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Блог для расширения кругозора путём передачи блюза,рока,джаза и рок-н-ролла..
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Sur la scène jazz, il est tout simplement impossible d’ignorer Alex Grenier. Le guitariste angévin s’est fait un nom à travers une discographie solide, des collaborations mémorables et des prestations scéniques légendaires dans les quatre coins du monde, à un tel point qu’il est devenu une référence en la matière. Son cinquième album nommé Spicy Galaxy est là pour rappeler son héritage et son talent hors normes.
Ici, Alex Grenier compte explorer les recoins 70’s tout au long de ces neuf titres bien groovy. Spicy Galaxy compte nous remuer comme il se doit avec cette fusion entre jazz et blues qui fait effet sur « Bouce » qui ouvre le disque mais encore sur les entraînants « Mojo » et « Harlem » où il nous gratifie de solos de guitare réjouissants.
Les talents de compositeur d’Alex Grenier ne sont plus à discuter par les temps qui courent et ce Spicy Galaxy ne fait ps exception. Que ce soit sur « Sund’ » ou bien encore sur « Double Six » et « Bee Cool », le guitariste angévin reste sur ses gardes en faisant la distinction entre improvisations bien senties et mélodies groovy spontanées qui continuent de faire mouche avec « Bel Horizon » et « French Touch ». Toujours aussi séduisant et instinctif, la musique d’Alex Grenier ne fait jamais défaut.
Sometimes it takes a potentially life altering event to make you stop and re-evaluate what is truly important to you. In March 2021, guitarist, composer, and arranger CHRIS STANDRING found himself in the emergency room after experiencing chest pains. Although there was some history of heart disease in his immediate family, he never dreamed that he was himself a candidate for a heart attack. He was just 60 years old, kept trim, ate well, exercised, and never smoked. But he was lucky. He come through it with flying colors and a new appreciation for the simple things that make life worth living.
On his newest release, SIMPLE THINGS, Standring reflects on his recent experience and his new and intimate awareness of the fragility of life. Standring relates, “We have all heard cliches like ‘who knows what tomorrow may bring’ and ‘don't forget to stop and smell the roses,’ but we usually don’t take those old aphorisms to heart. To suddenly come face to face with my own mortality made me think about what is really important to me and how I want to live out my third act. Ultimately the answer came down to a just few basic things - spending time with loved ones, being present in the moment, and doing things with joy. Indeed, the theme of this album is joy, positivity, hope, and, because I'm a sucker for a beautiful melody, a little sadness as well.”
Standring is no stranger to funk, and several compositions on the album were heavily influenced by Prince and Bootsy Collins. Standring explains, “I’m a big fan of Prince, who learned about funk studying the music of people like Bootsy Collins. I wrote the opening track, “Shadow of Doubt,” after hearing a particular bass line by Prince that I really liked and wondered what I could do with something similar. I also saw a YouTube video of Bootsy explaining his basic funk formula. The bass line he demonstrated is so funky that it inspired me to write something of my own. Of course, I had to thank him, which I did on “Thank You Bootsy.” “Face to Face” is another song that was influenced by Prince and Bootsy.”
Standring originally wrote “Change the World” for another artist, but he decided to keep the song for himself because it fit his style so well. He released this tune as a single, which reached number 1 on Billboard, (March 2022). “A Thousand Words” is a darker tune that Standring wrote for an old friend who suffered from mental illness and recently ended her own life. Standring composed “Ain't Nothin' But A Thing” specifically to play in live shows. It features Rodney Lee on organ.
“The Gist of You” has a romantic yet funky, half-time feel. Standring built “No Two Ways About It” on a two-chord groove that he imbues with an infectious, toe-tapping feel. “Too Close for Comfort” refers to his health scare last year. Standring often uses the phrase “Don't Get Me Started,” so he wrote a song with that title. The track features Gary Meek on tenor sax. Standring closes the album with “And the Show Goes On,” a mellow track with a lovely melody. As Standring says, “With all the world has been through the last couple of years – me included - the title says it all.”
Marcus Anderson stands for variety, inventiveness and creativity. Be it smooth jazz, funk or gospel music, the combination of coffee and music or the connection of music with comic characters, he always delivers new surprises.
He started his solo career with the album My Turn (2005), followed by From The Heart (2009), Now (2011), Tender Loving Christmas (2011), Style Meets Substance (2013), AND Coffee (2015), Marcus Anderson Experience – Live In Concert (2015), My Inspiration Vol. 1 (2016), Limited Edition (2017), This Is Christmas (2017), Limited Edition Live (2018), My Inspiration Vol. 2 (2019), Hero (2020) and Hero Live (2021).
