Over the past few years, sax player/vocalist Paula Atherton has shared the stage with such contemporary jazz notables as The Rippingtons, Nick Colionne, Chuck Loeb, Cindy Bradley ...
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Staccatofy review of "Dancin' Shoes"
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Paula Atherton, Dancin’ Shoes Review
by Steph Cosme
Close your eyes and imagine a world where Latin rhythms swirl with smooth, soulful saxophones, flute, and vocals punctuated by infectious grooves. That’s the world Paula Atherton creates with her latest album, Dancin’ Shoes. A powerhouse in contemporary smooth jazz with a string of hit songs and collaborations with renowned artists, Atherton’s 7th studio album is a vibrant exploration of genres that will get you moving.
Dancin’ Shoes features seven instrumental compositions and three selections with Atherton’s captivating vocals. Atherton’s saxophone and flute work is outstanding throughout. In “Inside Out & Backwards,” her alto saxophone takes center stage, weaving a dynamic melody with intricate accents that showcase her technical agility and captivating phrasing. The title track, “Dancin’ Shoes,” perfectly exemplifies how she utilizes the saxophone for melody, soloing, and creating a powerful groove. Her warm and round flute sound sets the mood in the opening track, “Baila,” introducing a lighthearted melody with a beautiful Latin flavor. Throughout, Atherton seamlessly interacts with the rhythm section, creating a cohesive and dynamic soundscape that’ll have you tapping your feet in no time.
But Dancin’ Shoes isn’t just about instrumental mastery. Her rich, soulful vocals are engaging and dynamic when Atherton steps behind the mic. Tracks like “Give Me A Reason” showcase her ability to seamlessly blend emotional delivery with flawless technique. Her vocals perfectly complement the R&B and blues influences woven into the song, creating a soulful ballad that lingers long after the last note fades. “Don’t Look Back” shows her smooth rhythmic approach to singing, and “Move On Up” puts her wide vocal range and soulful embellishments to good use.
One of the defining characteristics of Dancin’ Shoes is its ability to seamlessly blend genres. The album effortlessly combines R&B, soul, Latin grooves, and smooth jazz influences, creating a familiar and refreshingly unique sound. From the “light, joyous Latin flavor” combined with a smooth jazz groove in “Baila” to the “soulful R&B/soul tune” “Give Me A Reason,” Atherton expertly navigates these diverse influences, creating a cohesive listening experience.
Paula Atherton’s Dancin’ Shoes is a high-energy invitation to move and groove. Her infectious grooves, toe-tapping rhythms, and the overall uplifting energy that permeates every track make it impossible to resist getting up and dancing. Whether you’re a jazz lover, a smooth jazz enthusiast, or simply appreciate soulful vocals and exceptional musicianship, Dancin’ Shoes is a thrilling journey guaranteed to put a smile on your face and get your feet moving.
The Jazz Word: Rhythms in Motion: The Dynamic Journey of Dancin’ Shoes
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Paula Atherton, Dancin’ Shoes Review
Rhythms in Motion: The Dynamic Journey of Dancin’ Shoes
By Ferell Aubre
Paula-Atherton-The-Jazz-Word-CDPaula Atherton’s Dancin’ Shoes is a deep dive into the possibilities of infusing elements of R&B, soul, and Latin grooves to create a jazz experience that transcends musical boundaries. With her seventh full-length release, Atherton showcases her saxophone, flute, and heartfelt vocal abilities, offering an album that resonates with both jazz purists and casual listeners alike.
The album starts with “Baila,” a track brimming with a light, joyous Latin flavor that is seamlessly melded with a smooth jazz groove. Atherton’s flute commands the forefront, weaving through the ensemble with warmth and agility, promising a dance-inducing start to the album’s journey. This piece sets a high bar for the album, with Atherton’s solo work displaying an engaging blend of motivic development and sheer enjoyment, perfectly embodying the spirit of dance.
“Inside Out & Backwards” takes a funkier turn, setting its tone with a toe-tapping groove that underpins Atherton’s dynamic alto saxophone. The rhythm section and the punchy horn hits, combined with Lou Gimenez’s fusion-inspired guitar solo, create a compelling narrative of musical exploration.
The album’s first single, “Keep it Comin’,” stands out for Atherton’s ability to craft top-charting hits while maintaining a high musical integrity. The track’s smooth jazz foundation supports Atherton’s expressive alto saxophone solos, marked by saxophone screams and chromatic approaches that captivate the listener’s attention.
“Give Me A Reason” slows the pace with a heartfelt ballad that showcases Atherton’s excellent vocal sound and saxophone skills. The slow shuffle and R&B influences make it a standout piece, demonstrating Atherton’s versatility and ability to shape a melody vocally and on the saxophone.
The title track, “Dancin’ Shoes,” embodies the album’s essence—a fusion of upbeat rhythms and melodies that compel movement. The synergy between Atherton’s saxophone and the funk-driven guitar and keyboard work creates an unstoppable energy and joy.
Her cover of Curtis Mayfield’s “Move on Up” adds a fresh layer to the album, blending soulful vocals with a funky bass line that pays homage to the original while showcasing Atherton’s unique interpretative skills.
As the album nears its close with tracks like “Time Out” and “Don’t Look Back,” Atherton’s collaboration with esteemed producers and musicians such as Curtis Harmon and Lou Gimenez adds depth and complexity to the project, ensuring that each song contributes to the album’s cohesive sound and feel.
