Keith Jacobson - Smooth Jazz Sax
Keith Jacobson - Smooth Jazz Sax
San Diego, CA
R&B/Soul / Smooth Jazz / Funk
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More About The Artist
Biography
Since moving from his hometown of Seattle to San Diego in 2000, saxophonist Keith Jacobson has been a one-man force of musical nature, electrifying the city's vibrant contemporary jazz scene with an ever-growing slate of charismatic performances at a wide variety of public and private venues.
His current dizzying schedule of gigs throughout San Diego County includes dates sponsored by top-rated smooth jazz station KIFM, regular gigs at shopping malls, wine bars and local festivals, in addition to private performances for weddings and real estate companies.
Working now with vocalist Trena Steward (well known to San Diego audiences from her work with the dance band Makai), Jacobson is gearing up for some big KIFM gigs this fall, including dates at Humphrey's. He's also headlined Lites Out events at Clay's in La Jolla and last fall performed at the Smooth Jazz & Music Festival at the Ponte Family Estate Winery in Temecula.
Launching his career advertising exclusively to the regional wedding market, Jacobson started out doing strictly smooth jazz covers and performing solo to tracks due to his clients' budget and space limitations. He later expanded his sets to include more showtunes, jazz standards and R&B, and upon the 2006 release of his independently released debut CD I Wanna Be With You, he began doing more and more shows with a full band or what he likes to call a “trio with tracks.”
A multitude of tracks from that recording received airplay on over 80 college and smooth jazz stations across the country, building a solid fan base for the saxophonist's dynamic new follow-up Turn On The Charm on Jacobson's newly incorporated EPJ Records. Released in mid-July, the album went into immediate rotation at over 20 smooth jazz stations and in its second week, ranked at #31 on the airplay chart of www.smoothindiestar.com, the independent artist page of www.smoothjazz.com.
Although he maintains a heart for lyrical tenderness on a few tracks of Turn On The Charm—most notably, a passionate reading of Billy Joel's “She's Got A Way” and the balmy and whimsical original “Jasmine”—Jacobson, co-producing again with popular San Diego keyboardist Jeff McCullough and co-writing eight of the songs--is for the most part is turning up the heat, amping up the grooves and rocking and funking out. Effortlessly mixing soprano, alto and tenor (sometimes all on the same tune and often creating sizzling textured horn hooks), Jacobson sets the tone up front with five jamming hook-filled tracks that push the usually cozy boundaries of the genre.
Driven by a blast of horn textures, Darren Pleis' thick bass bottom and a spirited soprano melody “Get Up” gets things off to a wild, thumping retro start. The title “Zip In My Zap” is a clever ode to Jacobson's co-writer Max Zape, but it also applies perfectly to the percussive, sometimes discofied old school jam vibe of the tune. “Inside Track” keeps the party hoppin' with a throbbing bottom, a percussive sax melody and touches of retro soul and blues in McCullough's keyboard harmonies. The sensual, mid-tempo “Rendezvous” is more on the whimsical side, with a playful soprano melody, easy beats and the shimmer of more retro keyboard sounds. The title track lives up to its promise to “Turn On The Charm,” blending trippy, mystical electronic effects with a hard driving funk-rock groove.
“On The Way” also features these hypnotic ambiences mixed with an in your face, horn textured hook and some of Jacobson's most powerful improvisations. He simmers down for “She's Got A Way,” “Jasmine” and gently tropical flavored “Spur Of The Moment” before the rousing, all out fiesta finish “Too Much Fun”—a classic soul jazz jam featuring party voices, fellow San Diego musician Patrick Yandall's jangling rhythm guitar, a sizzling electric guitar solo by Matthew Von Doran and wild improvisations by the whole band.
“I really wanted to write and record tracks that I knew would perform well live,” says Jacobson, who is continuously inspired by the enthusiasm his live audiences show for his higher energy songs. “I did some fun research on iTunes, checking out who the top artists were who were creating the grooves I liked the best, bands like Down To the Bone and guys like Euge Groove. I wanted to get into that funky, upbeat mindset. I'd start listening to songs with some exciting grooves, then shut it off and let the drumbeat keep going in my head until the perfect melody hit me. It's really a great process, and the energy of Turn On The Charm is right where I want to be. I love songs that get people up on their feet. To me, that's what the smooth jazz live experience is all about.”
Keith Jacobson was first inspired to play sax professionally when he caught the well known veteran saxophonist Eric Marienthal performing in the early 90s with Chick Corea's Elektric Band at a venue called Parker's Ballroom in Seattle. During his post-college years, the former engineering major at the University of Washington had played in R&B and jazz bands part time, but he never considered a full time career in music as a realistic pursuit.
Jacobson later saw Marienthal perform different solo shows in Seattle, and when he moved to San Diego, a mutual friend hooked up the two saxmen before a gig Marienthal was doing in Encinitas. Soon, Jacobson started taking formal lessons from him. “These were like great tune-ups, true cardio workouts on the sax,” he says. “I've studied over 500 hours with him since 2001, and he's an excellent and patient teacher.” Marienthal later performed on and co-produced Jacobson's debut I Wanna Be With You.
