Brian Culbertson – Colors of Love

 

Brian Culbertson, is a contemporary jazz, R&B, and funk artist that has been making records for 24 years now. He spent the first 20 of those years on major labels which was great, but now he is independent which gives him the creative freedom to pursue whatever direction he is feeling in the moment.

Earlier this year he started writing new music inspired by his 20th wedding anniversary (Oct 4th). As you can imagine, it is a very romantic record. While he was writing the new songs, he did a Facebook live session from his studio and asked the audience if this record should be instrumental only, or if he should include guest vocals. It was overwhelmingly a YES for instrumental only. He even took it a step further, purposely not including any saxophone or other lead instruments, focusing mainly on the piano which is something he never has done over his 17 albums.

The name of this new album is, Colors of Love, and it will be released on Valentine’s Day, February 14th, 2018. Currently, there is an Indiegogo campaign to fund the production of this album, which will end in ten days. Here is the link.

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Warren Hill’s Cancun Jazz Festival

 

Star-studded lineup, exotic tropical location, luxurious accommodations and the new Stay & Play option have made Warren Hill’s Cancun Jazz Festival the hot ticket for Labor Day Weekend.

 

With more than a decade of planning music vacation experiences in alluring locales on land and at sea around the world, it should come as no surprise that in his second full year at the helm, Warren Hill has already doubled the number of festivalgoers preparing to end summer with a trek to his Cancun Jazz Festival at the five-star Hard Rock Hotel in Riviera Maya, Mexico over Labor Day Weekend (August 31-September 3, 2017).

 

The chart-topping saxophonist knows that his crowd covets value and all-inclusive packages just as much as they value the names on the marquee, that the location really does matter, that posh accommodations and amenities are a must, that most of the performers should be jazz artists if you bill the event as a jazz festival, and that sound, lighting and production values are not to be skimped upon.

 

The star power Hill has assembled to perform at this year’s Cancun Jazz Festival rivals or eclipses the lineup at any event on land or at sea and is comprised of smooth and contemporary jazz legends and royalty – from the seminal George Benson and Kenny G to charismatic crossover artist Chris Botti. Smooth R&B singer-songwriter Brian McKnight will be featured along with instrumental luminaries Rick Braun, Norman Brown, Jesse Cook, Candy Dulfer, Richard Elliot, Euge Groove, Keiko Matsui, Paul Taylor and Peter White. Fan favorites Eric Darius, Michael Lington, Brian Simpson and Elliott Yamin complete the bill.

 

“I really wanted to keep the artists close to the format. I believe that if you are a core fan of smooth and/or contemporary jazz, this is the festival for you. I even feel that Brian McKnight has a tremendous amount of jazz influences in his music. He can riff and improvise as well as any jazz musician I have ever heard. And for those who want to stretch their musical boundaries even further, we have virtuosos such as Chris Botti, Jesse Cook and Keiko Matsui to keep you on the edge of your seat,” said Hill.

 

Along with the four-night festival package, new for 2017 is the seven-night Stay & Play option. In addition to four nights of concerts, Stay & Play (August 28-30) adds three days of excursions to Cozumel, Tulum Mayan ruins, Cenotes cave pools and shopping in Playa del Carmen along with a Cirque du Soleil performance to the front end of the vacation. Both packages are all-inclusive and cover reserved concert seating, casual meals and a la carte dining, beverages (including alcohol), access to all festival events and after parties, and resort credits that can be applied to a variety of amenities such as golf, spa treatments and tours.

 

“The best part of this event is that you have an all-inclusive package. Your wallet never has to leave your room. And there is a very relaxed atmosphere. You have the days to spend at your own leisure – either exploring Mexico or just chilling on the private white sand beach,” said Hill, who co-promotes Rock Getaway at the same location October 26-November 1 headlining Don Henley, Santana, Steve Miller Band, Roger Daltrey, Bad Company, ForeignerREO Speedwagon, Pat Benatar, Cheap Trick and many more.

 

In addition to his award-winning recording career, Hill has been producing first-class music vacation experiences ever since he launched the first smooth jazz cruise in 2004. “There weren’t very many options for musical vacations back then. Now there are multiple cruises and destinations. But I feel the Cancun Jazz Festival overshadows all the other options in terms of the experience. The festival is growing every year as people begin to understand the incredible value that the event has to offer.”