Ending on a high note, “Open Road” encapsulates the album’s theme of adventure and exploration. The track’s driving groove and Atherton’s agile saxophone work make it a fitting conclusion to an album that takes listeners on a musical journey.
Mastered by Randy Merrill at Sterling Sound, Dancin’ Shoes offers a runtime of just over 49 minutes of compelling music that speaks to the heart and the feet. Released under Dream On Records, this vibrates with Paula Atherton’s unwavering commitment to conveying the groove side of jazz. With each track, Atherton invites us into her world—a world where every note and rhythm tells a story, encouraging us to dance, reflect, and, above all, enjoy the rich tapestry of sounds she has woven together.
Paula Atherton Behind the Beats feature
Allen Kepler: You have been dominant on the charts over the past two years with two tunes in our Top 20 of 2022 (Keep It Comin’ and “Ready Or Not”), and this year “Open Road” was a huge hit and “Dancin’ Shoes” is currently climbing the charts. What is your process for selecting and releasing a single?
Paula Atherton: First I go by what I like- if a producer has an idea for a track and I like it, or I’ve written something I’m thinking could be a single, I always run it by my radio promoter, David Kunert, at Future Groove Promotion. He is the expert, and I feel a big reason why my music has done so well over the past few years. I am very thankful for the radio programmers and the radio network we have as artists to get our music out to the public. We can’t do what we do without the support of radio.
I think it’s important to work with producers that know how to get the best out of you, and understand you as an artist, so they can show you in your best light. I found that working with different producers changes things up a bit also, and keeps your sound fresh. I certainly don’t want to make the same record over and over again, and I’m sure people don’t want to listen to that either!
AK: Any secrets to your success that you can share?
PA: It’s not easy, but as writers and improvising musicians, we have to strive to grow, and see where we can go with our music. It’s a challenge on one hand, but what a blessing it is to be able to do what you love, and hopefully make people happy with your music!
AK: You certainly connect with radio programmers and listeners alike. What is your process for selecting and releasing a single?
PA: First I go by what I like- if a producer has an idea for a track and I like it, or I’ve written something I’m thinking could be a single, I always run it by my radio promoter, David Kunert, at Future Groove Promotion. He is the expert, and I feel a big reason why my music has done so well over the past few years. I am very thankful for the radio programmers and the radio network we have as artists to get our music out to the public. We can’t do what we do without the support of radio, it’s how people hear our new releases, sometimes find out about shows, etc. If all the people involved in this process are working together, that is the first step to the song you are promoting to be successful.
AK: And you do concerts throughout the year. How does your live performance compare with what you put together in the studio?
PA: In the studio is where your ideas come to life. You start with an idea, and keep working on it until you have a song. I love this process of creating something that wasn’t there before. There are so many intangible things in music. All the hard work it takes to get to the point where you have the skills to play well and express yourself. Performing show after show. The recorded studio performance is something tangible that you can hold, and document your music.
Live is all about the audience! The way I think about it, you do all the practicing, all the work in the studio to make the recording just how you like it, and then the performance is about connecting with the audience, hoping to lift them up with your music. I always give 110% to my audiences; I respect them, and respect that they took money out of their pocket, and time out of their day to come see me perform. I will always give them my best.
AK: You play both the sax and flute. Do you have a favorite?
PA: I kind of view things through the eyes of a writer- if I want to tell a story, I’ll write lyrics and it will be a vocal tune. Sometimes I hear a melody in my head with sax or flute playing it. It starts from the song, and what sound would be best for that song.
AK: And you are a singer as well…
PA: Voice was my first instrument. I was always in chorus in grade school and college, and loved it. My first performance in the city was when I was in college, in a 20 voice acapella vocal ensemble, where we had to sight sing the music. Very challenging! When I started working as a musician in my late teens, I just sang and played flute. I was studying jazz, scat singing, singing solos of artists such as Lester Young, Roy Eldridge, Charlie Parker, etc., and doing the same on my flute. I started feeling like I needed more colors in my music, which led me to get a saxophone, and start playing that!
I love expressing myself through singing a song. I still do some shows in NY singing and playing American songbook (and similar) repertoire, and will probably make a recording of that repertoire at some point. The voice can be very personal, and I love that aspect of singing. I love connecting with an audience by singing a song.
AK: As a writer and producer, you have collaborated with some truly cool artists. Please tell us some highlights.
PA: My 2nd release, “Groove With Me” was the first time I reached out to guest artists to play on my recording. Greg Adams from Tower of Power played on “JB” and “You’re All I Need to Get By.” Chieli Minucci played on my first single from that release, “Block Party.” Onaje Allen Gumbs played keys on “Send Down An Angel.” Bill Heller from the Rippingtons is on “Light As Air,” and has played on many of my recordings. I met Nick Colionne around this time, and he was on my next 3 releases, with “Sassy Strut,” (Enjoy the Ride), “Remember When,” (Ear Candy), and “My Song For You,” which Nick wrote for my 2018 release, “Shake It.” At this time, “My Song For You,” has close to 4 million streams on Spotify. Gail Jhonson from Jazz in Pink is on “Breakdown,” (Ear Candy). 2020s’ “Can You Feel It” is where I started using outside producers more prevalently, and it worked out! The title track, “Can You Feel It,” produced and co-written by Greg Manning, wound up being my first #1 on Billboard! “Summer Song,” produced by Nathan Mitchell, also on “Can You Feel It,” went #1 in 2021. Paul Brown produced, “Ain’t No Denyin,’” from the same release.
