ABYSSJazz - The Depth of Jazz R&B and Soul

REACH from Christian Sands …

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With his début Mack Avenue Records recording, REACH, pianist and five-time Grammy® Award nominee Christian Sands is stretching into exciting progressive territory. He breaks new ground traversing from the straight-ahead zone into fresh-sounding music. Influenced by a range of styles, from Afro-Cuban rhythms to hip-hop beats to dirty blues with an edge, it pops!  That’s impressive for a youngster who is just 27. “The collection here is about reaching new ideas and reaching new music,” he says. “I’m reaching from past recordings to bring in the future, which is really all about finding myself. It’s a chance to express my experience.”

REACH, one more milestone in Sands’ auspicious career that stretches back to his New Haven, Connecticut upbringing. Beginning music classes and composing his first piece at age five, he quickly became a professional by ten. Sands’ was well prepared to attend such prestigious schools as the

Neighborhood Music School and the Educational Center for the Arts in New Haven. He later received bachelor’s and master’s degrees from the Manhattan School of Music.

The recording is co-produced by both Grammy®-Award winning producer Al Pryor and famed bassist Christian McBride. McBride collaborated with Sands in his Grammy® Award-winning trio, as well as some of his other groups, since 2009. “Upon first meeting Christian, I could feel a cool connection,” Sands recalls. “From when I first sat in with his Inside Straight band, I realized that we think about music in the same way. When I got signed to Mack Avenue, I asked if Christian could produce me, as someone who knows my playing and what I want to accomplish in my music.”

Christian Sands have built a stellar trio here, including bassist Yasushi Nakamura and drummer Marcus Baylor. The album also features guests Gilad Hekselman on guitar, Marcus Strickland on tenor saxophone and bass clarinet, and percussionist Cristian Rivera. He even convinced his producer to make a cameo appearance, bowing his bass at the end of the slow tempo Use Me.

The album ends on a romantic note with a non-original tune, somewhere Out There. Composed by James Horner, Barry Mann and Cynthia Weil. The original recording, sung by Linda Ronstadt and James Ingram, won Grammy® Awards for its appearance in the 1986 animated film An American Tail. “I was looking for a ballad and I didn’t want to do Strayhorn or Porter,” Sands says. “I wanted to play something that was not that familiar. So I was talking to my mother and she said, ‘what about the song from the movie with the mouse that you used to watch when you were a kid?’ She used to sing it to me when I was four or five years old and my dad would play piano. So I told her she was genius; I don’t think this has ever been done as an instrumental. When people hear this, I’m hoping they go, ‘Oh, yeah, I remember this.’”

The end song is yet another example of how Sands shifts musical gears with a variety of styles on REACH. “Actually, my biggest influence in making this album was Michael Jackson’s Bad record,” he says. “There are so many different kinds of tunes on that, so many changes. So that’s what I was setting out to do.”

ABYSS Pick … Reach is cool, smooth, with a lot of groove – highly recommended. A joy to listen to. This one Jazz Diggers you don’t want to miss … ABYSSJazz Magazine

… where does your favorite jazz artist fall on this week’s Groove-O-Meter!!!

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Groove

This word has evolved from its original meaning in jazz slang as a sexual euphemism.

  1. Vagina, the female groove
  2. Penis, the male groove
  3. Ass, both male and female groove.

Original sexual meanings are seldom used or understood anymore.

  • “Groovin” meant rubbing the genitals in one of the grooves. Used as a simple form of birth control, somewhat similar to withdrawal.

 Less sexually oriented meanings are still sometimes used.

  1. “Hip to the groove” means aware of what gives pleasure; often used as a music term.
  2. To be “In the groove” means to be in a pleasurable place, musically, socially, or in life or nature. Generally, running smoothly.
  3. “Groovin’ together” enjoying each other’s company. Appreciating each other. Generally enjoying the situation and the surroundings’

Smooth, Groove, & Contemporary Jazz Airplay Chart

 

Artists & Music that’s Movin’ on Up

A spectacular night of cocktails and jazz …

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Dr. Phillips Center Presents: Professors of Jazz

Experience some of the best jazz artists of today. These nationally known jazz players swing to a variety of classics and modern adaptations.

With the meet and greet!!!

A Bourbon Tasting Reception with the Artists

Post-show party with complimentary Bourbon and Whiskey tastings, food pairings and your chance to mingle with the Professors of Jazz.

The proceeds of this event go to support local students attending Summer Jazz Intensive on scholarship.
Get Tickets

 

Gerald Albright’s “G” feat. Michael McDonald and Doug E. Fresh

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… Gerald Albright’s “G” is Bright Music Records’ first CD release! G is a special musical project as it is also Albright’s début CD as an independent artist and as owner of Bright Music Records. G invites you to not only enjoy Albright’s fluency as a saxophonist and flutist, but also the command that he demonstrates on the bass guitar.

Gerald Albright is a Los Angeles, California native. For decades, and through 17 solo CD’s he has wowed us with the sultry yet funky sounds of his compositions. I am crazy about G,  and I think you guys will be too. The CD slams with the track Taking Control, where one might describe the track as, Earth, Wind, and Fire meets Michael Jackson. Albright slows down the pace a bit with the sexy, head-bobbing tune called Read Your Mind. He will have your fingers snapping and shoulders jolting to the funky horns and beat box sounds of G and Doug E., a duet with Hip-Hop legend Doug E. Fresh, and it is fresh!

Albright pays homage to two good friends who he has respected throughout his musical career – Bill Withers and Frankie Beverly. He did his rendition of Lovely Day, featuring another good friend of his, the iconic Michael McDonald on vocals; and a MAZE inspired tune called Frankie B. wouldn’t be complete without the funk. Funk-ism will take you out of your seat with its combination of Old School meets Contemporary Jazz. Once again Albright shows off on bass guitar while solidly displaying his skills on alto, tenor, and baritone saxophone.

G is the title of Albright’s latest CD. And, G is the first letter of the word Great which defines both the man and his music. G is jumpin’ my friends; it’s thumpin’ and bangin’. Ooh-we-baby, there’s a lot of great music on this disk. We got Hip-hop, Funk, R&B and of course, Contemporary Jazz. Highly recommended … ABYSSJazz!

 “G” is available at Amazon, click, listen, buy!

For more information about Gerald Albright, his 2017 tour dates, and concerts click on this link!

 

The James Kob Experience … featuring Maria Schafer & Danielle Field

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… James Kōb brings melody and beautiful arrangements back to the popular music genre… while still keeping it “cool & hip”.

A veteran American composer, lyricist, arranger and producer… Mr. Kōb creates music that spans across multi-national borders as well as focusing on the music scene here in America.

In developing “The James Kōb Experience”, Kob sets a new benchmark in music entertainment… a sort of ‘Broadway-ish, Pop, Jazz, Bossa Nova and a little cinematic music’ affair! In addition, with quite a few pieces in French and Portuguese for our European and South American music lovers. It’s a good kind of different.

So Right has a Zen like feel; easy to listen to, soothing, non intrusive, yet engaging. Delicately pulling you into the music and you don’t resist. The vocal interpretations, arrangements, instrumentation and the lyrics penetrate beyond the physical. So Right taps into ones soul the core self. Highly Recommended … ABYSSJazz Magazine!

For more information about The James Kob Experience click on this link!

Jazz Music on YouTube: 5 Channels for Continuous Tunes

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While jazz is not a dying art form, it’s not really a part of mainstream music radio stations. That’s why many jazz fans often come online looking for their favorite numbers. Fortunately, there are numerous YouTube channels dedicated to Jazz music only. However, there are some that stand out above the rest. We list five of the best videos that offer continuous jazz music without interruption. Depending on your mood, you should be able to find something on the line-up to quench your thirst for the genre. Take a look!

Enjoy these Jazz Music on YouTube:

1 hour of Jazz music – Relax and enjoy


Featuring 19 tracks, this one hour no stop video of Acid Jazz.

Bossa Nova Jazz Instrumental Mix : Cafe Restaurant Background Music


Tracklist of 50 instrumentals that will keep you in the mood for 3 plus hours.

Jazz Instrumental: 3 HOURS of Jazz Music Playlist for Relaxing Happy Summer Chill Out


Whether daytime or night, you will find yourself pausing while listening to this sweet music.

