Smooth soul singer Selina Albright comfortable and confident enough to “Eat Something”

selina-albright

 

Therapeutic “Conversations”: Smooth soul singer Selina Albright comfortable and confident enough to “Eat Something” 

Empowering radio single about self-love and acceptance previews her March 17 debut album release.

FRISCO (30 January 2017): While a song about the joy of packing on a few pounds and a widening booty may seem contrary to the messages bombarding the popular music and media landscapes, smooth soul singer Selina Albright’s “Eat Something” is instantly resonating with fans and radio programmers, including SiriusXM Watercolors’ Dave Koz Lounge, which will feature the song on the February 5 national broadcast. The mid-tempo adult R&B song bolstered by guitarist Kay-Ta Matsuno’s crafty touch is the lead single from Albright’s first full-length album, the very personal “Conversations,” which will be released March 17 by Golden Rays Music with preorders beginning February 1 on iTunes.

“Over the past few years, I’ve noticed that I’ve reprioritized my life and stopped putting so much emphasis on doing and being what’s most acceptable to others, and instead focused more on appreciating and expressing who I’ve become. Getting to that place in my life inspired me to write about topics I normally wouldn’t, such as ‘Eat Something.’ I know it’s unconventional to write a song about being so happy that you gain weight from eating more, but there’s a freedom in the candor of the lyrics. There was no way I was going to change that. It was far too special,” said Albright, who selected the heartening cut as the first single based upon the immediate and rousing response she receives whenever performing the song in concert and from the fervent reaction from her “FanFamily” on social media.

Describing the custom-tailored blend of sensual soul and sultry jazz album as “my own therapeutic diary through joy, betrayal, liberation and hope, all written without holding back,” Albright wrote the lyrics for all nine original tunes and co-produced three tracks on “Conversations.” Her subject matters are based upon intimate and probing conversations she’s had, shared as if she’s confiding in a close friend. Whether skillfully unleashing the full power and magnitude of her gravity-defying voice or harnessing her passion in a reassuring caress, Albright’s demeanor remains sunny and glowing on uplifting numbers like “Possible” and “Highest High.” Even when confronting weightier subjects head on like she does on “Wifey Anthem (You Don’t Have To Fight At Home)” and “Victim,” her inherent optimism remains present and undaunted. “Let Go” also is wrought with emotion and includes dramatic flute flourishes from multiple Grammy nominee Gerald Albright, Selina’s father. The disc’s lone cover is a stripped down, jazzy take on “If I Were A Boy” with accompaniment by contemporary jazz hit-maker Peter White on acoustic guitar and Randy Ellis (Stevie Wonder, Beyoncé) on sax. Also contributing to the date are producers Chris “Big Dog” Davis and James “JRob” Roberson as well as guitarist David P. Stevens.

To help launch the album, Albright will perform at three record release parties: February 12 at Spaghettini in Seal Beach, California, April 6 at the Berks Jazz Fest in Reading, Pennsylvania and April 15 at The Soiled Dove Underground in Denver, Colorado. The Southern California show is already nearly sold-out.

Born and raised in Los Angeles, California, Albright was reared in the jazz and R&B scene, making her first appearance singing on one of her father’s albums twenty years ago. She has since sung on several of his collections, including penning lyrics and singing on the Grammy-nominated “24/7,” a 2012 duet set from the chart-topping saxophonist and Grammy-winning guitarist Norman Brown. Oozing stage presence, exuberance and captivating charisma, Albright has made her own name while singing on records and stages around the world, shining brightly amidst a galaxy of contemporary jazz stars and R&B legends that spans Brian Culbertson, David Benoit, Dave Koz, Kirk Whalum, David Sanborn, Boney James, Richard Elliot and Rick Braun to Chaka Khan, Will Downing, Regina Belle, The Temptations, Hugh Masakela and the late George Duke. In an entirely different setting, she injected her soul-powered energy into the electronic dance music world by collaborating with Manufactured Superstars, leading to a performance with the internationally-revered DJ duo at Las Vegas’ Electric Daisy Carnival in 2011. Recording as a solo artist, Albright placed the spirited jazz original “You and I” on the iTunes Top 100 Singles Downloads in 2010. A few years later, she topped the soul chart in the United Kingdom for four weeks with her R&B/soul single “Brighter.” Last year, Albright primed the marketplace for “Conversations” by issuing “Sun Comes Up,” which outpaced her previous singles.

