BJ 4 starts off promising with a flugelhorn solo from the great Art Farmer, but the music soon sinks into pure commercialism. Bob James' keyboards are always prominent, as are the rather mechanical rhythms churned out by bassist Gary King, drummer Steve Gadd, and percussionist Ralph MacDonald. Although there are some catchy moments, the six selections (which all clock in between almost five and almost seven minutes) never seem to travel anywhere. Farmer, flutist Hubert Laws and guitarist Eric Gale have short solos that are primarily used as props and for contrast before James takes back complete control. The occasional strings and woodwinds make the light funk music here seem a bit Muzaky, so this is one to skip.

Like the artist himself, the music on this brilliant album defies all categories, embracing Terry Callier's wide range of influences and experiences. Callier's musical kaleidoscope is filled with funk, rock, folk, jazz, and even classical influences. "Dancing Girl" opens the album with Charles Stepney's majestic orchestration. This opus is the album's pinnacle, moving with soft intensity toward soul-stirring crescendos. Songs like "What Color Is Love" and "Ho Tsing Mee (A Song of the Sun)," an elegant antiwar prayer of confusion, somehow avoid clichés or take them to another level. "You Goin' to Miss Your Candyman" was made popular by Urban Species when they sampled it on "Listen" in the early '90s, and not surprisingly, it sounds better in its original form. No matter where you turn, Callier's passionate voice captures the sweeping drama of the human condition. A lost romantic amid "concrete front yards," this album is a must-have for any music connoisseur.

Bob James H was released in 1980 on his Tappan Zee imprint during his great run that began with Touchdown in 1978. Its immediate predecessor is the One on One duet album with Earl Klugh. James recorded it in the same way he'd been making records since joining CTI in the early 1970s: with a large, all-star studio group paired with a couple of top-flight soloists. The former group included trumpeter Jon Faddis, Randy Brecker, and Eddie Daniels; the latter features Grover Washington, Jr., Hiram Bullock, Airto Moreira, and Buddy Williams. Of course, hovering over everything is James' trademark piano, full of lovely if rote grooves and fills. The music revolves around breezy, easy themes and colorations, where the new contemporary (later, "smooth") jazz met lithe cinematic-style orchestral themes with some neat and tidy funk overtones. "Brighton by the Sea," with a tough soprano solo by Washington is a great example. Airto's hand percussion plays counterpoint to Williams drums, Gary King's deep, fretless, funk bassline holds the groove and Grover moves right into it, and then soars above it.

Albright revisits his best tunes and unleashes the funk like never before on his forthcoming studio album ’30’! representing 30 years since the release of his debut Album, Just Between Us.

George Benson Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, as always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format; skills he first garnered attention for as a member of Brother Jack McDuff's band in the early '60s. Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway. In a sense, he is the guitar-playing equivalent of Nat King Cole, a fantastic instrumentalist whose smooth way with a pop vocal helped solidify his prowess in the marketplace. It is this combination of singing and guitar playing that has garnered him numerous accolades and chart success, including most notably his 1976 breakthrough Breezin', which topped the pop, R&B, and jazz charts and took home Grammy Awards for Best Pop Instrumental Performance and Record of the Year.

A couple of years after their first collaboration New Cool Collective and Mark Reilly got back together in Amsterdam.. “Although I attended some rehearsals in Amsterdam to work on arrangements of song ideas NCC had put together, I deliberately didn’t present any song ideas apart from one. For me it would be an interesting challenge as the essence of collaborations is that creatively you arrive at a piece of work you wouldn’t have thought of if you had written everything yourself” Mark Reilly (Matt Bianco) explains.

LaShawn D. Gary is an Emmy Award Winning Producer, Composer, Smooth Jazz Artist and Pianist. He is a native of Detroit, Michigan and received his Bachelor of Science Degree in Instrumental Music Education from Southern University A&M College, and earned a Masters of Music Education Degree from the University of Louisville. LaShawn has released seven Smooth Jazz singles: “Now is the Time (2019) ”, “Love, Peace & Praise (2020)”, “Inception, featuring Mark Whitfield (2021)”, “Line Brothers (2021)”, “On the Yard” (2022), “Transitions” (2022) and “For Your Love (feat. Willie Bradley)” (2023).

