euge groove

euge groove

艺人:euge groove

发行时间:2010-02-16

专辑介绍

For all the amazing behind-the-scenes details to Euge Groove´s story, it´s pretty much a straightforward, smooth jazz ride--catchy hooks, seductive rhythms, and an occasional splash of fiery horn doubling and tripling that brings saxist Steve Grove back to his days playing with Tower of Power. It´s also highly intriguing how he resembles other sax players whom producer and hitmaker Paul Brown helped make successful. "Romeo & Juliet"--which smacks of Boney James´s gently soulful flow--finds Grove´s irresistibly catchy soprano melody soaring above a moody, atmospheric synth harmony line, as the programmed drums roll steadily beneath. Grove´s rich, low-toned ...展开全部»

For all the amazing behind-the-scenes details to Euge Groove´s story, it´s pretty much a straightforward, smooth jazz ride--catchy hooks, seductive rhythms, and an occasional splash of fiery horn doubling and tripling that brings saxist Steve Grove back to his days playing with Tower of Power. It´s also highly intriguing how he resembles other sax players whom producer and hitmaker Paul Brown helped make successful. "Romeo & Juliet"--which smacks of Boney James´s gently soulful flow--finds Grove´s irresistibly catchy soprano melody soaring above a moody, atmospheric synth harmony line, as the programmed drums roll steadily beneath. Grove´s rich, low-toned tenor line floating over the cool, chunky bass-driven groove of "Sneak a Peek" brings back warm memories of Sam Riney. The tune gets considerable color from a self-created horn section that urges the main melody line to greater heights. On the retro-soul-minded "Vinyl," Grove´s emotional soprano surfs gracefully over a swirl of Danny Jacob´s wah-wah guitar clicks and coproducer Michael Egizi´s hypnotic and spacy synth swirls. For all his ubiquitousness and soulful demeanor, Paul Brown has been labeled "The Babyface of Smooth Jazz," so it´s no surprise to find him producing a twist on the Babyface-composed Toni Braxton hit, "Another Sad Love Song," with Grove blending soprano and tenor in spots to make the chorus much more in your face than the verse. Grove shows more genuine emotion here and on the dramatic, gospel-tinged closer "The Last Song" than in most other places. Gospel? Did someone say Kirk Whalum?

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