“Conversations” contains the following songs:

“Eat Something” (featuring Kay-Ta Matsuno)

“Possible”

“If I Were A Boy” (featuring Randy Ellis)

“Talk To Her”

“Highest High”

“Wifey Anthem (You Don’t Have To Fight At Home)” (featuring David P. Stevens)

“Search My Name”

“Victim”

“Let Go” (featuring Gerald Albright)

“Uncharted Love”

For more information, please visit www.SelinaAlbright.com.

Vocalist Clint Holmes has an intimate “Rendezvous” with a star-studded jazz collective

clinton-holmes

 

Vocalist Clint Holmes has an intimate “Rendezvous” with a star-studded jazz collective

Dee Dee Bridgewater, Jane Monheit, Ledisi, Joey DeFrancesco, Dave Koz, Patti Austin and The Count Basie Orchestra help bring the veteran crooner’s story to life on the album due February 24.

LAS VEGAS (26 January 2017): A song that singer-songwriter Clint Holmes wrote fondly recalling the Sunday afternoons he used to spend with his father at the historic Colored Musicians Club of Buffalo in upstate New York where he was first exposed to jazz serves as the centerpiece of “Rendezvous,” his new album slated for release on February 24 from LL Music.

“I was twelve and it was a true coming of age moment for me. I had never seen my dad in his world. He worked three jobs and never seemed happy until I saw him in this element. I fell in love with jazz and how cool it felt to interact with the ‘cats’ the way my dad did,” said Holmes, the son of an African-American father and a white British mother who was a classically-trained opera singer.

With jazz timing and phrasing informing his velvety tenor croon on eleven cuts, including three new songs that he co-wrote, Holmes surrounded himself with a royal herd of jazz “cats” on the collection that was produced by two-time Grammy winner Gregg Field. The sophisticated session offers a diverse play list that reinterprets modern day and classic pop hits, soulful R&B, theatrical tunes and numbers culled from the Great American Songbook. Field placed Holmes’ voice front and center amidst live instrumentation, sweeping strings and orchestra accompaniment, and sparse piano and vocal settings. The first single shipped to radio stations for airplay is “Say Something,” a duet between Holmes and multi-time Grammy nominee Ledisi. Grammy winner Patti Austin sang, conducted and arranged the background vocals on the track that will also be remixed for dance floors and serviced to club DJs.

Class and elegance reign on a cunning big band mashup of “I Loves You Porgy”/”There’s A Boat That’s Leavin’ Soon For New York” pairing Holmes and Grammy-winning chanteuse Dee Dee Bridgewater backed by The Count Basie Orchestra. Holmes will join Bridgewater and the famed orchestra on stage at the legendary Blue Note in New York City on February 4 and 5 to perform the showstopper arranged by four-time Grammy winner Gordon Goodwin.

Stellar contributions proliferate “Rendezvous.” Holmes and Grammy winner Jane Monheit break hearts on a sublime rendition of Cole Porter’s “Every Time We Say Goodbye.” Swinging jazz and blues mingle “At The Rendezvous,” which is illuminated by a storming Hammond B-3 solo from Grammy-nominated organist Joey DeFrancesco. Closing the record with poignancy, Holmes penned lyrics to the sweetly melodic “What You Leave Behind,” composed by contemporary jazz luminary Dave Koz, who embellished the acoustic guitar and vocal track with a gracefully emoting sax solo.

“Every track does come from a personal place for me and this CD is a ‘rendezvous’ in every sense of the word – a coming together of great and generous artists. The material I selected for the album is specific and biographical while being universal at the same time,” Holmes concluded.

