blows his lid on Secrets and goes for broke, it's a joyous affair, as the eight-minute closing track "At the Backroom" finds Brian Culbertson jamming hardcore blues/funk and bouncing off the inspirations of older cats like Jeff Golub (guitar) and Ricky Peterson (wicked on the Hammond B-3). The tune sounds like an outtake from Golub's more adventurous solo efforts. Surprises abound Culbertson seems to close the piece, then after a short bit of silence, comes back playing smokin' trombone, giving the whole affair an authentic New Orleans club flavor. On the eight previous tracks, Culbertson once again shows a mastery of cool groovin', easygoing melodies, and some tight ensemble action and yet beyond the bouncy opening cut "So Good" and the Paul Brown-produced soul-inflected "Backstreet," he's just cruising in the middle of the road with pals like Gerald Albright and Dwight Sills. As a balladeer, oddly he has never matched the compelling emotion of the home recorded "Beautiful Liar" from his 1994 debut. That song had an urgency, just as "At the Backroom" does. Much of Culbertson's middle ground between those peaks has found him a bit too complacent. ~ Jonathan Widran https://www.allmusic.com/album/secrets-mw0000595468

Personnel: Brian Culbertson - piano, keyboards & drum programming; Steve Cole - tenor saxophone; Dwight Sills - guitar; Richard Patterson - bass; Lenny Castro - percussion; Nanette Frank - lead & background vocals; Teresa Davis & Dianne Madison - background vocals

Secrets

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Brian Culbertson - Nice & Slow

Styles: Jazz,  Smooth Jazz
Year: 2001
File: MP3@320K/s
Time: 48:04
Size: 111,2 MB
Art: Front

(5:02)  1. Just Another Day
(4:05)  2. Get It On
(4:43)  3. Nice & Slow
(4:22)  4. I Could Get Used to This
(4:48)  5. Without Your Love
(3:47)  6. Someone
(0:36)  7. Together Tonight - Prelude
(5:41)  8. Together Tonight
(3:56)  9. All About You
(6:42) 10. I Wanna Know
(4:17) 11. Someone

The artists in smooth jazz whose success endures the longest are those who develop an identifying trademark in their style when you hear their song, you know it's them. A veteran of the genre at age 28, keyboardist Brian Culbertson has over the years made his particular imprint a very distinctive interaction with horns. On his latest, Nice & Slow, he's sometimes even the one playing them. On the throbbing, funky "Get It On," his high register piano musings take verses on their own, then blend on the chorus sections with Jim Reid's tenor and a snazzy trumpet and trombone section played by Culbertson; there's also a brief section where his horns do a call and response with the keys. Reid's tenor takes on a Steve Cole like "double tone" flavor on the mid-tempo groover "Without Your Love," which is given a bluesy effect with the Hammond B-3 of Ricky Peterson. Peterson's B-3 simmers coolly behind Culbertson's reflective melody which joins on the chorus with Kirk Whalum's lush tenor on "I Wanna Know." Culbertson wrote the moody, retro soul-flavored "Just Another Day" with Jeff Lorber, and duets on the chorus with the unmistakable breezy tones of Herb Alpert's trumpet. The soft-spoken "I Could Get Used to This" features Dave Koz's soprano in a more quiet harmonic role. Koz co-wrote one of the most memorable tracks, the ultra-hooky "All About You," but ironically doesn't play a note; thus we get to hear Culbertson adorned only with the balmy acoustic guitar caress of Michael Thompson. Culbertson has also become a happy member of the "soulful vocals are cool" brigade, providing the grooves behind an emotional Sheree & Trey Lorenz on the title track and the ultra-romantic "Someone," featuring Kenny Lattimore. ~ Jonathan Widran https://www.allmusic.com/album/nice-slow-mw0000003444

Nice & Slow

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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

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Rick Braun - Can You Feel It

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 49:13
Size: 113,7 MB
Art: Front

(4:06)  1. Can You Feel It
(4:26)  2. Back to Back
(4:35)  3. Take Me to the River
(4:09)  4. Mallorca
(4:25)  5. Get up and Dance
(4:57)  6. Another Kind of Blue
(4:11)  7. Delta
(5:35)  8. Silk
(3:52)  9. Radar
(4:39) 10. The Dream
(4:13) 11. Dr. Funkenstein

