Contemporary jazz star lets fans into his musical world on new DVD/CD release
On Tuesday, November 10, 2009, contemporary jazz star Brian Culbertson released Live From The Inside (GRP Records), a dynamic – and yet intimate – DVD/CD capturing the multi-instrumentalist with his longtime band and special guests recording his songs live in the studio. Live From The Inside is a DVD (with over 90 minutes of special features) and a 12-song CD that offers Culbertson fans newly-rendered versions of some of his most popular numbers, as well as a brand new song entitled "Go."
Culbertson, who is known for his high-energy concerts and expert musicality, wanted to document live performances with his band, but desired to also give his fans something special…an entry into his world behind-the-scenes. Instead of shooting the performance segments of the DVD on stage, he decided to film his band both rehearsing and performing live in the studio - playing at the same high energy level as if they were in concert, but with the advantage of optimal sound and visual lines.
"I was flying home from the Berks Jazz Festival back in March (2009) when the whole idea for this project hit me, " Brian states. "I wanted to show people a true inside look at not only my music, but my life as a musician. I guess you could call the concept a high-energy blast of 'best of' and biography."
Live From The Inside features Culbertson on keyboard, trombone, and bass along with his long-standing band: drummer Chris Miskel, bassist Lamar Jones, singer/keyboardist Eddie Miller, guitarist Wayne Bruce, saxophonist/singer Marqueal Jordan, trumpeter Michael Stever, and singer/guitarist Sheldon Reynolds. All-star guests such as Ray Parker Jr., Dave Koz, Eric Marienthal, Michael Lington, Eric Darius, and Brian’s father, Jim Culbertson, joined in on the sessions, which were recorded in the famed Capitol Records (Studio A) in Hollywood, CA.
The result is an electrifying “live in the studio” performance filled with vigor, verve, and ferocious vitality. Hit songs such as “Always Remember,” “Get It On,” and “On My Mind” are given a new lease on life with fresh tempos and thrilling accents as Brian and his crew re-imagined the music to keep it exciting for both themselves and their audience. And of course, the recordings wouldn’t be complete without covers of some classic funk tunes – “Hollywood Swinging" (Kool & The Gang) and "Serpentine Fire" (Earth Wind and Fire) – get an updated treatment from Culbertson and his band.
But this is much more than a mere music video: Live from the Inside gives fans a guided tour of all things Culbertson: his childhood home, the high school and college he attended, the recording studio from whence countless projects sprung, the apartment where he recorded his first album. Fans will also get a sense of what life on the road is like for the Brian Culbertson Band as the camera documents their journey – from the monotony of airports and buses to the venue for soundcheck, and finally, the moment that makes all of it worthwhile: showtime!
Following the release of Live From The Inside, Culbertson will hit the road once again, taking Brian Culbertson’s A Soulful Christmas tour to venues across the country. This year, Brian is proud to share the stage with good friend and chart-topping sax-man, Michael Lington. AirTran Airways is returning as the tour’s sponsor. In typical Culbertson fashion, the show will feature uplifting and soulful performances of holiday favorites as well as songs featured on Live From The Inside.
Brian’s first, DVD/CD, Live From The Inside, is available now in both retail and online stores including www.brianculbertson.com.
By Ricky Richardson
Long Beach - Teamster Black Caucus So. Cal Chapter presented their First Annual Music Festival 2009, on Saturday, November 7. The festival was held at the Queen Mary Events Park.
The skies were gray as I left my apartment in route to the festival. The skies got brighter as four of the talented stars of R&B and smooth jazz lit up the stage during their respective sets.
The show got under way with Greg Adams. Mr. Adams is a talented Grammy and Emmy-nominated trumpeter/producer and a founder member of Tower of Power. His melodic muted trumpet sent notes high over the festival venue and the nice cool breeze carried them over the Marina. His set was fantastic and upbeat, as you would expect from the former member of a group with a signature sound that continues to be a sought out entity. The crowd and I enjoyed “What’s It Gonna Be,” “Smooth Operator,” “Just Like Breathing” (ballad) and closed his brief set with “What’s Up With That.” Please check out his latest CD East Bay Soul features several songs written with Tower of Power band mate Nick Milo.
EMCEE Vesta Williams with background vocalist Robert G, Alex Day and Romeo Johnson aka The Fantastics entertained the crowd with “Sweet, Sweet Love,” “Congratulations,” and “Don’t Blow a Good Thing.” Someone in the crowd requested an encore of “Congratulations” as this tune spoke to people on a very deep and personal level.
Guitarist Paul Jackson Jr., produced some head bopping and body swaying as he performed material from his latest CD Lay It Back. His latest CD is an R&B-inspired smooth jazz assortment of originals and covers. The crowd were entirely engaged as Paul gave them “The Workout,” and went back in the day with “It’s A Shame,” “Walkin’, written along with Brian Culbertson. “Two for 10, 000,” and saxophonist/keyboardist Ralstein Calhoun wailed away on an un-named blues song to the roaring delight of the crowd. Mr. Jackson thru a smooth punch on “Love TKO,” and gently concluded his set with “Easy.”
The DJ kept the crowd on the makeshift grass dance floor before the headliners took to the stage. There was lots of audience participation when the DJ played “Cupid’s Shuffle.”
The Emotions, three DIVAS from the windy city of Chicago warmed the hearts of the crowd as they reached into their extensive catalog of hits to close out the festival. Their set brought back many fond memories for everyone in attendance on the following tunes “I Don’t Wanna Lose Your Love,” “Show Me How,” “Best of My Love,” “Blessed,” “Boogie Wonderland,” “Rejoice,” and “Don’t Ask My Neighbors,” just to name a few.
The inaugural Music Festival was a family event that included a children’s activity area, door prized, food and beverages and various other booths.
The Teamsters Black Caucus So Cal Chapter will use proceeds from the event towards its various causes including helping feed families at Thanksgiving & Christmas and provide toys for children at Christmas and scholarships for students in the community.
By Ricky Richardson
Los Angeles - The 4th Annual Taste of Soul will go down in the history books as one of the hottest events in October. Some of the hottest smooth jazz artist performed on the Budweiser Stage hosted by 94.7 The Wave Smooth Jazz Radio Station. The Taste of Soul featured a variety of the best soul food restaurants in Los Angeles.
Over 106,000 people (families, friends) came out to enjoy the festivities on a hot humid day, October 17, 2009.
The Los Angeles Sentinel Newspaper and The Wave 94.7 FM, once again teamed up to host Los Angeles’s largest block party on the streets of Crenshaw Blvd. - between Martin Luther King Jr. Blvd. and Rodeo. Further on up the road on the KJLH Radio Free Stage, gospel and R&B music were spotlighted from 11-6PM. For the fourth year in a row, this festival was held without any incidence.
Due to the hot weather, I limited my movement at this event. I found a nice shaded spot near stage right of the Budweiser Stage. I could see and hear the featured artist on stage clearly.
The crowd and I were rewarded with the tasty sounds of smooth jazz and the sweet treat of some R&B music.
The Chosen Gospel Recovery group returned to kick off the program shouting out Praises and blessing to Our Lord and Savior.
The Sai Whatt Band was limited in their set due to technical difficulties. I encourage you to go see this popular L.A. Based band that performs regularly at the Dynasty and The Townhouse in Los Angeles. Their mini set consisted of some classic R&B tunes “Joy and Pain,” “What’s Going On,” “Got to Get On Up,” before their set was cut short and the crowd demanded an encore.
Alana - the soulful, sultry diva from the Desert and her band Masterpiece consisting of Howard Alston, saxophone, Romel Veal, guitar, Bill Pickman, bass, Paul Vargas, keyboards/trumpet and Kenny Williams, drums. This tight band performs all over Los Angeles, and you can catch them at La Louisanne. They delighted the crowd and me with the following tunes “Funkin’ For Jamaica,” “I Heard It Thru The Grapevine,” “I Got To Use My Imagination,” “Ain’t Nobody,” and “Proud Mary.”
The 4th Annual Taste of Soul was also the birthday of Danny Bakewell Sr., Publisher of the Los Angeles Sentinel. This was yet another reason to throw a huge party on the “Shaw” another name for Crenshaw Blvd. Los Angeles Mayor Antonio Villaraigosa was in attendance for the celebration and presented Mr. Bakewell with a Los Angeles City Proclamation.
Keyboardist/vocalist Gail Jhonson finally was featured front and center with her own band. She is also the Musical Director for Norman Brown. Her incredible talent was a vocalist, keyboardist and composer were prominently featured during her crowd pleasing set as she performed material from her CD Pearl, and a medley of tunes dedicated to the late great bassist Wayman Tisdale.
The surprise performers of the festival were DW3. This band with three vocalists knocked the crowd off of its feet as they showcased their remarkable vocal abilities and versatility performing everything from R&B, Old School and some Latin. Their set list consisted of “What You Won’t Do For Love,” “Can’t Hide Love,” “and a medley of Michael Jackson hits. The crowd was dancing throughout their set and gave the band a standing ovation.
Talented guitarist/Musical Director Ray Fuller made return engagement to the Taste of Soul. This is a great testament to this amazing guitarist and his band.
My home boy from Florida saxophonist Eric Darius has been heating up the smooth jazz chars and festivals all over the world since he busted on the scene. His infectious energy was felt at The Taste of Soul as he wailed on the following tunes “Let’s Stay Together,” “Love TKO,” “Going All Out” and slowed the tempo down with “If I Ain’t Got You,” by Alicia Keys.
Stormin Norman Brown brought down the house as he closed out the festival with a high propone set featured on all of the front burners.
Talaya Trigueros and Pat Prescott of 94.7 The Wave served as MC’s for the Budweiser Stage. DJ Jonathan Phillips kept the dancers grooving in between featured performers.
Despite the heat, a wonderful time was had by all at this annual event with a plethora of music, food, family and friends gathered together for a ton of fun. Book your flight now for the 5th Annual Taste of Soul, October 16th, 2010.
Drew Davidsen, jazz guitarist who recently burst onto the contemporary jazz scene on the east coast, is now expanding his horizons and joining the jazz scene on the west coast. Invited by none other than Art Good to grace the stage at the Catalina Jazz Trax Festival, it's a great opportunity for Davidsen to showcase both his raw talent and his passion for music.
Davidsen's band will include his regular saxophonist Dave Krug, who in his 22 years has already evolved into an outstanding player, along with the dynamic Jesse Powers, bass player, and well-established players Bill Steinway on keyboards and Moyes Lucas on drums. During the Catalina show, Davidsen will focus on his latest CD, Around (Again), which features his hit single, “Astro.” Astro has been receiving a good amount of airplay and has climbed the XM Radio Watercolors Channel 71 chart to #4.
Although Davidsen’s musical career spans a number of years, he’s a relative newcomer as a smooth jazz musician. Yet in the span of just two years, he’s already got two top-notch CD’s under his belt with more music floating around in his head for a third CD.
A Balimore native,Davidsen followed an interesting path to the music he loves to play these days. His father had a passion for music as well as science, and eventually chose science for himself, but cultivated a love of music in his son by taking him to concerts featuring artists like Ella Fitzgerald, Joe Pass and Ray Charles. His dad’s love of science led him to become an astrophysicist, instrumental in discovering technology that was used in the Hubble telescope. Hence, Davidsen chose the name ‘Astro’ for this irresistible high energy tune that serves as a tribute to the talent of his late father.
Both Around (Again) and Davidsen’s first CD, entitled Journey, contain a number of tracks that could easily be hit singles. Already a master composer, Davidsen’s talent in putting together memorable tunes is truly amazing and something fans of this genre won’t want to miss.
If you’re already on Catalina Island, come on over to hear Davidsen on Sunday, October 18th, at 7 PM, immediately preceding George Duke. If you’re not able to attend this impressive festival this weekend and you’re stuck on mainland USA or elsewhere in the world, you can still enjoy Davidsen’s music. Simply visit drewdavidsen.com to hear some clips and then order some of his music for yourself. You'll be glad you did!
Happy Jazzin'
Beverly J. Packard
Reading, Pennsylvania
Jazz circle Member of the Berks Arts Council
MyGirlSunday22@aol.com
The Smooth Jazz Festival Munich 2009 was the successor to the first annual smooth jazz festival that took place last year in Bregenz, Austria at the lake of Constance. For a while it seemed to be unsure if the festival would be repeated, but this summer the announcement of the follow up festival at Munich reached the eagerly waiting smooth jazz fans in Europe. While last year's festival was organized by a team of people, this year Christian Bössner did the whole job on his own, which must have been a major chore. I am glad to report that he succeeded on all levels, obviously having learnt a few things from last year's festival.
The festival was moved to Munich in Germany. The location was a former power station called Kesselhaus that had been converted to an event hall. It was a bit smaller than last year's location, had a nice bar/food area and tables and a seating area in the back. The official festival hotel was a few miles away from the Kesselhaus where most of the fans and all the artists were staying, which yielded several opportunities to mingle with the artists and have a few chats with them. I met many friends from the industry, like Hans-Bernd Hülsmann who runs smooth-jazz.de, Craig from smoothjazznews.com and several smooth jazz aficionados I knew from earlier events.
The major artists were backed by a German band called the Heavy Mellow Quartet from Berlin who did an admirable job. They accompanied all the US artists and showed no sign of weakness during their many hours on stage, they did a flawless job and adapted well to each and every performer, additionally they showed their skills with their soloing at many occasions. They must have had to learn over 50 songs and probably had minimal rehearsal time, but at the concerts, they delivered.
The festival was opened by Steve Oliver who gave his great brand of guitar led smooth jazz, topped with his vocal artistry, which is absolutely unique and part of his trademark sound. Among the songs played were also his hits "Chips & Salsa" and "High Noon", providing a decent opening set for the festival.
Next was Michael Lington who played some heartfelt, picture perfect smooth jazz drawing mostly from his own catalog, one of the highlights was his rendition of "Everything Must Change" which he played in the crowd surrounded by cheering fans. For the second part of his set, Steve Oliver joined him considerably turning up the heat.
Friday evening was concluded by Club Des Belugas, a lounge/nu-jazz band from Germany, who appeared with two singers, a horn section, a great percussionist, entertaining the crowd until past midnight.
Saturday was a day off that I spent at the Hofbräuhaus with some friends, a stylish way to kill some time in Munich, before the festival continued in the evening with a killer lineup.
Marcus Johnson played the first set backed by the Heavy Mellow Quartet with lots of funky and soulful keyboard playing, playing songs from his latest release Poetically Justified and some classics from his large catalog, personal favorite was his version of "Moanin'".
First highlight of the evening was the pairing of Peter White, Rick Braun and Richard Elliot who did a high-energy show allowing each of those players to shine and play their favorite songs. Rick Braun played his classic "Notorious", while Richard Elliot gave us "Rock Steady", "Move On Up" and "People Make The World Go Round". Peter White did his R&B medley featuring "Papa Was A Rolling Stone" and "Who's That Lady", later he did "Bueno Funk", the show was closed with "Gazing In The Grass". This was as expected a top-notch, entertaining show by some of the very best players of the genre.
The evening was closed by Brian Simpson and Dave Koz, two of my favorite smooth jazz players. The first half of the set belonged to keyboardist Brian Simpson who just has a knack for a great melody, he also played his biggest hit to date called "It's All Good". Then Dave Koz joined the stage and played some of his classics, special was his heartfelt rendition of "Over The Rainbow" from the Wizard Of Oz. At the end of the show, Michael Lington appeared as surprise guest, turning up the heat and bringing this great festival to a close.
This was a perfect evening of top-notch smooth jazz and a genuine representation of the genre, a thing that was partly lacking last year. This year they hit the nail on its head and I was totally thrilled with the great music on display. The festival was well organized, there was no big flaw, and the number of people attending was definitely better than last year, so I guess the future looks bright for the festival. Smooth jazz is starting to establish itself in Europe, so we all are looking forward to the next issue of the festival in 2010. Kudos to Christian Bössner for a job well done!
By Ricky Richardson
The 22nd Annual Long Beach Jazz Festival was held on August 7-9, 2009, at the gorgeous grassy knoll of the Rainbow Lagoon.
Al Williams, the founder of the Long Beach Jazz Festival and his staff of Rainbow Promotions and volunteers were blessed by the weather Gods with some ultimate Southern California weather. The weather was tolerable but pleasant with a nice breeze all weekend.
Al Williams welcomed the early arrivals ready to keep off their weekend at day one of the festival Friday evening. The crowd was asked to stand in remembrance of our Military veterans as a recording of “America” by Ray Charles were played. Everyone remained standing while Pastor Raymond LeBlanc said a prayer.
This year’s festival was dedicated to the late great NBA player and jazz musician Wayman Tisdale. The program got under way with saxophonist Eldredge Jackson a new rising star on the smooth jazz, Adult Contemporary music scene. Eldredge Jackson and Listening Pleasure played a set filled with smooth and funky grooves on “Ain’t Nobody,” “I Like That,” “Hello” and “Rock With You.” The bands debut CD Listening Pleasure was co-produced and several songs were written by Wayman Tisdale.
Saxophonist David Sanborn got down with a high energy set of material from several of his award winning CD’s as well as featured tunes from his latest recording Here & Gone. Throughout his set, Mr. Sanborn kept moving and grooving seamlessly from straight-ahead and improvisation jazz to pop/rock and R&B sounds.
A Summer Storm poured down on the Rainbow Lagoon featuring Norman Brown - guitar, Eric Darius - alto sax, Gail Jhonson - keyboards and Brenda Russell replacing Patti Austen to close out the first evening of the jazz festival. Their current tour is dedicated to the late great Wayman Tisdale.
Al Williams, Founder of the Long Beach Jazz Festival, is a noted drummer. Day two Saturday got under way with Eric Seats as he introduced new talent through “The Next Great Drummer.” Their set was well received by the audience. I’m hoping that this will be an annual event to open the festival on Saturday’s. All of the talented drummers were featured in the spotlight as Eric Seats guided the group thru several genres of music.
Composer, Producer, Arranger, keyboardist Dr. Clarence McDonald took the crowd on a musical journey of tunes that he wrote and recording that he performed on including the hits “”What Is This” by Les McCann, “Best of My Love”- The Emotions, “Lovely Day”-Bill Withers, “Summertime,” “Heaven Help Us”-Ray Charles, “Just For Your love”-Earl Klugh, “I Like The Way You Move.” Vocalist CJ Edmonds or CJ Hammonds performed superbly with the band.
Bassist Brian Bromberg is another musician in demand as a sideman. Their set was good as the group performed original tunes and tunes that Brian Bromberg recorded with other jazz greats such as “Cantaloupe Island” by Herbie Hancock.
Hiroshima turned it up a notch with their blend of contemporary sounds with Asian instrumentations from their latest CD Legacy which will be released in the coming weeks. “Red Beans & Rice,” “I’ve Been Here Before,” “Another Place,” and One Wish” were some of the highlights of their set.
Jazz piano legend Les McCann Swiss Movement featuring saxophonist Javon Jackson were grooven as only Mr. McCann knows how to groove with jazz hits “Compared to What,” and “Cold Duck Time.”
Vocalist Ledisi was the first of a trio of neo-soul singers to grace the stage. She was enthusiastically received as she showcased her soulful, sultry voice from her previous CD’s Feeling Orange But Sometimes Blue and Lost & Found.
The jazz festival crowd was ambushed with a crowd pleasing Jazz Attack featuring Rick Braun, Jonathan Butler and Richard Elliott to close out the second day of the festival.
Sunday, the final day of the festival got under way with the Jazz Search Winner. I didn’t arrive to the festival in time to catch her performance.
Al Williams Jazz Society featuring Al Williams - drums, Nedra Wheeler - bass, Dave Bradshaw - keyboards/piano, Tony Poinsett - congas, Dr. George Shaw - trumpet, and Doug Webb performed well in their usual Sunday afternoon time slot. The band performed “First Light,” “Sandy’s Smile,” “Cantaloupe Island,” and “Mercy, Mercy, Mercy.” In the absence of Barbara Morrison, a guest from the VIP section - Barbara Burton joined the band to sing the blues “Rock Me Baby.”
The combination of two great guitarists Marc Antoine and Paul Brown cause a musical frenzy when saxophonist John Klemmer joined the band to perform his classic tune “Touch” from the CD Touch. If you like smooth jazz, this CD is a must have for your music library. This song continues to get radio airplay.
Saxophonist Steve Cole and vocalist Leela James pumped up the energy of the festival, and fully engaged the crowd in their back to back respective sets. Both artists received a standing ovation at the conclusion of their sets.
The festival concluded with straight-ahead jazz set by Ramsey Lewis Trio followed by festival headliner Angie Stone who performed her brand of soul, R&B, and neo-soul that has made her internationally famous.
For two decades, thousands of people have been enriched by the sounds of straight-ahead jazz, smooth jazz, R&B and neo-soul at one of Southern California’s premier jazz festival - Long Beach Jazz Festival. Now would be a good time to plan on attending the festival in 2010.
Fort Dix, New Jersey is hosting the 2009 "Hot August Night Wine and Jazz Festival" on August 14th. Club Dix is the site of an evening of wine and smooth jazz. Taste New Jersey's finest wines while grooving to the "Guitars and Sax" featuring Euge Groove, Jeff Golub, Jeff Lorber, and Jessy J. The event Includes the concert and wine & cheese tasting and complimentary wine glasses (while supplies last). Free copies of the recently debuted Wine and Jazz magazine will also be available.
The event is held annually in support of Soldiers deploying and returning from Iraq, plus all the support staff that handle the mission. It's open to the pubilc and will be held at Sixth Street and Alabama Avenue, Fort Dix, New Jersey. Tickets are $24.00 for Military ID card holders and $29.00 for all others. Master Card and Visa accepted. Age must be 21 or over to participate in wine tasting.
Tickets have been on sale since June 15 at FMWR headquarters, BLDG 6043, Doughboy Loop, Fort Dix. Tickets are also available by calling Club Dix at (609) 723-3272 or FMWR Headquarters at (609) 562-6772.
For more information about the event, call 609-562-5881, Extension 6772. For driving directions, visit www.dixmwr.com. Producing this show are Fort Dix FMWR and Lerer Media.
Doors open at 5:30 PM. with two opening bands performing just before the Guiitars and Sax show! We hope to see you there for a fun night of wine tasting and smooth jazz!
Happy Jazzin'
Beverly J. Packard
Jazz Circle Member of the Berks Arts Council
MyGirlSunday22@aol.com
Event-Highlight in Munich
Augsburg, 07.07.2009: On the first weekend of September, Munich will be the site of a German premiere: From 4th to 5th September the Kesselhaus – the former energy headquarters of the Krupp-subsidiary plant – opens its gates for the Smooth Jazz Festival Munich 2009. After the start-up event in the Festival House Bregenz last year, the organizers, smooth entertainment GmbH, present again some of the biggest and most successful names of the international Smooth Jazz scene: Apart from guitarist and vocalist Steve Oliver as well as saxophonist Michael Lington, the band Club des Belugas will heat up the fans with swinging sounds on Friday in the Kesselhaus Munich. On Saturday, guests will experience Peter White, Richard Elliot and Rick Braun as well as Brian Simpson and Dave Koz. Another highlight on Saturday is the American Marcus Johnson. He will also host the Smooth Jazz Brunch on Sunday, 6th September, in the Branche Restaurant Schwabing, with which the Smooth Jazz Weekend will then fade away.
The program at a glance:
Friday, 4th September:
7.30 pm Steve Oliver
8.45 pm Michael Lington
10.20 pm Club des Belugas
following Aftershow-Party
Saturday, 5th September:
7.30 pm Marcus Johnson
8.45 pm Peter White, Richard Elliot and Rick Braun
10.45 pm Brian Simpson and Dave Koz
following Aftershow-Party
Entrance to the concert area in the Kesselhaus from 6.30 pm on both days.
Sunday, 6th September:
12.00 am - 3.00 pm Smooth Jazz Brunch with Marcus Johnson at the Branche Restaurant
More information can be found at smoothjazzfestival.de.
You can experience Paul Brown and Marc Antoine live. They’ll be on tour and contemporaryjazz.com is happy to give away to one lucky person a pair of tickets to the KIFM festival in San Diego on May 23 where Marc and Paul will be performing. The winner will also get a signed copy of ForeignXchange, their current CD. Additionally, a couple of copies of the CD are given away.
To win the ticket and autographed CD, just visit contemporaryjazz.com - good luck!
Some music is intended to paint a romantic scene – a candlelit dinner, a walk along a moonlit beach. Quiet Nights – Diana Krall’s twelfth album – ain’t about that. Using Brazil as a musical point of reference, the award-winning pianist and singer is not suggesting a night out; she means to stay in.
“It's not coy. It's not ‘peel me a grape,’ little girl stuff. I feel this album’s very womanly – like you're lying next to your lover in bed whispering this in their ear.”
She’s not kidding. From Krall’s refreshing version of “Where or When,” to an utterly soul-stilling rendition of “You’re My Thrill,” the ten songs on Quiet Nights are disarming in their intimacy. Even those already familiar with the breathy vocals and rhythmic lilt in Krall’s music – and now there are millions – will be taken aback by just how far the music pushes, unabashedly, into the realm of sweet surrender. “It’s a sensual, downright erotic record and it's intended to be that way.”
Krall is the first to credit the musical team she assembled – her loyal quartet, ace producer Tommy LiPuma, engineer Al Schmitt plus legendary arranger Claus Ogerman – for much of the seductive power on Quiet Nights. But there’s a deeper, palpable sense of maturity that she brought to the recording as well. “Most of my singing and playing on the album is really just first or second takes. ‘You're My Thrill,’ was a second take – “Too Marvelous,” first take.”
“She’s completely matured,” says Tommy LiPuma, who should know, having first worked with Krall in 1994. “Even in the past few years. She approaches her vocal phrasing much more like an instrumentalist than a straight singer. It’s in her reading of the lyrics, and the timbre of her voice, much more misty like Peggy Lee in her mature period.” (“I didn't want to over sing -- I was drawing also from Julie London very strongly on this album,” Krall confesses, noting that such influences are not always conscious on her part. “It just came out that way.”)
As such, the Brazilian focus of Krall’s new album could not have been a more natural next step. “She's been very sympathetic to this music for a long time,” notes LiPuma. “When we did The Look of Love, we were very much leaning in the bossa nova direction. Quiet Nights is really a celebration of this music. Diana sings three Brazilian classics, she rhythmically turned four standards into that style, and three ballads. So really there are ten songs on the album of which seven are just straight up bossa novas.”
It makes sense that Quiet Nights (also the English name of the bossa nova classic “Corcovado” that is the title track) draws much of its musical spirit from the land that puts the “carnal” into its annual Carnaval celebration. “I was inspired to do this record because of my trip last year to Brazil,” says Krall, who returned to Rio de Janeiro to shoot a concert for a new DVD release. “Then I just kept going back and found that everywhere you go you still hear the sounds of Jobim and bossa nova.”
For those who may not remember or weren’t yet around, Brazil’s bossa nova wave (literally “new bump” or “new way” in Portuguese) was the widely popular musical style, based on the country’s traditional samba rhythms, that swept up from the sidewalk cafes of Rio in the early ‘60s and seduced the entire planet with its hypnotic, swaying beats, sultry melodies, and new, exciting harmonies – all with generous room for jazz improvisation. Antonio Carlos Jobim (who composed “Quiet Nights” and “The Girl from Ipanema”) and Joao Gilberto (“Este Seu Olhar”) are two of the pioneers of the music, revered as national heroes in Brazil to this day.
“It’s their standards – even the kids know all the songs,” says Krall. “In concert, I started singing “Este Seu Olhar” and the audience just opened their mouths and sang along – like a choir! It’s in their blood.”
Claus Ogerman was the arranger on many of bossa nova’s first wave of recordings, working with the likes of Jobim and Gilberto, as well as Frank Sinatra, Stan Getz and Bill Evans. That he pulled himself out of semi-retirement in Munich to work on Quiet Nights says much of his respect for – and enjoyment working with – Krall.
“I think Claus really fell in love with her the first time around,” says LiPuma, who introduced the two in 2000. “He had sort of stopped doing new projects except composing his own music, piano concertos, violin concertos and such. Now, I've worked with Claus since the early '70s – on his own recordings, with Hank Jones and Michael Brecker – a Joao Gilberto album in 1977 (Amoroso) which is one of Diana’s favorite albums. But he still says that The Look of Love (Krall’s 2001 multi-platinum success) was probably the best album that he had ever been involved with. So he’s very conscious of what she is capable of doing.”
Ogerman’s arrangements are as defining an element on Quiet Nights as any other, adding an astonishing level of sophistication to its mood and languid flow. There are moments when time slows to the point that normally momentary emotions have a chance to collect and be fully expressed. Ogerman’s challenge was to find a fresh, ear-catching approach to familiar territory. “Claus has worked on a lot of these tunes before,” LiPuma says. “But for the most part he approached them much differently. He emphasized the minor chord side-- slightly darker on certain things, like ‘Quiet Nights.’ Diana has complete confidence in him and just gave him total freedom.”
Krall laughs relating how Ogerman jokingly understated his contribution. “Claus told me, ‘It's a gloomy string orgy’ – he has a very dry sense of humor. There was a lot of him saying, ‘I've written these things a hundred times, now I'm gonna really do something crazy. And some of the arrangements he did are pretty wild.
“When we did ‘Walk On By,’ he said ‘Ja, I think this is gonna be good.’ And then we listened to those French horns playing the Burt Bacharach melody? We all had a meltdown. There's a lot of space with just the orchestra playing. It's reminiscent of Ravel's ‘Bolero’ and so beautiful I didn't want to fill it up with a jazz solo. I refused to play piano in some of those parts because I wanted to leave the space and let the arrangements do their thing.”
Krall confirms that, in a manner that would satisfy the most pure jazz sensibility, Quiet Nights was built from the band up – meaning that each tune began as a quartet performance, featuring longtime sidemen guitarist Anthony Wilson, bassist John Clayton, and drummer Jeff Hamilton (in a scene where things change fast and often, it says a lot that Krall has forged such uncommonly lasting relationships – including her backup, her producer and her arranger.)
“The trust I have with Claus is complete. We met in New York, where I played him 25 tunes and from there we edited it down to 15. He wrote the arrangements and after that there was no editing, no changes.”
LiPuma describes how the recording process continued: “Claus wrote the charts and then we did the rhythm tracks to his specifications. But it wasn’t like it was a routine – Diana loves going in there with the quartet. She's been at this a while and has a certain manner of doing things. She knows that it’s about trying to find the groove. She feels much more comfortable in doing it with just a quartet, then bringing in the strings and so forth afterwards.”
Krall – at the age of 43 – has experience in her favor. Born in Nanaimo, Canada, to a musical family – her father is a stride-style pianist and serious record collector -- she grew up absorbing music that guided her future growth. She attended Berklee School of Music in the early ‘80s, then moved to Los Angeles where she continued her studies with bassists Ray Brown and John Clayton, drummer Jeff Hamilton and pianist Jimmy Rowles; Rowles convinced the young pianist to focus on her singing as well. By 1990, Krall relocated to New York City and began performing with a trio, and in 1993, she released her debut album on a small Canadian independent label.
Fifteen years later, she can look back over a stellar career path: in ’99, signed to Verve, her career exploded when When I Look in Your Eyes won a GRAMMY® for best jazz vocal and became the first jazz disc to be nominated for Album of the Year in twenty-five years. In 2002, The Look of Love was a #1 bestseller in the US and a five-time platinum album in Canada. 2004’s The Girl in the Other Room, was her first to focus on her own songwriting (with six tunes co-written with husband Elvis Costello); 2005’s Christmas Songs proved one of the season’s best-sellers; and 2006’s From This Moment On was an upbeat, critical success that coincided with the birth of her twin sons – a life-affirming event that LiPuma feels enhanced Krall’s continuing growth as a musician. “Motherhood definitely agrees with her—and marriage. I think she's really come into her own.”
As moving as Quiet Nights is -- deriving from Krall’s feelings for Brazil and bossa novas – the singer is not shy in admitting that its sensuality is as much about her home life. “It’s my love letter to my husband – just an intimate, romantic album.” As they say in Rio – obrigado!
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Diana Krall Quiet Nights available March 31, 2009
Photos and Text by Ricky Richardson
Start spreading the news! The most highly anticipated announcement, second only to those made at the recent Academy Awards, and was made on February 25th at the Playboy Mansion in Holmby Hills.
Hugh M. Hefner and the entire Playboy Jazz Festival organization hosted a special news conference on the East lawn of the Playboy Mansion, to announce the artist line-up for the 31st Annual Playboy Jazz Festival to be held on June 13th and 14th at the historic Hollywood Bowl.
Several headliners of the festival were in attendance at the Press Conference along with artists scheduled to perform at the various Playboy Jazz Festival Free Community Concert Series. VIP guests and artists at the Press Conference were excited to be apart of the celebration of the announcement of one of the jazz world’s premier events. Wayne Shorter, Patti Austin, Quincy Jones, on hand to introduce his protégé - Alfredo Rodriquez, Jack Sheldon, Ndugu Chancler, Kenny G, Norman Brown, Pete Escovedo, Luis Conte, Susie Hansen, Johnny Polanco, Erin Davis (Miles Davis son).
The 2009 festivities mark the 31st consecutive year that the Playboy Jazz Festival will present an entire weekend of jazz at the renowned Hollywood Bowl including the very popular pre-festival community events offered free to the general public throughout the greater Los Angeles area.
Each year the 2009 Playboy Jazz Festival presented in conjunction with the L.A. Philharmonic Association serves up an eclectic smorgasbord of jazz as well as other genres of music. The 31st Annual Playboy Jazz Festival will feature a tasty buffet of straight-ahead jazz, smooth jazz, pop, Latin jazz, salsa, New Orleans R&B and brass band, jazz sprinkled with a touch of reggae, African juju music and two amazing and talented high school jazz ensembles.
