When I was hosting a Sunday morning brunch show, I used to
get whispered phone calls and sneaky emails from people who
were listening in church. I guess someone else in the family
wanted them to go, and they couldn't say "no." So
they sat there surrounded by the spirit of the church service
while some solid contemporary jazz was sneaking into one or
both ears. That's what Euge Groove has done on Sunday
Morning. Heavily influenced by his interest
in contemporary Gospel music and an introspective period of
time he spent when he was on his own during an overseas tour,
this album mixes and melds the distinctive flavors of these
two styles into a spirit infused set of powerful contemporary
jazz music.
There has been a long tradition of jazz in church and gospel
music influences in jazz. Coltrane played in church. The
whole heritage of New Orleans jazz is tied into various houses
of worship. In our own contemporary jazz circle musicians
like Kirk Whalum, Jonathan Butler, and Tim Bowman have released
overtly gospel projects, and numerous musicians you see on
stage at a given concert are heading home on Sunday morning
to play in church. The difference between those albums and
this one is that this one puts strains of gospel flavor into
songs that are pure contemporary jazz. This gives the
whole project a spiritual spin and a Sunday morning vibe that
allows the listener to feel it from whatever path their own
spiritual inclinations take them, or just settle into some
solid songwriting and sax to-die-for if spirituality is not
their thing.
The music on Sunday Morning continues
in the direction he was exploring on a large part of 2007's
chart-topping Born 2 Groove, which
still has a single climbing the radio charts. On that
album, he started to move away from programmed music. He
used live players in the studio, and instead of relying on
the usual LA session heavy hitters he brought in a group
of musicians who had contemporary jazz track records, but were
also steeped in church music. The result was a tangible
warmth and depth that separated it from the usual high-gloss
smooth jazz fare. He uses most of the same musicians
on this one. Paul Brown is again co-producing and playing
guitar. Keyboardist Tracy Carter, guitarist Jubu Smith,
bassist Cornelius Mims and percussionist Lenny Castro are back,
with Oscar Seaton coming in on drums, and Philippe Saisse providing
some string arrangements. Groove either wrote or co-wrote all
the material except Dax Reynosa's soulful vocal track, "Yes." Put
the headphones on or turn it up loud and it sounds like you're
front row center with a live band that is really connecting.
If you've spent any time in church, whether southern clapboard or urban
mega, the twists these melodies take will feel instantly familiar. The
way they are submerged in Groove's jazzed up R&B influences will perk up
your ears. The title track, which is starting to get some radio play, illustrates
this perfectly. A Memphis soul opening makes way for a jazzy verse from
Euge, then the chorus that kicks in is straight out of the choir loft, and
these three threads weave over Smith's sneaky wah-wah's and an old school Fender
Rhodes line from Carter. "All For You" sounds like a song
you already know even though no part of the song is actually reminiscent of
another song. This time he's bringing a gospel flavored hook into a bossa-nova
tinged rhythm. "On Your Knees" has a more traditional smooth jazz
vibe. He is trading licks with Paul Brown, who sheds the hollow-body
Wes-bound guitar and delivers some Golub-ish electric chops. All these
songs have the band playing tight and loose at the same time, the way only
a truly cohesive group who are really connecting can. Groove is upfront playing
it open and free, exploring the full range of both soprano and alto saxes and
delivering some impressive improvisation. The real showpiece of the album
is "The Gospel Truth." It's a power ballad that opens with
Carter's acoustic piano and some contemplative sax from Euge, then just soars
over Saisse's string arrangement.
The songs on Sunday Morning were
written while he was in Europe on a leg of the Tina Turner
tour that was lengthy and left him alone, across the ocean
from his family, and with lots of down time. He went
within, immersing himself in the songs and the feelings that
brought them into fruition. The result is an album that
connects on levels that can't be put into words. Put
it on and you will, as they say, “feel it.” It's
music you can just melt into. It's music that will take
you home.
Here's a sound clip from the interview: Euge talking about
the sessions and the song “The Gospel Truth”