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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Randal Clark - Imaginary World

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 53:09
Size: 122,3 MB
Art: Front

(5:23) 1. Trailblazer
(3:52) 2. New Day
(5:59) 3. Daybreak
(4:07) 4. Living Underground
(4:22) 5. Discovery
(5:00) 6. Boulevard East
(4:17) 7. Tiger Lily
(6:08) 8. Looking Back
(4:20) 9. Turbocharged
(4:20) 10. Time's Arrow
(5:15) 11. Imaginary World

Randal Clark's Imaginary World stretches beyond the conscious boundaries and illuminates the dark corners. It's clear from the onset that it is steeped in jazz tradition with a giant foothold on both rhythmic and melodic foundations. Clark establishes himself early and never lets go. Too often a buoyant blast off can ultimately fade away into the abyss of both the imaginary and conscious recesses of the mind or a once steaming groove can melt into the wallpaper. Even the most established of artists can find pacing to be a challenge. Sequencing is an art form in itself. That said, it matters little without the right chops and strong compositions. Prolific songwriter Jeff Lorber is responsible for well over half of the material on this project. As always, his tunes are bright and melodious. The keyboardist is also among the strong cast of musicians assembled for this recording. That list includes drummers Vinnie Colaiuta and Gary Novak, bassist Jimmy Haslip (who also produced),guitarists Mike Miller and Michael Thompson, as well as several others. There's even a special guest appearance from Randy Brecker.

It is Clark, however, who seizes the opportunities. Starting out as a "Trailblazer" seemed fitting as Clark then evokes a bright "New Day" in a tune that Haslip and Novak present in a rhythmic jewel case. Clark and Thompson utilize the structure to engage in playful improvisation. The "Daybreak" continues with Colaiuta and Haslip forming a soft launch pad for Clark to propel out of with his soprano sax. He meets a spirited Lorber in orbit, as his high-end springs open, entering into an intelligent early morning conversation. The day then really gets going with a snap, clap, and funk in which the ensemble rides a punchy groove. This fourth consecutive Lorber composition, "Living Underground," is highlighted by a Haslip bass solo and ignited by the earthy and soulful playing of Clark. No doubt it became a sunny day as the Clark and Lorber co-write "Discovery" shines brightly with fiery guitar licks from Thompson and equally buzzing sax riffs from Clark. This song gives Clark a lot of room to fly. He soars gracefully dipping his emotional wings in a myriad of directions.

A midway line-up change then works well to add a new wrinkle and subtract any possibility of malaise. Keyboardist David Mann, guitarist Jon Herington, bassist Gerald Albright, and drummer Sonny Emory become Clark's bandmates for the Mann penned "Boulevard East." Herington's distinct tonality and the shuffled rhythm section bring a new flavor to the mix. Clark's sound casts a contrasting shadow as his impressions are made in a new light. The middle of the set is refueled by the return of Lorber and his feisty rock-grooved "Tiger Lily." Clark makes no attempt to hold that tiger, instead invigoratingly capturing the raw energy and powering through the barn burner, alongside the blazing inferno of Thompson's guitar. Having gone the upbeat distance, slowing down to catch your breath with a ballad is logical, if not necessary. "Looking Back" strongly demonstrates at least a couple of footnotes. One is Clark's ability to be convincingly sentimental with gorgeous soprano lines. The other is to be able to write such a piece. "Looking Back" is one of two solo compositions from Clark on the record. With oxygen tanks replenished, it's right back to being "Turbocharged." Yes, another Lorber juggernaut. This one has Miller's guitar edges and Clark's alto benefitting from the unique and swinging gait.

Lorber and Haslip have written many songs together over the years, so it comes as no surprise that they contributed a co-write. Nor is it a surprise that "Time's Arrow" is a composition of significance and creative depth. It never hurts to invite Randy Brecker to the party either. It takes only a New York minute for Brecker to make his presence felt with such nifty pops emanating from his horn. He goes on to trade licks with Clark in this notable song. It's the makings of a stellar record when you have this kind of gas left in the tank near the end. The record finishes with Clark's second solo composition, which also is the title track, "Imaginary World." Fittingly, it's a pondering and meandering piece that straddles the line between imagination and reality. This eleven song offering is an impressive debut album. Randal Clark is on the map, beginning his journey of melding fresh ideas with time honored jazz traditions. By Jim Worsley https://www.allaboutjazz.com/imaginary-world-randal-clark-blue-hour-productions

Personnel: Randal Clark: saxophone, alto; Jeff Lorber: keyboards; Vinnie Colaiuta: drums; Jimmy Haslip: bass; Gary Novak: drums; Mike Miller: guitar; Scott Kinsey: keyboards; Michael Thompson: guitar, electric; Jimmy Branly: drums; Gerald Albright: saxophone; Randy Brecker: trumpet.

Imaginary World

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Jazz Funk Soul - Forecast

Styles: Contemporary Jazz
File: MP3@320K/s
Time: 44:48
Size: 103,4 MB
Art: Front

(3:33) 1. Hustle
(5:43) 2. Keep Holding On
(5:17) 3. Funkin' in AZ
(4:23) 4. Forecast
(3:50) 5. Bouncing Back
(5:15) 6. Fish Grease
(3:14) 7. Count Me In
(5:44) 8. When the Time Comes
(3:43) 9. Hidden in Plain Sight
(4:02) 10. CSL (For Charles Samuel Loeb)

On their fourth album, 2022's wryly titled Forecast, instrumental jazz supergroup Jazz Funk Soul further embrace their hooky, soulful sound. The record follows 2019's Life and Times, which found guitarist Paul Jackson, Jr. taking over for original guitarist Chuck Loeb (who tragically died from cancer in 2017) and joining forces with the other founding members, saxophonist Everette Harp and keyboardist Jeff Lorber. Though subtle, the change from Loeb to Jackson was significant, as each player brought his own distinctive style to the band's overall sound.

With Loeb, the trio favored soaring, brightly attenuated pop-jazz melodies. While that melodicism remains a core part of the group's style (just check out "Count Me In"), Jackson brings a crisp, rhythmic R&B sensibility to their sound, informed by his many years of working with artists like Quincy Jones, Michael Jackson, and Whitney Houston. If Life and Times evoked the funky soul-jazz of the Crusaders and sax icon David Sanborn, then Forecast makes such comparisons vibrantly explicit. Cuts like the opening "Hustle," "Fish Grease," and "Funkin' in AZ" spotlight the warm interplay between Harp's juicy sax lines, Lorber's rich keyboard harmonies, and Jackson's bluesy fretboard riffs.