Celebrated trumpeter Rick Braun's release can you feel it is aptly titled. The veteran purveyor of the smooth jazz sound does not disappoint on his latest offering. Some of Braun's musical friends on this eleven song collection include: Brian Culbertson-piano, Euge Goove-tenor sax, Jeff Lorber-keyboards and guitar, Dave Koz-tenor sax, and Nate Phillips-bass.  In typical Braun fashion, the entire record production is clean and at a high standard. The title and first track "Feel It" has a breezy summer's day sensitivity to it that should put you in a relaxed state of mind. On the second song "Back To Back," the dependable band led by Braun, continues to roll along in the groove established by the opening track.

The popular trumpeter provides a pleasant surprise with Al Green's 1974 gospel flavored hit "Take Me To The River." This is the sole vocal track presented here with a cool Braun intro and Elliot Yamin's bouncy interpretation of this soul/gospel classic. (Bryan Ferry, Levon Helm, Talking Heads and Foghat also recorded the song.) The Braun/Harner composition "Get Up And Dance" is another fine example of Braun's signature sound. The horns are clear with the trumpet and saxophone working competently together. "Another Kind Of Blue" is a mellow ballad delivered with Braun's lonely flugelhorn, giving the song a nice melancholy tinge. "Radar" is approached with the easy alacrity that Braun has consistently demonstrated throughout his long career. "Mallorca," "Delta," "Silk," and "The Dream" help contribute to the CD's overall ambience. The album closes strongly with the Braun/Phillips/Gonzalez song "Dr. Funkenstein." In addition to the horns, the very capable rhythm section gets to stretch out. Bass and drums are prominent on the finale that actually rocks. This stand out tune is a great way to conclude Braun's latest record.  Successful songwriter/multi instrumentalist Rick Braun has recorded and produced another polished disc to add to your contemporary jazz collection. Braun's can you feel it will appeal to his loyal fans and supporters of the smooth jazz genre. ~ Walter Atkins https://www.allaboutjazz.com/can-you-feel-it-rick-braun-artistry-music-review-by-walter-atkins.php

Personnel: Rick Braun, trumpets, trombone, flugelhorn and keyboards; Brian Culbertson, piano; Phil Davis, piano; Brandon Fields, tenor and baritone sax; Mike Finnigan, Hammond B3; Richard Fremont, flute; John Gilutin, Hammond B3; Sergio Gonzalez, drums; Euge Goove, tenor sax; Adam Hawley, guitar; Randy Jacobs, guitar; Nathaniel Kearny Jr, bass; Dave Koz, tenor sax; Braylon Lacey, bass; Jeff Lorber, keyboards and guitar; Tony Moore, drums; Nate Phillips, bass; Frank Richardson, drums; Philippe Saisse, keyboards; Freddie Washington, bass; Elliot Yamin, vocals; Ramon Yslas, percussion

Can You Feel It

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Brian Culbertson - Colors Of Love

Size: 146,5 MB
Time: 63:03
File: MP3 @ 320K/s
Released: 2018
Styles: Smooth Jazz, R&B, Funk
Art: Front

01. Colors Of Love (5:23)
02. I Want You (3:54)
03. Love Transcended (4:56)
04. Don't Go (5:28)
05. You're Magic (4:23)
06. Through The Years (3:41)
07. In A Dream (5:53)
08. Let's Chill (5:49)
09. Desire (4:35)
10. Michelle's Theme (4:03)
11. In Your Embrace (4:02)
12. The Look (6:36)
13. All My Heart (4:13)

Brian Culbertson is an award-winning multi-instrumentalist, songwriter and producer known for his distinct brand of genre-crossing contemporary jazz, R&B and funk. Mining the urban sounds of musically-rich Chicago, he began his musical studies on piano at age eight and quickly picked up several other instruments by the time he was twelve, including drums, trombone, bass and euphonium. Inspired by the iconic R&B-jazz- pop artists of the 1970s like Earth, Wind & Fire, Tower of Power, Chicago, David Sanborn and others, Culbertson started composing original music for his seventh grade piano recital and hasn’t stopped since, amassing 30 Billboard No. 1 singles (and counting!) and a deep catalogue of 18 albums, most of which have topped the Billboard contemporary jazz charts.