My 7th release coming out in 2024 has songs produced by Curtis Harmon (Pieces of a Dream), Greg Manning, Adam Hawley, Jacob Webb, and Lou Gimenez.
AK: And who is on your wish-list for future collaborations?
PA: Jeff Lorber, Paul Jackson, Jr., Jarrod Lawson, Marcus Miller, Michael McDonald, Cindy Bradley, Ilya Serov, Tim Bowman, Sheila E. I could go on… I am currently collaborating with David P. Stevens on a track, and Carol Albert on some of her music as well.
AK: What can we expect in 2024?
PA: You can expect my 7th release in early 2024, which as of yet is still unnamed. I’m currently booking 2024, and already have a bunch of shows in the US that I’m looking forward to.
In February, I’ll be coming to Orangeburg, SC Feb. 10th (Sulit Luxe Affairs) to play a Valentines’ Day show with Wille Bradley, and on Feb 24th, I’ll be performing at the Fannn Music Festival in Sugarland TX. The festival in Sugarland is through the F2F foundation. F2F is in Houston, and I am on the board. We raise money for instruments for students whose families can’t afford them. I am very passionate about music & art education. I love seeing the look on a childs’ face when they are presented with their own instrument! It’s magical! Dionne Warwick will be performing, and is now Ambassador to F2F!
I’ll be at the Berks Jazz Festival April 7th with Jazz in Pink, San Padre Island March 10th, Tampa FL May 26th (Uptown Music & Arts Festival), June 1st in Stockton (Weber Point Events Center), to name a few.
Learn more about Paula Atherton on her website.
Paula Atherton, Can You Feel it Review
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Paula Atherton, Can You Feel It Review
WHEN IT'S IN THE POCKET, YOU CAN FEEL IT!
January 28, 2021 admin Crossover Jazz 1
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Paula Atherton, Can You Feel It Review
by Nolan DeBuke
paula-atherton-cdPaula Atherton is a smooth jazz composer, saxophonist, flutist, and vocalist based in New York with a catalog of six albums and performances with The Rippingtons, Nick Colionne, Chuck Loeb, Cindy Bradley, Karen Briggs, Althea Renee, Rick Braun, Four80East, David Sanborn, Bob James, Marc Antoine, Hiroshima, Gerald Albright, and Chieli Minucci. Her latest album, Can You Feel It, had a #1 hit with its first single, the title track, which skyrocketed to #1 for multiple weeks. Atherton’s command of the jazz language has also allowed her to work in the traditional jazz field; one of the notable performances being a weeklong engagement at the Blue Note NYC with pianist and jazz legend Hank Jones and performances with Grammy award-winning singer Dee Dee Bridgewater at the Annenberg Theater for the Palm Springs Women’s Jazz Festival.
Atherton brings a range of inspirations, from be-bop to pop, ambient, funk, Latin jazz, fusion, and world music to bear in her music. The title cut, “Can You Feel It,” condensed these elements into a mix of joyful melodies over a playful rhythmic bed flavored with impeccable saxophone playing and charisma. The opening riff finds her plugged-in to the pocket as her saxophone tone vibrates and shimmers, the drums and bass are grooving, and the stabbing horns add color. The music has poppy hooks, but there is still a depth and musical genius that runs deep in Atherton’s playing and writing. Her striking articulation is always percolating in the pocket during her improvising and the central sensibility at work in her melody playing. The composition keeps piling new layers of sound, one atop the other, building a multiplicity of interlocking parts that simply feel good and makes you want to move things.
Atherton’s aptly named composition, “In the Pocket,” is another riff-based composition with overlapping and juxtaposing lines that generate a great groove. Atherton’s solo lines dance through the lumbering chords to conjure up a vibrant swirling atmosphere. Her upper register playing ripples and slithers as she effortlessly spins out melodic ideas. Elsewhere many of the results are call and response with the band members. The composition evokes a feeling that is executed wonderfully by all the players and especially Atherton.
Can You Feel It is another fine collection of tunes that show Atherton’s abilities in her improvising smarts and compositional control. Atherton conjures an imaginative amalgam of styles, instrumentations, and feels to create a musical novel of smooth jazz textures, moving rhythms, and impassioned playing. When it’s in the pocket, you CAN feel it!
Beats 2020 Year End Edition/ Top 20 countdown/ week of Dec 12th
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"Just Can't Stop" written and produced by Greg Manning, from "Can You Feel It" hits the top 20 at #17 on the Smooth Jazz Network in the top 20 countdown/year end edition of Beats Magazine
"Can You Feel It" Review All About Vocals
Saxophonist, vocalist Paula Atherton continues to add to her distinguished discography. Her latest full- length album is on the heels of her chart-topping single “Can You Feel It,” taking the #1 slot on Billboard, Mediabase, and the Smooth Jazz Network. The album Can You Feel It takes this booming sound one step further as Atherton digs deeply into the R&B tones of her voice to highlight all the hedonistic calculus requirements!
A classic take on “Forget Me Nots,” made famous by Patrice Rushen in the 80s, is a respectful reading by Atherton. Her voice caresses the timbre of the lyric with dynamic and soulful styling. Equally, Atherton is a hot-ticket altoist.
For those fans of great hook-lined 80s R&B, this one is an E-ticket ride. “Don’t Let Me Wait,” an original co-written with Lou Gimenez, is a reliable vehicle of adroitness. Atherton laces each line with intense expressiveness. Her vocals are precise and supple. Equally captivating is a gorgeous ballad written by Atherton & Gimenez, “Calling You.” Atherton, this time is supported by backing vocalist Deanna Carroll who has an innate blend that is captivating.