Particularly evocative of the Crusaders' sound is "When the Time Comes," with its warm acoustic bass groove and summery, laid-back atmosphere. The trio even pay tribute to their late bandmate with the poignant slow-jam album closer "CSL (For Charles Samuel Loeb)." With Forecast, Jazz Funk Soul underline their reputation as masters of no-consense, soulful contemporary jazz.By Matt Collar https://www.allmusic.com/album/forecast-mw0003734081


Personnel: Everette Harp - Saxophone; Jeff Lorber - Keyboard; Paul Jackson Jr.- Guitar

Forecast

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Chris Botti - When I Fall In Love

Styles: Trumpet Jazz 
Year: 2004
File: MP3@320K/s
Time: 58:49
Size: 135,7 MB
Art: Front

(4:22)  1. When I Fall In Love
(5:09)  2. What'll I Do
(6:04)  3. No Ordinary Love
(3:21)  4. My Romance
(3:41)  5. Let's Fall In Love
(4:57)  6. Cinema Paradiso
(4:36)  7. Someone To Watch Over Me
(5:31)  8. La Belle Dame Sans Regrets
(3:11)  9. Nearness Of You
(4:03) 10. How Love Should Be
(4:09) 11. Make Someone Happy
(4:53) 12. One For My Baby
(4:44) 13. Time To Say Goodbye (Con te Partiro)

While his ballad album emphasizes the clear tone and gentle spirit that this lyrical trumpeter releases quite naturally, it also serves to exhibit the nuances with which Chris Botti can convince. His subtle improvisations ooze heartfelt emotion from start to finish. Comparisons with Miles Davis and Chet Baker prove valid. While Columbia prefers to market his good looks and youthful, boyish charm, they know they've got a winning formula here, in this evocative trumpet soloist. Backed by a large studio orchestra and close friends and acquaintances, Botti interprets thirteen sensual ballads with passion and understanding. And who can resist "Con te Partiro"? As he closes out the album with this dramatic aria, the clear tones of his open trumpet ring through the halls in glory. It's a triumphant closing for a session that pays homage to centuries of lyrical beauty. Botti has harnessed that spine-tingling feeling into his solemn work. As Sting sings "La Belle Dame Sans Regrets" in French, the session turns light and bouncy. He and Botti pour the gentle bossa gracefully and gently. Paula Cole interprets "How Love Should Be" slowly with a dramatic spirit. She builds the piece gradually and infuses a sincere plea. Botti replies with a muted trumpet whisper that tugs at your heartstrings. His "One for My Baby" seals the message for good. Open and boldly confident, the trumpeter makes no secret of his feelings. Late at night, in the wee hours, he's in love with a ballad. Highly recommended for all lovers this one hits home.
 

Personnel: Chris Botti- trumpet, vocals; Shane Fontayne, Dean Parks- guitar; Federico Gonzalez Pena, Greg Phillinganes- piano; Billy Childs- piano, electric piano; Jon Ossman, Brian Bromberg- bass; Billy Kilson, Vinnie Colaiuta - drums; Paulinho Da Costa- percussion; Dominic Miller- guitar on "La Belle Dame Sans Regrets;" Mitch Dalton- guitar on "Someone to Watch Over Me;" Alec Dankworth- bass on "Someone to Watch Over Me;" Ralph Salmins- drums on "Someone to Watch Over Me;" Jeff Lorber- keyboards on "No Ordinary Love;" Bob Sheppard- tenor saxophone on "No Ordinary Love;" Gil Goldstein- accordion on "La Belle Dame Sans Regrets"Paula Cole- vocal on "What'll I Do?" and "How Love Should Be"Jill Zadeh- vocal on "No Ordinary Love; Sting- vocal on "La Belle Dame Sans Regrets;" The London Session Orchestra: Isobel Griffiths- conductor; Ken Silleto, Rolf Wilson, Roger Garland, Thomas Bowes, Jonathan Evans-Jones, Patrick Kiernan, Boguslaw Kostecki, Julian Leaper, Rita Manning, Steve Morris, Maciej Rakowski, Jackie Shave, Cathy Thompson, Debbie Widdup, Paul Willey, Dave Woodcock- violin; Edward Vanderspar, Peter Lale, George Robertson, Ivo Van Der Werff, Vicci Wardman, Bruce White- viola; Anthony Pleeth, Dave Daniels, Caroline Dearnley, Paul Kegg, Anthony Lewis, Frank Schaeffer- cello; Chris Laurence, Mary Scully, Alec Dankworth, Patrick Lannigan- double bass; Fiona Hibbert- harp; Phil Todd, Stan Sulzmann, Karen Jones, Helen Keen- flute, alto flute; Andy Panayi- bass flute; Jane Marshall- English horn; David Theodore- oboe; Nick Rodwell, Anthony Pike- clarinet; Jamie Talbot- bass clarinet, tenor saxophone; Derek Watkins, John Barclay, Guy Barker- trumpet, flugelhorn; Mike Thompson, David Pyatt, Richard Bissill- French horn; Peter Beachill, Richard Edwards, Mark Nightingale- trombone; Dave Stewart- trombone, bass trombone; Nigel Hitchcock- alto saxophone; Mitch Dalton- guitar; Ralph Salmins- drums.

When I Fall In Love

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Carol Duboc (Feat.Jeff Lorber) - Restless

Styles: Vocal
File: MP3@320K/s
Time: 38:28
Size: 88,8 MB
Art: Front

(3:57) 1. Restless
(3:56) 2. Universe
(3:58) 3. Swept Away
(4:05) 4. Aftershock
(3:32) 5. Stay Awake
(3:33) 6. Love Don't Get in the Way
(3:43) 7. If You Still Have Eyes
(4:21) 8. Shadow Dance
(3:26) 9. Philosophy
(3:53) 10. Metanoia

Jeff Lorber teams up with jazz vocalist/songwriter, Carol Duboc, just two years after winning the Grammy for Best Instrumental album. Duboc’s 9th solo album entitled, “Restless,” is produced and co-written by Lorber and Duboc. The album also features legendary flutist Hubert Laws, guitarist Paul Jackson Jr, and drummer Gary Novak. Many critics agree this is Duboc’s best album to date! http://carolduboc.com/store/

Personnel: Carol Duboc - Vocal; Hubert Laws - Flute Paul Jackson Jr - Guitar; Gary Novak - Drums