Bill Cosby will return as Master of Ceremonies, Hugh M. Hefner, Executive Producer, Richard Rosenzweig, President Playboy Jazz Festival, George Wein, Producer, with Darlene Chan and FestivalWest Inc., Producer/Playboy Jazz Festival Festival.
Saturday, June 13th, 2009-2:30P.M.-11:00P.M.
Ticket information: Tickets are available through Ticketmaster. Patrons can purchase tickets online at http://www.ticketmaster.com, over the phone by calling (213)365-3500 or (714)740-7878, and at any Ticketmaster outlet or by downloading a ticket order form online at www.playboyjazzfestival.com. For more information, call the Playboy Jazz Festival Hotline at (310)450-1173 or visit www.playboyjazzfestival.com.
CBS Radio Smooth Jazz KTWV/Los Angeles is working with popular sax player Kenny G on a new online radio station, WKGRS. That stands for "Kenny G's Radio Station," and it will be available via CBS Radio's streaming platform, on AOL and Yahoo's LaunchCast, on iPhone and some BlackBerrys, and at www.kennyg.com.
The stream will offer music from SJ core artists like Sade, David Sanborn, Chris Botti, John Legend, and, of course, Kenny G, who'll also host the channel, with anecdotes and behind-the-scenes stories.
CBS Radio and KTWV VP/Smooth Jazz Programming Paul Goldstein said, "Kenny G is one of the most celebrated names in pop culture, so to partner with the entertainer who is the essence of the popular smooth jazz format is a perfect fit for our brand. Kenny has insight into the format like no one else I know, plus he has an easygoing on-air style that connects instantly with listeners. There is a longstanding synergy between musicians and radio, and by having these two vital elements come together in one online entity audiences with be treated to an incredible listening experience."
Fly Away is a labor of love that celebrates the art of one of the most talented musicians ever to appear on the pop scene -- David Foster. Tomi Malm is the arranger and producer extraordinaire who reinvented a number of classics from Foster’s amazing songbook. Malm’s inventive and original takes are brought to life by a cast of superior musicians and singers.
The album kicks off with an intense orchestral intro written by Malm that segues into “In The Stone”. This powerful cover of the Earth, Wind & Fire classic is respectful to the original yet presents new, exciting elements. The legendary Bill Champlin’s unmistakable voice adds some soul to this funky jam while being supported by the smoking Danish All Star Horns and a rhythm section including John “JR” Robinson on drums, Nathan East on bass and Paul Jackson Jr. on guitar. “JR”, the man behind countless Foster and Quincy Jones productions, is the rhythmic force behind several tracks on the album, joined by some of the best bass players in the biz including East, Abe Laboriel and Neil Stubenhaus.
Next, Malm slows down the atmosphere with “No Explanation”. Originally performed by Peter Cetera for the Pretty Woman soundtrack, Foster co-wrote this ballad with singer/songwriter Bill LaBounty. What a treat to listen to LaBounty’s take on his own song. The acoustic setting is perfect for LaBounty’s evocative singing, supported by the wonderful harmonica of Tollak Ollestad. The result is pure bliss.
Boz Scaggs and Foster co-wrote some of the best pop music of the last 30 years. Two great examples are the pop/soul ditty “Jojo” and the sweet ballad “Look What You’ve Done To Me”. Here, “Jojo” is performed by the great Arnold McCuller of James Taylor fame. This track oozes class from beginning to end with soulful vocals, a pulsing rhythm section and refined horns. The icing on this smooth cake is the elegant flugelhorn solo by Jan Glaesel.
In the past, David Foster has said “Look What You’ve Done To Me” is one of his best songs ever. For this reason, when Contante & Sonante respectfully approached him to play on this record he was asked to add his magic to this particular song. Cecily Gardner’s voice caresses the listener on this jazzy take with support from Foster’s acoustic piano. Ramon Stagnaro’s guitar and Brandon Fields' warm saxophone are fantastic additions to another winner on this album.
Foster has often been called the “King of Ballads” and “The Colour Of My Love” helped define that distinction. Malm’s brilliant arrangement reinvented the song which is performed by the amazing Frank Adahl. The Swedish virtuoso infuses strength and soul into the song and truly brings it one step higher. There are echoes of EW&F in this rendition while the delicate piano intro was borrowed from another classic, “On Christmas Morning”, co-written by Foster with Kenny Loggins.
“Heart To Heart” is an evergreen written by Foster along with Loggins and Michael McDonald. This quality pop gem has been faithfully covered with singer/songwriter Jeff Pescetto on lead vocals. It’s an intricate chart with a beautiful melody that flows wonderfully with some great guitars courtesy of Paul Jackson Jr. and Dan Warner. Adding to the mix is an amazing saxophone solo from Brandon Fields.
The title track, “Fly Away”, is one of Foster’s lesser known masterpieces. Originally on Peter Allen’s masterpiece album Bi-Coastal, it is here given a jazzy/pop treatment, with some interesting time changes. Veteran singer/songwriter Robbie Dupree adds his own stamp to the song, giving the listener sweet echoes of the West Coast pop scene of the late seventies. The final result is embellished with wonderful horns and a great sax solo courtesy of Italian jazzman Fabrizio Mandolini. Let’s not overlook the great work on percussion here and on other tracks by session great Michito Sanchez.
One of the highlights of this tribute is Ole Borud’s amazing take on the Chaka Khan classic “Through The Fire.” Even Foster was impressed when he first listened to this version. Again, the new arrangement brings the famous song into another dimension. Borud’s vocals are amazing and the setting is modern and could easily become a radio hit. Michael Landau's and Dan Warner’s various guitars add even more fire to the tune.
When Contante & Sonante was making a wish list of possible special guests, two names immediately came up -- Jay Graydon and Jeremy Lubbock. Both performers are noted for their immense talent and special contributions to Foster’s career. Luckily, both agreed to appear on the album. Lubbock masterfully produced and arranged a haunting cover of “The Best Of Me”, a song he co-wrote with Foster and Richard Marx. Lisa Lovbrand, a very talented Swedish up-and-coming singer/actress, beautifully performed the song with Lubbock backing her up on the acoustic piano.
Graydon can be heard playing his trademark guitar on the Airplay classic “Nothing You Can Do About It”. This song is another showcase for Frank Adahl’s voice as well as The Danish All Star Horns. Adahl’s pyrotechnic singing puts his signature on the song, which is also enriched by refined piano and rhodes playing.
“Whatever We Imagine” was co-written by Jeremy Lubbock and Foster. Originally sung by James Ingram, this time around it is in the hands of world class singer Bill Cantos. Cantos’ voice caresses the tune to enhance its positive lyrics and meaning creating another acoustic pop masterpiece.
The collaboration between Chicago and David Foster was fundamental to both careers. Instead of selecting one hit from their successful albums produced by Foster, Contante & Sonante picked an unreleased track from Chicago 18, “When Will The World Be Like Lovers”. Here, Malm paints the rock side of Foster’s work. A carpet of terrific guitars played by Michael Landau and Porty backs up an all-star performance by many of the singers appearing on Fly Away. The powerful groove on this song is courtesy of the rhythm machine of John “JR” Robinson and Abe Laboriel.
Another extraordinary contribution from David Foster was the unreleased song “Live Each Day” that closes the album. This song has special meaning because it presents a never-heard-before vocal performance by the late Warren Wiebe. Contante & Sonante is in a way the home of Warren Wiebe’s memory, and “Live Each Day” really brings things full circle. This breathtaking ballad comes directly from Foster’s vaults and was recorded at Chartmaker in the nineties. Malm added a stripped-down arrangement with just a piano and some guitars to put the spotlight on Wiebe’s timeless singing. It’s the best way to end a magnificent tribute to an outstanding musician and human being, David Foster.
Update March 1st: Contante & Sonante is pleased to announce that pre-orders for Fly Away / The Songs of David Foster are now being accepted. Visit www.contanteysonante.com
by Val Vaccaro
On Monday, January 19, 2009, America celebrated the birthday of Dr. Martin Luther King Jr. (actual date of birth - January 15, 1929) the late, great civil rights activist (who was also a Baptist minister and Nobel Peace Prize winner). It is fitting that it was also the day before the world watched the momentous inauguration of the 44th President of the United States of America on January 20, 2009 of Barack Obama (former Senator from Illinois), now the first African-American President in U.S. history, who is also a baby-boomer.
Speaking of baby-boomers, most smooth jazz fans - who are a microcosm of racial diversity - are also part of this age group (born between 1946 and 1964). Like many smooth jazz fans and artists, guitarist Matt Marshak holds the values of baby boomers who grew up sharing Dr. Martin Luther King Jr.’s vision of the world as a better place, promoting equality among races and peaceful resistance to discrimination.
According to Matt Marshak, “In my opinion, jazz, smooth jazz, embodies so much of the essence of what Dr. King envisioned. Folks of all backgrounds join together on stage and in the audience to enjoy a truly American art form. The power is in the diversity, friendship, and belief (that) we as a community are a fine example of this unity.”
The legacy of Dr. Martin Luther King Jr. is represented in part by his famous “I Have a Dream” speech, which he gave on August 28, 1963 in Washington D.C. at the Lincoln Memorial. Dr. King’s speech was a defining moment in the civil rights movement in the U.S., and as part of the promise of being able to fulfill the American Dream. King’s “I Have a Dream” speech was given as part of the1963 “March on Washington for Jobs and Freedom” to over a quarter of a million people. Dr. King’s dream was for people to “live in a nation where they will not be judged by the color of their skin but by the content of their character.”
In 1999, the “I Have a Dream” speech by Martin Luther King Jr. was honored by being named to the top of the list of the “100 best political speeches of the 20th century” (http://www.news.wisc.edu/releases/3504.html).
It is fitting then, that someone from the smooth jazz community would have the idea to combine the joy of gospel-influenced, smooth jazz/instrumental pop music with the great message of the civil rights movement. That’s what songwriter, producer and guitarist Matt Marshak does in his newly remixed single “Brotherhood – featuring Martin Luther King Jr.” This new single, released officially January 5, 2009 on www.mattmarshak.com, features guitarist Matt Marshak’s upbeat, smooth jazz/instrumental pop song, mixed with the original soundtrack of Martin Luther King Jr.’s speech “I Have a Dream.”
Matt Marshak says “Since I was child, I’ve always been inspired and deeply touched by Dr. Martin Luther King Jr. His words and message…ring with a timeless importance to me. His incredible bravery, belief in non-violence, and brilliantly executed speeches will forever influence me as a human being and a musician…. The whole idea of this song was to pay tribute to a great American who I admire like no other, and to help spread and continue his message and legacy.”
Here’s how it happened. According to Marshak, “About a year ago, I recorded a jazz/gospel/R&B tune called "Brotherhood.” It was a dream and mission of mine to somehow pay tribute to Dr. Martin Luther King Jr. I envisioned somehow being able to use parts of the "I Have a Dream Speech" in this song called "Brotherhood." This is where my journey began.
Marshak says it took about twelve months to get the rights to Dr. King’s audio clips – he originally contacted the King estate last year, hoping to release the single in January 2008. Being persistent finally worked, and he received permission in December 2008. Marshak says “They thankfully loved the song, approved it, and granted me full permission and license to release this song nationally to every jazz, gospel, and urban a/c station (R&B). Yes, it also cost a fair amount to get the license, but to me it was the best money I ever spent.”
In his January 18, 2009 online newsletter, Marshak wrote that the “Brotherhood-featuring Dr. Martin Luther King Jr.” song is available for download for 99 cents. 100% of the proceeds of this song will be donated to the Martin Luther King Jr. Estate.” The song’s download link is: http://web.me.com/nuancemusicgroup/Brotherhood/Brotherhood.html
Also, Marshak says that he made Dr. Martin Luther King Jr. co-writer of this song “to help raise money for the King Estate… It will (also) put Dr. Martin Luther King Jr. on the charts as an artist.”
The original instrumental version of the “Brotherhood” song by smooth jazz guitarist Matt Marshak (without Dr. King’s speech) is featured on Marshak’s current CD (his 4th CD released in 2008) called On the Rocks. The artists on the song include the song’s writer and producer Matt Marshak on guitar (and drum programming), New York gospel music greats Willard Meeks and Robert Meeks on keyboards, and Jack Knight on bass.
Marshak’s CD On the Rocks is available at Amazon.com and at CDbaby.com. A review by Brian Soergel for Jazz Times magazine called On the Rocks “One of the year’s best guitar smooth-jazz CDs.”
Recently, the title track song “On the Rocks” was on both of the Top 30 charts for smooth jazz in Radio & Records, and in U.S.A. Today for smooth adult contemporary music, alongside smooth jazz and pop music artists such as Dave Koz, Jeff Lorber, Fourplay, Warren Hill, Brian Culbertson, Seal, Beyoncé and John Legend.
Also, as a talented producer and songwriter, Matt Marshak was recognized when the CD he produced, Friday Afternoon with trumpeter David Wells, was selected as a nomination entry for Best Pop Instrumental Album for the 2009 Grammy Awards.
In Matt Marshak’s December 18, 2008 online newsletter, he wrote: “I want to congratulate our soon-to-be President Barack Obama. I was so impressed by the future President's statement that jazz and classical music will have a central part in the White House. Bands/performers of both genres will be regularly invited to perform. To me this is inspiring, as art and culture are such a(n) (important) part of this country, and it's heartwarming to hear that our new leader will create more gigs for us! Thank you President Obama!”
The new “Brotherhood - featuring Dr. Martin Luther King Jr.” single, as mentioned before, is available for download - see the link via www.mattmarshak.com or go directly to: http://web.me.com/nuancemusicgroup/Brotherhood/Brotherhood.html
Also, Marshak is hoping to get fans to request airplay of the single “Brotherhood – featuring Martin Luther King Jr.” on jazz, gospel, and R&B station starting in January 2009. Music fans who enjoy smooth jazz, R&B, and gospel, and those who share Dr. King’s vision will appreciate the new single “Brotherhood – featuring Dr. Martin Luther King Jr.” Matt Marshak’s new single is positively inspirational and filled with (as one of the book titles by President Barack Obama says) the audacity of hope!
Let’s hope 2009 is a year of peace, progress, and happiness for everyone, including the smooth jazz community and its artists, who help bring joy and celebration to the world. [Note: In 2009, guitarist Matt Marshak will be performing shows in the U.S. in places such as California, New York, Iowa, Florida, and Pennsylvania (at the Berks Jazz Fest Jam). For more information on Matt Marshak, including specific tour dates and venue information – please visit www.mattmarshak.com.]
Jazz legend David ‘Fathead’ Newman transcended peacefully at a hospital near his home in upstate New York on January 20, 2009, after a long battle with cancer. David, as he preferred to be called, attained international stardom over a long career. Born in Corsicana, Texas on February 24, 1933 and graduating from Lincoln High School in Dallas, Texas, he went on to study theology and music on scholarship at Jarvis Christian College. In 1954 he began his twelve year association with Ray Charles and was Ray’s lead tenor, band leader, and closest ‘side kick’ during those years. After leaving Ray’s band to make his own name, David performed live and recorded with many greats, including Cedar Walton, Buster Williams, Stanley Turrentine, Hank Crawford and another Texas Tenor, the late James Clay. He appeared in Dallas a number of times over the years, collaborating with other great local artists, including the late Shirley McFatter, and his son Cadino Newman, who recently accompanied David to a special performance recently in Austin, Texas. Back in New York, David had often shared the stage with Cynthia Scott, ex-‘Raylette’, in their tributes to Ray. His television appearances included Saturday Night Live, David Letterman and many others. David’s most recent recording endeavors were his CD’s Diamondhead, Life, Mr. Gentle, Mr. Cool, a tribute to Duke Ellington, and I Remember Ray which was the “#1 Most Played Jazz Album” in the country. David Newman’s music bridged many styles with uncanny ability. His music embraced living with his deep sense of spirituality and unfettered positivity. He leaves behind his Wife-- Karen Newman, Aunt Freda Mae Jefferson, Uncle Curtis Cavanaugh, his children--Andre Newman I, Cadino Newman, Terry Walker, and Benji Newman as well as his eight beautiful grandchildren.
17th Annual Las Vegas City Of Lights Jazz Festival
Saturday, April 25th 2009
The Bigest Names In Smooth Jazz
Michael Schivo Presents, celebrating 45 years as Nevada's premier Pop, Rock and Jazz concert promoter, has again teamed up with Las Vegas Events (LVE) the Las Vegas mega producers of the city's largest tourists events, and 105.7 SMOOTH JAZZ, and KJLH RADIO FREE and KTWV THE WAVE IN LOS ANGELES to co-sponsor the 17th Annual Las Vegas City of Lights Jazz & R&B Festival. By popular demand the Festival now has a new location at Government Amphitheater. Government Amphitheater according to producer Michael Schivo “has superior sightlines and the sound system will be in surround sound giving the jazz attendee a great experience they deserve. Also parking is improved and is easy and very accessible to the venue” Government Amphitheater is located very close to Downtown Las Vegas and closer to the Las Vegas Strip than past festivals for convenience when staying in a hotel.
The new Festival sight has a much more of a professional feeling and intimate synergy revered by the jazz patrons. The site also has many shade trees and a Pavilion also offering shade.
The Jazz Festival is Saturday April 25th from 1.00 pm to 10:00 pm.
As usual, the Jazz Festival has been booked with handpicked musicians to entertain throughout the day and night. Jazz artists performing on Saturday April 25th will include the hottest sax and R & B sounds of the day of Boney James, the ever crowd pleasing bass guitar of Wayman Tisdale, the jazzy guitar and rocking blues of Nick Colionne, the smooth, sexy and sophisticated sax of Marion Meadows and the sultry sax of Jessy J.
Quote Schivo: "Last year's Festival was an extreme party filled with the groove that it takes to be crowned "The biggest and liveliest Jazz party in the west" Last years Festival sold out in advance and so we strongly urge patrons to buy either show well in advance as tickets will be in high demand once again Schivo adds "The Las Vegas City of Lights Jazz Festival continues to spiral itself into a very special light, and as our Festival continues to gain momentum, it will rank with the likes of all first-rate European and big-city-USA spring and summer Music Festivals, perhaps more so because Las Vegas is truly a one-of-a-kind city."
Past Jazz stalwarts that have graced the festival include: The legendary Jazz Crusaders, Norman Brown, Lee Ritenour, Hiroshima, Jonathan Butler, Nick Colionne, Richard Elliot, Peter White, Rick Braun, Brian Culbertson, Joe Sample, Boney James, Gerald Albright, Fattburger, Larry Carlton, Poncho Sanchez, Flora Purim and Airto, Ronnie Laws, The Yellowjackets, Hugh Masakela, Chuck Mangione, George Duke, Down to the Bone, Ronnie Jordan, Paul Jackson Jr., Paul Taylor, Mike Phillips, Barkays, Dazz Band, Cameo, Ohio Players, Morris Day and the Time and many more. The Jazz Festival, established in 1994, has hosted capacity crowds in years past as people from all around the Country attended. Last year 38 states were represented at the Festival.
Tickets go on sale in Las Vegas and throughout the United States on Saturday December 5th, 2009 throughout Las Vegas exclusively at the following Las Vegas Ticket Outlets: All three Mr. Bill's Pipe and Tobacco Stores, and UNLV Performing Arts Center. Tickets will also be sold through the Jazz Festival 800 telephone number, which is 1-800 –969-VEGAS. Additional tickets sold in the Los Angeles area at Inglewood Tickets, 310-671-6400.
Patrons of the Festival are permitted to bring into the park picnic baskets filled with their favorite food and beverages, (No glass containers are allowed) as well, there will be various concessions and crafts at the festival located in the Jazz Village.
No High Back Chairs Allowed Into The Festival
Ticketing Information: This year's Jazz Festival will again offer free admission to each event for children 12 years of age and under, and a reduced ticket price to each event for children 13-18 years of age for $20, which will be available at the on-site festival box office on the day of the event only. The Jazz Festival VIP/ Early Bird tickets receive 1st entry from 10am to 12noon for center of the venue seating with its own cash bar and upgraded executive restroom facilities. Tickets are $110 in advance plus any taxes and ticket outlet service charges and fees. General Admission adult tickets in advance are $60 plus any taxes and ticket outlet service charges and fees.
For additional information please see our website located at www.yourjazz.com. For recorded Jazz Festival information or messages please call our Jazz & R&B Festival Hotline at 702-228-3780.
Legendary South African musical treasure and Grammy Award winner Miriam Makeba has died. One of Africa’s best known voices and a champion of the fight against apartheid, Makeba died of a heart attack after a performance in Italy. She was 76.
Makeba fell ill after a concert in the southern Italian town of Baia Verde late on Sunday, November 9. She died after being rushed to a clinic in the town of Castel Volturno.
Known as “Mama Africa” and the “Empress of African Song,” Makeba was the first black South African musician to gain international fame, winning renown in the United States in the 1950s with her sweeping vocals.
Born in 1932 in Johannesburg, Miriam Makeba first came to the public’s attention as a featured vocalist with the Manhattan Brothers. She soon left to record with her all-woman group the Skylarks while touring Southern Africa with Alf Herberts’ African Jazz and Variety. In 1963, after testifying about apartheid before the United Nations, the South African government revoked her citizenship. She remained in the U.S. and married Black Panther leader Stokely Carmichael, but they eventually fled to Guinea on the West African Coast. Makeba returned to world prominence in 1987 when she performed with Paul Simon on the Graceland tour. In 1990, she finally returned to her homeland as a free South African.
Makeba’s final U.S. studio recording was Reflections. Released on Heads Up International in June 2004, this brilliant retrospective album featured new arrangements that captured the singer’s remarkable vocal power and artistry. Reflections is part of the Heads Up Africa series – a critically acclaimed collection that spotlights some of Southern Africa’s finest vocalists and instrumentalists.
“Mama Africa’s artistry has played such an important role in promoting the arts and culture of South Africa,” say Dave Love. President of Heads Up International. “My times with her I will cherish forever. She will be missed dearly.”
Photos and Text by Ricky Richardson
Los Angeles - The weather forecast for the past weekend, October 4-5, 2008 called for scattered showers. That didn’t dampen the spirit of the people in attendance. The weather forecast strengthened their resolve to attend the 18th Annual Jazz At Drew Legacy Music Series, Cultural Marketplace and Health Pavilion. This was apparent due to the fact that this was the final outdoor music festival for the year. The theme for this year’s festival was “Building Cultural Bridges Through Music: Highlighting the Healing Art of Medicine and Music.”
Is there a doctor in the house? This was answered with a resounding yes! I’m speaking also of Dr. Gaynell Colburn, who kicked off the annual Jazz At Drew, presented by Honda. She opened her set with “Get Here.” Dr. Colburn is a vocalist and percussionist and has performed with legends such as Patti Austin, Dave Valentin, and Herbie Hancock and has toured with Stevie Wonder. Saxophonist J Boykin joined the group for the remainder of her set. J is a new person on the smooth jazz circuit, on the fast track of making a name for himself. He performed material from his debut CD. The tunes performed were “My Name is J,” “Just J,” and dedicated “So Amazing” to the memory of Luther Vandross and finished with “Lost Without You” by Robert Thicke. Dr. Colburn closed out her set with “Check Out Time.”
Multi-talented bassist, music director, composer and producer brought along some of his friends to entertain the crowd. Guitarist Paul Jackson Jr. and a trio of excellent vocalist were featured as soloist. The vocalist consisted of Amy Keys, Teresa Bailey and Dorian Holly. Collectively, they did a good job with “Lady Marmalade,” “What You Won’t Do For Love,” “All I Do,” “I Wish,” “All of Love,” “Let’s Stay Together,” “Let’s Get It On,” “and “Before I Let Go,” got the crowd up on their feet to dance and sing along with the band.
Malcolm Jamal Warner and Miles Long and the LA Multi-School Hip Hop Orchestra led by Reggie Andrews were a nice collaboration that produced some great music.
The Latin Jazz All-Stars helped to heat up the festivities with some hot Latin Jazz and salsa from the song books of Hilton Ruiz, Pete Escovedo and Miles Davis. This was another tight band that consisted of trumpeter Ray Vega, conguero Chembo Corniel, pianist Arturo O’ Farrill, drummer Phoenix Rivera, timbalero Pete Escovedo, bassist Yunior Terry and trombonist Francisco Torres. These musicians have an extended background in and are masters of Afro-Cuban, Salsa, Brazilian music and Latin Jazz.
Vocalist Chrisette Michele is another newcomer in the neo-soul genre who is also on the fast track to becoming a star. Her crowd pleasing set featured tunes from her debut CD I Am and featured a tune from an upcoming CD to be entitled Like a Lady. She entertained the crowd with “Let’s Ride,” “Like A Dream,” “Love Is You,” “I’ll Always Be Your Joy,” “The Best of Me,” “Let’s Last Forever,” “War Cry,” and “We OK.”
Chicago-based smooth soul vocal group, The Chi-lites along with all of their glory was another crowd favorite. Their timeless music lit up not only the Drew University festival grounds, but the entire surrounding area, giving all in the area a musical treat. They modernized one of their hits for the upcoming election “For God’s Sake Give More Power To The People” to “More Power To Barack Obama.” Other hits followed “Oh Girl,” “Have You Seen Her,” “Got To Have You Baby,” and Write A Letter To Myself.”
Third World capped off day one of Jazz At Drew with their signature sound of reggae. The group received the Jazz At Drew Lifetime Achievement Award.
The Jazz At Drew All-Stars featuring Leon Jones and Jabari Betts kicked off the final day of the festival. It was a pleasant Sunday afternoon with a nice breeze for festival attendees.
Karen Briggs with saxophonist Mike Phillips, guitarist Chieli Minucci, Vesta, keyboardist Lao Tizer, Loose Ends, and Sheryl Lee Ralph set was full of high energy of R&B, soul and funk.
It took a while, but I finally got a chance to hear some mainstream, straight-ahead jazz. Trumpeter Wallace Roney Quintet was the highlight for me for the entire weekend.
The Festival continued in a straight-ahead mode with the music of Nate Morgan’s Swingin’ Exile with Miguel Ferguson, Ken Rosser, Joel Ector, and drummer Alphonse Mouzon.
A Capella group Renaissance performed both days of the festival. The festival continued on a high note with a dash of contemporary smooth jazz of Jeff Lorber Band, funky, soul-drenched Latin jazz of Poncho Sanchez and concluded with Les McCann featuring the Javon Jackson Quintet. Les McCann was the 2008 Jazz At Drew Lifetime Achievement Award Recipient.
When Katie Smiles due October 28th, “Slap Happy” leading the way at radio
Blessed with a bountiful life of jazz, music, love, family and education, pianist Kim Pensyl united his passions in a celebration of intimately inspired melodies and robust rhythm tracks on his fourteenth album, When Katie Smiles, scheduled for release October 28th from Penton Music Productions. The eleven new compositions written, arranged and produced by Pensyl mark his return to contemporary jazz where he previously charted four top 10 Billboard contemporary jazz albums. Powered by a deep bass and thick drum beats, the first single that was just serviced to radio, “Slap Happy” boasts Pensyl’s nimble contra piano melodies in the foreground while he peppers the background with haunting keyboard fills.
A labor of love like his previous releases, When Katie Smiles finds Pensyl poignantly relishing mundane pleasures sparked from the simple give and take exchanges between people. He infuses his music with the same outlook by allowing his talented quartet to interact and improvise spawning moments of spontaneous splendor. His melodies are joyous, contemplative, heartfelt and eloquent, thoughtfully yet organically given space to breathe, unfold and flow in uncluttered arrangements. The production sounds live and warm as Pensyl’s piano and keyboards are enriched yet never out-muscled by the bass (Andy Woodson), drums (Reggie Jackson), electric and acoustic guitars (Kevin Turner) or percussion (Jim Ed Cobbs). In addition to the single, spotlight selections include the snappy title track that opens the collection, the beautiful and audaciously arranged “Where’d Love Go?,” the exquisite and expansive “Grand Lake,” the inviting and homey “Gentlewind Dr.,” and “Love Comes First,” which closes the album in a cinematically sweet mood.
“As on all my albums, When Katie Smiles is about communicating feelings born of my life experiences. This makes each album something very personal, emotional and expressive, but it also makes me a bit apprehensive since I put myself in such a vulnerable position by sharing my feelings so openly. However, the chance to communicate deeply with listeners is certainly worth the risk. It creates a bond of understanding that I treasure,” explained Pensyl. “My music is a positive light, deeply committed, and is offered with sincerity in the hope it will bring joy to others by sharing part of my life.”
Pensyl’s lust for music was born in the heart of the Columbus, Ohio native during the musical heyday of the late 1960’s and early 1970’s. He first picked up the trumpet and extensively studied composition, arranging, production, engineering and performing. He explored genres of music with fervor from jazz, big band, chamber and orchestral to rock, R&B and pop. After graduating The Ohio State University School of Music with honors, Pensyl moved to Southern California where he earned a Master’s degree in composition. He returned to Columbus after gaining valuable experience on the road performing and writing arrangements for various touring groups. Pensyl captained his own band at local gigs and also played solo piano dates. This led to the recording of his debut album, Pensyl Sketches #1, which was released twenty years ago. In 1989, ASCAP named him Best New Jazz Writer and two years later, NARM selected Pensyl Sketches #3 as Jazz Album of the Year. Twice Pensyl made Billboard’s top 20 Contemporary Jazz Artists of the Year. The dedicated family man who still wields the trumpet and piano has recorded with Toots Thielemans, Joey Calderazzo, Steve Rodby, Chieli Minucci, Alex Acuna, Adam Nussbaum, Andy Narell, Chuck Bergeron and Will Kennedy among others. He’s toured extensively throughout the world and has performed with his band on PBS, BET Jazz and Mexico TV. His albums have been diverse collections of modern acoustic jazz, contemporary jazz, solo piano renderings and even Christmas music.
Remaining a wide-eyed student of music himself, Pensyl took on the role of teacher in 2000 when he accepted a faculty position at The Ohio State University. Four years later, he joined the College-Conservatory of Music at the University of Cincinnati where he is an integral part of the Jazz Studies program. Pensyl writes for and performs with guest artists at the university such as Arturo Sandoval, Bob Mintzer and Terri Lyne Carrington. He enjoys sharing his immense knowledge, vast experience and great love of music with his students. Enthused and committed to challenging himself in his writing and performance, Pensyl plays concerts regularly in Ohio and is anxious to take the band out on the national circuit in support of When Katie Smiles. Additional information is available at www.kimpensyl.com.
The songs contained on Pensyl’s When Katie Smiles are:
“When Katie Smiles”
“Slap Happy”
“Where’d Love Go?”
“Here Comes The Rain”
“Grand Lake”
“Beside The Shallow Pond”
“Gentlewind Dr.”
“Summer Days”
“Once Again”
“On This Day”
“Love Comes First”
Philadelphia's smooth jazz station WJJZ had to give up again only two years after their applauded relaunch due to "limited success with smooth jazz as judged by the marketplace".
You may recall the vocal protest by loyal listeners in August 2006 when the station switched to adult contemporary, which prompted the relaunch of WJJZ in November 2006 with Michael Tozzi at the helm. As it turns out, WJJZ didn't become commercially successful forcing them to abandon the smooth jazz format - again. I guess WJJZ has gone definitely now, which is a sad day for the Philly area and smooth jazz fans.
More information can be found here.
The 1st annual Smooth Jazz Festival in Bregenz took place August 29/30th in Bregenz, Austria which is located right next to Switzerland and Germany, so smooth jazz fans from all across Europe gathered there for some of their favorite music at the lake of Constance. The organizers took great care in creating a laid-back atmosphere to enjoy the music with bars, a catering area and scattered tables and chairs to bring a piece of Southern California to our shores. I applaud Christian Boessner and his crew for taking the efforts (and risk) to bring smooth jazz to Europe, and - with the exception of some smaller concert events in the past -, this has been the first official attempt to bring smooth jazz to a larger audience in Europe.
Concerts started each day at 5:30pm with a gig to warm up, followed by two main acts, finally closing the evening with different DJ-acts. Friday was not too well attended despite a good line-up. Lounge-band Gabin from Italy opened the festival with their groovy and jazzy brand of music fronted by a great singer, their hit "Into My Soul" went down very well with the crowd.
First main act was guitarist Chieli Minucci (of Special EFX fame) with Alex Bugnon on keyboards and Marion Meadows on saxophone, backed by the band of Pat Appleton, who did a good job. Chieli Minucci and friends jammed heavily with extended solos, crossing fusion territory often, only few moments of the concerts were more laid back, Marion Meadows was my favorite part of the show with his smooth playing, I particularly enjoyed his solo on the Stevie cover "Cause We've Ended As Lovers".
Unexpected highlight of the first evening were De-Phazz, the lounge/chill band around leader Pit Baumgartner, they delivered a top-notch show full of humor and fun, with great musicianship and catchy songs, singers Pat Appleton and Karl Frierson both carried the show and left the audience in an upbeat mood.
The evening was closed by Praful who was backed by a turntables/sampler artist and a percussion player, he played various saxophones and the flute over house grooves delivering some of his best known songs.
Saturday was better attended and really delivered the first real smooth jazz treat of the festival with the show of Peter White, but first it was talented singer Pat Appleton with her band warming up the crowd. Unfortunately she played more pop/rock music which didn't do much for me, so she seemed to be a bit out of context at this festival.