There was no great cunning master plan that brought noted jazz instrumentalists Bob James (keyboards), Lee Ritenour (guitar), Nathan East (bass) and Harvey Mason (drums) together to form a supergroup. Released in October 1991, Fourplay - aided by the success of the smash single 'After The Dance' - peaked at No. 1 in America' s Contemporary Jazz charts for 33 weeks and sold over a million copies. It rose to No. 16 in the R&B rankings and N o. 97 in America' s list of top pop records, The Billboard 200.Thanks to the group' s impeccable musicianship and it's internal creative chemistry, Fourplay created an immediately identifiable signature sound, setting the gold standard for smooth jazz in the 1990s.

UK five CD collection of classic Lounge/Easy Listening tracks from the genre's greatest acts. Includes cuts from Dean Martin, Andy Williams, Bobby Darin, Nina Simone, Bobbie Gentry, Bobby Vee, Les Baxter, Liza Minnelli and many others. The real world can be a hectic place, so every once in a while it's important to kick back, throw on a smoking jacket, and enjoy some old-fashioned lounge jams, an endeavor made exponentially easier by 100 Hits: Kitsch Lounge Classics. With five discs of smoothed-out classics by Tony Bennett, Dean Martin, Wayne Newton, the Ventures, and countless others, Kitsch Lounge Classics is your portal to relaxation, so pour yourself a drink, put your feet up, and let the swinging sounds wash your troubles away. After all, you deserve it.

'Between the Sheets' is the second studio album of smooth jazz group Fourplay and was released in August 1993. The album peaked at No. 2 on the Billboard Top Jazz Albums chart and No. 15 on the Billboard Top R&B Albums chart. 'Between the Sheets' sold over 500,000 copies in the United States and thus certified gold by the RIAA. 'Between the Sheets', the popular single, written by the Isley Brothers, features Fourplay members Bob James (piano), Lee Ritenour (guitar), Nathan East (lead vocals and bass) and Harvey Mason (drums) with guests, soul singer Chaka Khan on lead vocals, backed-up by Philip Bailey and Phil Perry. Sultry and smooth, oozing with class. Amoroso is a sprightly tune that features sparkling solos from James and Ritenour while East and Mason (composer) keep a lively groove simmering underneath. This continues to be a defining album for smooth Jazz genre and Fourplay.

Morning Dance is Spyro Gyra's most commercially successful album, released in summer 1979. The song "Morning Dance" was a major hit (Billboard #24 pop, #1 adult contemporary) in summer 1979. The album cover of Morning Dance had concept origination, design and art direction by Peter Corriston.

Over 35 years into one of contemporary jazz fusion's most extraordinary evolving musical journeys, Spyro Gyra entered the 2010s where they began – on their own indie label, Amherst Records, on which they released their self-titled debut in 1978. Driven by the melodic, jazzy, and increasingly global-minded vision of saxophonist and founder Jay Beckenstein, Spyro Gyra have undergone various personnel changes throughout the years while becoming serial world travelers.

While this CD didn't have the vibe of our first record together, it was vastly superior to the second CD. There was a lot of raw energy coupled with orchestration finesse. That's what Clarke/Duke is about - sweet and sour! ~ George Duke

It's been four long years since pianist and composer Keiko Matsui released the spare, elegant Moyo. That is an atypical break for an artist who has recorded 22 studio albums since her debut in the late 1980s. Appearing on Shanachie for the first time, The Road was largely self-produced. Matsui appears in varying contexts here, from trios to quartets and quintets to an octet on a musically diverse set that sums up virtually every place she's been while continuing to point the way forward. Some of these players have collaborated with her for decades while still others make their initial appearances.

One inspiration for the title of bassist Nathan East's second album for Yamaha – third if the Grammy-nominated Bob James collaboration The New Cool is counted – was the passing of Maurice White. The Earth, Wind & Fire leader is twice paid explicit tribute on Reverence. First, there's a faithful version of "Love's Holiday," featuring Philip Bailey in support, with East's bass in White's lead role during the verses. A slick "Can't Hide Love" fake-out and some other references are in the mix, too. Additionally, "Serpentine Fire" gets an ornate update with Bailey and EW&F partners Verdine White and Ralph Johnson. Phil Collins' drums and Eric Clapton's guitar are dredged from the master recording of an abandoned project, lost for 25 years, that was found in Patti Austin's basement by East's engineer.