Saxophonist Justin Young’s “Blue Soul” powered by “High Definition”

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Saxophonist Justin Young’s “Blue Soul” powered by “High Definition

The November 17 album release reflects his Motor City roots, driven by the set’s new single

SEATTLE (9 October 2017): Justin Young is hungry. The energetic and enthusiastic saxophonist is all about hustle and hard work. For over a decade, he’s put out quality soul-jazz albums, but his forthcoming disc, “Blue Soul,” captures an artist hitting his stride on the cusp of a major breakthrough. Mining his Detroit roots, Young’s fourth album, due November 17 via JustnTime Records, features a dozen new songs recorded live in the studio with premier musicians, producers and songwriting collaborators. Paving the way for the collection is the new single, “High Definition,” a vibrant R&B/pop confection just shipped to radio stations, a tune that Young penned with fellow soul-jazz saxman Jackiem Joyner and keyboardist Matt Godina.  

The release of “Blue Soul” caps a lengthy recording odyssey for Young. His approach for this outing was purposely different and taps into the Motown lore that influenced his musical discoveries while growing up.

“I started work on this album three and a half years ago. There have probably been about 40 different songs written for this album. In the past, I would write twelve songs, and then enter the studio quickly and put out an album. But for ‘Blue Soul,’ I wanted to take a different approach and put the absolute best songs out, really push myself to elevate the standard this time around,” said Young, who had a hand in writing all but one song on the album. “‘Blue Soul’ goes back to my roots in music, Detroit, the home of Motown. I loved the creativity of musicians recording together in the studio, creating an amazing vibe. The opportunity to put high-quality musicians together along with amazing producers has always been my dream. I watched this growing up and listened to the Motown stories. ‘Blue Soul’ goes back to my love of jazz and soul music. It’s organic, it’s played by consummate musicians and it truly is soul music with saxophone at its beating heart.

Throughout “Blue Soul,” Young’s alto, tenor and soprano sax is embedded amidst rhythms and grooves constructed by the likes of bassists Alex Al and Hussain Jiffry, and the late drummer to the stars, Ricky Lawson. Former Earth, Wind & Fire guitarist-vocalist Sheldon Reynolds is another notable player who fortified Young’s lilting harmonies and undeniable melodies. The first single, “Always There,” one of four cuts written and produced by Joyner – a Billboard chart-topper in his own right – hit the Billboard Top 25 and the Smooth Jazz Top 20 Countdown. “Jazz Along The 101,” one of three tracks shepherded by gospel producer Noel Hall (Kirk Franklin, Fred Hammond), kept Young’s momentum motoring along with both singles garnering daily spins on SiriusXM’s Watercolors. In response to Hurricane Harvey, he released the hopeful “Song For A Better Tomorrow” (https://youtu.be/PoL8NtcUwFw), donating the track’s proceeds to the American Red Cross. “High Definition” promises to take him into 2018 on a high note with a wealth of potential singles in the offing.

Young began in music as a drummer and was introduced to a wide array of styles – from R&B and pop to jazz and gospel – by his father, Jim Young, who led and played in a variety of bands, encouraging his scion to play sax. Landing his first professional concert at age sixteen, Young put himself through Michigan State University by playing weekend gigs. He issued his debut album, “Rendezvous,” in 2003. After winning a competition at the famed Capital Jazz Fest in 2007, he released “On The Way.” A move to Southern California helped his following multiply quickly when he booked a year-long residency at Spaghettini, a hot spot for the contemporary jazz crowd south of Los Angeles. Gigs on the national festival circuit ensued as did subsequent recordings, “Home for the Holidays” and “Nothin’ But Love.” Young previewed music from “Blue Soul” at a Detroit show held at Chene Park last July with 5,000 people in attendance and at a sold-out date in August when he returned to Spaghettini. Now based near Seattle, he will support the new record with a series of local concerts at nearby wineries this fall. Resourceful and brand savvy, Young produces and plies his effervescent personality as the host of “The Justin Young Audio Experience,” a podcast that teaches musicians about the business of music. For more information, please visit www.JustinYoungSax.com.

