Smooth City

2018 release. Smooth Jazz Superstar Marion Meadows is without question one of the most popular and unique talents on the jazz scene today. Marion has sold close to one million albums in his brilliant career. His constant string of radio hits and relentless touring have garnered legions of fans, and his appearances with such varied artists as The Temptations, Michael Bolton and Will Downing are a testament to his broad audience appeal. Soul City, Marion's most intimate and heartfelt album to date, is a star-studded event that takes the listener on a sensuous journey through a soundscape of brilliant original compositions and masterful improvisations.

After a long, rewarding career on the soul sidelines, Doc Powell's emergence into solo territory finds him in an Alphonse Mouzon-like bandleader mode, albeit slightly more inspiring mood and melody-wise. A skilled multi-instrumentalist, Powell on Inner City Blues comes across on his snappy core guitar strains like a chilled version of Norman Brown, complete with those fun and breezy vocal scats. Too often, however, Powell as producer relegates his punchy prowess to the background, settling for radio friendly simplicity in lieu of sustained funk whallop. Each truly potent revelation (such as Ronnie Foster's simmering B-3 solo) is balanced by a calculated commercial turn like the fluffy DeBarge cover "All This Love." Too many all-star guest vocals simply get in the way of the sterling instrumental passages which dominate.

Contemporary cuts, but with a vibe that resonates with the best modes of 70s mellow soul and AOR – an impeccable selection of tracks that we might have missed otherwise, pulled from a range of releases from around the globe! Some of these are artists that have more presence in the digital market than the physical one, others are maybe older acts that have continued to make great music underground – and together, the 19 tracks in this set deliver plenty of the promised sparkle throughout! Titles include "Fireplace" by Penthouse, "On The Very Low" by Ivan Ave, "Call It Home" by Ginger Root, "1/7 (10*9)" by Julia Wu, "Goddess" by Matt Johnson, "You'll Never Get To Heaven" by Workshy, "Lose June" by Randy Goodrum, "Whatcha Gonna Do For Me" by Young Gun Silver Fox, "Another One" by Mandoo, "BMPD" by Smooth Reunion, "Aim High" by 9m88, "Cauliflower" by Jak Lizard, and "Live Learn" by The California Honeydrops.

Inner City Blues kicks off with its title track, a burning version of the Marvin Gaye tune with Washington lending a heft and depth to it that reveals the sophistication of Gaye's original. From Airto's hand drums and the hi hat whispers of Muhammad to the chunky wah-wah guitar vamp and a funky bassline by Carter, it becomes clear that Washington's methods of deep soul articulation on his horn extend into the heart of this mix. James decorated his charts with subtle organ flourishes and his piano, but this is early jazz-funk at best.

Four CD set features over four hours of jazz classics from such artists as Norah Jones, St. Germain, Nina Simone, Shuggy Otis, Luther Vandross, Ella Fitzgerald, & many more. It's the 1st part of popular series "The Best… Ever!"

While the City Sleeps… is a 1986 studio album by George Benson, released on Warner Bros. Records. It features musicians like Paulinho da Costa, Preston Glass, Paul Jackson, Jr., Marcus Miller and Narada Michael Walden (as drummer and producer), alongside young talents of the time like Kenny G, Randy Jackson and Kashif. Although it does not have any instrumental tracks, Benson's guitar playing is somewhat in the headlight in songs like "Love Is Here Tonight", "Teaser" and "Too Many Times". The most successful single of the album, "Kisses in the Moonlight", is still frequently played by Benson at live performances and is present on many of his compilation albums.

The story behind Grover Washington, Jr.'s first session date as a leader revolves around a sheer coincidence of being in the right place at the right time. The truth is, the date for Creed Taylor's Kudu imprint was supposed to feature Hank Crawford in the soloist's chair. Crawford couldn't make the date and longtime sideman Washington got the nod. His being closely affiliated with organists Charles Earland and Johnny Hammond didn't hurt, and his alto and tenor saxophones' tone was instantly noticeable for both its song-like quality and Washington's unique ability to dig deep into R&B territory for his expression of feeling. Released in 1972, produced by Taylor, and arranged and orchestrated by Bob James, the list of players in this band is equally impressive: James played Fender Rhodes, there's Richard Tee on organ, bassist Ron Carter…