Paul Taylor Hypnotic
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- Released: October 15, 2001
- Originally Released: 2001
- Label: Peak Records
JazzTimes - 12/01, p.110"...Highlights abound....Taylor proves versatile as well as sensitive..."
- 1.Hypnotic - (with Paul Taylor)
- 2.Flight 808 - (with Paul Taylor)
- 3.Pt Cruiser - (with Paul Taylor)
- 4.Tuesday Afternoon - (with Paul Taylor)
- 5.Dream State - (with Paul Taylor)
- 6.Sunshine - (with Paul Taylor)
- 7.Pendulum - (with Paul Taylor)
- 8.Come Over - (with Paul Taylor)
- 9.Summer Park - (with Paul Taylor)
- 10.Free Fall - (with Paul Taylor)
- 11.Palisades - (with Paul Taylor)
Song previews provided courtesy of iTunes
Personnel: Paul Taylor (soprano saxophone, alto saxophone); Paul Taylor; Dino Esposito, Oji Pierce (various instruments); Mathew Edralin (keyboards, Moog synthesizer, programming); Jeff Lorber (keyboards, drum programming); Alex Al (bass guitar); Kurt Jackson (vocals, guitar, keyboards, programming); Paul Pesco, Tony Maiden, Brian Monroney (guitar); Lenny Castro (percussion).
Audio Mixers: Oji Pierce; Thomas Demman; Rick Camp.
Recording information: Adwin Studios, Hollywood, CA; JHL SOund, Pacific Palisades, CA; Reel Tyme Recording, Northridge, CA; Son Song Studio, Las Vegas, NV.
Photographer: Sonny Mediana.
Arranger: Jeff Lorber.
On his fourth album, Paul Taylor calls upon five different producers: Dino Esposito, Kurt Jackson, Mathew Edralin, Jeff Lorber, and Oji Pierce. The function of these musicians for the most part is to create largely synthesized backgrounds for the soprano saxophonist to solo over in his familiar, melodic manner. Esposito handles the title song and "Flight 808," the first two tracks; Jackson does "PT Cruiser" (with Edralin) and "Sunshine" (on which he sings some bland romantic lyrics); Lorber is responsible for "Tuesday Afternoon," "Pendulum," "Come Over," "Free Fall," and "Palisades"; and Pierce is behind the board for "Dream State" and "Summer Park." Real guitars and percussion are included in the mix here and there, but the sound of the background music remains relatively anonymous, its purpose to provide a rhythmic underpinning and a little color. What matters is the saxophone, or rather the sax harmonies and sax arrangements for which Taylor credits himself on each track, which means that he frequently overdubs saxophone parts to create unison effects. His style is virtually indistinguishable from that of Kenny G, George Howard, or other less-well-known soprano sax practitioners, and the compositions, which usually fade out after four-plus minutes without reaching any climaxes or coming to any real conclusions, are just settings for his melodic musings. It's all pleasant enough, and any track will fit unobtrusively into a smooth jazz radio format, but there's nothing memorable here. ~ William Ruhlmann
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