Sunday, June 17, 2018

Brian Bromberg to release "Thicker than Water" on July 13th








Brian Bromberg’s career began as a teenager backing saxophonist Stan Getz. In the nearly forty years since and over 20 projects in his catalog, Bromberg has established himself as a first-call master of the upright as well as electric basses, releasing more than 20 albums globally as a leader and providing low-end for the likes of Chris Botti, Lee Ritenour and Michael Bublé.Thicker Than Water is a record I’ve been wanting to make for a very long time,” says the dynamic bass virtuoso Brian Bromberg. “I love the upright bass. It’s where my heart and soul is. My connection with that instrument is unlike anything in my life. I also love the electric bass and really wanted to explore its endless possibilities on this project.” That love of the bass is evident across the wide-range of irresistible grooves found on Thicker Than Water, available July 13 on Artistry Music.Across 13 tracks, Bromberg utilizes 11 different basses to create an orchestra of unique tones and rapid-fire runs. Helping Bromberg wield the groove are trumpeter Randy Brecker, saxophonists Marion Meadows, Najee, Everette Harp, Brandon Fields and Gary Meek, as well as one of the last performances from the late keyboard master George Duke.Punchy brass and powerful energy from saxophonist Everette Harp ensure that everybody is going to have a good time on the album opener “Is That the Best You Can Do?”. Bromberg immediately displays a technical mastery that is focused like a fine-point laser. “Minneapolis 1987” is a funkified time machine cleansed by the waters of Lake Minnetonka. “Take your pick. It could be Jimmy Jam, Terry Lewis, Prince. It could be Larry Graham. It could be Morris Day. Pick one or all,” says Bromberg. “It’s all a vibe and a sound. Minneapolis absolutely had a sound. Look at the talent that came out of there. You hear the first eight bars and you are done. It says everything.”The title track comes from the bond that Bromberg shares with the album’s resident beatmaker, his nephew Zach Bromberg. “He’s a computer guy,” says Bromberg. “He writes loops and on this CD he came up with some grooves that are badass which inspired me to write songs around those grooves that work in the instrumental world of contemporary jazz.” Breezy handclaps and a percussive pulse provided by Lenny Castro keep the mid-tempo tune in the pocket. Zach also contributes a vibe for “Changes,” a soothing stroll carried by Bromberg’s steel string piccolo bass. He plays no less than five completely different basses on the track.“It’s not for the sake of playing a lot of basses,” explains Bromberg. “It’s not for credit or how many notes I’m going to play. What’s going to work for the music? Because the music dictates what I’m going to play and the end result is all about the music. The music always wins! It’s rewarding to be able to use all these instruments to express what I’m feeling inside."“Coupe de Ville” also addresses the feelings on the outside. “Sometimes songs just show up in my head,” says Bromberg. “This one just showed up and the name popped into my head immediately. We’re just cruising here in a big Cadillac.” Tenor saxophonist Najee and rhythm guitar work from Paul Jackson, Jr.,takes the tune into the stratosphere with ebullient brass encouraging fleet-fingered runs from Bromberg.The slow groove of “Trials and Tribulations” gives Bromberg ample space to highlight his electric bass talents. “This is the most powerful song on the CD. It’s the epic. I’m really proud of it. It’s so cool to have strings and horns together on the same song.” The large ensemble is in sync with Bromberg’s outrageously funky fills while the song “Your Eyes,” which Bromberg wrote as a homage for his cat, cruises with sensitive strings and Bromberg’s piano debut. “I play the melody and a little solo. I’m not a piano player. I have no chops but for a solo ballad with one note at a time I can do it.”“That one is for my mom,” says Bromberg about the sweetly personal “It’s Called Life.” “The tune showed up in my head. Sadly, she passed away before she got to hear it, but this is one of those songs that really has emotional calories.” The ballad’s gospel swing is amplified by Brandon Fields’ rich tenor saxophone who works in tandem with Bromberg’s piccolo bass, gelling easily into a natural partnership.Bromberg calls in the big guns for “Uh-Huh,” a fiery funk number that features trumpeter Randy Breckerand one of keyboardist George Duke’s last performances. The tune rises to the prestige of the performers with a big band heft and a finger-popping beat. “Land of the Rising Sun” is Bromberg’s homage to Japan. With help from June Kuramoto of the band Hiroshima on koto, the ensemble embarks on a languid tour of the island nation.“When I write songs, especially if they have a vibe of a specific culture, I just want the sound to sound as much like the culture as possible,” says Bromberg. “It’s very rewarding to hear something in my head. Until it’s finished you don’t know if you did a good job or not but when you hear this, first thing you think of is Japan.” I started on upright. I was a purist jazz guy,” Bromberg proudly explains but when he got electrified, his palette expanded beyond his wildest imagination. He returns to those early experimentations by closing out the album with a solo soulful hymn entitled “A Familia.”Recorded comfortably at his home studio in Southern California, Bromberg surrounded himself with musicians he trusts to record an album that resonates with personality and personability. Bromberg’s virtuoso skills are in service to the groove and each track moves with a refreshingly funky honesty.“I hope people listen to it with open mind and open heart,” says Bromberg. “A lot of people familiar with me may not be expecting a record that grooves this hard. I think a lot of people are going to be surprised by the vibe and the pocket. Some people think the bass should sound like it did in 1965. Thump, thump, thump. But, hey, that’s not for everyone.”

