Joseph Vincelli Group

What makes a saxophonist a staple on the Smooth Jazz scene and others not? Sometimes it’s who you know. You should know Joseph Vincelli.

This Life is Vincelli’s 10th CD. I have always dug and played Vincelli on my radio show. I’ve always thought he was pretty good, but this CD is as good as any that the "big boy" record companies are pushing. "Always Ready" kicks off the CD. Very up, poppy and soulful with Vincelli adding a nice little background flute work to his steady saxophone playing. Vincelli picks Al Green’s "Let’s Stay Together" as his lone cover song (11 originals). It’s a great song and Vincelli does no harm to it. Though it’s mostly an instrumental you’ll sing to it, I guarantee it. "Stop Six" has a Boney James feel. You’ll like it. "Arrival" is a piece that perked my ears up instantly. Just a fun melody and fine playing.

I’m serious. I’d put Vincelli up against guys like Boney, Richard Elliot, Kirk Whalum or any of the other "in crowd" Smooth Jazz players. This CD is a good one to add to your collection. A major label should try to pick Vincelli up. This CD is available through www.josephvincelli.com.
- ContemporaryJazz.com

When asked about the music style of his upcoming CD release Dallas-based jazz saxophonist Joseph Vincelli answered quickly and definitively, "competitive smooth". If that’s an unfamiliar phrase, its meaning will become clear after listening to the CD titled This Life.

So, what is competitive smooth? And what does it sound like?

Vincelli talked with jazzinorlando.com about that ... and made some pre-release copies available ... when he played the Pleasure Island Jazz Company recently. Here’s what a sneak-peek listen revealed.

First, it’s a fat CD packed with twelve cuts that vary in rhythm and emotion. And it’s passionate, feel-good music incorporating smooth, tropical, African, and Brazilian samba beats.

Some tunes will send you bopping across the dance floor, or make you boogie in your desk chair at work, and some will simply make you smile. Others are sultry and perfect for listening to by the glow of candlelight, firelight, or moonlight. There’s a beautifully done vocal cut, and a brief percussion set-up for the rhythmic song that follows.

One song would sound just fine in a movie score or soundtrack. Another conjures up mental images of music for a television or cable show so convincingly that you’ll find yourself listening for its debut.

Vincelli wrote nine of the 12 songs and co-wrote two. One cut, Al Green’s "Let’s Stay Together", is a cover. Every song is strong on it’s own, together this is quite a package.

Whether it’s on the radio or the Internet , listen for This Life to get big air ... it’ll be on any station worth listening to.

But Vincelli, who’s outstanding ability earned him a scholarship to the Berklee College of Music, doesn’t limit himself to writing and performing music.

He also wrote and published a series of three books delving into the psychology of music. The books, more about music appreciation than music education, are presented in levels. "I was intrigued by Bach and the spirituality of music," he says about the inspiration to write the books.

Vincelli calls the first, Intimacy with Music – Level I, food for the mind, a combination of music and spiritually. This is a book for anyone who enjoys music. The second, My Friend Music – Level II, aquaints readers with the affects of music in all aspects of our life. Its audience is those who already know a little something about music. The third book, My Friend Music – Text Book Version, is a little more education-oriented and encompasses philosophies from some of the world’s greatest thinkers.

All three books, plus several of Vincelli’s ten CDs, are available from his web site at www.josephvincelli.com. His latest release, This Life, will be added soon. [Webmaster's note: It's available NOW in the Merchandise section of this site.]




- www.jazzinorlando.com

Concert Review by: Sheldon Nunn

Venue: The Cullen Performance Hall (Houston, Texas, United States)

April 23, 2005 - Every city in the United States has a number of favorite jazz musicians. In the case of Houston, Texas, the crowd pleasers have always been Rick Braun, Jonathan Butler, Richard Elliot and Peter White. Collectively, their performances have always been a cornucopia of musical delight and showmanship. At various times, these guys have performed individually or as members of the 'Guitars & Saxes Tour' to the delight of thousands of Houston jazz enthusiasts. Recently, a tour of a different sort passed through the city featuring the above mentioned musicians, otherwise known as a 'Jazz Attack.' At the end of the night on the campus of the University of Houston, anyone within earshot of this fearsome foursome's display of smooth jazz dynamics left the Cullen Performance Hall with a renewed appreciation for the type of music these guys had to offer.

To set the stage for a hot night of prolific jazz, saxophonist Joseph Vincelli served as the opening act for the so-called 'Jazz Attack Tour' that fell upon the University of Houston. With Joseph serving as the opening act, a hotbed of jazz-oriented funk ensued. Although he had been to Houston at various times during his career, I had not had the luxury of seeing him during a live performance. Having said that I must admit I was quite impressed with Vincelli's remarkable talent. First and foremost, Joseph is one of the most intense funkmeisters around today, yet he also has the innate ability to tone his sound down to a sensual melodic groove. His high octane opening was dynamic, energetic and rhythmic by any measure; on top of that, as a stand alone performer he can truly hold his own. By the time he finished his act, the capacity crowd in the Hall was fully prepared for what was to come thereafter. A fully prepared table of some of the most prolific jazz around today was a sound worth hearing, as well as a sight worth seeing, especially when experienced in the guise of Joseph Vincelli.