The first headlining band was guitarist Peter White with saxophonists Jaared and Rocco Ventrella, backed by the band of Pat Appleton. Peter White eventually was able to create some real smooth jazz vibes and mesmerize the audience, people rushed to the front of the stage in droves. Peter White is a such a consummate performer, and his mix of smooth jazz songs and well selected covers (among them "Papa Was A Rolling Stone", "Who's That Lady" and "The Closer I Get To You") resulted in a truly great show. Jaared played his saxophone with lots of emotion and delivered a beautiful song from his current release Addiction, the Earl Klugh cover "Jamaican Winds" which was a highlight of the show. And newcomer Rocco Ventrella on saxophone played his heart out, he proved that he is a musician to reckon with and I look forward to hearing more of him. As surprise guest Pat Appleton came to the stage to sing a classic Basia song together with Peter, later Marion Meadows joined the band. I was in Smooth Jazz heaven, and when they played a few bars of Deep Purple's "Smoke On The Water" with three horns and acoustic guitar, it almost knocked my socks off! This concert was absolutely brilliant and the highlight of the whole festival - and sadly the only one deserving the tag "smooth jazz".
The festival was closed by super-star Candy Dulfer, this time she had a trumpet player in her band which yielded some great horn lines, the big black guy she had in her band at this year's Berks Jazz Festival was not there, so the soul element was definitely lacking, instead she opted to give us lots of hard-hitting funk. The concert was very loud and very groovy, and Candy worked hard to bring us in a party mood. Personal highlights were "Every Time" from her Candy Store album with an extended guitar solo by Ulco Bed and her world-hit "Lily Was Here", the rest of the show was very professional and polished although smooth jazz played only a minor part. Her encore was "Funky Nassau" which says a lot. Nevertheless, it was a good concert by a world-class band.
After that Adani & Wolf played a house DJ-set with Rocco Ventrella on saxophone added as live musician, which brought the festival to a close.
Looking back at the 1st annual Smooth Jazz Festival, I must say that I am happy to see people willing to put such an effort together and I really hope that the festival met their expectations financially and artistically, so it will be continued next year. I really liked the setting and felt comfortable there, and I am confident that some of this year's flaws in the organization will be worked out next year, as this is a learning process for all involved. Musicwise I hope that they will live up more to the term "smooth jazz" next year and will draw a larger crowd, so smooth jazz really can catch on in Europe.
Text by Ricky Richardson, pictures by Peter Böhi
A precedent record setting throng of people crowded unto every inch of grass at the Rainbow Lagoon for the 21st Annual Long Beach Jazz Festival, August 8-10 presented by Rainbow Promotions. Nary could a speck of grass be seen by mid afternoon as a colorful array of blankets, towels, beach chairs, pop-up tents and umbrellas blanketed the grounds of the festival. Southern California’s premiere music festival presenting the best of jazz, R&B, Latin jazz and neo-soul was sold out for the entire weekend. A pleasant jazzy breeze hovered over the festival all weekend.
The festival got under way on Friday night with welcoming remarks from Al Williams - jazz festival founder, local city officials and sponsors. Pastor LeBlanc delivered a prayer for the festival. Festival organizers honored our military by playing a recording of “America” by Ray Charles while the crowd stood facing the American Flag on the stage.
The musical portion of the festival got under way with a Friday Night Cool Down with the talented guitarist/vocalist Joyce Cooling. Singer/composer Michael Franks returned to the delight of the crowd with his well-known witty and sensual lyrics. Kem a popular neo-soul singer brought the house down with his soulful voice singing material from his current CD’s Kemistry and Kem Album II.
The Long Beach Jazz Festival Talent Search contest is an event that encourages upcoming jazz musicians. Two winners were selected with each given the honor of opening the festival on Saturday and Sunday. Lina a very talented singer/songwriter performed some jazz standards as well as original material from her previous CD’s Stranger on Earth and Morning Star. I look forward to seeing and hearing from this emerging star.
On Saturday in the festival pavilion area Luis Cruz Beltran and Jose Rizo Jazz On The Latin Side All-Stars cooked up some hot salsa and Latin jazz.
Chicago native Nick Colionne - guitarist/vocalist is a popular artist on the smooth jazz circuit. He emerged onto the stage with an explosive energy opening his set with two original tunes. He slowed the tempo down on “Rainy Night In Georgia” and dedicated a tune to a member of the crowd entitled “Melting Into You.” He caused a mild frenzy while roaming thru the crowd playing his guitar and posing for photographs.
Keyboardist Keiko Matsui flew in from her home in Japan to for the festival. She dazzled the crowd with material from her latest self produced CD Mayo. She concluded her set with a Latin tinge song to get the crowd dancing. Funk/Soul/Jazz group Down To The Bone laid down some danceable grooves that rocked the crowd.
Saxophonist/singer/songwriter Mindi Abair is my home girl from Tampa, St. Petersburg, Florida. Her tight band consisted of a guitarist, bassist and a drummer. The entire group inter-acted well with the crowd as well as with each. The crowd was entertained on “Smile,” “Save the Last Dance,” “Every Time,” “Flirt,” “Mojo,” and she allowed the band to stretch out on “The Joint.” She concluded her set with “Lucy’s” a popular song on the airwaves.
Saxophonist Kirk Whalum is a versatile musician whose sound has been described as melodic, soulful and vibrant stirred in with some R&B, gospel, rock and jazz. He was wailing with some Memphis soul on the following “All I Do Is Think About You,” “After Thought,” “Use Me” with his brother Kevin Whalum supplying the vocals, and “Misty” with some straight ahead jazz grooves.
The Whispers one of the most respected and enduring vocal groups in the music industry took the crowd on a ride down memory lane with some of their classic hits and performed songs from their latest CD For Your Ears Only to close out the festival on Saturday night.
Saxophonist J Anton Boykin the jazz search winner opened the final day of the festival. The 19 year old wowed the crowd with an eclectic mix of smooth jazz, gospel, Latin and R&B from his debut CD My Name is J.
The Al Williams Jazz Society featuring Ms. Barbara Morrison was next up to entertain the crowd. They dedicated their set to Ronald Henry a long time employee of Rainbow Promotions. The group performed “Angels Passing” and “Everything Must Change” in memory of Mr. Henry. They also performed “Cold Duck Time” by Eddie Harris and Les McCann. Vocalist Barbara Morrison joined the group to sing “I Love Being Here With You” and of course the feeling is mutual with the crowd. She also performed a song by Percy Mayfield “Send Me Someone To Love.”
The Super Stars of Jazz Fusion was my favorites of the entire weekend. Hopefully, we will be seeing more of these pairings at future festivals. The All-Stars consisted of Roy Ayers, Tom Browne, Miki Howard, Lonnie Liston Smith and Wayne Henderson. The crowd and I were grooving to the sounds of funk-fusion, soul-jazz, acid-jazz, jazz funk, jazz bop and neo-soul.
Sax man Euge Groove was “Born 2 Groove” gave the crowd an energizing, funky grooves to dance to throughout his always pleasing set.
One of the festivals most pleasant surprises came during the performance of soulful vocalist Chrisette Michele. She performed songs from her debut CD I Am. Looking around, I could see several people singing along to “Let’s Rock,” “Like A Dream,” “Love Is You,” and homage to Motown on “Reflections” and “Ain’t No Mountain High Enough.”
Also performing on the Second Stage were Lina, Karina Nuvo, violinist Michael Ward and the ever popular DW3.
There isn’t much one can say about conguero Poncho Sanchez that hasn’t already been said. He and his group have been heating up the Long Beach Jazz Festival with some fiery Afro-Cuban rhythms for almost two decades.
Tight funk band the Commodores closed out the festival on a high note. They performed one classic hit after another “Easy,” “Night Shift,” “Brick House,” “Still,” “Zoom,” “Sail On,” and “Three Times A Lady.”
Now is the time to start to get on the mailing list for Rainbow Promotions to stay abreast of futures shows like the one in February 2009 and to be one of the first people on your block to purchase tickets for the 22nd Annual Long Beach Jazz Festival, August 2009.
Photos and Text by Ricky Richardson
The 13th Annual Central Avenue Jazz Festival was held on July 26 and July 27 on historic Central Avenue. This year’s festival, like the ones held in the past was a huge success.
Everybody was raving about the new set-up for the festival which featured a huge canopy that covered the stage as well as the crowd. The vendors were situated along the side streets off of Central Avenue.
Every year the festival gets under way with a panel discussion with musicians who were apart of the excitement of Central Avenue back in the day. Trumpeter Clora Bryant shared insights with the crowd about the history of Central Avenue and painted a good picture of life on “The Avenue” with the clubs and the prominent jazz musicians of the 1930’s and 1940’s who played along “The Avenue.”
Thousands of jazz aficionados crowded “The Avenue” to hear some straight ahead jazz, bebop, blues and Latin jazz. I could feel the energy and excitement of “The Avenue” back in the day by looking at the crowd, many of whom frequented “The Avenue” during those vibrant times. Great music was showcased by wonderful musicians who performed for an appreciative crowd at the festival. Ernie Andrews (a legend of Central Avenue), Al Williams Jazz Society, Justo Almario Quartet, Gerald Wilson Orchestra (another legend who recently celebrated his 90th birthday), and Barbara Morrison closing out the festival on Saturday.
Jazz America opened the show on Sunday. This is the future of jazz. These students were doing their part in keeping the legacy of Central Avenue alive. Vocalist Phyllis Battle, Michael Sessions, Nedra Wheeler, Poncho Sanchez and Nate Morgan kept the crowd glued to their seats and actively listening to various hues of America’s number one art form: JAZZ.
For the past 13 years, the Central Avenue Jazz Festival has been serving as a unique cultural event that pays tribute to the early heart and soul of African Americans in Los Angeles. Each year, the festival draws in talented jazz and blues artist to celebrate the rich cultural history of the area.
Spearheaded by Councilwoman Jan Perry (9th District), the Central Avenue Jazz Festival is a collaboration of government agencies (City of Los Angeles, Department of Cultural Affairs & Community Redevelopment Agency of the City of Los Angeles) and local non-profit agencies (Coalition for Responsible Community Development Corporation and Los Angeles Conservation Corps) working together to preserve the rich cultural and history in South Los Angeles.
The Central Avenue Jazz Festival is held on Central Avenue and 42nd Street in South Los Angeles, in front of the historic Dunbar Hotel. The Dunbar Hotel plays an integral role in African American history in Los Angeles as it is where the jazz greats like John Coltrane and Billy Holiday stayed when visiting the area.
Central Avenue was part of an early national music circuit that included Harlem, Chicago, New Orleans, and Memphis’ Beale Street, Cincinnati, Kansas City, Oakland as well as my hometown of Tampa, Florida. The corridor was densely packed with jazz dens and all-night “breakfast clubs” lighting up the avenue with their neon lights. All the prominent jazz musicians of the 1930’s and 40’s played along Central Avenue at venues like Club Alabam, the Last Word, the Downbeat, the Memo Club, Ivie’s Chicken Shack, the Finale Club, and Shepp’s Playhouse among other venues.
Each year, the festival continues the decades old tradition of hosting famous and well-know jazz professionals.
“And The Beat Goes On” For Jazz And R&B Lovers Alike
Southern California’s premiere music festival presenting the best in Jazz and Rhythm & Blues for the 21st year. The Long Beach Jazz Festival takes place the weekend of August 8, 9, and 10, 2008. Once again, the festival venue is the breath-taking seaside setting of Rainbow Lagoon Park on Shoreline Drive in Long Beach, California, where for two decades now thousands of faithful music fans have made the Long Beach Jazz Festival an annual family affair.
True to its reputation as the most soulful and well-rounded summer music festival in sunny Southern California, the 21st Annual Long Beach Jazz Festival for 2008 is loaded with an extraordinary and exciting array of musical talents for every taste. Not only is it a jazz festival celebrating straight ahead and contemporary jazz, but also this year’s weekend of magic includes top-flight star talent from worlds of classic R&B, Neo Soul and Blues — ideal for the more seasoned as well as the newer generations of listeners.
Festival founder, Al Williams and his band Al Williams Jazz Society, featuring incomparable vocalist Barbara Morrison will once again delight jazz lovers with its highly anticipated set on Sunday. “I am really pleased to have such a great variety of artists this year” says Williams, in anticipation of 2008’s star-studded festivities.
The smoothly soulful and classily jazzy singer Kem kicks off the 3-day festival Friday night, previewing material from his highly anticipated third project, Album III (his first in three years). Additionally, a special appearance by chef G. Garvin, the entertaining host of TV One’s popular cooking show, “Turn Up the Heat,” will share techniques and recipes from his new book "Dine in with G. Garvin" (slated for release the first week of October).
2008’s lineup also includes singer/composer Michael Franks - the master of poetically sensual and witty lyrics - tenor saxophone superstar Kirk Whalum and conga drum master Poncho Sanchez, a torchbearer of jazz and funk with tropical Latin flair. An amazing assemblage of soul-jazz legends will perform under the umbrella title “The Superstars of Jazz Fusion” starring vibraphonist Roy Ayers, keyboard wizard Lonnie Liston Smith, trumpeter Tom Browne, founding Jazz Crusaders trombonist Wayne Henderson and singer extraordinaire Miki Howard.
Female musicians are thoroughly represented by the piano artistry of frequent LBJF participant Keiko Matsui, the versatile spice of saxophonist/singer Mindi Abair, and the sweet, fleet-fingered guitar style of Joyce Cooling.
Old school soul music lovers will swoon for the sounds of West Coast vocal legends The Whispers and the Grammy Award-winning Commodores, while neo soul fans can check out the rousing and righteous sounds of acclaimed singer/songwriter Chrisette Michele, funk-soul-jazz party starter’s Down to the Bone, and modern soul-jazz stars Nick Colionne on guitar and Euge Groove on sax.
This year, Linda Morgan from Rainbow Promotions, LLC is coordinating the Long Beach Jazz Talent Search, an event that encourages upcoming, jazz musicians. Two winners will be selected to open the festival on Saturday and Sunday.
Tickets are available through Rainbow Promotions, LLC at (562) 424-0013, or online at Ticketmaster.com. VIP tickets are $150 per seat for Friday and $175 per seat /per day on Saturday and Sunday — includes dinner, wine service and access to mingle with jazz artists. Reserved box seat tickets are $60 per seat on Friday and $75 per seat/per day on Saturday and Sunday. General admission/lawn seating is $45 (prior to July 30) and $50 at the gate. For the Friday show, gates open at 5PM, with a show time of 7PM until 11:30PM. For the Saturday and Sunday shows, gates open at 11:00AM with show times of 12 NOON until 10:30PM.
Cadillac, Budweiser and TV One are among the main sponsors of the 2008 Long Beach Jazz Festival. Media sponsors include KTWV-FM, KJAZZ-FM, KJLH-FM and Jazziz Magazine.
Rainbow Promotions, LLC is responsible for producing the Long Beach Jazz Festival each August, and various special events and mini-concerts presented year-round. For 21 years, Rainbow Promotions, LLC. has produced the Long Beach Jazz Festival, a three-day city event averaging 24,000 in attendance. For more information regarding the Long Beach Jazz Festival, go to: www.LongBeachJazzFestival.com, or www.RainbowPromotions.com
Following in the tradition of Tom Scott & The L.A. Express, one of the most successful and influential jazz/funk/pop/R&B bands from the '70s, guitarist Richard Smith has assembled an all-star cast of fellow Los Angeles-based players for an updating of that same crossover aesthetic that opened the door to jazz for a generation of listeners. Collectively known as The L.A. Chillharmonic featuring Richard Smith, this stellar crew is rounded out by the world class rhythm tandem of bassist Brian Bromberg and drummer Vinnie Colaiuta, percussionist Alex Acuña, keyboardist Jeff Lorber, pianists Patrice Rushen and Greg Karukas, trumpeter Greg Adams, saxophonists Gary Meek, Michael Paulo, and Eric Marienthal.
"It's something that represents the best and brightest in my geographic area," says Smith, a former longtime sideman for chart-topping saxophonist Richard Elliott. "Most major cities have a philharmonic orchestra in the classical idiom, and some cities have municipal jazz bands, but no city has something that represents a major musical genre like instrumental jazz/funk/pop/R&B. And with this project I just wanted to represent and celebrate the unique musical signature as Los Angeles players, writers and arrangers."
On their groove-heavy self-titled debut on Artistry Music, Smith and his dream team deliver a quintessentially L.A. sound - contemporary jazz with pop accessibility and a funky R&B edge - on infectious Smith originals like "Ultimate X," "Back in the Day" and the hard-grooving title track along with faithful covers of Stevie Wonder's "Boogie On Reggae Woman," Brian McKnight's romantic "What We Do Here" and Dan Siegel's bubbling romp "Alvinator." For a change of pace, Smith offers some gentle nylon string acoustic guitar work on the soothing "Gift," which features alluring wordless vocals and a stellar piano solo by Patrice Rushen, and also on "Agrigento," a tender ballad which he says "captures a little bit of Sicily but with an L.A. Beat."
Photos and Text by Ricky Richardson
Every June, people of all ages are known to yell, shout or scream four letter words without fear of reprisal. They don’t have to worry about being politically correct and they sure won’t suffer the ire/consternation of others. Grads, Dads and Jazz!!! What were you thinking?
Celebrating 30 years of electrifying performances, magical moments and extraordinary music, Playboy once again presented a world class roster of talent at the 30th Anniversary Jazz Festival, Saturday, June 14th and Sunday, June 15th at the famous Hollywood Bowl. As usual, festival organizers presented a variety of musical genres to satisfy the diverse taste of an equally diverse audience.
I had some errands to run on Saturday. Afterwards, I rushed over to the Bowl so that I could catch the opening act. The festivals always get underway each day by showcasing some remarkable high school jazz ensembles. The honor was bestowed on the Hamilton Academy of Music Jazz Ensemble under the direction of Dan Taguchi. They played about four jazz standards with “Blues In The Access Tooth” as one of my favorites.
The Press room backstage at the Bowl offers the Media contingents a respite from the heat in an air conditioned room. We were able to get a bite to eat courtesy of Festival LLC., compare notes after each performance and share stories of other recent concerts one has attended. The hot topic was the re-union tour of Return To Forever the night before at the Gibson Amphitheatre. The photographers were blessed to be in the presence of world renowned photographer Herman Leonard who was hanging out backstage in the Press room.
The Robert Glasper Trio - Robert Glasper - piano, Vincente Archer - bass and Jamire Williams - drums were unknown to me before the festival. This tight trio from New York left a lasting impression playing material from his previous CD’s Canvas and In My Element on the Blue Note Label. I found myself swaying to “FTB,” “Silly Rabbit,” and “Maiden Voyage/Everything In Its Rite Place.”
Comedian Bill Cosby wore many hats at the festival. He served as Master of Ceremonies, 12th Bowl appearance as leader of “Cos of Good Music.” When he wasn’t laying down some serious licks on the drums, he could be seen conducting the band. They opened with a tune dedicated to the late great Jimmy McGriff featuring Jerry Peters - Hammond B-3 organ, and David T. Walker on guitar. Several tunes stood out during their set “Dear Lord,” “Lime House Light Blues,” and “Moanin.”
Another newcomer on the jazz scene is Hiromi (keyboards/piano) and her band SonicBloom featuring Tony Grey - bass, David Fiucynki - guitar and Martin Valihora on drums. She wowed the audience with her interpretation of “Caravan.”
Saxophonist James Moody was the unofficial Elder Statesman of the festival. He is still delivering hard driving, hard bopping jazz all over the world. He had an All-Star group backing him on this gig, all who is leaders in their own right. Renee Rosnes - piano, Todd Coolman - bass, Adam Nussbaum - drums, and special guest Terrance Blanchard.
Sherry Maricle and The Diva Jazz Orchestra played a crowd pleasing set of original and some jazz standards for the small but loyal jazz purist in the crowd of 35,000 at the Hollywood Bowl. Their set featured many magical moments and was one of the highlights for the opening day of the festival.
Fans of smooth jazz were treated to a double serving with RnR - Rick Braun - trumpet and Richard Elliott - saxophones. The crowd were up and dancing throughout the Bowl to their smooth grooves.
Los Angeles favorite conguero Poncho Sanchez Latin Jazz Band served up a potent mix of a pinch of R&B, a dab of soul, marinated with some Afro-Cuban jazz with guest vocalist Eddie Floyd. You can see novice as well as experienced dancers, dancing in the aisles.
The Playboy Jazz Festival is not the only ones celebrating a milestone. Tower of Power is celebrating their 40 Anniversary as well. The band continues to re-define “What Is Hip?” with their distinguished soulful sounds and their patented funky horn-driven music. People were dancing from the top of the Bowl (nosebleed section) all the way down to the exit as Tower of Power closed out the first day of the festival. Other highlights from day one consisted of wonderful entertainment of Dr. John and vocalist Al Jarreau.
Sunday, final day of the festival got under way with another top notched ensemble. View Park Prep Jazz Ensemble directed by Fernando Pullum. These kids were worth arriving early to the Bowl to see them perform. They performed “There’s The Rub,” “So What,” “Two Slip; Lose Lips,” “Meeting Place,” and got down and funky on this Father’s Day with “Father Funk.”
Ben Riley’s Monk Legacy Septet (piano less group) honored the legacy of Thelonious Monk on the following tunes “Brakes Sake,” “Bemsha Swing,” “Bright Mississippi”-based on the changes to “Sweet Georgia Brown,” “Epistrophy,” and “Ryhthm-A-Ning” from their latest CD Memories of T.
Vocalist Ryan Shaw was another newcomer to festival goers. People will not soon forget this dynamic singer as he rocked the Bowl with a set of rock, soul and R&B tunes from his debut CD This Is Ryan Shaw.
Another milestone was celebrated on Sunday. Ivan Lins - keyboards and piano with special guest Oscar Castro-Neves - guitar celebrated the 50th Anniversary of Bossa Nova music paying homage to Antonio Carlos Jobim.
Roy Hargrove Big Band provided me and the jazz purist a set of original straight ahead jazz with a lot of explosive energy. Vocalist Roberta Gambarini joined the band for a couple of songs.
Dee Dee Bridgewater took the crowd on a wonderful journey. She sang and danced to songs from her latest CD Red Earth: A Malian Journey. She mesmerized the captivated the crowd by featuring musicians playing several African instruments (kora, and djembe) and also featured guest vocalist Yocouba Sissoko, Tamani, N’Goni, Mamani Keita, and Kabine Kouyate.
The 7th inning stretch was spiced up a bit with the appearance of Plena Libre from the enchanting island of Puerto Rico. They had very little of trouble keeping and holding the attention of the audience. Some people were busy texting their friend on their cell phones or blackberry’s to get the score of the NBA Finals match, Game 5 between the Lakers and the Celtics. The majority of the audience was busy dancing to the infectious Latin rhythms of plena and salsa of this exciting band.
Keb’ Mo’ kept the crowd up on their feet and in the party mood by playing a crowd pleasing set of feel good, uptempo blues. You felt like you were part of a tent revival as oppose to a jazz festival.
Herbie Hancock was the hands down crowd favorite of this year Playboy Jazz Festival. He delighted the crowd with some jazz from his extended catalog of LP’s/CD’s. His most recent is the 2008 Grammy Award winning CD River: The Joni Letters. The band was aided and abetted by the presence of Marcus Miller - bass, C-Minus - turntables, and The Debbie Allen Dance Academy.
Guitars and Saxes - Gerald Albright and Jessy J (saxophones), with Jeff Golub and Peter White (guitars) closed out the 30th Anniversary Playboy Jazz Festival with a fun set of smooth jazz grooves.
Goodbye James – hello Candy. Only a couple of weeks ago the Bregenz Festival Hall was under the motto “Quantum of Solace” – but soon that is going to be: Enjoy a “Quantum of smooth jazz”...
Neusäß, 09.06.2008: While hot action scenes have rounded off the shooting programme for “Quantum of Solace” – the 22nd episode of the famous “My name is Bond”–special agent-saga - on the roof of the Bregenz Festival Hall, preparations for the just as promising 1st episode of a festival are in full swing: the 1st Annual Smooth Jazz Festival which is taking place here on the 20th and 30th of August. Not only does the smooth entertainment GmbH, Neusäß, provide the suitable background music for a shaken vodka martini with this event, but it also stages yet another world premiere in the studio theatre in Bregenz – and this mission is everything but secret. On the contrary: we are more than pleased to share all the news...
First Mission: What is Smooth Jazz?
The term “Smooth Jazz” is not one commonly used in this part of the world, so let’s start with a short definition: first: Smooth Jazz is not Jazz – or not only, at least. Secondly: Smooth Jazz is no muzak*!! But: Smooth Jazz is – a touch of Soul, a touch of RnB (not too much), a touch of Jazz, too. While wikipedia.de claims that Smooth Jazz is a variety of Jazz, we claim: Smooth Jazz is the play list of the “Cafe del Mar” – CDs. It is emotion. An attitude towards life which finds no echo in the mainstream–scores of the charts. It is chill-out music at its finest, but definitely with a light savoir-vivre- and laissez-faire-feeling at its heart. In the U.S and in Dubai the fans of this floating sound number millions already, prominent artists are e.g. Candy Dulfer, Sade, Carlos Santana, Simply Red, Nora Jones, Sting, but also the German band De Phazz with singer Pat Appleton.
Second Mission: Why Bregenz?
Smooth Jazz is casually cultivated lifestyle, paired with a dose of coolness, cultivated indulgence and culture – an ambience completely in line with the Bregenz Festival Hall. On the one hand a touch of “Casino Royale”, on the other a breeze of beach-feeling à la “Cafe del Mar”. Concerts with well-known artists will take place on both nights. The location: the studio theatre, the “rough diamond for events” of the Bregenz Festival Hall, set up as a multifunctional “Black Box” which will transform into a chilled-out party lounge on the occasion of the 1st Annual Smooth Jazz Festival. Moreover an outdoor lounge will be open to all – not only festival guests – from the afternoon.
Third Mission: Which Acts?
The Festival line-up sparkles with highlights: On the first night the Italian band Gabin will hit the stage with groovy beats. Then the American guitarist Chieli Minucci, who has already performed with artists like Jennifer Lopez and Anastacia, the saxophonist Marion Meadows, from the U.S. as well, and the Swiss-born pianist Alex Bugnon will take you away into the world of Smooth Jazz. De Phazz from Heidelberg is the closing climax of the first-night live acts, and will put the audience in the mood for the following after-show-party with elements of Dub, Jazz, Soul, Trip-Hop, Latin, Drum'n'Bass and Ambient; we have of course booked well-known clubbing-scene djs for both party nights.
The second night will be opened by De-Phazz-singer Pat Appleton with her own band, then big names in the world of Smooth Jazz, Peter White, Jaared plus Rocco Ventrella and Candy Dulfer, follow onto the stage. The saxophonist from the Netherlands has already performed with international stars like Prince, Beyonce, Aretha Franklin and Pink Floyd and will put the heat on the audience for the following after-show-party. On this weekend a visit to Bregenz will even be doubly rewarding: on both days of the Festival the Bregenz town fair takes place during daytime, which each year attracts 120.000 guests to a visit at the lake promenade.
More information at smoothjazzfestival.de
Here And Gone - the new record from the legendary David Sanborn - is set for release on Decca Records in the US, Tuesday, August 12, 2008.
Here And Gone is a tribute to the sound of Hank Crawford, David "Fathead" Newman, Ray Charles, etc. Backing Sanborn are Steve Gadd (drums) and Christian McBride (bass). Guests include Eric Clapton, Joss Stone, Sam Moore, Derek Trucks and Anthony Wilson. Here And Gone was produced by yet another legend and longtime friend: Phil Ramone.
"Joss is a real phenomenon," Sanborn says. "It takes a forceful talent to take a song ["I Believe It to My Soul"] that Ray Charles not only wrote but really defined and put your own identity on it."
Sanborn, who has been friends with Eric Clapton for many years and a collaborator with him on several previous projects, asked Eric to play on Percy Mayfield's "I'm Gonna Move to the Outskirts of Town."
"Fortunately he agreed not only to sing on it but play on it! But he's got such a great understanding of what the music is about and the way it should be presented."
Sanborn's song selection - like "I've Got News For You" which features Sam Moore of Sam & Dave fame - gives the listener a glimpse to his sense of humor.
Sanborn, an unrivaled player who straddles the pop and jazz worlds while commanding respect in both, has worked with Miles Davis, Stevie Wonder and The Rolling Stones to name just a few. Remember David Bowie's "Young Americans" or the Saturday Night Live theme - that's Sanborn.
Night Music - his groundbreaking music television show on NBC - was produced by SNL's creator Lorne Michaels and featured a remarkably diverse guest artist list including Lou Reed, Sonic Youth, Sonny Rollins, the Pixies, Leonard Cohen and Al Green. Many of these episodes are on YouTube.
As a child, David had polio. His doctor suggested he play a wind instrument to improve his lung strength. His father took him to a basketball game in his hometown of St. Louis. Hank Crawford performed during halftime, Sanborn was inspired and immediately took up the sax - the rest is history.
Sanborn will tour later this summer in support of Here And Gone.
Photos and Text by Ricky Richardson
Believe it or not summer will be upon us soon. The season kicks into full swing each year with the UCLA Jazz Reggae Festival during Memorial Day Weekend, Sunday, May 25th and Monday, May 26th. One couldn’t tell that summer was fast approaching as evidence by the May Gray weather that we experienced lately. Nevertheless, over 30,000 people from all over California and beyond made their way to Westwood for the Jazz Reggae Festival. The UCLA Cultural Affairs Commission promised and delivered a weekend of Peace, Love and World Class Music.
Last year, I applauded the festival organizers for adding more jazz to the line-up since they introduced JAM Day on Sunday, which was previously called Jazz Day. Their gamble paid off handsomely once again with a line-up of jazz featuring Dr. Lonnie Smith, John Densmore and Tribal Jazz, Elliott Deutsch Big Band and The Brent Canter Trio. The Elliott Deutsch Big Band kicked off the festival with a swinging extravaganza of straight ahead jazz with his big band. Elliott Deutsch is a gifted trumpeter/arranger. Their set consisted of “Yeah, We Are Sleeping Together” based on the tune “Just Friends” (pun intended), “There Will Never Be Another Chet Baker” based on “There Will Never Be Another You” which featured Elliott Deutsch hitting some high notes on the trumpet that would make Jon Faddis beam with delight. The group concluded their all too brief set with “Cheek to Cheek” arranged by the leader of the group.
Legendary musician Dr. Lonnie Smith was the other jazz band on the bill. The group consisted of Dr. Lonnie Smith on the Hammond B3 organ, Frank Potenza on guitar and Marvin “Smitty” Smith on drums. Dr. Lonnie Smith thrilled the audience with his version of “Freedom Jazz Dance,” and “Misty.” He scatted and grooved on “You Are the Sunshine of My Life” and “Baby, You Look Good To Me to the delight of the audience.
Another legend graced the festival with his presence. John Densmore, drummer for The Doors brought a stellar group of international musicians together to form Tribal Jazz co-founded with saxophonist Art Ellis. The band featured two percussionists from Senegal, a bass player from Puerto Rico and another percussionist from Brazil. They performed a crowd pleasing set of original tunes that allowed the band members an extended solo. They closed out their set with “Riders On The Storm” spiced up with some hot Latin Rhythms.
The Brent Canter Trio is an upcoming jazz trio featuring Brent Canter on guitar, Eli Sanderson on Hammond B3 organ and Mark Banner on drums. They played material from their debut CD Soundscape with the following tunes “Sketches,” “It Is Written,” “Like A Star,” “While You Were Sleeping.” I look forward to hearing and seeing more from the Brent Canter Trio as well as the Elliott Deutsch Big Band in the near future. The members of these band graduated or will graduate from the world renowned Department of Ethnomusicology, Jazz Studies Division at UCLA. Sunday, Jam Day also showcased the sounds of Blue Lady, JP And the Ambassadors, Amos Lee, Elevaters with special guest Medusa, Immortal Technique, Goapele and The Roots.
The final day of the festival dished out an eclectic mix of world music with a strong emphasis on Reggae. The Pangea Collective with special guest bassist Baba Ken Okulolo (with King Sunny Ade’s band), guitarist Soji Odukogbe (Fela Kuti’s Band) and a colorful trio of dancers. The band paid homage to legends of Afro Beat movement made popular by Fela Kuti and King Sunny Ade. They superbly captured the energy and enthusiasm exhibited of the Afro Beat music of South Africa. The audience was enthralled with the infectious African rhythms as well as with the exciting dancers. Other highlights from Reggae Day were Arepa, Rebelution, Jah Mikey General, Umo Verde, Alaine, Mr. Vegas, Selena Serrano with DJ Papa Keith, Stephen Marley with Capleton closing out the festival.
Last year the Jazz Reggae Festival took the steps in the direction of becoming a no-waste, sustainable festival with eco-limos to transport the artist, tree give aways with sustainable resource area to educate festival goers on things that they can do to help save the environment. New for 2008 were one main stage and a second smaller stage powered by bio diesel and solar, electric and/or bio diesel vehicles, clearly marked recycled bins and several new educational environmental booths and a Led screen.
The 22nd Annual Jazz Reggae Festival at UCLA is the largest festival organized and run professionally by students. These courteous and professional students and delivered a quality weekend of Peace, Love and World Class Music, making this one of the most highly anticipate festivals on the West Coast.
Heroes Features The Music Of Oscar Peterson, Bill Evans, Michael Jackson, The Beatles, Elton John And More
On May 27, Peak Records will release Heroes, the latest album from five-time Grammy nominated pianist/composer arranger and producer David Benoit. Celebrating 30-plus years as a recording artist, Benoit puts fresh, exuberant spins on classic songs by legendary pop, rock and jazz artists whose brilliance inspired his own.