Holmes burst onto the pop landscape nearly 45 years ago with the million-selling smash “Playground in My Mind.” His enduring and accomplished career as a recording artist, multidimensional showman and consummate entertainer includes tenure as Joan Rivers’ sidekick on her late night television program, a stint as musical feature and event correspondent on “Entertainment Tonight,” and his own Emmy-winning talk/variety show. Along with appearing in marquee musicals across the country, he has written the book, music and lyrics to original shows and cabaret acts. A critically-acclaimed draw in Las Vegas and New York City in recent decades, Holmes concluded an extended run at the Palazzo a short time ago and soon expects to announce a new Vegas residency with a production inspired by “Rendezvous.” For more information, please visit www.ClintHolmes.com.

“Rendezvous” contains the following songs:

“Stop This Train”

“At The Rendezvous” featuring Joey DeFrancesco

“I Loves You Porgy”/”There’s A Boat That’s Leavin’ Soon For New York” featuring Dee Dee Bridgewater and The Count Basie Orchestra

“Every Time We Say Goodbye” featuring Jane Monheit

“All Of Me”

“Say Something” featuring Ledisi

“Maria”

“The Perfect Trance”

“Marie”

“My Way”

“What You Leave Behind” featuring Dave Koz

It’s “3 Minutes to Midnight” and Lawson Rollins has “Island Time” on his mind

lawson-rollins

It’s “3 Minutes to Midnight” and Lawson Rollins has “Island Time” on his mind

The world music guitarist is feeling “Golden” about landing his first motion picture score.  

SAN FRANCISCO (23 January 2017): Award-winning world music guitarist Lawson Rollins has the Billboard, America’s Music Charts and Groove Jazz Music charts under the hypnotic spell of his new single, “Island Time,” the first cut taken from his seventh album, “3 Minutes to Midnight,” which was released last Friday (January 20) by Infinita Records. Radio programmers at influential national outlets, including SiriusXM’s Watercolors and Broadcast Architecture, have made the seductive waltz paced by Rollins’ beguiling fingerstyle nylon guitar come-ons one of the “most added” and “most played” new singles on the first two charts published in 2017. Another composition appearing on the multicultural and multi-genre collection written by Rollins, the mystical meditation “Eternal,” began receiving airplay last month on the nationally-syndicated public radio program Echoes. “3 Minutes to Midnight” wasted no time climbing into the top 20 of the iTunes world music album sales chart.

Adopting a “Brevity is the soul of wit” mantra while crafting the twelve tunes that form “3 Minutes to Midnight,” Rollins opted to communicate with a sense of urgency, immediacy and poignancy perhaps to contrast the clutter and clamor incessantly assaulting our senses and shrinking bandwidths. He eschewed his long-held penchant for sprawling compositions and opulently-layered audioscapes in favor of clear and concise constructs – all in the three-minute range – with a pared down sonic aesthetic. Producing the session with multi-platinum producer Dominic Camardella, Rollins’ new set evokes a full gamut of moods and emotions ranging from passion, energetic and excitement to brooding, melancholic and pensive.

In the March issue of Guitar Player that is slated to hit magazine racks early next month, Rollins, whose virtuosic classical guitar technique has amassed over 10 million YouTube views, discusses “3 Minutes to Midnight” as well as nabbing his first film score. In a feature story that serves as the cover to the magazine’s “Frets” section, he talks about composing the music and serving as the music supervisor and executive producer of “Golden,” a movie described as a modern day psychological morality thriller currently in post-production.

“The soundtrack is going to be all original material from me on acoustic, electric, slide and Spanish guitars, backed by two-time Grammy-winning Danish violinist Mads Tolling, Native American master flute player Guillermo Martinez (of the Tarascan tribe) and multi-instrumentalist Stephen Duros. It’s going to be a haunting soundtrack of acoustic Americana guitar motifs, blues-based electric guitar playing, violin fiddling, and Native American flute and drumming fused with some contemporary synthesizer and percussive elements,” said Rollins, a San Francisco-based artist whose authentic world beat sound and earthy ethereal recordings foretold eventual work in cinema.