Restless

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Jeff Lorber - Kickin' It

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 43:34
Size: 100,8 MB
Art: Front

(4:17)  1. Snakebite
(3:54)  2. Ain't Nobody
(4:25)  3. Happy Endings
(3:58)  4. Chopsticks
(4:33)  5. Keep That Same Ol' Feelin'
(4:40)  6. Reflections
(4:52)  7. The Bijou
(4:08)  8. Kickin' It
(4:05)  9. The In Crowd
(4:37) 10. What It Is

Jeff Lorber's label debut on Samson Records is a typical jazz fusion effort that will sound familiar to fans of his band of the 1970s and '80s, the Jeff Lorber Fusion. Teaming with co-writer/producer/arranger Steve Dubin, Lorber constructs a series of upbeat rhythm tracks over which he plays melodically on either acoustic piano or Fender Rhodes electric. He is joined on nearly every track by a guest saxophonist and/or guitarist. Tenor saxophonist Gerald Albright sits in on "Snakebite," "Keep That Same Ol' Feelin'," and "Kickin' It" (with guitarist Stuart Wylen); soprano saxophonist Dave Koz on "Happy Endings" (with guitarist Michael Landau) and "The Bijou"; tenor saxophonist Steve Cole on "Chopsticks"; soprano saxophonist Gary Meek on "Reflections" (with Wylen) and "What It Is"; and tenor saxophonist Richard Elliot on "The 'In' Crowd." Lorber cedes considerable space to his guests, but he still finds room for his own improvisations. He also brings in a horn section on several cuts, notably "Keep That Same Ol' Feelin'," which sounds enough like a lost Steely Dan track that you keep expecting Donald Fagen to start singing on instead of Siedah Garrett, who intones the repeated lines "Keep on/Keep that same ol' feelin'." "Ain't Nobody" is the 1983 Rufus and Chaka Khan hit, here rendered with an appropriately funky feel, and "The 'In' Crowd" is, of course, the 1965 Ramsey Lewis Trio hit, a nod to an obvious predecessor of Lorber's. The keyboardist slows the pace for "Reflections," but most of these tracks are lively pieces with lots of interplay that is only ended when they fade out. ~ William Ruhlmann https://www.allmusic.com/album/kickin-it-mw0000115527

Personnel:  Jeff plays Yamaha DS6 piano, Fender Rhodes,other keyboards, synth bass, mute guitar; Alex Al – Bass; Dave Koz – Soprano, Alto sax on track 3 and 7; Gary Meek – Soprano, Tenor sax; Gerald Albright – Tenor sax on track 1, 5, 8 Jerry Hey – Trumpet, Flugelhorn, Horn arrangements; John “Little John” Roberts – Drums; Lenny Castro – Percussion; Richard Elliot – Tenor sax on track 9; Siedah Garrett – Vocals on track 5; Steve Cole – Tenor sax on track 4; Tony Maiden – Guitar; Wah Wah Watson – Guitar

Kickin' It

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Jeff Lorber - Worth Waiting For

Styles: Jazz Fusion, Jazz Funk 
Year: 1993
File: MP3@320K/s
Time: 57:31
Size: 132,6 MB
Art: Front

(5:19)  1. Rain Song
(4:46)  2. The Underground
(4:26)  3. Yellowstone
(5:02)  4. Punta Del Este
(5:20)  5. Lost With You
(5:28)  6. Worth Waiting For
(5:58)  7. High Wire
(6:04)  8. Wavelength
(5:24)  9. Columbus Ave
(5:16) 10. Do What It Takes
(4:22) 11. Jazzery

After a seven year layoff, feisty veteran funkmaster Lorber steps out from the producer's chair with a fun filled all star project. The keyboardist, best known for his fusion years, has been far from idle during that time, producing for pop jazz sax gods Kenny G and Eric Marienthal, and mixing for U2 and Paula Abdul. His latest lives up to its title...though not resoundingly so. As he did with Marienthal's brilliant Oasis, Lorber divides his keyboard time between punchy, soulful rhythms and mellifluous textures that pour on the romance. Easygoing exercises like "Yellowstone" and the Latin tinged "Punta Del Soul" inspire a cool charm, but it's danceable cookers like "High Wire" and "Jazzery" that keep the disc spiraling. The only track that seems out of step is "Do What It Takes," whose production takes on a dated, 70s Crusaders sheen. Spirited performances surround Lorber's tasty keywork, most notably those of Art Porter, Gary Meek, Dave Koz and Bruce Hornsby. ~ Jonathan Widran https://www.allmusic.com/album/worth-waiting-for-mw0000097821

Personnel:  Alto Saxophone – Art Porter (tracks: 1), Dave Koz (tracks: 7), Gary Meek (tracks: 11); Drum Programming, Hihat – Curt Bisquera (tracks: 10); Drums – John Robinson  (tracks: 1, 3, 6, 7, 9, 11); Electric Bass – Alec Milstein (tracks: 1-4, 6-11); Flute – Gary Meek (tracks: 3); Guitar – Buzz Feiten (tracks: 8), Oliver Leiber (tracks: 7), Paul Jackson Jr. (tracks: 1-4, 6-10); Guitar [Nylon] – Lee Ritenour (tracks: 10);  Percussion – Paulinho Da Costa (tracks: 1-6, 8-10); Piano [Additional] – Bruce Hornsby (tracks: 3); Producer, Written-By – Jeff Lorber (tracks: All); Soprano Saxophone – Art Porter (tracks: 9), Dave Koz (tracks: 6), Gary Meek (tracks: 2, 3, 8); Vocals – Alec Milstein (tracks: 4), Eric Jordan (tracks: 5), Janis Siegel (tracks: 4)

Worth Waiting For

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Eric Marienthal - Walk Tall: Tribute to Cannonball Adderley

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 55:19
Size: 127,5 MB
Art: Front

(5:24)  1. Mercy, Mercy, Mercy
(4:23)  2. Work Song
(4:39)  3. Walk Tall
(3:31)  4. Skylark
(4:34)  5. Imagine That
(5:30)  6. The Way You Look Tonight
(4:37)  7. Here In My Heart
(4:23)  8. Sunstone
(3:30)  9. If You Need Me To
(5:28) 10. Country Preacher
(5:01) 11. Unit 7
(4:13) 12. Groove Runner

