Chicago, IL (PRWE May 22, 2012

In 2010 with his debut album as a leader, Things to Come, vocalist
Milton Suggs established himself as an artist to be aware of and watch
closely. He cements that idea with a strong showing in 2012 with the
first volume in an anticipated series of albums simply and appropriately
entitled, “Lyrical.”

Lyrical, Volume I was recorded in late 2011 and early in 2012 with
some fine instrumental talent out of the midwest. Detroit pianist
Michael Jellick, bassist Joshua Ramos, and drummer Greg Artry comprise
the rhythm section while several talented horn players including
trumpeters Corey Wilkes and Marquis Hill, as well as saxophonist
Christopher McBride make strong statements as soloists.

True to its title, the album’s repertoire consists of arrangements by
Milton Suggs of compositions from some of the most beloved musicians
and composers in jazz all with original lyrics by Suggs. The album opens
with three Wayne Shorter compositions: first, the powerful war-like
anthem “Before It’s Too Late” (originally called “Armageddon”), followed
by “Walking Out” (“Footprints”), before winding down to a moving ballad
in “Jayme’s Song” (“Infant Eyes”), a father’s ode to his newborn
daughter.

The musical as well as lyrical content of this album is an eclectic
display of different styles as well as subject matter. With styles
ranging from straight ahead swing, to bossa, to R&B influenced
grooves, Suggs offers the diversity and accessibility that is coming to
define his work. A self proclaimed romantic, he approaches the subject
of love from many different angles; from laments of loss in songs such
as “Only A Memory” (based on Lee Morgan’s “Ceora”) to praises of
adoration in songs like “Side by Side” (based on Benny Golson’s ever
popular “Stablemates”) his words go a long way in illustrating love’s
complexity and vastness.

It has been two years since the release of Milton’s acclaimed debut
album, Things to Come, and between now and then he certainly hasn’t been
resting on his laurels. In addition to performing throughout the
country in places such as The Kennedy Center in Washington D.C., Milton
has been writing. Not only has he been building a catalogue of original
music for later recording and release, but he has also spent much of his
time crafting lyrics to the melodies of many of his favorite well known
and lesser known jazz compositions to be released on subsequent
volumes.

Writing is something for which Milton discovered a fondness at an
early age. “I was probably in the third grade, around eight years old,
when I found a book of poetry at a family member’s house,” recalls
Suggs. “I read this one poem ‘She Walks in Beauty like the Night’ and I
was mesmerized. From then on I was trying to write love poetry. When
music came into the picture I began to understand how when great
melodies are paired with honest and meaningful lyrics, the best of both
worlds come together and create something new and special.” It is only
fitting that an album like Lyrical is being released when it is. We were
given a preview of Milton’s prowess as a lyricist on his previous
album, and now it is being displayed on a larger scale.

“’Things to Come’ was my manifesto, a declaration of some of the
directions I intend to go in my career. So I’ve really been taking to
time to see those goals through to fulfillment,” Suggs says.

“There is so much great music out there that the possibilities seem
endless when it comes to putting words to melodies. I really enjoyed the
project because it gives me the opportunity to step away from writing
music and really focus on my appreciation for these great tunes by other
artists.”

While the elder statesmen such as Wayne Shorter, Cedar Walton, and
Benny Golson have provided Suggs with much lyrical inspiration, he also
shows appreciation for a younger generation of artists such as trumpeter
Roy Hargrove. “Joy Enough to Spare” is a lyrical treatment of
Hargrove’s “Joy is Sorrow Unmasked” from his 2008 album Earfood. Not
only does Suggs provide a warm vocal on this track, but he also
accompanies himself on piano.

While the influence of masters such as Eddie Jefferson and Jon
Hendricks was apparent with his previous album, Suggs adds a new
dimension to his vocal styling that reflects the influence of soul
singers Donny Hathaway and Marvin Gaye and even groups such as the
Chi-lites and Blue Magic. “Of course soul is much of what I grew up
listening to, so I wanted to explore possibilities of pairing some of
those vocal recording techniques with the jazz standards,” Suggs says.
On many songs from this album, Milton provides his own background vocal
accompaniment, something that is not typically heard among jazz
vocalists.

Milton’s soul music influence comes to life in the vibrant “Will You
Fly with Me”, an R&B style song based on Tadd Dameron’s “Lady Bird”
and Miles Davis’s “Half Nelson” with a track from producer and
vibraphonist Justin “Justefan” Thomas. With a stunning solo from pianist
Michael Jellick, this particular song offers what might be considered a
more contemporary spin to an ever popular jazz classic.

When asked what possibilities might lie ahead within his career Suggs
had this to say, “I definitely intend to keep putting out volumes of
the ‘Lyrical’ series, but for my next immediate project I would like to
do an album of all original compositions. But for now I’ll just focus on
making sure this album gets heard.” With a combination of great tunes,
solid arrangements, exceptional vocals, and great lyrics accomplishing
that goal should not be a problem.