NIGHTSHIFT  #1 Radio hit (R&R #2 track of the year)
2000

Credits

• Chasing the Wind featuring: Pat Kelley � guitar; Keith Jones � bass;  Gregg Karukas � acoustic and elec. piano, synths, bass and drum programming

• Nightshift featuring: Michael O'Neill �guitar; Gregg Karukas � acoustic and elec. piano, synths, bass and drum programming

• Silent Promise featuring: Jim Reid �sax; Michael O'Neill �guitar; Allen Hinds - electric guitar wah fills; Gregg Karukas � electric piano, synths, bass and drum programming

• Speakeasy featuring: Dino Soldo � sax;  Michael O'Neill �guitar;  Larry Kimpel � bass;  Ricky Lawson � drums;  Luis Conte � percussion;  horn section:  Brandon Fields � sax; Walt Fowler � trumpet; Nick Lane � trombone; Gregg Karukas � piano, synths

• Club Hopping featuring: Michael O'Neill � guitar; Gregg Karukas � electric piano, synths, bass and drum programming

• Time Could Pass featuring: Jonathan Butler - vocals; Arnold McCuller, David Lasley, Ron Boustead � backing vocals; Gregg Karukas � electric piano, synths, bass and drum programming

• My Favorite Season featuring: Dino Soldo - sax; Gary Grainger � bass; Paul Jackson Jr. � guitar; Luis Conte � percussion; John Lewis - cymbals; Gregg Karukas � acoustic and elec. piano, synths, drum programming

• Rocky Peak featuring: Jim Reid � sax; Michael O'Neill � guitar; Keith Jones � bass; Rayford Griffin � drums; Gregg Karukas - acoustic and elec. piano, synths, bass and percussion programming

• Stevie (Wonderful) featuring: Dino Soldo - Chromatic harmonica; Luis Conte � percussion; Gregg Karukas � acoustic and elec. piano, synths, bass and drum programming

• Small World featuring: Michael O'Neill �guitar; Larry Kimpel � bass; Ricky Lawson � drums; Luis Conte � percussion; horn section: Brandon Fields � sax; Walt Fowler � trumpet; Nick Lane � trombone; Gregg Karukas � electric piano, synths

• Captive Hearts (for Yvonne) featuring: Ricardo Silveira �nylon string guita;r Keith Jones � bass; Luis Conte � percussion; John Lewis - cymbals; Gregg Karukas - acoustic and elec. piano, synths, drum programming.

• Produced by Gregg Karukas
  
  Recorded and mixed by Gregg Karukas; Spring and Summer 2000 at Nightowl Studios, L.A.
  
  Mastered by Ron Boustead at CMS Mastering
  
  All songs composed and arranged by Gregg Karukas © 2000 Karukas Music / ASCAP except Time Could Pass by Gregg Karukas and Ron Boustead © 2000 Karukas Music / ASCAP & Art Rock Music / BMI
  
  Horn arrangements on Speakeasy and Small World by Brandon Fields and Gregg Karukas
  
  Gregg uses the following instruments: Yamaha DC7PRO Disklavier grand piano, Fender Rhodes Piano (modified by Gregg), Roland S-760 samplers, JV-1080, JV-2080, D-550, Yamaha S-80, Nord Rack, Korg Tr Rack, Alesis DM-pro, Cubase VST PC, RME Hammerfall hard disk recording.

The Music

Much like his first independent recording The Nightowl in 1987, the title of keyboardist/composer Gregg Karukas' 8th solo release is a "tongue in cheek" jab at his longtime preference of entering his studio late and not emerging until dawn when writing and producing a new recording. Karukas brings a fresh sense of soulful excitement and spontaneity to the new music on Nightshift. The 11 songs highlight Karukas' brilliant, melodic composing style and showcase the many sides of his musical personality, producing fresh takes on a mix of funk, pop, R&B/soul, blues and Brazilian grooves. Add Gregg's lyrical, melodic piano(s) and the result is his own trademark style of contemporary jazz. His music is always sophisticated, yet accessible and this new CD is sure to expand his audience even more.

Nightshift is classic Karukas in its seamless ensemble interaction between the keyboardist and some of Los Angeles' (and Brazil's) most dynamic and well known musicians. Featured players include N-Coded labelmate Jonathan Butler (who sings the lush, dreamy ballad "Time Could Pass"), guitarists Pat Kelley, Michael O'Neill (both known for their acclaimed work with George Benson ) and Ricardo Silveira, drummer Ricky Lawson (Steely Dan), percussionist Luis Conte, Brandon Fields and emerging sax talents Jim Reid and Dino Soldo.

Karukas says, "The songs on Nightshift came about very spontaneously, after the magic hour of midnite. Songs could emerge with a melody first, or start with a groove, but the main thing was not to rely on familiar cliches or stock rhythms. I really tried to go deeper, and I think there is a growing sense of confidence in this and my last few albums. On all my projects I always try to keep the first or second "takes", the spontaneous ideas and solos, so I record everything I play using minidiscs and the new Disklavier Pro Grand. I let myself be very loose and creative with my late night improvisations, blurring the line between melody and soloing but always focusing on the piano. If there's a little mistake or "slippery" phrase here or there, "it's cool", I'll just leave it in. A good melody is worth everything and I trusted my instincts and worked hard to stay true to the original inspiration, or vibe, of each song."