The album is a mix of instrumental and vocal cuts, each equitably satiating. Can You Feel It is a tour de force, and Atherton proves her salt throughout. The album is a pleaser. It ranges from funky R&B to Smooth-Jazz to Pop jubilant. Atherton has it all, the chops, the soulfulness, and the aptitude. Can You Feel It?
Ronald Jackson's Smooth Jazz Ride Review "Can You Feel it"
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Ronald Jackson's Smooth Jazz Ride Music Reviews
October 27, 2020 at 4:35 PM ·
One of the loveliest, finest saxtresses/flutists/vocalists in all of c-jazz, Paula Atherton, is back with her stylish new release "Can You Feel It?" This project is as full of charm and soul as one could ever hope for in this vibrant, colorful genre that refuses to die -- despite critics’ predictions years ago.
As one who should have long ago been sharing the stage and spotlight with the best of the best in this business and certainly no unknown, I still feel this gem of a woman hasn’t gotten the absolute and full attention she deserves. Armed with a beautiful personality and always full of energy, electricity, and passion -- both live and in the studio, one is assured of getting their money’s worth and then some with her.
This album contains so much character and vibrancy that it’s hard to single out one showstopping track here. Beginning with a hot Latin-laced number called “One Night in Madrid,” followed by a sizzling cover of Patrice Rushen’s “Forget Me Nots,” a slick, sexy, and melodic title track featuring Greg Manning tickling the ivories, the mid-tempo soulful and funky “Don’t Let Me Wait” featuring her sparkling and strong vocals, and many more alluring tracks that you’ll find simply impossible to resist, she again delivers a top-tier production.
Joining the saxtress here are the previously mentioned keyboardist Greg Manning, guitarist and hubby Lou Giminez, Rippingtons keyboardist Bill Heller, and the classy, sexy trumpeter Cindy Bradley, among others who all contribute masterful skills on this wonder-filled adventure in c-jazz.
Paula has been one of the true troopers in the world of c-jazz, never relinquishing the music for more lucrative genres. She is obviously wedded to this culture, and her fans are ecstatic that she has remained so devoted. If you’ve not experienced her magic, you need not deny yourself one more minute. Experience her, and yes, you will feel it.
Paula Atherton: Can You Feel It
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Paula Atherton : Can You Feel It
by STEVEN MILLER
OCTOBER 21, 2020
Paula-Atherton-Paula Atherton has been consistently building a career filled with credible heights. With each new CD’s release in her discography, she creates a nascent reputation as one of the leading saxophonists, vocalists, and songwriters in the smooth-jazz idiom. Her credits are impressive and include a cavalcade of luminary collaborations and chart-topping singles. Her single, the title track off her sixth album, Can You Feel It, has already garnered a #1 hit for three weeks in a row, proving it’s not a fluke on Billboard. With additional #1 slots on as of April 4th, 2020, “Can You Feel It” hit #1 on Mediabase and #1 on the Smooth Jazz Network for 4 weeks. The single was produced by Greg Manning and written by Atherton and Manning. Listeners agree Atherton has a hit on her hands, only further building the delight with her full-length album.
Atherton has shared the stage with such contemporary jazz notables as The Rippingtons, Nick Colionne, Chuck Loeb, Cindy Bradley, Brian Simpson, Althea Renee, Four80East, David Sanborn, Bob James, Marc Antoine, Hiroshima, Gerald Albright, and Chieli Minucci. Atherton has also worked in the traditional jazz field, one of the notable performances being a weeklong engagement at the Blue Note NYC with pianist and jazz legend, Hank Jones. Atherton has performed with GRAMMY award-winning singer Dee Dee Bridgewater at the Annenberg Theater, for the Palm Springs Women’s Jazz Festival.
PAULA-ATHERTON-cd-2Preceding “Can You Feel It,” Atherton has enjoyed 5 Billboard Top 30 charting singles, “Sassy Strut,” “Herbie,” “Between You & Me,” “My Song For You,” and “Into the Night.” Atherton was also featured on Cindy Bradleys’ single, “Girl Talk,” which hit #2 on Billboard.
Atherton is an avid performer. She has appeared at the Smooth Hot Jazz festival in Madrid, Spain, in April 2019 at Maria Guerrero theater. Other 2019 performances include the Jacksonville Beach Jazz series, Dauphin County Jazz Fest, Potomac Jazz Festival, Brass City, Grand Rapids, and Legacy Jazz Festival. 2020 began with performances at the Bishop Arts theater in Dallas, the Empire theater in San Antonio, the Redstone Room in Davenport, IA, and the John Ruffin theater in Chicago before the quarantine of Covid-19 hit in March.
Atherton’s latest album, Can You Feel It, is filled with memorable melodies that are only punctuated by Atherton’s robust alto saxophone tone, laced with funk and groove-based feels, including Latin rhythms on select tunes that are tuneful with melodic phrasing. The album accentuates 11 tracks with 1 bonus track. The album percolates from beginning to end with stunning performances.
“One Night in Madrid,” produced by Lou Gimenez and Bill Heller, is precisely what you would expect. Exciting Latin majesties with a breezy melody, this time featuring Atherton on flute, Heller adds his signature keyboard sound, while Gimenez colorizes with tastefully chosen accents. Not to be missed is the rhythm section of Kip Sophos on bass and Lionel Cordew on drums. The two tightly weave an active and exciting foundational support for Atherton to solo upon.
