Acme Jazz Garage — Ascending?

I seldom write about my own projects here, but thought I’d throw out a quick note about the CD recently released by my band, Acme Jazz Garage, on my Solar Grooves label.

relix review

Acme Jazz Garage is gaining momentum via national jazz-radio airplay, and good reviews in magazines and newspapers.

A few updates:

RADIO :

  • Our CD is in its fifth week of airplay on jazz stations across the US (check its progress on the JazzWeek chart).
  • It has aired on Tampa’s WUSF and WMNF; WFCF in St. Augustine, FL; KEWU in Cheney/Spokane, WA; WCLK in Atlanta, Ga.; WAER in Syracuse, NY; KSDS in San Diego, CA; Jazz From Gallery 41 in Berkeley, CA; WTJU in Charlottesville, Va.; WSHA in Raleigh, NC; WWSP in Stephens Point, WI; KRTU in San Antonio, TX; KCCK in Cedar Rapids, Iowa; and KRFC in Fort Collins, CO, among other stations.

PRESS:

  •   Relix magazine critic Wayan Zoey calls the CD “a solid collection of revivalist funk and swing … influences are rooted in ’70s fusion, and the various contemporary pop styles that surrounded it … a much more enjoyable experience than your average ‘trad jazz’ album … a capable excursion through one of the most playful eras of America’s cultural history.”
  • Creative Loafing/Tampa just gave us a four-star review: “The 10-track set is not only fun but a rather excellent demonstration of what four vet musicians can accomplish with some quality time in the studio and a little help from their friends.”
  • Howard Mandel, president of the Jazz Journalists Association and a contributor to NPR, says the CD “mixes the best bits of the Meters, Santana, Robben Ford, Grover Washington, Anita O’Day, Joe Sample, Roy Ayers and Marcus Miller into a refreshingly breezy sound.”
  • “Some funky R&B, and straight-ahead jazz, and it coule be one of the outstanding local releases of 2016,” says Randy Wind, program director at WMNF in Tampa.
  • ” ‘Resonance’ immediately made me think of Steely Dan,” says Louis Maistros, New Orleans singer/songwriter and acclaimed novelist. “And (I hear) hints of the Crusaders. The rest felt like its own thing. This is really a hot little combo. Mission accomplished. It’s a damn fine record. Bravo!”

Acme Jazz Garage, the band’s debut full-length set of original compositions, features an eclectic mix of original jazz compositions played by the core quartet (Matt Swenson, guitar; Bryan Lewis, keys; Tim Diehl, drums; me on bass) plus special guests.

We were joined by conga master Gumbi Ortiz; who tours with Al Di Meola; singer Whitney James; saxophonists Jeremy Powell (Arturo O’Farrell Afro Latin Jazz Orchestra), Rick Runion and Austin Vickrey; vibraphonist Sam Koppelman; and trumpeter Ron Wilder. The music was recorded and engineered by John Stephan at his Springs Theatre studio in Tampa, and mixed in L.A. by Ruairi O’Flaherty.

The tracks:

^  “Mongo Strut” (Booth) — Latin-edged funk spiked with congas

^ “Resonance” (Lewis) — multipart contemporary fusion (some folks hear Steely Dan)

^ “Sandprints” (Booth) — a 5/4 piece inspired by Wayne Shorter, featuring Powell on soprano sax

^  “Last Call” (Booth) — a retro vocal tune (Manhattan-romance theme) with vocals, trumpet and vibes

^  “Acmefied” (Booth) — straight-up jazz funk

^  “Zag” (Booth) — straightahead, swinging jazz with two tenor saxes (Vickrey and Runion) and vibraphone

^  “Mr. G.P.” (Booth) — New Orleans-style R&B named for Meters bassist George Porter, Jr., with a tpt-tenor-bari horn section

^  “Rubberman” (Booth) — jammy-leaning jazz with flute (Vickrey) and tenor (Runion)

^ A bluesy version of “America the Beautiful” (arr. by Lewis) — think Ray Charles; perfect for airplay on the July 4 weekend.

