Alan Hewitt | Retroactive
Alan Hewitt – Retroactive
The casual music fan probably will not recognize Alan Hewitt by name. But it is possible they have heard his scores for television, movies and video games. Lots of fellow musicians, especially in the smooth jazz community, have appreciated his production skills, arrangements and keyboard wizardry. Ever since graduating from one of music’s prestigious institutions, Hewitt kept refining his songwriting chops in a variety of settings both behind and in front of the scenes. With his last three releases: Noche de Pasion, Metropolis and his latest work Retroactive, Hewitt is now considered one of smooth jazz’s more respected players. Through it all, he gives credit to music executive David Chackler, founder of Hewitt’s current label home nuGroove Records (home to ground breaking jazz sensations Down To The Bone), for being a major support system invarious phases of his career.
The Los Angeles-based Hewitt is a multi-gifted musician who began as a drummer and vocalist. While studying at Berklee College of Music in Boston, he added piano and keyboards to his arsenal. Once he graduated, Hewitt paid many dues inside the recording studio playing for artists representing almost every genre from his idols Earth Wind& Fire to Donny Osmond. But it was more than his instrumental prowess that brought Hewitt to further prominence. The more experience he gained in the studio, the more he grew in confidence with his compositional skills. Some of Hewitt’s incidental and soundtracks for TV and movies include Survivor-South America, Oprah, Bridget Jones and Gods & Generals. Hewitt also orchestrated the music for Utherworlds – a fantasy themed book centering on hope versus fear.
With all his extraordinary musicality to give, he found his solo voice in the contemporary jazz market; beginning with the 2004 release, the Latin-edged Noche de Pasion on 215 Records. Through a series of cruises, he naturally bonded with veteran jazzmen Boney James and Norman Brown. In 2008, Hewitt was involved in a cruise meshing popular smooth jazz musicians and hit-making soul stars – i.e. Motown greats, The Four Tops and funk band, Kool & The Gang.
Hewitt’s appreciation of jazz and soul are evident throughout most of Retroactive. One example is the Isaac Hayes soundtrack staple, “Shaft.” Taking on a song of this caliber can be a risk. Yet Hewitt pulls this task off because he is extremely sensitive to the grooves from the original version. “Hot Fun In The Summertime” (an encore performance first heard on Metropolis), though not exactly aligned with Sly & The Family Stone’s smash hit, is sliced and diced to perfection. Every once in a while, Hewitt decides to change up the mood; case in point“Big Bang” complete with fuzz guitar fills, funky breaks and a killer horn section. Speaking of the funk and nothing but the funk, the acid-jazz flavored “In The Works” has all the trimmings including a delicious vibe solo that could make Roy Ayers take notice. The title track adds several smooth layers of funk frosting; from the electric piano hooks to the brief but dazzling guitar harmonics and the dancing organ from Hewitt.
Overall, Retroactive should bring more recognition for Hewitt’s giftings as a jazz player who can shift from rock to pop to funk with pure ease. In all sincerity, even though Hewitt can play and arrange anything his heart desires, he deserves to be a shining star in the contemporary jazz limelight.
Peggy Oliver
The Urban Music Scene