Jazz Music Mix 2015 Best of Jazz Songs


A perfect mix of smooth jazz, it’s just right for listening at work, chilling out with at home, and great when going for a drive.

3 HOURS Relaxing Background Music | Jazz Instrumental Mood | For Love , Romance and Meeting


As the name suggests, this wonderful music track is ideal for relaxation or a romantic dinner. It will make you feel all warm and cozy inside.

Elijah Rock Shifts Focus to Contemporary Gershwin Salute

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Elijah Rock stars in his Jazz Cabaret show at the Colony Theatre.

Elijah Rock stars in his Jazz Cabaret show at the Colony Theatre, Burbank. Photo TrueMoxie Phototgraphy

IndieGoGo Funded EP “Gershwin for the Soul” Traditional Jazz Pop Project To Be Recorded In September With Band Headed By Musical Director/Pianist Kevin Toney Featuring All-Star Musicians John B. Williams (bass) – Terry Wollman (guitar) Greg Paul & Rayford Griffin (drums)

Long-dedicated to upholding and aligning himself with the first class carriage and aesthetic of timeless entertainers from the past, singer/actor/dancer Elijah Rock is in the last stages of preparation to bring a contemporary and decidedly African-American twist to the music of George & Ira Gershwin with his forthcoming recording project, Gershwin for the Soul.

Cleveland-born NAACP Theater Award-winning triple threat Rock is sailing into the studio on wings of glowing reviews for his stage performance of the character ‘Crooner’ in “Words by Ira Gershwin.”

The Glendale News raved, “Baritone Rock, with charm to spare, shifts smoothly from crisp jazz phrasing to the operatic…” The Hollywood Progressive proclaimed, “The youthful Rock, who appears in Showtime’s TV series ‘Masters of Sex,’ is establishing himself as one of his generation’s foremost interpreters and performers of The Great American Songbook, which Ira Gershwin contributed so much to…”

Elijah Rock began singing at age 13. Three years later, he was already singing Gershwin songs from “Porgy & Bess.” An alumnus of The Cleveland Institute of Music, Rock was not only steeped in musical theater, art song and the classics, they swiftly became his passion. Rock states, “I once asked Quincy Jones during a program at UCLA, ‘Why aren’t there more brothers doing traditional stuff? He just looked at me and said, ‘Well, I guess it’s you, brother.’”

Rock – whose resume boasts a decade and a half of acclaimed across the board accomplishments in stage, film and television – understands that for the success of his musical mission long-term and for Gershwin for the Soul immediately requires a delicate balance of tradition in a contemporary context. He found the perfect collaborator in music veteran Kevin Toney whose work as a keyboardist, composer, arranger, author, educator and co-founder of the `70s R&B Jazz group The Blackbyrds provides the ideal springboard for Rock to bounce concepts off. They first worked together with Toney as the Musical Director of “Words by Ira Gershwin.” Now they are molding key arrangements of Toney’s from that stage production for an album aiming to make the classics modern all over again.

“Kevin Toney is a virtuoso and an award-winning musician whose experience speaks for itself,” Rock says. “In rehearsal, he was very supportive, determined for us to find our sound. I trust him with a project that has to meet a certain standard.

Kevin’s arrangements for ‘Words’ weren’t written as a score, even though they were for a musical play, so the music doesn’t come off as show tunes which is a unique situation. We brought our authentic creative selves to the material and, in that, it became uniquely ours. I had such an intimate experience with Kevin along with bassist John B. Williams, drummer Greg Paul and guitarist Terry Wollman. We spent two months working everything out for the show. And now we’re tailoring choice material for my new album.”

Elijah Rock’s Gershwin for the Soul bring flashy perennials such as“Fascinatin’ Rhythm,” “Shall We Dance,” “I’ve Got Plenty of Nothing,” “Long Ago and Far Away,” “They All Laughed” and “How Long Has This Been Goin’ On.” However, it is ballads like “Isn’t it a Pity” and “Love Walked In” in which the fuller, richer measure of Rock’s voice revealed anew.

