It's time to write about the heroes of our essay: Down To The Bone. DTTB is the production team of Stuart Wade and Chris Morgans. 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).

Stuart Wade expresses:

"Down To The Bone's aim 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. 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."

The overwhelming success of this group is visible: 4 top ten hits at R & R charts, 1999, The Billboard Magazine elected them as #1 top selling artist in 1999, #2 in the National Jazz Billboard charts for their first album "From Manhattan to Staten". Smooth Jazz News writes a comprehensive and very informative cover story  in the May 2002 issue about "Down To The Bone - The Definition of Groove". A contract with GRP Records and the first release on this label with their fourth album "Crazy Vibes and Things" will deliver the support of a major label. What makes their music so attractive and irresistible?

"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."

A conclusive concept and a consistent realization. The uptempo grooving rhythm is the dominant factor (remember the shuffle-effect?), the main-theme is repetitive and above all jazzy improvisation. All tracks are uptempo dance grooves pushing and bumping. The success-story starts with the first album "From Manhattan To Staten", which was released in 1996 (UK) and 2000 (USA). The album grew to a success in UK before it find the jump over the ocean. But the feedback was overwhelming. 

The next album released "The Urban Grooves" was released in Jan. 1998 (UK) and  1999 (USA). DTTB used the same succesful receipt: "Replace the smooth with the groove!" The crowd cried for more and hadn' t long to wait: "Spread The Word" was released in Jan. 2000 (UK) and 2001 (USA). Imagine, what effect for the Americans: Three albums in a row in between 2 years. DTTB's music was played on many Smooth Jazz radio stations in USA. Internal Bass felt bound to declare, DTTB is not Smooth Jazz.

"Crazy Vibes and Things", the fourth album was released on GRP Records at May 21st 2002. The story goes on. Now with the promotion and distribution power of a major label the success is guaranteed. We can observe the typical Paul-Hardcastle-syndrome: DTTB copies their own style on every album. 

Paul "Shilts" Weimar, the saxophonist and frontman of the group, member of DTTB since their second album, already startet a solo project "Shilts - See What Happens", which was released on the Soulstis label and licensed to Higher Octave Music (2001). The sax is naturally the main instrument on this album, which presents more Smooth than Acid Jazz. The album was produced by Shilts and Mick Wilson.

Stuart Wade and Chris Morgans had founded the Internal Bass label to sell their DTTB music. After the tremendous reaction the label changed his web appearance and offers now http://www.urbangrooves.net/. For those which cannot get enough: Check out the "Boneshakers Vol. I - IV". This is acid jazz in the DTTB style, very dynamic and dancable. But be quick: These albums will be soon sold out!

I have asked Stuart Wade about Acid Jazz and Smooth Jazz:

• Is Acid Jazz still alive? The Acid Jazz label has just restarted his website.
• Is there still a Acid Jazz scene in London?
• What do you think about the term Smooth Acid Jazz?
• Is Acid Jazz a refreshement for Smooth Jazz?
• Have your albums some influence on the contemporary jazz music of today?

 Here his comprehensive answer:

"Hi HBH .
Here are my answers to your questions.

• Acid Jazz is not dead, because the music was around before it was called Acid Jazz,and is still around today, even if the term is not. Acid Jazz was used to describe any funky/fusion Jazz old and new from Charles Kynard, Funk Inc, Johnny Hammond to The James Taylor Quartet and The Brand New Heavies .
  There are still loads of people doing it today .
  The problem with using the name'Acid Jazz' now ,especially in the U.K,where the term was invented by Chris Bangs and Gilles Peterson, is that it is now seen as out of date.The term became too trendy, and as with trends, as soon as you start one you set the clock that counts down to it's sell by date.Which is what happened to Acid Jazz .All the bandwagon jumpers jumped off as soon as they found another trend to follow .Mainly because it was a younger group of people who were into it.

• There is still an Acid Jazz scene in the U.K, but the term is not used anymore. People are desperatly trying to come up with a new name for it. Nu Jazz, Nu Spirit, New Groove, Urban Groove, New Jazz Spectrum. All these names are being used to describe what would have been Acid Jazz four or five years ago. I always felt the name was great and still feel it fits today.
  If he still has control of the name then it would be Eddie Pillar who is setting up the web-site , as it was his labeL.I know Eddie has been trying to re-start the label for a while now,and the scene desperatly needs something like it.

• Please,PLEASE!!!! stay away from the term 'Smooth'. I don't understand the fixation you guys have over there with the word. It's an awful way to describe Jazz, in any if its forms. It is a marketing ploy that allows labels and stations to manipulate the music they allow you to hear, by controling it and shoving it into a pigeon hole.
  Smooth Acid Jazz would be an insult to Acid Jazz.
  I would love someone to tell me exactly what Smooth Jazz is as I don't think even the radio stations know.This is why you hear soft rock/pop on these stations.It is an excuse to play any 'safe', slow, easy listening, soft, innofensive and unexciting music.So that they can grab as many listeners from other formats as possible. Any funky ,exciting stuff is just a token.

• Acid Jazz is not a refreshmant for Smooth Jazz, it is totally different.

• I don't know if my music has an influence on Contemporary Jazz. I do know there are those within the format who would like to see me and this funky style of Jazz dissapear, and have tried to put barriers in my way ever since I started .
  I would like to think my music has an influence, I think that is for others to decide.I just do the music I love and do it in the best way I can.
  I was so dissheartened with the way the Jazz scene was going with this whole 'Smooth' thing and wanted to try to do something about it. I still am trying.
  Hope these answer your questions."

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