Threestyle`s 2nd album “Out of my Dreams”mixes smooth jazz,funk,latin,afro and new contemporary
adult style as well as urban jazz and art rock. (Their idols and influence are fourplay,dave sanborn,paquito
de rivera and so on.)
A vivid band made up of
Magdalena Chovancova on sax ,flute,piano,vocal,Gabriela Chovancova on drums,vibraphone and percussion,Robert
Fertl on guitar,bass,trumpet and vocal ,is a rising european smooth jazz band with an ultimative and unique sound.

On No Boundaries, Eric Bolvin’s supremely eclectic, genre busting and pigeonhole defying follow-up to his 2009 release Workin’ It, the versatile veteran San Francisco based composer and trumpet master perfectly embodies a spirit all independent artists wish they could access. That is, instead of trying to tailor all their tracks to be as accessible and radio friendly as possible, he finds a unique way to mix the mainstream with the adventurous, creating a listening experience completely connected to the unexpected. He makes the transition easy, centering his vibe around a smoky toned B-flat trumpet while whipping up the delightfully melodic, easy grooving radio friendly “Late Night Call” to seduce us into the deeper experience. This romantic and sexy track has everything solid urban jazz needs these days to race to the top of the charts: an easy flowing coolly bubbling bassline, a thoughtful and graceful melody, soaring horn textures behind the lead melody line and sweet synth atmospheres. The gently charming “Late Night Call” is smack dab in the middle of a unique palette of musical pleasures that will challenge fans of this vibe to explore new musical territory with Bolvin.

It may have seemed presumptuous for Gregg Karukas to call one of his most popular recordings You’ll Know It’s Me in 1995, but back then his sugary, ultra-melodic, kick-back-with-a-dash-of-funk keyboard style was truly identifiable from the first few notes of any song. Since then, however, he’s pushed the rhythmic and stylistic envelope in so many exciting new directions that the Karukas of 2000 isn’t quite the same guy; 1998′s Blue Touch lived up to its title by going in what he calls a “bluesy, funky, greasy, and organic” direction, and his NCoded debut, Nightshift — named, like his 1987 debut, The Nightowl, after his 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.