 

As a world-class performer himself, Hill understands the importance of presenting the talent in the finest settings with premier production values. “Our production quality is second to none. Staging, sound, lights and venues are all top notch. Even though the festival takes place south of the border, we procure some of the best production on the continent. As an artist who has performed in every type of venue – from small clubs to The Hollywood Bowl – this is as good as it gets. And why stop at just great production? Last year’s closing ceremony featured Mayan dancers and fireworks. We put the ‘Can’ in Cancun, baby!”

 

To book a festival package or for more information, please call 805.491-JAZZ or visit https://cancunjazz.com/.

Source: www.greatscottpr.com

East Bay Soul – Soul Citizen

East Bay Soul – The Jazz Funk R&B 10 piece band of musicians that’s been making music and touring together since 2008 are poised to launch their third Kickstarter campaign. With two successful all-or-nothing crowd funding projects that produced the highly acclaimed 2015 That’s Life CD and the 2012 East Bay Soul 2.0 CD that solidified the band’s infectious sound are set to go back in the studio.

Greg Adams spearheads the band, the music is horn driven infused with R&B vocals with a wicked funky rhythm section. Collectively they have recorded, performed and toured worldwide with hundreds of artists individually over the span of their careers.

What They Are Making – A Double Vision: The crowd- funding goal is set for $55,000 for both recording projects with 30 days to reach the project’s goal. Soul Citizen is the 4th East Bay Soul album. As Greg tells it “Inspired to create new music for you, by us and with the people that have believed in us most. We’ve already started writing the songs and have some great ideas swirling around to make this our best CD yet!

Sweet Soul Christmas is the first EP – extended play of classic Christmas songs that we have been playing live. Many of our fans have asked for a Christmas CD after our shows and from seeing our live rehearsal videos online. Now we can have it delivered to you just in time for the holidays! It seems like the perfect time to do both!”

The Band: Greg Adams – trumpet and flugelhorn, background vocals • Darryl Walker – lead vocals and tenor sax • Lee Thornburg – trumpet and flugelhorn, background vocals • Greg Vail – alto, tenor saxes and flute, background vocals • Johnnie Bamont – alto, tenor, baritone saxes,and background vocals • Nick Milo • keys • Kay-Ta Matsuno – guitar • Dwayne “Smitty” Smith – bass • Herman Matthews – drums, background vocals • Johnny Sandoval – Latin percussion, background vocals.

Our Goal is to make music that connects a community of music lovers from all over the world.

Why They Need You – East Bay Soul is an independent ensemble with no outside record label or agent. EBS depends completely on their audience to help them make and record their music. “The advantage of that is huge,” says Adams. “We have no one between us. Our music comes straight from our hearts to your ears. It means everything to us to be able to make the music we want and the music you want too!”

For more information visit their website.

Julia Fordham – The Language of Love

According to singer-songwriter Julia Fordham, Ella Fitzgerald set the standard when it comes to tackling standards so she had to turn to other source material for her forthcoming collection, “The Language of Love,” which will receive its U.S. and European release on April 14 from Red River Entertainment with distribution via BFD/Sony RED.

“As the Queen of Jazz, Ella Fitzgerald, has already covered every traditional jazz song to perfection, we tried to find a new angle and hopefully put a fresh twist on some of our favorite songs,” the British-born, Los Angeles-based artist said.

Along with producer-arranger Grant Mitchell, Fordham culled a set list of modern pop, rock and R&B classics and revamped them as if they were pages from the Great American Songbook. The misty-voiced singer seductively emotes nine signature hits from the likes of Blondie, Eurythmics, Sting, The Beatles and Stevie Wonder in intimate acoustic jazz settings. She also reconfigured her own debut hit, “Happy Ever After,” and introduces a pair of new tunes – “Like You Used To Do” and “The Morning After (The Night With You)” – that she penned for the occasion with Mitchell.

Throughout “The Language of Love,” Fordham regally plies her deep-hued vocals on tracks that swing (“Call Me” and “Alone Again (Naturally)”), seduce through sultry bossa nova grooves (“Who’s That Girl” and “At Seventeen”), traverse a multicultural world music grid (“Happy Ever After”) and pitter-patter gracefully to a Latin jazz rhythm embellished by a sterling nylon guitar serenade by Ramon Stagnaro (“Fragile”). “I’m Not In Love” becomes a stunning torch song while a stark depiction of “Eleanor Rigby” strikes a hauntingly dramatic tone in a voice, piano and upright bass incarnation. “Sir Duke” bops to a groovy jazz beat highlighted by Wonder’s original “Songs in the Key of Life” tour trumpeter, Harry Kim. The lone tune taken from the Great America Songbook era is “Moon River,” a timeless, heart-tugging beauty written by Henry Mancini and Johnny Mercer. As for the new originals, “Like You Used To Do” is a steamy affair heated by soulful backing vocals from Judith Owen and Sista Jean McClain. A taut rhythm section comprised of David Piltch (upright bass), Herman Matthews (drums) and Ramon Yslas (percussion) construct a subtle Latin vibe on “The Morning After (The Night With You).”

