Melvin Smith: Press

KARI ON PRODUCTIONS
MELVIN SMITH/Portrait: Is there something in the water? There’s a lot of new versions of “We Shall Overcome” floating around all of a sudden. This well versed, soulful sax man plays with a lot of religious fervor as he really brings his ax to church. A well musically educated award winner, he doesn’t let these niceties get in the way of real blowing. This is a jazzy young lion with a lot on the ball that has delivered a solid DIY debut that should bring him wider attention farther afield from his Boston home base. Check it out.
36203 (Melvin G. Smith Music)

By: Edward Blanco

A deeply religious man with a mission, Melvin Smith penned and arranged all the music and produced his debut album as leader with “Portrait.” Smith combines a bit of gospel, world beat, folk and rock influences in a largely jazz palette that comes across in swinging fashion here.

Smith plays the tenor and soprano saxophones on the album and is accompanied by Lino C. Gomez (bass), Reggie Pittman (trumpet/flugelhorn), Stephen Lee and Gregory Royals on piano, Sam Knight and Ezra Henry on drums.



Don’t let the titles of the various tracks fool you, the music is not religious, it’s just good and jazzy. The opener, “Lord I lift You Name on High,” pulsates with an up-beat tone and a nice beat. The second track ,”Go Down Moses / Wade In The Water,” is more subdued starting out very gospel-like then turns kind of boppish with some mean tenor passages from Smith in a fine number.

The leader plays the soprano on the sweet “Manasseh,” and tenor on both “Trylenera’ (part one and two). Part two being perhaps the best cut here. One of the standards on the album, arranged by Smith, is the almost eleven minute version of Billie Holiday’s “God Bless The Child,” essentially a duet with pianist Royals that flows very softly.

Whether playing gently or blowing hard and furious, Melvin Smith lays down nine tracks of saxophone savvy music in a burner of an album. Painting a successful “Portrait” of his music, Smith delivers a compelling performance on this first offering.

Year: 2007
Label: Self Published
Artist Web: www.melvinsmithsax.com

Spirituality and the respect of culture are the themes behind Melvin Smith's Portrait, which is a snapspot of his thoughts and views of life and the world. While I don't know the song, I have heard "Lord I Left Your Name On High" through various made-for-TV compilation albums, so it was a surprise for me to hear it done in a jazz frame of mind. Smith's playing in this track sounds a lot like what Grover Washington, Jr. was doing in the early and mid-70's, the CTI-era that a lot of fans still call some of his best. He and the band add a bit of a Latin flair to the proceedings, and one can almost imagine Smith walking around from city to city, country to country, delivering good music to everyone who is able to hear him.

After the first track, Smith undoes his tie and gets a bit more serious by turning "Go Down Moses" and "Wade In The Water" into an earthy blues medley. It is unexpected, but it works very well. One might say "oh no, that sounds like the dirge of the bordello" and while that may be, the contradiction is what makes his performance work, by placing the gospel into a setting that one might feel is unfitting for that kind of music, and in time shows the strength of not only the song, but the musicianship involved. In fact, his passion for mixing the traditional with the unknown or uncertain work very well for him. Covering Donny Hathaway's "Someday We'll All Be Free" would have definitely made him very happy to hear his song done in this way. He also has a number of his own compositions on the album, including "1750 Washington St.", which is said to honor friends of days gone by, and it sounds that way as one can hear nothing but smiles and good times, especially in the piano work of Gregory Royals.

When Smith and the band get to "We Shall Overcome", it's a call for unity, strength, and justice that continues to be the core in the fight against inequality around the world, especially here in the U.S. Portrait is an album that could have easily been a snapshot of this country in 1967, 1962, 1957, or 1897, and perhaps that's the point for an album like this. Despite the different faces and different styles of clothing, the portrait may very well be the same throughout the ages. Smith merely serves as the man/musician behind the camera, and someone who plays with optimism and hope in order to one day be someone to witness a different portrait taken.

(Portrait is available through CDBaby.)

Portrait
Melvin Smith | Self Published (2007)

By Michael P. Gladstone
Discuss

There is nothing newfangled here, but if mainstream bebop jazz saxophone is to your interests, then you will give this debut high marks.
Melvin Smith is a native of Jacksonville, Florida. Armed with a scholarship to the Berklee College of Music, he was also honored there with the Lennie Johnson Award after graduation. Smith then studied under Jimmy Heath at the Queens College (New York) music department, gaining his Master's Degree in 1999.