Having worked and performed with countless industry all-stars such as Michael McDonald, Chris Botti, Ledisi, Barry Manilow, Herb Alpert, Natalie Cole, Maurice White (EWF), Chuck Brown and Bootsy Collins just to name a few, Culbertson has won numerous awards and accolades along with nominations from the NAACP Image Awards and Soul Train Awards. In 2012, he founded the Napa Valley Jazz Getaway, a flourishing wine, music and lifestyle experience for which he also serves as artistic director. With love, romance and his recent twentieth wedding anniversary serving as his inspiration, Culbertson crafted thirteen new songs that will be released as “Colors of Love” on Valentine’s Day. The seduction begins with the first single, the amorous title track, which is a sensual R&B groove illuminated by lyrical acoustic piano melodies typical of the collection’s contents. A nearly three-month- long U.S. concert tour will bring “Colors of Love” to life in a vivid theatrical production, incorporating video elements in a major way.

Regardless of his success and numerous accomplishments, fans can rest assured that Culbertson always brings his very best – and brings the very best out of others – in all of his broad-ranging musical and creative endeavors.

Colors Of Love

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Richard Elliot - Jumpin' Off

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 44:19
Size: 101,8 MB
Art: Front

(4:54)  1. Jumpin' Off
(5:25)  2. All Night
(4:31)  3. If You Want My Love
(5:13)  4. Here And Now
(4:09)  5. Tell Me About It
(5:40)  6. Slow Burn
(4:17)  7. In The Groove
(4:59)  8. One Last Kiss
(5:07)  9. Nobody Knows

One of contemporary jazz's most durable and popular saxmen, Richard Elliot has also been one of the genre's most self-sufficient. His 1986 debut album Initial Approach was produced by Henry Lewy (of Joni Mitchell Court and Spark fame), but Elliot took the reins on the eight subsequent albums that have made his tenor a smooth jazz radio staple. In Paul Brown, Elliot made the perfect decision for his first collaboration with an outside producer, both sonically, creatively and with an eye towards keeping himself viable in an everchanging marketplace commercially. The result of this collaboration, Jumpin' Off lives up to its title; this easygoing, slow-sizzling set is very different from his usual aggressive style, with tunes that slowly envelop rather than explode in your face. 

His longtime fans, however, will have no trouble taking the leap of faith. "Contents under pressure" might be a good way to describe many of the tracks. Elliot's trademark has always been his searing, gritty intensity and high and low dynamics, grabbing hold of a note and pushing it higher, then holding it for seconds at a time before reaching back down for the lower register. But on floating, free-flowing ballads like "One Last Kiss" and "All Night," he holds back and caresses the notes, rather than attack them. With hooks enhanced by subtle horn doubling, the bubbly, creamy effect is like go-down-easy Grover Washington, Jr.. ~ Jonathan Widran http://www.allmusic.com/album/jumpin-off-mw0000029812

Personnel: Richard Elliot (tenor saxophone); Peter White, Brian Culbertson, Rick Braun, Paul Jackson; Mike Sims, Paul Jackson, Jr. , Peter White (guitar); Dan Shea, Michael Egizi (keyboards, programming); Mitchel Forman, Robbie Nevil, Brian Culbertson (keyboards); Lenny Castro (percussion); Steven Hientz, Paul Brown , Steve Dubin (programming).

Jumpin' Off

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Brian Culbertson - Funk!

Styles: Trombone Jazz, Jazz Funk
Year: 2016
File: MP3@320K/s
Time: 52:35
Size: 121,2 MB
Art: Front

(5:28)  1. Get Ready
(4:08)  2. The Call
(4:39)  3. Been Around the World
(4:14)  4. Take It Up
(3:45)  5. Let's Take a Ride
(4:02)  6. We Got What You Want
(1:08)  7. Sunshine
(4:36)  8. Hey Girl
(1:04)  9. Damn, I'm Hungry
(4:53) 10. Got to Give It Up
(3:43) 11. Mile Sauce
(4:24) 12. Play That Funky Music
(5:20) 13. Spend a Little Time
(1:05) 14. To Be Continued...