“Before this experience, I hadn’t really embraced the balladeer aspect of my gift,” Rock muses. “It was about me being vulnerable enough to know I could do it. It’s been an interesting transformation for me. The first three songs I had to sing in ‘Words by Ira Gershwin’ were all down tempo ballads. That’s not normal in a concert setting. To connect to those songs and make them unique every single night transformed me. I fell in love with the space between the notes…the simplicity of telling the story…the space for introspection and that moment to moment feeling of the lyric. I’m so comfortable now that I love singing ballads more than I do up tempo material. And it’s making my fans even more beloved.”

Rock hopes to woo singer Cecile McLorin Savant – a kindred spirit in the revival of timeless vocal style (popular for her rendition of Bert Williams’ early 1900’s song, “Nobody”) – to sing a duet. An added bonus will be one original composition of Rock’s entitled “New York City Springtime,” a mid-tempo swing tune about a guy flying back into town with more swagger than he had when he left with his sights set on the girl he never had the guts to talk to…until now.

Elijah Rock views his work in the context of an exciting and timely trend back toward all around excellence.“Look at Misty Copeland,” he says. “She’s become a major star by committing herself to the classic form of ballet. Now she’s going to Broadway and beyond. Me, I committed myself to the strain of bel canto singing as taught by one of the pure blood lines of Spanish operatic tenor Manuel Garcia, Russian baritone Vladimir Chernov at UCLA.”

Ultimately, Elijah Rock will wow longtime lovers of Gershwin music while hopefully cultivating a new younger audience with his all-around showmanship, singing and even his paddle-n-roll style of tap dancing – lost arts all that have found in Rock a tireless cultural savior.

“I believe there is a cross demographic that this music will serve,” Rock concludes. “I am grateful to Tony Bennett and Lady Gaga for their success in keeping the music relevant to today’s pop world. Uncanny as the pairing may seem, it’s working and the people are coming out – from her fans she lovingly calls her ‘monsters’ to the blue hairs that grew up with Mr. Bennett…who will be 90 next year and still singing fantastic! For people to do their craft with that level of consistency and longevity, the fundamentals is their foundation.

“I approach singing from a traditional perspective with a fresh twist. Gershwin for the Soul not only represents America’s classical music, it will give me a platform to discuss a lot of other things about the culture and where we all stand today.”

 

Gershwin for the Soul will be available Spring 2016 For more information on Elijah Rock, contact:

Jai St. Laurent-Smyth – Inque Public Relations –  732.254.0607

nquepr@comcast.net / inquepr@gmail.com – Indiegogo Campaign

https://www.indiegogo.com/projects/you-can-help-create-elijah-rock-s-gershwin-album#/story

www.elijahrock.net

ABYSS Remember Jeff Golub … Original post ~ September, 25, 2013

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Jeff Golub, a guitarist who crossed seamlessly between jazz, blues and rock, died today, Jan. 1, following a lengthy illness. He was 59. The precise cause and place of death have not yet been reported but Golub had experienced a series of physical setbacks in recent years that ultimately caused him to no longer be able to perform … Jazz Times.

2490_Jeff_Golub_TKAR_Folder.indd… It’s been a helluva two years since guitarist Jeff Golub released his last album # 11, “Three Kings,” which paid tribute to blues legends B.B., Freddie & Albert King. As the record was released, the optic nerves in Golub’s eyes inexplicably collapsed leaving him blind. Adjusting to his new life meant adopting Luke, a guide dog. While attempting to catch a New York City subway last September, Golub fell onto the tracks as a train rapidly approached. He was clipped and dragged by the train as Luke and bystanders frantically attempted to help. Miraculously Golub escaped the harrowing and what could have been a fatal ordeal with only minor scrapes and bruises. Undaunted and as boisterous as ever, Golub stands defiantly, toting his guitar with Luke perched at his feet, at the crossroads of train tracks on the cover of his aptly titled new album, “Train Keeps A Rolling,” which will be released August 13th by Entertainment One Music.