Wednesday, June 06, 2018

Italian vocalist Laura Taglialatela releases new CD The Glow


“The Glow” is Laura Taglialatela’s debut album, released in April 2018 for Ropeadope, an American label which has released the albums of some of the most innovative artists of the contemporary music scene, such as Terrace Martin, Christian Scott, Snarky Puppy. “Take me back” is the first single of the album.

"The Glow” is the inspiration, the divine entity the artist feeds off and is in constant search of. The idea at the base of this collection of works is to create an embodiment that shows the definition of an artist in the process of self acknowledgment, and self acceptance, through the struggles that come by the confrontation with real life.

Each track, therefore, represents a moment of the artist's emotional journey in the controversial relationship with his art: love, devotion, fear, resignation, realization, enthusiasm, despair, joy, all in a space where boundaries between genres and/or between single individuals cease to exist, and the guiding principle is the flow of a spontaneous and fresh interaction.

Laura Taglialatela combines original rhapsodies (Happiness, Silly Girl) to songs, which show traces of the influence of soul and gospel (Take Me Back, The Glow). She also reveals her ability as a lyricist on two tunes written by her bandmates, Frantasy, by Francesco Ciniglio, and There's That Smile, by Dayna Stephens, and on a Wayne Shorter’s masterpiece, Nefertiti, which is a double tribute to the composer and to the famous queen of the Egypt, an important figure often remembered and celebrated for her incredible beauty, and not enough for the prosperity and the cultural revolution she brought to her people. Icing on the cake, the band performs two atypical arrangements of some Antonio Carlos Jobim’s classics, Inutil Paisagem and Retrato Em Branco and Preto.

Taglialatela surrounds herself in this first album by a serious team: Domenico Sanna on piano and rhodes, Matteo Bortone on double bass, Francesco Ciniglio on drums, Dayna Stephens on tenor saxophone and ewi, Logan Richardson, special guest on four of the tracks, on alto saxophone. 

The band includes musicians from different cultural and musical (and geographical!) backgrounds who combine with no inhibitions in a single sound, new, fresh, unanimous and sincere: all improvisations, even when guided by a leader, are collective, and the roles intersect to the point that sometimes vocals become an instrument of accompaniment.
Laura Taglialatela is a vocalist, composer and arranger born in the Mediterranean city of Naples, Italy. Growing up in a house full of music and art of all kinds, she naturally developed a complex musical personality, which brought her into experiencing many different languages and genres. 

Laura began performing music in church at the age of 10, an experience which consequently drove her interest towards black music. In 2009 she completed her studies in vocal jazz performance  at the Scuola Civica in Capannori, and decided to attend a Bachelor in Literature and Cultural studies at the Suor Orsola Benincasa University of Naples, while taking music private classes with some of today’s most internationally recognized jazz performers. 

