Artist: Patrick Yandall
Title Of Album: The Window
Release Date: September 7, 2010
Label: Innervision Record
Genre: Jazz / Smooth Jazz
Total Time: 51:41 min
01. To The Left [4:15]
02. Tower Of Soul [4:11]
03. La Jolla [4:37]
04. The Window [4:36]
05. Jersey Shore [3:15]
06. Hope For Haiti [3:09]
07. You and I [4:31]
08. City By The Bay [4:27]
09. Its On Me [4:36]
10. Margueritas at Sunset [4:38]
11. Lifelines [4:15]
12. The Last Time [5:10]
Bringing the same kind of emotional depth and stylistic diversity to contemporary jazz as his heroes and chief influences Lee Ritenour and Larry Carlton, guitarist/composer Patrick Yandall has blazed creative and commercial trails that have inspired a new generation of independent instrumental musicians to pursue their dreams without compromise. Sixteen years after breaking onto the scene with his first national recording That Feels Nice—a sentiment shared by thousands of fans who still have that seminal work in their collections—the multi-talented San Diego based performer is as dynamic, passionate and inventive as ever on his Innervisions Records debut The Window, which marks his incredible 11th release to date.
On the heels of Going For One and One Hour Blues, extraordinary, hard-hitting 2010 projects that explored Yandall’s lifelong loves of hard-rock and blues-rock, respectively, the artist brings a fiery edge, intense funk grooves and tastes of cool tropicality and retro jazz-soul to the self-produced 12 track collection that, true to its title, offers a unique window to Yandall’s ever-evolving musical soul. Its diversity has its roots in the Yandall’s many compositions these past years for numerous top music libraries, which license his prolific work in many genres for television, film and numerous corporations. His compositions have been heard everywhere from The Weather Channel to “War, Inc.,” the 2008 film starring John Cusack, Marisa Tomei and Hilary Duff which featured “Who’s The Bossa.”
In addition to producing and/or recording for NBC, KUSI 51 and various San Diego media outlets, his prolific studio and live perfomance work over the years includes working with renowned jazz artists Michael Paulo, Scott Wilkie, J. Michael Verta, Greg Vail, Tommy Emmanuel and the late Carl Evans, Jr. (Fattburger) and Hollis Gentry. His solo discography includes A Lasting Embrace (1997); Of Two Cities (2000); Back To The Groove (2002); From The Ashes (2004); Eyes of Mars (2005); Samoa Soul (2006); New York Blues (2007); Laws of Groovity (2008); and A New Day (2009).
Rhapsody Music once called Yandall “a middle of the road guitar god,” while Jazziz Magazine made note of his “solid songwriting, guitar chops and arrangements,” which added “a fresh twist to the world of smooth and contemporary jazz.”
The first single from “The Window” is “Tower Of Soul,” a high energy, synth brass driven, blues-pop-funk jam styled after the classic Tower of Power vibe; another track drawing on this influence is the intensely simmering “It’s On Me,” whose unforgettable melody is driven by Yandall’s trademark crisp electric lines. Another key track in light of recent world events is “Hope For Haiti,” which begins with a prayer like chant but quickly evolves into a passionate rock ballad that brings hope and healing from a deep, soul stirring place in Yandall’s heart.
Looking deeper through The Window, the album’s highlights include: the retro-soul, synth brass and vibrant percussion driven opening track “To The Left”; the lush and breezy, summery tropicality of “La Jolla” (named after a high end beach town near San Diego); the searing, cool and rock edged title track that draws from those Clapton/Hendrix influences; the sweet, lighthearted “Jersey Shore” (featuring a distinctively bluesy keyboard harmony); the charming, easy swaying romance “You and I,” which includes a happy sprinkling of steel pans; the top down, mid-tempo carefree cool of “City By The Bay”; and the wonderfully celebratory, laid back funk of “Margaritas at Sunset.” Yandall closes The Window with the moody, easy rolling old school soul flavored “Lifelines” and the haunting and ambient “new age pop rock” ballad “The Last Time.”
On Lifelines he combines the great scale of synth sounds, but when he returns like on The Last Time to his guitar he definetely sounds more authentic. The guitar is and stays his instrument.
The Window is our connection to the outside world. It is also the opening to our inner side. Foremost The Window is Patrick Yandall's musical signal, where he stands today.