Alex Bugnon

The title of the Swiss-born composer/keyboardist's third Narada Jazz recording reflects the down-home spirit of his experience for the first time in Atlanta performing in ensemble with some of that city's greatest musicians, as well as an exhilarating shift from the heavy urban sensibilities of his New York-recorded 2001 hit, Soul Purpose. Getting away from the synthesizer-based sound that formed the foundation of most of his previous recordings, Bugnon strips down to the piano and Fender Rhodes in fashioning a more organically driven collection.

Even the funkiest funkateers take a breather now and then, and after so many releases slamming up the electric pace, it's fairly refreshing to find Alex Bugnon telling his Tales from the Bright Side with such admirable restraint. Make no mistake, there is bounce in between those flashy keyboard runs, but it tends to enhance the melodic invention, rather than decimate or obliterate it.

Alex Bugnon exhibits a high level of creativity and playfulness throughout this work, plenty of suggestive and smooth pieces, but signed with a very personal style. 107 in the shade, for instance, initiates with an exotic melody played in accordion. His French roots are shown in the first two tracks. Elegance and brightness would be the most appropriate terms to describe this notorious CD. Generally more substantial than most of the other albums that smooth jazz stations play, the uneven, erratic 107 in the Shade is far from a gem, but has its moments. Bugnon gets into a pleasant, Joe Sample-ish groove on "Paris and May" and "When I Think About Home," whereas the much too brief "Fly, Spirit, Fly" hints at Pat Metheny. It was obvious that Sample was a major influence on Bugnon, although there were also traces of Ahmad Jamal in his playing.

Jazz keyboardist Alex Bugnon had a successful career as a studio musician before becoming an equally well-known solo performer. The year 2005's FREE, the artist's ninth release under his own name, offers more of the instrumental jazz-pop mixture that has come to characterize his output. While FREE isn't particularly challenging, it is full of smooth, light, percolating grooves, bright, memorable melodies, and tight, straightforward playing that makes for a pleasant and relaxing listen.

itiates with an exotic melody played in accordion. His French roots are shown in the first two tracks. Elegance and brightness would be the most appropriate terms to describe this notorious CD. Generally more substantial than most of the other albums that smooth jazz stations play, the uneven, erratic 107 in the Shade is far from a gem, but has its moments. Bugnon gets into a pleasant, Joe Sample-ish groove on "Paris and May" and "When I Think About Home," whereas the much too brief "Fly, Spirit, Fly" hints at Pat Metheny. It was obvious that Sample was a major influence on Bugnon, although there were also traces of Ahmad Jamal in his playing.

Born in Bay City, Michigan, Patrick Yandall found his luck in San Diego and L.A., where he has established himself as session musician. His album was recorded at MoBops studios San Diego and was edited and mastered at A.M. studios in L.A. This outstanding musician has performed all instruments of his album himself and with the exception of two songs he has also written and composed all tracks.