Brian Culbertson is an award-winning multi-instrumentalist, writer and producer who crosses genres between contemporary jazz, R&B, and funk and heralds from the musically rich city of Chicago. Starting at the early age of 8 on piano, he quickly picked up several other instruments by age 12 including drums, trombone, bass, & euphonium. Inspired by the great R&B/Jazz/Pop artists of the 70’s like EWF, Tower of Power, Chicago, David Sanborn, and others, Brian Culbertson started composing original music for his 7th grade piano recital and hasn’t stopped having self-produced 16 solo albums, most of which have topped the Billboard charts. Brian is always striving to push the boundaries of the contemporary jazz scene which is evident by his latest album, Funk! This new set is a throwback to the stanky P-Funk records from back in the day combining the throbbing bass lines, greasy horn lines, sing-a-long choruses and landing hard on the ‘One.’http://www.brianculbertson.com/about/

Funk!

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Brian Culbertson - Long Night Out

Styles: Vocal And Trombone Jazz
Year: 1994
File: MP3@320K/s
Time: 49:51
Size: 116,3 MB
Art: Front

(5:34)  1. City Lights
(5:27)  2. Fullerton Ave.
(4:41)  3. Beyond The Frontier
(4:53)  4. Heroes Of The Dawn
(3:54)  5. Beautiful Liar
(4:22)  6. Double Exposure
(3:59)  7. Twilight
(4:08)  8. Horizon
(4:24)  9. Alone With You
(4:28) 10. Long Night Out
(3:58) 11. Changing Tides

Brian Culbertson's major label debut Long Night Out is a one-man band tour de force. All those years of sequestering himself away in his bedroom/recording studio have paid off. Except for a few other musicians, Culbertson writes and performs all the music himself. Instead of a vapid "look ma, no band" effort, the tracks sparkle with creativity. On the laid-back opener "City Lights," Culbertson lays down a swaying groove punctuated by muted trumpet, elegant piano, and lazy, lower register electric guitar runs. It's great for a midnight drive. "Heroes of the Dawn" conveys optimism through its use of syncopated percussion and interwoven horn lines. 

The lilting "Beautiful Liar" has solid acoustic piano and tasteful fuzz guitar by Harry Hmora. The double time-tempoed "Double Exposure" smoothly glides along atop a sinewy melody. The strutting "Horizon" has a unison lead line that consist of Culbertson's piano and the muted trumpet of Scott Hall-Harmon. Amid a bell-like synth pad Culbertson's piano weaves a romantic motif on "Alone With You." Don't listen to this one alone. Based around a telegraphic-like riff, the title track brassily chugs along on with the lead duties handled by saxophonist Mark Colley. The languid, ethereal "Changing Tides" has intermittent vocal riffing by Damian Smith and soft cello by Michelle Akin. Culbertson dedicates a track to a popular Chicago fairway, "Fullerton Ave." The closer, "Twilight," showcases a jaunty clarinet that somehow manages to keep a solemn tone amid the dynamic double stops. ~ Ed Hogan http://www.allmusic.com/album/long-night-out-mw0000107857

Personnel: Brian Culbertson (vocals, trombone, keyboards, drum programming); Michelle Akin (vocals, cello); Damian Smith (vocals); Harry Hmura (guitar); Mark Colby (saxophone); Scott Hall (trumpet, flugelhorn); James Ward , Lavelle Peete (drums).

