Marcus Johnson | Poetically Justified | TheUrbanMusicScene.com

Marcus Johnson – Poetically Justified

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As the heartbreaking lyrics declares from one of Elton John’s classic “Sorry Seems To Be The Hardest Word”: “It is a sad, sad situation.” In this case, it has nothing to do with a frustrating love relationship, but it is the current state of contemporary jazz mostly in the U.S. east coast region from record labels shutting down shop or lack of radio station play. However, there is a certified talent who continues to dream big in the name of contemporary jazz since his recorded debut in 1997. Washington D.C. native Marcus Johnson has charted over fifty percent of his recorded resume in the top twenty-five of the Billboard Jazz Charts; unarguably a massive accomplishment considering his status as an independent artist. As his career has progressed, Johnson keeps digging deep into his creative well to expand his brand of jazz through his eleven full-length discs; proving he has lots of game in his adventurous recipe of hip-hop, electronica, R&B and roots jazz.

When Johnson first broke into the recording industry, he witnessed the collapse of a major label relationship gone sour. Yet despite that mishap, he persevered through the various levels of negativity from those who did not believe in his large-scale plan for long-term success in the music industry. His personal goal is simply to dream big based on the principles of life from the late great civil rights leader Martin Luther King; by standing tall even through the tough times. His strong background in business and a strong family pedigree in music have served as essential tools for Johnson’s overall mission statement to become the ultimate advocate for the jazz community.

Born to a musically active family including a classical pianist mother and an aunt who administered private lessons, Johnson was well on his way in spreading his musical wings. While growing up, Johnson was influenced by various genres, but his father made especially sure to check out some of the funkiest bands on the planet,including Earth Wind & Fire. With those private lessons under his belt and a wealth of musical knowledge, he dedicated his talents to study influential jazz music role models from (Thelonius) Monk to Joe Sample. Balancing his business studies at Georgetown University, his 1997 self-released recording debut Lessons In Love surpassed expectations for a new artist, especially in the sometimes underrated contemporary jazz genre.

When Johnson mentions he was dreaming big, he was definitely not kidding. He eventually obtained his MBA degree which he applied to his development as an entrepreneur that includes owning music and publishing companies,and teaching seminars to those who want to control their music destiny. Much of Johnson’s catalog has been recorded or reissued through Three Keys Music (standing for spirituality, strategy and artistry) label under his Marimelj Entertainment Group LLC. His purpose in establishing Three Keys was stated on the 2004 disc Just Doing What I Do by utilizing new producers and new friends in realizing his expanded musical vision. In addition, Johnson created FLO Brands LLC to recognize different lifestyles in the jazz movement. His trilogy series entitled Flo (For The Love Of), where the jazz sky is the limit, encompasses an ambitious set of ambient, soul jazz, disco,lounge, contemporary R&B and traditional styles. Of course, Johnson’s reputation as both a regional and national performer sets the standard high as an intriguing entertainer and shear innovator. When he is not wearing his businessman hat, he has appeared with many top contemporary and traditional jazz stars such as Boney James, Miles Jaye, Diana Krall, and Arturo Sandoval; plus many festival setting such as The Capital Jazz Festival and The Bermuda Jazz Festival.

Johnson’s latest disc – Poetically Justified – is more or less an extension of the Flo Series as he dips into edgier R&B aura that has been dominated songs by Ne-Yo, Keysia and others;and more ambient dance grooves AKA Paul Hardcastle and Incognito. He also invites musical friends such as Jaye, Maysa (formerly of Incognito), Najee and new independent recording artist – Washington D.C. based-saxophonist Marcus Anderson to the party. Their contributions are definitely on point and a great fit for Johnson’s trademark cool, soulful underpinnings.

Here are some of the highlights for the listeners’ further inspection. The hypnotic percussive dance strains of
“Chillaxin” and “Cherish The Journey” has high potential to be chill-out music dreams for club DJ’s. Jaye’s melodic vocals are featured on two of his signature pieces from the past. “Capice” is reworked musically with a soothing subtle African vibe and the disco tinged “Heaven” remains closer to the original version. Maysa’s silky voice properly covers all the romantic emotions behind “Master of My Heart,” and is equally at home with up-tempo jazzy club beats on “Hold On.” On the laid-back “Stand By Me,” the young but musically mature Anderson knows how to partner alongside Johnson and also impresses by bringing his brimming but clean soprano sax lines during his solo spotlight. On the other end of the spectrum, veteran sax player Najee frames “I See You” with some soft soulful licks as usual. Finally, Johnson’s arrangement of “This Place Hotel” begins similarly to The Jackson’s eighties hit (originally named “Heartbreak Hotel”) but steers in another direction in the last two minutes with an intense bridge that amplifies the tension of the song’s lyrical theme. Amongst the gems, there is only one clinker on Poetically Justified. The over utilized electronic-enhanced voices on “Say Yes” and “Used To Love You” frankly detract the beauty of Johnson’s sweet effortless brand of musicianship.

Poetically Justified as a whole is actually one of the better ‘smooth jazz’ contributions in2009 because of its diverse yet cohesive musical paintings. With several layers of musical bliss, Poetically Justified is another of those big dreams from Johnson’s creative artistry. Let’s hope with uplifting voices like Johnson that this underappreciated genre of contemporary jazz, west or east coast, will not get lost in the shuffle on the radio, for the next generation of jazz students, or for the record buying public.

Peggy Oliver

The Urban Music Scene