“Forget Me Nots,” a classic Top 40 hit for Patrice Rushen in the 80s, is personified by Atherton, who pulls out the stops, this time showcasing her soulful vocal qualities. Atherton is the full-tilt artist, a passionate and robust soloist on alto sax, but a noteworthy vocalist not to be missed. Equally, “Don’t Let Me Wait,” co-written by Atherton and Gimenez, once again features Atherton on lead vocals proving once again her vocal prowess.
Paula-Atherton-The title track “Can You Feel It” proves why it had such a chart-topping success. Manning spins forth an expressive, yet melody focused album. Atherton’s responds with emotional wails and nicely arpeggiated lines. Followed by a call and response melody between Manning and Atherton, setting up an exciting modulation that Atherton riffs on for an exhilarating ride to the songs slow fade. The two further join forces on “Just Can’t Stop,” a Manning original featuring phenom Cindy Bradley on trumpet.
“20 Miles to Nowhere” is adorned with all the trappings you look for in an exciting smooth-jazz melody. What was especially intriguing is the percussion work of Emedin Rivera, like a bubbling under additive to Atherton’s soaring alto work. Co-written by longtime collaborator Lou Gimenez. The two have created a deliciously savory and savvy collaboration on this cut.
“In the Pocket” is a ‘funkin’ good time. A heavy backbeat lays down the entrée of hip-smacking goodness. Atherton is in command, aided by co-producer Matt Godina who provides guitars, bass, keyboards, and programming on this tri-collaboration of Godina, Paula Atherton, and Lou Gimenez. Once again, Cordew is on fire, lending the rhythm glue for each soloist to propel from.
“Calling You,” a lush and yearning ballad on the album written by Atherton and Gimenez, has a reminiscent of power ballads that are familiar and comforting. Atherton’s voice has a mystique that rings of great R&B classic singers. Supported by backing vocalist Deanna Carroll the two blend harmonically with a transcendent nascent sound.
“Summer Song” has a timeless aesthetic of good vibes and a flowing melody that quenches the longing for summer presentiment and the days when we can get back to enjoying all that summer can offer with friends and good times.
“Ain’t No Denying” spins forth a production by Paul Brown, a mid-tempo pleaser. Easy on the ears and meant to be played on repeat. Paula-Atherton-2Michael “Nomad” Ripoli lends his funky guitar riffs, adding commentary to the tune, while Atherton once again shines of alto-sax on this highly infectious instrumental cut.
“Funkulator,” written and produced by Schuyler Deale, portrays its namesake powerfully. Atherton slinks and grooves soulful expressiveness on alto-sax. Only punctuated by Cindy Bradley on trumpet and trombone and Deale on guitar, bass, programming, horn arrangement. The tune is augmented with well-placed hits adding to the impact of the melody throughout.
The bonus track “Just Can’t Stop,” is a radio edit of the full-length cut. Ending the album in an upbeat emotive that adds to the ambrosial sentiment of the album.
Fans can revel with Atherton’s tour de force and celebrate her slice of joy in this unprecedented time in Atherton’s career and in our country. A ray of hope if you will, “Can You Feel It.”
Paula Atherton review of "Can You Feel It" on Staccatofy
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Saxophonist, flutist Paula Atherton has enjoyed a long and varied career in contemporary and mainstream jazz. Her acumen on her instruments are poised and adept. Her full-length album Can You Feel It has already begun to garner real accolade with her single also titled “Can You Feel It,” landing a #1 hit, three weeks in a row on Billboard. What is even more cementing about this accolade is she also landed #1 slots on Mediabase and #1 on the Smooth Jazz Network. Each track is produced by various producers including, Bill Heller, best known as the legendary keyboardist for the Ripppingtons. Longtime collaborator guitarist Lou Gimenez who has co-written several of Paula’s tunes historically. Other co-writing and production credits include keyboardist Greg Manning, multi-instrumentalist Matt Godina, including multi-instrumentalist Nathan Mitchell, Paul Brown, and the notable Schuyler Deale known for his work with Billy Joel, Michael Bolton, Jeff Lorber, and more. So what does this all-star line-up of producers and contributors add up to for Atherton? Simply put, a canvas to which Atherton can shine her abilities in the highest preeminent way on her latest album Can You Feel It.
Bottom Line: The album kicks off with a Latin cut “One Night in Madrid,” written by Atherton. On this cut, she is featured on flute. Her tone is warm and resonate. She easily maneuvers through the melody with buoyance and command. Co-producer Heller is featured on keys on this cut and offers a salient solo. Bassist Kip Sophos and drummer Lionel Cordew lock tightly as they traverse the deeply felt Latin rhythms, while guitarist and co-producer Gimenez colorizes well-chosen notes. Its clear Atherton is in complete control of her instrument, as she twists and weaves an assertive outro utilizing every part of her flute to hue an exciting listen.
The album perambulates a wide range of feels and moods but stands firmly in the smooth-jazz idiom in aesthetic. Tunes like “Forget Me Nots,” are a lesson in funky sensuality, originally made famous by Patrice Rushen. Atherton spins her own version with the help of longtime producer Gimenez. On this tune, we get to hear the soulfulness of Atherton’s endowed voice. Atherton invokes her primary instrument, the alto saxophone, and thrills the listener alongside Cindy Bradley on trumpet and trombone, hitting all the right notes. The single “Can You Feel It,” is a total and complete crowd-pleaser, its easy to hear why it spent so much time on the top of the Billboard charts. Each tune on the album offers its own charms, but in the final new track, “Funkulator,” you realize the album doesn’t have a throwaway track insight. Produced and written by Deale, Atherton pulls out her alto axe on this one, and in the best of what smooth jazz has to offer, she spins forth a groovy take on Deale’s original. Easy going, breezy, and light on the ears, it is a tune you want to take with you on a long car ride and put on repeat.