Two bonus tracks, “You Make Me Feel Like Dancing” and “Moon River” orchestrated with strings, will be available exclusively with the digital purchase of the album. Videos for “Call Me,” “Who’s That Girl,” “Eleanor Rigby” and “At Seventeen” were created and will soon be made available for viewing. Fordham will support “The Language of Love” with concert dates in London on July 28 & 29 at The Strand at PizzaExpress Live, October 18 in Los Angeles at Catalina Jazz Club and October 27 & 28 in New York City at Joe’s Pub.

Fordham said she selected “The Language of Love” as the album title because “it seemed to conjure up a romantic image and the seductive feeling of the album.” The words are the opening lyrics of “Who’s That Girl” and are mentioned in the bridge section of “Call Me.”

Although she grew up writing and singing folk music in clubs since she was 14 in Portsmouth, England, Fordham discovered jazz shortly thereafter and has always incorporated nuances of jazz throughout her recording career that began with her eponymously-titled 1988 release. Her global hit “Love Moves” was featured in 1992’s “The Butcher’s Wife” starring Demi Moore. After relocating to Los Angeles two years later, three of Fordham’s albums were produced by four-time Grammy winner Larry Klein (Joni Mitchell, Herbie Hancock, Madeleine Peyroux). Her 2005 live CD (“That’s Life”) and DVD (“That’s Live”) featured a stellar ensemble including Klein on bass and Academy Award-winning trumpeter/composer Mark Isham, and showcased Fordham dueting with multiple Grammy winner India.Aire. For additional information, please visit http://www.JuliaFordham.com.

“The Language of Love” contains the following songs:

“Call Me”

“Who’s That Girl”

“Happy Ever After”

“I’m Not In Love”

“Alone Again (Naturally)”

“Fragile”

“Like You Used To Do”

“Eleanor Rigby”

“The Morning After (The Night With You)”

“At Seventeen”

“Sir Duke”

“Moon River”

Bonus Tracks – Digital Only

“You Make Me Feel Like Dancing”

“Moon River (with strings)”

Source: Great Scott Productions

Smooth soul singer Selina Albright comfortable and confident enough to “Eat Something”

conversations

While a song about the joy of packing on a few pounds and a widening booty may seem contrary to the messages bombarding the popular music and media landscapes, smooth soul singer Selina Albright’s “Eat Something” is instantly resonating with fans and radio programmers, including SiriusXM Watercolors’ Dave Koz Lounge, which will feature the song on the February 5 national broadcast. The mid-tempo adult R&B song bolstered by guitarist Kay-Ta Matsuno’s crafty touch is the lead single from Albright’s first full-length album, the very personal “Conversations,” which will be released March 17 by Golden Rays Music with preorders beginning February 1 on iTunes.

“Over the past few years, I’ve noticed that I’ve reprioritized my life and stopped putting so much emphasis on doing and being what’s most acceptable to others, and instead focused more on appreciating and expressing who I’ve become. Getting to that place in my life inspired me to write about topics I normally wouldn’t, such as ‘Eat Something.’ I know it’s unconventional to write a song about being so happy that you gain weight from eating more, but there’s a freedom in the candor of the lyrics. There was no way I was going to change that. It was far too special,” said Albright, who selected the heartening cut as the first single based upon the immediate and rousing response she receives whenever performing the song in concert and from the fervent reaction from her “FanFamily” on social media.

Describing the custom-tailored blend of sensual soul and sultry jazz album as “my own therapeutic diary through joy, betrayal, liberation and hope, all written without holding back,” Albright wrote the lyrics for all nine original tunes and co-produced three tracks on “Conversations.” Her subject matters are based upon intimate and probing conversations she’s had, shared as if she’s confiding in a close friend. Whether skillfully unleashing the full power and magnitude of her gravity-defying voice or harnessing her passion in a reassuring caress, Albright’s demeanor remains sunny and glowing on uplifting numbers like “Possible” and “Highest High.” Even when confronting weightier subjects head on like she does on “Wifey Anthem (You Don’t Have To Fight At Home)” and “Victim,” her inherent optimism remains present and undaunted. “Let Go” also is wrought with emotion and includes dramatic flute flourishes from multiple Grammy nominee Gerald Albright, Selina’s father. The disc’s lone cover is a stripped down, jazzy take on “If I Were A Boy” with accompaniment by contemporary jazz hit-maker Peter White on acoustic guitar and Randy Ellis (Stevie Wonder, Beyoncé) on sax. Also contributing to the date are producers Chris “Big Dog” Davis and James “JRob” Roberson as well as guitarist David P. Stevens.

