KDHX 88.1 FM
- Don't It Make It Better-Bill Withers (Although I wouldn't play this as often as "Lovely Day" or "Use Me," this 1978 track settles into a comfortable, of-its-time groove in the vocals and instrumentation.)
- Dead End-Brainstory (Ruminations of the inevitable end of one's life have never sounded so laid back. Vocally and instrumentally, this is heavily steeped in '70s R&B influences; surprisingly, it's from 2019, though. War's "All Day Music" would sound right to me after this; the tune has a similar feel, and lyrically, it would take the edge off of "Dead End.")
- I'll Be Waiting-Santana (George Benson's "Weekend In L.A." would sound great before this; there's a compatible energy in the guitar parts of both tunes.)
- The Simple Things-George Duke (Warm vocals and sentiments ideal for a Quiet Storm format; I always looked forward to playing this on KNJZ.)
- Playground-Feyza Eren (This whimsical song of hope brings Astrud Gilberto's vocals to mind.)
- Power UP!-Blair Bryant (This new bass-anchored track is ideal for driving and adds bite to a smooth jazz station's playlist.)
- What Cha' Know About That-Lisa Addeo (This initially sly piano rhythm morphs early on into a sunny, bouncy, easily accessible smooth jazz tune.)
- Whisper Not-Thad Jones (Smooth, sly trumpet. Longtime local jazz DJ Leo Chears chose the perfect theme song for his shows with Paul Desmond's "Desmond Blue." If he'd needed an alternate theme, however, this could have been a contender.)
- Jessica-The Allman Brothers Band (Possibly the most infectious country-rock instrumental ever recorded; its melody is similar to another Allman Brothers standout track, "Revival.")
- Aaron Copland: Four Dance Episodes: IV. Hoe-Down (Los Angeles Guitar Quartet) (The volume and rowdiness of this movement are more contained with guitarists playing the melody--but not to the extent that you might think. A fellow high school jazz band player once told me he couldn't stand Copland because "he writes toe-tapping hoedown music." I thought to myself, "When it works, as it clearly does in this case, what's wrong with that? This is a popular, well-known melody for a reason." For another example of the melody's adaptability, check out Emerson, Lake & Palmer's rendition.)
