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Even as he’s dazzled audiences around the world with his high energy soloing over the funky beats of U.K. jazz groove sensations Down To The Bone, Paul “Shilts” Weimar just wants to be known as “an approachable boy from London who wants to have a laugh…a cheeky cockney chappy.” Part of the fun for the charismatic saxophonist is getting people up and dancing--and if they’re listening to him blow from the car stereo, he hopes they travel down that open road while doing some serious HeadBoppin, the name of his highly anticipated debut on ARTizen Music Group. Produced by Rick Braun and Shilts, HeadBoppin is a powerful showcase for Shilts’ multitude of performing and composing talents, focusing not only on his lead alto and tenor brilliance but also his instantly infectious melodies. Throughout the nine originals and a playfully thumping romp through the magic of Stevie Wonder’s “Tuesday Heartbreak,” he keeps the explosive upbeat tempos and brassy textures he’s famous for with DTTB but incorporates more vibey old school soul textures, moods and atmospheres that create an inviting past and present soul jazz experience. “The main idea behind my solo work is that it’s completely away from everything I do with Down To The Bone,” says Shilts, who has played on all but one of the group’s six collective recordings and is their last remaining original member. “My roots go back to the 70s funk and soul stuff, but I also love bringing that up to date with all the new technology…so HeadBoppin is really a blend of modern sounds and retro flavors. The great thing about working with Rick is that he didn’t try to change my style or sound, but brought more life to it. I’ve always looked at my music from an artist’s point of view, but his perspective from behind the board was invaluable.” “I’ve always liked to play in the high energy style of the band,” he adds, “but it’s all groove and style. With my own material, I write for my sax as if it were a vocal instrument. It’s more melody than riff based, and the goal is to create songs that listeners can’t get out of their heads. I want it to reflect the sense of joy I get being around people, getting to know them and having fun.” Although Shilts has become DTTB’s most visible and identifiable personality in his nine years with the group, he’s excited about the ongoing challenge of creating a separate identity for himself with the release of HeadBoppin. “Even though DTTB is completely the vision of producer Stuart Wade, it’s sometimes hard for fans to disassociate me from my work with them. And that speaks to the success we have had. Even though I’m not literally the frontman, being the unofficial spokesman for the group and playing a lot of solos upfront has been tremendous in terms of boosting my confidence as an artist in my own right.” While Shilts was signed by label partners Braun, saxman Richard Elliot, their manager Steve Chapman and industry veteran Al Evers on the basis of his original demos for most of these tracks, HeadBoppin is, like all great smooth jazz projects, a true testament to the art of ensembling. The vibrant and heavily soulful first single, “Look What’s Happened”—whose title is a riff on the title of his 2001 solo debut See What Happens, which earned Shilts a National Smooth Jazz Awards nomination for Best New Artist—features Braun on trumpet and flugelhorn over a groove established by veteran sidemen Ricky Lawson (drums) and Lenny Castro (percussion). Shilts also enjoys working with Freddie Washington (bass), Ricky Peterson (Hammond B-3), Ross Bolton (guitar) and guest artists Chris Standring (whose crackling guitar solo electrifies on “Tuesday Heartbreak”) and singer Siedah Garrett (the soaring, sensuous and dreamy “Got Love”). Keyboardist Jeff Lorber was one of the saxman’s first contemporary jazz heroes, and his beautiful piano work adds a touch of elegant grace to the easy rolling, sweetly soulful “Good Evans.” On most of the other key tracks, Shilts works a seductive lead saxophone magic as horn intensive, bouncy beats jump in the background. These include “I Knew You’d Like This,” “Break The Mold”--whose bluesy magic comes courtesy of Peterson’s exquisite B-3 harmonies--and the playful and blistering title track, which throbs practically nonstop. Along the way, there’s even a taste of Latin and Brazilian in the foundation of the typically playful “Two Pesos For Bud,” a shuffling groove, guitar-sax jam inspired by a moment of “who’s paying the tab” on Catalina Island with longtime friend, musician and producer Bud Harner. And lest we forget one of Shilt’s primary sax influences, the moody, Tower of Power flavored slo-jam “Mrs. Magic” offers a titular wink to Grover Washington, Jr.’s legendary “Mr. Magic.” A native of London who grew up about 20 miles outside of the city in Luton, Shilts started playing the drums at age nine but became transfixed a few years later by the first sax given to him by famed British jazz guitarist Martin Taylor. “His parents were friends with mine,” Shilts recalls, “and this was a special instrument which was given to him by a lead player with the Count Basie band. A few years later, in high school, I heard a Brecker Brothers album with David Sanborn, and I described it at the time as the most incredible noise I had ever experienced! I was also heavily into Earth, Wind & Fire, Jeff Lorber, of course, and I’m sure I had every Grover album there was. I don’t think I appreciated how good these guys were until a few years later when I turned professional myself.” At 14, Shilts was asked to join the National Youth Jazz Orchestra of Great Britain, which backed such jazz greats as Nancy Wilson, Buddy Greco, Rosemary Clooney, George Shearing and Mel Torme. He scored his first pro gig at 16 working in the house band of Luton’s famed nightclub, Caesar’s Palace (yes, that’s right!), backing up all the legends who passed through—The Temptations, Tom Jones, Four Tops, The Drifters and Rose Royce. After embarking on a travel spree that included gigs in Hong Kong, the Middle East, Europe and the Caribbean, Shilts became a popular presence on the London session scene via dates with David Bowie (on the Absolute Beginners soundtrack), Jimmy Page, Conner Reeves and Dina Carroll. Shilts then became a true icon of the 80’s when he joined the U.K. pop band Breathe, which scored the Top 10 U.S. hits “Hands To Heaven” and “How Can I Fall.” His love for jazz was never far from his heart, however, and the saxman later co-founded System X with other London session musicians, recording Beat The System and playing regular gigs at the city’s premiere jazz venues. The undeniable excitement of his picture perfect jazz-funk style led to an invitation in 1994 to join British Acid Jazz band The Brand New Heavies, an association which lasted six years and overlapped his work with Down To the Bone in the late 90s. Shilts’ incredible adaptability to all retro-soul jazz environments also led to his touring with U.K. chart toppers Jamiroquai in 1995. While playing with the Heavies, Shilts met keyboardist Neil Cowley, who introduced him to Stuart Wade when he was looking to form a new acid jazz oriented band. Shilts’ recordings with DTTB include the discs that endeared them to a wider smooth jazz audience, Crazy Vibes and Things, Cellar Funk and 2005’s Spread Love Like Wildfire. The story behind Paul Weimar’s trademark nickname tops even the tale that turned James Oppenheim into contemporary jazz superstar Boney James. The saxman was on tour with pop singer Lulu in 1990, performing at a big party at an enormous house in England during the time of the Soccer World Cup. “The band had just finished our show and were watching England vs. Italy for the 3rd place finals on a big screen TV,” he says. “Needless to say, we were being rowdy and excited over the game. At one point, English goalkeeper Peter Shilton allowed a goal to go through his legs and I jumped up and screamed at the TV, “Shilts! What have you done?” The whole tour, anytime someone made a mistake, we’d say that, and it soon became my nickname. That’s the true story, but unofficially I like to declare myself Lord Shilts of London!” No doubt, when Paul “Shilts” Weimar gets people in the mood for HeadBoppin, he can convince them of anything. The music and the grooves speak for themselves. Visit Shilts' website at: www.shiltsmusic.com |