Smith uses his church-going beliefs in the composition of his music, and the more secularly known tunes. The opening “Lord I Lift Your Name on High,” written by M.O'Shields, is transmogrified as a semi-calypso that would get a nod from Sonny Rollins. On the traditional medley “Go Down Moses/Wade in the Water,” Smith’s arrangement is straight out of the classic early 1960s Blue Note sound. The tenor saxophonist jumps out and provides a masculine and melodic solo that is redolent of Hank Mobley at his best. Trumpeter Reggie Pittman shows that he is no slouch, with a solo that conjures up some Kenny Dorham vibes.

On Billie Holiday/Arthur Herzog’s “God Bless the Child,” Smith engages in a lengthy tenor sax duet with pianist Gregory Royals, which begins as a reflective ballad and then intensifies during its almost eleven-minute stretch. Smith brings a more reverential tone to Donnie Hathaway's “Someday We'll All Be Free,” and picks up the soprano sax for his own “Manasseh” and Pete Seeger’s “We Shall Overcome.”

This album links in with the early 1960s Donald Byrd efforts including A New Perspective (Blue Note, 1962) and I'm Tryin' To Get Home (Blue Note, 1964). Although these releases were far more ambitious in delivering gospel jazz, Smith's first release imparts the same feeling.

Visit Melvin Smith on the web.


Track listing: Lord I Lift Your Name On High; Go Down Moses/Wade in the Water; Manasseh; Trylenera (part 1); Someday We'll All Be Free; 1750 Washington St.; God Bless the Child; Trylenera (part 2); We Shall Overcome.

Personnel: Melvin Smith: soprano and tenor saxophone, piano overdubs; Lino C. Gomez: acoustic and electric bass; Reggie Pittman: trumpet, flugelhorn; Stephen Lee: piano (1-4, 9); Gregory Royals: piano (5-8); Sam Knight: drums (1-4, 9); Ezra Henry: drums (5, 6, 8).

Style: Mainstream/Bop/Hard Bop/Cool | Published: December 27, 2007

Portrait
Melvin Smith | Self Published (2007)

By John Barron
Discuss

Using gospel elements in a jazz context can be a hit-or-miss proposition. Depending on the background and integrity of the musicians involved, the results can often be trite, or shamelessly bent towards commercialism. Upon hearing Portrait it’s obvious that saxophonist/composer Melvin Smith is equally adept in both genres. Smith is able to successfully blur the lines between the tradition of the spiritual and the inventiveness of jazz; demonstrating the obvious connections missing from the sounds of so many contemporary improvisers.
Portrait is full of exceptional musical interplay, especially between Smith and trumpeter Reggie Pittman. Smith’s reworking of the spirituals “Go Down Moses” and “Wade in the Water” allow for the two front-line soloists to stretch out over a swinging modal backdrop. Smith’s sleek soprano blends in nicely with Pittman’s flugelhorn on the Latin-tinged “Manasseh.” The two weave through the twists and turns of the challenging melody in perfect simpatico. The lengthy duet between Smith and pianist Gregory Royals on “God Bless the Child” is a serene meditation that recalls the spiritual renderings of Charles Lloyd.

Another stand-out moment on the disc is Smith’s hard-driving lines on his harmonically rich composition “Trylenera,” presented in two parts. The saxophonist mixes modern ideas with a tone reminiscent of past masters like Hank Mobley and George Coleman.

Portrait is an honest representation of an artist willing to take chances while respecting the musical traditions of his past. Smith has the potential to reach a broad audience without compromising an ounce of artistic integrity.

Visit Melvin Smith on the web.


Track listing: Lord I Lift Your Name On High; Go Down Moses/Wade in the Water; Manasseh; Trylenera (part 1); Someday We'll All Be Free; 1750 Washington St.; God Bless the Child; Trylenera (part 2); We Shall Overcome.

Personnel: Melvin Smith: soprano and tenor saxophone, piano overdubs; Lino C. Gomez: acoustic and electric bass; Reggie Pittman: trumpet, flugelhorn; Stephen Lee: piano (1-4, 9); Gregory Royals: piano (5-8); Sam Knight: drums (1-4, 9); Ezra Henry: drums (5, 6, 8).

Style: Mainstream | Published: November 27, 2007

Reviews
Artist: Melvin Smith
Title: Portrait
Label: Melvin G. Smith Music
Melvin Smith plays the Soprano and Tenor sax...really well. His debut album, Portrait, is jazzy but also a combination of blues, funk, gospel and even Latin. This is an album of standards but not necessarily the kind you'd think. Based on what I read in the C.D. jacket, Smith is a very religious man. Honestly, when I read the religious sounding track names, particularly Lord I Lift Your Name on High, Go Down Moses, and God Bless the Child I was a bit thrown off. I wasn't sure how he was going to swing it. However, I enjoyed hearing familiar songs all jazzed up...especially because they were done so well.