While paying homage to Jazz piano icons Dave Grusin, Bill Evans, Oscar Peterson, Horace Silver and Dave Brubeck, on Heroes he also lets fans in on an exciting little secret; he's an unabashed lover of pop and rock music who was equally influenced by the likes of The Beatles, Elton John, Michael Jackson & The Doors.
Benoit rediscovers his roots with a self-produced, 11-track collection that features his Steinway piano surrounded by the engaging ensemble work of his regular touring band: acoustic & electric bassist David Hughes, drummer Jamey Tate, percussionist Brad Dutz and special guest saxophonist Andy Suzuki.
“These songs are really a part of me and such a joy to play.” – David Benoit
All-Star CD Serves Up An Intoxicating Brew of Jazz, Electronica Funk and World Music Featuring Some of Music's Most Creative Players: Meshell Ndegeocello, Billy Martin (Medeski, Marin & Wood) , Vernon Reid (Living Colour), John Popper (Blues Traveler) Cyro Baptista (Herbie Hancock), Bernie Worrell (Talking Heads, Parliament Funk), Karl Denson (Karl Denson's Tiny Universe, Lenny Kravtiz), Christian Scott & Others
The signs are everywhere: MTV launches a channel on the Arabian Television Network. African hip-hop groups mix the postures and style of American rappers with homegrown lyrical messages and M.I.A., a Sri Lankan refugee now living in Brooklyn, scores one of the year's most critically acclaimed albums - sound bites recorded around the world mixed in an electronica blender with hip hop beats. Multi-tasking cell phones, cheap lap tops, Kindle Ebooks, YouTube, internet radio, and of course the multifaceted internet itself, have engendered a cultural interchange of unprecedented scope and speed. Music, which resonates across every cultural barrier, leads the charge. The result is a grand "global noise," a spectacular sea of interchanging and mutating beats, sounds and melodies from all directions. It is precisely that reality that Jason Miles and DJ Logic set out to capture with their collaboration Global Noize. Keyboard extraordinaire Jason Miles, who has worked with everyone from Miles Davis and Luther Vandross to Ivan Lins, and Turntable guru DJ Logic, who has collaborated with diverse artists like Phish, Vernon Reid, ?uestlove and Don Byron, join forces on Global Noize to create a thrilling mix of free-wheeling tracks that take listeners on a wide-ranging journey through the minds of some of creative music's most innovative musicians such as Meshell Ndegeocello, Billy Martin (Medeski, Marin & Wood) , Vernon Reid (Living Color), John Popper (Blues Traveler), Cyro Baptista (Herbie Hancock), Bernie Worrell (Talking Heads, Parliament Funk), Karl Densen (Tiny Universe, Lenny Kravtiz).
"This is a special project as the world is a Global Noize and we need to come together in difficult times and great music has the power to do this," states Grammy Award-winning and Emmy nominated keyboardist, producer and composer Jason Miles. "The artists and musicians on the project represent a great diversity and this is what the world is really about. The beauty in this diversity is something that we all need to appreciate."
Global Noize is a project that has long been brewing in Jason Miles' mind but the idea was solidified when he got a call from friend his DJ Logic last year to join him for a performance at the Blue Note in NY. "On that day I had a horrible root canal and was mourning the loss of a close relative. I thought that this could be just the tonic I needed to pick myself up," recalls Miles. The night was exactly what Miles had hoped and from this experience he knew that he and Logic had a special connection. The duo later worked together in Morocco at The Casablanca Jazz Festival and had the opportunity to venture off to Marrakech. Miles shares, "We went through life-altering experiences. It was so new to us - mysterious, crazy and another view of the world. We both knew we had to make this project happen. The picture on the CD cover of the both of us with the camel in the desert says it all!"
Global Noize is an organic, free-spirited sonic brew of some of the best elements of jazz, funk, electronica and world fusion – it is music without borders.
Miles says, "We started with Cyro Baptista and Billy Martin jamming in the studio and built up the tracks from there. Logic and I pooled our musical resources and had some of the best cutting-edge artists play on the record." From the album's opening track, "A Jam 4 Joe" (dedicated to the late piano/keyboard wizard Joe Zawinul) to its concluding statements on "What I know," Global Noize takes listeners on a mind-bending, global adventure featuring all original compositions.
"A Jam 4 Joe" features Logic and Miles along with guitar wizard and founding member of Living Colour, guitarist Vernon Reid, musical chamelon and bass player Meshell Ndegeocello, percussion maestro Cyro Baptista and the stunning Indian vocal diva Falu. The groove is relentless and is supercharged with magnetic energy. Bernie Worrell joins the mix on "Spice Island' playing the clavinet and organ. Worrell, who is best known for his contributions to George Clinton's Parliament Funk and The Talking Heads, lays down a serious funk heavy groove that reverberates throughout the track. The slow-burning "The Souk" highlights Falu and Blues Traveler's John Popper on the Harmonica in a seductive dance with one another, along with percussionist Braheim. "We were lucky to get John Popper on a day off in NYC," adds Miles. "He just kills on the ‘Souk!'" "Quera Dancar/I Wanna Dance With You" is a cool breezy Bossa Nova that beckons you to move your hips and dance to the music's delight along with Brazilian bombshell and chanteause Vanessa Fallabella, celebrated Brazilian guitarist Romero Lubambo and season jazz bassists James Genus.
Global Noize, which DJ Logic describes as "a hip and eclectic musical journey crossing all boundaries," further delights with such tracks as "Dar'abesque" (named after the villa Miles and Logic inhabited in Marrakech) featuring trumpet icon Herb Albert. "When I got the track back from Herb Alpert," confides Jason Miles, "I knew that any musician who had imagination and a great musical voice would love to be a part of this. Herb just really brought the track to life. "Bollyhood" is an ear catching trip-hoppy track showcasing the haunting vocals of Falu and "Planetery Beat" joins multi-instrumentalist Karl Denson and guitarist Dean Brown together for a soul jazz romp with killer break-beats and groovin' horn riffs. "Having Karl Denson involved with this album made us happy because we knew there would be great playing, brilliant horn arrangements as well as fantastic compositions all at the same time." Christian Scott is showcased on "Exotic Thoughts," an ethereal meandering piece featuring the young hot trumpeter along with guitarist Carl Burnett and Tabla player Suphala while "Pool of Honey" is as sweet as its title with its uptempo swinging melody and feel good vibe featuring Burnett and Suphala once again along with Karl Denson on flute. "Christian Scott is one of the most exciting young artists on the scene," states Miles. "He really stepped up and showed what a young cat at the beginning of his career has got going on." "Spin Cycle," brings back a 70s funk flavor with its insatiable drum licks from Gene Lake and "What I Know" features spoken word artists Aline Racine.
Jason Miles concludes "When I hear music I love I want to be involved with it. It would be boring for me to stay in one place musically so I love to explore different music. I know Miles Davis felt that way and I'm just trying to keep the grooves hot, the melodies great and collaborate with the best artists I know. Hopefully Logic and I will be bringing Global Noize to the world and show people our musical vision."
Global Noize will make its live debut this Spring. Don't miss the opportunity to catch this unique experience in a City near you!
Street Date: April 29, 2008
www.myspace.com/globalnoizejazz
Photos and Text By Ricky Richardson
Hollywood - This year will mark the 30th Anniversary of the Playboy Jazz Festival presented by the Los Angeles Philharmonic at the historic Hollywood Bowl.
Organizers of the festival, aware of this milestone, went all out in announcing the line-up for the highly anticipated event of the summer.
The first order of business was to invite guests to the grounds of the Playboy Mansion in Holmby Hills for the recent Press Conference. The guests consisted of media, Public Relations representatives, music industry representatives as well as musicians who will be performing at the Playboy Jazz Festival and at the free community concert series.
The View Park Prep Jazz Ensemble directed by Fernando Pullum provided some straight-ahead jazz standards to the delight of all in attendance.
The line-up was announced at the appropriate hour by Darlene Chan, Associate Producer, Playboy Jazz Festivals, and The Festival Network, LLC and Bill Cosby who will return to host the 30th Annual Playboy Jazz Festival.
Today, celebrating 30 years of electrifying performances, magical moments and extraordinary music, Playboy Jazz Festival will once again present a world class roster of talent at the 30th Anniversary Jazz Festival, Saturday, June 14th and Sunday, June 15th, at the world famous Hollywood Bowl.
Featuring renowned jazz greats, today’s top talents, and popular festival favorites, the two day affair will showcase the many variations of jazz to satisfy the various musical tastes of all in attendance.
This is the line-up for the 30th Anniversary Playboy Jazz Festival. Please note that this is not the order of appearance. 2008 Grammy Award Winner Herbie Hancock is the festival headliner who will be performing on Sunday evening.
Saturday-featured line-up will be Al Jarreau, Poncho Sanchez Latin Jazz Band with special guest Eddie Floyd, The James Moody Quartet, Dr. John from New Orleans, the soulful sounds of Tower of Power, R n R featuring Rick Braun and Richard Elliott, Hiromi’s SonicBloom, Sherrie Maricle & The Diva Jazz Orchestra, Cos of Good Music with Ambrose Akinmusire, Dwayne Burno, Ndugu Chancler, Benny Green, Billy Harper, Jerry Peters and David T. Walker, Richard Glasper and The Hamilton High School Academy of Music Jazz Ensemble “A” under of the direction of Dan Taguchi.
Sunday-once again will feature Herbie Hancock and his band featuring Dave Holland, Vinnie Colaiuta, Chris Potter and Lionel Loueke, crowd favorite KEB’ MO’, Roy Hargrove Big Band, Guitar & Saxes featuring Gerald Albright, Jeff Golub, Jeff Lorber and Peter White, Dee Dee Bridgewater Red Earth: A Malian Journey, Ivan Lins with special guest Oscar Castro-Neves from Brazil, The Monk Legacy Septet featuring Ben Riley, Plena Libre a hot group from Puerto Rico, Ryan Shaw and The View Park Prep. Jazz Ensemble under the direction of Fernando Pullum.
The good news is that there is a couple of ways to order tickets for this year’s festival. You can go to the stack of Los Angeles Times newspapers that you haven’t read yet. Please retrieve the March 2nd ARTS & MUSIC Calendar Section, go to page F-5 for information about ordering tickets for the festival. New this year! Tickets will be available through Ticketmaster starting February 27, 2008. Patrons can purchase tickets online at www.ticketmaster.com, over the phone by calling (213)365-3500 or (714) 740-7878, and at any Ticketmaster outlets or by downloading a ticket order form at www.playboyjazzfestival.com. There is also a link to the Ticketmaster website on the Playboy Jazz Festival website. www.playboyjazzfestival.com. The bad news is that tickets are going really fast.
Festival goers can use Park & Ride shuttles to get to the Hollywood Bowl hassle free. Please call (323) 850-2000 for more information. Please call the Playboy Jazz Festival Hotline (310) 450-1173 for updates about the festival and the free community concert series.
Album released to strong reviews as “No Ordinary Love” captures hearts at radio
If cats have nine lives, perhaps soul-groove saxophonist Danny Lerman is on his third. On February 26th he released his third album, Meow Baby, on Sugar Whiskey Records, his record label distributed by Lightyear Entertainment/EMI. Lerman’s mélange of accessible contemporary jazz, funk-da-fied R&B and shimmering pop melodies incorporates Latin, South African, Middle Eastern and World Music nuances that were inspired by his extensive travels and performances around the globe over the past decade.
Lerman co-wrote a dozen songs for Meow Baby and recorded two covers – John Lennon’s “Imagine,” featuring Howard Hewett’s caramelized vocals, and a sensual instrumental version of Sade’s “No Ordinary Love,” which is presently steaming up radio playlists. Appearing as a bonus track, “You Take My Breath Away” was originally released on Lerman’s top 20 debut disc, Danny’s Island. Drummer Tal Bergman (Rod Stewart, Billy Idol, Loreena McKennitt, Herb Alpert, Chaka Khan), who worked on Danny’s Island, returned to produce ten tracks in addition to providing exciting, exotic beats. Seminal urban jazz artist Norman Connors produced a few additional tracks. In the recording studio, Lerman’s lethal hit squad was locked and loaded with notorious musicians such as Randy Brecker, Hubert Laws, Paul Jackson Jr., Bobby Lyle, and Munyungo Jackson.
In anticipation of the album release, Lerman has been active on the concert trail over the past five weeks. He began in mid-January with a trio of Los Angeles-area concerts and continued with dates in the Midwest and West Coast. Earlier this month, Lerman performed the National Anthem before a Notre Dame ice hockey game in his hometown, South Bend, Indiana, which was a thrill for the still avid hockey player-turned-musician. On March 25th, he’ll perform the anthem before the Chicago Bulls NBA game at the United Center.
The initial reaction to Meow Baby has been overwhelmingly positive. Here is a sampling of what some have written:
All Music Guide: “Lerman aggressively pursues his rhythms and grooves with the kind of musicality that has been championed by the like of Dave Koz, Jimmy Sommers and Eric Marienthal… With 15 compositions to lighten your mood, set a romantic theme, or just keep you chillin' to his contemporary saxophonics, Danny Lerman and his special guests have delivered a set that is as personal as a love song and as accessible as a sunny day on a tropical island.”
Baltimore Times: “The CD is very hot…The influences of the various countries can be heard on the album. The combinations of the sax, flute and trumpet, not to mention the guitar styles of Paul Jackson Jr. make for an excellent work of art.”
Reno Gazette-Journal: “Saxophonist Danny Lerman's approach to contemporary jazz is like a paleontological expedition, a layer cake that represents a variety of musical influences coalesced through his sensibilities… The cheeky track ‘Don't GoGo There’ features trumpet work by Brecker and is a prime example of how the song's inspirational DNA, the execution and production combined to provide a layered offering, dripping a buffet of styles…At the center of it all is Lerman's horn, a frequently mellifluous approach that can erupt into a growl -- rather than the meow referenced in the album title.”
Jazz Review: “There is a musicality that leaps off the disc and a degree of composition consistent with the best music currently heard on smooth jazz radio… There are a number of strong tracks on the disc. The opener, ‘Meow Baby,’ is a great composition in the new tradition of up-tempo and strong groove oriented music making the airwaves these days, and ‘The First Time’ floats as prettily as a sailboat on a calm sea.”
Smooth Jazz Therapy: “The pedigree of ‘Meow Baby’ is impeccable. Featured percussion from Munyungo Jackson plus production by Tal Bergman and Norman Connors all add to the quality yet, that said, this is very much Lerman’s project. He co-writes a dozen of the songs and, with sumptuous playing from beginning to end, is making a statement that Danny Lerman is all set to move into the upper echelon of smooth jazz saxophonists.”
N2Entertainment.net: “…Lerman shows he hasn't lost his groove or any signs of a sophomore slump… This isn't one of those CD's you'll be skipping around tracks as every single one is a sure-fire hit…”
Trish Hennessey of WSMJ-FM 104.3 Baltimore: “It's a breath of fresh air!"
Additional information is available at www.dannylerman.com.
Top charting & award winning contemporary jazz guitarist Ken Navarro has begun to record his next CD. The new CD is called The Grace of Summer Light. It includes 10 new songs and will be released May 5, 2008 exclusively at www.kennavarro.com followed by the national retail release on June 17, 2008.
There is an entire section at Ken's website devoted to following the creation and recording of his new music.
Included are audio previews as well as regular diary entries by Ken following the progress of his CD to its completion. There are also special offers for visitors to Ken's website to purchase the CD well in advance of the retail release date with extras only available when purchased at www.kennavarro.com.
Quartet To Perform At 50th GRAMMY Awards After-Show Party On February 10th
Heads Up International, one of the world’s premier crossover jazz labels and a division of the Concord Music Group, today announced the signing of an exclusive recording agreement with Fourplay, the innovative quartet that has maintained a consistent presence on the cutting edge of contemporary jazz since their inception more than 15 years ago. Fourplay will make their Heads Up debut with a yet-to-be-titled album scheduled for release in summer 2008.
The band is scheduled to perform at an after-show party following the Grammy® Award ceremonies at the Staples Center in Los Angeles on “Grammy® Sunday,” February 10, 2008. Fourplay’s after-show performance is scheduled for the Jazz Lounge in the west hall of the Staples Center.
Fourplay, whose current lineup consists of keyboardist Bob James, bassist Nathan East, guitarist Larry Carlton and drummer Harvey Mason, has enjoyed consistent artistic and commercial success by grafting elements of R&B and pop to their unwavering jazz foundations. In a span of seventeen years and ten albums, the quartet has continued to explore the limitless dimensions and permutations of jazz while at the same time appealing to a broad mainstream audience.
“Fourplay has been a formidable and high-profile entity in contemporary jazz for almost two decades, with a track record of musical innovation that speaks for itself,” says Dave Love, President of Heads Up International. “Each artist in the band’s lineup is an immense talent in his own right, but the synergy of all four players adds up to an even greater whole. We’re very excited to have them on the Heads Up roster, and we’re very much looking forward to a great record this year.
Bob James, a founding member of the group, echoes Love’s optimism for a prolific partnership between band and label. “We’re very happy with the enthusiasm that’s been demonstrated by the Heads Up team,” says James. “It’s up to us now as a band to create music that will justify the excitement that everyone is feeling about this partnership. That’s a challenge that we take very seriously, but it’s a challenge that we welcome with every new record we make.”
Nathan East sees independent labels like Heads Up as the place to be, given the current record industry climate. “While the major labels are trying to keep the ‘record business’ alive, the indies are doing a better job at keeping the ‘music business’ alive. The independents seem to be able to offer a more hands-on approach than the majors, which is definitely a benefit to the artist.”
Harvey Mason agrees that the industry has entered an era where joining an independent label is a smart move: “Fourplay is very excited about the fresh opportunities that abound in these transitional times in the music industry,” he says. “We look forward to partnering with Heads Up as a means to build on the Fourplay brand which has proudly existed for twenty years.”
While the exact direction of Fourplay’s Heads Up debut has yet to be determined, Larry Carlton promises that the band’s maiden voyage with the label “will be a continuation in the growth of the Fourplay sound. We look forward to delivering the next chapter in the Fourplay story and having Heads Up deliver it to the world.”
“We’ve set a high standard for ourselves in almost two decades of making records together as Fourplay,” says East. “I look forward to making an adventurous, classy and soul-filled record that showcases our talents individually and collectively. Until the last note is played, it’s hard to predict the exact direction. That’s what we love about jazz – the improvisation that happens in the moment. That’s a concept that Heads Up completely understands.”
The Claremont Resort & Spa in Berkeley introduces the first of its quarterly Concerts at The Claremont series, Friday, February 22nd, featuring local jazz legend, Gerald Albright. Hosted in the historic Claremont Ballroom once graced by Tommy Dorsey and Louis Armstrong, tickets start at $150/per person and include an interactive dining experience. Ask about "…all that Jazz " accommodations package from $209. To inquire about this event, please call 800-551-7266 or visit www.claremontresort.com.
By Val Vaccaro [photos by Bazpix]
Right before the holiday season, there was a wonderful wine-tasting event sponsored by CD101.9FM (WQCD www.cd1019.com - the smooth jazz station for the New York City metropolitan area) at the upscale Hilton Short Hills hotel in New Jersey. Blake Lawrence, Programming Director for CD101.9 and Bill Zafiros the head of the festival, made the right choice when they selected Matt Marshak and his band to perform at the event. It was a perfect blend of music, atmosphere, wine and food in the beautifully decorated hotel ballroom. Part of the event’s proceeds were donated to a good cause, The Inter-Religious Fellowship for the Homeless (in New Jersey).
On Friday, November 9, 2007, guitarist Matt Marshak and his band played a fantastic show – which by audience demand, went for almost four hours (with some short breaks), from 7pm – about 11:30pm that night. Joining Marshak were two main band members, the very talented, versatile drummer Chris Marshak, the cool and funky keyboardist Tim Regusis (who has also worked with Patti Austin, Najee and Jonathan Butler) and special guest star bassist player Paul Ossola (who plays in the Saturday Night Live TV show band). Ossola played upright bass for this more formal, special occasion.
Like fine wine that gets better over time, guitarist Matt Marshak’s musical performances continue to venture into even more exciting and delightful territory. It’s great to see this special talented musician and composer evolve during the past four years since he first arrived on the smooth jazz scene in 2003 when he opened at Bryant Park in NYC for a Guitars & Saxes show as winner of a CD101.9 original music contest sponsored by Absolut Vodka. Since 2003, Marshak has opened for artists such as Bobby Caldwell, Peter White, Bob James, Wayman Tisdale, and Spyro-Gyra, and has shared the stages with artists such as Richard Bona, Kenny Garrett, Walter Beasley and many others.
As usual, Marshak was a gracious host, in good spirits, chatting with the audience between songs and he and the band did a wonderful show to a delighted audience. The recent Harvest Wine Festival show included lots of great original songs composed by Marshak, along with a bunch of fresh, fun and sometimes adventurous cover versions of many favorite smooth jazz and pop tune hits.
The band’s first set started off with two of Marshak’s catchy original tunes “Seduction” and “(I Will) Be With You” (from his CD This Time Around 2004). The band then glided into gear with a sweet-sounding, dreamy cover of “Sleepwalk,” with Marshak’s warm guitar tones filling the air of the elegant ballroom. (It was evident that Marshak has been inspired by one of his key guitar influences, Larry Carlton.)
They picked up the pace with a funky cover of “Coming Home Baby” (reminiscent of the late Zachary Breaux). From there, Marshak eased his way into “Quietly” a beautiful tune off his sophomore CD This Time Around (2004). Next up was a great cover of the uplifting “Breezin’” (George Benson’s tune), with an animated guitar solo by Marshak complemented by a bluesy, solo by Tim Regusis on piano.
From there, with a cool intro featuring funky bass lines by Paul Ossola with great drums and cymbals by Chris Marshak, the band went into a surprising, terrific cover of Maxwell’s “Ascension (Don’t Ever Wonder)” (a trademark song in shows for saxophonist Kirk Whalum). Whalum and Maxwell would both have appreciated Marshak’s wonderful take on the song, and Wes Montgomery would have enjoyed Matt’s flair with the double octave chords on guitar.
Marshak then transitioned into one of his memorable tunes that has garnered airplay on the radio, “Wind Chill Factor” a lush, warm melody on guitar, with Regusis, (who produced the tune on Marshak’s CD Groovosphere 2006) on spacey-sounding special keyboard effects. The song is somewhat reminiscent of Larry Carlton’s tune “Lazy Susan.” Marshak’s tune “Wind Chill Factor" was recently added into rotation in Cleveland at The Wave WNWV 107.3, and has gotten airplay at stations such as CD101.9FM in New York.
After a short break, the second set kicked off with a funky cover of Grover Washington Jr.’s “Mister Magic” – another great choice featuring Marshak on guitar. Next up, Marshak and band played his original tune “Sanibel” which was a crowd favorite, as could be seen by the many smiling faces in the crowd.
"Sanibel” is an enchanting composition with combination tropical island flair/South-African vibe (written by Marshak with Bakithi Kumalo – bass player with the Paul Simon band, who has also worked with Marshak). Although Marshak didn’t do his usual special percussive finger-tapping during the bridge, “Sanibel” still has that magical sound. Marshak’s been playing this special song live for the past few years, and Sanibel finally has been recorded on Marshak’s new CD On the Rocks (being released in February 2008). From there, the joyful mood continued on with Marshak’s elated version of the uplifting “Affirmation” (a hit tune by George Benson, which was actually written by Jose Feliciano). Regusis did a fine job with a tasteful bluesy solo on keyboards. There were also some great drum solos and percussion by Chris Marshak.
From there, Marshak played guitar and did some smooth scatting on his original tune “Tell Me Why” (from his second CD This Time Around 2004). He ventured into the audience, playing guitar to select members of the crowd.
Back on stage, Marshak delivered his moving, dramatic instrumental version of “Wonderful Tonight” (Eric Clapton’s tune), which is always a crowd-pleaser (and can also be found on Marshak’s CD This Time Around). After such focused intensity, it was time to get playful and pick up the tempo with a great version by Marshak of “Killer Joe” (Benny Golson's tune), supported by Ossola’s funky walking bass lines, Regusis’ extended organ solo, and Chris Marshak’s subtle, yet spectacular sounds on drums and percussion to perfect the upbeat, cool, jazzy mood. The audience was truly diggin’ it. The set ended with another fun Crusaders’ tune “Put It Where You Want It.” (which not by coincidence had Larry Carlton the original recording).
After another short break, the band was back to entertain the crowd some more. Just when the audience might have thought it couldn’t have gotten any better, the show just kept going right on into overdrive. One very pleasant surprise was Marshak’s super-funky (a la Jimmy Nolen, James Brown’s guitarist on “I Got You, I Feel Good”) crowd-pleasing version of Prince’s tune “Kiss.” By the way, the song “Kiss” is a special treat on Marshak’s new CD On the Rocks (2008), featuring special guest saxophonist Jeff Kashiwa.
For an encore, almost four hours after the original set, the crowd was still hanging around after the wine event was wrapping up. Marshak introduced the last song this way, “we’re just about out of time, so we’re going to play a tune called “Nuthin’ But Time” (from Marshak’s debut CD Preservation 2003). It was a bluesy and satisfying way to end the show.
Part of smooth jazz fans’ 2008 New Year’s resolutions should be to try to catch a Matt Marshak show and hear the new CD On the Rocks.
After the show, Marshak also gave out copies of CD’s of his latest single “Space Coastin’” from the new upcoming CD On the Rocks. Currently “Space Coastin'” is #1 at WGRV radio, and is #3 at Music Choice and is the first single from the upcoming CD On the Rocks. “Space Coastin’” includes special guest artists saxophonist David Mann and bassist Andre Berry.
Next up, Matt Marshak plans to debut to Triple A radio his vocal single "I'm On Fire," a cover of the Bruce Springsteen classic; Marshak’s CD also includes an instrumental cover of the same song. There are also a bunch of great new, original songs on the CD, including one called “Hangin’ at Humphrey’s” inspired by the San Diego club of the same name (on the Bay).
Another new original song on the upcoming CD On The Rocks is “Sierra Sunset”. “Sierra Sunset” is a beautiful tune Marshak was moved to write after he finished a show in Reno, Nevada last year, when as he says, “we drove through the incredible snowy Sierra peaks to California. This breathtaking, picturesque display of God's creations are ‘played about’ in this tune.” Currently, you can hear this song on http://www.myspace.com/matthewsblues. More information is at www.mattmarshak.com.
As an independent artist, Marshak’s CD’s are available for purchase: www.cdbaby.com/mattmarshak3 and for download at www.iTunes.com. There are links to hear some of Marshak’s tune from CDs and live performances at: http://www.myspace.com/matthewsblues.
Marshak’s songs have been played around the world on radio stations, and in the U.S., as well as on Rafe Gomez’ syndicated radio show The Groove Boutique (www.thegrooveboutique.com), and can be heard on the web at www.jazzlynx.com, and www.thegroove.org. (At Jazzlynx.com, Marshak’s upbeat, catchy original tune "Summerfunk" - produced by Billy Heller of the Rippingtons for Marshak - was the #6 Most Played Song of 2006, his CD Groovosphere was the #14 Album of 2006, and Marshak was the #11 Most Played Artist of 2006.)
In 2007, as an independent artist (on his own label), Marshak played about 50 shows across the U.S. in places like, New York, California, DC, North Carolina, Iowa, Florida, Nevada, as well as in music festivals in Europe (www.nuancegroup.com). In the past four years, he’s played at some of top smooth jazz festivals and venues in the U.S. (e.g., Capital Jazz Fest, Jazz Trax, Blues Alley, IMAC Theater, and more). Last fall, he opened for Joyce Cooling at Rancho Mirage, CA, and for the Sax Pack in Connecticut, and did a cruise ship gig in the Bahamas.
For 2008, so far tour dates include: February, 10, 2008, Corey Creek Vineyard/Winterfest, Southold, New York; March, 2, 2008, Bedell Cellars Vineyard, Cutchogue, New York; Feb. 23 2008, a benefit show in Winston Salem, NC; on June 13, 2008 a show for WDSJ Jazz on the Green in Carillion Park, Dayton OH, and August 15-17, 2008 at the Genuine Jazz Fest in Breckenridge, CO.
Stay tuned for for more information at www.MattMarshak.com, (http://www.allmightymusic.com), http://www.myspace.com/mattmarshak, www.myspace.com/matthewsblues and www.NuanceMusicGroup.com.
Chillout Productions Announces the dates for the 6th annual Skywards Dubai Jazz Festival featuring the all-time Bee Gees’ Robin Gibb to perform live on March 1st,, 2008 with a Medley of Jazz greats at Dubai Media City Amphitheatre.
The Skywards Dubai International Jazz Festival is giving music fans plenty to sing about; and environs will reverberate with the sounds and rhythms of some of the world’s international greatest jazz performers.
Robin Gibb has been a principal member of one of the most celebrated songwriting teams and recording groups of all time who were noted for their versatile singing and songwriting producing hits over a two decade span: The Bee Gees.
From their early days in their native England to their childhood musical successes in Australia to their later status as world conquerors with their platinum Saturday Night Fever soundtrack, the Bee Gees have had more careers, and hit records, than any band. Prolific songwriters that they have been, this doesn't even take into account the numerous hits other artists have had with their songs.
For most of his life Robin Gibb legendary status, along with his brothers Barry and Maurice, has long been established worldwide.
Robin's trademark ethereal voice has been a key identity in the Bee Gees sound, and he molded his own musical identity with a number of solo releases, including the number one hits "Saved by the Bell" and "Juliet". Robin continuously develops new songs and ideas in his home studio, occasionally writing and producing for other artists, and adds his distinct vocals to selected projects, some of these for charities.
Robin was made a Commander of the Order of the British Empire (CBE) in the 2001/2002 New Year's Honors List, along with his brothers Maurice and Barry.
In November 2006, Robin released an album of Christmas carols called Robin Gibb - My Favourite Carols, backed by one of London choirs. The album also features a brand new song written by Robin called "Mother of Love", which was released in Europe as a download single.
The first of March 2008 will be a great date to remember, having the Bee Gees’ Robin Gibb performing for the first time in the Middle East and gulf region for a highly entertaining show thrilling his remarkable number of fans.
Anthony Younes, Managing Director of Chillout Productions, the founders and Organizers of the Dubai International Jazz Festival, said: “The yearly enthusiastic success of Skywards Dubai International Jazz Festival, drives us strongly to bring together first-rate global performers like Robin Gibb”.
For its sixth year, the festival expands its profile of artists to include an outstanding additional performances and top talents blending in various music sensibilities which will be a trademark of the Skywards Dubai International Jazz Festival 2008. Final line-up and details about participating artists are to be announced shortly with astonishing surprises and “WOW” news.
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Contemporary Rock Star David Gray To Perform Live In Dubai, On The Night Of February 29th At The Skywards Dubai International Jazz Festival 2008!
The countdown has begun to the 6th Annual Skywards Dubai International Jazz Festival 2008; the event that is easily going to surpass anything that has been seen or heard in Dubai Media City Amphitheater!
Don’t Miss the artist of a very different kind – Pop idol David Gray who is set to appear for the first time at the most popular event in the region “Skywards Dubai International Jazz Festival” organized by Chillout Productions for the 6th year in a row. Gray’s show will be the show-of-attraction for a large audience.
“We try to cater for all music fans in the region, and with the presence of David Gray this year, we can assure that we are attending to the lovers of all types of music and guarantee that the festival will go beyond Jazz” said Anthony Younes, Managing Director of Chillout Productions, the founders and organizers of the Dubai International Jazz Festival.
Following on from the explosion in popularity during 1999, which was a year that witnessed David successful embark in the world of music; Gray has emerged as one of the finest singer-songwriters, capable of some truly emotional power-ballads in the style of tracks like "Babylon", his breakthrough success, "Sail Away", "Please Forgive Me", and "The Other Side". His voice is powerfully distinct-raw, passionate and at times affecting.
With White Ladder, Gray has sold more than six million copies worldwide and became one of the UK’s most popular and enduring artists. In Ireland, White Ladder remains the best-selling album of all-time.
He has also won a GQ Award for Best Solo Artist (2002), a Q Award for best single (2001) and has been nominated twice for best male at the Brit Awards. Such accolade is richly deserved, as Gray is fast becoming a national treasure.
Gray continues to write and record at his studio in north London, and expects to have a new album ready for release by fall 2008.
“With the valued support of our sponsors and partners, and the participation of music prodigies like David Gray, we look forward to have the Skywards Dubai International Jazz Festival in 2008 a great success as it has always been throughout the years”, added Anthony Younis.
As ever, more news and details about the participating artists on the night of February 29th are to be announced successively.
Tickets are available now on www.boxofficeme.com and www.timeouttickets.com.
And starting January 15th, 2008 at all Virgin Megastores, Hallmark and Spinneys. For more details, please visit www.dubaijazzfest.com
Contemporary jazz favorite Brian Culbertson will bring his holiday show to audiences across the nation beginning on November 23. Presented by AirTran Airways, Brian Culbertson's A Soulful Christmas features an all-star cast consisting of saxman Gerald Albright, vocalist Howard Hewett, guitarist Nick Colionne, and introducing vocalist Victoria White.
Audiences are guaranteed to be in the holiday spirit after experiencing Brian Culbertson's A Soulful Christmas. In typical Brian Culbertson fashion, the show features uplifting and soulful performances of holiday favorites and tunes from Brian's holiday album A Soulful Christmas (in stores now). In addition, Brian and his guests will play hits from their respective catalogues.
"I am thrilled to be taking A Soulful Christmas on the road for the second year in a row," said Culbertson. "I can't wait to share the stage with this talented group of musicians to celebrate the holiday season!"