Along with garnering robust radio play and early chart action, “3 Minutes to Midnight” is being well received by critics. Below is a sampling of the initial reviews:

If your ears are thirsting for swirling guitar work that will thrill your heart and bring you up out of whatever funky mood you’re in – Lawson’s new (January 20th, 2017) release is just perfect for doing that.” – Improvijazzation Nation

“Lawson Rollins once again takes the listener on a magical musical journey…A nicely balanced release of 12 tracks together with Rollins’ exquisite guitar work as great as ever, means that ‘3 Minutes to Midnight’ is one of those albums that quickly becomes addictive listening.” – Exclusive Magazine

This American artist is one of the most creative world music and fusion guitarists in the world.” – Keys & Chords

“As one of those guitarists who first captured my attention with his Latin-infused and Nuevo Flamenco guitar style quite a while ago, Lawson Rollins continues to provide awe-inspiring melodies and riffs on his latest release, ‘3 Minutes to Midnight.’…these compositions, all penned by Rollins, by the way, are simply filled with the moving vibe that defies description but always speaks to you and manages to transport you to some wondrous land of color and intrigue.” – The Smooth Jazz Ride

“Classic, acoustic guitar jazz with a hint of the exotic.” – Soul and Jazz and Funk

“Firmly staking out his territory as a world beat guitarist par excellence…A tasty treat throughout.” – Midwest Record

“’3 Minutes to Midnight’ is dazzling, pertinent and explosive.” – SmoothJazz.com

For more information about Rollins, please visit www.LawsonRollins.com. To view the “Golden” trailer, go to www.GoldenTheMovie.com.

World music guitarist Lawson Rollins muses time on “3 Minutes to Midnight”

lawson-rollins

Tick, tick, tick…World music guitarist Lawson Rollins muses time on “3 Minutes to Midnight”  

The exotic and sensual first radio single, “Sway,” previews the January 20 album release that conveys the urgency of the moment.  

SAN FRANCISCO (1 November 2016): Three minutes to midnight. Time is lapsing. What would you do with the final moments of your day? Award-winning world beat guitarist Lawson Rollins pondered that question as he entered the recording studio to craft his seventh album, “3 Minutes to Midnight,” which will be released on January 20 via the Infinita Records label. Focusing on “the urgency of the moment, the exhilaration of the speed of sound, the poignancy of the remains of the day and the mystical power of the number three,” Rollins wrote a dozen multicultural compositions – all in the three minute range and illuminated by his prodigious fingerstyle guitar play. The recording is stripped down, punchy and concise, a radical departure for the Billboard chart-topping artist known for creating lavishly produced and elaborately-constructed tracks that are at least twice as long.

“I really made an effort to pare down my musical flights of fancy and focus on the essentials instead of diverging into various plots and subplots within the song structure. The songs have an urgent, succinct quality and are unencumbered by elaborate instrumentation. This is the first time I came up with the title and overall concept early on in the process. I don’t know if it’s a reaction to the times we live in, with our shrinking bandwidth for complexity and desire for clarity, or if I just wanted to be as impactful and expressive as I could across a range of emotions – from exciting, passionate and bursting with energy to sad, contemplative and meditative,” said Rollins, who will introduce the new material when the sultry first single, “Sway,” is serviced to radio programmers for airplay ahead of the album’s release date.

Like his previous discs, Rollins produced “3 Minutes to Midnight” with multi-platinum producer Dominic Camardella utilizing the same core group of musicians. Grammy-winning violinist Charlie Bisharat, bassist Randy Tico and drummer/percussionist Dave Bryant joined Rollins (guitar, keyboards, drum programming) and Camardella (piano, Rhodes piano, Hammond organ) along with newcomers to the fold Stephen Duros (drum programming) and Forrest Marquisse (pedal steel). Since fans have marveled at videos of his dazzling and dexterous classical guitar technique that have generated a whopping 8 million YouTube views, Rollins welcomed cameras into the Santa Barbara Sound Design studio to capture the recording of his guitar parts for three videos – including one lensed during the tracking of “Sway” – that are now posted on YouTube and Rollins’ website (www.LawsonRollins.com).

Rollins has landed on Billboard’s Top 10 World Music Albums chart and four of his collections placed singles on the Billboard Top 30 contemporary jazz radio chart. Recently he collected three major awards from the Akademia Music Awards (Best Jazz Song), the USA Songwriting Competition (1st place, Instrumental) and the Global Music Awards (triple gold medal winner). Why does the number three continue to come up for the long-time San Francisco resident?