Long Night Out

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Brian Culbertson - After Hours

Styles:  Jazz Funk, Smooth Jazz
Year: 1996
File: MP3@320K/s
Time: 54:47
Size: 127,1 MB
Art: Front

(5:27)  1. Take Your Time
(5:16)  2. Close To You
(4:17)  3. After Hours
(4:25)  4. Shadow's Dance
(1:02)  5. Intro To Inside Pocket
(4:12)  6. Inside Pocket
(5:41)  7. And The Night Comes
(2:27)  8. Going Home
(5:33)  9. Daybreak
(1:24) 10. Prelude To You're Not Alone
(3:30) 11. You're Not Alone
(4:59) 12. After Hours (Extended Solo Mix)
(6:28) 13. Sonic Dreams

Even though Brian Culbertson might be categorized as jazz lite, his music has enough "oomph" to keep you interested. The talented composer, arranger, keyboardist, and trombonist displayed a talent beyond his years at an early age, and credits his dad with helping him develop an ear for the type of music he makes. His father, Jim Culbertson, a respected high school jazz band director and trumpeter, cultivated a love of sanguine sounds in the young Brian, who eagerly listened to anything his dad put on the stereo. Their Decatur, Illinois, home would be alive with the recorded sounds of Maynard Ferguson, Buddy Rich, the Brecker Brothers, and David Sanborn. Growing up, Culbertson also listened to '70s R&B/pop/funk bands like Blood, Sweat & Tears, Tower of Power, and Earth, Wind & Fire. He began his musical training at the age of eight with piano lessons; at nine he moved to drums, at ten trombone, and at 12 bass. Bored with classical recital pieces, he began composing in junior high. By his freshman year in high school, he was experimenting with the then-new Yamaha DX-7 synthesizer and an old four-track recorder in the basement of his parents' home. His dedication earned him six individual and five group Down Beat student awards. During his high school years, he started getting into MIDI sequencing and synthesizers. He couldn't find players who were able to play his songs on the level he wanted, as most of his peers were into heavy metal, so Culbertson, who cites pop producer/songwriter David Foster (Earth, Wind & Fire's "After the Love Is Gone") as one of his strongest influences, learned how to play all the parts himself. After graduation, Culbertson headed to Chicago to begin studies in the music program at DePaul University. 

On campus, he began to run into high-level musicians and started playing in a band. A family friend helped Culbertson get a deal with Mesa/Blue Moon in 1994. In the bedroom of the apartment he shared with three college buddies, Culbertson single-handedly recorded his debut album, Long Night Out. The album spent ten consecutive weeks in the Top Five of the adult contemporary charts. On his follow-up album, Modern Life, Culbertson eschewed the one-man band approach in favor of a live band made up of some of the best musicians in Chicago, plus stellar saxophonist Gerald Albright. He's since put out several other albums, including After Hours (1995), Secrets (1997), and Somethin' Bout Love (1999). Culbertson's productions include albums by Bob Mamet and Steve Cole. Having gotten into composing advertising jingles, Culbertson set his sights on soundtracks. In 2001 the pianist (who could play the trombone, trumpet, and percussion as well) released Nice & Slow, followed by Come on Up in 2003. Two years later he issued It's on Tonight, and in 2006 Soulful Christmas, a collection of holiday favorites as well as an original. In 2008 Culbertson released Bringing Back the Funk, an acclaimed album that is credited with bringing new life to the urban jazz genre. It featured a sizable list of collaborators including Bootsy Collins, Larry Graham, Ray Parker, Jr., and David T. Walker, just to name a few. He followed it with a live album in 2009 and XII, a return to the studio, in 2010. 

In June of 2012, Culbertson released Dreams, his 13th album, featuring a host of all-star contemporary jazz and R&B session players and vocalists. Later that year he set about realizing a dream project. Now an independent artist, Culbertson had long desired to revisit the music from his 1994 debut offering, A Long Night Out, which was initially cut in his apartment on a very limited budget. He played most of the instruments himself but also enlisted a small backing group. In 2013 he re-recorded the same tracks, with a large all-star lineup that included Nathan East, Russ Freeman, Steve Lukather, and Candy Dulfer, to name a few, plus a 33-piece orchestra. Entitled Another Long Night Out, it was issued on his own BCM label in February of 2014. ~ Ed Hogan  https://itunes.apple.com/us/artist/brian-culbertson/id157941#fullText