Golub’s 12th solo album had to be something special and have a lot of soul. He teamed with British keyboard great Brian Auger for a rollicking 11-song collection of soul, jazz, blues and rock combining Golub’s raw bluesy guitar licks with Auger’s hallmark Hammond B-3 organ. Golub produced the set with Harner, a Grammy-nominated producer who shared production duties with Golub on the guitarist’s five most recent records. Anchoring the grooves were steady-as-a-rock drummer Steve Ferrone, who was an original member of the acclaimed jazz-rock ensemble Brian Auger & The Oblivion Express, and bassist Derek Frank, who also had a history playing with Auger. Augmenting the tracks were percussionist Luis Conte and a lively horn section comprised of Mindi Abair (alto sax), Nick Lane (trombone), Dave Woodford (baritone sax, flute) and Steve Madaio (trumpet). Making guest appearances on the vocal selections were Christopher Cross, Ambrosia’s David Pack and Alex Ligertwood, who was also an original member of The Oblivion Express … Great stuff, highly recommended ~ ABYSSJazz

Jeff Golub, who was born in Copley, Ohio, April 15, 1955, played his first gig in 1967 at age 12 and turned professional during the following decade. He studied at the Berklee College of Music and worked in singer James Montgomery’s band while in Boston. In 1980, after moving to New York, Golub joined the band of rock singer Billy Squier, with whom he toured and recorded extensively. Golub released his first solo recording, Unspoken Words, for Gaia Records in 1988.

Golub released more than a dozen albums in all as a leader and three with the Avenue Blue Band, and spent several years (1988-95) in the band of singer Rod Stewart. He also collaborated with dozens of artists as a sideman, including Ashford and Simpson, Alphonse Mouzon, Kirk Whalum, Mindi Abair, Everette Harp, Peter Wolf, John Waite, Vanessa Williams, Gato Barbieri, Bill Evans, Rick Braun, Tina Turner, Dar Williams, Brian Culbertson, Gerald Albright, Henry Butler, Jon Cleary, Marc Cohn, Richard Elliot, Robben Ford, Sonny Landreth, Jeff Lorber and Peter White. Golub was also a member of Dave Koz and the Kozmos, the house band of The Emeril Lagasse Show … Jazz Times

Enjoy!

Saying Goodbye to Joe Sample

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158_Sample_v2_yThe public Wake and Viewing for Joe Sample will be Friday, September 19th
Location: Our Mother of Mercy Church
4000 Sumpter St., Houston TX, 77020
Time: 6:00 – 9:00pm

Funeral services on Saturday will be private for family and friends.

In lieu of flowers etc., the family asks to make donations to the Joe Sample Youth Organization, a 501 (c) (3) non-profit. Contributions can be made via pay-pal or credit card using the following link:
https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=QV5AUC3H6AGQL or by check to the following address:
The Joe Sample Youth Organization, P.O. Box 590254, Houston TX 77259

For more information, please contact:
Patrick Rains & Associates
1255 Fifth Avenue #7K
New York, NY 10029
T: +1 212 860 3233
M: +1 310 968 1002
F: +1 212 860 5556

From the ABYSS Archives: Joe Sample; Soul Shadows ~ 2005 ~ ABYSS Remembers

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Nobody does it better.  For four decades and counting, Joe Sample, pianist, keyboardist and composer continue to be an integral part of jazz history.  As a founding member of the powerfully creative jazz funk combo The Crusaders (originally the Jazz Crusaders), Samples has toured the world tickling the ivories with atypical skill and a passion for making beautiful music.  With the release of Soul Shadows, Joe Sample gives us a more complete picture of himself through the music of his youth.  Sample chose as his first solo all piano recording, to pay homage to the great American pianists of the 20th Century.  Performing vibrant renditions of classics by Joplin, Ellington, Gershwin, Jolson, Waller and Jelly Roll Morton, among others; songs which define the art and legacy of jazz piano over the past 100 years.

When boundless curiosity meets jazz legend, the rest is, well you know, an up close and personal conversation that goes beneath the music.  Dig it!

