Project Grand Slam
With a bouncy swagger led by a warm electric guitar’s riffing, Project Grand Slam’s “No One’s Fool” comes into focus, and before long, introduces us to some of the most sensuous vocal harmonies we’ll hear this season, courtesy of none other than Ms. Ziarra Washington. Summer is in full swing, and Project Grand Slam have got an all-new collection of jazz jams (this one included) in their latest album PGS7 designed to soundtrack the sunny weather like nothing else can. I’ll admit that I was expecting a lot coming into this review, but I am pleased to report that Robert Miller’s critically acclaimed project is sounding even better than ever in this cutting-edge set of studio recordings.
Washington is simply on fire in the leadoff single “Redemption Road,” strutting “Take Me,” anthemic “Get Out!” and blistering “At Midnight,” and you could even make the case that her lyrical attack is much stronger here than it has been in previous efforts with Miller and Project Grand Slam. There’s so much raw emotion in her voice, her execution is consistently unhesitant, and best of all, she’s never afraid to share the spotlight with her equally-talented bandmates in any of the material she’s featured in here.
“Redemption Road” isn’t the only radio-ready track on this album – in fact, far from it. Project Grand Slam’s take on the classic “The ‘In’ Crowd” could definitely light up the dial for pop, R&B and jazz fans alike; truth be told, the same could also be said for “Yeah Yeah” and the sexually-charged “Python.” Nothing here comes across to me as having been created with the purpose of steady airplay in mind, but there’s no denying the polished stylization that all of the content we discover in PGS7 has. Miller’s players aren’t selling out, but they’re definitely embracing elements of mainstream recording in this LP.
That said, experimentation isn’t completely absent from this tracklist – if you came searching for eccentric arrangements with an uncompromising (though melodic) muscularity inPGS7, look no further than the cocky “I Don’t Know Why,” “Torpedo of Love” and balladic “With You.” Miller has never been one to muffle his more conceptual ideas in the studio, and while this record is quite possibly the most accessible that he’s made in the past decade, there’s still plenty of evidence here to support the notion that both he and Project Grand Slam are intent on exploring new and exciting sonic realms whenever the opportunity to do so presents itself.
If you’re a longtime Project Grand Slam fan like myself, then PGS7 is practically a godsend this summer, which has been less than impressive for discriminating audiophiles to say the least. From the second that “Yeah Yeah” gets the party started with a bang to the moment when “Tree of Life” brings everything to a poetic, albeit sobering conclusion, there’s never an occasion on which we feel like we’re listening to something recycled or even mildly unoriginal. On the contrary, this is one of the most unique and endearingly fresh albums to see widespread release in 2019.
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Lucas Kilpatrick, approved by Trace Whittaker
8/2019
The music of PROJECT GRAND SLAM has been heard all over the world due to the promotional services offered by Danie Cortese Entertainment & Publicity. Learn more here - http://www.daniecorteseent.com/
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