16 | SMOOTH JAZZ NEWS BRIAN CULBERTSON By Ken Capobianco Thirty-one years since he put out his first solo album, keyboardist-composer Brian Culbertson continues to bend boundaries and challenge himself. e adventurous musician has been one of contemporary jazz’s most innovative artists, o en embracing new technology and studio wizardry. With his most recent album, Day Trip, though, Culbertson moved boldly forward by reaching backward to his in uences and recording the music organically in the studio. It’s a dynamic return to jazz fusion, essentially the genre precursor to smooth jazz, which set the pop music world on re 50 years ago. e change of pace marks a refresh of his sound that aims for a more complex musical dynamic while retaining his trademark melodicism and soul. “I wanted to go back to my roots, meaning I grew up listening to jazz fusion from the mid-’70s and early ’80s,” said Culbertson via phone recently. “And that music was really challenging, and the level of musicianship was just o the charts. You know, David Sanborn, e Brecker Brothers, Chick Corea, Pat Metheny, or the Yellowjackets and beyond. “ ose days were unbelievable musically, and I got to a point in my career where I’m like, ‘You know what? I feel like going back and exploring some of those ideas.’ The music was more adventurous and technically difficult. There were chord changes that you couldn’t pick out quickly. I think what I’ve been doing, and a lot of the smooth and contemporary smooth jazz genre is really cool, but it was sometimes lacking in the adventurous spirit.” Turning the dial to the spirited days of jazz fusion Photo: Daniel Ray
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