Nate Harasim - Rush

[AC Tones]

Pardon the pun, but all I can say is "Rush" out to get this one!!! WOW. I know we have a ways to go in 2011, but this one for me has set the bar high. I am a fan of Nate's prior solo work and guest appearances, but I can honestly say this is by far his best work to date. Terrific CD!! Upbeat tunes that get your toes tapping...too many to name, like the stable of terrific guest artists Nate lined up, to include Darren Rahn, Steve Oliver, and Cindy Bradley, who is spotlighted in the dreamy "Iridescence." The title track sets the tone of this project right off the bat, which oozes with vibe and the emerging trademark sax sound of Darren Rahn. Way to go, Nate! Fantastic music.

 

[Nock]

West Bound is where I am going first on it. There is a lot I like on this one.

Nock

 

[simontemplar]

Is it possible you guys actually agree with Allen Kepler on something??? Kepler's top 20 smooth jazz countdown website lists this new release as 'Chartbound'!

 

[AC Tones]

Is it possible you guys actually agree with Allen Kepler on something??? Kepler's top 20 smooth jazz countdown website lists this new release as 'Chartbound'!

The so-called "chartbound" single will be the vocal featuring Paul Hardcastle's daughter, a predictable BA-driven move. There are FAR better cuts on this CD. Chris mentioned one with "West Bound," and I mentioned two others, that IMO, are all better than Mr. Smooth's handpicked choice. I also grudgingly visited Mr. Smooth's website to find that Dave Koz's "Put The Top Down" is still #1??? This single was made available for advanced radio airplay late last summer. Most sharp programmers went deep on that CD months ago. And Hardcastle's "Touch And Go" at #5???? A decent cut, but it is almost a year old. Hardcastle has since released a new CD that has been out for several months as well. Now you know why I pay no attention to Kepler's Top 20 Countdown. It is self-serving to support his consulting agenda and feed his inner circle of sycophants, and far from representative of the best contemporary jazz music currently available.

 

[Nock]

Actually Kepler is agreeing with us. But AC is correct. The track he is on is the wimpiest, sappiest track on the cd. I go where the meat is.

Nock

 

[AnotherCat]

This is the best Brian Culbertson CD I have ever heard. There are some strong songs on t but not an ounce of originality anywhere. I guess a CD that sounds just like Culbertson's uptempo stuff is better than 99% of the stuff that I get in the mail but I'll have to do a Randy Jackson here and say "that was just OK to me" because it doesn't bring anything new to the table.

Here's what I'm wondering, though. Everything that was wonderful and exciting about this music was stripped out of the genre starting in late 1994 and by mid '95 things were totally smoothed out (flatlined) so younger artists grew up listeing to the radio version of "smooth jazz" and didn't experience pre-smooth contemporary instrumental music/CJazz. What they consider stepping out of bounds is really just moving slightly out of the center. The music that goes above and beyond smooth is coming from older artists (Navarro, Standring, Minucci, Russ Freeman on the new Ripps, Golub, etc) probably because they know what it felt like before it got strip mined and they can tap into that vibe. Younger artists have no idea - they think imitating Culbertson or Boney or Brown but maybe adding one uptempo song is breaking new ground. Like why is Jessy J working with Paul Brown and is Elizabeth Mis going to sound like Kenny G but with live musicians ????

 

[JoshB]

Just checked that one out and loved it!! This is the type of music that will save the format! ;D

 

[Oatman]

This is the best Brian Culbertson CD I have ever heard. There are some strong songs on t but not an ounce of originality anywhere. I guess a CD that sounds just like Culbertson's uptempo stuff is better than 99% of the stuff that I get in the mail but I'll have to do a Randy Jackson here and say "that was just OK to me" because it doesn't bring anything new to the table.

Unfortunately, I am totally with you on this.... and there are quite a few other albums out right now that fall into the same bin. Save the format...hardly.

Here's what I'm wondering, though. Everything that was wonderful and exciting about this music was stripped out of the genre starting in late 1994 and by mid '95 things were totally smoothed out (flatlined) so younger artists grew up listeing to the radio version of "smooth jazz" and didn't experience pre-smooth contemporary instrumental music/CJazz. What they consider stepping out of bounds is really just moving slightly out of the center. The music that goes above and beyond smooth is coming from older artists (Navarro, Standring, Minucci, Russ Freeman on the new Ripps, Golub, etc) probably because they know what it felt like before it got strip mined and they can tap into that vibe. Younger artists have no idea - they think imitating Culbertson or Boney or Brown but maybe adding one uptempo song is breaking new ground. Like why is Jessy J working with Paul Brown and is Elizabeth Mis going to sound like Kenny G but with live musicians ????

