Jessy J makes no apologies for her looks. In fact, she dismisses concerns that people won’t take her seriously by flaunting them – along with her saxophone skills. A lesson in cultural diversity, Jessy J was born in Portland, Oregon, but raised in Hemet, California. Her father is from Mexico, and her mother from Texas. This mixture creates a talent who successfully maintains a foothold on smooth jazz while mixing in some Latin, samba and a little bit of R&B.

Smoothviews (SV): How did you come to choose the tenor sax as the primary instrument for this record? A lot of smooth jazz recordings tend to focus on the soprano or alto.
Jessy J (JJ): I started on alto, but my primary was piano. After I played it for a while, I then picked up the soprano, baritone and tenor. In college, I played tenor with the Temptations and other bands.

Music is music, whether its voice is flute or alto. The instrument is an extension of who I am. I usually write at the piano, the left hand playing the chords, the right hand the melody, or I sing the melody. And I write free of any key signatures. When I’m singing it, it’s whatever notes come out. I’ll record it, and whatever has the best voice is the instrument I use.

SV: What’s your approach to session work?
JJ: It was so much fun. With music, it’s so enjoyable. We kind of just camped out at the recording studio for two days. We did five songs one day and three songs the next. When I came back a month or two later, we recorded. The whole band is together – kind of like a live album. The most important thing is to get the feeling of the song. We talk about the song.

SV: Many of the photos on your album liners, at your Web site show an alluring woman who’s proud of her physical appearance. The word “sexy” comes to mind. Is that something you try to promote, and are you concerned that people won’t take your music seriously? Do you try to downplay your looks.
JJ: It has happened in the past, where people see my instrument but don’t think I can play. But people familiar with my music are intrigued by it. Being a young lady, I enjoy the beach. I’m not conservative. No, I don’t downplay it. I happen to be a girl who likes to look good.

SV: When recording, how many takes per song do you do?
JJ: Generally, I think we do three or four takes of every song, and then we listen. We talk about it – decide as a group which one has the best feeling.

SV: Do you let the accompanying artists play what they feel while reading the music or dictate what it should sound like?
JJ: I’m a little bit on the loose side. I’m open to suggestions. I love to get feedback from the other musicians. The music is breathing. Whenever people play it, it has a new meaning. Once it’s a final (take) song on the CD, I like to play it like that. Live shows are different. We funk it up a little bit more, but the form is pretty much the same.

SV: How is your relationship with Peak Records?
JJ: I’m enjoying my relationship with Concord Music Group. I began working with Paul Brown in 2007, and they embraced me with open arms. I love working with him and the whole team at Peak and Concord.

SV: Do you have a favorite song?
JJ: “True Love.” It embodies the whole CD. It has a special meaning to me. I’ve played it in different settings, but it always means a lot to me emotionally.

SV: Several of the songs have a Brazilian feel to them. What’s the inspiration for that?
JJ: I’ve always really loved Astrud Gilberto. “Morning of the Carnival from Black Orpheus” (“Manha de Carnaval”) is one of my favorite of all time – especially the performance by Cannonball Adderley and Sergio Mendez.