Tour dates are as follows:
11/23 Indianapolis, IN Music Mill
11/24 Chicago, IL Chicago Theatre
11/25 New York, NY Town Hall
11/27 Alexandria, VA The Birchmere
11/28 Alexandria, VA The Birchmere
11/30 Toronto, ON The Music Hall
12/1 New Haven, CT Lyman Center for the Performing Arts
12/2 Collingswood, NJ Scottish-Rite Auditorium
12/8 Sparks, NV Nugget-Celebrity Showroom Casino
12/9 Sacramento, CA Crest Theater
12/11 San Diego, CA Anthology
12/13 Phoenix, AZ Celebrity Theatre
12/14 Las Vegas, NV Boulder Station Casino
12/15 Palm Desert, CA McCallum Theatre
12/16 Anaheim, CA The Grove of Anaheim
12/18 Los Angeles, CA The Wilshire Theatre
12/20 Seattle, WA Paramount Theater
12/21 Portland, WA Crystal Ballroom
12/22 Redwood City, CA Fox Theatre
For the latest news and information, please visit www.asoulfulxmas.com or www.brianculbertson.com.
Saxophonist back in the groove with February 26th album release
The fact that the album title comes from a line from an episode of Kojak proves that saxophonist Danny Lerman knows how to have fun. He also knows retro cool when he sees it. Lerman took a page from the 1970s when recording his second album, Meow Baby, which will be released February 26th on Sugar Whiskey Records, his label distributed by Lightyear Entertainment/EMI. He adopted old school sensibilities by utilizing live musicians and having a hand in writing all the new compositions for the disc. Tal Bergman, who worked on Lerman’s debut album, produced ten songs on Meow Baby and a few tracks were produced by urban-jazz icon Norman Connors. Radio programmers are already whetting their appetite for the CD with “Gotcha!,” a deep-pocketed groove that bursts into a chorus as sweet as one of Kojak’s Tootsie Pops.
Since his last album release, Lerman traveled and performed around the world, including Turkey, Israel, Holland, South Africa, Venezuela and Mexico. He brought influences and musicians from the countries he visited into the studio when recording Meow Baby. While the tracks swing towards contemporary jazz, urban and adult pop, there are also traces of World Music, Middle Eastern, Latin and South African rhythms. The South Bend, Indiana native, who plays alto and soprano sax, recorded the majority of the collection in Los Angeles where he was joined by Randy Brecker, Hubert Laws, Howard Hewett, Paul Jackson Jr., Bobby Lyle, and Munyungo Jackson. Bergman, who played drums on records by Rod Stewart, Billy Idol, Loreena McKennitt, Herb Alpert, and Chaka Khan, was behind the kit on most of the album.
“Tal brought infectious rhythms that were both exciting and exotic. His strong rhythmic influences made the tracks spicy,” explained Lerman. “I wanted this record to be a glimpse into my world, including some of the friends that I’ve made in my travels. I put both myself and the places I’ve been into the music. There’s definitely variety on this record; you don’t know what’s coming next. I’ve found some great players from all parts of the world and they brought their unique perspective to the album.”
To help launch the album, Lerman has lined up a few concert dates in the Los Angeles area in mid-January with additional tour dates now being booked for the West Coast, Midwest and East Coast. He’s an entertaining performer who has shared concert bills with Herbie Hancock, Sergio Mendes, Richard Elliot, David Benoit and Eric Marienthal. When he’s off the road, Lerman occasionally performs free concerts in South Bend nursing homes. He has a gig lined up next month at the Ronald McDonald House for seriously ill children and their parents.
Lerman recently inked a pact with Conn-Selmer for saxophones, which will include sponsorship, marketing and advertising support, clinics and special events.
Making his debut with the album Danny’s Island, Lerman climbed into the top 20 on Radio & Records’ contemporary jazz chart and had a #1 single at Chicago’s top urban radio station, WGCI-FM. The cut, “Take My Breath Away,” featuring R&B vocalist Danny Boy, appears on Meow Baby as a bonus track. Additional information is available at www.dannylerman.com.
Lerman’s Meow Baby is comprised of the following songs:
“Meow Baby”
“Summer In a Hummer”
“No Ordinary Love”
“Imagine”
“The First Time”
“No Words”
“South Beach Serenata”
“Snoopy’s Dance”
“Saxsultan”
“Amadeus’ Kiss”
“Don’t GoGo There”
“Baby Goes to Market”
“If Only”
“You Take My Breath Away”
Diverse CD from prodigious collective is an elegant sonic delicacy
For the first time in the United States, the complete 17-track debut album, Transoceanic, from the accomplished collective Audio Caviar was released last week (October 23) by Well-Oiled Records, a division of entertainment conglomerate The Machine Productions. Group members Ralph Johnson and Morris Pleasure teamed with Marcel East (Fourplay, David Benoit, Bob James) to produce the sonic passport to an audacious audio adventure through an expansive array of soulful R&B, sophisticated contemporary and traditional jazz, and multicultural World Music. Prefacing the album release, “Dominique,” featuring an exquisite piano melody embedded in a mid-tempo R&B groove and a dreamy chorus crooned by Earth, Wind & Fire’s Philip Bailey, was serviced to radio where it is currently being added to playlists.
Having proudly played a role in creating an enduring legacy as an original member of EWF, drummer-vocalist Johnson was hungry to forge a separate identity for his musical wanderlust. Joined by former EWF musical director, keyboardist-bassist-flugelhorn player Pleasure and Danish guitarist Steen Kyed, Johnson envisioned recording an album as a traditional jazz trio. But once inside the nurturing environs of recording studios in Copenhagen and Los Angeles, the compositions and recordings experienced a metamorphosis, blossoming into elaborate and substantive endeavors that brazenly push the boundaries. Audio Caviar members had a hand in penning a dozen songs for Transoceanic, which was completed by songs written by Miles Davis (“All Blues”), Ivan Lins (“The Island”), Jonathan Butler (“Jodie”) and a trio of Danish songwriters (“Hookline”). Lending their talents to the opus were George Duke, Howard Hewett, Dori Caymmi, Paulinho De Costa, EWF’s Verdine White, Al McKay (original EWF guitarist) and the EWF horn section.
Setting the stage with an inspirational interlude (“Transoceanic Prayer”), “Hookline” is an urban-jazz original anchored by Pleasure’s piano and embellished by a vocal chorus. Kyed steps to the fore on “Now That I’ve Found You” and “Jodie” with heartfelt acoustic guitar leads. The slamming “5th House” is a Latin fiesta along a shuffling, Cha-Cha rhythm. After a couple interludes – the soothing trumpet-led “Serengeti Sunset” and the kinetic drum-work on “Eventually Live” – things get bluesy and jazzy on “All Blues.” “Tel Aviv” is a challenging, erudite composition on which eclectic World Music stylings engage a prominent rhythm section comprised of a funky acoustic bass and a staccato drumbeat. Butler’s African chanting makes “Legends Of Ratava” an interesting meditation. Kyed’s gorgeous guitar interlude (“Sofie’s Theme”) leads right into “The Island,” a classy samba number spotlighting Caymmi’s haunting vocals and Duke’s intricate piano renderings. The uplifting “Welcome” is a sparsely produced, sunny jaunt. R&B vocalist Hewett pours his heart into song on “Love Comes In Time,” a timeless romantic ballad with a cinematic chorus. Pleasure revisits the entire album on a solo piano sojourn called “Closing Prayer” that ties the collection together in a perfect bow. A vocal version of “Hookline,” boasting Danish singer Daniel’s caramel growl serves as a bonus cut.
For Johnson, Audio Caviar is no whimsical side project. Although he is still highly active with EWF, with whom he was inducted into the Rock and Roll Hall of Fame, he is fully committed to piloting Audio Caviar to success. Johnson, along with Pleasure, a classically trained pianist who has toured and/or recorded with Janet Jackson, Ray Charles, Natalie Cole, Roberta Flack, and Rachelle Ferrell, and Kyed, who is a member of the Danish band TAO, have begun writing material for the second Audio Caviar CD. Additional information is available at www.themachineproductions.com.
Photos and Text by Ricky Richardson
Charles R. Drew University & Honda presented the 17th Annual "Jazz At Drew" Legacy Music Series and Cultural Marketplace and Health Pavilion. This is one of Southern California's most popular music and charity events. This year featured another outstanding stellar line-up of jazz, gospel, R&B, and Latin jazz greats who performed on Saturday, October 6 and Sunday, October 7, 2007 in the grassy outdoor setting on the campus of Charles R. Drew University of Medicine & Science in Los Angeles.
The Drew University All-Stars got the festival under way. The All-Stars include University and hospital employees and friends. The audience was treated to an invigorating music performance by the group on the tunes "R.J. Song", "My Dreams", and "Stolen Moments."
The Locke High School 40th Anniversary Re-Union Band kept the momentum up and moving forward on "Straight No Chaser", "81" by Ron Carter, "Sister Sadie" by Horace Silver, and "Impressions" by John Coltrane." Vocalist Niomisha Wilson (aka-Nio Renee) performed "Inseparable" by Natalie Cole.
The Leimert Park All-Stars set opened with The Kabasa Drummers and Dancers. The All-Stars entertained the crowd with some original tunes.
Jose Rizo's Jazz on the Latin Side All-Stars with special guest guitarist Kenny Burrell served up a spicy set of Latin Jazz on "Baile Mi Gente" with a saxophone solo by Michael Sessions, "Yes or No" by Wayne Shorter, "Iron Man James"-written for the Master of Ceremonies James Janisse, "Caramba" by Lee Morgan, Ah Leu Cha" by Charlie Parker and concluded their set with a salsa tune "Mama Vieja."
Guitarist David T. Walker featuring Clarence McDonald - piano/organ, Byron Miller - bass, and Ndugu Chancler on drums were groovin' throughout their crowd pleasing set.
Bassist Malcolm-Jamal Warner & Miles Long captivated the crowd with some original spoken word/neo soul tunes. The highlights were "Sexy Lady" and "The Beat Don't Move Me Like It Used To Do' a sort of Dear John letter addressing the state of hip-hop and rap music.
Sheila E. & The E Family Orchestra with Peter Michael heated up the festival grounds with some smokin' hot Latin jazz.
Popular Los Angels based Doo Wop group Renaissance and the group Lakeside rounded out entertainment for Saturday at Jazz At Drew.
The future of straight-ahead jazz and bebop are in good shape as witnessed by the superb performance of Dimitri Noble & Nobility featuring Mike Hunter, Kamasi Washington, Darryl Harris and Robert Turner and the Keschia Potter Quartet.
The Pan African Peoples Arkestra featuring many band members from the Leimert Park All-Stars. They had the audience undivided attention during their set. They performed "The Call", "Leno's Pad" - featuring a marvelous drum solo by 12 year old Mekala Sessions, "Donde Esta La Shay?" (Latin tinge tune written by Nate Morgan) and closed out their set with "Little Africa" proceeded by a poem recited by Kamau Daaood.
We had church at Jazz at Drew thanks to Gus Gil Gospel Hour. Dr. LaDoris McClaney - "An Angel to Many" served as Mistress of Ceremonies. Foot stomping, hand clapping, handkerchief waving entertainment was provided by The Soul Seekers and The Mighty Clouds of Joy. It was a delight to witness two spiritually uplifting gospel groups.
My straight ahead jazz palette was filled up once again with the dynamic musical performances of the following three groups. The Curtis Fuller Super Band featuring Nicolas Payton, Rene McLean, Carl Allen, Luke O' Reilly & Corcoran Holt, The Cedar Walton Quintet featuring Steve Turree, David Williams & special guest: Javon Jackson & Al Foster, and Hubert Laws performing "Moment's Notice", "Dat Dere", "What A Night" and concluded his set with "Land of Passion", and "Family" with vocalist Debra Laws.
The 17th Annual Jazz At Drew and The Charles R. Drew University presented a special enjoyable, elegant Sunday evening performance celebrating the 50th Anniversary of the Music of Curtis Mayfield and The Impressions and The Music of Jerry Butler dedicated to Susan Kelly, PhD, FAPS (President & CEO, Charles R. Drew University of Medicine & Science). This spectacular evening featured The Rickey Minor Symphony Orchestra with special guest Jerry Butler who performed "For Your Precious Love", "Brand New Me", "Let It Be Me", and "Only The Strong Survive." The Impressions performed songs from the soundtrack to the 1960's non-violent civil rights movement "Amen", "Choice of Colors", "Keep on Pushing", "People Get Ready" and "This Is My Country."
What begin in 1991 with an audience of approximately 150 people, over the past few years has grown to accommodate some 10,000 jazz fans annually and raises much needed funds to support Drew University, the only historically Black Institution for graduate education in health profession west of the Mississippi.
"Jazz At Drew" has proven to be more than a celebration of music. Rather, it is due to the healing power of music that this event endeavors to build cultural bridges thru music, and to continue the University's mission to conduct education and research in the content of community service in order to train physicians and allied health professionals to provide care with excellence and compassion, especially to under served populations.
Already a pioneer in education and medicine, Drew University has also evolved into a cultural leader as a result of the prestigious "Jazz At Drew" event, which has historically honored the greats of the jazz world including James Moody, Nancy Wilson, Dionne Warwick, the late great Billy Higgins, the late great Joe Williams, and the late great Harry "Sweets" Edison. That tradition continues each year with an exciting line-up of internationally known jazz, gospel, blues, R&B, and Latin jazz performers headlining the two-day music festival, cultural marketplace and health faire in a sprawling garden on the University's 11 acre campus in the Watts-Willowbrook community.
In January 2007, smooth jazz took a step "back to the future." The legacy label Nu Groove records was re-launched after an almost 10-year hiatus. Original founder David Chackler decided to revitalize the legendary label, re-acquiring the rights to the Nu Groove name from his prior partners who had acquired the company in 2004 from Chackler, and two years later shuttered it.
Originally the home of Michael Lington and Down to the Bone, Nu Groove had been the benchmark for aggressive, funky and genre bending smooth jazz. David Chackler, in conjunction with Adam Levy (N coded Records), and the folks at Red\Sony Distribution, decided the industry was ripe for Nu Groove to rise again, and represent the progressive "edge" of smooth jazz, and urban adult music.
Amazingly enough in just a few short months, Nu Groove re-staked its claim on the smooth jazz market when newcomer Jay Soto hit the Top 10 in the R&R charts and received a host of stellar reviews. The hard work of Nu Groove and Soto paid off when Brian Soergel in the Jazz Times proclaimed that Soto had "justifiably earned his way into the smooth jazz charts."
Nu Groove artists have continued to gain attention in both the States and Canada. Bassist Michael Manson has climbed up to the Top 30 and two Nu Groove artists have received a total of four nominations at the Canadian Smooth Jazz Awards. Saxophonist Darren Rahn has been nominated as Wind Instrumentalist and Album of the Year. Guitarist Dave Sereny was nominated as Guitarist of the Year and Album of the Year as well.
"I think it is incredible that in less than a year since the relaunch of Nu Groove that we have achieved such unprecedented success. It is a tribute to the staff here at the label, our partners at N Coded, and our distributor RED\Sony, and the "mind blowing talent" we have been able to acquire. In this short timespan we have already achieved Top 10 status with the Jay Soto release and the Top 30 with the new Michael Manson single. With the recently released Bob Baldwin DVD, a developing roster of talent that includes genre hit maker Darren Rahn, and artists like J Dee, Dave Sereny, Dee Brown, Nate Harasim, and others, we are expecting 2008 to be an even more successful year," said Chackler.
‘Just Around The Corner’ In Stores And Online Oct 16th 2007 On Peak Records
After over 20 years since first breaking onto the contemporary jazz scene as a member of Chick Corea’s Elektric Band, Eric Marienthal is a true global phenomenon. One of the most in-demand session musicians in Jazz, Marienthal has worked with a wide variety of pop superstars, including Elton John, Barbra Streisand, Billy Joel, Stevie Wonder, Dionne Warwick and Johnny Mathis.
On his latest solo effort Just Around The Corner, Marienthal’s passion and versatility shine with tracks such as “Times Square,” which features the keyboards and programming of co-writer Lu, and the old school ambience and synth echoes of “Flower Child”, which displays the melodic chemistry Marienthal shares with long-time collaborator Jeff Lorber.
“Just Around The Corner is a melody-driven, straightforward pop instrumental date that honestly reflects the musical groove I’m in right now” says Eric about the new release.
Joe Zawinul, a legendary jazz pioneer credited with bringing the electric piano and synthesizer into the jazz mainstream and who performed and recorded with Miles Davis, died early on Sept. 11 in Vienna, Austria, at age 75. Zawinul had been hospitalized since last month and had Merkel cell carcinoma, a type of skin cancer.
As a keyboardist, Zawinul performed on Davis’ "Bitches Brew" CD, among others, that helped usher in the era of electric jazz, along with Herbie Hancock and Chick Corea. In 1970, he founded the band Weather Report, and in 1987 founded the Zawinul Syndicate. Zawinul is perhaps best-known worldwide for two songs he composed: “Birdland” and “Mercy Mercy Mercy.” The latter song is a favorite of smooth jazz performers. Those who have recorded it include Ramsey Lewis, Jeff Golub, Kenny G, BWB, Eric Marienthal and Kim Waters. Two new versions were unveiled this year – on Brian Bromberg’s “Downright Upright” and Paul Brown’s “White Sand.”
Diverse collection of soulful contemporary jazz sparkles with sterling production and stellar performances
For his fourth album, guitarist Les Sabler shifts into high gear on Sweet Drive, a scenic and expansive contemporary jazz, R&B and adult pop excursion scheduled for national release September 25th from The Music Force record label. Riding shot gun is bassist Brian Bromberg, who produced the disc. The album’s first radio sojourn will be “Club Street,” a kinetic electric guitar and sax thrill ride that alters its pace between mellow straightaways and careening downhills that goes for playlist adds September 10th.
Sabler is serious and passionately committed to taking his music career to the next level. As an independent label artist, he’s fully invested in himself. To realize his vision for Sweet Drive, he astutely surrounded himself with some of the best musicians in contemporary jazz, including Brian Bromberg, Jeff Lorber, Eric Marienthal, Ricky Peterson, Vinnie Colaiuta, Alex Acuna, and Gary Meek. Adding vibrant brass were Jerry Hey and the Seawind Horns. Rahsaan Patterson, Toni Scruggs and Richard Jackson season the tracks with soulful vocals. The dozen songs consist of four covers and eight originals, including Sabler’s “Food Chain.” From cut to cut, Sabler mixes tempos, sounds and styles, which are underscored by an array of guitar “voices” that range from cool-toned jazz and edgy electric rock fusion to gentle acoustic and vulnerable nylon-string guitar. His ambitious goal was to challenge himself to elevate his artform while striving to emulate the lofty standards established in the vintage contemporary jazz records from the 1970’s that sparked his interest in becoming a musician. Listeners are treated to an interesting, varied and cohesive body of music that achieves the artist’s agenda adeptly.
“This is an important record for me and I put everything into it. There were no compromises,” said Sabler. “I put a lot of thought into the song selection and trusted Brian (Bromberg) to guide my performances. With the gifted players he assembled, it inspired me to bring my ‘A’ game. The records and the artists that influenced me most were the ones from the mid-70s like early George Benson, Larry Carlton, and Lee Ritenour, who blended a variety of styles while balancing their (musical) chops with commercial accessibility. That’s what I set out to accomplish on Sweet Drive.”
Put a guitar into the hands of the mellow, soft-spoken Montreal, Quebec native and he comes alive. To Sabler, making records is the necessary path one must tread in order to reach his true destination: playing guitar on center stage. He already has a couple of local gigs lined up in October in his adopted hometown of Tampa, Florida to support the album release and he’s looking forward to adding more dates.
After graduating as a jazz major from Concordia University, Sabler did his graduate studies at the prestigious University of Miami jazz department. In 1989, he scored and produced an original soundtrack for the Canadian Television Network’s documentary, Lost Treasures of the Titanic. Sabler’s recording career began the following year with the release of Hidden Treasures, which received attention from contemporary jazz and smooth jazz radio. He released Time For Love in 1995, which also garnered radio play. His 2003 debut for The Music Force/Sin-Drome, Bridge The Gap, spawned a #1 hit in Canada along with significant radio spins in the U.S. Over the years, Sabler headlined and opened concerts for such notables as Jeff Lorber, Spyro Gyra, Richard Elliot, Michael Lington, Diane Schuur and Fattburger. Additional information is available at www.lessabler.com.
Sabler’s Sweet Drive contains the following songs:
“You’ve Got It Bad Girl”
“Sweet Drive”
“Daydreaming”
“Club Street”
“Can You Stop The Rain”
“I’m Not The Same”
“Struttin’”
“Who Am I?”
“Twenty-two”
“Biggest Part Of Me”
“Food Chain”
“Could You Be”
“Daydreaming” (instrumental)
Written by The Jazz Gypsy
Enjoy a stellar line-up of great performers in Central Park’s beautiful and tranquil setting in Huntington Beach, CA. Performers include George Duke; Norman Brown’s Summer Storm featuring Norman Brown, Peabo Bryson, Marion Meadows and Jeff Lorber; Greg Adams; Michael Manson with Tom Braxton; Andrew Delano & Brian Simpson. DJ Jonathan Phillips will also be spinning the best contemporary music from smooth jazz to R&B and oldies.
If you like being in the company of a sophisticated crowd that likes to have a good time then BB Jazz Festival is the place to be. Here, you can indulge in your pleasures of good food, drinks and friends while you party and support a good cause…..children with Autism. BB Jazz is not just another festival but a party with a purpose!
Platinum VIP: Experience the concert up close and personal in reserved table seating center of the stage. Indulge in a gastronomical delight prepared fresh by a local, celebrated chef with a hosted alcoholic and non-alcoholic bar. Enjoy an all-you-can- eat dinner and open bar from 4:00 – 8:00 pm. Waitress service is also available.
Gold VIP: Reserved seating, on both sides of the Platinum Table Seats close to the stage with an all you-can-eat dinner 4:00-8:00pm (bar not included).
Lawn Seating: Bring your own low-back chairs, blankets and picnic items. Relax in the open grassy areas beneath the shade trees. One personal bottle of water is allowed. No Styrofoam of any kind is allowed in the park by city ordinance.
Food, beverage and merchandise vendors will be on site and you can also purchase festival merchandise and artist cds.
When: Saturday, September 8, 2008
Where: Central Park, 7111 Talbert Ave., Huntington Beach, CA 92648
Box Office Opens at 9:00 am
Time: Gates open at 10:30 am, show starts at Noon w/continuous music until 9:00 pm
Costs: $45 lawn, $130 Gold VIP, $205 Platinum VIP
Venue: Outdoors, Park
Contact: BB Jazz at 714.377.7574, Betty@bbjazz.com or Corky@bbjazz.com,
Tickets: www.bbjazz.com
The Jazz Gypsy Tip: VIP patrons have exclusive use of the most spacious, beautifully appointed, and air-conditioned bathrooms.
Written by The Jazz Gypsy
Sunday, August 19, 2007, 6:00 pm – 10:15 pm, Hollywood Bowl, Hollywood, CA
At precisely 6:00 pm on a typical 81° warm and sunny Sunday California afternoon, 94.7 the Wave’s morning host, and beloved radio personality, Pat Prescott, opened the 24th annual JVC Jazz Festival at the legendary Hollywood Bowl. The Bowl, as it is commonly referred to, sits facing a lovely backdrop of the beautiful Hollywood Hills and offers patrons choices to enjoy picnicking on the lovely lush grounds before the concert or during the concert in garden or terrace box seating, super seats and benches in a sprawling amphitheatre setting. The Bowl was bustling with over 14,000 picnic basket wielding patrons who arrived early to enjoy edible delicacies of all sorts presented on custom table-scapes accompanied by crisp linens, fresh flowers, candles, wine and other beverages. The Bowl is always a place filled with light chatter, laughter, and waves and hugs between old and new friends who make this outing a group affair.
The JVC Jazz Festival is a world-wide, 7-series production that includes the North Sea Jazz Festival, Rotterdam, The Netherlands; and the JVC Jazz Festivals in Chicago, IL; Newport, RI; Concord, CA; Los Angeles, CA; Paris France; and Warsaw, Poland. Produced by George Wein and sponsored by technology innovators, JVC, the highly popular JVC Los Angeles festival is the last JVC concert in the states for the year.
The three main acts were:
Composer, recording artist, radio personality and concert headliner Jim Brickman opened the show with the title song from his 2006 CD, Escape. The richly romantic piano instrumental had light Mediterranean overtones which on the CD are performed by smooth jazz guitarist Marc Antoine. Turning to his 2002 BMG/Windham Hills Recording, Valentine, Brickman performed the title song, “Valentine” and “Simple Things”, accompanied by saxophonist Michael Lington with Brickman adding soothing vocals.
Next, Denmark born, Michael Lington, took center stage with a passionate version of “All in Love is Fair” from his 2006 CD, A Song For You released by Rendezvous Records. Lington’s has the perfect combination of a rich saxophone sound and genuinely warm personality that allows him to make a seemingly effortless and instant bond with the audience. His three-song set included two top10 hits, “Pacifica” and the gotta clap, snap or shake tune, “Show Me”, both from his 2004 CD, Stay With Me. Rounding out the set, Brickman and Lington invited audience participation to accompany their combined rendition of Brickman’s “Partners In Crime”.
At 6:55 pm, while the weather was still holding above 75° and the sunset was still in the distance, Earl Klugh took the stage to a hearty round of applause. The Grammy winning acoustic guitar player began his nine-song, hour-long set with the instantly likeable up tempo “Move”, from his 1994 CD of the same title. Reaching even further back, 27 years earlier, which is older than at least a quarter of the of the fans in the audience, Klugh performed “Take it From the Top” which was originally released in 1983 on vinyl for Capital Records. Next, Josie James joined Klugh to deliver sultry vocals on “Now and Again” which Klugh recorded with Roberta Flack in 1999 on his Peculiar Situation CD. “Living Inside Your Love”, evoked an automatic, soft, sing-along response from the audience and ushered in an ultra mellow vibe. The switch to “Mobimeitos Del Alma” (Rhythms of the Soul) “, a deeply rhythmic jazz samba, was a foot tapping refreshing change in tempo. Returning to more classic Klugh, with” This Time”, Lamont Van Hook flawlessly carried the vocals for this tune that which was originally released as an instrumental and later recorded with lyrics written and sung by Al Jarreau. The set continued with a full-throttle opening of “Twinkle” which garnered the most applause, especially after a searing alto sax solo by Lenny Price, who strutted, trotted, skipped, fell to his knees and bent over backwards without missing a beat. Keeping the tempo on hyper, Klugh plunged into a hot and saucy tune titled “Dr Macumba” from his 1977 CD titled Finger Painting. This eleven-minute arrangement featured solos by Al Duncan on trombone; Ron Otis on drums and Al Turner on bass who slapped the guitar like it had stolen something. The final song, “Back in Central Park” was from Klugh’s 1983 Low Ride CD, chosen by Klugh as a reminder of his early years of playing in New York’s Central Park. The set included a diverse selection of numbers that all conveyed the very distinctly rich sound that has made Klugh a legend worth hearing whenever he’s in a nearby town. Klugh’s next US performances will be on 9/9/07 at the Liberty Jazz Festival in New Jersey City, New Jersey and on 10/27/07 at the Cerritos Performing Arts Center in Cerritos, CA where he will be performing with Brenda Russell.
Arriving on the stage about a half-hour past sunset at 8:09 pm, was the headlining act, Dave Koz and Friends At The Movies Summer Tour 2007 With Special Guests David Benoit, Phil Perry and introducing Kelly Sweet. The two-hour set featured 20 songs, showcasing the superb talents of each performer, including the “killer band” comprised of Brian Simpson, Musical Director, keyboards; Steve Theard, drums, vocals; Bill Sharpe, bass, vocals; and Randy Jacobs, guitar, vocals.
The opening number, “Give It Up” from Koz’ 2003 Saxophonic CD showed the choreographed footwork of Koz, Jacobs and Sharpe which ignited applause and whistles from the audience even before Koz jumped on the piano stool while both he and Benoit continued playing at a feverish pace. Other songs in the first hour included:
The last hour of the show in the darkness of the night simulated the feel of being at the drive in as it began with a brief video clip introducing Dave Koz’ latest concept CD, At the Movies. On the CD Koz collaborates with guests India. Arie, Anita Baker, Barry Manilow, Johnny Mathis, Donna Summer and Vanessa Williams and features eleven songs that were Oscar winners and four of them appear in the Top 10 of the American Film Institute’s list of 100 Top Movie Songs. Nearly each song was accompanied by props and/or background dancers who were perfectly costumed for each movie theme and never distracted from the well-delivered musical performances.
The final hour brought these musical performances:
When Koz, his special guests and the band left the stage after Car Wash, I felt it was the perfect ending to an unbelievably well executed concert. But, Koz proved me wrong and returned to the stage with his band to perform “I’ll Be There” made famous by the Jackson Five and recorded by Koz on his 1999 CD, The Dance. Koz, who was clearly emotional, thanked the crowd for their support and promised to “be there” for them and then turned to Simpson, Sharpe, Jacobs and Theard and had each play solos indicating their commitment to “be there” as well.
The audience, who was also full of emotion, was pushed over the top as Jacobs became possessed by his bass guitar and began rapidly spinning, swirling, falling to the ground collapsing backwards then jumping up and down doing air splits, followed by him playing the guitar between his knees in a very Jimmy Hendrix kind of fervor. And, if that wasn’t enough, Theard, the drummer who had been holding down the beat and quietly providing background vocals the entire concert, belted out a high pitch chorus that nearly made the audience run up on stage and grab him. It was a wild, pleasant and surprising ending that will be as memorable as the entire 4-hour concert.
My final thought is that Dave Koz is considered one of the smartest businessmen in the music industry because he never loses sight of the importance of the show side of show business.
Written by The Jazz Gypsy
In California, there is no shortage of smooth jazz festivals with A-list artists performing. On any given weekend during the peak summer months, there’s some festival, concert or smooth jazz event worth attending. Although the Inglewood Jazz Festival, a.k.a Jazz in the Park, cannot rival the attendance at mega festivals that have 2-10,000 people in attendance, it certainly meets and exceeds what avid smooth jazz fans value.
Here’s what you get at Jazz in the Park:
When: Saturday, September 1, 2008
Where: Ed Vincent Park, 700 Warren Lane, Inglewood, CA, 90303
Time: Gates open at 11:00 am, show starts at 1:00 pm
Costs: $38 lawn, $58 open orchestra, $88 table seating for 8 with
umbrellas, $118 VIP seating within the first two rows of the stage and
catered lunch backstage.
Venue: Outdoors, Park
Contact: South Bay Entertainment Group, 310.671.6400
Tickets: www.inglewoodtickets.com, 310.671.6400, 310.419.4504 or
purchase and print your own tickets at www.southbayent.com,
The Jazz Gypsy Tip: This venue is accessible for persons with disabilities… call ahead for any special needs.
By the Jazz Gypsy
October 14-19, 2007, Baltimore, MD to Bermuda
Royal Caribbean, Grandeur of the Seas
www.capitaljazz.com/supercruise/ or call 310.972.4547
A smooth jazz cruise is a jazz lover’s paradise! You can’t beat a vacation at sea rubbing elbows with the best performers in the industry that will provide nearly round the clock entertainment: Brian Culbertson, Boney James, Kim Waters, Maysa, Alex Bugnon, Pieces of a Dream, Down to the Bone, Lalah Hathaway, Ledisi, Ken Ford, Spur of the Moment, and Plunky. Add in the special entertainment: Sinbad & WHUR’s Audrey Chapman, plus the ports, activities and amenities on the ship and you’ve got the makings of a vacation of a lifetime.
The full ship chartered, 2,446 passenger luxury liner has less than 150 cabins remaining at very affordable prices. For cabin availability and information go to www.capitaljazz.com/supercruise/ or call Debbie at 301.972.4547.
The Super Cruise is presented by the Capital Jazz Fest which celebrated their 15th year in 2007. Guitarist, Chuck Loeb, calls The Capital Jazz Fest “the Woodstock of jazz festivals” because tens of thousands of music lovers make an annual pilgrimage to the Merriweather Post Pavilion, located in the suburbs of Washington, D.C. to experience a three-day roster of only the top smooth and contemporary jazz artists. Attended by everyone that considers their selves to be devoted smooth jazz fans, the Capital Jazz Fest is a “not-to-be-missed” festival.
Dates for 2008 are set for June 6-8.
The Jazz Gypsy Tip: VIP tickets go on sale early so sign-up for their mailing list to get advance notification and information on their line-up at www.capitaljazz.com.
Album hits stores as the title track is poised to go #1 on the radio chart
The mercury continues to rise from coast to coast as the nation has been hit this summer by a sizzling wave of funk and contemporary jazz courtesy of two of the hottest horn men in the game: trumpeter Rick Braun and saxophonist Richard Elliot. R n R, the album of duets by the luminaries who combined have released 24 albums and are capable of fully stocking a jukebox with their chart-topping hits, arrives in record stores today from the ARTizen Music Group record label with the promise of keeping the party grooving through next summer. The first radio single, the indelible title track that sounds both vintage and fresh, is top 3 and set to pounce on the #1 spot. Braun and Elliot wrote and produced the dozen original funk, R&B, contemporary jazz and pop songs that comprise what is certain to standout as the album event of the year in the genre.
The highly-anticipated collaboration between Braun and Elliot has been brewing for over a decade. Over the years, they’ve toured together and have made appearances on each other’s albums. Three years ago, they partnered with a couple of music industry veterans to create the ARTizen Music Group. It then became a question of “when.” The stars finally aligned earlier this year when the duo entered Braun’s studio to record without any preconceived ideas. They gathered grooves from a variety of sources, such as Jeff Lorber, Rex Rideout and Philippe Saisse, and wrote the melodies as they recorded, which was a unique process for them. Braun and Elliot were backed by a talented collective consisting of Chris Standring, Dwight Sills, Gregg Karukas, Lenny Castro, Ricky Lawson and Nate Phillips. The result is an album rich with spontaneity that exudes the raw, dynamic energy of a live performance.