“Three is a significant number that resonates in the human psyche and has a mystical power in our culture. Three is significant not only in world religions, but also in simple human terms with our body, mind and spirit triad. With songs, we have a beginning, middle and end. We even sync up with others on the count of three. Ready, set, go!,” noted Rollins, who released the albums “Traveler” and “Infinite Chill (The Remix Sessions)” last year, spawning the radio hits “Berlin Bossa” and “Café Paris (chill remix).”

The “3 Minutes to Midnight” album, which was mastered at New York City’s Sterling Sound, contains the following songs:

“3 Minutes to Midnight”

“Light the Way”

“Sway”

“Island Time”

“Driving Force”

“Southbound”

“Stringdance”

“Time Shift”

“Reveal”

“Split Second”

“Eternal”

“Mary’s Rock”

Jazz fusion guitarist Tyler Reese rediscovers his creative muse on “Reminiscence,” arriving November 4

tyler-reese

“Moving On”: Jazz fusion guitarist Tyler Reese

rediscovers his creative muse on “Reminiscence,” arriving November 4.    

NASHVILLE (12 October 2016): Guitarist Tyler Reese found that being a busy Nashville session player all week and touring in a country band every weekend left little time to explore his own musical creativity. The 23-year-old, once summoned to Paisley Park to play for Prince and who studied at the feet of jazz guitar legend Pat Metheny, re-immersed himself in the music that first sparked his passion and imagination: jazz fusion. Carving time to revisit his roots resulted in the varied guitar-driven, jazz odyssey titled “Reminiscence,” featuring ten of his original compositions. The platter, produced by Jeff Silverman (Rick Springfield, Hiroshima, The Allman Brothers Band, Tim Weisberg) and Reese, will be released on November 4 and is prefaced at radio by the spirit-lifting, sweetly melodic acoustic guitar sojourn “Moving On.”

Reese composed “Reminiscence” to be an ambitious and intrepid expedition through vast jazz terrain. Most tracks slash through thickets of electric guitar-powered fusion, horn-highlighted funk and sprawling progressive rock. Others present delicate bouquets of acoustic guitar expressions, fragrant stems of gypsy jazz and new age meditations. Whether gracefully strumming gentle harmonies or dexterously plucking frenetic runs at dazzling speed with turn-on-the-dime precision, Reese’s fretwork primarily serves his engaging compositions, enabling his fingers to communicate evocatively and emote vividly.

“The seed of my inspiration for ‘Reminiscence’ came from needing a creative change and a musical recharge – something fresh and new – so I delved into writing and found myself back at my jazz roots and renewed my love of fusion. It has rekindled my musical soul. I hadn’t realized that I had so many ideas floating around in my head. The writing and production process was fun and inspiring, but challenging and liberating at the same time. The body of work is truly no holds barred, which is exactly what I was going for,” said Reese, a Fredericksburg, Virginia native who will return to the area to perform on November 20 at the Riverside Center and November 23 at The Tin Pan in Richmond. “I was never too much into songwriting, but after moving to Nashville and spending the past few years playing so many gigs, traveling extensively and going through certain life experiences, I was inspired to write. ‘Reminiscence’ encompasses all those experiences and places I’ve gotten to see, all of which are reflected in the writing.”

Reese studied classical piano for 14 years beginning at age three and started studying jazz guitar when he turned twelve. He cranked out his first album at age 15, “Risus21,” an energetic, moody and heavy progressive rock foray. Two years later, his “Because I Can” disc put a contemporary funk, rock and blues spin on a collection of straight-ahead jazz standards. He recorded a duets project two years ago with longtime Prince backup singer Elisa Fiorillo-Dease titled “Life in 20,” which is how he came to the attention of the late purple icon. Impressed, Prince flew the guitarist to Minneapolis for a jam session and carefully studied the young prodigy’s technique. Reese attended a master’s guitar clinic taught by Metheny and calls the 20-time Grammy winner a mentor. During his sophomore year as a jazz performance guitar major at Berklee College of Music, Reese released a rock single, “Simply To Choose,” his first collaboration with Silverman, who recruited the rock band Boston’s Kimberely Dahme to sing on the track. Feeling he learned all he could in the classroom, Reese left college early eager to launch his professional career.

