Saxman Euge Groove to Release “House Of Groove” on Sept. 25th, 2012

HO– — USE OF GROOVE, Euge Groove’s eighth  recording as a leader, is a revealing glimpse into the creative forces that  influence the dynamic musician and the physical space where his creative ideas  flourish – The Groove House, where he lives and records in Southern  California. “It was a friend that pointed out that he thought the album was  written in my happy place,” shares Euge. “I am very happy right now. That’s  not to say I don’t have stress and anxiety. But at almost 50 years young, I  think I’ve better learned how to separate worrying about things I can change  and not worrying about those I can’t. I’m not apathetic but I just try to keep  it in perspective.”  The down to earth musician’s Zen perspective is  humorously reflected in his email signature that reads, “I will no longer be  accepting bad news on Fridays. If you must deliver bad news, please do so on  the following Monday. Your attention to this matter is greatly  appreciated.”

HO– — USE OF GROOVE showcases ten sublime  originals that underscore why Euge Groove is a master of conjuring rich  emotion and melody. The self-professed techie loves to stay abreast of the  emerging studio gear and believes that you have to wholly commit yourself to  the recording process to allow its musical direction to evolve organically.  “With each album I can more comfortably lock myself in my studio and put  everything I have into the process,” confides Euge. “I love getting new  recording tools as they come out. I think being one with the DAW (Digital  Audio Workstation) is essential these days. The creativity is instant. It’s  not filtered through someone else. You don’t have to compromise anything. It’s  liberating.” Euge Groove’s approach to the recording process is one of  patience and intuition. “I’ve learned over the years you can’t force anything.  When the music starts to take on its own direction, you have to be willing to  just ride with,” shares the consummate artist who moonlights as a DJ on  www.smoothjazz247.com He can be heard weekly on Thursdays from 4PM to 6PM PST  online and on the Iphone app sky.fm. Euge Groove  programs all the tracks on HO– — USE OF GROOVE and is featured on  the tenor and soprano saxophones, flute and Hammond B3. He is united by a  solid cast of musicians including pianist and keyboardist Tracy Carter,  bassist Cornelius Mims, guitarists Paul Brown and John “Jubu” Smith, drummers  Trevor Lawrence and Dan Needham, percussionist Lenny Castro and trumpeter Lee  Thornberg.

HO– — USE OF GROOVE was recorded over an eighth  month period. “While I was making this recording, I spent most of the time by  myself immersed in the music. This album will be a success to me if the  intimacy I felt making this album translates to my fans who listen to and  experience this music.” shares Euge. The saxophonist’s  new album opens with the jubilant and lyrical “Knock! Knock! Who’s There?,”  which sets the tone for a thrilling musical foray.  The inspiration for  the opener might not be so obvious as it draws upon the influence of a famous  English poet and playwright. “I have a habit of naming my opening songs after  something from Shakespeare. It goes back to my very first album in Y2K. I had  written the first track on that album a few years earlier while I was on tour  in Italy,” explains Euge Groove. “I had a few days off in Verona, which was  the home of Romeo and Juliet. I visited the balcony and rubbed the bronze  breast of Juliet for good luck. The whole experience left an impression on me.  So when I got back to my hotel room, I wrote the song Romeo and Juliet. This  latest one is ‘Knock Knock who’s there?’ Which is from ‘Macbeth.’ Which is  what started all the knock knock jokes oddly enough!” The album’s title track  and new single is a soulful number highlighting Euge’s big burly tenor  caressing a funky swing groove. The song pays homage to Euge’s home base and  recording studio  that fuels his creative energy.  “I really feel  the songs on this album capture the spirit and energy that friends and family  bring to the Groove House.” The feel good vibe permeates HO– — USE OF  GROOVE with songs like  “Fellowship Hall” featuring Euge’s  ethereal soprano and “Lampin’ It,” which opens with the buttery Fender Rhodes  of Tracy Carter and then unfolds into Euge’s sensuous serenading tenor.   Also included is “Old.edu (Old School)” which beautifully summons an old  school 70s  ‘get on the dance floor’ kind of feel. “I’ve never done a  song with that old school four on the floor beat, so that’s what I went for on  this. I slapped a huge Euge layered sax section on it and it just felt great!”  exclaims the reedman.