She graduated in 2014 presenting a thesis entitled "A unifying language: jazz”, a result of her active researches on the field on the impact of the inter-cultural crossover of the jazz scene on the language currently spoken in America by the new generation through the songwriting process, receiving audience acclaim and extra credits.
In 2016 Laura won the WinJazz Competition with her composition "Blue Moon". In March 2018 her song "Take Me Back" received the Runner Up Songwriting Award at the Song Of The Year International Contest (Steven Tyler, Gwen Stefani, Lenny Kravitz, Alicia Keys among the judges). She has performed at multiple Jazz Festivals around the world, and has led her own band internationally including France, Croatia, Italy, Finland, Belgium, UK, US, Russia.
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Wednesday, May 23, 2018

Dave Koz returns with Summer Horns II from A to Z, a compilation of classic songs set for a June 22 release



Five years ago, after Dave Koz and Friends released Summer Horns—the GRAMMY-nominated album that paid tribute to classic songs featuring killer horn sections—all that the musicians could think about was how much fun they’d just had. They toured behind the album during the summer of 2013, then vowed to spend the following summer doing it all over again.
“The second tour was even better than the first,” says Koz, the world-class saxophonist who piloted the release, which rocketed to No. 1 on Billboard’s Current Contemporary Jazz Albums chart. “We had a total blast and the fans really gravitated toward it.”
There was no question in Koz’s mind that a sequel was in the stars, but getting everyone’s schedules to align was never going to be easy, each participant being a headliner with bookings well into the future. It took a few years but finally, says Koz, through “divine intervention,” a window of time opened up so that everyone could be in the same place at the same time.
Summer Horns II From A To Z, scheduled for release on June 22, 2018 via Concord Records, is the result, a stunning set of 11 more timeless tunes reimagined by Koz (soprano, alto, tenor and baritone saxes), joined by alto saxophonist Gerald Albright and tenor saxophonist Richard Elliot—both returnees from the earlier session—with new additions Rick Braun (trumpet) and Aubrey Logan (trombone and vocals). A crew of ace rhythm players collaborates with the Summer Horns lineup along with a who’s who of arrangers: Tom Scott (who’s worked with everyone from Frank Sinatra to Aretha Franklin to Steely Dan), Greg Adams (best known for Tower of Power, but also Santana and Elton John) and GRAMMY-winning arranger Gordon Goodwin. Braun, himself a legend of contemporary jazz, produced the album, with co-production by Koz.
With the creative team in place, the biggest dilemma facing Koz, Braun and the others was which songs to choose—or, rather, how to narrow down an enormous list of contenders. “My original list was in the hundreds,” Koz says. “We’d have good-natured arguments during weekly conference calls. We each pitched songs and then tried to get other people on our team.”
The final track list, 11 in all, is impeccable, to say the least. Opening Summer Horns II From A To Z is a medley of Earth, Wind & Fire’s 1976 smash “Getaway” and the KC and the Sunshine Band dance staple “That’s the Way I Like It.” Next up is “More Today Than Yesterday,” the only Top 20 hit from the Spiral Starecase, from the spring of 1969. “Most people, when they hear that song, think it was by Chicago,” says Koz. “It sounded so much like them.” The Crusaders’ “Keep That Same Old Feeling,” written by that group’s late trombonist Wayne Henderson, is next, with a horn arrangement by Adams (best known for his work with Tower of Power) and Braun.
The fourth track in the sequence gives the album its subtitle, “From A to Z.” It’s another medley, and on paper it seems an improbably marriage: Here, with a horn arrangement by Gordon Goodwin and rhythm arrangement by Goodwin and Braun, are the 1939 Billy Strayhorn standard “Take the ‘A’ Train,” made famous by Duke Ellington, seamlessly intertwining with hip-hop icon Jay-Z’s “Roc Boys (And the Winner Is).” Hence the A to Z.
How in the world did this one come about? Says Koz, “Somebody sent me ‘Roc Boys’ and said, ‘Jay-Z’s got this song that’s got a bunch of horns in it.’ I’m a fan but I don’t know that music well. I heard that track and I said, ‘That horn line is so great! We have to utilize it somewhere.’ Originally, it was going to be its own song. But also on the song list was ‘Take the “A” Train.’ Rick Braun said, said, ‘Wouldn’t it be great to do something so classic and so old and yet modernize it?’ It was [Concord Records president] John Burk, the executive producer of the album, who said, ‘Maybe the two songs could work together. It would be really funny to go from A to Z.’”