Released on the Tyler Reese Music label, the “Reminiscence” album contains the following songs:

“Moving On”

“Breaking Point”

“Out Of Orbit”

“Reflections”

“Astrotermination”

“2Funk”

“Escapade”

“Reminiscence”

“Headed Out”

“Emancipation”

Bonus Track: “Moving On” Radio Edit

For more information, please visit www.TylerReeseMusic.com

Grammy-winning hit-maker Paul Brown follows his heart “Back” to his roots

paul-brown

 

Grammy-winning hit-maker Paul Brown follows his heart “Back” to his roots

The urban-jazz guitarist releases the bluesy “One Way Back” on Friday, an album on which he collaborates with four contemporary jazz guitar giants and another Paul Brown.

SHERMAN OAKS (30 September 2016): Paul Brown has had the Midas touch since the early ‘90s when he began producing some of the biggest contemporary jazz hits and definitive chart-topping albums by the brightest urban-jazz stars in the galaxy, amassing more than 60 Billboard No. 1 singles. In the past twelve years, the guitarist stepped forward as an artist in his own right, consistently cranking out hits of his own. Although his formative recordings established the sound of the smoother side of contemporary jazz for more than two decades, Brown yearned to reconnect with his first musical passion: the blues. On Friday, Woodward Avenue Records issued his eighth solo collection, “One Way Back,” a self-produced ten-track outing on which he followed his heart back to his blues roots.

“There was only one way back to my roots and that was to go down every road and embrace each one of them in order to find my way back to where I began,” said Brown, a two-time Grammy winner who wrote nine new tunes for the disc that was preceded by a reimagined take on Joe Sample’s party starter “Put It Where You Want It,” currently bulleted at No. 8 on the Billboard singles chart.

Bubbling under Brown’s clean and cool electric jazz guitar expressions throughout “One Way Back” are blues-powered keyboard and Hammond B3 organ blasts courtesy of the similarly-named Brother Paul Brown (no relation) and stacks of muscular horn section workouts from saxophonist Greg Vail and trumpeter-horn arranger Lee Thornberg. Having enjoyed a tremendous amount of success producing signature hits for saxophonists Boney James, Kirk Whalum, Euge Groove and Jessy J, Brown invited label mate saxman Darren Rahn to guest on “Sexy Thang.” Guitar fans will rejoice that four cuts – “Piccadilly Circus,” “River Walk,” “Take Flight” and “Rear View Mirror”- spotlight Brown trading stringed barbs with contemporary jazz guitar sensations Chris Standring, Marc Antoine, Peter White and Chuck Loeb respectively. Standring, Antoine and White stand apart using the voice of nylon guitars while Fourplay’s Loeb emotes deftly on jazz guitar. The session boasts a roof-raising gospel-jazz vocal from Don Bryant on the celebratory juke joint original “Well Alright.” Brown himself takes to the mic to croon the intimate “Heaven,” a poignant, heart-on-the-sleeve country-blues album closer spotlighting the artist’s character-rich voice.

“’One Way Back’ is a journey thru my musical and life experiences. This album is a pure sense of expression and everything I’ve got to give,” said Brown before adding, “I’m a much better guitarist, producer and writer now than ever before.”

Born and raised in Los Angeles, Calif., initially Brown was a drummer before picking up the guitar. After learning his way around the recording studio, he became the engineer for R&B legends Diana Ross, Luther Vandross and Aretha Franklin. Moving over into the producer’s seat, Brown almost single-handedly architected the sound of smooth/contemporary jazz since the 1990s before delivering his solo debut in 2004, “Up Front.” From subsequent albums, three of which went Top 10, two singles -2005’s “Winelight” and 2007’s “The Rhythm Method” – were the most-played radio songs of their respective years. Concert performances around the world enabled him to refine and develop his guitar chops as well as cultivate his fan base far beyond the limiting confines of a recording studio. For more information, please visit www.PaulBrownJazz.com.

