{"id":3572,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/kim-waters-one-special-moment\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"kim-waters-one-special-moment","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3572","title":{"rendered":"Kim Waters – One Special Moment"},"content":{"rendered":"

\"OneOne Special Moment<\/font>
Kim Waters
<\/font> (Shanachie)
by John Barrett<\/font><\/p>\n

The cover says everything. On a soft cushion Kim Waters is surrounded by light \u0096 from candles, glistening off the cushion, everything reflecting a calm spirit. It’s also in the music, but don’t think it’s listless: Kim’s horn is incisive, soprano notes with the tones of an alto. The backing is airy, the tunes gentle … with room to strut. A number of feelings, most of them love, and if you’re in the mood, this disc provides the moment. <\/p>\n

The production is a model of taste: if you know smooth jazz you’ve heard these techniques, but rarely used this subtly. The keyboards cloud on “Hudson River”, but it’s felt more than heard, and no schmaltz. Guitar chunks a good rhythm, and Kim, in his lower register, moves with in stylish confidence. Never does he noodle: the solos are brief, and deftly concise. “Secrets” has a little more edge, thanks to a synth that beeps like a computer. The future sails by, while Kim stays put \u0096 a gentle drawl, ending in pirouettes! A lovely dance; his partner is Chuck Loeb, who pours on the liquid guitar. It’s a walk by the beach, and the romance is no secret. <\/p>\n

And if you feel romantic … R. Kelly’s “Fortunate” is the purest smooch music. The delay echo’s on high, so Kim starts a phrase, the echo carries on, and he answers himself. There’s also an overdubbed sax section, a choir preaching love. The guitarist is named “Wawa”; he shows you why. And Kim shows you his night moves \u0096 you’re fortunate to hear it. “Come to Me” is a slice of light funk; Brian Bromberg on the bass, keys like a string section, and Kim at his toughest. The alto sound is back, also a hint of clarinet. The tune is strong on its own, and Kim makes it more muscular. From fighter to lover: notes drip on the title track, a wispy soprano lingering on the dancefloor. The guitar is eager, the sax is willing \u0096 you’re in the mood as well. <\/p>\n

“Am I the Same” is a jolt \u0096 nothing prepared you for this. It’s a vocalized “Soulful Strut” (words by Eugene Record of the Chi-Lites); Kim is a section unto himself. Meli’sa Morgan lilts the innocent vocal; overdubs provide her chorus. Perfect \u009160s R&B \u0096 only the drum machine gives it away. “Mr. Smooth” is a two-man band: Wawa’s guitar, and Kim on all else. While the synth hums sad, the reed moves slowly, a voice of consolation. Near the end it gets warm, a sexy slide as Kim whoops it up. And “Love’s Calling” is romance of a different kind \u0096 a sweet tune with spirit, a smoothness that won’t put you to sleep. Yes, it IS special \u0096 and the moment lasts quite a while. <\/p>\n

Rating:<\/b> *** \u00be. Mostly for smooth fans, though others will enjoy it. Try “Hudson River”, “Fortunate”, “Come to Me”, and especially “Am I the Same Girl”. The feeling you get is wondrous. <\/p>\n

Songs:<\/b> Hudson River Nights; Secrets Told; In the Groove; Fortunate; Come to Me; One Special Moment; Am I the Same Girl (Soulful Strut); Mr. Smooth; Up All Night; Love’s Calling. <\/p>\n

Musicians:<\/b> Kim Waters (soprano and alto saxes, keyboards, programming); Andy Snitzer (alto and tenor saxes); Jim Hynes (flugelhorn); Mike Ricchiuti (keyboards); David Mann or Gregg Karukas (keyboards, programming); Chuck Loeb (guitars, keyboards, programming); Robert “WaWa” LeGrand or Paul Livant (guitar); Larry Saltzman (acoustic and electric guitars); Jerry Brooks, James Waters Jr. or Will Lee (bass); Brian Bromberg (piccolo bass, programming); George Whitty (Moog bass); Brian Dunne (cymbals, tom-toms); Ron Holland (drum programming); Meli’sa Morgan (vocal on “Am I the Same Girl”). <\/font><\/p>\n

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One Special Moment Kim Waters (Shanachie) by John Barrett The<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-3572","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3572","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3572"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3572\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3572"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3572"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3572"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}