Personnel: Brian Culbertson (arranger, vocals, trombone, piano, organ, keyboards, cymbals, percussion, programming); Cliff Colnot (conductor, arranger); Michelle Buss (vocals); Steve Finckle (soprano & tenor saxophones); Mark Colby (soprano saxophone); Dave Hutten (alto & tenor saxophones, programming); Jim Culbertson (trumpet); Dale Clevenger (French horn); Judith Kulb (English horn); Peter Labella (concertmaster); Pauli Ewing, Fox Fehling, Teresa Fream, Thomas Hall, Mihaela Ionescu, Blair Milton, Ann Palen, Paul Phillips, Ronald Satkiewicz, Rika Seko, Jennie Wagner (violin); Virginia Barron, Li-Kuo Chang, Marlise Klein, Robert Swan (viola); Lawrence Brown, Richard Hirschl, Judy Stone (cello); Harry Mura (acoustic & electric guitars, guitar); Craig Bauer (acoustic guitar); Gregory Sarchet, Collins Trier, Mike Manson (bass); Tom Hipskind (drums, hi-hat, cymbals) Todd Sucherman (drums); Steve Reid (percussion); Bob Bowker, Jeff Morrow (background vocals).

After Hours

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Richard Elliot - Metro Blue

Styles: Saxophone Jazz

Year: 2005

File: MP3@320K/s 

Time: 40:55

Size: 94,0 MB 

Art: Front

(4:04)  1. Inside Out

(4:03)  2. Camella

(4:30)  3. Coastline

(4:24)  4. People Make The World Go Round

(4:10)  5. Say It's So

(3:58)  6. Chill Bill

(4:23)  7. Mystique

(4:33)  8. Mango Tango

(3:58)  9. Maxi's

(2:49) 10. Metro Blue

Richard Elliott, 45, was born in Scotland and moved to Los Angeles with his family when he was a child. In his early career, he toured with Natalie Cole and the Pointer Sisters. He spent time with a fusion band, Kittyhawk, followed by recording sessions with Smokey Robinson, the Four Tops, and the Temptations. After spending five years as a full-time member of Tower of Power, Elliott became a solo artist, releasing four #1 albums. On Metro Blue, which Elliott co-produced with Rick Braun, the tenor sax specialist delivers a nice mix of smooth jazz and soulful grooves. All but one song were composed by Elliott and Braun, including several that involved other writers. The lone cover is "People Make the World Go Round, written by Thom Bell and Linda Epstein and popularized by a 1970s soul group, the Stylistics.

"Inside Out opens the album with flair, sure to get dancers on their feet. Often in smooth jazz, programming can be the difference between an exceptional album and a boring one. In this case, Braun, Rex Rideout, Greg Karukas, Jeff Lorber, Brian Culbertson, and Phil Davis serve up programming that melds nicely with the other instruments. On "Inside Out and "Say It's So, Rideout's and Lorber's programs supplement rather than replace the drums. And on the other tracks, the drum synths are distinct enough that the listener is free to enjoy the whole song, rather than focus on how similar the program sounds to previous recordings.In addition to flugelhorn and trumpet, Braun contributes some elegant string synths including plucking to give "People Make the World Go Round an orchestral feel. Nate Phillips adds a funky bass line to enhance the groove of "Say It's So. 

Elliott delivers his best performance on the album with the ballad "Mystique, supported by Peter White on nylon string guitar and Lenny Castro on percussion, among others. Throughout the disc, Elliott efficiently puts his tenor through the paces, whether as lead instrument, soloist, or accompanist alongside Braun. Whether on an up-tempo groove or a tranquil ballad, Elliott, Braun, and the others have put together a fine album that will please fans of smooth jazz as well as those who prefer soulful jazz. ~ Woodrow Wilkins http://www.allaboutjazz.com/metro-blue-richard-elliott-artizen-music-group-review-by-woodrow-wilkins.php

Personnel: Richard Elliot: tenor sax; Dwight Sills: guitar; Lenny Castro: percussion; Nate Phillips: bass; Ronnie Garrett: bass (6); Michael White: drums; Rick Braun: trumpet, flugelhorn, keyboards (10); Jeff Lorber: piano (5); Rex Rideout: piano (7); Peter White: nylon string guitar (7); Brian Culbertson: keyboards (9); Red Rideout: keyboards, programming; Jeff Lorber: keyboards, programming; Gregg Karukas: keyboards, programming; Phil Davis: keyboards, programming; Rick Braun: keyboards, programming; Brian Culbertson: keyboards, programming.

