New Foundation | Goin’ Places
By Ian Cooke
New Foundation’s “Goin’ Places” is a debut project by long time friends Curtis Harmon and Bennie Sims who worked together as drummer and bassist respectively, for legendary contemporary jazz group, Pieces Of A Dream. Between the two of them, they have played with such artists as George Benson, Al Jarreau, Aretha Franklin, Count Basie, Lou Rawls and too many others to list.
Paul Taylor | Prime Time
by Brent Faulkner
Smooth jazz is a jazz sub-genre that allows for plenty of possibilities, maybe the most possibilities for the producer. On saxophonist Paul Taylor’s 2011 effort Prime Time, the production possibilities do run wild, but also leaves room for even more exploration. Overall, Prime Time is a pleasant smooth jazz album that yearns to be even more passion-laden from the perspective of songwriting and production. Taylor always shines through the material -valedictory or merely average – attesting to his beautiful saxophone tone.
Gail Jhonson | HerStory
By Peggy Oliver
Growing up in one of music’s historical hotbeds, Gail Jhonson was one of many hard working dreamers who truly loved to play the piano. She was thoroughly awed in how nearly everyone in Philadelphia seemed to take music seriously; even the one who were strictly ‘basement’ musicians. But between her teachers and funk heroes she heard on the radio like Sly (Stone) and Stevie (Wonder), there were constant conflicts of interest.
Nick Colionne | Feel The Heat
by Brent Faulkner
Contemporary jazz guitarist and vocalist Nick Colionne delivers enjoyable performances on his seventh studio effort, Feel the Heat. A veteran at this point, Colionne truly has little to prove, but that mindset does nothing to cloud his strong efforts here. From the first track to the closing track, one can easily hear Colionne’s sheer talents as a smooth jazz guitarist with superb soloing abilities.
Tony Exum, Jr., Finally!
by Brent Faulkner
Saxophonist Tony Exum Jr.’s recent effort Finally! is a fine addition to a somewhat crowded smooth jazz genre. With enough crossover appeal to court with urban music fans given its R&B under- and overtones, Finally! definitely possesses something for everybody. It is a hefty task to differentiate smooth jazz oft times, but Exum makes an album that is enjoyable despite any restriction with the genre itself.
Angel Face
Alphonse Mouzon
(Tenacious)
by A. Scott Galloway
In a musical universe obsessed with guitars and saxes, it’s sometimes a challenge for a drummer to get a little respect. Alphonse Mouzon has gotten his as much for his playing as for his acumen as a renegade independent record label owner (Tenacious Records), the original drummer of fusion pioneers Weather Report and for a four decade string of eclectic jazz recordings as a leader that swing from inside to outside and all the spaces in between (not to mention his colorful fashion sense).
Boney James | Contact
By Brian Soergel
Saxophonist Boney James, one of the most consistently appealing players in contemporary jazz, returns with his first CD of all-new music since 2006’s Shine. That was his debut with Concord, and he also released a Christmas CD and covers project with four original songs. James is now with a new record label, Verve-Forecast.
Theresa Grayson | It’s All About You
By Brian Soergel
Soprano saxophonist Theresa Grayson is what’s right in urban-flavored contemporary jazz these days.
This up-and-coming Texan is refreshingly free of boxed-in ideas.
Gretchen Parlato | The Lost And Found
by Brent Faulkner
Gretchen Parlato is an exceptional young jazz vocal talent. On her third effort, The Lost And Found, the theme of the album is experimentation. Throughout the cerebral, enjoyable effort Parlato uses her voice in a number of capacities, making The Lost and Found one of the more innovative vocal jazz efforts in sometime. Parlato not only serves as the album’s muse, but also composes a number of the tracks.
Ambrose Akinmusire | When The Heart Emerges Glistening
by Brent Faulkner
Free-jazz’s appearance in the 1960s went right alongside the ‘sentiment’ of the times historically; – the idea of liberation from conformity and the conservative tides of the 1950s was ‘what was in.’ Free-jazz never faded away dramatically like some earlier jazz styles (namely dixieland, swing, etc.), but it’s popularity certainly peaked in the 1960s.