Down To The Bone
"For me, it all starts with the groove. That's what gets it all going," confides Stuart Wade, the musical mastermind behind Down To The Bone. "Everything I do revolves around the groove - that really is the most important thing. That is what gets people dancing, their toes tapping and the heads nodding. Without that groove, you haven't got their attention. The melodies are the icing on the cake," continues the producer/arranger/composer.
Down To The Bone's trademark grooves are in place on Crazy Vibes and Things, the outfit's debut album for GRP Records. The album features the same tight community of musicians that have performed on past Down To The Bone albums (including 2000's Spread The Word). Keyboards come from Neil Angilley, while Paul "Shilts" Weimar provides the tenor and alto saxes. Paul Turner (bass), Adrian Revell (alto and baritone sax, flute), and Tony Remy (guitar) also contribute to the mix. The album also features Satin Singh (percussion), Simon T. Bramley (bass), Ian Crabtree (guitar), and Gota Yashiki (drums).
In addition to his work with Down To The Bone, Wade has also compiled the four highly acclaimed Boneshakers albums for Internal Bass in the UK, for which he handpicks a host of rare jazz/groove/eclectic tracks from around the globe. He has also done remixes for various artists over recent years and is a highly sought-after producer.
Stuart Wade and Down To The Bone gave the worldwide jazz/groove scene a firm, swift kick when their debut From Manhattan To Staten was released in 1996. With tracks like "Staten Island Groove," "Brooklyn Heights," and "Carlito's Way," the album blew up in clubs across Europe, while dominating the NAC charts in the States. Their blend of jazz, soul, and dance really stood out in the contemporary jazz genre.
The New York titles from the group's first album were inspired by Wade's continuing love of the United States and its musical roots. "Many of my influences and heroes are from America. I grew up on the soul/jazz/funk sound and listened to people like Ramsey Lewis, Lonnie Liston Smith, Roy Ayers, The JB's, Cal Tjader, and the Mizell Bros. production sound…the list is endless." He admits, "It was music like this that made me want to get into the music scene in the first place."
"My aim with Down To The Bone was to try and inject more energy into the type of jazz music that is so badly stereotyped and give it a much funkier sound," expresses Wade. "A lot of jazz players had a great vibe in the '60s, '70s, and '80s, but somewhere along the way, I feel they've lost what they had. The sound has been mellowed out with this whole easy listening sound. For me, that's not what it's about. It's about a feeling within the music and combining it with a good groove. I want to let people know that it can still be done and that there are people doing it."