Brown’s “One Way Back” album contains the following songs:

“Put It Where You Want It”

“Sexy Thang” (featuring Darren Rahn)

“Hush”

“Piccadilly Circus” (featuring Chris Standring)

“River Walk” (featuring Marc Antoine)

“Well Alright” (featuring Don Bryant)

“Take Flight” (featuring Peter White)

“One Way Back”

“Rear View Mirror” (featuring Chuck Loeb)

“Heaven”

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International jazz guitarist Marc Antoine returns to health and California with a diverse outing at “Laguna Beach” with friends

marc-antoine

 

International jazz guitarist Marc Antoine returns to health and California with a diverse outing at

“Laguna Beach” with friends

The title track continues its chart-toping trajectory on the Billboard songs chart as the album is released Friday.

Laguna Beach, Calif. (23 September 2016): The four-year gap between albums for global guitarist Marc Antoine was spent fighting for his life and career as well as moving his family from their longtime home in Spain to the Southern California coast. Having conquered two major health challenges – one life-threatening and one career-threatening – and resettled into the placid enclave of Laguna Beach, the Paris-born, classically-trained hit-maker resumes his recording career Friday with the release of his Woodward Avenue Records debut, “Laguna Beach.” The title cut, which preceded the celebratory set of Antoine’s signature classical acoustic and nylon-string guitar melodies, quixotic gypsy jazz forays, brassy funk grooves and sultry Latin, Brazilian and Cuban rhythms, is already No. 5 on the Billboard songs chart, offering a last gasp of summer.

His thirteenth album, Antoine produced “Laguna Beach,” wrote eight of the nine songs and called upon some of his accomplished friends to collaborate with him, something he couldn’t do easily when he lived abroad for twelve years.

“When you live near LA, you can call anyone to come and work with you. Once I built my new studio over here, fired it up and began working on new material, I knew I just had to make a few phone calls to get the right guys to play on it,” said Antoine, who reached out to soloists Philippe Saisse (keyboards), Rick Braun (trumpet), Greg Vail (saxes), Armand Sabal-Lecco (bass), Tim Welvaars (harmonica) and two-time Grammy winner Paul Brown (electric guitar), who mixed the album. Anchoring the tracks were drummer Gorden Campbell, upright bassist Roberto Vally, keyboardist Marco Basci, and percussionists Gumbi Ortiz and Richie Gajate Garcia.

Incorporating an interesting variety of sounds, tapestries, moods and styles remains the guitar alchemist’s forte. Antoine’s compositions on “Laguna Beach” are enriched with his spirited sense of joy and gratitude after enduring major heart surgery in 2012 to repair an incapacitating atrial fibrillation problem only to be followed by hand surgery two years later to relieve the crippling pain and permanent nerve damage he endured while playing the guitar that locked the fingers on his left hand in odd positions.

After “pretty much hitting rock bottom” in 2014, Antoine and his wife, Rebeca, decided to make the move back to California where they resided prior to Spain. It turns out playing the guitar is ideal physical therapy, enabling Antoine to work through the scar tissue in his hand.

“I remember vividly what a hand therapist from LA told me, that the only way to fix this is to change my ways,” Antoine recalled. “I have a deep relationship with my guitar. It’s a little bit like a marriage: if you don’t put effort into it, there is no life in it. So playing, and most importantly, playing with joy, love and respect is the key. I am so grateful for what is going on in my life right now and I am back enjoying my instrument, which fixes all problems. It is for real: life through guitar therapy.

Rejuvenated, re-inspired and restored to full health, Antoine anticipates a busy concert itinerary of festival, theater and club dates to support the album release across the U.S. where he has been a popular entertainer ever since he toured globally with Basia in 1988. He’s also shared the stage with superstars Sting, Queen Latifah and Selena prior to launching his solo career with the album “Classical Soul,” which spawned the first of a library of radio hits that have made Antoine one of the mainstays at contemporary/smooth jazz radio since 1994. He’s played in pop, rock, jazz, world music, hip-hop and acid jazz settings, each of which have informed his multicultural sonicscapes and furthered his international appeal.  For more information, please visit www.MarcAntoine.com.

Antoine’s “Laguna Beach” album contains the following songs:

“Why Not”

“This and That”

“Laguna Beach”

“Deixa”

“Minority”

“Romantico”

“High Five”

“New Morning”

“Twice Upon a Time”