Najee Albums (11)
What The Critics Say
Along with Kenny G, Richard Elliot, and the late George Howard, Najee was one of the smooth jazz saxophonists who jazz critics loved to hate back in the late '80s and early '90s. Najee received one scathing review after another in those days; some were from jazz purists and bop snobs, while others were from more broad-minded reviewers who appreciated Grover Washington, Jr. (Najee's main influence), Ronnie Laws, and David Sanborn but felt that Najee's work was too contrived, too formulaic, and too rigid for its own good. But in 1995, Najee pleasantly surprised listeners with his engaging Stevie Wonder tribute Songs from the Key of Life; instead of simply playing Wonder's gems note-for-note, Najee seriously interpreted them and demonstrated that he could, in fact, be a legitimate soul-jazz improviser of the Washington/Sanborn/Laws/Stanley Turrentine/Eddie Harris variety when he put his mind to it. Songs from the Key of Life was Najee's crowning achievement, and it demonstrated that instead of automatically dismissing everything he does as mindless fluff, it's best to judge him on an album-by-album basis. That brings us to 2009's Mind Over Matter, a smooth jazz disc that often plays it much too safe but does have its moments. The automatic-pilot approach doesn't serve Najee well on forgettable radio-oriented tracks such as "Love You a Lifetime," "Sweet Summer Nights," and "Love Forever and a Day," but Najee (who is heard on soprano sax, tenor sax, alto sax, and flute) fares much better on "One More Thing" and "Stolen Glances" (both of which unite him with keyboardist/producer/composer Jeff Lorber). As a rule, smooth jazz recordings that Lorber is a part of manage to balance commercial and artistic considerations and avoid sounding like elevator music; so not surprisingly, "One More Thing" and "Stolen Glances" have commercial appeal but are edgier, meatier, and more substantial than a lot of smooth jazz. Other decent tracks on this mostly instrumental CD include the dreamy "Needless to Say" (which sounds a bit like something Lonnie Liston Smith would do) and the funky but laid-back "We Gone Ride" (an urban/neo-soul number featuring singer Eric Benet). Mind Over Matter is very much a mixed bag, but overall, it's superior to early Najee releases like 1988's Day by Day and 1990s Tokyo Blue -- although Songs from the Key of Life is still the best CD to acquire if one is making his/her first Najee purchase. ~ Alex Henderson, All Music Guide
What The Critics Say
It's been nearly twenty years since his debut Najee's Theme set the pace for the explosion of urban vibes in the genre that evolved into smooth jazz, and the versatile New York based saxman and flutist is still innovating in the early 2000s. After hanging and touring with Prince during the early part of the decade, his signing with contemporary jazz and world music Mecca Heads Up -- and releasing 2005's My Point of View -- brought the Najee vibe to a whole new generation of jazz and old-school soul fans. Rising Sun was an even more exciting and diverse date, with Najee drawing from a wide range of pop, world and jazz influences to complement trademark groove ballads ("Can't Wait Another Minute") and lively light funk gems like "Come What May" and the seriously jumpin' old-school jam "Out of a Dream." Both of these sizzling horn-textured tracks were co-penned by the saxman with Pieces of a Dream keyboardist James Lloyd, who also produced tracks on My Point of View. Najee creates an appealing hybrid of pop, samba and retro-soul keyboard elements on the percussive "Brazilian Affair," which follows the opening track, a crunchy grooving, organic take on John Mayer's infectious "Clarity," a cut truly reflective of Najee's love for this era's contemporary singer/songwriter vibe. Though the flute had, unfortunately, fallen out of favor on smooth jazz radio by this point, it's always been a part of Najee's deeper artistry; the wistful "Child At Heart" and the seductive, samba-tinged title track are perfect showcases for this. Speaking of which, a chance encounter at an NYC woodwind store with the legendary James Moody led to one of Rising Sun's most compelling tracks, a highly lyrical, improvisation-rich sax-driven reading of "Moody's Mood for Love." Straight-ahead jazz critics have found it easy to dismiss Najee as a groove happy lightweight over the years, but tracks like this -- and so much of the powerful playing on this disc -- prove once and for all that he's a serious jazz player. Who just happens to like commercial R&B and play it like nobody's business. ~ Jonathan Widran, All Music Guide
What The Critics Say