Metro Blue

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Brian Culbertson - Dreams

Styles: Jazz Funk, Smooth Jazz
Year: 2012
File: MP3@320K/s
Time: 50:38
Size: 120,1 MB
Art: Front

(4:55)  1. Later Tonight
(4:53)  2. No Limits (feat. Stokley Williams)
(4:41)  3. Your Smile
(4:19)  4. Still Here (feat. Vivian Green)
(5:22)  5. In the City
(4:46)  6. You're My Music (feat. Noel Gourdin)
(3:42)  7. Dreams
(4:37)  8. Madelena
(7:08)  9. Lights Off
(6:09) 10. The Journey

On Dreams, Brian Culbertson attempts to dig further into the vein he opened on 2010's XII, where he seamlessly married adult-oriented R&B to contemporary jazz. In fact, Dreams feels like a bookend of sorts. He employs an alternating cast of studio aces who include Alex Al, John "Jubu" Smith, Eric Marienthal, Michael Stever, Ray Parker, Jr., Rex Rideout, and Rob "Fonksta" Bacon, as well as a trio of vocalists: Stokley Williams (Mint Condition), Vivian Green, and Noel Gourdin. There are some stellar numbers here, including the Williams vehicle, "No Limits," a midtempo babymaker. Culbertson's acoustic piano, Smith's guitar, and some pronounced loops ride atop the bassline to frame the singer's mellifluous tenor. This cut is the sweet spot where neo-soul, adult R&B, and contemporary jazz create a classy pop sound. Green's moment, "Still Here," juxtaposes her taut vocal against acoustic piano and Rideout's fat synth bass with an insistent loop. The result is dramatic. Opening instrumental "Later Tonight" features some nice horn work from Marienthal, Stever and Culbertson on trombone and very fine guitar from Bacon. Its melody is instantly recognizable with the horns being used sparely but effectively in the mix. 

"In the City" may be the strongest of the instrumentals, with a deep bass groove and chugging, almost dubwise, rhythm. Here too, the horns fill the backdrop as Smith's guitar accents the bassline. All of these cuts are in the first half of the album. "You're My Music," sung by Gourdin, is a nice soul-pop bubbler and the title track, with its infectious melody and contrasting acoustic and electric guitars, offers a wonderful palette of textures. The three closing instrumentals, however, are less distinguishable. They seem to blunt the impact of the set's previous cuts rather than provide the kind of balance one suspects Culbertson was looking to create. As "Chapter Two" of XII, this works well, but as an album, Dreams doesn't reach its predecessor's heights. ~ Thom Jurek  http://www.allmusic.com/album/dreams-mw0002361474

Dreams

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Brian Culbertson - Live: 20th Anniversary Tour

Size: 125,4+81,5 MB
Time: 53:38+34:53
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz, Soul Jazz, Funky Jazz, R&B
Art: Front

CD 1:
01. City Lights Intro (Live) (0:40)
02. Always Remember (Live) (4:25)
03. Hollywood Swinging (Live) (2:55)
04. Do You Really Love Me (Live) (5:43)
05. Come To Me (Live) (3:59)
06. All About You (Live) (2:26)
07. Let's Get Started (Live) (3:45)
08. Fullerton Ave. (Live) (5:41)
09. Beautiful Liar (Live) (4:23)
10. Get It On (Live) (8:28)
11. Skies Wide Open (Live) (3:39)
12. Another Love (Live) (2:44)
13. Horizon (Live) (4:43)

CD 2:
01. Think Free (Live) (4:31)
02. Dreams (Live) (2:13)
03. On My Mind (Live) (3:13)
04. Secret Garden (Live) (9:31)
05. Serpentine Fire (Live) (3:27)
06. Funkin' Like My Father (Live) (4:49)
07. City Lights Outro (Live) (1:11)
08. Our Love (Live) (5:54)

Recorded live at the famed Yoshi's jazz club in Oakland, CA Sept 11-14, 2014. This is the first ever live concert CD released by Brian and his band.