After a hot pre-opening act, the antics of Rick Braun, Jonathan Butler, Richard Elliot and Peter White blew onto the stage. Individually, all four of these guys are the creme de la creme of today's jazz scene. Whenever they appear in Houston, they leave a satisfied group of fans completely overwhelmed by the sheer nature of their special talent. They are the epitomy of perfection as well as the ultimate showmen. Each in his own way carries the other to the next level whenever they work together; however, as solo artists they leave little to the imagination. The first person on stage was Rick Braun and it was immediately known what the full course would be throughout the night. He cavorted across the stage and into the audience with an enthused level of energy. From the very start the crowd had already been left standing by Joseph Vincelli, and was out of breath by the time Peter White came on board. With help from Braun, Peter's trademarked sound and comedic overtures gave the audience yet another view from the top. Then came Richard Elliot and Jonathan Butler to add additional spice to an already high impact night. What was just as special was the intimacy of the Cullen Performance Hall. Small by most standards, every seat in the venue provided an up-close and personal perspective of the concert. That is why this event turned into a long overdue well-rounded jazz extravaganza, where every seat in the Hall provided a strategic view. In addition, the smallness of the venue provided an intimacy that had not been seen since the days of the famed Rockefeller's.

Once all four of the members of the 'Jazz Attack Tour' were collectively introduced, each one alternated as an individual or as a duo. First it was Rick Braun and Peter White or Jonathan Butler and Richard Elliot. The finale featured all four closing the show. Together they performed hits from their solo efforts that was often augmented by clown-like onstage antics. Not only was there comedy in the mix, the quality of the music was stupendous. Although jazz was the offering, the next best thing would have to be the personalities on stage. Seldom is the chemistry as prolific as was seen with these guys. The evening was a beautifully moving experience that was filled with the heart and soul of smooth jazz's best known artists. Even the sidemen were a treat. Special guest keyboardist Bobby Lyle came onto the stage from the audience to strike a pose with Braun, Butler, Elliot and White. In addition, participating on the tour were guitarist Dwight Sills and drummer Rayford Griffin. All three artists are definite solo recording musicians in their own right, along with a resume that reads like a "Who's Who in Jazz." Their presence on the tour added another dimension to the show and gave the crowd more than they expected for the price of a ticket.

As a KHJZ 95.7 Smooth Jazz Radio sponsored event, the overall effect of this type of concert is always critical. The station's decision to bring these guys to Houston as an ingredient of their concert series throughout the year was crucial. In many ways, jazz has often been a hard sell by most standards; however KHJZ has been quite adept at bringing the best quality artists to the city with a high degree of success. The 'Jazz Attack Tour' is but another heralded accolade that is sure to enhance Houston's future jazz endeavors.

- Houston Chronicle

By MATT WEITZ / Special Contributor to The Dallas Morning News


Gentrification continued Saturday night with the second of a two-night engagement at the Brooklyn Jazz Cafe, centered not in a New York City neighborhood, but about Oak Cliff's Bishop Arts District.

"This district is fun. The people here are very loyal," says the cafe's general manager Lorna Tate.

"The crowd is very sophisticated, and it reminds me of the clubs from the '30s and '40s, where musicians could create and experience new ideas, which isn't easy to do."

The space, which has been open since June, was full this weekend ­ about 110 sit-down patrons and approximately 40 standing ­ for saxophonist Joseph Vincelli.

Although he's performed in New Jersey and along the West Coast, Mr. Vincelli has found an attractive base of operations in the Dallas/Fort Worth area.

"I like Dallas," he said before his set. "It's very business-minded, and it's centrally located to cities like Chicago, New York, Miami, and L.A."

He's aware of Texas' rich tenor sax traditions but doesn't try to imitate them.

"I always look at it like saxophone players are more individual on alto and soprano," he said, addressing his horns of choice.

"Plus, I think that I have a very dark alto-horn sound that draws from that."

Although he covered standards like "Summertime" and "Sunny," both Friday and Saturday nights saw Mr. Vincelli drawing primarily from his latest album, This Life.

Original tunes like "Stay Together" and "You Never Know" gave fans of smooth jazz exactly what they enjoy hearing.

Ably backed by Gordon Pope on bass, drummer Keith Banks, and keyboardist Corey Lacy, Mr. Vincelli's set went a long way towards making manifest Ms. Tate's vision for the club. "We wanted to bring something to Dallas that we felt was lacking," she explained.

"We wanted to create an artist's playground where they could perfect their craft while people enjoyed their efforts."
- Dallas Morning News