As lush and charming as Najee's flute playing is on "Sidewayz," the opening track of his Heads Up debut, it's curious that he would lead off his album with three tracks (including likeable romantic vocals by Will Downing and newcomer Lomon) that put his long beloved soprano anything less than fully out front. Yet even in his heyday back in the formative years of smooth jazz, Najee was more about great overall tracks than worrying about such perceptions -- his fans can assume then, that like always, his new point of view is varied, designed to keep them on their toes. Najee spent the first years of the new millennium playing with Prince, and some residual funk rubs off on the catchy Rex Rideout collaborations "Back in the Day" and retro-flavored "Charm," whose sonic effects and wah guitar by Dwight Sills truly take you back. Chris "Big Dog" Davis produced the album's big ballads, the silky title track and the moody, ambient "How Lovely You Are." Because Najee is shown throughout the packaging playing the soprano, his more aggressive alto energy on the James Lloyd-produced "2nd 2 None" comes along as a spirited surprise that makes you want even more. Even with all the new sax players that have arisen on the scene since his albums were routinely selling gold, it's a good bet that this very likeable set will once again bring Najee to the forefront of the genre. ~ Jonathan Widran, All Music Guide
What The Critics Say
With an intervening Stevie Wonder Tribute and a several year delay involving a label shift from EMI to Verve, Morning Tenderness is Najee's first project of original tunes in nearly five years; despite a few tunes led by tenor and flute melodies, his focus is on the appealing attributes which launched and then sustained his success - picture perfect light funk melodies and suave ballads, grooves ranging from slow seductions to bouncy dance rhythms and a keen ability to modulate the soprano from a high pitched squealing cry to a lower toned reflective declaration. Over the low key simmering bass throb of "All the Things (Your Man Won't Do)" and the gentler "Second Time Around," Najee introduces melodic statements in the lower voice, and then, often without warning, draws upon those sharp improvisational instincts and honks a flurry of higher tones as if to emphasize the main point. On poignant reflections like "Not a Day Goes By" and "Sapphire," Najee also displays his longtime mastery of wrapping his sax melodies around shadowy background vocal choruses - playful conversations which lead to the human voice trailing off and giving way to meditative improvisations which again draw upon the bop influence. One of the most memorable tunes is the percolating "Room to Breathe," which sounds as if a mellow minded Richard Elliot wandered into the room, did a little side stepping shuffle, and bumped heads with Tim Weisberg on the way out. Najee sells his flute abilities a bit short here by limiting the flute to the closing minute of the tune, then redeems our longing by devoting the entire brooding title cut to the soft graces of the instrument. It's almost as if he's time traveling with us, emphasizing his smooth jazz life for the most part but here and there allowing us glimpses into his serious minded past as a student of be-bop. ~ Jonathan Widran, All Music Guide
'Songs from the Key of Life'
Release Date 1/1/1995
Tracks 18
Label EMI
See Album Tracklist and Review
What The Critics Say
Throughout his career, saxophonist Najee has generally performed crossover music that mixes R&B, jazz, and pop. This particular date is one of his strongest and most jazz-oriented, a well-conceived tribute to Stevie Wonder. Najee (heard on soprano, flute, alto, and tenor) plays instrumental versions of the music from Wonder's famous Songs From the Key of Life album, plus several other notable Wonder songs. Assisted by such players as keyboardists George Duke, Ronnie Foster, and Herbie Hancock; guitarist Phil Upchurch; and a top-notch horn section, Najee creates fresh renditions of 21 Stevie Wonder tunes. Highlights include "Love's in Need of Love Today," "Sir Duke," "Knocks Me off My Feet," "If It's Magic," and a medley of "All Day Sucker" and "Easy Goin' Evening." Throughout the memorable set, Najee shows that he can be a strong jazz improviser while still remaining accessible. Recommended. ~ Scott Yanow, All Music Guide
What The Critics Say
Best known for his dynamite soprano, Najee proved his versatility with this disc by using alto and tenor, and even throwing in some tender flute work on the mellow "My Old Friend." He is a strong improvisator, but you could classify Tokyo Blue as R&B just as easily as jazz due to the funk grooves (which display a similar formula as George Howard's best work). There are also strong guest appearances by several vocalists here, including Freddie Jackson on Stevie Wonder's "Superwoman." Immensely pleasurable, a fun listen from beginning to end, and recommended for those pop/jazz fans who wanna shake their groove thang. Najee was one of smooth jazz's most consistent proponents of a sub genre that came to be called rhythm and jazz. Top cuts here include "Talkin'," "Tokyo Blue," and "Stay." ~ Jonathan Widran, All Music Guide