As always, Karukas chose to work with musicians whom he feels a magical musical rapport with. "When I write a song, I know immediately who the best player is for each specific part," he says. "As usual, on the songs with live drums, I record as much of the track as I can "live" with the whole rhythm section. The programmed tunes need some overdubbing, but even though I may know just what kind of parts I want from the other musicians, I always just roll tape and press "record" without saying anything and capture their reaction to the music at that moment. I'm open to new ideas, which can sometimes steer us into unexpected directions, but it's cool; as long as they support the song."

Nightshift begins with the grooving, retro-soul minded "Chasing the Wind," which blends Karukas' high octave acoustic piano grace with Afro-Carribean funk rhythms and the snappy electric guitar harmonies of Pat Kelley. Next, the title track picks up on a similar elegant funk vibe, beginning with an irresistible finger snapping percussion groove before evolving into a breezy conversation between Karukas and Michael O'Neill. The keyboardist draws upon his early cool funk/70s influences, on the urban shaded "Silent Promise." It features a duet of Karukas' bluesy electric piano and the silky sax of Jim Reid recalling Gregg's standout work with Kirk Whalum on his hit CD "For You."

That confidence Karukas speaks of comes to light on the brassy, quickswaying "Speakeasy," where Karukas struts his stuff over the energetic sax harmonies of Dino Soldo and a horn section featuring Brandon Fields on sax. The "blues touch" is in full effect on the hip-hop driven "Club Hopping," a perfect blend of Karukas' Fender Rhodes Piano and B-3 soul sounds of his childhood and modern, funky R&B. Karukas' moody electric piano sets the tone for Jonathan Butler's passionate vocal on "Time Could Pass," while the laid back, R&B atmosphere of "My Favorite Season" allows Karukas to create uncanny interplay between his acoustic and electric pianos and a "vocal like" synth/vibes melody. Michael O'Neill's punchy wah-wah guitar enhances the funk driven "Rocky Peak," which offers another showcase for Jim Reid's spirited tenor sax work. Dino Soldo's drifting harmonica breeze floats gently over another seamless Karukas classic on the lush, sensual "Stevie (Wonderful)," whose title refers not only to one of Gregg's primary influences, but also to the keyboardist's toddler son, Stevie. His Salsa/Jazz leanings are in full effect on the bright and bouncy "Small World," which features Luis Conte's relentless percussion and an explosive interaction between keyboards and the hip, punchy horn section. Nightshift concludes with Gregg's ringing acoustic piano on the Brazillian influenced romance "Captive Hearts," a dedication to his wife Yvonne which features Ricardo Silveira on nylon string acoustic guitar.

"People say my music sounds "happy" and uplifting - and I look so happy on stage; it's totally true. My songs are a natural extension of my personality, and I put everything into them. The best music comes out of an inner feeling of either intense happiness or sadness. I always try to stay faithful to that original inspiration because that is where the true "sound of emotion" comes from." Night or day, the music on Nightshift will touch the soul.

REVIEWS

From Jazziz
Five years ago, it may have seemed presumptuous for Gregg Karukas to call one of his most popular recordings You'll Know It's Me, but back then, his sugary, ultra-melodic, slightly funkified keyboard style was truly identifiable from the first few notes of any song he played. Since then, however, he's pushed the rhythmic and stylistic envelopes in so many exciting, new directions that the Karukas of 2000 isn't quite the same guy anymore.

Released in 1998, Blue Touch lived up to its title by moving in what Karukas calls a "bluesy, funky, greasy, and organic" direction. His NCoded debut Nightshift - so named for Karukas' propensity to work vampire-like in his studio all night - moves even further in that direction. His melodies are still as instantly hummable as ever, but he varies their surroundings to include Crusaders-inspired retro-soul elements, snazzy horn sections, and more Latin and Brazilian percussion patterns than ever before.

As always, Karukas chose to work with sidemen with whom he felt a magical rapport. When he pays homage to one of his greatest influences on the silky electric-piano ballad "Stevie (Wonderful)," Dino Soldo is right there with the perfect lazy chromatic harmonica solo. And when the keyboardist needs crazed Brazilian jungle effects on the percussive, brass-tinged "Small World," who else could he call but Luis Conte?

Elsewhere, Pat Kelley's snappy, high-tone electric guitar blends perfectly with Karukas' own upper-register, melodic dabblings on "Chasing the Wind," while guitarist Michael O'Neill's gritty fretwork proves the perfect foil for Karukas' soulful Fender Rhodes musings on the brooding "Silent Promise." On "My Favorite Season" Karukas trades off a lighthearted synth-vibes melody with a Rhodes solo and an acoustic-piano interlude, while Paul Jackson Jr.'s subtle rhythm-guitar jangling perfectly compliments the tune's Pollyanna-ish cheer.

--Jonathan Widran, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.