This Will Be (An Everlasting Love),” a Top 10 hit for Natalie Cole in 1975, is dedicated to the late vocalist, who was a friend of Koz’s. It’s sung on 
Summer Horns II From A To Z as a duet, by R&B star Kenny Lattimore and the young vocalist Sheléa. “We started to develop this track, which is very uptempo and really fun,” says Koz. “Tom Scott wrote a brilliant horn arrangement. And then we were thinking, maybe we should look for a male singer because anything we’d do with a female vocalist would immediately be compared to Natalie’s version. Tom came up with the idea of doing it as a duet. It’s not an easy song to sing and their vocal performance is a complete tour de force.”
“Before I Let Go,” written by Frankie Beverly of the R&B group Maze, features a lead alto sax solo by Gerald Albright, and is followed by Paul Simon’s pulsing “Late in the Evening,” from the singer-songwriter’s 1980 album One-Trick Pony. Koz remembers being in a restaurant with friends when Simon’s recording came on the house music system. He immediately emailed himself so he wouldn’t forget it when he got home. Braun didn’t even need to hear Koz’s reasoning: “It's in,” the producer told him. “I don't care what the others say.”
Playing acoustic guitar on the tune, and singing the lead vocal, is the South African great Jonathan Butler. “He went total South Africa on it,” says Koz. “Now this song has a completely new point of view. It pays homage to the original, but it takes it to a completely new place.”
Summer Horns II From A To Z only grows more intense as it plays on. If you want to make a funky record, you’ve got to have some Stevie Wonder on it, and it doesn’t get much funkier than 1971’s “If You Really Love Me.” Following that track is “Conga,” the 1985 breakthrough hit for Gloria Estefan and her then-band Miami Sound Machine. Aubrey Logan, the 30-year-old singer and trombonist on the album, provides the lead vocal. She received a special surprise while the group was recording the track.
“We got the track together and Aubrey always loved that song and looked up to Gloria as one of her mentors,” Koz says. “It’s got a great arrangement from Tom Scott and a really cool modern rhythm arrangement that Rick did. Gloria is a friend so I said to myself, ‘I have to play this for Gloria.’ I sent it off to her via email and said, ‘I just want you to know we're doing this Summer Horns record and we did your song and I hope you like it.’ I was just looking for a little musical blessing. She didn't send back an email; she sent back a track with her singing harmony to Aubrey's lead vocal! Aubrey’s jaw dropped to the floor.”
Michael Jackson’s Earth Song, with a horn arrangement by Scott and—as is the case with several tracks on the recording, a rhythm arrangement by Chris “Big Dog” Davis—features a lead tenor sax solo by Elliot and lead vocal by Ashling Cole. Summer Horns II From A To Z wraps up with a piece of vintage Americana, “Route 66,” written by Bobby Troup and recorded by everyone from Nat “King” Cole to the Rolling Stones. Logan, who Koz discovered when he saw her performing with the group Postmodern Jukebox, fronts the tune with her trombone and lead vocal. The horn and rhythm arrangement is courtesy of Goodwin, who fronts his own outfit called the Big Phat Band.
Recording Summer Horns II From A To Z, says Koz, was just as much of a treat as the first go-round in 2013. “It reminds me of my youth,” he says of this music. “I grew up playing in jazz bands. That’s how I was educated in music, playing in a saxophone section and playing in a big band, then sometimes doing small group stuff, playing with other horn players. For most horn players, even if you go on to do more solo work, part of your identity is rooted in being in a section and blending with others. How do you do this? How do you play that? All these fine nuances of music are in there somewhere.”
That passion is shared by all of the musicians who took part in the project, and audiences fortunate enough to catch a live Summer Horns show—they’ll be touring this summer—immediately feel the heat too. “With this music, the fans know every song,” says Koz. “And the musicians leave their egos at the door and show up with a commitment to the band. We know that this is not a replacement for our solo careers, that we will resume them eventually, so it’s not like we’re saying bye-bye to that. But people see all the star power on stage—where everybody could do a two-hour show on their own—the five of us with an incredible band, and it’s an event. Then we get addicted to the response from the fans! That’s why we did it again.”

Sunday, August 06, 2017

Saxophonist and Composer Boney James' Honestly CD reflects music's power to transport



It's been a full quarter-century since a young saxophonist and composer released his debut recording as a leader, Trust. Now, on September 1, 2017,
Boney James will release his 16th album, this one titled Honestly. If you sense a direct line between those titles, you've already come a long way toward understanding what motivates the four-time GRAMMY nominee and multi-platinum-selling musician.

