Smooth operator

Phil Denny is a one-man music business. In addition to recording and performing, the 37-year-old smooth jazz saxophonist negotiates his own contracts, books his own tours and manages his own promotional campaigns. It helps, of course, that he earned a degree in business administration from Olivet College, but the Lansing-based artist’s first love was always music.

A full-time musician, Denny has steadily built up a reputation in the smooth jazz world. His debut album, “Crossover,” landed three singles in the top 30 of Billboard’s smooth jazz charts — no small feat for an independent artist. He also organizes and promotes monthly jazz series at La Fille Gallery and an annual Christmas concert.

Denny released his new album, “Upswing,” last week, and he will mark the release with a concert Saturday at the Loft. City Pulse sat down with the busy saxophonist to talk about the new album and the state of smooth jazz.

What lessons have you learned from your previous albums that you brought into the new album?

When I released “Crossover,” which was my first project in 2012, it was really stepping into new territory. I had been performing live for a long time and just starting the songwriting process, in terms of being creative as an artist. Prior to that I was playing a lot of cover music. So I think when I started recording, because of my personality, I was playing it safe. Not taking a lot of risk, just writing with radio in mind. Still pulling from my influences and trying to make the album be a Phil Denny product, but maybe not taking as much creative liberty because you’re trying to earn the listener’s ear.

So I think throughout the last couple years, in terms of being a songwriter, a creative writer, I’m understanding that I’m able to take more creative liberties and make the music a little more organic, a little more genuine.

What was the writing process like for “Upswing?”

This album, for the most part, was an “in the moment” kind of an album. I took the better part of two years to write it. Once I identify the groove on a track, I just spend quality time with it, to write from within the moment. It’s a culmination of experiences and influences that made the album what it is. It’s a more genuine approach. I can hear within my writing influences of Stevie Wonder, Michael Jackson, even some more modern stuff. One song, people have said, has a very Maroon 5-like vibe to it.

How did you get into smooth jazz music?

Coming from middle school band and going into high school, really I was only taught concert music. I really wasn’t taught jazz in middle school.

At the time, my brother worked at Wherehouse Records and brought home a little bit more contemporary sound of the saxophone, like Dave Coz, Richard Elliot, Grover Washington Jr. and Kirk Whalum. So when my ear was first exposed to what I thought was jazz, it was little bit more of a contemporary style. And that’s naturally where my ear went to.

I later went to Blue Lake Fine Arts Camp on a scholarship and discovered that I didn’t know a whole lot about jazz. Then I was turned on to the giants: Charlie Parker, Stan Getz, John Coltrane and the likes. But I think having that pop/urban/ R&B influence, my ear and my preference stayed there with that sound.

Do you find people have a stigma toward smooth jazz?

I think, for the most part, people are quite receptive to it. There is some negative connotation to the smooth jazz label that was brought about by terrestrial radio as it tried to create a format could be mass-marketed.

I’ve always stuck with the idea that jazz is a wide form of communication, with several different facets. Jazz is colorful. So when people are first turned on to smooth jazz, it’s a little easier for them to understand. It is more like pop music. It is more like R&B. For that reason, people tend to gravitate towards it. They can count to it, they can bob their head to it. At the end of the day, it’s easy music for people to appreciate.

I know you have an active radio campaign, are there other venues you use to get your music out?

The unfortunate thing about the smooth jazz format is there’s a very narrow market in terms of radio reach. People are looking at alternative sources to reach the listener. Satellite radio and streaming media has been successful for a lot of people.

Satellite radio has a national reach. I was fortunate on the last project to have two singles that were played on SiriusXM’s “Watercolors.” I did notice, once those songs got into rotation, an increase in awareness for the music and a spike in sales. Internet radio has a significant reach as well, especially with the younger listeners. They’re going towards streaming media.

How did your jazz series at La Fille Gallery come about?

When I first decided to do music full time, that was one of the things I quickly identified, that there was really a lack of opportunity for people to perform. Not only did I want to keep myself relevant, I wanted to contribute to the arts and culture of downtown Lansing I met Tiffany Klein from the La Fille Gallery, and we hit it off as friends. I presented her with the idea, and she was in favor of it, and I thought, “This could turn into something really cool.”

We’re in our third season now, and we’ve had several consecutive sold-out shows. We bring in artists from all over Michigan, and we’ve had artists from Canada, Chicago, Ohio, Indiana — we even had an artist from the U.K. while they were in the area on tour last summer. I think it’s a great way for people to experience live music, in an intimate setting without any other distractions. When they buy a ticket, that’s why they’re there. They’re there to see the music and to be entertained.

Phil Denny

CD release concert 8 p.m. Saturday, July 11 Tickets start at $20 21 The Loft 414 E. Michigan Ave., Lansing (517) 913-0103, theloftlansing.com