Featuring: Marqueal Jordan (sax, vocals & perc), Adam Hawley (guitar & vocals), Eddie Miller (keys & vocals), Michael Stever (trumpet & keys), Rodney Jones Jr. (bass) & Chris Miskel (drums).

Even though Brian Culbertson might be categorized as jazz lite, his music has enough "oomph" to keep you interested. The talented composer, arranger, keyboardist, and trombonist displayed a talent beyond his years at an early age, and credits his dad with helping him develop an ear for the type of music he makes. His father, Jim Culbertson, a respected high school jazz band director and trumpeter, cultivated a love of sanguine sounds in the young Brian, who eagerly listened to anything his dad put on the stereo. Their Decatur, Illinois, home would be alive with the recorded sounds of Maynard Ferguson, Buddy Rich, the Brecker Brothers, and David Sanborn. Growing up, Culbertson also listened to '70s R&B/pop/funk bands like Blood, Sweat & Tears, Tower of Power, and Earth, Wind & Fire. He began his musical training at the age of eight with piano lessons; at nine he moved to drums, at ten trombone, and at 12 bass. Bored with classical recital pieces, he began composing in junior high. By his freshman year in high school, he was experimenting with the then-new Yamaha DX-7 synthesizer and an old four-track recorder in the basement of his parents' home. His dedication earned him six individual and five group Down Beat student awards.

During his high school years, he started getting into MIDI sequencing and synthesizers. He couldn't find players who were able to play his songs on the level he wanted, as most of his peers were into heavy metal, so Culbertson, who cites pop producer/songwriter David Foster (Earth, Wind & Fire's "After the Love Is Gone") as one of his strongest influences, learned how to play all the parts himself. After graduation, Culbertson headed to Chicago to begin studies in the music program at DePaul University. On campus, he began to run into high-level musicians and started playing in a band. A family friend helped Culbertson get a deal with Mesa/Blue Moon in 1994. In the bedroom of the apartment he shared with three college buddies, Culbertson single-handedly recorded his debut album, Long Night Out. The album spent ten consecutive weeks in the Top Five of the adult contemporary charts. On his follow-up album, Modern Life, Culbertson eschewed the one-man band approach in favor of a live band made up of some of the best musicians in Chicago, plus stellar saxophonist Gerald Albright.

He's since put out several other albums, including After Hours (1995), Secrets (1997), and Somethin' Bout Love (1999). Culbertson's productions include albums by Bob Mamet and Steve Cole. Having gotten into composing advertising jingles, Culbertson set his sights on soundtracks. In 2001 the pianist (who could play the trombone, trumpet, and percussion as well) released Nice & Slow, followed by Come on Up in 2003. Two years later he issued It's on Tonight, and in 2006 Soulful Christmas, a collection of holiday favorites as well as an original. In 2008 Culbertson released Bringing Back the Funk, an acclaimed album that is credited with bringing new life to the urban jazz genre. It featured a sizable list of collaborators including Bootsy Collins, Larry Graham, Ray Parker, Jr., and David T. Walker, just to name a few. He followed it with a live album in 2009 and XII, a return to the studio, in 2010. In June of 2012, Culbertson released Dreams, his 13th album, featuring a host of all-star contemporary jazz and R&B session players and vocalists. Later that year he set about realizing a dream project.

Now an independent artist, Culbertson had long desired to revisit the music from his 1994 debut offering, A Long Night Out, which was initially cut in his apartment on a very limited budget. He played most of the instruments himself but also enlisted a small backing group. In 2013 he re-recorded the same tracks, with a large all-star lineup that included Nathan East, Russ Freeman, Steve Lukather, and Candy Dulfer, to name a few, plus a 33-piece orchestra. Entitled Another Long Night Out, it was issued on his own BCM label in February of 2014.

Live: 20th Anniversary Tour CD 1
Live: 20th Anniversary Tour CD 2

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