"I'm fighting the good fight to be my own artist and not be pigeonholed," says the genre-blurring James. "With a record's title I always try to find something that will communicate the feeling I get when I listen to it. The feeling I get with this music is a sense of sincerity and intimacy. The word 'honestly' really reflects how I aspire to live my life and create my music. One of the great things about music is how powerful it is. It can totally transport people. These are interesting times we are living in and the one thing I can do with the skills that I have is to make music that evokes a feeling and takes people somewhere... to do what I can to try and make the world a more pleasant place."

Honestly followsfuturesoul, James' 2015 release which spent eleven weeks at #1 on the Billboard Contemporary Jazz Chart. The New York Times raved, "Boney James performs with panache...His arc as a soloist is emotional...he can paint a scene."

Honestly, says James, is quite different sounding than the previous record. "It's more exposed," he says of the 10-track collection. "Some of the arrangements are not as dense. A number of the songs have a more buoyant, cheerful, happy quality to them." James produced the record and co-wrote all but one track, his interpretation of the Johnny Mercer-Hoagy Carmichael classic 'Skylark.'

James recruited collaborators and musicians whose work he admires, including chart-topping vocalists/co-writers Avery*Sunshine (on the title track) and Eric Roberson (on 'If I Can't Hold You').

Each track on Honestly reflects a different side of James' musical personality. "Songs like 'Kicks' or 'Up All Night' are much more boisterous sounding than the last couple of records," he says. "Then there's 'Skylark,' a song that I have always loved...a standard which I've never recorded before. The track Honestly (and first Urban Adult single) featuring Avery*Sunshine is straight up R&B." Regarding Avery, James says, "I heard her at a festival we were both playing and then I heard her #1 single 'Call My Name' on the radio. I was instantly a fan and just waiting for the right song for us to collaborate."

First instrumental single 'Tick Tock,' one of four songs co-written and co-produced with Jairus Mozee (Anthony Hamilton, Robin Thicke) is one of several on the album featuring a horn arrangement by Jerry Hey, who worked on Michael Jackson's greatest hits, amongst others. "It's a very funky track with an insistent groove and the arrangement goes places you don't expect it to go," says James.


Although each track on the album has its own definitive feel, James points directly toward some of his greatest influences as having provided inspiration. "I think about Stevie Wonder, Steely Dan and Earth, Wind & Fire," he says, also mentioning such iconic R&B and contemporary jazz artists as the Brothers Johnson, Tower of Power and Grover Washington Jr. as having impacted him. "These are the bands that I grew up loving and the thing that they had was this method of arranging so the music is a character itself. That's something I aspire to create on my records. The bass line can be a hook, or a horn line or keyboard riff that you sing in your head-that's what I'm trying to create on the record. A tapestry of sounds that puts you in another world."

James plays all of the tenor and soprano saxophone parts on Honestly and contributes keyboards and drum programming to several of the tracks. But his career might have turned out a lot differently had a music store in his native New Rochelle, New York, had his first choice in stock the day he walked inside. "I wanted to play trumpet but when we went to the store to rent a trumpet all they had were clarinets, so I went home with a clarinet. Two years later I guess I was the best clarinet player in a band full of clarinets and the teacher wanted a sax player so he leaned on me to pick up the saxophone. I didn't want to do it because it was a much heavier case I'd have to carry. But as soon as I switched I loved it and it pretty quickly became my favorite thing to do. It still is!"

By the time he entered his teens, James was gigging with bands, and he turned pro at 19. He apprenticed as a sideman for artists like Morris Day and the Isley Brothers, picking up pointers on how to present himself onstage and off, and didn't cut his first album under his own name until he was 30. The independently released Trust led immediately to a major label deal and a string of increasingly successful recordings and live dates.

His skill as a performer as well as a recording artist garnered this notice from the Boston Globe, "James swaggered across the stage like a blacktop hero draining treys on an overmatched opponent. He even weaved his way through the audience, never missing a beat and all but daring the crowd not to have a good time."
Over the years, James has racked up sales of more than three million records, four RIAA gold albums, four GRAMMY nominations, a Soul Train Award, nominations for two NAACP Image Awards and 10 CDs atop Billboard's Contemporary Jazz Albums chart. In 2009, Billboard named him one of the Top 3 Contemporary Jazz Artists Of The Decade along with Kenny G and Norah Jones.