Looking back to his childhood growing up in the Shoreline section of Seattle, Jacobson recalls some other interesting influences on his musical development as well. He still has recordings that his grandfather, a harmonica player, made of him square dance calling and of his daughter (Jacobson's mother) playing the accordion. When his parents divorced, Jacobson's father married a well-known piano instructor who owned a nine-foot concert Grand Baldwin autographed by Liberace. “I remember we had a cruddy old record player in the house,” Jacobson adds, “and I put on an old Pete Fountain clarinet record. It was a 33 but to me it sounded better at 45 rpm. Sped up, it sounded like bebop to me. So I like to say that was the first bop recording I ever heard!”
Another major influence on Jacobson's growing musical career is his wife Lise, who practices criminal law as a Deputy Attorney General with the California Attorney General's Office. He married her after six months of courtship in 2000. Early that year, the then part time musician--who worked for 13-year stint as GM of the University Club of Seattle, an exclusive club and private restaurant--was playing a gig at Patty Summers' Grill, a small club at Pike Place Market, when Lise and a friend, who were visiting from San Diego, stopped in to check him out. Jacobson and Lise hit it off, and by the end of that first weekend, the potential love match was clear. After six months of back and forth visits, it was time for one of them to relocate.
Once he moved to San Diego, he steeped himself in the music education programs at several local school districts and quickly built a thriving clientele of private students in addition to being part of the faculty at Palomar College and teaching sectional clinics during the day at various high schools. After establishing himself financially as an educator, he had the freedom to pursue gigs as a performer.
Like most busy musicians, Jacobson is always trying to balance work and his private husband and dad time with Lise and their almost four year old son, Eric. “The sacrifices I have to make are worth it because of the interaction I have with the audiences,” he says. “At some of these less glamorous solo gigs, I get onstage and nobody cares but by the end of the night, people are into it and telling me later how much they enjoyed my performance. I really love those only in Southern California moments when I'm playing late in the day with the sun in my face, playing the smooth jazz I love. It's really blissful.
“A lot of musicians might feel a certain way about the mall gigs I like to do, but it's great to play before a mosh pit of kids, including my son,” Jacobson adds. “I think back to when I was working a straight job in Seattle, trying to figure out ways to get my hands on my horn every day and finding the time to play. Now when I'm working, even doing just background gigs, I actually have my hands on the horn. I get to practice and make a living at the same time. I have an incredible opportunity each day to fulfill my lifelong dream, yet in many ways, all of this is just the beginning.”
Since moving from his hometown of Seattle to San Diego in 2000, saxophonist Keith Jacobson has been a one-man force of musical nature, electrifying the city's vibrant contemporary jazz scene with an ever-growing slate of charismatic performances at a wide variety of public and private venues.
His current dizzying schedule of gigs throughout San Diego County includes dates sponsored by top-rated smooth jazz station KIFM, regular gigs at shopping malls, wine bars and local festivals, in addition to private performances for weddings and real estate companies.
Working now with vocalist Trena Steward (well known to San Diego audiences from her work with the dance band Makai), Jacobson is gearing up for some big KIFM gigs this fall, including dates at Humphrey's. He's also headlined Lites Out events at Clay's in La Jolla and last fall performed at the Smooth Jazz & Music Festival at the Ponte Family Estate Winery in Temecula.
Launching his career advertising exclusively to the regional wedding market, Jacobson started out doing strictly smooth jazz covers and performing solo to tracks due to his clients' budget and space limitations. He later expanded his sets to include more showtunes, jazz standards and R&B, and upon the 2006 release of his independently released debut CD I Wanna Be With You, he began doing more and more shows with a full band or what he likes to call a “trio with tracks.”
A multitude of tracks from that recording received airplay on over 80 college and smooth jazz stations across the country, building a solid fan base for the saxophonist's dynamic new follow-up Turn On The Charm on Jacobson's newly incorporated EPJ Records. Released in mid-July, the album went into immediate rotation at over 20 smooth jazz stations and in its second week, ranked at #31 on the airplay chart of www.smoothindiestar.com, the independent artist page of www.smoothjazz.com.
Although he maintains a heart for lyrical tenderness on a few tracks of Turn On The Charm—most notably, a passionate reading of Billy Joel's “She's Got A Way” and the balmy and whimsical original “Jasmine”—Jacobson, co-producing again with popular San Diego keyboardist Jeff McCullough and co-writing eight of the songs--is for the most part is turning up the heat, amping up the grooves and rocking and funking out. Effortlessly mixing soprano, alto and tenor (sometimes all on the same tune and often creating sizzling textured horn hooks), Jacobson sets the tone up front with five jamming hook-filled tracks that push the usually cozy boundaries of the genre.