To help launch the album at retail, Braun and Elliot will be at Borders stores in Baltimore, Maryland and Washington, DC on September 4th & 5th to perform a short set and sign CDs. Braun and Elliot have spent much of the spring and summer co-headlining the perennially successful Jazz Attack concert tour with Jonathan Butler and Peter White, which helped whet fans’ appetites for the new disc. Jazz Attack dates continue through the fall and in between, Braun and Elliot are out individually headlining concert dates with their own bands.
Although the album was just unveiled, critics are already hailing R n R. Soul Tracks declared, “This masterwork of comfortable grooves show(s) conclusively why these are among the gurus of the smooth jazz genre.” All Music Guide stated, “The music…flows from their collective musical minds like a natural extension with the same elements of spontaneity, soul, and sex appeal. Each tune is based on a particular rhythmical feel or texture: shuffle, boogaloo, Latin, funk, even 20th century cool and bebop colors… With great performances emanating from both Braun and Elliot,
R n R is exciting and lively, yet warm, sexy, and mellow. It is in this experimental way that you begin to grasp the depth of their combined signature sounds and the impact it will have on their devoted and new fans alike. Highly recommended.” Smooth Jazz Vibes wrote, “R n R is a feisty collection of horn driven grooves that checks all the right boxes and which is enhanced by a stellar line-up of guest musicians…Succulent, zesty numbers abound and this is typified both by the title track and with ‘Curve Ball’ where Elliot and Braun give each other the space in which to individually shine while still coming together to generate what is in every respect a veritable horn fest.” Urban Network said, “The gentlemen have teamed this year for a soulful duo project featuring the first single/title track ‘R n R,’ which sounds like something the legendary Adderley Brothers might have thrown down in 2007. The duo wax dark and mysterious on the other highlights: ‘Sweet Somethin’,’ ‘The Stranger’ and ‘Down and Dirty.’ Also impressive is the tricky appropriately titled ‘Curve Ball.’” Jazz Review opened by asking, “Could one expect anything less than perfection from two of the most colossal and prolific names in all of smooth jazz?...this is one album that proves to be worthy of all the accolades it will surely receive. It proves yet again that those at the top of their game are there for a very, very good reason.”
Additional information is available at www.artizenmusic.com, www.rickbraun.com and www.richardelliot.com.
Written by The Jazz Gypsy
The 3-day Jazz Festival features host jazz great Brian Culbertson and co-host film star Vivica A. Fox and guest Steve Cole. Culbertson, and Cole will perform along with Gerald Albright, Paul Jackson, Jr., A. Ray Fuller, Cal Bennett, Jackiem Joyner, Jeanette Harris, Impromp2, Michael Ward, LA Mambo Combo, Jazz Junkies, Derrick Edmunson, Panther and Aaron Fetcher.
In addition to the jazz concert on Saturday and Sunday, there will be a student jazz competition on Friday, an art walk, carnival, vintage car exhibition and activities for persons with disabilities and their families. The festival is also one of a kind in presenting a range of jazz styles including New Orleans, Dixieland, Bebop, Mainstream Jazz Fusion, Free Funk and Smooth Jazz.
This charity event, presented by Operation REAPP & SEBA, will benefit local charities that work with persons with disabilities and at-risk youths. The dates and times are Friday, August 24th from 11:00 am – 9:00 pm, Saturday, August 25, from 11:00 am – 10:00 pm and Sunday, August 26, 2007 from 12:00 pm – 8:00 pm.
The entire Festival will be held at the 150-acre Cucamonga-Guasti Regional Park which features a fishing lake, children’s play area and plenty of family activities that enhance the experience of relaxation, fun and music. The park is located at 800 N. Archibald Ave., Ontario, CA 91764. Discounted tickets are now available by calling 909.941.5920 or go to www.inlandempirejazzfestival.com.
Photo and Text By Ricky Richardson
Long Beach - For two decades the Long Beach Jazz Festival has been showcasing the best in jazz, R&B, and smooth jazz as the premier jazz festival in Southern California.
To mark the 20th Anniversary of the festival, founder Al Williams delivered as promised to pull out all the stops. Highlights for this year’s festival included a nightly fireworks show with performances by some of the best and brightest in the jazz, smooth jazz and R&B genres. The festival debuted the inaugural "Long Beach Jazz Festival Lifetime Achievement Award" and the "Al Williams Jazz Heritage Award".
For the first time, an additional stage was set up in the pavilion area to showcase local talent.
Friday night - Pastor Raymond LeBlanc of First Lutheran Church of Long Beach said the opening prayer to officially get the festival underway. Reggie Harrison - Long Beach City Manager, presented Al Williams a Proclamation on the occasion of the 20th Anniversary of the Long Beach Jazz Festival.
The Gerald Wilson Orchestra came out swinging hard with some straight ahead jazz. Gerald featured most of the band as featured soloist. The band opened with "Blues For The Count" featuring Brian O’Rourke in the piano chair. Gerald received two Grammy nominations one for the song "Romance" - (Best Instrumental Composition) and a Grammy nomination for the CD Theme for Monterey (Best Large Jazz Ensemble Performance). Saxophonist Scott Mayo was the featured soloist. The band also played a tune by Miles Davis that they helped to popularize "Milestones" featuring the saxophone section - Kimasi Washington, Carl Randall, Randall Willis, Scott Mayo, Luis Van Taylor and Jack Nemis. They closed their set with "Blues For Yna Yna."
The Long Beach Jazz Festival presented Gerald Wilson with its inaugural "Lifetime Achievement Award for his contribution to the jazz world. Another award was presented to Howard Rumsey. Mr. Rumsey received the "Al Williams Jazz Heritage Award" for his contribution to the west coast jazz club scene for his clubs Concerts By The Sea (Redondo Beach, California) and the world famous Lighthouse Jazz Club in Hermosa Beach, California.
The second half of the program featured Dianne Schuur (vocals, piano). Deedles as she is fondly called captivated the audience with her charm, sense of humor and most importantly of all-her high reaching vocal octaves. She opened her set with a name sake tune "Deedles Blues" arranged by Frank Foster of The Count Basie Orchestra. Ms. Shuur continued with "I’m Traveling Light", "We Will Be Together Again", she sang "Save Your Love" with her husband by her side, finished her set with "Everyday I Have The Blues", "Sweet Georgia Brown" and "Besame Mucho".
Warren Hill and Guitar & Saxes featuring Gerald Albright, Kirk Whalum, Jeff Golub, and Tim Bowman closed out the festival on Friday night.
Saturday - The Long Beach Jazz Festival organizers continued the tradition of having The Jazz Search Winners be the opening act for the final two days of the festival. Phinnie O’Leary Jackson a vocalist with lots of potential was the winner of the vocal section of the competition. Look out for her debut CD - Phinnally Phinnie in early 2008.
Eric Darius who has toured extensively with various smooth jazz artists is finally the leader of his own group. The title of his latest CD - Just Getting Started - is an appropriate title in that Eric is letting the smooth jazz community know that he plans on being around for the long haul. Eric performance was my favorite of Saturday afternoon. Eric and his tight band had people up and dancing on "Groove On", "Joy Ride", "Love TKO", "Chillin Out", "Let’s Stay Together", "If I Ain’t Got You" by Alicia Keys when he ventured out into the crowd to serenade several lucky women. He continued his crowd pleasing set with "Slick", "Back At Cha", "Steppin Up", and concluded with "Night On The Town."
Soul Express featuring a couple of original tunes by guitarist Chris Standring, followed by saxophonist Everette Harp. They concluded their set with an appearance by Jody Watley. She took the crowd down memory lane with some hits from the past - "Looking For A New Love", "Still A Thrill", "Your Love Keep Working on Me", "Borderline" and concluded with "Real Love."
Vocalist Leela James came out performing a high energy set of R&B tunes before she slowed the tempo with some original tunes from her debut CD - A Change Is Gonna Come. Leela James is a small woman with a gutsy voice who entertained the crowd with some soul/neo-soul tunes.
1 + One featuring Ndugu Chancler and Patrice Rushen and Jazz Attack consisted of Rick Braun, Jonathan Butler, Richard Elliott and Peter White were other artists contributing to the success of Saturday’s program.
Sunday, the festival opened with a nice set by The George Lesiw Band. They performed material from their debut CD - Anuta Was Here that reflects the tradition of improvisional jazz mixed with fusion and "rockin’ blues." This tight band from New England has a loyal following on the East Coast. The tight trio features George Lesiw - electric guitar, Preston Murphy - acoustic bass and Gil Hawkins Jr., - drums.
Al Williams Jazz Society played some straight ahead jazz to the delight of the jazz purist in the crowd. Barbara Morrison - a popular jazz and blues vocalist captivated the crowd with "Summertime", "Endangered Species", and "Down Home Blues", and finished another crowd pleasing set with "They Call Me Sundown." In between songs, she kept the crowd in stitches with a couple of hilarious jokes.
The final day of the festival could have been labeled Sax Attack in three parts. Part 1 featured Ronnie Laws followed by - Part 2 - a high octane set from the Sax Attack (Steve Cole, Kim Waters and Jeff Kashiwa) and finally, Part 3 - a set by Najee.
Vocalist Lalah Hathaway the daughter of the late great vocalist Donny Hathaway was also popular with the crowd.
The festival wouldn’t be complete without an explosive hot Latin jazz and salsa set by conguero Pancho Sanchez, a perennial crowd favorite.
The festival concluded with some fireworks.
Play, the brand new CD from contemporary jazz saxophonist Jeff Kashiwa, has debuted at #2 on Billboard's Contemporary Jazz Chart. The album, which features over a dozen great tracks, was released July 31 on Native Language Music. Play is Kashiwa's fourth outing for the label. The Seattle native is out on the road now in support of this release. Dates, venues, and cities are listed below.
One of the most diverse sax players in all of contemporary jazz, Jeff Kashiwa established himself as a dynamic live saxophonist during his amazing decade-long tenure with The Rippingtons. Kashiwa used some of his down time from the group to lay the foundation for his solo career, which has included five previous albums and a #1 hit on the Radio & Records chart with "Hyde Park (The Aah, Ooh Song)."
At the emotional core of his new CD Play are the eight Kashiwa-produced tracks recorded live at Sounden Studios with his band Coastal Access. In addition to longtime members Allen Hinds (guitar), Melvin Davis (bass) and Dave Hooper (drums), the saxman brought in legendary Yellowjackets keyboardist Russell Ferrante to play sparkling acoustic piano and Fender Rhodes, along with famed percussionist Lenny Castro.
Coastal Access is the ensemble appearing on Play's first single, the sizzling retro soul-flavored funk jam "Forever." The fiery track is already getting a great response from NAC radio. Some of Play's other songs include the exotic, reggae-tinged "Blue Jeans"; the sensuous "New View," and a lush ballad, "Fall." The adventurous "Way Out West" features drum programming by Kashiwa's Native Language labelmates Four80East. "The songs cover a lot of stylistic territory, from funky pop to more classic traditional jazz," said Kashiwa. "They're all part of my new definition of ‘play' - to be free, to engage in joyful activity. We just got in the studio and said, let's play. Let's really play!"
8/11/2007
Norfolk Jazz Festival
Norfolk, VA
8/12/2007
Long Beach Jazz Festival
Long Beach
The Sax Pack
8/16/2007
Scullers
Boston
The Rippingtons Reunion Band
8/17/2007
Scullers
Boston
The Rippingtons Reunion Band
8/18/2007
Scullers
Boston
The Rippingtons Reunion Band
8/23/2007
Blue Jay Jazz Festival
Blue Jay, CA
Coastal Access
8/24/2007
Chastain Park
Atlanta
The Rippingtons Reunion Band
8/25/2007
Icicle Ridge Winery
Leavenworth, WA
The Northwest All Star Band
8/31/2007
Jackson Hole Golf & Tennis Club
Jackson Hole
9/14/2007
Hyatt Newporter
Newport Beach
The Rippingtons Reunion Band
9/15/2007
Mablehouse-Barnes Amphitheater
Mableton
The Sax Pack
9/16/2007
Thornton Winery
Temecula
The Rippingtons Reunion Band
9/21/2007
Sheraton Reading Hotel
Reading
Coastal Access
9/22/2007
Sheraton Reading Hotel
Reading
Coastal Access
9/23/2007
Jazz'Salive!
San Antonio
The Rippingtons Reunion Band
9/28/2007
Lyman Center
New Haven
The Sax Pack
9/29/2007
IMAC Theater
Huntington
The Sax Pack
10/13/2007
San Bernadino County Fair
Victorville
The Rippingtons Reunion Band
10/26/2007
Tangier Restaurant and Cabaret
Akron
The Rippingtons Reunion Band
10/27/2007
Capitol Theatre
Davenport, IA
The Rippingtons Reunion Band
11/07/2007
Rossi's Steakhouse & Blue Star
Minneapolis
The Rippingtons Reunion Band
nativelanguage.com/jeffkashiwa
This year marks the 20th Anniversary of the Long Beach Jazz Festival (LBJF), August 10, 11 and 12, 2007 – Southern California’s premier jazz festival. For the past 19 years, over 750,000 music lovers have gone through the gates of the Long Beach Jazz Festival to experience the music of a Who's Who of legendary talent including Nancy Wilson, Herbie Hancock, Cab Calloway, Eddie Harris, Roberta Flack, Art Blakey, Lou Rawles, Gerald Wilson, Wayne Shorter, Etta James, Ramsey Lewis, Roy Ayers, Diane Schuur, Chuck Mangione, Chic Correa, Gene Harris, Stanley Turrentine, Jimmy Smith, Stanley Carke, Bobby Caldwell, Hugh Masakela, Gil-Scott Heron, Freddie Hubbard, George Duke and the list goes on.
To mark the 20th Anniversary of the Festival, founder Al Williams promises to pull out all the stops. Highlights will include a nightly fireworks show, performances by some of the best and brightest in the Jazz, Smooth Jazz, and R&B genres and the announcement of the first annual "Long Beach Jazz Festival Lifetime Achievement Award" recipient and the "Al Williams Jazz Heritage Award honoree." Additionally, there will be a couple of surprise musical guests.
The three day lineup for this year’s festival include (not in order of appearance):
Friday, August 10:
Guitars & Saxes featuring Gerald Albright, Kirk Whalum, Jeff Golub, Tim Bowman
Warren Hill
Gerald Wilson Orchestra featuring Diane Schuur
Saturday, August 11:
Jazz Attack featuring Rick Braun, Jonathan Butler, Richard Elliot, Peter White
Leela James
Soul Express featuring Jody Watley, Everette Harp, Chris Standring
1 Plus ONE featuring Ndugu Chancler, Patrice Rushen, Eric Darius
Jazz Search Winner
Sunday, August 12:
Najee
Poncho Sanchez
Lalah Hathway
Ronnie Laws
The Sax Pack featuring Kim Waters, Steve Cole, Jeff Kashiwa
Al William Jazz Society featuring Barbara Morrison and Special Guests.
In 1978, Al Williams co-founded the Queen Mary Jazz Festival aboard the Queen Mary. In 1987, he founded the Long Beach Jazz Festival and established the festival site at beautiful Rainbow Lagoon Park. The festival has since become one of the top three annual events in Long Beach, attracting jazz aficionados from all over the United States and abroad and a favorite of those on the Jazz Festival circuit.
The festival through the years, has also been responsible for breaking new talent, as well as, exposing concert attendees to the fresh musical sounds of today’s top jazz recording artists such as, Gerald Albright, Kirk Whalum, Poncho Sanchez (a festival favorite), Dianne Reeves, Al Jarreau, Rochelle Ferrell, Keiko Matusi, Bobby Caldwell, Norman Brown and so many more. According to Festival founder, Al Williams, “These past 19 years have been a truly remarkable and incredible experience; the festival has exposed thousands to the world's greatest jazz musicians and vocalists, and has kept all forms of jazz music 'alive' and available for many generations to enjoy.”
Tickets are available through Rainbow Promotions at (562) 424-0013, Ticketmaster outlets or online at Ticketmaster.com.
Ticket ranges include: VIP tickets – $150 on Friday and $175 per seat on Saturday and Sunday – include a three-course gourmet dinner, wine service and VIP hospitality. Reserved Box Seat tickets are $60 on Friday and $75 on Saturday and Sunday. General Admission/Lawn Seating is $45 in advance and $50 at the gate. Gates open at 5:00 pm, with a show time of 7:00 pm on Friday. Saturday and Sunday gates opens at 11:00 am with a show time of 12:00 pm. The Long Beach Jazz Festival takes place at the Rainbow Lagoon in Long Beach (CA).
This year’s sponsors include Cadillac, Budweiser, Black Music America and Time Warner Cable.
Blake Aaron has come a long way from the kid who declared to his mother that he wanted to be a rock and roll musician. A guitarist that is known best for his ability to connect with an audience, Aaron has been a staple on the national music scene for many years as a live performer and in the studio.
A composer with an edge, Aaron has been the guitarist for such television shows as "MAD TV" (FOX), "10-8" (ABC), "The Jamie Kennedy Experiment" (WB), "Gary and Mike" (UPN),"The Ben Stiller Show" (FOX), "Sunday Night Comics" (FOX), and has recorded and/or performed with such artists as Steve Reid's Bamboo Forest, Eric Marienthal, Bobby Womack, Carlos Santana and The Gap Band.
Blake's debut Innervision release, With Every Touch (2001), included special guest appearances by Eric Marienthal and David Benoit.
His second album, Bringin' It Back (2004), propelled Blake into the forefront of contemporary jazz by reaching #26 on the Radio and Records charts. Two singles would reach the top 100 of the year on the smooth jazz charts.
Blake took a brief sabbatical from solo recording to focus on his studio career. Additionally, with the assistance of All Star Music Lessons, Blake would produce three instructional videos for the guitar. Meanwhile, he continued his studio work with several television shows, which included regular recording sessions and an appearance on Mad TV.
In Jun 2007, Blake released the hot CD, Desire. Filled with sizzling grooves and stellar craftsmanship and mastered by the legendary Bernie Grundman (Michael Jackson, Lionel Richie and more), Desire has been on the tip of the tongue of reviewers for some time and is sure to catapult Blake to the next level of contemporary jazz stardom.
Soul-jazz stars Rick Braun & Richard Elliot unite for the album event of the year
Summer is about spontaneous, energetic fun and a bit of R n R with friends. Trumpeter Rick Braun and saxman Richard Elliot plan to make this summer swelter. Circle August 28th on your calendar as that’s the date the hitmen will deliver a cool-jazz treat in what bodes to be the album event of the year in the contemporary instrumental genre. The dynamic duo wrote and produced R n R, a long-anticipated collection of original funk, R&B, jazz and pop songs that will be released on the ARTizen Music Group record label for which they partner. Kicking the party off at radio is the groovy title track, an infectious horn-drenched romp that seems both familiar and fresh, which goes for adds June 25th. However, a track from the album that previously was exclusively available via the ARTizen website, the breezy exotic romance of “Sao Paulo,” is already nearing the Top 10 on the Radio & Records chart.
With 24 solo albums between them and a massive catalogue of chart-topping radio hits, the thrilling collaboration between Braun and Elliot has been in the making for over a decade. They’ve toured together for years and have made guest appearances on each other’s records. When they launched ARTizen Music Group with a couple of music industry veterans almost three years ago, it was only a matter of time before the two heavyweights stepped into the ring together to deliver a knockout album full of punchy beats & rhythms, potent melodies and collaborative sparks that are natural and have roots way beyond the music. R n R was conceptualized on the fly as they entered Braun’s studio to record without any preconceived ideas. Armed with grooves from a number of sources, including album contributor’s Jeff Lorber, Rex Rideout and Philippe Saisse, Elliot and Braun wrote the melodies while recording, which was a unique process for them, especially for Braun who played a horn with one hand while controlling the soundboard with the other. Helping to fill up the tracks were some of their gifted friends such as Chris Standring, Dwight Sills, Gregg Karukas, Lenny Castro, Ricky Lawson and Nate Phillips. The result is an album that has all the spontaneity and smoldering energy of a live performance.
“We’ve had so much fun playing together live that it was time for us to get together musically,” declared Elliot. “We have different approaches yet they are complementary. We called upon our roots (Elliot was a long-time member of Tower of Power and Braun played with War) and we constantly bounced ideas off each other. As much as we let the songs develop and evolve from our interaction, the record was probably more honed and refined than other albums because we were constantly going over the work and tweaking and changing things.”
“Overall, I think the album is very energetic and percolates. We didn’t want to overpower the melodies by just blasting a lot of horns in people’s faces. In fact, we did the opposite by using single trumpet, flugelhorn and tenor sax melodies much like old recordings from the ‘40s, ‘50s and ‘60’s, which gave it an intimate and warm sound. The horn section parts were doubled to really give it that oomph and muscle. We treated the lead instruments as would vocalists recording duets, which gave them each a personal voice,” explained Braun.
Road warriors, Braun and Elliot are already out touring with the perennially successful Jazz Attack line-up that co-stars Peter White and Jonathan Butler. They’ll be introducing more and more songs from the new album into their performances as the record release date nears. Braun and Elliot expect to be working the road through the end of the year to support the album.
Elliot began his recording career young while playing on songs by Motown legends Smokey Robinson and The Temptations. He was still a teenager when he toured with Melissa Manchester. That gig led to him spending five formative years playing in the mighty Tower of Power, who molded the impressionable musician into a passionate entertainer. He put out his first solo album in 1976 and in subsequent years, the Scotland-born, Los Angeles-raised saxophonist became a pioneering voice in contemporary jazz by consistently scoring hit after hit while building a growing legion of fans year after year through his explosive concerts.
Braun is a trumpeter-flugelhorn player-keyboardist who started his professional career by writing a Top 20 pop hit for REO Speedwagon (“Here With Me”). The Allentown, Pennsylvania native has played in bands behind Rod Stewart, Sade, Tom Petty, Tina Turner, Natalie Cole and Crowded House. As a producer, he’s guided #1 hits for David Benoit, Marc Antoine and Avenue Blue. Since debuting as a solo artist in 1993, twice he has been honored as Gavin’s “Artist of the Year” in addition to collecting a Gavin “Album of the Year” trophy and “Best Producer” and “Best Brass Player” titles from the Oasis Smooth Jazz Awards.
Rick Braun and Richard Elliot’s R n R contains the following songs:
“R n R”
“Sweet Somethin’”
“Curve Ball”
“The Stranger”
“Da JR Funk”
“Que Paso”
“Better Times”
“Down and Dirty”
“Two Heart Tango”
“Q It Up”
“Sunday Night”
“Sao Paulo”
Catch Braun and Elliot performing on the following Jazz Attack dates (additional dates together and solo that run through the end of the year will be added):
June 21 Frazee Pavilion Kettering, OH
June 22 City of Southfield Civic Center Detroit, OH
June 23 Rodney Strong Vineyards Healdsburg, CA
July 14 Radisson Hotel Sacramento, CA
July 20 The Pageant St. Louis, MO
July 21 Chicago Theatre Chicago, IL
July 22 Hideaway Park Winter Park, CO
August 11 Long Beach Jazz Festival Long Beach, CO
August 18 Sleep Train Pavilion Concord, CA
Additional information is available at www.artizenmusic.com, www.rickbraun.com and www.richardelliot.com.
Photo credits: Bonnie Schendell (Smoothviews.com)
Remembering Luther Vandross with Kirk Whalum and Friends in NYC
By Val Vaccaro
On Sunday, July 1st at 6pm, the Stroke of Hope Foundation (www.strokeofhope.net) will host its first NYC benefit concert in honor of the late, great, beloved R&B/pop singer Luther Vandross, who during his career sold over 25 million records. The benefit concert will be held at the Tribeca Performing Arts Center at the Borough of Manhattan Community College.
It was two years ago on July 1, 2005 that Vandross passed away, and it was back in April 2003 that he had the stroke, related to diabetes, that ultimately contributed to his death.
According to Luther’s 82 year old mother Mary Ida Vandross, “The Stroke of Hope Foundation is near and dear to my heart. People need to take better care of themselves. I have formed a meaningful relationship with Stroke of Hope and it is my mission now to try to help others.” Stroke of Hope’s founder and executive director, Hazella Rollins-LaVar, is herself, a stroke survivor with an inspiring story of her own.
The upcoming benefit show will feature saxophonist Kirk Whalum, guitarist Jeff Golub, keyboardist Philippe Saisse and many others. Whalum’s own father is stroke survivor. Earlier this year in Los Angeles, Whalum performed a show for the Stroke of Hope Foundation. Whalum said that “I have made a very personal and spiritual commitment to this cause… to use my gift and talents not only to heal, but to educate others while honoring my friend and my father.”
Last November, Kirk Whalum recorded his the song, “Give Me the Reason” on the tribute CD Forever, For Always, For Luther Vol. II (various artists). Fittingly, Whalum (like so many other great musicians) has played on many of Vandross’ original recordings. In 1986, Whalum played on Vandross’ “Give Me the Reason;” in 1988, he performed on “Any Love;” in 1991, he played on “Power of Love;” in 1993 on “Never Let me Go;” in 1996 on “Your Secret Love,” and in 1998 on “I Know,” as well as a medley of “Night I fell in Love/Give me the Reason/Power of Love.”
These three top smooth jazz musicians, Kirk Whalum, Jeff Golub and Philippe Saisse have performed with each other live and on many of each others’ recordings as well as hundreds of top pop music artists.
Saisse played on Vandross’ 1993 recording “Never Let Me Go” as well as on Whalum’s CD’s including Cache (’93), Colors (’97) and Best of Kirk Whalum (2002). Both Whalum and Saisse played on Golub’s Out of the Blue CD (’99) and current CD Grand Central (2007). Whalum’s played on the Saisse CDs Masques (’95) and Next Voyage (’97). Golub played on the CD Joined at the Hip with Bob James & Kirk Whalum (’96). Golub also played on the Saisse CD Halfway til Dawn (’99). Golub and Saisse also played on Que Pasa, Gato Barbieri’s CD (’97).
To buy tickets for what should be a great show and a moving tribute: Call the Tribeca Performing Arts box office at: 1(212)220-1460 or order online at: www.tribecapac.org/box_office.htm The Show starts on Sunday at 6pm. Mezzanine seats are $50 per ticket. There are also $100 VIP tickets available for orchestra seats which also include admission to a Pre-Reception from 4pm-5:30pm.
Proceeds from the show will benefit the Stroke of Hope Foundation.
In the U.S., stroke is the 3rd leading cause of death, and the #1 cause of long-term disability. For more information, or to make a donation, please visit www.strokeofhope.net. Stroke of Hope is a non-profit organization committed to improving quality of life for people by creating stroke awareness, promoting prevention and providing support for stroke survivors, their care partners and families by encouraging physical and emotional recovery, and maintaining an on-line support system. Thank you for your support.
By Ricky Richardson
Festival Productions organizers of the 29th Annual Playboy Jazz Festival (presented by L.A. Philharmonic Association) were fortunate enough to have a distraction free Fathers Day weekend June 16-17, 2007.
The NBA Finals was finished two days before the festival. Paris Hilton was resting comfortably in her jail cell. The weather was pleasantly warm with a Caribbean breeze hovering over the Historic Hollywood Bowl for this year's highly anticipated jazz festival of the summer.
The festival got under way with the Eagle Rock High School Jazz Ensemble under the direction of Greg Samuel. The band superbly performed big band tunes of Duke Ellington 'Boy Meets Horn' and a tune by Miles Davis entitled 'All Blue'. The talented young musicians from Eagle Rock High School Jazz Ensemble were cool, calm and poised as they performed at the historic Hollywood Bowl and were humbled and honored to be on the same line-up as other well established jazz musicians.
The staged rotated and things got pretty hot with a performance by Johnny Polanco Y Su Conjunto Amistad. This very busy and very popular L.A. based band played a spicy set of Latin Jazz and salsa. People were dancing in the aisle throughout his set which consisted of 'Llegue', 'Mambo Inn', 'Palo Pa Rumba', and 'Picadillo' - a tribute to the late great Tito Puente, followed by 'Cuarto do Tula', 'Preparato Bailador. It should be noted that Johnny Polanco is proficient at playing thirteen different instruments. He played only three for this show-the trombone, cuarto and vibraphones.
The highlight of the entire weekend came courtesy of a dynamic performance by Angelique Kidjo. She made a bold statement throughout her energetic set as she strutted and danced across the stage and at one time ventured out into the crowd. Ms. Kidjo captivated all in attendance with her singing as well as the dances that she showcased from Africa, Brazilian Samba and Salsa. She was backed by a wonderful band that propelled her hour long set. Rubens de la Corte - guitar, Joao Moto - guitar, Stephane Castry - bass, Ibarhim Diagne - percussion and Harvey Wirth - drums. Their highly entertaining set featured the following tunes: 'Papa', 'Djin Djin', 'Arouna', 'Salala', 'Gi Mi Shelter', 'Malaiha', 'Mama Golo', 'Senamou', Africa', and closed out with 'Tumba'. Don't be surprise if you see Angelique Kidjo on the bill for the 30th Annual Playboy Jazz Festival in 2008.
I was concerned if the band that followed Ms. Kidjo would be able to sustain the crowds' attention. My fears were completely laid to rest when The World Famous Count Basie Orchestra directed by Bill Hughes and featuring Butch Miles came out performing an explosive, swinging set of Basie's tunes. This is what jazz is all about listening to 'Down For The Count', 'Little Darlin', 'Half Moon Street' followed by 'April in Paris', 'and 'All of Me with vocalist Melba Joyce. They concluded their set with a rousing rendition of 'One O' Clock Jump.'
Issac Delgado from Cuba who presently resides in my hometown of Tampa, Florida took the musical entertainment up a notch. Just like the seventh inning stretch seen at a baseball game, Issac Delgado and his band got the crowd up out of their seats, off of the benches to dance to the contagious hot Latin sounds of salsa and the new sounds of timba. Several famous Playboy Jazz Festival conga lines snaked throughout the Hollywood Bowl.
Saturday's line-up also featured The James Carter Organ Trio, Cos of Good Music featuring Dwayne Burno, James Carter, Ndugu Chancler, Vincent Herring, Ron Johnson, Ray Parker Jr., Jeremy Pelt and Larry Willis. The Randy Brecker-Bill Evans SoulBop Band with Hiram Bullock, Dave Kikoski, Victor Bailey and Rodney Holmes, The Phil Woods Quintet featuring Bill Charlip, Brian Lynch, Steve Gilmore and Bill Goodwin. Chris Botti and Buddy Guy closed out the evening.
The festival got under way on Fathers Day appropriately enough with one of TV's popular sons - Malcolm-Jamal Warner (Theo - from The Cosby Show) and his group Miles Long. He opened the show grooving with some smooth jazz with a mixture of hip-hop and spoken word. The song 'The Beat Don't Move Me Like It Use To' spoke to the changing world of hip-hop with all of its negative connotations. 'Sprung' talked about his experience with a long distance relationship. Malcolm-Jamal Warner performs in the play Love & Other Social Issues at the Assistance League Playhouse, 1367 N. St. Andrews Place, Hollywood, and CA. conclude on July 1. This is a play about love, loyalty, inner-city life and more, accompanied by a jazz-funk ensemble Call (323) 960-7784 for more information
Pianist Taylor Eigsti is another young rising star on the jazz horizon. He solidified his status during his performance at the Playboy Jazz Festival and at festivals, concert halls and jazz clubs all over the world. He was assisted by Rueben Rogers on bass, Eric Harland on drums and Julian Lage on guitar performing 'Get Your Hopes Up', 'I've Seen It All' by Bjork, 'Caravan' and closed out with 'Argument' based on the chord changes to 'All Blue' by Miles Davis.
The party continued with Nathan and The Zydeco Cha Chas. More dancing in the aisle with secondline dancing and handkerchiefs waving were evidence in the crowd.
The next major highlight of the festival consisted of a performance by Red Hollyway. The legendary saxophonist was celebrating his 80th Birthday with a set of straight-ahead jazz and some blues with special guest Kevin Mahogany. I was tapping my feet and snapping my fingers on the tunes 'You've Changed', 'The Way You Look Tonight', and joined onstage with Kevin Mahogany with 'Time is Getting Tougher Than Tough', 'Fools Rush In', 'What Price Love' and closed out with an up-tempo version of 'Route 66'.
Rounding out day two of the 29th Annual Playboy Jazz Festival featured the talents of Richard Bona, Terence Blanchard, Marcus Miller, Dianne Reeves, The World Premier of Arturo Sandoval's Mambo Mania Big Band, Etta James And The Roots Band and finished off with Norman Brown's Summer Storm featuring Peabo Bryson, Marion Meadows and Jeff Lorber.
Contemporay jazz saxophonist to release new album, Play, on July 31
On Tuesday, July 31, 2007, Jeff Kashiwa will release Play, a brand new CD featuring over a dozen great tracks. Play is Kashiwa’s fourth outing for the Native Language Music record label. Kashiwa is also out on the road and has announced a number of upcoming tour dates.
One of the most diverse sax players in all of contemporary jazz, Jeff Kashiwa is a Seattle native who established himself as a dynamic live saxophonist during his amazing decade-long tenure with The Rippingtons. Kashiwa used some of his down time from the group to lay the foundation for his solo career, which has included five previous albums and a #1 hit on the Radio & Records chart with “Hyde Park (The Aah, Ooh Song).”
