Patrick Charles 「Cite Soreil」Soleil Records(SR1002) 2008 - U.S.A. ..TABLE>Patrick Charles(drums), Larry Kimpel(bass), Johnny Britt(kb,tp), Wayne Lindsey(kb), Rob Bacon(g), Bobby English(flute), Alex Al(bass), Andre Delano(sax), Kevin Toney(piano), Ricky G(nylon g), Freddie Fox(g), Kenneth Grey(bass), Everette Harp(sax), etc. ○骨太いストレート系 ○明るく爽やか系 ●骨太系と爽やか系の中間 ○R&B ○ブラック系 　 ○歌物・NAC/AOR 系 ○ラテン系（□ブラジル系 □サルサ系 □カリプソ系） ○ユーロ系 ○JAZZ系 ○JAZZとFUSIONの中間系 ○ブルース系 ○ロック系 ○その他 ..TABLE> ..TR> ..TR> LAのスタジオ･シーンで活動するドラマー、パトリック・チャールスのデビュー･アルバム。 エヴェレット・ハープをゲストに迎えるなどLAのスタジオ系ミュージシャンがバックを固めている。 1曲目は80年代マイルス･デイビスか、マーカス･ミラーあたりを連想させるようなアレンジの重たいリズムから始まる。 ジャズの世界に入ったきっかけがマイルスの「TUTU」を聴いたことだったということから繋がっているようなサウンドだ。 レゲエのリズムをベースに演奏されるタイトル曲の「Cite Soleil」はコーラスとエッジの効いたギター･ソロが印象的だし、SEALのkカバー「Crazy」のギター中心のアレンジもカッコよく仕上がっている。 またこれらの間に演奏される曲はスムース系でも通用するようなPOPさも持っていてヴァラエティーに富んだサウンドが楽しめる。 ドラマーのリーダー･アルバムといっても、ドラムスが目立ってフィーチャーされることは全くなく、アルバムの最後締めくくる曲などはソロ･ピアノ曲でP.チャールズは作編曲のみの参加となっている。 アルバム全体としてP.チャールズの作曲、編曲重視の構成で、トータルとして聴かせるサウンドになっている。 （橋　雅人）

Wow. If I just said, "Thanks. Nice CD. I'll see about getting you into the rotation.", I feel that would somehow fail to deliver the appropriate response. And, I wouldn't want to do that. So, allow me to state it more naturally. Thanks for putting it back where it belongs. The funk. The groove. The swing. The style, the flavor, and the soul. They belong side-by-side, and intermingled, and co-habitated. But never overstated, making Jazz a continuous conversation. Improv and syncopation... occuring simultaneously. It's hard for me to not flow into straight poetry, but that's what good music does to me. This CD is incredible. Thanks again, for... . Whatever it is that brought us together, you, and your music, and me.... no matter what power or entity... should be held as an example for the world to see what happens when creativity is done properly. Your CD gets a "Vibe Rate" of 10. I have no criticism. You could be my CD of the year. And, I didn't even know who you were two weeks ago. I often wonder how many other sizzling hot talents are out there, unknown, because a few radio groups have an iron-tight grip on what people can and cannot hear. Thank goodness for internet radio. Airplay: Track 1 Code Noir - It's like the missing episode from the Tutu album by Miles. Gotta go in the Jazz Dimension. Track 2 - Kush. One of the best ensemble pieces I've ever heard. Ranks right up there with Chain Reaction, by the Crusaders. Will be a huge hit in the Jazz Dimension. Track 6 - Crazy. Makes it sound like you guys wrote this and Seal borrowed it for the remake. Good for the workday mix. Track 7 - Breathe. Smooth Jazz without the soul removed. Very sensous and yet still rhythmic. That's how you do it. This song can play in any of our programs. Track 8 - When The Love is Gone. Gorgeous. Love the title. Track 9 - I've been listening to Kevin Toney since I was a kid, back in the 70's, when they (the Blackbyrds) had on those jeans in the cover art for City Life, the 3rd album I ever purchased. Number 1 was Love Unlimited's White Gold. Number 2 was Honey, by the Ohio Players. He is perhaps one of the most underrated musicians on the planet, largely because we (our people) have no sense of legacy. Many of us don't know who he is. This is one of the nicest solo piano pieces I've heard. This song, believe it or not, can play in any of our rotations, even the workday mix. Please pass on my props to Mr. Toney. I don't always review CD's like this. Every now and then. In your case, I felt it was important to let you know there's someone who knows what you've done enough to appreciate the details of the work you and your fellow artists have created. My best friend is blind. He is also my assistant music director. Letting him listen to this CD will be the equivalent of going to a museum. I can't wait to see the look on his face. Well done. Let me know when you're coming to the Atlanta area. I'd love to meet you. All the best. John Marcus Smooth Soul Online