“Blue Soul” contains the following songs:

 “Always There”

“Nothin’ But Love”

“Razzmajazz”

“Jazz Along The 101”

“Paradise Found”

“New Life”

“Blue Soul”

“Sorento”

“Sweet Release”

“India”

“Song For A Better Tomorrow”

“High Definition”

“Dear Friend”: Jazz fusion keyboardist Patrick Bradley honors tangible and “Intangible” influences on his fourth album, due August 25

patrick bradley

 

“Dear Friend”: Jazz fusion keyboardist Patrick Bradley honors tangible and “Intangible” influences on his fourth album, due August 25 

ALISO VIEJO (31 July 2017): The spiritually-minded jazz fusion keyboardist Patrick Bradley doesn’t need a special occasion like marking his tenth anniversary as a recording artist to acknowledge his inspirations both tangible and divine. However, “Dear Friend,” the first single from his forthcoming fourth album, “Intangible,” due August 25, does just that, slated to arrive ten years after the release of his first solo set. Written with the album’s producer, Jeff Lorber, “Dear Friend” pays respectful homage to the seminal musicians who influence and inform Bradley’s contemporary jazz, rock, fusion and R&B mashups released on the Patrick’s Song Factory label.

“My intent was to honor the influence and significant impact that late musicians have on me musically such as keyboardist giants Keith Emerson, Richard Wright, George Duke, Joe Sample and Jon Lord. Bass players Chris Squire and Jaco Pastorius and guitarist Alan Holdsworth have a major influence on my approach to arrangements and melodies. Their influences are woven throughout my musical experiences, abilities and styles,” said Bradley, who wrote and arranged the ten songs that comprise “Intangible” with Lorber. “The tune also celebrates friendship of all kinds – whether it is the intimate friendship between a spouse or lover, a trusted best friend, a mentor, your family pet or the friendship expressed through songs of faith.”         

 Intangible” is the third outing for Bradley and Lorber, the latter of whom is a keyboardist widely recognized as one of the forefathers of jazz fusion, thus an element of mentorship is evident in their ongoing creative friendship. “Jeff and I work very well together. Coming into the studio, I had about 18 songs to work with for this project and we selected ten. Collaborating with Jeff always draws out new dimensions and makes me dig deeper.”

One of the dimensions that Bradley developed under the tutelage of Lorber was to cultivate the ability and the confidence to communicate as a trilingual keyboardist: piano, Hammond B3 organ and Moog synthesizer. Bradley’s nimble finger work dispenses harmonies in equal measures of power and grace, poignant and propulsive, riveting and rousing, and cerebral and accessible. His multi-voiced keyboard approach makes an individual track seem as if it is helmed by more than one protagonist with each unique keyboard instrument providing a different perspective on the melodies. In addition to the heavy usage of the Hammond B3 along with frequent spacy Moog forays, Bradley’s distinctive brand also consists of deep-pocketed grooves constructed by live instrumentation from a core unit of prominent musicians – guitarists Adam Hawley and Michael Thompson, bassist Jimmy Haslip, drummer Gary Novak and Lorber on synth bass, guitar and additional keyboards. A handful of cuts are bolstered by the brawn and bravura of David Mann’s horns. Paul Jackson Jr. cranks out a gale force of electric guitar riffs on “Tail Wind” while Andrew Carney’s trumpet thrives animatedly while exploring “Newport Coast.”                    

There is another essential element to Bradley’s recordings that have been present ever since he issued his debut album, “Come Rain or Shine,” a decade ago. “Music and creativity and whatever talents we each have are a gift from God. Love, faith, hope and even music are all intangible, hence the new album title. Much of our universe is intangible yet we spend the majority of our time seeking the physical and temporal things. I always want to encourage people to look beyond the physical universe and turn our hearts towards God,” said the Southern California native who balances his creative output with a corporate profile by serving as president of the Southern Pacific Region at Whole Foods Market.