Driven by a blast of horn textures, Darren Pleis' thick bass bottom and a spirited soprano melody “Get Up” gets things off to a wild, thumping retro start. The title “Zip In My Zap” is a clever ode to Jacobson's co-writer Max Zape, but it also applies perfectly to the percussive, sometimes discofied old school jam vibe of the tune. “Inside Track” keeps the party hoppin' with a throbbing bottom, a percussive sax melody and touches of retro soul and blues in McCullough's keyboard harmonies. The sensual, mid-tempo “Rendezvous” is more on the whimsical side, with a playful soprano melody, easy beats and the shimmer of more retro keyboard sounds. The title track lives up to its promise to “Turn On The Charm,” blending trippy, mystical electronic effects with a hard driving funk-rock groove.
“On The Way” also features these hypnotic ambiences mixed with an in your face, horn textured hook and some of Jacobson's most powerful improvisations. He simmers down for “She's Got A Way,” “Jasmine” and gently tropical flavored “Spur Of The Moment” before the rousing, all out fiesta finish “Too Much Fun”—a classic soul jazz jam featuring party voices, fellow San Diego musician Patrick Yandall's jangling rhythm guitar, a sizzling electric guitar solo by Matthew Von Doran and wild improvisations by the whole band.
“I really wanted to write and record tracks that I knew would perform well live,” says Jacobson, who is continuously inspired by the enthusiasm his live audiences show for his higher energy songs. “I did some fun research on iTunes, checking out who the top artists were who were creating the grooves I liked the best, bands like Down To the Bone and guys like Euge Groove. I wanted to get into that funky, upbeat mindset. I'd start listening to songs with some exciting grooves, then shut it off and let the drumbeat keep going in my head until the perfect melody hit me. It's really a great process, and the energy of Turn On The Charm is right where I want to be. I love songs that get people up on their feet. To me, that's what the smooth jazz live experience is all about.”
Keith Jacobson was first inspired to play sax professionally when he caught the well known veteran saxophonist Eric Marienthal performing in the early 90s with Chick Corea's Elektric Band at a venue called Parker's Ballroom in Seattle. During his post-college years, the former engineering major at the University of Washington had played in R&B and jazz bands part time, but he never considered a full time career in music as a realistic pursuit.
Jacobson later saw Marienthal perform different solo shows in Seattle, and when he moved to San Diego, a mutual friend hooked up the two saxmen before a gig Marienthal was doing in Encinitas. Soon, Jacobson started taking formal lessons from him. “These were like great tune-ups, true cardio workouts on the sax,” he says. “I've studied over 500 hours with him since 2001, and he's an excellent and patient teacher.” Marienthal later performed on and co-produced Jacobson's debut I Wanna Be With You.
Looking back to his childhood growing up in the Shoreline section of Seattle, Jacobson recalls some other interesting influences on his musical development as well. He still has recordings that his grandfather, a harmonica player, made of him square dance calling and of his daughter (Jacobson's mother) playing the accordion. When his parents divorced, Jacobson's father married a well-known piano instructor who owned a nine-foot concert Grand Baldwin autographed by Liberace. “I remember we had a cruddy old record player in the house,” Jacobson adds, “and I put on an old Pete Fountain clarinet record. It was a 33 but to me it sounded better at 45 rpm. Sped up, it sounded like bebop to me. So I like to say that was the first bop recording I ever heard!”
Another major influence on Jacobson's growing musical career is his wife Lise, who practices criminal law as a Deputy Attorney General with the California Attorney General's Office. He married her after six months of courtship in 2000. Early that year, the then part time musician--who worked for 13-year stint as GM of the University Club of Seattle, an exclusive club and private restaurant--was playing a gig at Patty Summers' Grill, a small club at Pike Place Market, when Lise and a friend, who were visiting from San Diego, stopped in to check him out. Jacobson and Lise hit it off, and by the end of that first weekend, the potential love match was clear. After six months of back and forth visits, it was time for one of them to relocate.
Once he moved to San Diego, he steeped himself in the music education programs at several local school districts and quickly built a thriving clientele of private students in addition to being part of the faculty at Palomar College and teaching sectional clinics during the day at various high schools. After establishing himself financially as an educator, he had the freedom to pursue gigs as a performer.
Like most busy musicians, Jacobson is always trying to balance work and his private husband and dad time with Lise and their almost four year old son, Eric. “The sacrifices I have to make are worth it because of the interaction I have with the audiences,” he says. “At some of these less glamorous solo gigs, I get onstage and nobody cares but by the end of the night, people are into it and telling me later how much they enjoyed my performance. I really love those only in Southern California moments when I'm playing late in the day with the sun in my face, playing the smooth jazz I love. It's really blissful.
“A lot of musicians might feel a certain way about the mall gigs I like to do, but it's great to play before a mosh pit of kids, including my son,” Jacobson adds. “I think back to when I was working a straight job in Seattle, trying to figure out ways to get my hands on my horn every day and finding the time to play. Now when I'm working, even doing just background gigs, I actually have my hands on the horn. I get to practice and make a living at the same time. I have an incredible opportunity each day to fulfill my lifelong dream, yet in many ways, all of this is just the beginning.”
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