Eric Darius Albums (3)
What The Critics Say
Goin' All Out is saxophonist Eric Darius' fourth album since 2004, and his Blue Note debut. While the label has released smooth jazz efforts in the past, that trend slowed in the 21st century, favoring instead artists who appealed to a broader range of the ever-shrinking CD-buying market: Norah Jones, Amos Lee, the Bird and the Bee, etc. Apparently it works, since the label continues to pump out these kinds of records regularly. Darius is most decidedly a contemporary jazz artist with a twist. He spent more time listening to the grooves of saxophonists like Gene Ammons, Cannonball Adderley, and Grover Washington, Jr. as well as reggae, funk, gospel, and soul. Darius, with his big raw-toned emotionalism, sense of time, and phrasing, is capable of hanging with anyone in or out of this context. Along with fellow producer, arranger, and multi-instrumentalist Darren Rahn, trumpeter Jason Rahn, occasional bassist Mel Brown, and guitarist Frank Selman, Darius plays his alto and tenor horns with an unrestrained passion, sounding like a young Gato Barbieri playing alto. The downside of Goin' All Out is the lack of live drums. Everything here is programmed. This is a problem because, while the groove is great, when it's lockstep there is only so far Darius can go in a solo. The other downside is that -- besides three tracks -- the bass is a keyboard-driven preprogrammed exchange as well, and if you need proof as to why it works better live, check Mel Brown on the title cut and "Just for the Moment," which also features a guest solo spot by guitarist Norman Brown. The cookin' here between the double-tracked saxes and brass leaves the soloist all the room in the world to use his imagination, while keeping the groove solid. Mel Brown's basslines on these cuts are monstrously huge, dirty, and deeply funky. Darius constructs grooves to play against with pairs of melodies harmonically entwined, and they are sumptuous. They are very sensual and contain enough old-school soul, gospel, and hip-hop to be something out of the ordinary -- check "Be Without You," with that gorgeous high-register piano line that comes straight out of some Vangelis-inspired soundtrack, and the gorgeous, otherworldly backing vocals by Yvonne Brown. Darius plays in a counter-melody, finding the seam in the middle, and hits it every time, just pouring emotion into it. The hip club sense of "Vibe with Me" contains enough electro and Kraftwerk-esque ice to allow double- and triple-tracked saxophones and trumpets; they exist as disembodied sensual voices inside a dark and icy groove. The hip, funky dancehall feel in "Feelin' da Rhythm" sounds like a cheesy idea, but the three different melodies at work against the junglist looping and percolating rhythm tracks wind it all down tight. This set is a winner as it stands, and it marks a turning point for Darius: he can keep going this route and find his audience dwindling because there is so only so much one can do with loops and saxophones; or he can keep the grooves and gorgeous, well-conceived melodies to stretch them taut against a live rhythm section -- in doing so, he might just create an entirely new direction for contemporary jazz. Goin' All Out, despite its synthetic faults, is a solid winner all the way through. ~ Thom Jurek, All Music Guide
'Just Getting Started'
Release Date 1/1/2006
Tracks 11
Label Higher Octave
See Album Tracklist and Review
What The Critics Say
Saxophonist Eric Darius offers listeners 11 memorable performances on Just Getting Started. The CD, which is his second major-label release in as many years, tops Night on the Time in production values, guest star performances, and sheer compositional might because of his collaborations with Brian Culbertson, Darren Rahn, Paul Brown, his hit-making labelmate Euge Groove, and the Grammy-nominated multi-instrumentalist Jeff Lorber on several songs. Together their jam session sound and musicality provide fresh funk, breezy vibes, and wicked chops. "Steppin' Up" jump-starts the CD with a highly personal mixture of sax lines that are superbly complemented by the rhythmic phrasings of the instruments. He continues with "Lover's Paradise," on which Darius builds his creativity and beautifully evokes a time, mood, and place. His sound intersects with the superb sonics of his collaborators to bring on shimmering contemporary grooves that are undoubtedly the characteristics of his renewed sound. Part funk, part smooth jazz, this set is balanced just right. It aptly showcases Eric Darius on a series of compositions that are rich in their references and which take on a deeper meaning with every listen. ~ Paula Edelstein, All Music Guide
'Night on the Town'
Release Date 1/1/2004
Tracks 10
Label Higher Octave
See Album Tracklist and Review
What The Critics Say
Sneer if you must, but the simple fact is that smooth jazz hath charms to soothe the savage beast (if not the snobby music critic). At its best, it can offer the perfect combination of velvety, cake-like sonic textures, sweet melodicism and sturdy funk beats. If you're looking for flights of virtuosic improvisatory fancy, you'll want to consult the Young Lions or dig into your old vinyl collection, but let's be honest: the average listener cares less about the solos than about the mood and the melodies, and smooth jazz provides both in spades. Saxophone wunderkind Eric Darius (just 21-years-old and still a college student) cites Earth, Wind & Fire, Jeff Lorber and Stevie Wonder as major influences, which will give you some idea what to expect here: soulful grooves, expert arrangements and a general approach that is maybe just a bit too professional. The funky title track is especially attractive, though, and "In the Pocket" is built on a nicely strutting rhythm over which Darius bounces and weaves with effortless grace. The world could probably have waited a while longer for yet another cover of "Love TKO," but this is a fine album overall. ~ Rick Anderson, All Music Guide