Bradley’s singles regularly hit the Billboard chart, but he was especially encouraged by the success and growing support he received for his previous album, 2014’s “Can You Hear Me.” “It gave me a new drive to write, play and collaborate with a newfound zeal and energy, revealing where I am at musically at this time. All music has a piece of the artist within their songs. I find with each new project, I feel the need and responsibility to dig deeper and in a sense, be truer to the musician I am and inspire to be.”

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

“Intangible” contains the following songs:

“Dear Friend”

“Funky Greens”

“Tail Wind”

“On Tap”

“Intangible”

“Find the Way”

“Newport Coast”

“Winds of Change”

“Destiny”

“Out of Bounds”

Fatherhood has put saxophonist Jackiem Joyner in a funky mood

Jackeim Joyner

 

Fatherhood has put saxophonist

Jackiem Joyner in a funky mood

The spirited first single from the “Main Street Beat” album is named for his daughter, Trinity.

SHERMAN OAKS (8 May 2017): Delivering on his promise to “Evolve,” the title of Jackiem Joyner’s last soul-jazz album, the saxophonist became a father since his 2014 release, an elation-inducing experience that informs the music he wrote and produced for his new Artistry Music set, “Main Street Beat,” due June 30. The first single from the funky, dance inspiring, Motown-influenced session that will be shipped to radio this month is the exultant “Trinity,” named for Joyner’s first child whose presence on the track is voiced by Steve Oliver’s incandescent acoustic guitar.

Joyner approached crafting “Main Street Beat” with a three-pronged purpose. “I wanted to create something upbeat, fun to listen to and something to dance to. ‘Main Street Beat’ originally started off as a straight funk record that eventually became some of that, but a whole lot more as I allowed the creative process to have its way with me,” said Joyner, a Billboard chart-topper who plays tenor, alto, soprano and baritone saxophone on the date, often enriching the tracks by laying layer upon layer of horns to form a powerhouse sax section.     

The exuberant album opener, “Main Street,” exemplifies the mighty wall-of-horns approach with Joyner playing lead harmonies on alto reinforced by his sax section. Instead of tracking individually, Joyner brought the band – drummer Raymond Johnson, bassist Darryl Williams, electric guitarist Kyle Bolden and piano player Carnell Harrell – into the studio to record six tracks old-school style, including “Back To Motown.” Nick Colionne guests on “When You Smile” to flash his cool electric jazz guitar on the infectious mid-tempo R&B cut. Taking his alto sax chops out for a strut, Joyner cranks up the band for a fiery funk romp down “Southside Boulevard,” one of three tunes that adds Nikolai Egorov’s trombone muscle to the horn section. On a pair of urban joints – “That Good Thing” and “Don’t Make Her Wait” – Joyner plays soprano sax. He takes full command on the stormy “Addicted,” playing every instrument heard on the moody number. “Think James Brown on tenor sax” is how Joyner describes the super funky “Get Down Street.” A pair of high-energy pop-R&B covers – Justin Timberlake’s “Can’t Stop The Feeling” and Bruno Mars’ “Treasure” – complete the outing, songs Joyner elected to record based upon their buoyant, positive nature, which he says mirrors his young  offspring’s personality.

“My little girl played a huge role in inspiring this album. Having Trinity around during the writing process sparked an enormous font of creativity and really kicked my writing into high gear. The first single, named after her, really captures the excitement and joy of being a dad as well as the exciting little girl that she is. Trinity was right there in the studio during a lot of the writing process. Her jumpy and bouncy upbeat little self is really reflected on this album,” said Joyner, who will launch the record with June concerts in Cincinnati (June 9 at A Celebration of Black Music), Birmingham (June 11 at Jazz in the Park), San Diego (June 25 at Mediterranean’s Jazz and Supper Club) and Philadelphia (June 29 at South).  

The release of “Main Street Beat,” Joyner’s sixth album, coincides with his tenth anniversary as a recording artist. His 2007 debut “Babysoul” earned Debut Artist of the Year honors from Smooth Jazz News. Two years later, his sophomore set, “Lil Man Soul,” spawned two No. 1 singles on the Billboard chart and won the Song of the Year trophy for “I’m Waiting For You” from the American Smooth Jazz Awards. His self-titled 2010 album solidified his position as a consistent hit-maker. Revisiting his non-secular roots, Joyner issued the gospel-jazz “Church Boy” in 2012. “Evolve” placed his infectious melodies amidst futuristic electronic sonicscapes. Joyner’s music isn’t his only creative effort that ventured into extraterrestrial territory. Last year, the Norfolk, Virginia native who resides near Los Angeles authored his first book, the science fiction novel “Zarya: Cydnus Final Hope (Book 1). For more information, please visit www.JackiemJoyner.com.

“Main Street Beat” contains the following songs:

“Main Street”

“Back To Motown”

“Can’t Stop The Feeling”

“Trinity”

“When You Smile”

“Southside Boulevard”

“That Good Thing”

“Treasure”

“Addicted”

“Don’t Make Her Wait”

“Get Down Street”

Saxophonist Elan Trotman adds EDM beats to his Caribbean-jazz fusion

Elan

 

Plugged In: Saxophonist Elan Trotman adds EDM beats to his Caribbean-jazz fusion

The “Electro Sax” album is released as the tropical “Island Gal’” prepares to charm radio.

BOSTON (24 April 2017): Saxophonist Elan Trotman is unwavering in his committed to wave the flag high for Caribbean music, but after releasing six soul-jazz albums and more than ten chart-topping singles that made him a permanent fixture on radio playlists, the Barbados native is “shaking it up” by going electronic on “Electro Sax,” his seventh outing which was released last Friday (April 21) by Island Muzik Productions.

Seeking a “hip radio sound that will reach beyond the masses,” Trotman assembled a creative team of up-and-coming producers – Spardakis, P-Nut, Dr. O and Da Troof – who he met at Boston’s esteemed Berklee College of Music and tasked them with putting a fresh, modern twist on the eleven new tracks that he wrote for the collection. With electronic elements evident in the production of Trotman’s tenor and soprano sax and the adventurous EDM sonicscapes, the result is an energizing, dance-happy mix of impromptu jazz sax licks, kinetic dance beats and festive Caribbean rhythms. Adding nuances to the audacious alchemy are guitarists Wayne Jones, Freddie Fox and JJ Sansavarino, and steel pan player Kareem Thompson. The first single set to seduce radio is the reggae-infused “Island Gal’,” which spotlights Trotman on soprano sax on the cut he describes as having “a sexy vibe to it.” Prince fans will appreciate the balladic tribute “Purple Emotion” that closes the set. The session’s lone cover is a tropical, dance hall take of Walk The Moon’s infectious pop smash “Shut Up and Dance.”

“’Electro Sax’ is a true representation of where I am at in my career. It’s modern sounding with prominent hints of the island. It’s also about branching out, reaching out by making good music for the masses. It’ll definitely ruffle feathers, but that is part of being an artist – pushing boundaries and perhaps establishing new ones,” said Trotman. “The ‘tropicality’ elements are part of who I am and I’m sticking with it. It’ll always be part of my sound and I believe in it. It is part of my brand and it’s authentic to my (Barbadian) roots.”

Trotman showcases and shares the culture of his homeland at his annual Barbados Jazz Excursion, slated to take place on the Caribbean island for the fourth time in October over Columbus Day Weekend (October 6-9, 2017). The saxman performs and hosts the music festival and golf tournament that benefits his nonprofit Never Lose Your Drive Foundation and the Head Start Music Program in Barbados. Slated to perform this year are R&B and contemporary jazz mainstays Will Downing, Norman Brown, Marion Meadows, Brian Simpson, Jeanette Harris and Julian Vaughn as well as the Queen of Soca, Alison Hinds.