I agree with you again, although I applaud Ms. Mis and Spinella for both playing well with the other kids (as opposed to sequencers). Sorta along those lines, "older artist" Herb Alpert made two outstanding decisions when he made his new album: 1) He told his drummer (Michael Shapiro) "No back beats", 2) He actually used a real drummer. I'm not sure how it will do on radio, but it's one of the more interesting CDs that I've heard in a while.

 

[AC Tones]

Well guys, I have to respectfully disagree with you. In your minds, it may not be anything new or groundbreaking. But for me, it has tons more vibe and better melodies to my ears than the stuff Boney, Chris Botti, and yes, Brian Culbertson cranked out in the last decade, IMO. They were the epitomy of the kind of sleepy, or on the other end of the spectrum, over-funked R&B that was an obvious play to urban audiences, the BA model. Chris Botti with the Miles Davis covers?? He literally put me to sleep at his show.

It may surprise you, but I LOVE the new Ripps---now how exactly is this different or groundbreaking compared to the old/NAC Ripps??? (Moonlighting, Kilimanjaro, TIP, Curves Ahead). Never cared for Golub--respect him as a musician, but too bluesy for my taste. As for Standring, I think you all know where I stand on this one. I posted my comments effusive in praise here before the CD even hit stores and others had a chance to review it. Some of you are so over the map when it comes to your musical taste, no programmer could ever satisfy your needs as listeners. It is mind-boggling to me sometimes. :-\ Maybe I am in the minority on this one, but this music for me has always been about good melodies and vibe, not bluesy riffs, popping basses, and long drum solos. That kind of stuff may work at live shows, but I don't believe it works on 24/7 radio, particularly if you are going for a NAC sound. Rolling those kind of cuts out in a show where listeners are accustomed to hearing them is one thing---but transitioning them with classic underplayed NAC instrumentals is awkward and sure listener killers, at least they would be for me.

 

[majaman78]

Boney, Chris Botti, and yes, the stuff Brian Culbertson cranked out in the last decade...IMO were the epitomy of the kind of sleepy, or on the other end of the spectrum, over-funked R&B that was an obvious play to urban audiences, the BA model. Chris Botti with the Miles Davis covers?? He literally put me to sleep at his show.

Maybe I am in the minority on this one, but this music for me has always been about good melodies and vibe, not bluesy riffs, popping basses, and long drum solos. That kind of stuff may work at live shows, but I don't believe it works on 24/7 radio, particularly if you are going for a NAC sound. Rolling those kind of cuts out in a show where listeners are accustomed to hearing them is one thing---but transitioning them with classic underplayed NAC instrumentals is awkward and sure listener killers, at least they would be for me.

I'm truly amazed nobody else sees this. This in a nutshell was the downfall of NAC/smooth jazz. IT'S NOT THE NEW FRITZEN, HARASIM OR STANDRING CD'S! I love the sound of these works, the sound that terrestrial smooth jazz has abandoned the last 15 years.

Thanks for all of your support and hard work, AC. And for you guys that don't "get it"... take a lsten to Ted Hasiuk or even Mark Stanley...they seem to "get it" with fresh new instrumental tracks while the rest of you wallow in contemporary AC and vocal garbage I can hear each day on "Lite" radio networks.

 

[producer57]

The only way any of these artists grow is for them to be playing live on a consistent basis. I look at festival lineups and see the same artists playing at all these SJ festivals.So no matter how much you like these CDs (i agree the Nate CD sounds like Culbertson) radio is not going to grow the music anymore.BA is inconsequential and the only thing that matters is for the music to be available and for the artist to build his career and music through live shows. For now that is the paradigm. I get Sound Scan every week. The numbers are mindblowing. In 2 weeks this NH Cd has sold about 250 copies. If you care so much-=help him sell some product

 

[AnotherCat]

not bluesy riffs, popping basses, and long drum solos.

I don't play songs that have excessive bluesy riffs, popping basses and certainly not long drum solos. Although I do listen to such at home. I listen to everything from PitBull to Bitches Brew at home. On the brunch I program songs that have tight melodies, memorable hooks, and for the most part are on the bright side of the mood scale and have some momentum. We are playing 2 tracks from this CD and yeah, they actually got some calls asking about the new Culbertson songs (lol). Actually we didn't play anything from Golub's blues album, but I do consider it a good example of an artist stepping out of the smooth box and doing their thing. My fave Golub CD is "Out of the Blue"