The unstoppable phenomenon of saxophonist Paul Taylor reached a fever pitch in 2004--“Steppin’ Out,” the irrepressible title track from his 2003 Top Ten Billboard Contemporary Jazz album, became Radio & Records’ third biggest genre airplay cut of the year, he toured the U.S. as a featured performer with the all-star “Groovin’ For Grover” lineup (including Jeff Lorber, Richard Elliot and Gerald Albright) and he performed and made his acting debut on the legendary ABC soap opera One Life To Live. In 2005, Taylor celebrates ten years since the release of his debut album On The Horn with his fourth Peak Records recording Nightlife--an ultra-seductive soul jazz date featuring more of the irresistible elements that made Steppin’ Out an urban instrumental classic: unforgettable hooks, funky alto sax in addition to his well known soprano, explosive grooves and live, sizzling horn textures.
“The key to making a great album is finding the perfect balance every time between cool, straightforward melodies people can quickly latch on to, and the desire to play edgier songs and produce cutting edge tracks,” says Taylor. “This kind of variety, mixing the instantly familiar with some fascinating curveballs, keeps things interesting for both me and my fans. I wanted to get back in touch with all the things that made Steppin’ Out such a great experience, but also make the new album more upbeat and slightly tilted toward alto over soprano. There are also bits of reggae and Latin sounds on ‘Anything You Say’ and a cover vocal by Maxi Priest (“Tender Love”) which fits perfectly into the mix.”
Taylor’s energetic, free-spirited playing style on Nightlife perfectly reflects what he calls the “clean slate vibe” he had in approaching the writing and recording process, but he knew from the get-go the three legendary pop, jazz and R&B writer/producers he wanted to collaborate with: Rex Rideout, Barry J. Eastmond and Dino Esposito. Smooth jazz and urban music fans are no doubt familiar with Rideout’s collaborations with Boney James, Larry Carlton, Will Downing and his production of the 2003 all-star, Grammy nominated Forever, For Always, For Luther album. Lovers of classic pop and R&B have long enjoyed Eastmond’s legendary work with pop and jazz icons alike, from Britney Spears and Al Jarreau to Phil Perry, Freddie Jackson, Regina Belle and Jonathan Butler. Eastmond is also up for a Grammy for his work on Anita Baker’s 2004 recording My Everything.
Taylor loved the excitement that Rideout and Eastmond brought to their individually produced tracks on Steppin’ Out, and wanted those vibes to carry over to Nightlife. And who better to complement those tracks than three others produced by 90’s pop star Dino Esposito, who helped define the sound of earlier Taylor albums like Pleasure Seeker (1997), Undercover (2000) and Hypnotic (2001)?
“I just can’t say enough about these three guys and how enjoyable it was to work with them again,” says Taylor. “Rex is an all-around great producer who isn’t afraid to dig into what we think is a final mix to add an extra guitar or harmony line if the song needs it. Barry’s also so easy to work with, and so good with songs and making simple suggestions to take things in a better direction. He treats my sax like one of the legendary voices he’s worked with, and I love using his vintage Telefunken ELA251, which is to me the greatest, smoothest sounding mic in the world. And Dino’s always challenging me with his sexy atmospheres, trippy sounds and pop sensibilities. The high energy ‘Things Left Unsaid’ is the first song I’ve ever written in >, which creates an interesting rhythmic counterpoint to the rest of the album. He’s always full of interesting ideas like that.”
Taylor blends the sensibilities of his three collaborators seamlessly over the course of Nightlife’s eleven tracks, beginning with the thumping title tune, which features some of Taylor’s most explosive playing ever with an atmosphere blending new and old school R&B. Named after a combination of Eastmond’s production company (East Bay Music) and the rhythm of the tune, “East Bay Bounce” begins in a laid back dream mode before evolving into an energetic romp. Eastmond’s Fender Rhodes flavors brings a decidedly bluesy 70s soul-jazz texture to “Around The Corner,” which Taylor calls “a tune that builds energy and anticipation, as if the fulfillment of all your dreams is right around the corner.” Taylor describes Esposito’s trip-hop ambiences throughout “Enjoy The Ride”— the fourth consecutive tune to feature the saxman punching it up on alto—as “entering a temple that suddenly becomes a supersonic car.”