Contemporary sax whiz and Chick Corea Elektric Band veteran Eric Marienthal has been appearing with impressive frequency on other people's sessions, while occasionally releasing his own CDs. Until now, his more memorable performances have been those he's rendered in service to others. He makes good progress in remedying that situation with his latest,Walk Tall, a tribute to Cannonball Adderley. This program has one foot firmly planted on traditional soil (mostly during the tunes from Adderley's repertoire and a few standards) and the other foot on contemporary turf. Despite the fact that varying amounts of keyboard, bass, and drum programming are added even to the Adderley tunes, it's a pleasing mixture of old and new. The disk opens with a live recording of Cannonball introducing Joe Zawinul's "Mercy Mercy Mercy," with the instrumental track then fading out and the new recording fading in, in a not-too-awkward manner. Marienthal expressively caresses the lead lines while the programming churns in the background. "Work Song" and "Walk Tall" follow, then there's a beautiful ballad rendition of "Skylark." Other highlights include a medium-tempo spirited romp celebrating "The Way You Look Tonight" and the foot-tapping, bass-walking easy swing of "Unit 7." All in all, this is a pretty tasty deal. It's similar in aspirations to theTwist of JobimCD which inaugurated the i.e. music label, that is, placing an artist's work from a previous era in a more modern setting. Some of the contempo luminaries who contribute arrangements, performances, and production to the affair include Harvey Mason, Lee Ritenour, Rob Mullins, Russell Ferrante, Jeff Lorber, and John Beasley. ~ Dave Hughes https://www.allaboutjazz.com/walk-tall-eric-marienthal-ie-music-review-by-dave-hughes.php

Personnel:  Eric Marienthal - alto or soprano saxophone;  Lee Ritenour, Alan Hinds, Michael Thompson, Jeff Lorber - guitar Lee Ritenour, Rob Mullins, Harvey Mason Jr., Jeff Lorber - drum, bass, and keyboard programming;  John Beasley, Russell Ferrante, Ronnie Foster - piano, keyboards Melvin Davis, Reggie Hamilton, Chuck Domanico, Stanley Clarke, Vail Johnson - bass;  Harvey Mason - drums;  Chris Botti, Chuck Findley - trumpet;  Ralph Morrison III - violin;  Luis Conte - percussion;  Kevyn Lettau, Philip Ingram, Heather Mason, Michael Mishaw, Stevie Russell - vocals

Walk Tall: Tribute to Cannonball Adderley

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Jeff Lorber Fusion - Impact

Styles: Jazz Fusion
Year: 2018
File: MP3@320K/s
Time: 46:12
Size: 108,8 MB
Art: Front

(4:39)  1. Sport Coat Makes Good
(4:26)  2. Pasadena City
(4:44)  3. Citizenship
(4:33)  4. Highline
(4:44)  5. Opt In
(5:22)  6. Quest
(4:24)  7. Sunny Sounds
(4:51)  8. Companion
(4:01)  9. Arda
(4:25) 10. Valinor

Superstar keyboardist, writer, producer Jeff Lorber is renowned as a pioneer in the jazz-fusion movement. Scoring #1 radio hits with Jeff Lorber Fusion and as a founding member of smooth jazz super-group Jazz Funk Soul, Lorber performs constantly before his dedicated fans from coast to coast!! Highlights include the spirited and funky "Highline," the soulful "Arda" and more Lorber originals. ~ Editorial Reviews https://www.amazon.com/Impact-Jeff-Lorber-Fusion/dp/B07DQ9JMQK

Impact

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Eric Marienthal - One Touch

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 48:54
Size: 112,3 MB
Art: Front

(4:33)  1. No Doubt About It
(4:03)  2. That's The Way
(4:48)  3. One For James
(5:26)  4. Walk Throught The Fire
(4:36)  5. Ouch !
(5:08)  6. Westland
(6:00)  7. The Village
(4:40)  8. Tanto Amor
(3:57)  9. Backtalk
(5:39) 10. Where Are You ?

Altoist Eric Marienthal (who is also heard on tenor, soprano and baritone) plays well throughout One Touch but he is the only reason to acquire this disc. The backup, which includes keyboardist-producer Jeff Lorber, a few vocalists and guest appearances from pianist David Benoit and bassist John Patitucci, is mostly pretty anonymous. The originals are forgettable and usually fade out when the music gets too heated. With all of the selections clocking in between three-and-a-half and almost five minutes, potential radio airplay was obviously the main purpose behind the music, which is consistently commercial, accessible, mildly soulful and very predictable. At best, One Touch succeeds as background music but a close listen will frustrate listeners who know that Eric Marienthal is capable of much more. ~ Scott Yanow https://www.allmusic.com/album/one-touch-mw0000618989

Personnel:  Eric Marienthal - alto saxophone (1, 3, 4, 5, 6, 7, 9); soprano saxophone (2, 8, 10); tenor saxophone (3); baritone saxophone (3);  Dave Koz - soprano saxophone (2);  Paul Jackson, Jr. - guitar (1, 2, 4, 6, 9);  James Harrah - guitar (3, 7);  Oliver Leiber - guitar (5);  Peter Sprague - guitar (8);  Alec Milstein - bass (1, 2, 4, 5, 6, 9);  John Pattitucci - bass (1, 5: solos);  Jimmy Haslip - bass (3, 7, 8, 10);  Jeff Lorber - synthesizers, sequencing, drum programming (1, 2, 4, 5, 6, 9);  Russell Ferrante - piano, keyboards (3, 7, 8); sequence programming (3, 7);  David Benoit - piano, keyboard sequencing (10);  John Robinson - drums (3, 7, 10);  Paulinho Da Costa - percussion (1, 2, 4, 5, 6, 9);  Alex Acuña - percussion (7, 8, 10); drums (8);  Wayne Bergeron - trumpet (3);  Andy Martin - trombone (3);  Carl Anderson - vocals (4);  Ivan Lins - vocals (8);  Kiki Ebsen - background vocals (2);  Randy Hall - background vocals (2);  Benet - background vocals (4)

One Touch

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Richard Elliot - In The Zone

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 46:06
Size: 106,6 MB
Art: Front

(5:19)  1. Island Style
(4:17)  2. Boom Town
(4:11)  3. Metropolis
(5:02)  4. Inner City Blues (Makes Me Wanna Holler)
(4:22)  5. The Lower Road
(4:36)  6. Bring It!
(4:18)  7. Just A Taste
(4:35)  8. In The Zone
(4:24)  9. Panamera
(4:58) 10. Golden Triangle

Richard Elliot's In the Zone picks up where 2009's Rock Steady left off. Where that album paid tribute to the saxophonist's R&B heroes, In the Zone, which marks Elliot's 25th anniversary as a recording artist, offers a thank-you to the influences of his predecessors in the smooth jazz genre: namely Grover Washington Jr., David Sanborn, and Bob James. Co-produced with Jeff Lorber, with horn charts and horns by David Mann, Elliot composed eight of the ten tracks on the set, co-wrote one with Lorber (who appears on keyboards and guitar), and offers a fine cover of Marvin Gaye's "Inner City Blues (Makes Me Wanna Holler)" as a nod to Washington's stellar version in the early '70s. Things kick off breezily enough with "Island Style"; its Caribbean groove recalls Creed Taylor's production of Washington's Kudu Records output. That said, the phrasing is pure Elliot. "Boom Town," the single, is funkier, and features fine guitar work by Dwight Sills and Lorber. Elliot's sense of time when soloing is deadly. The melody is as infectious and celebratory as it is sexy. "Metropolis" almost cops a "Mister Magic" vibe when it commences, but it's more songlike than vamp-oriented. 

It's possessed of a delightful lyricism. "The Lower Road" is almost a country melody played contemporary jazz style. It too is comprised of a gorgeous melody played on and around by Elliot with fine guitar work by Michael Thompson and Lorber  this is a clear nod to James and his gift for elegant melodies. "Bring It!" is deeply funky and inspired by R&B, and its emotive blowing recalls Sanborn. While "Just a Taste" is simply pleasant and lithe, it contrasts sharply with the title track, a hard, funky strutter with excellent guitar interplay and additional layers of horns by Mann. "Panamera" is slick dancefloor glide but the rhythmic palette shifts in interesting ways. The set closes with the graceful lyricism of "Golden Triangle," another songlike piece that reflects Elliot's love of compact harmonies. Lil' John Roberts is exceptional on the drum kit, using brushes to provide unexpected breaks as Thompson and Tony Maiden exchange open, nearly jangly guitar interplay. In the Zone is a fine companion to Rock Steady, but perhaps even more to Metro Blue. Ultimately, it proves beyond doubt that there is plenty of life and possibility in the contemporary jazz genre. ~ Thom Jurek https://www.allmusic.com/album/in-the-zone-mw0002211124

Personnel:  Richard Elliot (Saxophone); Jeff Lorber (Keyboards, Guitar); David Mann (Horns); Stan Fromin (Synthesizer); Michael Thompson, Tony Maiden, Dwight Sills (Guitar); Alex Al, Nate Phillips (Bass); Tony Moore, Lil' John Roberts (Drums); Lenny Castro (Percussion); Bobby Colombo (Shaker).

In The Zone

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Michael Franks - Rendezvous in Rio

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 52:39
Size: 129,8 MB
Art: Front

(5:26)  1. Under the Sun
(5:36)  2. Rendezvous in Rio
(5:47)  3. The Cool School
(4:40)  4. Samba do Soho
(5:16)  5. The Critics Are Never Kind
(4:27)  6. Scatsville
(4:24)  7. The Chemistry of Love
(5:41)  8. Hearing 'Take Five'
(4:30)  9. The Question is Why
(6:46) 10. Songbirds

Michael Franks' laid-back vocals have made him the choice of a new generation of cool school attendees. With Rendezvous in Rio, his debut release for Koch Records, Franks continuously shows why he is still at the top of his game with brand-new songs that will soothe, undo your stresses, or put you in a romantic mood. The various musical styles on the CD include two Brazilian sambas, one titled "Under the Sun," pointing you toward the Southern Hemisphere and the warmth of Rio de Janeiro and Bahia. A master of phrasing and elongated notes, Franks tells his great stories in several tempos that literally have you wanted to take this journey with him. "Rendezvous in Rio" starts with Café's percussive whistle and the rhythmic flow of Romero Lubambo's guitar. Chris Hunter's sax and flute solos also heighten the imagery of Franks' sexy vocals. "The Cool School" starts with the beautiful guitar accompaniment of Chuck Loeb and continues under Franks' vocals with a hushed flow of cool/smooth riffs that make this song one of the best on the CD. With the artistry of such respected contemporary jazz artists as Jeff Lorber, Jimmy Haslip, Chuck Loeb, and Alex Al and the lilt of the carnival whistle, Michael Franks has conspired to entertain you, and has succeeded. You're sure to enjoy this very special Rendezvous in Rio. Recommended. ~ Paula Edelstein https://www.allmusic.com/album/rendezvous-in-rio-mw0000442477

Personnel: Michael Franks (vocals); Robbie Dupree (vocals, background vocals); Carmen Cuesta-Loeb, Larry Hoppen, Pamela Driggs (vocals); Chuck Loeb (guitar, piano, keyboards, programming); Dwight Sills, Marc Shulman, Mike DeMicco, Romero Lubambo (guitar); Gary Meek (flute, saxophone, tenor saxophone); Chris Hunter (flute, saxophone); Andy Suzuki (woodwinds); Roger Burn (piano, keyboards, vibraphone); Jeff Lorber (keyboards, programming, drum programming, percussion programming); Charles Blenzig (keyboards, programming); Scott Petito (keyboards); Jimmy Haslip (electric bass); Jerry Marotta (drums, percussion); Michael White , Michael White , Wolfgang Haffner, Brian Dunne, Vinnie Colaiuta (drums); Café (percussion); Leslie Ritter, Veronica Nunn, Beth Reineke (background vocals); Eric Marienthal (alto saxophone, tenor saxophone); David Sancious (piano, keyboards).

Rendezvous in Rio

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Brian Bromberg - You Know That Feeling

Styles: Jazz, Post Bop 
Year: 1998
File: MP3@320K/s
Time: 66:42
Size: 155,0 MB
Art: Front

(5:00)  1. Hero (For Zachary Breaux)
(5:36)  2. Through The Window
(4:55)  3. My Love
(5:12)  4. By The Fireplace
(5:23)  5. September
(9:23)  6. I Fell Asleep A Child And Woke Up A Man
(5:13)  7. You Know That Feeling
(6:05)  8. A Love Affair
(5:30)  9. Nananananana
(4:37) 10. Human
(5:23) 11. Joe Cool
(4:18) 12. Goodbye (For My Father)

