| Brighter Day by Above the Clouds
Reviewed by Chris Mann, Smooth Jazz Daily News
Above The Clouds, here with its second album, brings together the talents of five highly-accomplished Southern California session musicians. Those five musicians draw on a wealth of experience from many musical genres.
Bassist and producer Vernon Porter has played with Kenny Loggins, Bette Midler and Dave Mason, as well as fusion luminaries Neil Larsen and Buzz Feiten.
Saxophonist and flautist Vince Denham has toured and recorded with singer Michael McDonald for 15 years, and his work with Al Jarreau, Les McCann, Kenny Loggins (though in a different band than Porter's) and John Tesh is well known.
Guitarist Todd Robinson has not only played with David Benoit, Etta James, and Vince Gill. He played on John Lennon's mid–70s classic Rock & Roll album.
On keyboards, Karen Hammack has a similarly diverse background, playing behind 70's stars like Melissa Manchester as well as smooth jazz saxman Eric Marienthal.
Drummer and percussionist Kendall Kay has played with everyone from Phil Upchurch and Bette Midler to Clint Eastwood's son Kyle.
Porter, Hammack and Robinson formed the original nucleus of the band following the praise they received as the backing band for flautist Tim Weisberg's tours in 1997 and 1998. Weisberg’s manager Jonathan Little suggested that the three form their own band and Porter called long-time friends and colleagues Denham and Kay to complete the ensemble.The opener Melon Cover is a breezy, funky number with a purposeful bass and drum groove. The brass work is reminiscent of Tower of Power and the strong bass and trumpet solos get this set off to a powerful start.
The mood is even more “up” for Crusade with those same sassy brass lines doubling the clean guitar line. If you can hear this and not want to move – see a doctor. That guitar solo shines out – it’s a sound that’s up there with the best modern blues players. The organ adds a real retro touch – Hammond B3? Ah, who cares – it rocks.
Maybe you’ll be surprised – I was – to hear the instantly recognisable lead vocal of Michael McDonald on If I Ever Lose this heaven. The treatment is a good one – subtle and with sweet harmonies from the backing singers. The tenor sax solo comes at just the right moment.
New Beginning is a funky, mid-tempo groove and is nicely moody with some very jazzy chord progressions. The break which leads to the nice’n’sleazy trumpet solo is tough and will please the funk fans – yeah, me over here!
When you’ve got a snare that snaps like this, overlaid by a strong melody on an ultra-clean electric guitar (Larry Carlton-style) you’re onto a winner. The Invitation has this and a catchy chorus too.
The mood is more sombre and bluesy on the sax-led Easy Now which explodes with brass after the first verse. The heaviest of walking basslines supports the lovely electric piano solo and the next verse on that achingly beautiful sax. There are real dynamics on this song – it’s a delight. I love it!
We already know how good the backing singers are and they shine on the gospel-tinged intro to Brighter Day. Vernon Porter is some bass player. He holds down a good funky groove and then hits you with a solo played high up the neck which is a real smile-inducer. Was that Mr McDonald on backing vocals near the end?
More big band, sleazy funk on offer on Groovin’ with Vinnie. I find myself focussing on a “nasty” baritone sax. The organ solo is lazy and sits on this groove as comfortably as my cat sits on the arm of my couch. An absolute stunner live, I have no doubt.
The wistful piano intro to Sierra in Winter leads into a grand ballad featuring a sexy tenor sax which has a slight ragged edge like Gato Barbieri’s sound. Time to mention Kendall Kay who swings like crazy on this song and is masterful throughout the CD.
The first touch of acoustic guitar on the album is refreshing and the guitar-led melody on Loreto Sunset cuts through superbly. The intensity of the song builds as first the trumpet then the sax double the guitar line. So classy!
Bring on the funk! I’m in heaven with a slippery drum track and bass way down low on MyAll-Star. Sprinkle on a hot electric piano solo and a large helping of brass and the recipe is complete.
About ten years ago, brass ensembles such as Loose Tubes were making a big noise but were denied the commercial success they deserved. On this CD, Above the Clouds deliver a polished but gutsy example of what I can only call “big band funk”. If your nearest smooth jazz radio station doesn’t play this – shame on them.
Label Earth Records/Fahrenheit Entertainment – cat no 082002– producer Vernon Porter
|
| |
The Top 10 Smooth Jazz CDs of 1999 according to Jazziz Writer/Music Critic Jonathan Widran
1. Dave Koz, The Dance (Capitol)
2. Jeff Golub, Out of the Blue (Atlantic)
3. Joyce Cooling, Keeping Cool (Heads Up)
5. Joe Sample, The Song Lives On (GRP)
6. David Benoit, Professional Dreamer (GRP)
7. Nestor Torres, Treasures of the Heart (Shanachie)
8. Herb Alpert & Colors (Almo)
9. Jim Brickman, Destiny (Windham Hill)
10. Wayman Tisdale, Decisions (Atlantic)
All-Music Guide by Jonathan Widran
Featured Artist: Above The Clouds
CD Title: Above The Clouds
Year: 1999
Record Label: Fahrenheit Records
If you've just arrived from another musical planet and are looking for a primer on all the melodic charms and rhythmic energy of great smooth jazz, this disc is a one stop shop. No surprise either, since its five principals-all longtime studio and touring veterans-first jammed as the support band behind Tim Weisberg, who knows a little something about the genre. While conceived as a democratic ensemble, it's saxman Vince Denham who takes charge most of the time, creating a variety of moodswings based on his approach or horn. He goes the bouncy and soulful route on the alto for the hooky laid back funk of the opening track, "In a Dream, " then gives Kenny G and his ilk a run for their sugary soprano money on the dreamy ballad title track. He draws more directly from Weisberg with a perky, then soaring flute melody on "Vista Corona." But don't get the idea that it's just Denham and Friends. Each tune offers solo sections for each member to strut their stuff, too. The title track features a warm piano solo by Karen Hammack, and guitarist Todd Robinson takes solo time to show his soft acoustic side (also the title track) and his screaming electric persona ("Ashton Strut.") Holding down the fort brilliantly-especially on the bluesy funk jams-is the rhythm section of Vernon Porter (bass, who also produced) and drummer Kendall Kay.
Kay is solid, but he's often overshadowed by the nonstop energy of guest percussionist Lenny Castro. All genre releases of this year shall be heretofore compared to the standard set by this knockout team. Reviewed by: Jonathan Widran, All-Music Guide |