Atherton’s full-length LP Can You Feel It, is out on Dream Records; it’s a definitive delight. Atherton is the real deal, a multi- talented, multi-instrumentalist earning her stripes as a force to be reckoned with. That’s the short of it!
Paula Atherton "Can You Feel It" Jazz Sensibilities
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Multi-instrumentalist Paul Atherton has quickly been establishing herself as a respected force within the smooth jazz genre. She has enjoyed sharing the stage with a cavalcade of contemporary jazz notables such as The Rippingtons, Nick Colionne, Chuck Loeb, Cindy Bradley, Brian Simpson, Althea Renee, Four80East, David Sanborn, Bob James, Marc Antoine, Hiroshima, Gerald Albright, and Chieli Minucci. Her singles have afforded her continued success with her latest single, the title track off her album Can You Feel It, reaping #1s on Billboard, Mediabase, and the Smooth Jazz Network.
Atherton has a background in traditional jazz, and that sensibility can be heard throughout her full- length album Can You Feel It. There is a polish to her playing, but she can hold her own with any instrumentalist in the traditional jazz vernacular when listening to her soloing, whether on flute or alto saxophone. This ability is on full display on the first track, “One Night in Madrid,” given a Latin treatment. Atherton is on flute and is equally adroit on flute as she is on her primary instrument, alto saxophone. Joined by Bill Heller, best known for his work with The Rippingtons, this track is a technically sound and exciting listen. Atherton takes control with fast driving trills and colorizations that add to the intensity of the cut. I found this tune a highlight of the album right out of the gate.
“In the Pocket” has a greasy groove to it, co-written by Atherton with Matt Godina and Lou Gimenez, who has collaborated with Atherton on several albums. Godina digs in with a grooving organ-keyboard sound that adds a bite. Atherton gets low and groovy on alto sax with saxophone screams and a breakdown section that explodes into a deeply felt backbeat enhanced by Lionel Cordew on drums. The cut is aptly titled, this is a groove fest for days.
As someone who is lamenting for summer to hang on a bit longer, I gravitated towards “Summer Song,” which lightened my load. 2020 has been a year of deep struggles, and this tune written by Atherton livened the mood. Also featuring Cindy Bradley on trumpet and trombone and Gimenez on guitar adding in luminosity, my cares melted away. The tune also features special guest Nathan Mitchell, who has enjoyed placement on the Billboard charts in the smooth jazz category. He adds an atmospheric essence to the cut.
Atherton has a triumph on her hands with Can You Feel It, each track features different production collaborators, which could lead to a mishmash in lesser hands, but its Atherton’s salient prowess on her given instruments that include flute, alto-sax, and voice on select cuts that is the binding mucilage of success. Highly recommended.
Paula Atherton, saxofonista, cantante, compositora, y flautista
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Feature in Womenalia Magazine
The Smooth Jazz Ride Reviews "Shake It"
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Paula Atherton – Shake It
Feb. 17, 2018
Some contemporary jazz artists just seem to carry a very valid “can’t miss” aura about them. The lovely and talented saxtress/vocalist Paula Atherton is certainly one of them in this writer’s humble opinion. Out with her fifth release, Shake It, she does, in fact, shake up the groove, the soul, and just plain comfy vibes nestled in all c-jazz fans. Of course, if you’re a fan of hers, you have come to expect this as simply part of her beautiful and powerful music and character.
Joining Paula here are cool guitarist Nick Colionne and The Rippingtons’ keyboardist Bill Heller, both of whom offer their writing skills to the project, as does guitarist Lou Giminez.
Here on Shake It, you have just gotta love the sassiness, the sultriness, the sexiness, the buoyancy of this music. It’s got everything you need for a satisfying listening experience and then some.
Take for example, her very clever choice of a cover to kick off the album – War’s “Low Rider.” It’s got that slickness and that deep-down fire just right for starting a party like this. She then swings it out with an up-tempo finger-snapper called “Long Tall Cool One” that beckons you to the dance floor. Talk about sass and class. This one has that and more. She follows that with a tight and thick piece called “Into the Night.” It carries a bit of that old TV detective mystery series theme feel, and many of you will also hear some similarities to that classic Temptations’ “Papa Was a Rolling Stone” bass line. Serious yet fun stuff.
The saxtress also offers her sterling vocals as icing on the cake on tracks like the bluesy/soulful “Good Love Gone Bad” — certainly one of my faves here.
There’s plenty of funk to go around as she demonstrates on not only “Low Rider” but tracks like “All About the One” and the rousing title track (yeah, you just knew that one would be hot just from its title, right?). Adding to this is the Colionne-penned strolling track “My Song For You.”
All said, this is Paula Atherton doing Paula Atherton in classic form, form we have come to know and love abundantly. Two thumbs up. – Ronald Jackson
Smooth Jazz.de Review of "Shake It" by Hans-Bernd Hulsmann
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Saxophonist Paula Atherton is one of those go-getters who have made it to the top in the music business. She started her solo projects with Let Me Inside Your Love (2001), followed by Groove with Me (2009), Enjoy The Ride (2012) and Ear Candy (2015). Her newest album is Shake It (2018).
