Saxophonist Elan Trotman, quickly becoming one of jazz\u2019s most thrilling and emotive performers, continues to stand out and push boundaries as a composer, performer, teacher and recording artist. Trotman\u2019s playing, though inspired by Grover Washington, Jr. and Kirk Whalum, among others, displays his own fresh ideas and distinctive tone. So much so that the New England Urban Music Awards named him best male jazz performer, and he\u2019s been nominated for Boston Music Awards in the jazz category. Born and raised in Barbados, the native island of pop star Rihanna, and educated at the world-renowned Berklee College Of Music in Boston, Trotman approaches jazz in his own way. Blending Caribbean rhythms from his roots with skillful horn textures, his playing is full of surprises. \u201cI like to stretch out, take chances on my solos.\u201d Inspiring and eminently listenable, Trotman\u2019s music is never predictable.<\/p>\n
Elan Trotman\u2019s music has that unique edge where its vibe is instantly seductive and familiar but also offers explosive playing and compelling compositions. For his new CD, Love and Sax, Trotman slows things down for a ballads project where he wrote or co-wrote 12 of the 13 tracks (including the bonus \u201cCan I Play 4 U?\u201d featuring the late, great bassist Webster Roach), for a set full of sensual and seductive melodies, full-bodied rhythms and plenty of hooks. The title track and first smooth jazz radio single, \u201cLove and Sax,\u201d is an irresistible ballad with enchanting wah-wah synth effects and a layered sound that translates to a definite mood enhancer. Trotman\u2019s forte is on the tenor and soprano saxes but he also plays the flute and piano.<\/p>\n
The multi-instrumentalist has released music with elements of gospel, jazz, R&B, funk and reggae, now steps onto the R & B scene with \u201cMidnight Serenade\u201d, a soulful collaboration with R&B vocalist Tony Terry, whose hits \u201cWith You\u201d and \u201cEverlasting Love\u201d have become Urban AC radio mainstays. The two have remained friends since performing together in the Roberta Flack band. \u201cMidnight Serenade\u201d is a sexy slow-burner written and roduced by Trotman and cowritten by Boston-based Neil Letendre of Sure Fire Music and co-produced by Atlanta-based Herman \u201cP-Nut\u201d Johnson of Big Bully, Inc.<\/p>\n
The combination of Trotman\u2019s lush horn and Terry\u2019s unforgettable vocals create the perfect atmosphere for romance, released just in time for the most romantic holiday of the year. Also joining Trotman on his new CD are two smooth jazz stars, pianist Brian Simpson on \u201cHeaven in Your Eyes\u201d and American Smooth Jazz awardwinning trumpeter Cindy Bradley on \u201cOasis.\u201d Also joining Trotman on his new CD are two smooth jazz stars, pianist Brian Simpson and American Smooth Jazz award-winning trumpeter Cindy Bradley.<\/p>\n
The single \u201cHeaven In Your Eyes” feat. Brian Simpson climbed all the way to #12 on the Billboard Smooth Jazz Songs Chart. Love and Sax is Trotman\u2019s 5th CD, and to date is his most successful work, having entered the Billboard Contemporary Jazz Albums Top 20 in June of 2011. Prior to \u201cLove and Sax\u201d his 2009 release \u201cThis Time Around\u201d gained significant airplay for the funky remake of Bill Withers hit \u201cLovely Day\u201d by reaching #6 on the radio charts, and the selfpenned, feel good summer track \u201c100 Degrees\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"
Saxophonist Elan Trotman, quickly becoming one of jazz\u2019s most thrilling<\/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-8412","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8412","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=8412"}],"version-history":[{"count":2,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8412\/revisions"}],"predecessor-version":[{"id":8415,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8412\/revisions\/8415"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}