To help launch the album, Albright will perform at three record release parties: February 12 at Spaghettini in Seal Beach, California, April 6 at the Berks Jazz Fest in Reading, Pennsylvania and April 15 at The Soiled Dove Underground in Denver, Colorado. The Southern California show is already nearly sold-out.

Born and raised in Los Angeles, California, Albright was reared in the jazz and R&B scene, making her first appearance singing on one of her father’s albums twenty years ago. She has since sung on several of his collections, including penning lyrics and singing on the Grammy-nominated “24/7,” a 2012 duet set from the chart-topping saxophonist and Grammy-winning guitarist Norman Brown. Oozing stage presence, exuberance and captivating charisma, Albright has made her own name while singing on records and stages around the world, shining brightly amidst a galaxy of contemporary jazz stars and R&B legends that spans Brian Culbertson, David Benoit, Dave Koz, Kirk Whalum, David Sanborn, Boney James, Richard Elliot and Rick Braun to Chaka Khan, Will Downing, Regina Belle, The Temptations, Hugh Masakela and the late George Duke. In an entirely different setting, she injected her soul-powered energy into the electronic dance music world by collaborating with Manufactured Superstars, leading to a performance with the internationally-revered DJ duo at Las Vegas’ Electric Daisy Carnival in 2011. Recording as a solo artist, Albright placed the spirited jazz original “You and I” on the iTunes Top 100 Singles Downloads in 2010. A few years later, she topped the soul chart in the United Kingdom for four weeks with her R&B/soul single “Brighter.” Last year, Albright primed the marketplace for “Conversations” by issuing “Sun Comes Up,” which outpaced her previous singles.

“Conversations” contains the following songs:

“Eat Something” (featuring Kay-Ta Matsuno)

“Possible”

“If I Were A Boy” (featuring Randy Ellis)

“Talk To Her”

“Highest High”

“Wifey Anthem (You Don’t Have To Fight At Home)” (featuring David P. Stevens)

“Search My Name”

“Victim”

“Let Go” (featuring Gerald Albright)

“Uncharted Love”

Source: Great Scott Productions

Paul Brown – One Way Back

paul-brown-one-way-back-square-cover

Grammy-winning hit-maker Paul Brown follows his heart “Back” to his roots

Paul Brown has had the Midas touch since the early ‘90s when he began producing some of the biggest contemporary jazz hits and definitive chart-topping albums by the brightest urban-jazz stars in the galaxy, amassing more than 60 Billboard No. 1 singles. In the past twelve years, the guitarist stepped forward as an artist in his own right, consistently cranking out hits of his own. Although his formative recordings established the sound of the smoother side of contemporary jazz for more than two decades, Brown yearned to reconnect with his first musical passion: the blues. On Friday, Woodward Avenue Records issued his eighth solo collection, “One Way Back,” a self-produced ten-track outing on which he followed his heart back to his blues roots.

“There was only one way back to my roots and that was to go down every road and embrace each one of them in order to find my way back to where I began,” said Brown, a two-time Grammy winner who wrote nine new tunes for the disc that was preceded by a reimagined take on Joe Sample’s party starter “Put It Where You Want It,” currently bulleted at No. 8 on the Billboard singles chart.

Bubbling under Brown’s clean and cool electric jazz guitar expressions throughout “One Way Back” are blues-powered keyboard and Hammond B3 organ blasts courtesy of the similarly-named Brother Paul Brown (no relation) and stacks of muscular horn section workouts from saxophonist Greg Vail and trumpeter-horn arranger Lee Thornberg. Having enjoyed a tremendous amount of success producing signature hits for saxophonists Boney James, Kirk Whalum, Euge Groove and Jessy J, Brown invited label mate saxman Darren Rahn to guest on “Sexy Thang.” Guitar fans will rejoice that four cuts – “Piccadilly Circus,” “River Walk,” “Take Flight” and “Rear View Mirror”- spotlight Brown trading stringed barbs with contemporary jazz guitar sensations Chris Standring, Marc Antoine, Peter White and Chuck Loeb respectively. Standring, Antoine and White stand apart using the voice of nylon guitars while Fourplay’s Loeb emotes deftly on jazz guitar. The session boasts a roof-raising gospel-jazz vocal from Don Bryant on the celebratory juke joint original “Well Alright.” Brown himself takes to the mic to croon the intimate “Heaven,” a poignant, heart-on-the-sleeve country-blues album closer spotlighting the artist’s character-rich voice.