Melvin Smith was born in Florida and now lives in Boston. He started playing the sax in his early teens and later studied at Berklee College of Music. In Boston he studied under several talented musicians and he definitely has some chops now. The album, a wonderful mix of so many genres, was mostly arranged by Smith.

Portrait starts out with a joyful, standard jazz version of Lord I Lift Your Name on High. I'm sure there are many arrangements of this song out there but compared to the way I learned it Smith kicked it up a notch and made it a more upbeat song. This interpretation shows a jubilant expression of his love for God. But, from this first song I was a bit worried that the whole album might be good but a little hokey. On the contrary, the next song switches modes into a more bluesy feel and the songs that follow continue to show Smith's talent for understanding and blending many different influences as a great jazz musician should.

One highlight on this album for me was Trylenera (Part 1 and 2), Smith's own song which has two parts (spread out on the album) and expresses how you've got to learn from making mistakes. This song has a real build and seems to follow a story. The hook is catchy and Smith plays exceptionally well in these two songs. I also really enjoyed God Bless the Child, Smith's version of Billy Holiday's arrangement. This song really shows Smith's ability to emote with his saxophone. It's a beautiful piece with a cozy feeling.

I will definitely be listening to this album a lot now that I've been introduced to it. Melvin Smith plays with passion and joy. This album is delightful and I hope to see more soon.

Featured Artist: Melvin Smith


CD Title: Portrait

Year: 2007

Record Label: Melvin G. Smith Music

Style: Straight-Ahead / Classic

Musicians: Melvin G. Smith (saxophones & piano overdubs), Lino C. Gomez (basses), Reggie Pittman (trumpet & flugelhorn on tracks 5, 6, & 8), Stephen Lee (piano on tracks 1, 2, 3, 4, & 9), Gregory Royals (piano on tracks 5, 6, 7, & 8), Sam Knight (drums on tracks 1, 2, 3, 4, & 9), Ezra Henry (drums on tracks 5, 6, & 8)

Review:
With Portrait, Melvin Smith combines an interesting and relaxing blend of straight-ahead jazz, Caribbean rhythms, and inspirational gospel with his mastery of the sax in a way that begs notice. Joined here by some genuine talent in Reggie Pittman on trumpet, Gregory Royals and Stephen Lee dividing the tracks on piano, and Ezra Henry and Sam Knight sharing drum duties, Smith puts a finely tuned eclectic touch on this project.

Smith makes reshaping some of the better known gospel pieces (e.g., “Wade in the Water,” “God Bless the Child,” and “We Shall Overcome”) actually seem almost easy. One thing is for certain: One can sense that it was a most enjoyable undertaking for the saxman.

Having had the opportunity to study with the likes of Andy McGhee, Walter Beasley, Billy Pierce, and Jimmy Heath, Smith comes well prepared for this and any other musical adventure. Further, he lists as some of his inspirational sources tunes like Coltrane’s “A Love Supreme,” Dexter Gordon’s “Go,” and Miles Davis’ “58 Sessions, Stella by Starlight.”

At age 13, young Mel had the distinct pleasure and fortune to appear at the Montreaux Jazz Festival. He states that “At that point, I knew music would be with me for the rest of my life.” Yep, in some way, shape, or form, music will do that to you.

With such inspiration and so many fine models from which to mold his style, Melvin Smith can be expected to wow the jazz scene for quite awhile. Portrait should serve such notice on all who listen.



Tracks: Lord I Lift Your Name on High, Go Down Moses/Wade in the Water, Manasseh, Trylenera (part 1), Someday We'll All Be Free, 1750 Washington St., God Bless the Child, Trylenera (part 2), We Shall Overcome

Artist's Website: http://www.melvinsmithsax.com

Listen or Buy:

Reviewed by: Ronald Jackson

MELVIN SMITH
I Surrender All (Melvin G. Smith)


A proficient saxophonist with a knack for writing catchy tunes (such as his “Burgoyne Dr”), Melvin Smith reveals deep gospel roots in his modernist takes on the traditional hymns “I Surrender All” and “Amazing Grace” and his buoyantly swinging “The Joy of the Lord.” He also delivers faithful renditions of Bobby Watson’s “In Case You Missed It” and Cedar Walton’s “Firm Roots,” and turns in an affecting duet with pianist Hubert Eaves III on Horace Silver’s haunting ballad “Peace.”
-Bill Milkowski