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		<title>Down to the Bone Returns with This Way Forward</title>
		<link>https://contemporaryjazz.com/down-to-the-bone-returns-with-this-way-forward</link>
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		<dc:creator><![CDATA[John Hilderbrand]]></dc:creator>
		<pubDate>Thu, 25 Jun 2026 03:24:26 +0000</pubDate>
				<category><![CDATA[acid jazz]]></category>
		<category><![CDATA[down to the bone]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[jazz funk]]></category>
		<category><![CDATA[soul jazz]]></category>
		<category><![CDATA[British jazz funk]]></category>
		<category><![CDATA[contemporary jazz music]]></category>
		<category><![CDATA[Down to the Bone]]></category>
		<category><![CDATA[hil st soul]]></category>
		<category><![CDATA[jazz-funk]]></category>
		<category><![CDATA[Natasha Watts]]></category>
		<category><![CDATA[soul-jazz]]></category>
		<category><![CDATA[Stuart Wade]]></category>
		<guid isPermaLink="false">https://contemporaryjazz.com/?p=5214</guid>

					<description><![CDATA[<p>Producer and writer Stuart Wade has broken a decade-long studio silence, bringing back his Grammy-nominated jazz-funk project Down to the Bone with the drop of the new album, This Way Forward. DTTB&#8217;s latest serves up the familiar mix of signature acid jazz and soul jazz that will remind fans why the band took the scene [&#8230;]</p>
<p>The post <a href="https://contemporaryjazz.com/down-to-the-bone-returns-with-this-way-forward">Down to the Bone Returns with This Way Forward</a> appeared first on <a href="https://contemporaryjazz.com">ContemporaryJazz.com</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Producer and writer <strong>Stuart Wade</strong> has broken a decade-long studio silence, bringing back his Grammy-nominated jazz-funk project <strong>Down to the Bone</strong> with the drop of the new album, <em>This Way Forward</em>. DTTB&#8217;s latest serves up the familiar mix of signature <strong>acid jazz</strong> and <strong>soul jazz</strong> that will remind fans why the band took the scene by storm in the mid-90s. Packed with punchy horns, snappy rhythms, and dynamic vocal features from the likes of Hil St Soul and Natasha Watts, the 10-track record also nicely integrates the Brazilian sounds of Guida de Palma for a little bit of variety.</p>
<p>For more on the band and the new recording, check out the official <strong><a href="https://www.facebook.com/downttbone" target="_blank" rel="noopener noreferrer">Down to the Bone Facebook page</a></strong>.</p>
<p><video controls="controls" width="556" height="556"><source src="https://youtube.com/shorts/5qTfTWwLuN8?si=NIMFDk_wSd9DwNuo" /></video></p>
<p>The post <a href="https://contemporaryjazz.com/down-to-the-bone-returns-with-this-way-forward">Down to the Bone Returns with This Way Forward</a> appeared first on <a href="https://contemporaryjazz.com">ContemporaryJazz.com</a>.</p>
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		<post-id xmlns="com-wordpress:feed-additions:1">5214</post-id>	</item>
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		<title>The Breaks: Modern Groove Masters Assemble</title>
		<link>https://contemporaryjazz.com/the-breaks-walter-roberts-moore</link>
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		<dc:creator><![CDATA[John Hilderbrand]]></dc:creator>
		<pubDate>Tue, 21 Apr 2026 14:23:06 +0000</pubDate>
				<category><![CDATA[contemporary jazz]]></category>
		<category><![CDATA[contemporary funk]]></category>
		<category><![CDATA[Eddie Roberts]]></category>
		<category><![CDATA[Galactic]]></category>
		<category><![CDATA[Greyboy Allstars]]></category>
		<category><![CDATA[New Orleans music]]></category>
		<category><![CDATA[organ trio]]></category>
		<category><![CDATA[Party Like a Rich Kid]]></category>
		<category><![CDATA[Robert Walter]]></category>
		<category><![CDATA[soul-jazz]]></category>
		<category><![CDATA[Stanton Moore]]></category>
		<category><![CDATA[The Breaks]]></category>
		<category><![CDATA[The New Mastersounds]]></category>
		<guid isPermaLink="false">https://contemporaryjazz.com/?p=4917</guid>

					<description><![CDATA[<p>If you’ve been following the scene as long as I have, you know that some collaborations are just written in the stars. The Breaks brings together guitarist Eddie Roberts (The New Mastersounds), drummer Stanton Moore (Galactic), and organist Robert Walter (The Greyboy Allstars) &#8211; three &#8220;modern groove masters&#8221; who have shaped the sound of soul-jazz and funk  for two decades. Their [&#8230;]</p>
<p>The post <a href="https://contemporaryjazz.com/the-breaks-walter-roberts-moore">The Breaks: Modern Groove Masters Assemble</a> appeared first on <a href="https://contemporaryjazz.com">ContemporaryJazz.com</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p data-path-to-node="3">If you’ve been following the scene as long as I have, you know that some collaborations are just written in the stars. <strong>The Breaks</strong> brings together guitarist <strong>Eddie Roberts</strong> (The New Mastersounds), drummer <strong>Stanton Moore </strong>(Galactic), and organist <strong>Robert Walter</strong> (The Greyboy Allstars) &#8211; three &#8220;modern groove masters&#8221; who have shaped the sound of soul-jazz and funk  for two decades. Their new single, &#8220;Party Like a Rich Kid,&#8221; just dropped, and it’s a masterclass in that irresistible late-’60s organ trio tradition. Between Eddie’s sharp guitar work and Stanton’s &#8220;explosive New Orleans-infused drum grooves,&#8221; the chemistry is exactly what you’d hope for from guys who have been &#8220;kindred spirits&#8221; for years.</p>
<p data-path-to-node="4">Eddie recalls a wild moment 20 years ago when he had to drive five hours from Chicago to Ohio just to sub in for a show, saying, &#8220;As soon as we all got on the stage, our connection was instant.&#8221; Even though they’ve known each other for nearly 30 years, it took a chance meeting in a Colorado green room in 2025 to finally say, &#8220;It’s time.&#8221; Robert sums it up perfectly, noting that playing with these guys is &#8220;like putting on a pair of well broken in comfortable shoes.&#8221;</p>
<p data-path-to-node="5">The full self-titled album was recorded at Marigny Studios, and is steeped in that New Orleans sound. The sonic palette draws from deep lineage while remaining distinctly their own. There are obvious influences of classic organ trios from the 60s and The Meters, but also sought-after New Orleans players like Eddie Bo, Ernie K-Doe, and Professor Longhair. The trio is joined by guest horn players <strong>Brad Walker</strong> (saxophone); <strong>John Michael Bradford</strong> (trumpet); <strong>Big Sam Williams</strong> (trombone) who appear on three of the album’s eight tracks and percussionist <strong>Pedro Segundo </strong>who guests throughout. If the album sounds like this first track, it&#8217;s going to be an instant add to my party playlist. Mercy.</p>
<p data-path-to-node="5"><strong><em>The Breaks</em></strong> is out May 1 on the Color Red label.</p>
<p data-path-to-node="5"><iframe src="//www.youtube.com/embed/tPlw6F3tIIU?si=mbuCO9r_VKdEa0s6" width="560" height="314" allowfullscreen="allowfullscreen"></iframe></p>
<p data-path-to-node="5"><em>The Breaks group photo by Mark Pagani.</em></p>
<p>The post <a href="https://contemporaryjazz.com/the-breaks-walter-roberts-moore">The Breaks: Modern Groove Masters Assemble</a> appeared first on <a href="https://contemporaryjazz.com">ContemporaryJazz.com</a>.</p>
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		<post-id xmlns="com-wordpress:feed-additions:1">4917</post-id>	</item>
		<item>
		<title>Top Contemporary Jazz Albums &#8211; October 31, 1998</title>
		<link>https://contemporaryjazz.com/will-downing-and-gerald-albright-topped-the-charts-20-years-ago-today</link>
					<comments>https://contemporaryjazz.com/will-downing-and-gerald-albright-topped-the-charts-20-years-ago-today#respond</comments>
		
		<dc:creator><![CDATA[John Hilderbrand]]></dc:creator>
		<pubDate>Thu, 01 Nov 2018 01:20:01 +0000</pubDate>
				<category><![CDATA[charts]]></category>
		<category><![CDATA[contemporary jazz]]></category>
		<category><![CDATA[smooth jazz]]></category>
		<category><![CDATA[soul]]></category>
		<category><![CDATA[soul-jazz]]></category>
		<guid isPermaLink="false">http://contemporaryjazz.com/?p=2970</guid>

					<description><![CDATA[<p>The top ten contemporary jazz recordings from Oct. 31, 1998!</p>
<p>The post <a href="https://contemporaryjazz.com/will-downing-and-gerald-albright-topped-the-charts-20-years-ago-today">Top Contemporary Jazz Albums &#8211; October 31, 1998</a> appeared first on <a href="https://contemporaryjazz.com">ContemporaryJazz.com</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<div class="wp-block-image">
<figure class="alignright"><img data-recalc-dims="1" fetchpriority="high" decoding="async" width="267" height="277" data-attachment-id="2976" data-permalink="https://contemporaryjazz.com/will-downing-and-gerald-albright-topped-the-charts-20-years-ago-today/downing-albright-1998-2" data-orig-file="https://i0.wp.com/contemporaryjazz.com/wp-content/uploads/2018/10/downing-albright-1998.jpg?fit=267%2C277&amp;ssl=1" data-orig-size="267,277" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="downing albright 1998" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/contemporaryjazz.com/wp-content/uploads/2018/10/downing-albright-1998.jpg?fit=267%2C277&amp;ssl=1" class="wp-image-2976" src="https://i0.wp.com/contemporaryjazz.com/wp-content/uploads/2018/10/downing-albright-1998.jpg?resize=267%2C277&#038;ssl=1" alt="Will Downing and Gerald Albright 1998 photo by Eric Johnson" /></figure>
</div>



<p class="wp-block-paragraph">The Will Downing and Gerald Albright collaboration, <em>Pleasures of the Night</em>, was the best-selling contemporary jazz recording according to the October 31, 1998 issue of Billboard. At the time, Downing said, &#8220;“This is a departure for us both. It&#8217;s pretty much a traditional sounding record with flavorings of contemporary jazz sprinkled in so as not to exclude the audiences we&#8217;ve already built up over the years. It gives both of us an opportunity to stretch out more than our own records. It&#8217;s not often that you have the opportunity to do exactly what you want to do, no holds barred.&#8221;</p>



<p class="wp-block-paragraph">Here&#8217;s the complete Top Contemporary Jazz Albums for that time:</p>



<ol class="wp-block-list">
<li>Will Downing and Gerald Albright &#8211; <em>Pleasures of the Night</em></li>
<li>Kenny G &#8211; <em>Greatest Hits</em></li>
<li>Rick Braun &#8211; <em>Full Stride</em></li>
<li>Down to the Bone &#8211; <em>From Manhattan to Staten</em></li>
<li>George Benson &#8211; <em>Standing Together</em></li>
<li>Fourplay &#8211; <em>4</em></li>
<li>Keiko Matsui &#8211; <em>Full Moon and the Shrine</em></li>
<li>Marc Antoine &#8211; <em>Madrid</em></li>
<li>Various Artists &#8211; <em>KKSF Sampler for AIDS Relief, Volume 9</em></li>
<li>Medeski, Martin and Wood &#8211; <em>Combustication</em></li>
</ol>



<p class="wp-block-paragraph">Also of note in that top ten is that the debut recording of Down to the Bone was in its 37th week on the chart.</p>
<p>The post <a href="https://contemporaryjazz.com/will-downing-and-gerald-albright-topped-the-charts-20-years-ago-today">Top Contemporary Jazz Albums &#8211; October 31, 1998</a> appeared first on <a href="https://contemporaryjazz.com">ContemporaryJazz.com</a>.</p>
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