A special highlight on HO– — USE OF GROOVE  is an unforgettable duet with celebrated R&B crooner Jeffrey Osborne  called “Never Met a Woman Like You,” which Osborne co-wrote.  The dynamic  duo delivers a riveting performance. Euge shares,  “I wanted to give  Jeffrey a track reminiscent of his LTD days. He just nails the vibe on this  one. It’s a fun song. It’s always important for me that when there is a vocal  song on an instrumental album, that the sax isn’t an afterthought. I think  writing it from the ground up with that in mind makes for a better  collaboration.” Euge invites two additional singers to collaborate on  HO– — USE OF GROOVE, young New York based singer/songwriter  Chioma who co-wrote the ballad “It’s Only Rain” and Kate Miner Moebel, who is  featured on the moving gospel tinged and country inflected ballad “God Bless  You.” When Euge wrote the lyrics to “God Bless You,” Kate’s voice immediately  came to mind. “I got in touch with Kate who used to lead the worship music at  a church I went to years ago. I always remembered her voice. She sounds like  an angel on it.” A master at creating timeless ballads, Euge’s dreamy “Indian  Summer” is another standout. HO– — USE OF GROOVE also features the  heart-warming and tender gospel number “Faithful Central.” “After I finished  cutting this song, the guys were doing this dance and I asked them what they  were doing, and they said they were doing the choir dance from Faithful  Central,” recalls Euge. “Faithful is a big church out here where pianist Tracy  Carter is one of the music directors. He just put his church vibe into the  song, and I had to honor where it came from. It just feels very  honest.”
 
Born Steven Eugene Grove in Hagerstown, Maryland, Euge  Groove grew up in a musical home. His mother played piano and taught the  Cherub choir at Christ Lutheran Church and he began his own musical pursuits  at the age of seven, piano and adding the saxophone at nine. But for Euge it  was in elementary school where he discovered that music was his calling. “In  fifth grade I thought I’d be in school band the rest of my life.” He later  discovered two saxophonists who had a profound affect on his approach to  playing.
 
“One was French classical player Marcel Mule, who  really defined what the sax was supposed to sound like for me and the the  other was David Sanborn. He took that sound and brought it into the mainstream  world,” reminisces the worldly saxophonist. Through the years, Euge’s love of  jazz, R&B, gospel and blues have all come together to inform his  personalized sound.  
He explains “I’ve listened to everyone from  Grover (Washington Jr.) and (David) Sanborn to (Charlie) Parker and (John)  Coltrane as well as (Michael) Brecker, (Stan) Getz, King Curtis, Junior  Walker, Richard Elliott and Kirk Whalum. The thing is, the more mature we  become the more those influences fuse into something new. I always listened to  a lot of R&B growing up, fused that with pop music, then with the gospel  music. Hopefully all of these influences come through in my music and I am  able to create my own unique expression.”

A graduate of  the University of Miami’s School of Music, Euge launched his professional  career in Miami in the mid 80s, playing in salsa bands, top 40 club bands and  doing the occasional high profile session date like Expose’s “Seasons Change,”  a #1 Billboard AC hit. Not long after he moved to L.A. in 1987, he wrote a  track for Richard Elliot’s  THE POWER OF  SUGGESTION  album, and Elliot recommended  Euge to take over his spot in Tower of Power. Euge toured with TOP for four  years, including a year backing Huey Lewis & The News. His resume grew  from there to include recording, touring or performing stints with Joe Cocker,  The Eurythmics, The Gap Band, Elton John, Bonnie Raitt, Aaron Neville and  Richard Marx. Marx included Euge’s horn on “Keep Coming Back,” a #1 AC hit  duet he recorded with Luther Vandross.

In 1999, coming off the road after  two years of touring with popular Italian singer Eros Ramazotti and Joe  Cocker, the saxophonist paved the way for his eventual solo stardom by  recording some tracks of his own. Without a record label to distribute the  music, Euge put his songs on the now-defunct MP3.com website, dubbing himself  “Euge Groove” and downloading started almost immediately, and Euge was soon  topping the MP3.com jazz chart. He signed soon thereafter with Warner Bros.  “Vinyl,” his first single from his self-titled Warner Bros. debut, set a  record by spending 27 weeks on the R&R charts, eventually ranking at #24  for the year.  PLAY DATE kept the trend going with two more #1 radio hits,  “Slam Dunk” and “Rewind.” In 2004, Euge Groove’s Narada debut, LIVIN’  LARGE, spent 68 weeks on the Billboard charts, debuted at #4 and came in  at #25 overall for 2004. “Livin’ Large,” the single, was the #5 most played  song for 2004 on the R&R singles chart. “XXL” spent 36 weeks on the radio  chart. JUST FEELS RIGHT followed in 2005 and it’s  first single  “Get Em Goin’,” was #1 for two  months. BORN TO GROOVE followed in 2007 and featured several chart-topping  singles. Euge Groove’s Shanachie debut was in 2009 and included the #1 smash  hit title track and the top five single “All For You.” 2011 saw the release of  S7VEN LARGE whose title track scored yet a #1  hit.

Euge Groove concludes, “I’ve had a crazy blessed life and career.  In a way, I feel like the hardest thing is just trying to keep it all going.  There is a lot of intensity in this business with things coming at you from  all directions. I just like to take it all one step at a time and enjoy the  moment. To paraphrase Bill Withers, while your on your way to greatness, tale  a minute to look around and enjoy where you are. Because that spot might be  pretty OK.”