Why did you choose to do an album of this kind now?  “I remembered my age and said, ‘perhaps I’m running out of time to do this music that I heard in 1939.’I grew up listening to the music of the 20’s and 30’s along with the boogie-woogie of the day.”  You are giving us a bit of your history?  “Yes.  When you study the piano what is the most natural thing to do?  To play the piano in a complete manner; the fascinating thing about the piano was that, it was, the most important instrument. You could entertain people, as they did in the 20’s at rent parties with honor. But you had to play the complete piano.  And, if I am going to sit at the piano, I should be totally complete about it.” So, you really did this as much for you as you did for us?  “Well, you know what?  It all has to start with me first.  You are right; it does have to begin with you, I agree.  “[It took] hours and hours of practice in order to understand the styles and go back into those periods and make it my music.”  O-o-h okay, you really had to invest some of you into this.  We are really getting a more complete side of you, as you said.  “Yes, yes, it’s the complete side of me.  I played classics but I will certainly never record classics.  I’m from southeast Texas. I flavor everything I play with jazz, blues and gospel, you know? That’s okay, that’s who you are. After all, people come to see Joe Sample.  “Right.”

You play keyboards.  And I understand that acoustically, the piano and keyboards are different?  “Let me answer that in this manner.  The life of a piano player is miserable.  Is it? In the 1960’s when the Crusaders/Jazz Crusaders were out traveling across the US on the jazz circuit. Most of the pianos I sat at in most of the jazz clubs were not playable. Okay.  The piano player struggles, struggles, and struggles, it got so bad that in Cleveland in 1968 I told the guys in the band that I was not going to do this anymore. Something had to change.  I felt that I was wasting my life.  Everybody else carried their own unique instrument except the piano player.  We have to deal with whatever comes … the Fender Rhodes (electric piano) came in the late sixties and all the piano players suddenly found that it was possible to go out and do gigs without having to struggle and not feel like we were wasting our lives. It was that bad for me in the sixties. And I’m sure for everyone else. That is why the piano player’s life is miserable. The age of electronics came in and saved everybody. That’s real simple and easy to understand.

When you switched out instruments or you went to the keyboards and electronics did that change the sound?  “Yes, it does have a keyboard on it but it is not a piano.  It is an electric piano and you must approach them with a totally different concept.”

You had to learn some things to do it differently?  Oh yes, I realized that right away.  You can’t play it like a piano. It’s another instrument and wants to speak in its manner. So all you have to do is sit down and begin to play it. And when it speaks in its best voice you should be able to recognize it. And that’s how I developed a particular style at the electric piano. I listened to what it had to offer.”  Laughingly he said, “that’s what you should learn when you play a bad piano. You learn very quickly, from the first piece, what it is willing to give to you.”

Had you not pursued music and played the piano, would there be something else you may have done?  “Ah, I really have no idea. No. I’ve never desired to do anything else other than play the piano.

How early were you introduced to this instrument?  “Well probably at five years old when the boogie-woogie culture was very much alive and well. The piano was the institution of entertainment in most family’s lives. There were no football teams, no baseball teams, and no television. There was only the radio; we used to listen to radio programs. It was every family’s dream to have enough babies in the family so that you could make at least one piano player out of one of them. Music has really been the life of the African American communities. Without music we would have literally gone insane.” … I can imagine the boredom. You wouldn’t have had anything to do.  And it gave you an outlet for your creativity.  “I have always felt that I needed reasons to play the instrument.  I gave myself reasons to play by writing compositions and songs or [by] creating a concept of how I would play existing music or standards.  There must always be a reason.  I could never play in a pop band where I would play the same musical parts night after night; I would absolutely go crazy.”

Actually the concept of jazz being so innovative, in the sense that you can add to it and do things differently, is that what drew you to this genre of music?   “Yes, that is the concept of my playing. And, it has been the basis for most jazz.

In 1951, famed African American poet, Langston Hughes asked this question.  What becomes of a dream deferred?  In 2004 Joe Sample answers, it becomes a reality too. A lifelong fascination with James Reese Europe, the first black big band leader who in 1918 introduced jazz to Europe and England along with a desire to return to his musical roots set the stage for this new project.  The evolution from fascination and a dream to reality is Soul Shadows, a more complete picture of pianist Joe Sample, a slice of jazz history and black history all rolled into one.

Because of his music, Joe Sample left this world a better place than the one he entered!

1939 ~ 2014

By: Lyndah Malloy-Glover

Click here for update on Mr. Sample!