Few are the bass players who the average music fan can name. There are simply not that many who stand out as more than a member of the rhythm section, however tight. Paul McCartney. Sting. Bootsy Collins. Tony Levin. Gene Simmons. These may be the greater part of a list that, for most, is no larger than one hand long. Shorter still is the list of bassists who can take their playing one step further. Brian Bromberg is one such bass player. Having originally begun his musical career on drums, Bromberg soon switched to classical upright bass. Though this switch was more or less his choice, Bromberg's next musical move was more demanded than decided: in order to get a gig with Stan Getz's band, Bromberg dropped the upright, picked up an electric four-string and, leaving home on his 19th birthday, started down his own musical road less taken. Since then, Bromberg has played with a long list of musical giants, from Stan Getz to James Moody, from Diane Schuur to Nancy Wilson. He has also been heard (and seen) in many popular films and programs, from The Fabulous Baker Boys to Melrose Place. As Bromberg has picked up more and more musical partners, he has also picked up more and more playing styles. In the process, however, he has been able to drop a major piece of the modern jazz ensemble as emphatically stated in the liner notes to You Know That Feeling, "THERE IS NO GUITAR ON THIS ALBUM" (sic). Instead, Bromberg uses a variety of bass bodies and tunings to match registers usually reserved for the six-string. As a result, he is able to match the high vocal line on his convincing cover of Earth, Wind & Fire's "September" and also to offer the Jobim-ish pizzicato of "A Love Affair." Though most of the album consists of programmed "smooth jazz" selections that may turn true jazz fans and aficionados off, Bromberg's versatility and talent are strong enough to command the assistance of modern day giants like Dave Grusin, Tom Scott, Ernie Watts, Joe Sample, and Everette Harp. Despite a few sappy synthesized songs, You Know That Feeling is a solid demonstration of a near unique talent. ~ Matthew Robinson https://www.allmusic.com/album/you-know-that-feeling-mw0000033226

Personnel: Brian Bromberg (strings, piccolo, acoustic bass); Lori Perri, Sean Holt (vocals); Gary Meek (soprano saxophone); Everette Harp (tenor saxophone); Rick Braun (trumpet, flugelhorn); Al Forman, Rob Mullins (piano); Gregg Karukas (keyboards, programming, keyboard programming); Jeff Lorber (keyboards, keyboard programming); John "J. R." Robinson , Joel Taylor (drums); Steve Reid (tambourine); Alex Acuña (percussion, sleigh bell)  

You Know That Feeling

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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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Patrick Bradley - Can You Hear Me

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 47:06
Size: 108,8 MB
Art: Front

(4:58)  1. All In
(4:00)  2. Blue Skies (Feat. Eric Marienthal)
(5:01)  3. North Of Evermore (Feat. Jeff Lorber, Michael Thompson & Jimmy Hasslip)
(5:04)  4. Can You Hear Me (Feat. Dave Koz)
(4:27)  5. Daylight (Feat. Eric Marienthal & Dwight Sills)
(4:35)  6. Shoreline (Feat. Eric Marienthal)
(5:01)  7. Catalan (Feat. Jeff Lorber & Eric Marienthal)
(4:49)  8. For Her
(4:36)  9. Sierra (Feat. Dwight Sills)
(4:31) 10. Voyage (Feat. Rick Braun)

Can You Hear Me is Patrick Bradley’s third solo release. Bringing Bradley’s music to life are top flight musicians such as saxophonists Eric Marienthal (Chick Corea Elektric Band) and Dave Koz, trumpeter Rick Braun, guitarists Michael Thompson and Dwight Sills, bassist Jimmy Haslip (formerly of the Yellowjackets) and drummer Gary Novak. At the helm of it all is prolific producer/composer/keyboardist Lorber who Bradley swears fits his musicality like a glove. Collaborating on their second album together, Bradley and Lorber composed and arranged all ten songs on “Can You Hear Me.” Bradley nimbly emotes graceful harmonies on piano, adds depth and texture via Moog synthesizer embellishments and uncorks feverish organ blasts with reckless abandon when the mood to pontificate strikes. A variety of jazz visages fusion, contemporary and smooth emerge from tracks rooted in R&B that reflect prisms of funk, soul and blues with the deep-pocketed grooves stitched by bassist Jimmy Haslip and drummer Gary Novak. David Mann’s fiery horns and crisp horn arrangements fatten the sound on “Blue Skies,” “Daylight,” “For Her” and “Voyage” with hitman Rick Braun captured blowing away on trumpet on a pair of cuts (“Blue Skies” and “Voyage”) and Eric Marienthal chiming in some swinging sax on a few numbers (“Blue Skies,” “Shoreline” and “Catalan”). Lorber’s keyboard and Dwight Sills’ guitar riff rhythmically throughout the session with Sills and guitarist Michael Thompson dousing kerosene before slash and burn solos. Both Bradley and Lorber solo on the blistering progressive rock thrill ride “North Of Evermore.” The first radio single “Can You Hear Me” featuring Dave Koz on soprano sax is a beautiful melody written for Bradley’s mother who passed away in 2008.  “I’ve been playing my whole life and I’m trying to be heard in this noisy world as a musician. My mom passed before hearing my last album (“Under The Sun”) including the song I wrote for my (late) father (“Tears From The Sky”). I wonder if she can hear me and my music. I wrote ‘Can You Hear Me’ with her in mind” said Bradley, a man of faith who hails from Southern California. https://store.cdbaby.com/cd/patrickbradley4

Can You Hear Me

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Patrick Bradley - Under the Sun

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 52:55
Size: 122,3 MB
Art: Front

(4:30)  1. Straight Path
(4:11)  2. Into the Sunset
(4:56)  3. A Message
(4:57)  4. Just Let Go
(4:40)  5. Slipstream
(5:02)  6. Time and Chance
(4:41)  7. Crows on the Lawn
(5:58)  8. Tears from the Sky
(4:16)  9. Rush Street
(3:46) 10. Under the Sun
(5:52) 11. The Empress of Dalmatia

Jazz fusion keyboardist Patrick Bradley taps a luminous cast for the spiritually-inspired Under the Sun. The album released April 26, 2011 offers hope and a boundary pushing musical adventure. Four years after the release of his debut CD Come Rain or Shine. The long awaited release will surely prove a worthy wait. Legendary keyboardist, writer and producer Jeff Lorber produced the CD and plays additional Keyboards as well. The All star cast includes Dave Koz, Rick Braun, Eric Marienthal, Dwight Sills, Michael Thompson, Dave Weckl, Tony Moore, Alex Al, Nate Phillips, David Mann and IreneB. Patrick Bradley and Jeff Lorber collaborated on much of this project. The two-powerhouse keyboardist coupled with an all-star cast truly created a fresh unique sound and writing style. The project strikes a remarkable balance between highlighting the talent and songwriting of Bradley while sharing the space freely with the enormously gifted cast of musicians. When everything is said and done the songwriting is tremendous, and adventurous.

