Pack eight million people into a global mecca of commerce, finance, technology, academia, and the arts that encompasses entertainment, media, and fashion, and colorful stories flow endlessly with colorful characters. Keyboardist, composer, and producer John Smatla, who records under the name Ultrablue, finds New York City an endless source of inspiration. He wrote and recorded a six-song EP chronicling his real-life experiences and encounters with people in the sprawling metropolis. A contemporary jazz set that richly encompasses soulful R&B grooves, exotic Latin rhythms, and vibrant pop sensibilities. With a powerful energy and a towering soundscape worthy of its namesake, ‘New York Stories’ is Ultrablue’s third collection and the first in nineteen years. A few years ago, Smatla released ‘Until We’re All Free’ as the project’s first single. Three more singles followed over the years, forming the new EP. The fifth single, “The Girl with the Sunflower Tattoo,” seduced listeners on Valentine’s Day with its poignant piano poetry fused with compelling and robust rhythms. Smatla creates on a grand scale, crafting intricate layers of instrumentation filled with luminous harmonies and melodies. Making his presence felt by uniquely coloring and texturing each melody, New York City serves as a compelling backdrop and an engaging playground for Smatla’s adventures to unfold. His lyrical piano playing and clever keyboards act as a delightful guide. Opening with “New York Story,” the EP literally sets the scene. It’s a musical ode to the architecture and mystique of Manhattan, distinct cultural aspects of the city that have long fascinated Smatla, who grew up in Cleveland, Ohio. Featuring David Mann and amplified by the New York Voices, the horn-driven track adds a unique retro twist, incorporating elements that celebrate theme songs from 1960s detective films and TV shows, such as those composed by Henry Mancini, Quincy Jones and Oliver Nelson. ‘Until We’re All Free’ was written during the tumultuous days of social justice protests. The passion felt by people in New York City was powerful. In the absence of traditional lyrics, the harmonies and melody lines had to create a certain lack of resolution and a sense of determination. “Philip Hamilton’s (Pat Metheny Group) plaintive, wordless vocals on the chorus helped fulfill the song’s mission,” said Smatla, who is accompanied on the track by James Hodsonhast (horns), Hubert Eaves IV (bass) and drummer Joel Rosenblatt (Spyro Gyra). And “Herbie,” of course, references icon Herbie Hancock, and it’s an energetic tribute, whose career breakthrough came in the Big Apple. Hancock’s drummer Trevor Lawrence guests on the track with bassist Cornelius Mims, The Chop Horns and a soprano saxophone solo from Eric Knight. Bernd Schoenhart’s expressive acoustic guitar shares the spotlight with Smatla’s sensual piano on “Maria in Blue,” a sultry and amorous Latin-tinged cut about a woman from Smatla’s past. “I have an unforgettable image of Maria. She was a statuesque beauty. One warm evening I remember being mesmerized by the image of her in an off-the-shoulder blue summer dress. “We looked at each other and it was the beginning of a passionate love affair,” Smatla recalled. The latest single, “We Were in Love,” continues the theme of being swept away in romance, albeit a little painfully so. Smatla’s impassioned piano reaches a fever pitch, delivering waterfall-like, swoon-worthy notes in the distinguished company of seven-time Grammy-winning braces player Randy Brecker, Grammy-nominated guitarist Chieli Minucci of Special EFX, and Brazilian guitarist Romero Lubambo. The EP ends with the downtempo “The Girl with the Sunflower Tattoo.” Smatla’s evocative piano is backed by Minucci’s electric guitar and Mann’s horns, which embellish the tight rhythmic foundation that Rosenblatt and bassist John Benitez have built. “This is another story about a real person, a beautiful young woman from a neighborhood in a dangerous part of the city. She had known a life of difficulties and had developed a street tough persona that was impenetrable. But her raw beauty was starting, and her flawless skin was adorned by one large single sunflower tattoo. That single flower suggested a vulnerability and sweetness that otherwise would've been hard to imagine given her image. This sunflower was actually a wildflower, beautiful but neglected,” said Smatla. This beautiful contemporary jazz EP will only be released on SRS Records on March 21.
		Website Ultrablue Tracks: New York Story Until We’re All Free Herbie Maria in Blue We Were in Love The Girl with the Sunflower Tattoo