Patrick Charles is a young, energetic drummer/writer with a clear vision of the diverse workings of jazz/funk and other such pairings. Cite Soleil is more than just a refreshingly unique "mover" in many distinctive ways, it's also an attitude. You get that from the beginning. This young man is on a mission to make a bold statement. Charles collaborates nicely with Johnny Britt (who co-penned a couple of cuts, as well as contributes keys on the first track) on trumpet, Kevin Toney on piano and Rhodes, and Wayne Linsey ..s and Rhodes. Saxman Everette Harp and guitarist Freddie Fox also put in shining guest appearances. There is actually quite a myriad of styles, melodies, tempos, and general feels to simply sit back and enjoy on this well-constructed album. In my personal opinion, one of the coolest things about the album is the transition from track 5 to track 7. All three tunes paint vastly different pictures, all vivid, yet very unique unto themselves. Not a necessarily unique technique, of course, but one has to hear these tunes to see what material is involved in this particular transition. Track 5, the title track , is a very island-flavored cut that just lazily, yet oh-so-melodically, sings and strolls along to track 6, Seal's "Crazy," where the tone and tempo pick up to a snappy guitar-rich stride. This neatly takes us to a mid-tempo R&B-like groove, "Breathe," featuring the artistry of Kevin Toney (it truly does have that Toney feel). Brilliant choice of tune placement. It just makes the transition such a natural and fluid one. As if to add icing to that cake, we get the smooth sax of Everette Harp on track 8's "When the Love is Gone," a tune custom-made for the hauntingly sweet and soulful alto sax of Harp. Patrick Charles certainly does no harm whatsoever to his career here. The young man would do well to use Cite Soleil as his barometer for future ventures. A more trustworthy measuring tool may be hard to find

'Cite Soleil' is the debut CD from drummer, composer and producer Patrick Charles. It threatens to redefine the accepted boundaries of contemporary jazz yet, with seven of his own compositions, another from the multi talented Johnny Britt, plus a strong interpretation of the Seal mega hit 'Crazy', this hip nine track collection is always compelling and totally enthralling. Charles was raised in East Orange, NJ and became hooked on jazz after discovering Miles Davis's 'Tutu'. Now, well established as a freelance drummer in the LA area, he has gathered together an impressive array of fellow session players and established artists to collaborate with him on the album. In doing so he has delivered some of the strongest and diverse tunes of the year. For example 'When The Love Is Gone' finds sax from both Everette Harp and Bobby English that sends shivers down the spine. Kevin Toney provides exceptionally good piano and the entire piece is masterfully anchored by the distinct bass of Alex Al. Toney returns again to lend a hand with Charles's delightfully understated 'Charlene' but, that said, the killer cut is without doubt the sumptuous 'Breathe'. With more outstanding keyboards from Kevin Toney and wonderful nylon string guitar from Ricky Z this one is sure to become one of the Smooth Jazz Therapy top tracks of 2008. Despite his New Jersey upbringing Charles was in fact born in Port – au – Prince Haiti and, from time to time, he allows the French influence of that island to permeate his music. This is particularly so with 'Kush' where the sexy spoken word of Sandrine Fritz lays the foundation for Johnny Britt on trumpet and Wayne Linsey ..s to weave a groove drenched web. The French theme (in title at least) continues with 'Jean Michel'. In reality the tune is an atmospheric chunk of laid back jazz that features stellar performances from Britt, Linsey and of course ultra tight drums and percussion from Charles. It is the percussion and keyboards of Charles that take the lead on the intense 'Makendel' which, as an interlude, is used to build a bridge to the heavily produced title track. Here Kevin Toney takes the lead on piano and is backed by powerful rock tinged guitar from Rob Bacon yet the real energy comes from the track's intense world rhythms that merge sensationally with spicy percussion from Timbale. Bacon is equally strong on the Johnny Britt composition 'Code Noir'. A languid beat laid down in unison by Patrick Charles and Larry Kimpel (who is immense on bass) establishes the platform from which first Britt on trumpet and then Bobby English on sax and flute make magic with their jazzy vibe. 'Cite Soleil' is independently released on Patrick Charles own Soleil Records label and comes highly recommended.