Bassist Byron Miller shares the fate of many sidemen who play with the superstars without the fame promotes their reputation significantly. He performed with George Duke, Roy Ayers Ubiquity, Santana, Herbie Hancock, Joe Sample and The Crusaders, Marvin Gaye, Whitney Houston, and Luther Vandross. To download, go to Telegram
Альбом «Фокус» подытоживает 3,5 года истории, начиная с отцовства артиста, его путешествий по Соединенным Штатам и заканчивая пандемией последних 2 лет, символизируя глубокую духовную и художественную трансформацию, через которую прошел артист, чтобы создать новое, обновленное вдохновения,слушайте этот альбом и тогда вы действительно сможете сосредоточиться только на действительно важных вещах.
Three and a half decades after releasing Special EFX’s self-titled debut album, multi-faceted composer/guitarist Chieli Minucci is still blazing innovative trails in contemporary jazz, continuously finding that musical sweet spot between in the pocket, radio ready pop/soul/funk and progressive, freewheeling world fusion.
In this album Magdalena Chovancova, Robert Fertl and Gabriela Chovancova from the band ThreeStyle come together with friends like the amazingly talented vocalists Tim Owens, Damon Dae, DW3, Latonya Black Gilliard, Ashley Sankey, and instrumentalists Elvis Stanic, Lew Laing and James L. Manning to create a blend of vocal AC and smooth soul jazz.
Hailing from Kansas City bass player Julian Vaughn has reached after The Purpose Project (2010), Breakthrough (2012), Limitless (2015) and Bona Fide (2017) with Supreme (2019) number 5 of his solo projects. Not just a handful but a 5 stars career. Last year he has added his sixth star with the album Chapters Of Love.
His latest release Solo (2022) is slated to be his best work to date. As Vaughn’s recording catalog continues to grow, he hopes to continue to redefine the lead bassist role in the smooth jazz genre.
This is an exciting project for me because I was finally able to assemble my dream team. Besides the recognizable and prolific talents of saxists Ernie Watts and Cory Weeds, I was able to gather my longtime friends and world-class musicians Miles Black (piano), Laurence Mollerup (bass), and Joel Fountain (drums). Adding to the proceedings are Mike Taylor (vocal) and Olaf deShield (guitar) on a couple of tunes.
Jazz is in my blood, and I am sure I will die clutching my horn to my chest. I've been on this path for most of my life, which really started in 3rd-grade summer band. That year we recorded a vinyl record as a fundraiser, and there the die was cast.
My music teachers were all working jazz musicians and somehow I absorbed the Jazz Spirit, and fueled the fire in my belly that stuck with me all these years. I didn’t choose jazz, it chose me.
As a preteen and teen I'd listen under the bedsheets to late night jazz broadcasts from New York, Chicago, and St Louis. By age 14 I was emulating what I had been hearing, playing semi-professionally in restaurants, lounges, and Battle of the Band competitions. After high school, I hit the road, performing throughout the Midwest playing mostly R&B, and getting my schooling from older musicians who were kind enough to take me under their collective wing. I started playing the flute around that time, searching for another sound to add to my creative toolbag, and I put in some serious time on both horns.
I had a good five year run as a seminal member of the award-winning Powder Blues, received gold and platinum album awards, and toured Europe, the US, and every nook and cranny of Canada.
Trumpeters are often one of the last to get hired, so I took matters into my own hands and began to develop bandleader and promotional skills to create what is now called a 'brand'.
My interest in audio, graphics and video developed alongside my musical skills, so recording projects became sort of a one-stop cottage industry for me to express myself without having to rely on major record labels and music managers. In the end, I developed a large catalog and I own all my master recordings, unlike many major label artists, whose product is unavailable or can't be promoted for contractual reasons. My discography includes two mainstream JazzWeek charting albums, but most have been contemporary jazz projects that have garnered quite a few Billboard hits. I always strive for strong, lyrical and succinct jazz content in whatever styles I pursue, and I choose sidemen that feel that way, too.
That brings me to the present. Although I spend most of my time in Vancouver, I also work out of Phoenix and New Orleans where I have residences. Arizona has a few pockets of jazz activity (and some great internet jazz station gurus), but the influence of the French Quarter in NOLA unleashed a previously untapped creative flow in my jazz vision, which is evident here.