At the emotional core of his new CD Play are the eight Kashiwa-produced tracks recorded live at Sounden Studios with his band Coastal Access. In addition to longtime members Allen Hinds (guitar), Melvin Davis (bass) and Dave Hooper (drums), the saxman brought in legendary Yellowjackets keyboardist Russell Ferrante to play sparkling acoustic piano and Fender Rhodes, along with famed percussionist Lenny Castro.
Coastal Access is the ensemble appearing on Play’s first single, the sizzling retro soul-flavored funk jam “Forever.” The fiery track is already getting a great response from NAC radio. Some of Play’s other songs include the exotic, reggae-tinged “Blue Jeans”; the sensuous “New View,” and a lush ballad, Fall.” The adventurous “Way Out West” features drum programming by Kashiwa’s Native Language labelmates Four80East). “The songs cover a lot of stylistic territory, from funky pop to more classic traditional jazz,” said Kashiwa. “They’re all part of my new definition of ‘play’ - to be free, to engage in joyful activity. We just got in the studio and said, let’s play. Let’s really play!”
Kashiwa is looking forward to bringing that energy and freedom to his fans across the United States with his upcoming tour. For updates, visit nativelanguage.com/jeffkashiwa.
Date Venue City Appearing With
6/23/2007 City Of Southfield Civic Center Detroit The Sax Pack
6/24/2007 City Of Southfield Civic Center Detroit The Rippingtons Reunion Band
6/30/2007 Redondo Beach Performing Arts Center Redondo Beach Coastal Access
7/4/2007 Fourth of Jul-Ivar's Celebration Seattle Coastal Access
7/13/2007 House of Blues Dallas The Rippingtons Reunion Band
7/14/2007 One World Theater Austin The Rippingtons Reunion Band
8/1/2007 Spirit Cruise New York City The Rippingtons Reunion Band
8/2/2007 The Birchmere Alexandria The Rippingtons Reunion Band
8/3/2007 Summer Nights Series @ Penn's Landing Philadelphia Ken Navarro
8/4/2007 IMAC Theater Huntington The Rippingtons Reunion Band
8/12/2007 Long Beach Jazz Festival Long Beach The Sax Pack
8/16/2007 Scullers Boston The Rippingtons Reunion Band
8/17/2007 Scullers Boston The Rippingtons Reunion Band
8/18/2007 Scullers Boston The Rippingtons Reunion Band
8/24/2007 Chastain Park Atlanta The Rippingtons Reunion Band
8/25/2007 Icicle Ridge Winery Leavenworth The Northwest All Star Band
9/14/2007 Hyatt Newporter Newport Beach The Rippingtons Reunion Band
9/15/2007 Mablehouse-Barnes Amphitheater Mableton The Sax Pack
9/16/2007 Thorton Winery Temecula The Rippingtons Reunion Band
9/23/2007 Jazz'Salive! San Antonio The Rippingtons Reunion Band
9/28/2007 Lyman Center New Haven The Sax Pack
9/29/2007 IMAC Theater Huntington The Sax Pack
10/13/2007 San Bernadino County Fair Victorville The Rippingtons Reunion Band
Photos and Text by Ricky Richardson
Los Angeles - WOW! I can't believe that another year has gone by and that I was able to celebrate the 21st Annual UCLA JazzReggae Fest with thousands of music lovers from all over Southern California, on May 27 and 28, 2007.
The weather Gods looked down favorably upon this event. The Memorial Day weekend was pleasant with a nice Caribbean breeze blowing from the north east.
The 2007 version of the festival has evolved into Jam Day on previously featured Jazz on Sunday.
I?m glad that the UCLA Cultural Affairs Commissioned decided to keep some jazz on the line-up. I?m hopeful that more jazz would be added in the near future considering the positive impact that Christian Scott had on the crowd.
Trumpeter Christian Scott was the lone jazz artist on the bill for Jam Day of the Jazz Reggae Fest. There were probably a handful of people who were aware of this tremendously talented trumpeter from New Orleans. I?m fortunate to have witness Christian Scott arriving on the jazz scene during my many trips to the Crescent City for the New Orleans Jazz and Heritage Festival. I recognized his potential early on while he performed with his uncle-legendary saxophonist Donald Harrison Jr. Mr. Scott is from New Orleans the birthplace of jazz. He follows in the footsteps of trumpet giants from the Crescent City: King Oliver, Louis Armstrong, Wynton Marsalis, Terence Blanchard, Nicolas Payton as well as Irving Mayfield. Christian Scott represents the next generation of jazz cats/young lions who toured extensively with his uncle Donald Harrison Jr. The sprawling outdoor Intramural Field was transformed into an intimate jazz lounge for Mr. Scott?s set. He thrilled the capacity audience throughout his set of original tunes - ?Anthem?, ?Dialect? - written in response to Hurricane Katrina, ?Line of Fire?, ?Rewind That? and closed with ?Litany Against Fear.? Trumpeter Christian Scott was aided and abetted by David Bryant - keyboards, Luquses Curtis - bass, Matthew Stevens - guitar, and Jamire Williams on drums. This tight band left a lasting impression on me as well as many members of the audience assembled for the JazzReggae Fest.
The group Les Nubians consist of siblings Helene and Celia Faussart were another highlight that left a lasting impression. They were regally dressed for the festival. They held the crowds undivided attention throughout their set. Their music reflected their African roots, mixed with some jazzy nuances, funky rhythms and a dash of British soul delivered in their uniquely elegant and expressive French style. I was captivated by their stage presence and delivery on the following tunes - ?J?veux d? la musique?, ?Taboo?, ?To The Queen?, ?Makeda?, ?Temperature Rising?, and Sans Regrets.?
Jam Day also featured the marvelous talents of Dujeous from New York, rap artist Lupe Fiasco, Soulive, J*Davey and concluded with an always crowd pleasing set from Jill Scott a sensational Grammy Award winning vocalist.
Day Two of the UCLA JazzReggae Fest served up a different vibe on Monday. Reggae was music of choice dished out in various forms - roots reggae legend Luciano was the headliner. Other notable performers were Cham, General Degree, Mr. Peppa, LovaBoy, ElJai, Joseph Israel, Syren, Ms. Triniti/E Dee turning up the heat with some dancehall and soca.
A good time was had by all in attendance at the 21st Annual UCLA JazzReggae Fest 2007. This is the largest student run festival in the country.
The 21st Annual UCLA JazzReggae Fest 2007 took the first step to becoming a no-waste, sustainable festival with eco-limos to transport the artists, planting trees to off-set emissions, and featured a sustainable resource area to educate festival-goers. Recyclable plates and utensils were offered in the international food court.
‘We All Love Ella: Celebrating The First Lady Of Song’ June 5 On Verve Records
A sensational assemblage of stars honors the incomparable songstress Ella Fitzgerald on the Phil Ramone-produced We All Love Ella: Celebrating The First Lady Of Song (June 5, Verve Records). These stars’ love of Ella shines through on their musical performances, but they also cite Ella’s artistry and music as moving and influential to their own careers.
You can almost hear Natalie Cole smile as she sings Ella’s famous hit “A Tisket A Tasket.” This was the first jazz song Cole ever learned and she practiced it so she would sound exactly like Ella. “When I was seven, I was singing like a 30 or 40 year old woman,” she laughs.
k.d. lang was 20 when she bought her first Ella record and “studied it and studied it and studied it...from then I studied her as a musician.” lang’s sultry and subdued “Angel Eyes” is a beautiful tribute to Ella’s original.
Legendary producer Phil Ramone says, “There is something magical about doing the work of Ella Fitzgerald that gives you a tremendous painting to start with.”
Diana Krall calls Fitzgerald “the greatest improviser, jazz scat singer…a completely natural and amazing woman.” She offers a tender rendition of “Dream a Little Dream” with celebrated pianist Hank Jones for the record.
Dianne Reeves highlights Ella’s sunny side, saying, “The biggest influence she had on me was there was so much joy in her singing. She absolutely loved singing and you could feel it,” a mood that’s apparent on Reeves version of “Oh, Lady Be Good.”
Breakout singer Ledesi said Ella made “Blues in the Night” “seem so easy.” Although she discovered it was harder than she thought, she delivers a remarkable performance.
In Ella Fitzgerald’s lifetime, she won 13 GRAMMY® awards and sold over 40 million albums. Her catalog continues to be as popular as ever and her iconic stature is undiminished. Fitzgerald would have turned 90 on April 25, 2007.
We All Love Ella: A Celebration of the First Lady of Song is produced by hitmaker Phil Ramone and filled with passionate performances of classics made famous by Ella and sung by world-renowned singers and break-out stars Michael Bublé, Natalie Cole, Etta James, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledesi, Dianne Reeves, Linda Ronstadt and Lizz Wright.
1) A Tisket A Tasket - Natalie Cole
2) Lullaby of Birdland - Chaka Khan
3) The Lady is a Tramp - Queen Latifah
4) Dream a Little Dream of Me - Diana Krall & Hank Jones
5) Mr. Paganini - Natalie Cole & Chaka Khan
6) Oh, Lady Be Good - Dianne Reeves
7) Reaching for the Moon - Lizz Wright
8) Blues in the Night - Ledisi
9) Miss Otis Regrets - Linda Ronstadt
10) Someone to Watch Over Me - Gladys Knight
11) Do Nothin' Till You Hear From Me - Etta James
12) Angel Eyes - k.d. lang
13) Too Close for Comfort - Michael Bublé
After Hours previewed at radio by cover of Stevie Wonder classic
“Dreams do come true” and “Timing is everything” are just a couple of time-honored clichés that come to mind when you hear Jamie WilliamS’ story. Ever since he was a young teenager, the saxophonist dreamed of recording an album. In the making for the past ten years, After Hours, his debut collection of R&B, funk, contemporary jazz and pop instrumentals, is finally scheduled for national release July 10th on the Jamie WilliamS Music record label. The album’s producer, Veit Renn (*NSync, Backstreet Boys), connected WilliamS with Jennifer Hudson. She performed with him at a few of his local concert dates in Orlando, Florida. The two connected and Hudson agreed to sing a version of Stevie Wonder’s “Overjoyed” for the disc. The single was serviced to radio to preview the album release around the time Hudson won an Academy Award for her role in Dreamgirls.
WilliamS wrote seven songs for After Hours and collaborated with Renn on another, the breezy, samba-seasoned “Tropica’.” The album opens with the edgy jazz-hip-hop mélange “2 Cool.” “Better Than Life” is a romantic pop ballad that WilliamS wrote for his wife, Ana. “Shut Up & Dance” mixes an energizing dance groove, lilting pop melodies and cool jazz nuances. The soulful title track was inspired by WilliamS’ after-hours experiences playing nightclubs. The head-bobbing, booty-shakin’ “Can U Feel It?” is a sweaty R&B groove equipped with a potent, feel-good pop hook. “Over The Top” is an aggressive contemporary jazz track with horns a-blazin’ that goes for the kill right from the first note. “Calculated Risk” is a sultry mid-tempo soul-jazz cut. Hudson delivers a show-stopping vocal on “Overjoyed,” while WilliamS’ sax wonderfully accentuates her performance. Guitarist Bradley Catron wrote the funky, horn section-powered “S.O.S.” jam. The album closes with a poignant message of “Love,” the Musiq Soulchild original, with RAab (currently touring with Justin Timberlake) providing the passionate vocal chorus.
“After Hours depicts all the feelings and emotions I’ve experienced. I think we were able to capture the passion I have for music as well. Each tune is different and the record is how I’ve envisioned it (would turn out) all these years,” said a pleased WilliamS. “It truly is a dream come true to release my debut album. Working with pros like Veit (Renn), RAab and the other musicians on the album was such a blessing. I’m grateful for the energy, ideas and creativity they brought to the record. As for Jennifer (Hudson), well she’s a true professional and a pleasure to work with. She’s an incredible talent. I’m thrilled to see the success she is having now and honored to have her on the album.”
A native of Richardson, Texas, WilliamS was in high school when he was coaxed into seeing David Sanborn play. The dream to become an artist was born that night. He fully committed himself towards realizing that goal by taking lessons, practicing and jamming with friends, including trumpeter Roy Hargrove. WilliamS earned a full scholarship to the prestigious University of Miami music school, which lead to gigs with Miami Sound Machine, Jon Secada and Hiram Bullock, Sanborn’s long-time guitarist. After graduation, WilliamS became active with his church and moved to Memphis, Tennessee where he immersed himself in the music scene by playing regular gigs at the House of Blues. Later, he moved to Nashville, where he wrote jingles for Black Entertainment Television, became a session player and coached other musicians and vocalists. Seeing another Sanborn concert while on vacation served as inspiration for launching his solo career. WilliamS moved to Orlando, formed a hot band and played all the local venues and jazz festivals. It was Catron who introduced him to Renn and everything came together organically for WilliamS after that. Additional information can be found at www.jamiewilliamsmusic.com.
Jamie WilliamS’ After Hours contains the following songs:
“2 Cool”
“Better Than Life”
“Shut Up & Dance”
“After Hours”
“Can U Feel It?”
“Calculated Risk”
“Overjoyed” (featuring Jennifer Hudson)
“S.O.S.”
“Tropica’”
“Love”
Dynamic young R&B-jazz saxophonist’s single breaking at radio, album receives accolades as the artist prepares to take the stage
It’s rare for a musician still in their mid-20s to possess the depth of talent, maturity and vision that saxophonist-flutist-songwriter-producer Jackiem Joyner has. The buzz that began gestating late last year produced the birth of Babysoul, Joyner’s debut album that was released today in record stores nationally by the ARTizen Music Group. Joyner’s original R&B, soul and contemporary jazz songbook heralds the arrival of a true artist and serves as a harbinger that the future of instrumental music is poised for reinvigoration and re-imagination in the astute hands of the next generation.
Babysoul grooves seductively from beginning to end. Although the sax is Joyner’s primary instrument, he croons equally as passionately through his flute. He explored unique ways to engage the two disparate voices in harmonious and complementary discourses on five of the collection’s eleven tracks. In fact, Joyner, who produced the album and wrote ten songs for the disc, played most of the instruments on the record. Rick Braun, the album’s executive producer, contributed trumpet and flugelhorn and Peter White issued gorgeous acoustic guitar riffs on the first radio single, “Stay With Me Tonight.” Joyner beautifully covered the sexy “Say Yes,” originally recorded by Floetry.
Breaking a new artist takes time, patience, commitment, creativity and a comprehensive approach that embraces technology. That’s the formula ARTizen has deployed to introduce Joyner. Top label executives began touting Joyner and his music to prominent industry tastemakers, radio programmers and members of the media late last year. Joyner took the stage for cameo appearances at concerts headlined by label principals and smooth jazz icons Rick Braun and Richard Elliot. In addition to the usual radio blitz to support a single, ARTizen teamed with the SmoothJazz.com network of terrestrial and online radio stations to add muscle to their attack. Viral emails, banners on the SmoothJazz.com site, and interactive links with media player, information about Joyner and purchasing links have helped propel “Stay With Me Tonight” into the Top 15 and it’s still rising. Joyner was invited to perform at radio-sponsored concerts in San Diego by KIFM (May 26), in Reno by KJZS (June 20), and for the JazzTrax Big Bear Festival (June 23). Additionally he’s got shows booked in Riverside, California (August 4) and the Catalina Jazz Festival (October 13 & 20). More dates are being added for the summer and fall.
The media is watching both Joyner and taking note of the label’s efforts. All Music Guide stated that ARTizen in “…2007 got behind the very funky and contemporary, sometimes hip and often retro but always super soulful Jackiem Joyner. Joyner came to the airwaves after amassing a great résumé for his mid-twenty-something age: playing with Marcus Johnson, Bobby Lyle and Jaared, co-headlining a 2004 (tour) with Ronnie Laws and Angela Bofill, and opening gigs for everyone from India.Arie to Boney James.” Jazz Review declared, “Debuting with Babysoul is a watershed moment in Jackiem Joyner’s life as he transitions from sideman, opener and back-up player to a full fledged star in his own right…After years of playing with the big guys, Jackiem Joyner has learned what he’s about in the music world, incorporating the best in his own music. Young, yet multi-talented, Joyner has a long and bright career in front of him. Babysoul has all the ingredients a true professional provides in a hit album.” Baltimore Times observed “His style shows his age, for though it is of a quality level of any sax player who has been at the top of the charts for years, you can tell his youthful influences…” Smooth Jazz Therapy concluded “Babysoul is an extremely accomplished collection and signals an association between Joyner and ARTizen that could well be a partnership made in heaven. With the nurturing qualities of the label gelling with the obvious talent and sizzling potential of the artist, the name of Jackiem Joyner is bound to be around for a long time to come.”
Additional information is available at www.myspace.com/jackiemsoul and www.artizenmusicgroup.com.
Little Tokyo embraces the sounds and sensibilities of Asia, the Middle East, Latin America and beyond
Since Hiroshima's inception in 1980, the group has assumed the artistic mission of bridging cultural divides through the power of music. Founded in east L.A. by Japanese Americans Dan and June Kuramoto, Hiroshima has borrowed from numerous cultures - Asian, Latin American, African American and more - and merged these influences into a unique and innovative whole that is solely their own. The result is a brand of music that speaks to nearly every aspect of contemporary culture.
The goodwill mission continues with the May 22, 2007, release of Little Tokyo (HUCD 3123), Hiroshima's fourth album on Heads Up International. The album title, a reference to the well known Asian neighborhood in southern California, is Hiroshima's nod to the increasing importance in 21st century America of maintaining a positive and all-inclusive world view from our own respective back yards.
"We're always looking at things from a multicultural perspective," says Kuramoto. "We live in southern California, where the ethnic population is in the majority. We see this as the coolest thing about America. Its strength and its vision comes from its multi-ethnicity. Those differences are going to give us the strength to be more unified. The more we homogenize, the more we give up that notion of cultural diversity, and the less we'll understand each other."
Indeed, the eleven tracks on Little Tokyo embrace numerous musical styles and showcase a band that deftly weaves them together into a satisfying tapestry. "Midnight Sun" is the album's infectious opener, a slightly mysterious but highly melodic track that's front-loaded with a Middle Eastern hook yet spotlights the work of two taiko drum masters, longtime group member Shoji Kameda and his teacher, Kenny Endo. "We have both the student and the master playing on this record," says Kuramoto, "and on some of the tracks they're playing together. Each is an outstanding musician in his own right, and when they play together they truly complement each other."
Kameda and Endo reappear - together and separately - at various points along the way ("Hidden Times," "Shades of Honor," "Hiro Chill" and elsewhere), adding an exotic dimension at every turn.
The second track, "On the Fence," gets under way with an opening riff by keyboardist Kimo Cornwell and bassist Dean Cortez that is deceptively laid back yet energized at the same time. The track blossoms into a lighthearted arrangement that enables Kuramoto and Cornwell to trade licks and stretch their artistic muscles without crowding each other or the song itself.
Guest keyboardist and Heads Up labelmate James Lloyd, on loan from Pieces of a Dream, steps in for the catchy "Lanai." The track allows plenty of room for the Asian sensibilities of June Kuramoto's koto work and the contemporary jazz flavor of Dan Kuramoto's tenor sax.
The midtempo "Sir Charles" is perhaps the most culturally and stylistically blended track in the set, with June Kuramoto's koto deftly juxtaposed against the congas, timbales and other gadgetry of guest percussionist Richie Gajate Garcia. At any given moment in this four-and-a-half minute track, one is likely to hear elements of Asian, Latin, rock and pop music.
"Quan Yin (Goddess of Compassion)" features Karen Hwa-Chee Han on erhu, a Chinese stringed instrument whose hypnotic timbre falls somewhere between the violin and the female human voice. The song sits atop acoustic bassist Dean Taba's simple but solid jazz riffs, and features generous contributions from Kimo Cornwell and June Kuramoto's koto.
The syncopated closer, "Little Tokyo Underground," is Hiroshima's tip of the hat to jazz cats who are daring enough to take chances by setting up funky grooves and working them to their maximum potential, regardless of prevailing musical sensibilities. "Everything is just so marginalized these days, and played so safe," says Kuramoto. "So many musicians are so afraid to stretch themselves. There's so little that they're allowed to play if they want to survive commercially. But we as a band have always believed that there's more to it than that, and we will continue on our journey to explore those possibilities, regardless of the next fad on the horizon."
Kuramoto understands that Hiroshima's optimistic view of multiculturalism may be difficult for some to grasp, but to his way of thinking, the artist's role has always been rooted in idealism over realism.
"Optimism is not generated on likelihood," he says. "What I do know is the lessons I've learned from guys like Miles Davis and James Moody - or various other prominent or groundbreaking artists throughout history, for that matter. You have a vision, and you live according to that vision every day, in everything you do and everything you create. Look at Van Gogh, one of the great painters of all time. He never sold a painting in his life, but he changed the way the entire world looks at art and artists. That's the role of the artist in society - to constantly reshuffle the deck and force the rest of us to look at the world in a different way."
Learn more about Hiroshima and their music at www.hiroshimamusic.com.
Jay Rowe, pianist and keyboard player from Milford, Connecticut, announces the 5th Annual Benefit Concert for the Milford Public School System Music Department, to be held SATURDAY APRIL 28TH, 2007 at 8:00PM in The Parsons Complex in Milford, Connecticut. Located at 70 West River Street in Milford, doors will open at 7:00 PM. General admission is $40.00. For tickets and information, call (203) 874-4150 or see below.
A host of talented and familiar artists comprise the line-up for this benefit, including Ken Navarro, Marion Meadows, Chieli Minucci, Nelson Rangell, and F.U.Jazzboy featuring Rohn Lawrence, Jay Rowe, Dave Livolsi, Timmy Maia, and Trever Somerville.
Having attended this benefit twice, I can say this is a great night of music and fun for a worthy cause, and Rowe is the one who pulls it all together. He's an extremely happy player, often searching the faces of those in the audience to make sure they're having as much fun as he is. His smiles and excitement are contagious!
Many fans are familiar with Jay Rowe as an accomplished sideman. He's performed with artists such as Heads Up recording artist Marion Meadows, Angela Bofill, Private Music recording artist Phil Perry, Schanachie recording artist Chieli Minucci and Special EFX, Positive Music recording artist Ken Navarro and Atlantic recording artist Wayman Tisdale. He has also composed music for GRP/Schanachie recording artist Nelson Rangell, Marion Meadows, and Peak recording artist Dotsero. He has performed at Jazz Festivals around the continent including Newport Beach, Catalina Island Jazztrax Festival, the Greater Hartford Connecticut Jazz Festival, and the Berks Jazz Festival. Jay has performed with the Sax Pack tour group with Jeff Kashiwa and Kim Waters.
For more than 10 years, Rowe has performed as a solo pianist (with four CDs of his own). He also performs with his own group "The Jay Rowe Band". He has performed as the opening act for David Benoit, the Rippingtons, Bela Fleck and the Fleck Tones, Stanley Jordan, Jeff Lorber, and Candy Dulfer. Rowe's CDs include A Dream I Had, Jay Walking, Laugh Out Loud, and his latest which came out last year, Red, Hot and Smooth.. All his CDs are good, and in particular, his Red, Hot and Smooth is just that -- red, hot and smooth! I would definitely recommend that you add this CD to your collection.
Additional Ticket Information:
Online Orders: Mastercard or Visa.
Send checks or money orders (payable to Jay Rowe) to:
Attn: Jay Rowe
P.O. Box 3723
Milford, CT 06460
Ticket may also be purchased at these locations:
Cafe Atlantique Arciuolo's Shoe Store
33 River Street 74 Broad Street
Milford, CT 06460 Milford, CT 06460
(203) 882-1602 (203) 877-7463
The Canvas Patch Milford Fine Arts Center
5 River Street 40 Railroad Avenue
Milford, CT 06460 (at Milford Train Station)
(203) 878-7505 Milford, CT 06460
(203) 878-6647
Wednesday - Friday 10am-1pm
All others can be purchased at the door. Hope to see you there!!
For more information about Jay Rowe, please visit www.jayrowemusic.com
Happy Jazzin'
Beverly J. Packard
Jazz Circle Member of the Berks Arts Council
Reading, Pennsylvania
Dubai is still reverberating with the soulful sounds
While Dubai’s International Jazz Festival 2006 was proclaimed the best yet, this year’s performances are almost certain to repeat if not better this record.
The Skywards Dubai International Jazz Festival 2007 (S-DIJF) brought jazz fanatics who flocked to Dubai from all over the UAE, the GCC and from Europe, three spectacular nights of quality music and performances, complimented by a magical atmosphere and a stunning set-up, and has left people euphoric and hungry for more. This was the 5th year of this hugely popular event and its success, thanks to an unparalleled, legendary line up, was evident from the cheers of an appreciative crowd the applauses of which are still resonating around the idyllic venue at Dubai Media City’s outdoor amphitheatre.
“On the first night we had a crowd of 6,500 fans, 9,000 attended the second night of the event, and an incredible crowd of 9,500 attended the final night of performances.” Said Anthony Younes, managing director of Chillout Productions, founders and organizers of the Dubai Jazz Festival.
The first night, Thursday March 8, saw the oriental jazz band, Kamal Musallam Trio, open the festival to great acclaim from the audience. The strains of middle-eastern jazz-fusion filled the air as Kamal added his unique, doleful sounding Glissentar, an innovative instrument created by Godin, which is an amazing marriage of the guitar and the oud. Musallam’s alluring hybrid of oriental passion and charming jazz was the perfect opener.
Suitably ‘warmed up’ by Kamal, the audience welcomed the second act, a living legend in the person of the soulful Freddy Cole. Cole, already a confirmed favorite of the UAE’s jazz and blues aficionados, did not disappoint. Playing to his audience, Cole delivered a polished performance, in his inimitable easy going style which, coupled with his unforgettably husky voice and acute sense of melodic and rhythmic phrasing made his interpretations of both pop and jazz music very much his own.
Subsequently, Guy Manoukian, the charismatic, Armenian origin, Lebanese born composer, stormed the Cadillac stage with his unique style of classical jazz/oriental music. Manoukian enthralled the strong Lebanese contingent and others with cover versions of Fairouz and traditional Armenian songs ‘jazzed up’ (if you’ll pardon the pun) with catchy upbeat rhythms that had people literally dancing all around; these were featured alongside several of his own compositions. Manoukian was called back on stage to perform another number that kept the crowd applauding until long after the stage lights were extinguished.
The artist who topped the bill on the first night was the spectacular Dee Dee Bridgewater, putting on a powerful show with the aid of her Malian family The Dee Dee Bridgewater Malian Project. Dee Dee’s repertoire delved into the roots of jazz, blues and her own history as an ‘Afro-American’. The power of her voice and the energy and spirit of her performance was the perfect end to a fabulous evening that celebrated the jazz movement from all four corners of the earth.
The local blues hero Sergio Bekhazi, formerly of the Sergio Bekhazi Trio, opened the second night of the S-DIJF 2007 ably assisted by Drummer Tim Burnell and his own brother cum bassist, Roy Bekhazi. Sergio, winner of several North American blues guitar magazine awards, ‘charged up’ the crowd with a selection of music from such legends as Stevie Ray Vaughan, Jimi Hendrix, John Mayer and others, in addition to some of his compositions.
In true Emirates style, Sergio was given a rousing reception and a big hand of thanks when his performance regrettably came to a close and he handed the stage over to the Three Ladies of Blues, whose singing was as impressive as their looks. Powerful, moving and sexy are some of the adjectives evoked by the sheer vocal strength and range of these three virtuosos, who delivered an intensely emotional and moving performance. The audience of the 2007 S-DIJF were captivated and taken back to the early years of Harlem paying tribute to such great female Jazz, Blues and Gospel singers and musicians as Bessie Smith, Billie Holiday, Diana Washington along with a number of other stars of black American music, whose music and lyrics are still strong in our minds even today…
What more can be said about the seasoned jazz veteran, amazing trumpet virtuoso and prolific composer Randy Brecker who, following the Three Ladies of Blues, shared the Cadillac stage with his wife, Ada Rovatti, a fluent tenor and an accomplished soprano saxophonist in her own right. The audience was transported by the melodic sounds of this traditional and funky jazz duet.
The much anticipated Toto, who were celebrating 30 years together on stage, along with the 9,000-strong audience at the Jazz Festival, ably lived up to their reputation. This legendary group that has hundreds of well-merited credits, tributes and honors to their names, blew away the crowd for a full two and a half hours. Professionalism at its best!
The finale to our three-day jazz extravaganza was initiated by the popular Dubai Drums, who were invited back by public demand thanks to the extremely positive audience feedback received after last year’s event. True to form, Dubai Drums put on an intensely interactive and truly astounding show that energized the crowd and has surely given them something to talk about for months to come.
Next, S-DIJF 2007 attendees welcomed on stage the European jazz-chart-topping Robin McKelle. McKelle treated the attentive crowd to a selection of songs from her debut solo album Introducing Robin McKelle, extending her repertoire of mesmerizing songs that echoed with haunting memories of the postwar jazz greats to include a touch of retro-swing and demonstrating the range of her remarkable soul-infused, alto pitched voice.
Fresh from two successful world tours, a Grammy nomination (their third), a Gibson Guitar Award, a Jazz Trax "Album of the Year" Award and a National Smooth Jazz Awards nomination in the "Group/Duo of the Year" category, the British jazz group Acoustic Alchemy closed the Cadillac stage performances on March 10, 2007 with a sensational performance of their two acoustic guitars concept via an adventurous mix of Latin, jazz, pop and soul textures which drew people closer and closer to the stage, mesmerized!
Jamie Cullum, the dynamic 26-year-old British singer, songwriter, and pianist met everybody’s expectations, and then some! The crowd was electric, but not more than the artist himself, who gave a performance to top all performances - one that will stay in the memories of everyone who had the good fortune to be there. Cullum played songs from his Verve debut album, Twentysomething, leaving the audience in no doubt as to why he has set the record as the fastest-selling jazz debut artiste in UK history. The album was certified Platinum in just six weeks, selling over two million copies (including nearly 400,000 in the States) and garnering a Grammy nomination. Jamie’s repertoire for the 2007 S-DIJF as well as including songs from his new album, Catching Tales, also featured titles such as "Photograph" along with some songs from his second album Pointless Nostalgic. Cullum’s performance was truly incredible. An onlooker from the crowd was heard to declare “What a performer, he truly is the face of modern jazz.’
Anthony said, “My sincere thanks go out to the main sponsors Skywards, Cadillac, Emirates, to name just a few, and all the press and media partners and to everyone who has contributed to the success of this incredible event. We will, of course, endeavor to put together an equally illustrious line-up of invitees for next year.”
The two stages, worked well giving the public the chance to discover all the additional stands that were there, as they took a leisurely stroll along the paved walkways between the two stages. Not forgetting the Arts & Crafts village located next to the Cadillac stage which showcased some of its best crafts so far. The atmosphere was one of relaxed conviviality; the food and beverage village catered by Hilton had a wide variety of snacks to suit all tastes, from burgers and shawarmas, to the famous Zaatar W Zeit, right down to the Seatle’s Best Coffee.
“This year we added a second jamming session venue besides Jambase, Madinat Jumeirah “Midnight Jamming Session”, held at the Tamaniya terrace, Radisson SAS Hotel “Midnight Shisha & Jazz”, and it had proved to be highly successful with Furat Qaddouri Quartet and all the festival musicians stepping on stage to create what we call the “magic pot”! said Anthony, adding, “and we can promise all our fans that next year is going to be no less surprise- filled than the years before.
Its an ongoing thriving vision, we have to keep the Jazz festival reflecting nothing less than electrifying music blended with dazzling performances that would appeal to the true music thirsted ever growing audience, leaving them anticipating the following show that is constantly evolving to evoke the soul in Dubai’s creative music scene. See you next year at the 2008 Skywards Dubai International Jazz Festival which is going to take place in the first 10 days of March.”
This year's 15th annual Capital Jazz Festival starts already on Wednesday evening, as usual held at the Merriweather Post Pavilion in Columbia, Maryland May 30 - June 3, 2007. Tickets are on sale now at all TicketMaster locations in the Washington/Baltimore area, including Macy's (formerly Hecht's) and Record & Tape Traders. Tickets are also available online at the festival's web site. More infos are available at www.capitaljazz.com.
The Capital Jazz Fest offers a premium selection of music from both jazz and soul/r&b genres delivering a great mix of music, additionally the event provides a beautiful outdoor atmosphere and lots more. Check out this year's great lineup!
Talent Lineup
Wednesday, May 30
7:30pm
George Benson & Al Jarreau, Gerald Albright
Thursday, May 31
7:30pm
Herbie Hancock, The Jazz Attack (featuring Rick Braun, Richard Elliot, Peter White, & Jonathan Butler)
Friday, June 1
7:30pm
Special event!
An Evening with Anita Baker
Saturday, June 2
12 noon-10pm
Pavilion Stage
The Jazzmasters (featuring Gregg Karukas, Shilts, & Chris Standring), David Sanborn, Brenda Russell, Bob James (with special surprise guest), Eric Darius, Ray Parker Jr.
Special guest emcee: Tommy Davidson
Symphony Woods Stage
War, Amel Larrieux, Kindred The Family Soul, Raul Midon, Musiq Soulchild
Plus the 4th annual Capital Jazz Challenge competition
Sunday, June 3
12 noon-10pm
Pavilion Stage
Dave Koz, The Brand New Heavies (featuring N'dea Davenport), Ramsey Lewis, Take 6, Najee, Nick Colionne, Diane Schuur
Special guest emcee: Tommy Davidson
Symphony Woods Stage
Isaac Hayes, The Original Blackbyrds (with special guest Kevin Toney), Vivian Green, Victor Fields, Hil St. Soul
Plus the 3rd annual Capital Jazz Poetry Slam
Babysoul previewed by radio single “Stay With Me Tonight”
A fresh young soul talent will emerge May 8th with the birth of Babysoul, the ARTizen Music Group debut disc from Jackiem Joyner, saxophonist, flutist, songwriter and producer. The artist enters the fray with the seductive soprano sax-led single, “Stay With Me Tonight,” featuring special guest Peter White on acoustic guitar, now collecting adds at radio. Joyner produced the album and wrote ten soul, R&B and funk songs sweetened with touches of contemporary jazz and instrumental pop. Rick Braun executive produced in addition to contributing trumpet and flugelhorn.
