| | Paul Taylor Steppin' Out CD Paul Taylor Discography of CDs
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Personnel includes: Paul Taylor (soprano saxophone); Paul Taylor (alto saxophone, vocoder); Nicholas Lane (trumpet); Lee Thornburg (trombone); Rex Rideout (keyboards, programming); Dwight Sills (guitar); Michael White, Ronnie Garrett (bass); (drums); Luis Conte, Dave Charles (percussion); Darcy Alrdridge (background vocals). Recorded at East Bay Music Recording, Tarrytown, New York. Personnel: Paul Taylor (soprano saxophone, alto saxophone, vocoder); Sharon Youngblood (vocals); Dwight Sills (guitar, acoustic guitar); Ronald Smith , Abdulhameed Zuhri, Jonathan Butler, Phil Hamilton (guitar); Lee Thornburg (trombone); Rex Rideout (keyboards, programming); Barry Eastmond (keyboards, drum programming); Chris Parker , Michael White (drums); David Charles, Luis Conte, Bashiri Johnson (percussion); Darcy Aldridge, Gordon Chambers (background vocals). Audio Mixers: Phil Magnotti; Steve Sykes; Barry Eastmond. Recording information: Castle Oaks Studios, Calabasas, CA (2002); Clear Lake Audio, North Hollywood, CA (2002); East Bay Music Recording, Tarrytown, NY (2002); Kar Studios, Sherman Oaks, CA (2002); The Carriage House, Stamford, CT (2002). Photographer: Sonny Mediana. Arrangers: Gordon Chambers; Barry Eastmond; Paul Taylor. Paul Taylor, the sexy saxman of smooth/urban jazz, is back with his fifth solo recording titled Steppin' Out, his second outing on the Peak Records label. Ripe with old-school moods and pop-oriented flavors, Taylor's accompanists bring out the best of his smooth sax work on soprano and alto, his sax harmonies, and his vocoder on three tracks. Produced by Rex Rideout and Barry J. Eastmond, two of smooth/urban jazz's most acclaimed producers, the set jumps off with the radio-friendly single "On the Move," which immediately sets the tone for the remainder of the all-star project. The lovely, reassuring vocals of Sharon Youngblood are both soothing and captivating on "Someone Watching Over You." She provides an excellent foil for the beautiful soprano sax voice of Taylor, who provides delicate background complements. On "Enchanted Garden," Taylor plays a highly imaginative soprano sax and vocoder and captures the listener's imagination with fragrant flourishes and delicate lines. The smooth program is interspersed with a soulful urban bebop-style composition called "Speakeasy" and ends with a bonus track titled "Get Up." And that's exactly what you'll want to do to express your gratitude for this marvelous set. ~ Paula EdelsteinJazzTimes (8/03, p.135) - "...Smooth-jazz saxophonist Paul Taylor possesses an attractive, plaintive sound, which is amply in evidence on STEPPIN' OUT..." Steppin' Out Music | List Price | $11.98 (You save $5.09) | | Category | Rock/Pop Albums, Jazz Instrument CDs, Smooth Jazz, Saxophone, Jazz | | Label | Peak | | Orig Year | 2003 | | All Time Sales Rank | 17840  | | CD Universe Part number | 5746458 | | Catalog number | 8516 | | Discs | 1 | | Release Date | Apr 22, 2003 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Rex Rideout; Barry J. Eastmond | | Engineer | Bill Esses; Rex Rideout; Steve Sykes; Barry J. Eastmond; Bryan New | | Personnel | Luis Conte Lee Thornburg - trombone Michael White - drums Rex Rideout - keyboards, programming Paul Taylor - alto saxophone, vocoder Dwight Sills - guitar Paul Taylor - alto saxophone, vocoder Ronnie Garrett - bass Nicholas Lane - trumpet Nicholas Lane - trumpet Dave Charles - percussion Darcy Alrdridge - background vocals
Also: Bashiri Johnson, Barry Eastmond, Jonathan Butler, Chris Parker, Gordon Chambers, Phil Hamilton, David Charles, Ronald Smith, Abdulhameed Zuhri |
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$9.85 "I tell people Iām too stupid to know whatās impossible. I have ridiculously large dreams, and half the time, they come true." ~Debi ThomasIf you were to reach into the back of our familyās television cabinet, dust off a video tape labeled āMolly 1991ā, and pop it into the VCR, a chubby little girl draped in dress-up clothes and wobbling in her momās high heels, would appear on screen. She would command the camera-man (her grandpa) to focus exclusively on her, claiming she was going to sing a song for everyone. The camera-man would grant her the floor, and for a moment, just a moment, a wave of shyness would pass through the little girl. Her little hands would cover her eyes for a second, she would giggle, and any ounce of remaining timidity would disappear. Sheād stand tall and proud like the Shirley Temple she dreamed sheād someday be, and she would sing her song like she owned it. While you watched her, youād probably laugh a little bit and smile a lot, and remember when you were that fearless. Well, at least thatās how I feel when I watch it, because that little girl was me.Iāve grown up a lot since then. I donāt wear my momās high heels anymore, I wear my own, and I have role models other than Shirley Temple. Iāve also performed in many places since my first debut on my grandpaās home video. I began studying classical piano at age 6, and have had many incredibly talented teachers. They were all very different; one from Russia, one grandmother, one church organist, one from Taiwan, one rock star, one college studentā¦and the list goes on. They each added something different to the musician Iāve become, and each allowed me a glimpse into the great treasure music can bring to life. I guess itās true that music is a universal language.I became a really quiet, painfully shy person in middle school. I was nervous speaking up in class, and if I ever had to speak, no one could hear me because I had such a soft voice. Almost all of the brave little girl that I once was had vanished, swallowed up by adolescenceā¦until September 11th happened. Our church called my home asking for my mom and I to sing for a special remembrance service. I was expectedly hesitant. I sang in the chorus at school and knew I had a nice voice, it was quiet, but on pitch; however, I couldnāt fathom singing in front of the whole church, especially next to my momās beautiful, powerful voiceā¦but I also couldnāt fathom saying ānoā to a September 11th service simply because I couldnāt handle it. So I did it. And the congregation loved it; most of them were crying. I listened to the tape of the service, and to my surprise, I was actually pretty good. That day, a bit of confidence was born in me. I guess God really does have a plan, because right then, he saved the brave little girl that was almost lost inside of me.A year later, I was singing everywhere. I sang for my eighth grade graduation, then on to several choruses and shows at my high school. I was invited to sing in regional and State-wide choruses, too, and was amazed to see how many kids there were out there that loved music as much as I did. By the end of my freshman year, I began writing songs for piano and voice, ...
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