Mentioned in the liner notes are Dave Delhome, Darin Brown, Jorgen Kjaer, Bill Heller (keyboards), Schuyler Deale, Ron Monroe, Roy DeJesus (bass), Emedin Rivera (percussion), Lou Gimenez, Nick Colionne (guitar), Lionell Cordew, Tony Lewis (drums), Cindy Bradley (trumpet, trombone), and Melissa Raye (background vocals). Paula performs on her album flute, alto sax, Bari sax and vocals.
Most of the songs are written by Paula Atherton, in parts with other musicians. Nick Colionne has written one song and the album has one cover.
The album lifts off with the famous Low Rider by American funk band War and producer Jerry Goldstein, which appeared on their album Why Can't We Be Friends?, released in 1975. The original has two heavyweights, the ultra-masculine voice and the dominant harmonica. Paula Atherton's new interpretation sounds like a modern and fresh extension to the old hit with alternative and hip instrumentation.
Long Tall Cool One captures the positive mood of the first piece and translates it into another theme. The intro of Into The Night has a flabbergasting similarity to Papa Was A Rolling Stone by the Temptations. A good approach for Paula's own ideas.
On Good Love Gone Bad Paula chooses another ingenious concept to start the song. She presents her saxophone performance in an unadulterated way without any other musical accompaniment. The Rippington's very own keyboardist Bill Heller serves with the extremely smoothly You Got It.
The funky All About The One portraits the popular double feature of Cindy Bradley on trumpet and Paula on sax. Both have often performed on each others albums and events. That Paula is not only an excellent saxophone player, but can also keep up vocally, she demonstrates with Say Goodbye.
Shake It comes up with a further outstanding harmonization of both horn players. My Song For You is written by Nick Colionne, who also performs the guitar. A harmonic and melodic blending of sax and guitar is the final structure. New Color is the second Bill Heller/Atherton co-composition opting on a feisty rhythm. Last song is an instrumental version of Say Goodbye.
If it was ever a good time to buy an album, than it's now with the finest music on the market. Paula Atherton's Shake It is the the ultimate starter to complete your smooth jazz collection.
Biography
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Album Information
Title: Shake It
Artist: Paula Atherton
Year: 2018
Length: 0:44:44
Genre: Smooth Jazz
Label: Mighty Quinn Productions
Tracks:
1 Low Rider 04:28
2 Long Tall Cool One 04:53
3 Into The Night 04:54
4 Good Love Gone Bad 04:56
5 You Got It 04:04
6 All About The One 04:21
7 Say Goodbye 04:23
8 Shake It 04:37
9 My Song For You 04:38
10 New Color 04:33
11 Say Goodbye [instrumental version] 04:24
Further review:
Enjoy The Ride
Cafe Jazz Review
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Between You & Me - Paula Atherton:
The name of her fourth and latest cd is Ear Candy, and with each offering Paula Atherton has defined and further refined an already substantive style. After her debut reached the charts in 2004, the NYC native made our own 2009 year-end list of favourites with Groove With Me, on the strength of Marimba Island and Block Party, the latter being our #15 track for the year . We missed out 2012's Enjoy the Ride as our humble show was on hiatus. But even so, and lucky for us, it's the dandy Ear Candy that's now part of this Blue Moon offering. Loaded with all-original material, from that release we present Between You and Me, a wonderfully gritty and buoyant tune that features trumpet-lady Cindy Bradley!
CD: Ear Candy (2015)
Label: Kalimba Music
Paula Atherton with David Bach Bethesda Blues and Jazz Club
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Paula Atherton with David Bach
Bethesda Blues and Jazz Club
Bethesda, Maryland
October 14, 2015, 8:00 PM
I had been silent in the Jazz world for a few months but found my way to the Bethesda Blues and Jazz Club for the musical delicacy of the lovely saxophonist Paula Atherton sharing the stage with keyboardist/composer/producer David Bach. Am I glad to be back! This was one great show of hip smooth jazz.
Atherton and Bach took the stage with musicians David Forman on guitar, bassist Lorenzo Sams, and drummer Wes Crawford. The opening jam “Pocket Full of Funk,” from Atherton’s latest Ear Candy album, proved to be the delight I was in search of on this smooth jazz ride.
The audience was also treated to and thoroughly embraced Atherton’s soulful voice on such tunes as “There Ain’t Nothin,” and “Send Down An Angel” from her Groove With Me album, and “If I Hold You in My Arms” from her first CD titled Let Me Inside Your Love. Sweeeet.
In addition to superb sax, the comely saxtress demonstrated her skills on flute as she delivered a sweet performance on “Herbie” from her Enjoy the Ride release – to take us jazzers back to the up-tempo jazz rhythms of the ‘60’s, Herbie Mann style.
Bach added a delightful keyboard touch to the evening on “Sweet Spot” from his Otherworld album and “On and On” from his Consort (Live) project. Bach brings an eloquent jazz fusion style that merged elegance and sophistication to this set tonight. Wes Crawford’s’ drum solo was a superb infusion to enhance that particular track.
Atherton’s performance on Ear Candy’s “Remember When” is another example of her ability to rock out. The up-tempo version played here tonight featured a masterful solo by guitarist Forman. I think co-writer guitarist Nick Colionne would offer two thumbs up.
I am a huge admirer of flair on a funky jazz track. The Atherton/Bach collaboration on the funky groove “Rite or Wrong”– also from Bach’s Otherworld release–, set the stage on fire. Sams’ bass play was totally remarkable to me, obviously as well as to others in the audience. Their version of Bach’s “All In,” also from his Otherworld album, Atherton’s “Whenever You Come Around, from her Groove With Me release, and Bach’s “Seventh Sun” from his Five Thousand Words CD are other memorable tracks.