Taylor, a longtime fan of legendary R&B songwriters Jimmy Jam and Terry Lewis thought a gentle hip-hop reworking of “Tender Love,” their classic 1986 hit for Force M.D.’s—originally featured on the Krush Groove soundtrack—would be a perfect fit for the reggae soul voice of Maxi Priest. A reggae-funk vibe is in full effect amidst the playful hip-hop grooves, feisty horn textures and Latin spice of “Anything You Say,” which features the colorful vocals and rapping of co-writer Lauren Evans. The perfectly titled slow dance numbers “Candlelight” and “After Hours” find Taylor in the late night romantic mode. Sandwiched between these moody charmers is another Taylor and Esposito classic—the genre defying, semi-discofied rolling jam “Don’t Wait Up.” Their next collaboration “Things Left Unsaid” features a cool tension between synth effects, Brian Monroney’s electric guitar and Taylor’s soprano. “Silk ‘N’ Lace” brings Nightlife to a close with a casual yet hypnotic moonlit elegance.
Although he started playing the sax at age seven, Taylor didn’t consider it a true vocational possibility until he joined a local high school garage band called Mixed Company. True to its name, the group played Top 40 and funk but also would delve into the soulful fusion of the time typified by groups like The Crusaders and David Sanborn. Aiming to build his resume beyond the many dues-paying Vegas lounge gigs which marked his early professional life, he commuted often to Los Angeles and hooked up in the late 80s with Dino Esposito. Taylor did one of Esposito’s sessions at Jeff Lorber’s home studio; a few years later, in 1994, the popular keyboardist remembered Taylor and asked him to play with him at the Catalina Island Jazz Trax Festival. Popular smooth jazz keyboardist Keiko Matsui and her producer/husband Kazu liked Taylor’s charismatic performance and later offered him an audition with their band. Taylor recorded and toured with the Matsui's for two years (appearing on Sapphire and Dream Walk), and Kazu Matsui eventually produced the saxman’s debut On The Horn, which rose high on Billboard’s Contemporary Jazz chart and spawned the #1 radio hit “Till We Meet Again”.
Taylor quickly found his own niche in the smooth jazz world, and his quick but well deserved popularity led Pleasure Seeker to the top of the radio charts. The #1 title track was one of Radio & Records most played genre cuts of the year. Although Taylor has since been one of the genre's most popular live attractions as a solo artist, he eagerly accepted Russ Freeman's invitation to tour with The Rippingtons as a special guest artist in 2000 after Jeff Kashiwa left the group.
Taylor continues to tour as a solo artist, and in 2005 will be on the road in conjunction with Nightlife, in addition to his ongoing participation in the “Groovin’ For Grover” tour. Being part of “Groovin’ For Grover” is more than simply a confirmation of the saxman’s status among the movers and shakers of the smooth jazz genre. When he plays the Grover Washington, Jr. classics “Let It Flow” and “Can You Dig It,” it’s a full circle experience which brings him back to his teen years in Denver, when albums like Washington’s Mr. Magic, The Crusaders’ Chain Reaction and Quincy Jones’ Mellow Madness found him pondering his potential as a professional horn player.
“With every album I make, I feel as though I’m really living my dream and taking my fans on a great new journey,” he says. “This is my sixth record, and the fact that I have the chance to keep exploring new musical territory is something I’m really grateful for. I feel like I’m growing all the time. To me, Nightlife has the best of everything, from the quiet elegance of the soprano tunes to the rich textures and more intense rhythms of the upbeat tracks. The common thread is me. As long as I’m playing the sax and delivering strong melodies and harmonies, people will recognize my sound.”
It’s a sound that will keep the smooth jazz and urban airwaves buzzing, making every day simply a prelude to an unforgettable Nightlife throughout 2005.