Earning a full scholarship at Berklee College of Music from the government of Barbados, Trotman has lived in Boston ever since. Named the Jazz Artist of the Year on multiple occasions by the New England Urban Music Awards and the Barbados Music Awards, he debuted as a solo artist in 2009 with “This Time Around.” Subsequent albums featured collaborations with Grammy winners Kirk Whalum, Terri Lyne Carrington and Paul Brown as well as Downing, Peter White, Jeff Lorber, Cindy Bradley, Tony Terry and Simpson. Trotman has also guested on Billboard No. 1 hits by Meadows, Simpson, Vaughn, Greg Manning and Cal Harris. He’s a popular draw on the festival and club circuit. For more information, please visit www.ElanTrotman.com.

The songs on “Electro Sax” are:

“Happy Place”

“Electro Sax”

“Barbados Breeze”

“Island Gal’”

“Chill Cat”

“Shut Up and Dance”

“Up In The Clouds”

“orutrA”

“No Need For Trippin’”

“120 BPM”

“Move!”

“Purple Emotion”

 

Guitarist Blake Aaron is Sirius about making it a “VIVID” spring

Blake Aaron 2

 

Guitarist Blake Aaron is Sirius about making it a “VIVID” spring

The vivacious third single from the forthcoming “Color and Passion” album goes for radio adds on April 24.

ALISO VIEJO (11 April 2017): Guitarist Blake Aaron has been featured multiple times on SiriusXM over the past week as part of Jazz Appreciation Month just as his vibrant new single, “VIVID,” is preparing to bloom brightly. The third single issued in advance of his upcoming “Color and Passion” album, Aaron wrote and produced the multihued bouquet of invigorating instrumental dance music, power pop horns and glossy R&B grooves that surround fragrant stems of fresh electric jazz guitar flourishes. On the way to radio stations now with an April 24 playlist add date, the perfectly-timed spring fling should happily satiate listeners until Blake’s sixth album streets this fall on Innervision Records.

Last Thursday, the national satellite radio broadcaster’s Watercolors aired a live concert performance by Aaron recorded at the SiriusXM studios in Washington, DC. On Sunday, the guitarist who hosted his own nationally syndicated radio show for seven years hung out on the “Dave Koz Lounge” with the affable sax sensation. This week, Aaron served as guest DJ on Tuesday and although he took command of the air waves, he didn’t sneak in the new single before the official add date.

“No, not yet,” he chuckled. “’VIVID’ is my feel good track of the spring/summer. With real Earth, Wind & Fire-style horns and tons of energetic, bright melodic hooks, I am proud to say that this is one of my most infectious grooves and most intense productions I’ve done to date. Vivid is how I try to live my life and it is how I try to teach my kids to live their lives. Be uniquely you – boldly and with passion. Be you – vividly.”

Aaron’s last collection, 2015’s “Soul Stories,” spawned five Billboard Top 10 singles. “Color and Passion” aims to continue his run of chart success with a chromatic and intense fusion of sounds and styles – funk, R&B, soul, jazz, rock, blues and Latin music. While the first three singles – “Summer Ride,” “Godfather Brown” and “VIVID” – are upbeat and full of life, the disc will also include intimate ballads allowing Aaron to showcase his lyrically expressive guitar on downtempo numbers.

Aaron recently plied his soulful fretwork on three songs for urban-jazz chart-topper Najee’s forthcoming set. The indemand session player, sideman, producer and songwriter will celebrate his birthday with an April 29 concert at Southern California hotspot Spaghettini in Seal Beach where he will be joined by two-time Grammy winner Bill Champlin, a singer-songwriter and keyboardist who spent 28 years as a member of the legendary band Chicago. Aaron will hit the road Memorial Day Weekend for performances at the Jacksonville Jazz Festival in Florida (May 26), St. James Live! in Atlanta, GA on a bill shared with saxophonist Tom Braxton and vocalist Kevin Whalum (May 27), and a headline date with Braxton at The King Center in Melbourne, FL (May 28).

For additional information, please visit www.BlakeAaron.com.

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