To get your very own copy of the CD, as a physical disc or download, click here

For more information on the band, visit us on Facebook; go to our web site; or stop by Solar Grooves. Twitter: @acmejazzgarage

 

 

Nathan East: Consummate Sideman Releases Solo Debut

(originally published in JazzTimes)

NATHAN EAST

“Daft Punk’s Nathan East heads in his own direction,” a
recent headline in a large-circulation newspaper read, announcing the bass
 player’s first solo album, titled simply Nathan East and released through Yamaha. Nice blast of attention
 for the journeyman musician. Truth be told, for three decades East has been a well-known
 session and touring player for the likes of Eric Clapton, Toto and Michael
 Jackson. He also cofounded popular contemporary jazzers Fourplay in 1990, long before 
his steady-pumping bassline helped drive Daft Punk’s catchy,
 eminently danceable “Get Lucky” to mega sales and a Grammy for Record of the
Year.




“Anything to get you a headline,” East says, chuckling, from
 Los Angeles, his home since relocating from San Diego, where he grew up
 and earned a bachelor of music from UC San Diego. “After being in the business for
30 to 35 years you don’t get surprised by anything.




“[Daft Punk] reached out to me,” he continues. “They had put together a list of 
people they wanted to work with. I had just seen Tron: Legacy, so I was
 familiar with their electronica and the fact that nobody knows what they look
 like. [They said,] ‘This is the groove. Let’s throw some ideas out there and we 
could loop it in Pro Tools. We recorded prior to Nile Rodgers putting his
 guitar part on it. Later, they said we have to redo the bass to really lock it
 in with him and get that Chic sound.”




Not long after appearing alongside Daft Punk at the Grammys,
East, 58, is celebrating the completion of a larger career goal. Why the long wait? “I’ve aspired to do
 this for years—for decades,” he says. “My biggest excuse is that I’ve been
 extremely busy. I had to find a time when I wasn’t on the road and I wasn’t
recording somebody’s project.”




The album, with East joined by guitarist
 Michael Thompson, pianist Jeff Babko, organist Tim Carmon, late drummer Ricky Lawson and other
 longtime musical associates, is intentionally rangy. Variously playing his 
five- and six-string
 electric basses as well as an electric upright, East offers new 
takes on old favorites, including two by Stevie Wonder—a reharmonized “Sir
 Duke,” with Ray Parker Jr. on guitar, and “Overjoyed,” with Wonder guesting on harmonica.
Michael McDonald sings “Moondance,” and two Fourplay bandmates appear: pianist Bob
 James on “Moodswing” and guitarist Chuck Loeb on “Sevenate.”

The bassist sings
 on several tracks, including the Beatles’ “Yesterday,” also featuring East’s 13-year-old
 son, Noah, on piano, and Steve Winwood’s “Can’t Find My Way Home,” with Clapton on
 guitar.
“It’s a celebration of my musical relationships—I have
lots of my friends on the album—and these pieces all have special meaning,” East says. “I
 remember playing ‘Moondance’ in my first band. I used to sing that song. With ‘Sir 
Duke,’ I sat in with a big band in Norway last year when I was on tour with 
Toto. I looked around, and everyone was smiling and having so much fun. That
 tune is like an instant love fest.”




East switched from cello to bass at age 14, and began
 playing in his high school jazz band in addition to Top 40 groups around San
Diego. For a while, he tuned his cello like a bass. “I pretended that it was an
 upright,” he says. “It was a weird thing to do.”




His musical interests were diverse—Wes Montgomery, Clapton
and Cream, Quincy Jones, Herbie Hancock’s Headhunters, Santana. And he took
 some bass playing cues from the likes of Tower of Power’s Rocco Prestia, Earth,
Wind & Fire’s Verdine White and Paul McCartney, among others.
 After a stint with singer Barry White, East quickly made 
inroads on the L.A. studio scene in the early ’80s, competing against such session 
stalwarts as Abraham Laboriel, Chuck Rainey and Max Bennett.




For his solo album, he handily demonstrates his skills on his instrument, particularly on the African-tinted “Madiba,” one of several tunes he
co-wrote (including the Fourplay favorite “101 Eastbound” and “Daft Funk”), and “America the
Beautiful,” which opens with his unaccompanied lead and chordal work.




But he made the album a song-focused effort. Says East, “I think
everybody expects a bass player to kind of jump out there and [expects] it to 
be a bass fest, and so I kind of consciously opted not to go that route.”