With Honestly, as with futuresoul and the GRAMMY-nominated The Beat before it, Boney James is making some of the most stellar, wholly realized music of his career. "I've just grown up, personally and musically," he says. "I'm a lot calmer now when I approach making music and have more confidence. I'm a "give-110 percent" kind of person and I'm enjoying the process more now. I think that comes out in the music. Maybe that's why this new record is so much fun to listen to. There are parts on the record that still make
me smile."

James lives in Los Angeles with his wife of 32 years, Actress/Director Lily Mariye and has written scores for her film projects.

Monday, July 17, 2017

Cécile McLorin Salvant Announces Third Album, Available September 29 2-CD Set, Deluxe 3-LP 180 Gram Vinyl Set




GRAMMY® Award-winning vocalist Cécile McLorin Salvant has had a remarkable rise to stardom in her professional career, and she's taking another big leap forward with Dreams and Daggers, her third album for Mack Avenue Records. More information on the release, which will be available September 29th, is forthcoming.
Photo by: Mark Fitton 
McLorin Salvant first made waves in the jazz world when, at the urging of her mother, she entered the most prestigious jazz vocal competition in the world. Having nearly missed the submission deadline, she made it to the finals as their youngest performer and was selected by an illustrious panel of judges -- Dee Dee Bridgewater, Dianne Reeves, Kurt Elling, Patti Austin, and Al Jarreau -- as the 2010 Thelonious Monk Competition winner. While she had bypassed the traditional U.S. conservatories and jazz schools, McLorin Salvant studied at France's Aix-en-Provence before returning for the competition's semi-finals, the judges noted her remarkable voice and striking ability to inhabit the emotional space of every song she heard and turn it into a compelling statement.  In 2013, McLorin Salvant made her Mack Avenue Records debut with WomanChild, garnering a GRAMMY® Award-nomination, NPR Music's pick for "Best Jazz Vocal Album of the Year," and three placements in DownBeat's critic's poll as "Jazz Album of the Year," "Top Female Vocalist," and "Best Female Jazz Up and Coming Artist of the Year," among many other accolades. Her 2015 follow up release, For One To Love, won the GRAMMY® Award for "Best Jazz Vocal Album."
McLorin Salvant's music has been featured in multiple Chanel "Chance" campaigns and is included in the soundtrack for HBO's acclaimed film, Bessie. New York Times Magazine included her recording of "Trolley Song" as one of "25 Songs That Tell Us Where Music Is Going," The New Yorker profiled her at age 27, Vanity Fair featured her in their "Millennials That Are Shaking Up The Jazz World" piece, Essence Magazine noted her as one of "13 Emerging Black Women in Music," and Gilles Peterson included her as an "Artist to Watch" in The Atlantic. Learn more about McLorin Salvant on NPR's "All Things Considered" and "Fresh Air," New York Times' "Close at Hand," or watch her perform on BBC's "Later... with Jools Holland" and PBS' "The Tavis Smiley Show."


Sunday, July 16, 2017

NEW MUSIC: Jazz Along the 101 - Justin Young


Jazz saxophonist Justin Young's successful Billboard run on his last single "Always There", has provided us with the perfect introduction to the musical magic that Justin is able to create. "Jazz Along the 101" is a tasty retreat into a sexy smooth groove and if you listen closely, you will hear elements of that traditional jazz big band sound as mimicked by Justin's notes. Definitely our pick of the week on #Jazzmoodsradio Tune in often to hear Justin and more. Find us on Itunes, TuneIn and http://www.jazzmoodsradio.com

Thursday, June 08, 2017

New Music: Jaee Logan - Portrait of Patrice



Jaee Logan is a music man of all sorts, one that cannot be pigeonholed into one category. From music producer, to songwriter, vocals coach, multi-instrumentalist, musical director and session musician; he does it all. His latest CD "Sun Rider" takes a jazzy turn but on some of the tracks you can hear influences of his R&B days when he worked with the likes of Club Nouveau, The Whispers, Bobby Brown and Pebbles to name a few. We're jamming "Portrait of Patrice" on #Jazzmoodsradio, a track that is said to pay homage to another awesome musician, Patrice Rushen.

It would be only fitting that a tribute to Patrice would be filled with elements of a few of Patrice's tracks and Jaee has cleverly done that while injecting his own style. Grooves run aplenty on this track which holds steady with a thick gurgling bassline and funky, sunny synths that is guaranteed loads of play. Tune in often to #jazzmoodsradio to hear music from Jaee plus more; purchase his CD here: http://amzn.to/2rZOo5V