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So Free offers ten tracks conveying a wide range of moods and musical sentiments, but with an uplifting, confident feel from start to finish. The album was produced by pop/jazz veteran Jay Soto (Nu Groove Records), who contributes guitar, keyboard tracks, and composed or co-wrote most of the material with Lyles. In addition to Soto, the recording features well established keyboardist Jeff Lorber (Heads-Up International) and Brian Simpson (Shanachie), along with familiar star, bassist Mel Brown.Together Lyles and Soto have assembled a top-flight cast of contributors for this effort, all of whom give the album a sense of musical prowess seldom heard in a debut release. Brian Simpson and Jeff Lorber provide nuanced keyboard tracks; Mel Brown and Ray Reindeau lay down electric bass lines; and Freddie Fox provides confident rhythm and solo guitar. Other contributors include: Anthony Morra and Rayford Griffin (drums), Darren Rahn (alto and tenor sax), Jason Rahn (trumpet & flugelhorn) and Michael Broening (B3-synth). David Lancette and Jodi Light provide backing vocals on one track.But the star of the show is Neamen's seasoned yet free-wheeling solo lines, which both honor the melody and simultaneously take the listener to unexpected musical destinations - clearly a combination that expresses Neamen's love of the music and his natural, joyful fluency. According to Neamen, The album is designed to be something that anyone can listen to. It's heavily focused on current pop music in its appearance and delivery, but at the core it always reaches for the artistic maturity of jazz. So Free reflects not only Neamen's deft and nuanced sax chops; it also reveals the depth of his musical training, his immersion in the smooth jazz genre since his early years, and influence of smooth jazz giants: David Sanborn, Gerald Albright, Eric Marienthal, Grover Washington Jr. and beyond.
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So Free offers ten tracks conveying a wide range of moods and musical sentiments, but with an uplifting, confident feel from start to finish. The album was produced by pop/jazz veteran Jay Soto (Nu Groove Records), who contributes guitar, keyboard tracks, and composed or co-wrote most of the material with Lyles. In addition to Soto, the recording features well established keyboardist Jeff Lorber (Heads-Up International) and Brian Simpson (Shanachie), along with familiar star, bassist Mel Brown.Together Lyles and Soto have assembled a top-flight cast of contributors for this effort, all of whom give the album a sense of musical prowess seldom heard in a debut release. Brian Simpson and Jeff Lorber provide nuanced keyboard tracks; Mel Brown and Ray Reindeau lay down electric bass lines; and Freddie Fox provides confident rhythm and solo guitar. Other contributors include: Anthony Morra and Rayford Griffin (drums), Darren Rahn (alto and tenor sax), Jason Rahn (trumpet & flugelhorn) and Michael Broening (B3-synth). David Lancette and Jodi Light provide backing vocals on one track.But the star of the show is Neamen's seasoned yet free-wheeling solo lines, which both honor the melody and simultaneously take the listener to unexpected musical destinations - clearly a combination that expresses Neamen's love of the music and his natural, joyful fluency. According to Neamen, The album is designed to be something that anyone can listen to. It's heavily focused on current pop music in its appearance and delivery, but at the core it always reaches for the artistic maturity of jazz. So Free reflects not only Neamen's deft and nuanced sax chops; it also reveals the depth of his musical training, his immersion in the smooth jazz genre since his early years, and influence of smooth jazz giants: David Sanborn, Gerald Albright, Eric Marienthal, Grover Washington Jr. and beyond.
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Returning from an extended semi-retirement that began after the 2004 release of My Heart to You -- a record that appeared on the little-known Compendia imprint -- Don Williams released the rather brilliant And So It Goes in 2012, an album so understated that it may be easy to overlook its excellence. Then again, if Williams has a signature, it's a touch so easy that it sometimes appears that he isn't there at all; he's never performing, he's inhabiting his songs. As the years rolled on and the tempos got slower and the productions softer, he could sometimes disappear into his surroundings, but And So It Goes achieves a nimble balance between comfort and virtuosity, an album where Williams feels entirely relaxed but never lazy. Supported by longtime producer Garth Fundis, Williams keeps things soothing -- nothing seems hurried or urgent, everything unspools at its own unhurried pace -- but nothing's too easy; there are love songs to be sure, but Williams also tackles bigger issues, pondering the meaning of Infinity and wondering What If It Worked Like That. This balance of subtle spirituality and life experience has considerable resonance, particularly because it takes a little digging to get to the bigger issues. And So It Goes can be enjoyed as mere aural comfort food -- it's as welcoming as a warm bath -- but what gives it impact is its underlying, sometimes hidden, meanings. This may or may not be Williams' final album but if it is, it serves as a superb coda to a career that always found deep meaning in ease; it seems like anybody could do this, but if they could, somebody would have done it as well as Don Williams has by this point. Not only that, but Williams has not always done it as well as he does here. ~ Stephen Thomas Erlewine, Rovi
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Occasionally, one comes across a male vocalist who has a very female style of singing and actually sounds like he could be a woman -- and that can be an artistic plus. It has certainly worked well for Jimmy Scott, one of the finest male jazz vocalists of all time. And having a female-sounding voice is also a positive for singer/songwriter Brett Dennen, whose So Much More demonstrates that he shares Scott's strong appreciation of Billie Holiday. But unlike Scott, Dennen is not a jazz singer; his turf is folk-rock, and Tracy Chapman is as strong an influence -- or an even stronger influence -- than Lady Day. The Holiday influence asserts itself in his vocal phrasing but not stylistically or genre-wise; Chapman, however, has influenced Dennen's songwriting in addition to influencing his soulful phrasing. The feminine quality that Dennen brings to his introspective, sometimes melancholy performances doesn't mean that he is devoid of male influences; discerning listeners will also hear traces of Bob Dylan and Dave Matthews in his material (Dennen clearly shares Matthews' appreciation of African pop). And none of these influences -- either female or male -- are people Dennen goes out of his way to emulate; it's clear that Dennen is his own person whether he is reflecting on romantic matters or sociopolitical concerns. Gratefully, Dennen avoids being preachy on his more sociopolitical lyrics; his approach is understated and subtle, and he doesn't come across as someone who is getting on a soapbox and beating listeners over the head with his beliefs. So Much More isn't quite as consistent as it could have been -- some of the tracks are excellent, others not as memorable -- but overall, this 2006 release shows Dennen to be an intriguing and expressive part of folk-rock. ~ Alex Henderson, Rovi
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