Having exploded from a small underground street-jazz sound in New York City, The Liquid Blu universe has been expanding at a dizzying pace. The new york city ensemble's trademark mixture of jazz and urban dance music has virtually outgrown the term "acid jazz," incorporating everything from hard-bop to hip-hop in their celebrated sound.  New York Press magazine says Liquid blu "sweeps the mold and mildew out of jazz-funk and breathes it back to glorious life." With a marathon touring schedule that has included everything from performing at the New York City Jazz  to headlining the first acid-jazz performance at the Newport Jazz Festival, Liquid blu has evolved into an intuitively tight outfit that knows no stylistic limitations. The amalgamation of genres created by the 6-piece collective is a blend of pure musicianship, a fiercely passionate fire and the inherent fun of a pure dance groove. The result is a unique live music experience that draws a diverse legion of fans, spanning across multiple age and ethnic groups.

At long last, Liquid blu is back with the follow-up to its 2000  CD, Funky People.  the band's fourth recording, gives evidence that the dynamic unit has continued to develop its infectious trademark sound and take it to new heights. Liquid blu called on the help of Grammy-nominated producer Maurice Joshua (N'Sync and Destiny's Child) and Frayne P. Lewis, the son of Ramsey Lews, this time around. The result is a fresh mix of butt-kicking jams, driving jazz-inspired tracks and hot dance numbers. Fans of Liquid Blu will be thrilled by the album's extra live tracks which capture the sheer magnetic energy of the band. Highlights include "5th AVE Groove," the rambunctious opener with the killer horn intro and thumping bass; "Sun Ra," the smooth and ethereal tribute to the celestial king; "Nina," the funky spoken-word track reminiscent of Deborah Harry's "Rapture"; and the overpowering and live dance track "Pick up the Phone."

The story of Liquid Blu goes back to 1994, when the band was at the forefront of a surging acid-jazz movement in the greater East. Evolving from free-form hip-hop jams, the band coalesced spontaneously and soon found a home every Sunday night at New York's Elbo Room. Word spread fast, attracting like-minded individuals to the small stage from far and wide. Thanks to these auspicious midnight marathons, Liquid Blu soon solidified into a steady working unit.

The group quickly morphed well beyond their improv-oriented acid jazz beginnings, and their do-it-yourself debut ("Liquid Blu") was quickly picked up and distributed by Che-Che Records. . They relocated their perennial Sunday night show to the Groove Cafe and held it for almost four years (Feb. 1996 to Dec. 1999), rarely missing a Sunday even while playing nearly 200 gigs a year throughout the United States and Canada, plus performances in Germany, Turkey and Japan. Along the way, the band has gone on to both critical and national acclaim. They have opened for Tito Puente, and twice rocked the Puerto Rico jazz festivel 

 

Live or in the studio, playing it hard or smooth, Liquid Blu is a fiery concoction of classy soloists, heavy rhythm merchants and hip-hop cognoscenti. They are in a group that thrives on contact with their audience. One cannot help being moved by Liquid Blu's ongoing party philosophy. The band's in-the-tradition repertoire extends from classic compositions by Ornette Coleman and Miles Davis to excursions on the latest breakbeats and mad samples. They continue to bridge the musical gap between standard jazz improvisation and urban rhythm. And as always, the band stays true to its roots with a continued philosophy of bringing jazz back to the dance floor.