(Yahoo!’s Music Player has got to be the best stereo sound out there!)
If you’ve heard some of Chuck’s jazz I’m sure that you’ll understand why I’ve bothered to put a whole post just on him up. If you haven’t just be aware the next time your listening to some jazz. If it’s sounding especially together in sync, rhythmical, totally expressive and really ‘Real’ then there will be a real good chance that you’re listening to Chuck Loeb.
He is one of those performers that has taken upon himself to give a whole new meaning to listening to music. He simply takes the experience to a whole new higher level. It makes you want to write Yahoo! and all other music promoters and tell them to add one more number above the rest just for him and all those amazingly outstanding performers that just find it in there hearts to re-define the meaning of listening to music!
Enjoy Listening to him,
Chuck Loeb’s Yahoo! biography
A skillful guitarist capable of playing any style of music, Chuck Loeb’s own solo projects have generally been commercially successful crossover jazz, which has been classified through the years as “contemporary” or “smooth” jazz. He started playing guitar when he was 11, discovered jazz when he was 16, took lessons from Jim Hall, Pat Metheny and Joe Puma, and attended the Berkley College Of Music.
Loeb freelanced in New York (with Hubert Laws, Chico Hamilton, Joe Farrell among others) and then in 1979 joined Stan Getz’s group for two years. Back in New York, Loeb worked on jingles and soundtracks both as a player and a composer. He spent 1985-87 with Steps Ahead and in more recent times has produced recordings by Donald Harrison, Nelson Rangell, Larry Coryell, George Garzone and Warren Bernhardt among others.
As a performer, Loeb was part of Petit Blonde (a group featuring saxophonist Bill Evans), Metro and the Fantasy Band plus played with Gary Burton, Dave Samuels and many others; in addition his compositions have been recorded by quite a few pop/jazz artists. Chuck Loeb made his first solo record in 1988, recorded extensively for DMP and switched to Shanachie in 1996; Moon, the Stars, & the Setting Sun was issued in 1998; Listen followed in 1999 and In A Heartbeat in early 2001.~ Scott Yanow, All Music Guide
Written by Scott Yanow
And here are a couple of many reviews on him:
The Moon, The Stars, And The Setting Sun Review
07/13/2005 6:16 AM, AMG
Many smooth jazz artists view song titles as an afterthought, so it’s refreshing to see guitarist Chuck Loeb play a romantic connect the dots with the names of the nine originals on The Moon, The Stars and the Setting Sun. Sure, it’s a little corny to follow the sweet little tale strung together by ellipses (i.e. “…the stars…above us…shine on…while we speak…of love and the setting sun”) but it gives us a glimpse into Loeb’s mindset of this sharply played, generally laid back project.
Sometimes, the stroll is melancholy. Over floating synth washes, he generates a crying effect via lengthy acoustic notes, which are echoed by the subdued Sanbornesque touches of Nelson Rangell (on the swaying James Taylor cover “Don’t Let Me Be Lonely Tonight”) and Andy Snitzer. Aware we already know the sad lyrics, Loeb cries out over gentle synth drum beats on Boyz II Men’s “Water Runs Dry.”
One of Loeb’s trademarks is his ensemble minded approach, and deferring to a lively two minute James keyboard solo on the Brazilian flavored piece makes perfect sense; the disc offers the same sort of gently rhythmic flavors as a James-Earl Klugh collaboration. ~ Jonathan Widran, All Music Guide
The Music Inside Review
07/13/2005 6:38 AM, AMG
A splash of variety and all-star panache elevates Chuck Loeb’s The Music Inside above the typical play it safe pop-jazz date. Smooth overall but just punchy enough in all the right spots, the disc tends to surprise at the very moment its grooves start sounding too comfortable. After a relaxing take on Babyface’s languid “Breath Again,” for instance, Loeb goes the street smart bluesy route with the horn drenched “Steffi’s Strut.”
Other cool continental shifts include a breezy Eastern tinge, a crazed Latin attitude with the help of Michel Camilo’s trademark ivory bounce, and even tinges of classical influence. The very Sanbornesque ballad “Equal Time” features that notoriously brilliant sound alike, saxman Andy Snitzer, surrounded by the piano harmonics of Sanborn’s old cohort, Michael Colina.
Nelson Rangell, Eddie Daniels and Mitchel Forman round out the celeb input in a setting which shows that while Loeb is stellar on both acoustic and electric strings, his greatest contribution to the genre is his compositional diversity. ~ Jonathan Widran, All Music Guide
~ Comments always welcome: