“He was in that mindset years ago when I toured with him. Albright was not surprised by the announcement. Drummer and vocalist Collins, a former member of Genesis, announced his retirement earlier this month, citing health problems from playing the drums. Over here, the audience has been brainwashed to think that smooth jazz is the only option for them.”Īlbright was a featured soloist in Phil Collins’ Big Band. “In Europe and Japan, people are all about the music. There are many people who have been playing for many years that are unbelievable at their craft, but they just never got that break.”

But he regrets that some musicians, who he declines to name, seem to have succeeded on their looks or their fashion style. It has come to mean a cosmetic presentation when it should really be about the music and creating a unique brand.”Īlbright has played with and respects many artists who are called, rightly or wrongly, “smooth” players. He says of the “smooth jazz” trend, “It has made it possible for musicians to get a record deal when they really haven’t done their homework. There is much more of a kick to his sound, and it is not dominated by synthesizers or manipulated to the point of blandness in the studio. Albright says the term “contemporary jazz” more accurately describes his own style. After listening to an entire demo record of Albright’s in her office (a rare dedication of time for a record executive), she hugged him and said, “Welcome to Atlantic Records!”Īlbright has been linked with “smooth jazz,” since many radio stations with that format have played his music. He was seen by Sylvia Rhone, president of an Atlantic Records division. We can relate to it from the time we are born, with the beating of our hearts.”Īlbright was touring with Anita Baker in 1985 as a bassist, and was featured on sax for just a few songs. “There is something rhythmic about every human being. “Funk rhythm hits you in the ultimate depth of your soul,” he says. “I used to imitate him when I was eight or nine years old, and I would dream about having my own band.” “I was heavily influenced by James Brown,” says Albright. The first track on “Pushing the Envelope” is called “What Would James Do?” It features trombonist Fred Wesley, who was with Brown for many years. “James Brown is the epitome of funk,” says Albright. The April 1 concert will include a segment dedicated to James Brown. However, he has had requests to play it live, so he plans to add one or two songs in future shows to feature his bass work. He played electric bass as well as sax as a sideman. He soon began years of touring with artists that have included Ray Parker, Jr., Olivia Newton-John, The Temptations, Les McCann, Teena Marie, Quincy Jones and Whitney Houston.Īlbright is rooted in funk, which is based in powerful bass lines.

He graduated from the University of Redlands with a major in business management and a minor in music. It creates a oneness with the audience when they see you up there putting out 200 percent.”Īlbright grew up in south central Los Angeles. Albright will shout out phrases like “Can you feel the funk?” to set the mood. Audiences are encouraged to dance, and they often sing the lyrics to popular songs that Albright plays. You will find a lot of feeling and rhythm in Albright’s performances. “There was something celestial about that show.

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