“’One Way Back’ is a journey thru my musical and life experiences. This album is a pure sense of expression and everything I’ve got to give,” said Brown before adding, “I’m a much better guitarist, producer and writer now than ever before.”

Born and raised in Los Angeles, Calif., initially Brown was a drummer before picking up the guitar. After learning his way around the recording studio, he became the engineer for R&B legends Diana Ross, Luther Vandross and Aretha Franklin. Moving over into the producer’s seat, Brown almost single-handedly architected the sound of smooth/contemporary jazz since the 1990s before delivering his solo debut in 2004, “Up Front.” From subsequent albums, three of which went Top 10, two singles -2005’s “Winelight” and 2007’s “The Rhythm Method” – were the most-played radio songs of their respective years. Concert performances around the world enabled him to refine and develop his guitar chops as well as cultivate his fan base far beyond the limiting confines of a recording studio. For more information, please visit www.PaulBrownJazz.com.

 

Brown’s “One Way Back” album contains the following songs:

 

“Put It Where You Want It”

“Sexy Thang” (featuring Darren Rahn)

“Hush”

“Piccadilly Circus” (featuring Chris Standring)

“River Walk” (featuring Marc Antoine)

“Well Alright” (featuring Don Bryant)

“Take Flight” (featuring Peter White)

“One Way Back”

“Rear View Mirror” (featuring Chuck Loeb)

“Heaven”

Source: Woodward Records

Bob Baldwin – The Brazilian-American Soundtrack

As recollections of Olympian accomplishments fade into our memories, the music of Rio via Grammy-nominated keyboardist Bob Baldwin’s (www.BobBaldwin.com) “The Brazilian-American Soundtrack” continues to thrive, casting a vibrant and soulful spell of urban-jazz bliss. The critically-acclaimed, 26-song double CD is riding a wave of critical acclaim and multi-format radio spins. Multi-instrumentalist Baldwin meticulously produced and arranged the collection of twenty of his original songs along with a selection of seminal Brazilian jazz classics and R&B hits. Clocking in at more than two hours of sophisticated music, Baldwin’s lavish opus debuted as one of Billboard’s Top 20 Contemporary Jazz Albums and is capable of having the staying power to soar through 2017.

 

The new disc reignites Baldwin’s affair with the seductive and sensual sounds of Brazil, which first served as his muse on his 2004 love letter, “Brazil Chill.” Three years in the making and recorded on two continents, “The Brazilian-American Soundtrack” is presented in two movements: Rio-Ipanema and New York. Baldwin employed an accomplished cast of Brazilian and Latin musicians – percussionists Café Da Silva, Rafael Pereira and Armando Marcal, and guitarist Torcuato Mariano – to construct the exotic rhythms on tunes such as the energizing first single, “Ipanema Fusion,” “Funky Rio,” “Teardrop” and “Oasis Of Love,” and when reimaging music from masters Antonio Carlos Jobim (“Corcovado”), Ivan Lins (“Anjo De Mim,” “The Island” and “Love Dance”) and Djavan (“Eu Te Devoro”). Baldwin uses first-call session players, vocalists and prominent soloists – Marion Meadows (sax), Gabriel Mark Hasselbach (trumpet) and Marlon McClain (guitar) to name a few – to craft soul-soaked, funk-flavored urban grooves including a pair of tunes (“Maurice” and “The Message”) that pay tribute to Maurice White, the influential creator and leader of Earth, Wind & Fire, who passed away as Baldwin was finishing the record.

 

On “The Brazilian-American Soundtrack,” melody-rich explorations abound anchored by Baldwin’s agile keyboard, Rhodes and piano artistry. The date, which became Baldwin’s ninth album to hit the Billboard Top 20, also benefits from his soothing tenor voice, bass, drums, percussion, Moog bass, Melodica, strings and clave contributions.

 

Beyond his 23-album recording career, Baldwin produces, hosts and nationally syndicates ”The NewUrbanJazz Lounge” radio show, leads a production and event planning company, designs and markets a line of men’s hats and has authored two informational books about the music industry.

Source:  Great Scott P.R.oductions