Patrick is playing piano as his main instrument on the project. But Under the Sun beckons back to Bradley’s roots. The Hammond B-3 was the instrument of Bradley’s early upbringing. So, there is no surprise hearing the soaring organ solos throughout the project. Some of Bradley’s early influences of Keith Emerson, Rick Wakeman and Chick Corea peer through the hidden veil creating a dynamic style yet with a warm and welcoming approachability for all listeners. Patrick was quoted saying; “Under The Sun is a project born during times of difficulty and triumph yet all with a sense of celebrating all that life has to offer. Musically I want to help encourage hopefulness and to help remind us all to keep the important priorities of life in view, having an eternal perspective, loving and caring for our families, loved ones, friends and all the relationships we all value. Time flies by all too fast so let’s celebrate our brief time under the sun.” Patrick Bradley is a self-taught musician who began playing at the age of eight. He has a diverse background of jazz-fusion, smooth jazz, gospel, rock, progressive rock and classical music. As an independent artist Patrick’s 2007 debut record sold internationally in 14 countries along with the single Come Rain or Shine reaching #26 on the charts. Outside of music, Bradley serves a s the regional president of Whole Foods Market Southern Pacific region. https://store.cdbaby.com/cd/patrickbradley2

Personnel:  Patrick Bradley, Jeff Lorber - piano, Dave Koz, Eric Marienthal - sax, Rick Braun - flugelhorn and trumpet, Dwight Sills, Michael Thompson - guitar, Alex Aland, Nate Phillips -bass, Tony Moore, Dave Weckl -drums, David Mann - horn section, Irene B. - voice.

Under the Sun

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Brian Bromberg - Portrait of Jaco

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 52:55
Size: 122,6 MB
Art: Front

(2:55)  1. Portrait of Tracy
(7:40)  2. Continnuum
(4:52)  3. Teen Town (Bass Version)
(6:58)  4. A Remark You Made
(6:13)  5. Three Views Of A Secret
(6:02)  6. Tears
(4:44)  7. Slang(ish)
(4:48)  8. Come On, Come Over
(3:45)  9. The Chicken
(4:53) 10. Teen Town (Piccolo Bass Version)

This is a logical tribute album from one great bassist (Brian Bromberg) to another (Jaco Pastorius). The front of the CD purposely resembles Pastorius' debut recording and the program features six Pastorius songs (including two versions apiece of "Come on, Come Over" and "Teen Town"), Joe Zawinul's "A Remark You Made," the R&B standard "The Chicken," and Bromberg's "Tears." A master at tapping his bass and equally skilled on electric and acoustic basses, Bromberg also has the ability to sound a bit like Pastorius when he wants. This excellent tribute set uses different personnel and instrumentations on each selection and shows off the many sides of Pastorius, both as a bassist and as a composer. Highly recommended. This is a logical tribute album from one great bassist (Brian Bromberg) to another (Jaco Pastorius). The front of the CD purposely resembles Pastorius' debut recording and the program features six Pastorius songs (including two versions apiece of "Come on, Come Over" and "Teen Town"), Joe Zawinul's "A Remark You Made," the R&B standard "The Chicken," and Bromberg's "Tears." A master at tapping his bass and equally skilled on electric and acoustic basses, Bromberg also has the ability to sound a bit like Pastorius when he wants. This excellent tribute set uses different personnel and instrumentations on each selection and shows off the many sides of Pastorius, both as a bassist and as a composer. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/portrait-of-jaco-mw0000231285

Personnel: Brian Bromberg (arranger, acoustic & electric basses, programming); Bill Champlain (vocals); Dan Higgins, Larry Williams, Bob Mintzer, Eric Marienthal (saxophone); Gary Grant, Jerry Hey (trumpet); Andy Martin (trombone); USC Symphony Orchestra (strings); Tom Zink (piano, keyboards, programming); Jeff Lorber (electric piano, keyboards, programming); Gregg Mathison (Hammond B-3 organ); Gannin Arnold (guitar); Derrick "D Lok" Walker, Joel Taylor (drums); Chris Wabich (steel drums); Alex Acuna (percussion).

Portrait of Jaco

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Chris Botti - Night Sessions

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 52:21
Size: 120,2 MB
Art: Front

(5:10)  1. Lisa
(4:33)  2. Miami Overnight
(3:45)  3. Streets Ahead
(0:30)  4. Interlude
(5:03)  5. All Would Envy
(5:01)  6. Best Time
(4:16)  7. When I See You
(5:10)  8. You Move Me
(4:12)  9. Blue Horizon
(4:40) 10. Light The Stars
(4:19) 11. Through An Open Window
(5:38) 12. Easter Parade

How often do you purchase a CD and love it in its entirety? If you love jazz or just good music, buy this CD and experience that rare feeling. Night Sessions is a soon to be classic album. This is jazz at its finest! The musicianship is incredible! Botti is an excellent trumpet player and each of the musicians featured on this CD are top-notch; Dominic Miller on guitar, Christian McBride, Jeff Lorber, Vinni Colaiuta on drums, Billy Childs on keyboards and Bill Reichenback on trombone all turn in stunning performances. Listen to these unbelievable performances and be transported into a jazz club with its dark atmosphere and wonderful ambience.Night Sessions will be propelled onto the radio and up the charts because of one song. "All Would Envy" was written by Sting and is sung by Shawn Colvin. The song is pure genius. It has a Brazilian flavor and is beautifully sung by Colvin. But "All" is not the only fantastic track. Other highlights include: "Miami Overnight," "Streets Ahead," and "Blue Horizon." However, the CDs best and most rockin' and probably most commercial track is "Through an Open Window," with its great fretwork and smooth melody. "Lisa," "Easter Parade" "Streets Ahead" (which features Lorber) and "When I See You" are also strong tracks. See what I mean, every track is excellent. Buy Night Sessions and find your favorite among the twelve gems. ~ Mike Perciaccante https://www.allaboutjazz.com/night-sessions-chris-botti-columbia-records-review-by-mike-perciaccante.php

Personnel:  Shawn Colvin: vocals;  Billy Childs: keyboards;  Bill Reichenbach: trombone;  Jeff Lorber: keyboards;  Chris Botti: trumpet;  Ed Cherney: mixing; Vinnie Colaiuta: drums;  Luis Conte: percussion, drums;  Shane Fontayne: guitar;  Lani Groves: vocals;  Abraham Laboriel: drums; Kazu Matsui: shakuhachi; Christian McBride: bass;  Dominic Miller: guitar;  Marc Shulman: guitar;  La Camilla: vocals;  Heitor Teixeira Pereira: guitar;  Jimmy Johnson: bass; Jeff Scott Young: keyboards.