I urge jazz aficionados to take the opportunity to appreciate this duo whenever they are together because they complement each other’s their talents as though they have a rich history together onstage when, in fact, this was their very first time playing together! True professionals grooving off each other’s vibe.
Each artist closed with a wonderful finale. “JB,” a rousing tribute to the “Godfather of Soul” James Brown from Atherton’s Groove With Me album, and Bach’s most impressive cover of rock group U2’s “With or Without You” are reasons enough for me to witness this performance again should we be so fortunate to be given that opportunity again. Both artists were compelling, entertaining, and wired to go right from the start – just the “it” factor most jazzers look for in a live performance. – Mike Sutton
Photos by Dwynn Barr
Smooth Jazz Therapy review
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Paula Atherton - Remember When
Thanks to her hot new album, ‘Ear Candy’, saxophonist Paula Atherton is currently enjoying some well-deserved exposure. The CD was released February 17 and since then the first radio single, ‘Pocket Full Of Funk’, has been reminding listeners exactly what Paula is all about.The second track to find its way to radio is ‘Remember When’ that features Nick Colionne on guitar. It is the kind of easy grooving number that is bound to keep her riding high on the contemporary jazz charts.
Excellent track.
Press Quotes
Press Quotes
“As well as being a wonderful sax player and flautist, Paula also has a singing
voice with the power to captivate. For those of you who have yet to discover the
magic of Paula Atherton there has never been a better time to start. ”
- Smooth Jazz Therapy (Jan 20, 2013)
- “To say that Paula Atherton has the right formula for success as a competent
force to reckon with in smooth jazz would obviously be an understatement. If
her previous releases — including “Groove With Me,” her last release before this
project—haven’t brought you on board yet, hop on this groove vehicle. You’re
truly bound to enjoy the ride. – Ronald Jackson ” - Smooth Jazz Ride (Jul 16,
2012)
- “I've loved the whole CD but the next song sent me into orbit! I thought it was a
cover but, no, Paula, composed the truly blues-exciting "JB" and wails her alto
with a soulfulness that prove the "JB" here was the one and only James Brown.
Talk about funk! Greg Adams of Tower of Power adds some great trumpet licks.
Paula's alto is right up there with him. And there's some incredible hard-pressed
unison playing that just knocks me out of my chair. Paula Atherton is a major
talent that should become a superstar. FIVE STARS -Mike Holmes” - Epinions
(Dec 21, 2010)
“The first cut on this new release, "Herbie" kicks butt right out of the gate!
Paula's singable solos on flute are backed by a tight foundation--- her crisp,
excellent rhythm section. Paula's sultry voice on "Can't Get You Out Of My
Mind" and "Let It Be" arouse desire and longing but in a very sophisticated and
classy way-Joe Caroselli” Jazz Monthly
“When, later, she reprises the song with her own picture perfect vocals the
result is just as good and, given Atherton’s prowess as a vocalist, it’s surprising
that she sings on only three other tracks. The first, ‘Whenever You Come
Around’, is a breathtaking example of smooth R & B that has the added benefit
of Darin Brown on keys whilst the heartfelt ‘Send Down An Angel’ allows
Atherton to demonstrate another side of her myriad talents.-Dennis Poole”
- - Smooth Jazz Vibes (Jun 07, 2009)
"Her original R&B lead vocal tunes "Whenever You Come Around," and "Send
Down An Angel" can give great modern urban jazz vocalists like Maysa a run for
their sexy soul money."
"Groove with Me" is truly one of the best smooth urban jazz collections of this
decade turning era."
Both these quotes are from the same review by
Jonathan Widran on itunes
Keys and Chords review quote
Quote from "Keys and chords" mag re: Ear Candy
With this new album, Paula is ready to go to the top of smooth jazz! Not a bad track on this disc!
PATRICK VAN DE WIELE
The Smooth Jazz Ride Reviews "Ear Candy"
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Paula Atherton – Ear Candy
Feb. 6, 2015
Here she is once again dancing the funk right off everyone’s dancing shoes: saxtress Paula Atherton. The lady has a new label (Maurice White’s Kalimba Music), Paula Athertonsome slammin’ contributions from one of the coolest guitarist around, Nick Colionne, lovely trumpeter Cindy Bradley, and the wonderfully talented, equally lovely keyboardist Gail Jhonson. Couple that with that same seductive, crystal clear vocal style that has brought her this far and an album of all new, all original material – Ear Candy — and I think we can look for a chart topper here.
Kicking it off with the funky “Pocket Full of Funk,” this party wastes no time getting into full swing. Others follow like “Bee to A Flower” (truly one to get those feet excited and certainly one of my faves) and “Breakdown.” Of course, this wouldn’t be a Paula Atherton CD without some of that saucy, seductive, R&Bish slow jam groove found here on tracks like “Without You” and “Someone’s Gonna Break My Heart” (the latter has a little pop flavor to it, as well). She also tosses in a little touch of Brazil and some great flute work on the rhythmic, up-tempo “Carnivale.”
This release marks her fourth, and each just seems to take the listener a little bit farther into the fascinating sound-rich world of this now so well-defined saxtress. That her fortunes are blossoming so well (new label, notable luminaries signing on to contribute) only further proves her to be more than ready to share the upper rungs of that wonderful C-jazz ladder. It is also evident that her style and material are irresistibly charming. Ear Candy …mmm, mmm good. – Ronald Jackson