Night Sessions

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Jeff Lorber - It's A Fact

Styles: Jazz Fusion
Year: 1982
File: MP3@320K/s
Time: 37:43
Size: 87,5 MB
Art: Front

(4:35)  1. Tierra Verde
(4:51)  2. Full Moon
(4:25)  3. Warm Springs
(4:19)  4. It's A Fact
(4:00)  5. The Magician
(3:59)  6. Your Love Has Got Me
(4:05)  7. Delevans
(4:27)  8. Always There
(2:59)  9. Above The Clouds

With a smooth sound bringing together elements of funk, R&B, rock, and electric jazz, keyboardist Jeff Lorber helped pioneer a genre of fusion later formatted under such names as NAC and contemporary jazz. Born in Philadelphia on November 4, 1952, he began playing the piano at the age of four, and as a teen performed with a variety of local R&B bands. Lorber's infatuation with jazz began during his stay at the Berklee College of Music, and after forming the Jeff Lorber Fusion he issued the group's self-titled debut in 1977. During the first half of the following decade, the band became one of the most popular jazz acts of the period, touring nonstop and even scoring a Best R&B Instrumental Grammy nomination for the radio hit "Pacific Coast Highway." Released in 1986, Private Passion was Lorber's most successful outing yet, but at this commercial peak he stopped recording, instead turning to production and session work.  He did not issue his first proper solo LP until 1991's Worth Waiting For, remaining both a prolific performer and producer for the rest of the decade. He recorded for Verve and Zebra in the '90s before moving over to Narada in the 2000s and releasing successful smooth jazz albums like 2003's Philly Style and 2005's Flipside. He released He Had a Hat on Blue Note in 2007. In 2010, Lorber released the '70s funk and soul-inflected Heard That. In 2010, Lorber reactivated the Jeff Lorber Fusion and released Now Is the Time via Heads Up International. The album received generally positive reviews, placed high on the contemporary jazz chart, and was nominated for a Grammy.

Lorber not only stayed with the revitalized JLF format, but went even deeper for 2012's Galaxy (Heads Up/Concord), revisiting in depth the sound he helped to pioneer. Lorber, bassist Jimmy Haslip, and saxophonist Eric Marienthal were accompanied by drummer Vinnie Colaiuta. The album also featured guest spots by trumpeter Randy Brecker; percussionist Lenny Castro; guitarists Paul Jackson, Jr., Michael Thompson, Andrée Theander, and Larry Koonse; and drummer Dave Weckl. In August of 2013, the JLF released Hacienda; it was nominated for Best Pop Instrumental Album at the 2014 Grammy Awards. After a supporting tour, Lorber and Haslip wanted to waste no time in cutting another record. They re-enlisted Colaiuta and recruited Yellowjackets saxophonist Bob Mintzer and guitarist Robben Ford, as well as a host of studio aces including percussionist Lenny Castro and guitarist Paul Jackson, Jr. David Mann was hired to provide horn charts. Step It Up was released by Heads Up during the fall of 2015. Two years later, the keyboardist was back with the JLF, this time with saxophonist Andy Snitzer and longtime bassist Gary Novak, for Prototype. ~ Jason Ankeny http://www.allmusic.com/artist/jeff-lorber-mn0000190888/biography

Personnel: Jeff Lorber (keyboards); Marlon McClain (guitar); Kenny Gorelick (soprano saxophone, tenor saxophone); Nathan East (electric bass); Paulinho Da Costa (percussion)

It's A Fact

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Jeff Lorber - Flipside

Styles: Jazz Fusion
Year: 2005
File: MP3@320K/s
Time: 45:03
Size: 104,7 MB
Art: Front

(4:28)  1. Ooh La La
(4:43)  2. Everybody Knows That
(5:08)  3. By My Side
(4:04)  4. Flipside
(4:11)  5. Santa Monica Triangle
(5:00)  6. Sun Ra
(5:12)  7. Angel In Paris
(4:26)  8. Bombay Cafe
(3:09)  9. Tune 88
(4:36) 10. Enchanted Way

The legendary keyboardist started making his unique brand of old-school soul meets modern funk back when old-school was still in session, and the title of his third Narada Jazz disc is a throwback to that era, when the 45 RPM was king. Rather than overwhelm this time with hardcore commercial funk grooves and calculated radio hooks, Jeff Lorber is more into cool vibes and soulful atmospheres. Melodies have always been his gift, so those just come naturally, as on the laid-back, chillout opening track, which features a lush, loose acoustic piano lead. There are less horns than usual, but Ron King (trumpet) and Gary Meek (sax) are given free reign to create snazzy textures on "Everybody Knows That" and the nifty, acoustic soul-jazz flavored title track. "Angel in Paris" is all swinging '60s jazz-funk, complete with a shimmering Rhodes lead as only Lorber can play. Working with co-producer Steve Dubin and keyboardist Nelson Jackson, Lorber lets the tunes develop beginning with off the cuff improvisations and inspired acoustic runs, then creating easy grooving, '70s-minded rhythm beds to ground them. As the album title promises, there are a few oft-hidden sides to Lorber that are on prominent display here such as his softer heart on the classical flavored, candlelit "By My Side" and a moody blast from the past, a re-recording of "Tune 88" (originally on 1979's Water Sign) that reminds people that the style that evolved into smooth jazz was once pretty darn adventurous. There's a little darker imagery than fans of the lighter side of Lorber are used to, but isn't that what the B-sides in the old days were for? ~ Jonathan Widran http://www.allmusic.com/album/flipside-mw0000141344

Personnel:  Jeff Lorber  producer, piano, Rhodes, Wurlitzer, keyboards, guitar;  Alex Al  bass guitar;  Bill Reichenbach trombone;  Dan Higgins  tenor saxophone;  David Mann  saxophone, horn;  Eric Wall  guitar;  Gary Meek  tenor saxophone, soprano saxophone;  John Roberts  drums;  Nelson Jackson  keyboards;  Robbie Nevil  keyboards;  Ron King  trumpet;  Victor Lawrence  cello

Flipside

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