Joyner impresses with the confidence in his swagger that reflects maturity beyond his 27 years. His compositions are accessible and inviting yet astute and challenging. As a producer, his sounds and beats are imaginative, sensual and dynamic. Joyner’s lead sax is often in tandem on choruses with his flute, which adds richness and warmth as well as uniqueness. Most of the instrumentation you hear on the album was performed by Joyner. Babysoul opens with a shuffling beat on the energizing “This Time Around.” David Dyson pummels the title track with his robust bass. “Just Groove” is a funky, swinging jam with big horns. The amorous “In Love Again” is a mid-tempo flute and sax duet. Joyner beautifully covers the sexy “Say Yes,” originally recorded by Floetry. “Share My Tears” is a down-tempo commercial ballad. Named for his wife, “Lola” is intricately musical with sax and flute carrying the melody while a kinetic beat dances. “Unforgiven” is another steamy Quiet Storm romancer. Upbeat sax and flute engage in a call-and-response dialect on “Elevation.” Closing the album is “Innocence,” a poignant, heartfelt slow jam.
“I want my debut album to speak about who I am as well as make a statement from a baby artist coming into the game. My message is simple: soulful sax, with the emphasis on soul,” said Joyner coolly. “I love writing music and I’m often awoken in the middle of the night with new songs running through my head. In fact, I’ve already started writing the next album.”
Born into a musical family in Norfolk, Virginia (his father was a professional bassist), Joyner’s first experiences in music were in church where he sang in the gospel choir and played drums. After moving to Buffalo, New York for middle school, he picked up the sax. In three consecutive years, the teenager won national youth achievement competitions sponsored by the NAACP in music categories. He moved back to Virginia after high school and became the leader of a church-affiliated music department, which enabled him to travel to perform in Africa. His demo ended up in the hands of keyboardist and Three Key Music label owner Marcus Johnson, who added Joyner to his band. Joyner played with Bobby Lyle and other artists on the label and eventually landed a spot on a 30-city tour opening for Angela Bofill, Ronnie Laws and Jean Carne. He’s also had the opportunity to open for George Duke, Najee, Phil Perry and Bob Baldwin. Now Joyner’s sights are firmly set on supporting his own recordings in addition to creating soul music with impact.
Jackiem Joyner’s Babysoul contains the following songs:
“This Time Around”
“Stay With Me Tonight”
“Babysoul”
“Just Groove”
“In Love Again”
“Innocence”
“Say Yes”
“Share My Tears”
“Lola”
“Unforgiven”
“Elevation”
April 3rd album release prefaced by radio single “Uptown”
By the time keyboardist-composer Lao Tizer was 17, he had already released three self-produced, self-released solo piano and keyboard albums. Being an overachiever who ambitiously strives to grow, stretch and achieve new heights comes naturally to him. Tizer is now set to release an expansive and accomplished sophomore outing with his own band. Diversify will be unveiled nationally on April 3rd via his Yse Records label, which is distributed by the ARTizen Music Group. Tizer wrote fourteen new songs for the sumptuous opus that clocks in at over 77-minutes of inventive contemporary jazz that encompasses fusion, classical, World Music, Latin and instrumental pop tapestries. He also co-produced the record, with his long-time guitarist Jeff Kollman seated in the producer’s chair.
Radio was recently serviced the first taste of Diversify, the funky, hooky, accessible urban-powered “Uptown,” a song Tizer and his band use to close their dynamic concerts. Although he records under his own name, Tizer is quick to emphasize the group aspect of the project and the invaluable contributions the band makes to his music both in the recording studio and on stage. He humbly shares the spotlight equally with Jeff Kollman (guitars, programming), Steve Nieves (vocals, saxophones and percussion), Christopher Maloney (bass) and Drew Megna (drums). Special guests on the album include guitarist Chieli Minucci (Special EFX), violinist Karen Briggs (Yanni, Chaka Khan), percussionist D. Munyungo Jackson (Sting, Stevie Wonder) and saxophonist Andy Suzuki (Michael Franks, David Benoit). While diverse, the songs are seamlessly bound by a thread that keeps the collection cohesive. As a composer, Tizer deftly dispenses simple intoxicating pop melodies, astute and complex compositions that incorporate a variety of musical stylings, fun and robust R&B-funk jams, and beautiful, sensitive moments that touch and emote poetically.
“The music on the album represents what inspires me. It’s a combination of influences including World Music, funk and intimate moments,” explained Tizer. “The message behind the album is about being open to the music and the journeys it can take you on if you allow it. It represents diversity and the melding of composition and improvisation. It’s the combination of both (composition and improvisation) that can elevate the musical experience from the mundane into something truly special.”
Tizer’s fiery, youthful and compelling concerts play a major part of what makes the artist a complete musician. He’ll lead his band out to launch the push to support the album release on the concert trail on April 13th by opening for legends George Benson & Al Jarreau at the prestigious Jacksonville Jazz Festival in Florida.
A native of Boulder, Colorado, Tizer began his performing career early when as an enterprising 14 –year-old, he played at outdoor malls for tips to earn money to repay his parents for the money they loaned him to purchase a keyboard and P.A. System. The teenager started producing and selling albums, which is how he met his first manager. After moving to Los Angeles, Tizer met Minucci, who mentored the youth and produced his debut band recording, Golden Soul (2001). The disc spawned the popular radio single, “Her Poetry,” a track that hit the Billboard and Radio & Records charts and garnered him a “Best New Artist” nomination at the 2002 National Smooth Jazz Awards. Additional information can be found at www.laotizer.com.
Lao Tizer’s Diversify contains the following songs:
“A Night In The City”
“Uptown”
“Diversify”
“Flow”
“A Hui Hou (Til We Meet Again)”
“Olivas Adobe”
“Summer Dayz”
“Autumn Sky”
“Improvisation”
“Up A Notch”
“Namaste”
“November”
“Rapture”
“Ella’s First Light”
Jazz-blues-rock homage to New York City critically-praised
Celebrating the diversity and bustling energy of the city he’s called home for more than twenty years, guitarist Jeff Golub’s Grand Central album was released in record stores Tuesday (March 6th) by Narada Jazz/Blue Note Label Group. The vibe he captured is “live,” as if he grabbed his guitar, headed down to a dimly lit, gritty blues or jazz club in New York City, plugged in and started jamming with a talented group of friends. That’s pretty much how the album was recorded, although it was tracked in several recording studios. However, Golub, who produced most of this, his seventh solo album in addition to writing or co-writing eight songs, kept things loose and casual, allowing the musicians the freedom to improvise and freely explore the jazz, blues, rock, R&B and pop melodies and rhythms. There’s nothing particularly smooth about this edgy musician who brings blues and rock to contemporary jazz.
Taking its title from an old Dentyne commercial, “Hello Betty” prefaced the album release at radio where the signature Golub track is swiftly moving up the chart. The funky horn section and a bumpin’ groove on the Rick Braun-produced cut get scorched by Golub’s cool-toned, incendiary guitar lead. Special guest appearances and contributions to Grand Central were made by Rick Braun, Richard Elliot, Kirk Whalum, Philippe Saisse and Paul Brown, with Braun and Brown producing a few tracks. But the NYC cats Golub was primarily chillin’ with were drummers Steve Ferrone and Shawn Pelton, Chris Palmero (keyboards, Hammond B3, rhythm guitar), Mitchel Forman (piano, organ & string synth, Fender Rhodes & clavinet), bassist Lincoln Goines, percussionist Luis Conte, saxophonist Dave Woodford, and trombonist Nick Lane while Steven Miller co-produced, recorded and mixed the record.
Golub, who begins co-headlining the national Guitars & Saxes Tour with Gerald Albright, Kirk Whalum and Tim Bowman at the Nokia Theatre in New York City on March 24th with concert dates that run through the end of the summer, is getting some love from the media. He’s scheduled to appear on an episode of Smooth Jazz Television, record an intimate performance for Sirius Satellite Radio, and grace the cover of next month’s annual guitar special issue of West Coast trade Music Connection magazine.
The album reviews have also been quite favorable. Jazz USA stated, “Jeff Golub's new release (his seventh solo album) is full of fire and energy. It has a distinct New York City vibe and manages to capture the artist in his own unique element.” All Music Guide wrote, “At his best, as on this exciting collection, he's raw and just a bit dirty, wailing with his buddies and having some loose, energetic fun…He plays it mostly fast and funky, but shows a unique emotional depth…” ABYSSJazz Magazine enthused, “The result is vintage Golub – funky, fresh and infused with the spontaneous feel that live sessions engender. It's a diverse set of originals and covers with highlights galore…You can tell the musicians are having a grand time creating this music. It's a New York vibe with universal appeal!” Smooth Jazz Therapy concurred, “…this natural flare he has for delivering raw and honest recordings spills out into every one of the eleven choice tracks. Although a delicious mix of rock, pop and electric plus acoustic blues, excellent examples of R&B tinged contemporary jazz also abound…” SmoothViews declared, “Sometimes you hear guys like Jeff Golub, who used to back rockers like Rod Stewart, referred to as ‘former rockers.’ I’ve seen Jeff play live. There’s no ‘former’ about him. He’s still a rocker! And with his latest release, Grand Central, Golub brings on the feel and flavor of New York City with tracks that cover everything from jazz to blues to rock.”
Additional information can be found at www.jeffgolub.com.
Mayor Peyton and the City of Jacksonville Announce 2007 Jacksonville Jazz Festival Activities and Lineup
The City of Jacksonville is proud to announce an exciting lineup of activities for the 2007 Jacksonville Jazz Festival Friday, April 13 through Sunday, April 15.
This year’s festival will take place in three downtown venues: The Florida Theatre, Metropolitan Park, and the Ritz Theatre & LaVilla Museum.
“The Jacksonville Jazz Festival is one of the city’s marquee events,” said Mayor John Peyton. “With exciting events and performances scheduled throughout the weekend, it’s a great opportunity for everyone to come out and experience some of the country’s most talented jazz musicians at great downtown venues”.
Metropolitan Park will also be the site of Art at the Met, an art show and sale featuring many of the Southeast’s finest artists and craftspeople and 38° Latitude: A Wine Tasting Experience.
The Florida Theatre will house the Jazz Odyssey: A Retrospective of Photographs by Milt Hinton, an, exhibit from the late Milton J. Hinton, a renowned jazz bassist who captured the lives of jazz musicians at work and play for more than six decades. Photos of Dizzy Gillespie, Ella Fitzgerald, Billie Holiday, and Cab Calloway are just a few that are featured in this collection. This exhibit will be on display at The Florida Theatre during festival hours Friday, April 13-Sunday, April 15.
General admission to the festival each day is $10 plus applicable service charges. Experience Jazz VIP packages are good at all venues all festival days for $150 plus applicable service charges. Tickets can be purchased beginning Feb. 27 at Noon.
The ‘Round Midnight Jazz Jam on Saturday, April 14 at The Jacksonville Marriott is free to the public. Jazz fans are encouraged to bring their instruments and jam with festival performers.
The Ritz Jazz Brunch on Sunday, April 15 will be $25 at the door.
Complimentary trolley transportation provided by Verizon Wireless to and from Metropolitan Park, The Florida Theatre and the Ritz Theatre & LaVilla Museum will be provided Friday, April 13 – Sunday, April 15, making one-time parking and venue-hopping easy for festival attendees.
Entertainment Schedule
The Florida Theatre- 128 East Forsyth Street
Friday, April 13
6 p.m. Doors Open
7 p.m. The Great American Jazz Piano Competition
The Great American Jazz Piano Competition has been a Jacksonville tradition for more than 20 years. Five finalists, chosen by a selection committee through "blind" judging, will compete for the honor of this award. The first-place winner will receive a monetary prize of $3,500 and will perform at the Jacksonville Jazz Festival 2007 on Saturday, April 14, at Metropolitan Park. The finalists will be announced the week of March 5.
The rhythm section accompanying the five finalists during the piano competition includes Jay Leonhart on bass and Danny Gottlieb on drums. In addition, the 2007 Jacksonville Jazz Hall of Fame inductee, Von Barlow, will perform with emcee Noel Freidline during the competition.
Artists and performance times are subject to change. See Ticket Pricing for complete information.
Saturday, April 14
1:30 p.m. Doors Open
2:30 p.m. Greg Adams
4 p.m. St. Johns River City Band with special guest Diane Schuur
6 p.m. Regina Carter
7:30 p.m. McCoy Tyner
Sunday, April 15
1 p.m. Doors Open
2 p.m. The Original Super Stars of Jazz Fusion featuring Roy Ayers, Jean Carne, Wayne Henderson of the Jazz Crusaders, Ronnie Laws, Jon Lucien and Lonnie Liston Smith with The Ubiquity Band
4 p.m. Noel Freidline Quintet
5:30 p.m. Dianne Reeves
Artists and performance times are subject to change. See Ticket Pricing for complete information.
Metropolitan Park - 1410 Gator Bowl Boulevard
Friday, April 13
6 p.m. Gates Open
7 p.m. Lao Tizer
8:30 p.m. George Benson and Al Jarreau
6 p.m. Art at the Met Art Show and Sale
6 p.m. 38° Latitude: A Wine Tasting Experience
Saturday, April 14
10 a.m. Gates Open
12:30 p.m. The Great American Jazz Piano Competition Winner
1:30 p.m. Douglas Anderson School of the Arts Jazz Ensemble I
3 p.m. UNF Jazz Ensemble 1 with special guest Ed Calle
4:45 p.m. The Dizzy Gillespie™ All Star Big Band under the direction of Slide Hampton
6:30 p.m. Wayman Tisdale
8:15 p.m. Jazz Attack featuring Rick Braun, Jonathan Butler, Richard Elliot and Peter White
10 a.m. – 10 p.m. Art at the Met Art Show and Sale
2 -10 p.m. 38° Latitude: A Wine Tasting Experience
Sunday, April 15
Noon Gates Open
1 p.m. The Kelly-Scott 5tet with special guest Ed Calle
2:30 p.m. The Big 3 Palladium Orchestra
4 p.m. Karrin Allyson Quartet
5:30 p.m. Chris Botti
Noon- 7 p.m. Art at the Met Art Show and Sale
Noon – 7 p.m. 38° Latitude…A Wine Tasting Experience
Artists and performance times are subject to change. See Ticket Pricing for complete information.
The Ritz Theatre & LaVilla Museum - 829 North Davis Street
Friday, April 13
Late Night at the Ritz
8:30 p.m. Doors Open
9 p.m. Urban Jazz Coalition
10:30 p.m. Guitars & Saxes featuring Gerald Alright, Kirk Whalum, Jeff Golub and Tim Bowman.
Saturday, April 14
4:30 p.m. Doors Open
5:30 p.m. Ya’ Gozo’ The Latin Jazz Band
7 p.m. Johnny O’Neal
8:30 p.m. Roy Haynes
Sunday, April 15
10:30 a.m. Doors Open
11 a.m. Jazz Brunch catered by Chef Matthew Medure featuring The PM Xperience Band
Live broadcast of the Na’im Rashid’s “First Sunday Cup” radio show.
1:30 p.m. Marc Dickman
3 p.m. Chuck Mangione
Artists and performance times are subject to change. See Ticket Pricing for complete information.
For more information about the Jacksonville Jazz Festival, call the Office of Special Events at (904) 630-3690 or visit www.jaxjazzfest.com.
Musicians Institute concert features Stevie Wonder, Stewart Copeland, Marcus Miller, Bela Fleck and many others
Bassist/composer/producer Stanley Clarke has done it all. A teenage prodigy from the musically and culturally rich city of Philadelphia, he emerged in the early 1970s with an innovative style that immediately redefined his instrument’s potential in virtually every genre of music – jazz, R&B, rock, funk, world and beyond. Both as a solo artist and a co-founder of the seminal quartet Return To Forever, and later as a composer for the big and small screens, Clarke has compiled a resume that includes an impressive list of gold and platinum records, GRAMMYs, Emmys and much more.
But after more than three decades of awards and accolades, Clarke still insists that education is his highest calling. Since the late 1990s, his annual Stanley Clarke Scholarship has given a boost to numerous up-and-coming young musicians – bass players and otherwise – from all parts of the world. The scholarship is marked by an annual concert that continues to draw a lineup of high-profile musicians every year.
Night School: An Evening with Stanley Clarke and Friends (HUDV-7118) is a star-studded DVD set for release on Heads Up International through Clarke’s own Roxboro Entertainment Group on March 27, 2007. The 90-minute presentation chronicles the third annual Stanley Clarke Scholarship Concert, recorded at Musicians Institute in Hollywood, CA, in October 2002. With guest performances by Stevie Wonder, Wallace Roney, Bela Fleck, Sheila E., Stewart Copeland, Flea, Wayman Tisdale, Marcus Miller and more, Night School captures performances that range from straightahead jazz to full-tilt rock fusion to twenty-two-piece string arrangements – all on one stage, all in a single night!
“We had great chemistry at the scholarship concert in 2003,” says Clarke of the Night School DVD. “The thing I really liked about that concert – aside from raising the money for the scholarship – was that all these great people showed up, and just got up onstage and played with no real rehearsal to speak of. They just got up there, and this energy and groove just sort of happened.”
Among Clarke’s favorite moments in the concert – and the DVD – is a segment wherein he’s joined by electric banjoist Bela Fleck and violinist Karen Briggs in “Song To John,” a composition written by Clarke and dedicated to jazz pioneer John Coltrane. Immediately afterward, drummer Stewart Copeland (formerly of the Police) settles in behind the kit and takes the foursome through “The Lochs of Dread,” a song penned by Fleck during his tenure in the short-lived bluegrass combo Strength in Numbers.
Throughout the DVD, the musical numbers are intercut with commentary from Clarke on the merits of Musicians Institute and the value of education for young and aspiring musicians. Likewise, various other musicians from the concert lineup also weigh in with high praise for Clarke, his scholarship, his commitment to education in general and his contribution to the jazz tradition and the role of the bass within it.
The tone shifts to the orchestral when a full string section takes the stage to perform a series of compositions from Clarke’s vast catalog of film scores. The segment includes “Frequent Flyer” from Passenger 57; the theme from Boyz ‘N the Hood; and “Anna Mae,” from the 1993 Tina Turner biopic What’s Love Got To Do With It?
The energy level ratchets up several notches in a “The Big Jam,” featuring bassist Flea (from Red Hot Chili Peppers), Briggs, Copeland and drummer/percussionist Sheila E. Stevie Wonder follows with “Every Day I Have the Blues” and Coltrane’s “Giant Steps,” two classics delivered with an ensemble that includes Clarke, Briggs, keyboardist Rodney Franklin (on “Blues”) and drummer Gerry Brown.
The finale is a monster jam that Clarke himself characterizes as “way off the hook.” The free-for-all features Clarke accompanied by an army of no less than 10 bass players – including Flea, Wayman Tisdale, Marcus Miller and a host of other axemen – each taking a turn riffing on an extended version of Clarke’s landmark hit “School Days.”
Sometimes thundering, sometimes understated and thought-provoking, Night School is an eclectic affair, but one that holds together because of a universal willingness by everyone present to reach out to future generations of musicians and lend a helping hand. “I don’t care what kind of music you’re into – jazz, R&B, country, or whatever – there’s a certain point in your life when you decide that you want to make it as a musician,” says Clarke, who began teaching bass at age 16 and continues to do so forty years later, despite a perennially hectic recording and touring schedule. “That feeling is something that you never really forget, and you recognize it in other people. I think the common thread among everyone in this performance is that they’re all looking to somehow help a kid or a couple kids attain their goals. The individual genre or style doesn’t really have anything to do with it.”
He adds: “I guess I really have a soft spot for that kid in school who’s just trying to make it, or that kid who isn’t in school but wants to get into a good program that will help him really maximize his potential. If there’s anything I can do to help that kid, I’m there, and I will probably always be calling on a lot of people to help me in that regard.”
Night School is the precursor to a Clarke’s yet-to-be-titled CD project scheduled for release on Heads Up in June 2007.
Stanley Clarke
Night School (DVD)
HUVD7118
UPC: 0-53361-7118-9-4
Release Date: March 27, 2007
DVD Chapter Listing:
1. The Floor
2. Wild Dog
3. Goodbye Porkpie Hat
4. Song to John
5. The Lochs of Dread
6. Frequent Flyer
7. Anna Mae
8. Theme from Boyz 'N The Hood
9. Big Jam
10. Every Day I Have The Blues
11. Giant Steps
12. School Days
Chillout Productions, founders and organizers of the Skywards Dubai International Jazz Festival (S-DIJF) (www.dubaijazzfest.com), has announced the final line up for the festival’s fifth anniversary edition. The spectacular three-day event will be held on March 8, 9, 10, 2007 at Dubai Media City.
“To add up to the two previously announced artists who will be rocking Dubai by storm, the rock stars Toto and the fantastic Jamie Cullum, we made sure to enclose an unsurpassed three nights of magic by confirming artists such as the living legend, Freddy Cole, the splendid diva, Dee Dee Bridgewater, and the multi-award winners, Acoustic Alchemy, to name a few.” Said Anthony Younes, managing director of Chillout Productions.
The 1st night, Thursday the 8th of March will feature Kamal Musallam Trio with his Oriental Jazz band, the living legend Freddy Cole who combines consummate ease with a lyric, an acute sense of melodic and rhythmic phrasing and a smoky air voice that helps make his interpretations of pop and jazz songs very much his own. Then comes Guy Manoukian and his unique style of classical jazz/oriental music and finally the magnificent Diva, Dee Dee Bridgewater whom beyond being a dynamic singer with a rip-roaring scat, is a Tony Award-winning actress, an announcer, and a noted humorist..
The second night, Friday the 9th of March will also play host to a huge line up. A powerful yet dramatic opening act with the Dubai-based blues skilled Sergio Bekhazi and his band, the Three Ladies of Blues who sing the same way they look: powerful, swinging and sexy, the virtuosic trumpeter and prolific composer Randy Brecker along with his wife, the fluent post-bop tenor and soprano saxophonist Ada Rovatti, and finally ending the evening with a treasured memory of the unquestionable rock legends, Toto.
And the closing night, Saturday the 10th of March will witness Dubai Drums with their interactive and exquisite show, the remarkable singing style of Robin McKelle whose soul-infused alto tinged voice will go haunting echoes from the postwar jazz greats. Followed by Robin are the Acoustic Alchemy and their pioneer concept of two acoustic guitars which will be the emotional centrepiece that draws people close and conclusively the phenomenal prodigy, Jamie Cullum.
Besides the confirmation of the final line up of its 5th edition, Chillout Productions has announced ticket sales for the Skywards Dubai International Jazz Festival.
Sales of the popular “Early Bird Deal” will be running throughout the month of February at the discount price of AED 165 for the one night ticket and AED 445 for the Three-day season pass and can be exclusively bought from Chillout Productions offices located in CNN building, Dubai Media City, office 312. Regular priced tickets are now also available at all Virgin Megastores, Hallmark, Spinneys and online from www.boxofficeme.com or www.timeouttickets.com.
The 2007 Skywards Dubai International Jazz Festival promises to be an enchanting experience where the audience will be exposed to a lot of diverse music over the course of the three nights. The success of the event relies on many factors be it the 2 exceptional and distinctive stages hosted by Skywards and Cadillac, the hospitality chalets, the VIP lounges, the beanbags and the friendly atmosphere, the Food & Beverage village or the Arts & Crafts Bazaar, all together with the beautiful people who will be strolling down the venue at the 2007 Skywards Dubai International Jazz Festival.
“This year in addition to the jamming sessions which will take place at Jambase Madinat Jumeirah, we will be having a new concept called, “ Midnight Shisha and Jazz” with musicians Furat Quaddouri and Jon Hassall. This new event will take place on the same dates of the festival, after midnight, at Tamanya Terrace, Radisson SAS Hotel, Dubai Media City and will also have all the participating artists from the festival present for a unforgettable night of spontaneous magic.” Says Eric Kahi, Marketing and Communication Manager of Chillout Productions.
February release on PRA Records marks reunion of vocalist and pianist more than 30 years after “Street Life” - CD launched worldwide “literally” with December NASA mission
On Tuesday, February 20, 2007 PRA Records will release Feeling Good, a new album from Randy Crawford and Joe Sample. This Tommy LiPuma-produced CD marks a return collaboration between vocalist Crawford and pianist Sample who first worked together more than 30 years ago.
To celebrate this special reunion, the album’s upbeat title track and lead single received a literal around-the-world launch in December of 2006, as the song accompanied NASA astronauts on the Space Shuttle STS 116. Astronaut Joan Higginbotham took the song “Feeling Good” with her on the shuttle, which launched from Kennedy Space Center, and the song was selected by NASA as one of the official songs used by Mission Control to wake the astronauts for their daily chores during the 12-day mission.
From the first downbeat of “Feeling Good” through the last note of “Mr. Ugly”, the listener is drawn into the warm embrace of Joe and Randy’s musical heritage, a mixture of soul, jazz, gospel, pop, and a touch of the blues. One of the premier songstresses in contemporary music, Crawford showcases her versatile vocal instrument on songs such as “All Night Long”, “End of the Line”, and the moving ballad “Save Your Love for Me”.
The lasting mastery of Sample’s piano playing skill is evident through each of the album’s 13 songs. From their interpretation of Peter Gabriel’s “Lovetown” to the Latin-flavored “Rio de Janiero Blue”, to a modernly funky but also softened reading of “See Line Woman”, Sample’s work on the keys surrounds, highlights, and compliments Crawford’s voice exquisitely. Some of the other covers chosen for this album include a seductive take on Billie Holiday’s “Tell Me More and More and Then Some”, a breezy run through “Everybody’s Talking”, the tune made famous by Harry Nilsson and the film Midnight Cowboy, and a heartfelt version of “When I Need You”, written by Albert Hammond and Carol Bayer Sager. A special sentimental choice is “Last Night at Danceland”, a song written by Sample and originally recorded by Crawford in 1980.
The keen interaction between Sample and Crawford throughout the album is a clear testimony to a musical friendship that began three decades ago, when Joe played on Randy’s debut CD, Everything Must Change. Soon after, when writing songs for his influential band The Crusaders, Sample invited Crawford to be a guest on their record and wrote the song “Street Life” especially for her. Of course, that tune went on to become an international hit, and the two collaborated on and off for years afterwards. With both artists having worked previously with GRAMMY®-winning producer Tommy LiPuma, the three coming together to record Feeling Good was a natural fit. Also the joining the team was multiple GRAMMY®-winning engineer Al Schmitt, whose inimitable touch gives the album its flawless, crystal clear sound, along with Steve Gadd on drums and Christian McBride on bass.
Adriana Evans also known as Adriana Madera, is not just a beautiful face. She is truly a one of a kind artist, the likes of which have not been seen since Natalie Cole and Chaka Khan. She is the daughter of jazz recording artist Mary Stallings, who sang with Count Basie, Dizzie Gillespie and Cal Tjader. Adriana was raised in the Haight Ashbury and Mission District of San Francisco. Exposed early in life to the sounds of jazz and blues by her mother and also the explosive sounds of Afro Cuban music from her father's culture she was destined to be a musical sponge. Her love for soul, rock and hip hop added more to her rich musical tapestry.
When she was a freshman in college she befriended the aspiring rapper Dred Scott. This chance encounter led her to collaboration on his 1994 A&M records release Breaking Combs. Just one year later she and Dred wrote and recorded her debut self titled album on Capitol records. A political shake up at Capitol landed Adriana and the record on RCA/Loud Records. The album was thought to be somewhat revolutionary. It was the first so called "Neo Soul record" at the time. The use of live instrumentation combined with the classic sound of Adriana's vocals took a lot of people off guard. When you think about the musical landscape in 1995, you understand that this album was extremely groundbreaking. It was completely devoid of the synthetic mechanical sounds and stacked vocal stylings of music from that era. Yet this is typical for Adriana, who always finds herself ahead of the curve.
After the release of her first album she became disenchanted with the politics of music. She travelled the world finding an unlimited source of creative inspiration. She spent much of her time in Latin America feeling at home in the relaxed musically enriched environment. Brazil became a home away from home for her spiritually and musically. Upon her return to the US she began assembling her second record Nomadic. This was a project that she and longtime collaborator Dred Scott really enjoyed. It is an eclectic reflection of her musical journey. Nomadic incorporates the sounds of Latin, rock, soul, jazz, blues and hip hop. It reflects the variety of manifestations of black music in the Americas. She states, "Africans came to North America, South America and the Carribean via the slave trade and through some sort of alchemy turned pain into beauty. They gave the world their music!" Nomadic honors their remarkable contributions.
Her new CD, El Camino blends the familiar sounds of her first recording with the growth of her second CD. The musical emphasis of this work is based more on the soul tradition yet it still has eclectic elements that reflect Adriana's unique perspective. The title "El Camino" means the road or path in Spanish. This CD is about Adriana's overall journey, starting from the beginning of her career to the present. El Camino is a path that brings Adriana back to the source and beyond. It is released on 12th March 2007.
Here is what the British music publication "Blues & Soul" had to say abouth this new album: “Whether she likes it or not, just as long as Adriana Evans keeps making music like this she will continue to be categorized as “neo-soul”. If we were to attempt definition of said genre we might talk about organic music, real instrumentation, meaningful lyrics and committed vocals. You’ll find all that here but what makes El Camino different to say the neo soul of Dwele and India Airie is the lightness and joy in the music. This album seems to float on an air of optimism, which might be explained by the singer’s love affair with Brazil – a country we’re told, where despite economic hardships, life seems fresher and freer. Indeed Latin rhythms provide the overriding flavour of the album which opens with the gentle bossa of “Hey Now”. However, “Blue Bird In Bahia” and the title track offer the most overt Brazilian feeling – both with luscious Jobim style guitar. But Ms. Evans, remember, has family roots in jazz and “Blue Bird” and “Same As Ever I Was” have a great loose jazz feeling to them while “World On Fire” is just a great soul groove. For my sins, I found myself going back to “All For Love” – chiefly ‘cos the brass stabs reminded me of vintage Bacharach. In truth though, this isn’t an album of one-off tracks. Here we’re talking about an organic sound that develops though the 12 songs. “El Camino”, the notes say, means “path”. I’d always thought it meant more of a pilgrimage – a spiritual journey if you would… and there's lots of spirituality here, and to me spirituality equates with soul.”
Contemporary Jazz icon Keiko Matsui's new album, Moyo (Swahili for "heart and soul"), recorded on location with musicians in South Africa, Japan and the United States, introduces new sounds and rhythms to her elegant piano melodies and gentle jazz grooves. Matsui's first self-produced album - this time without the usual input from her ex-husband Kazu Matsui - Moyo debuts April 24th from Shout! Factory.
The 12 new songs on Moyo evoke a sense of freedom and independence, as this is the first time Matsui has had total artistic control. For this special project, Matsui invited other artists into the creative process, including legendary trumpeter Hugh Masakela, tenor sax player Gerald Albright, soprano sax player Paul Taylor, Richard Bona on bass and vocals Akira Jimbo on Drums and Waldemar Bastos on Vocals.
Recording in South Africa influenced the songs on the album greatly. "A Great Romance" was inspired by a piano factory in the country side, the only place available for rehearsal, while "Marula" was written after she tasted the fruit from an elephant tree. With over 1.2 million units sold in the U.S. and sold-out appearances at concert halls across the world, Matsui is one of the most recognized artists in the genre. A mainstay on the concert circuit, Matsui looks forward to an extensive world tour this spring and summer. Dates begin in March in cities around the world from South Africa and Ukraine to Los Angeles, CA and New York, NY.
1. Moyo (Heart And Soul)
2. A Great Romance
3. Into The Night
4. Caricias
5. An Evening In Gibraltar
6. When I Close My Eyes
7. After The Rain
8. Allure
9. Black River
10. Old Potch Road
11. Um Novo Dia (A New Day)
12. Marula
Guest musicians:
Hugh Masekela - horns
Gerald Albright - sax
Paul Taylor - sax
Richard Bona - bass
Jimbo Akira - Drums
Vocalist Reinvents Timeless R&B Songs Sung By Marvin Gaye, The Spinners, Smokey Robinson, Sly Stone, Stevie Wonder, Deniece Williams & Other R&B Icons
Webster’s Dictionary defines the word ‘classic’ as ‘being of the highest, rank or class’ or ‘serving as an outstanding representation of a kind.’ Vesta’s new CD Distant Lover exemplifies the word ‘classic’ on a number of levels. Not only is her Shanachie debut a sampling of some of the greatest R&B ‘classics’ but it is a sublime example of how a singer can rework a song when they posses an innate ability to personalize and take chances with a composition. Distant Lover is a refreshing exploration of R&B gems that reveal Vesta’s personal connection to each song. Her intensely rich, earthy and soulful voice combined with her intelligent, thoughtful and often playful phrasing drive home the lyrics of any song she sings. The upbeat and charming singer shares, “I don’t think people will expect to hear me sing all the different styles featured on Distant Lover. I hope to shock people when they learn that these are not only songs that I love but also ones that I can actually sing and capture the essence of all the incredible artists who sang them.”
Distant Lover is a thrilling glimpse into the singer’s personality and creative genius as a song stylist. Her renditions of Babyface’s “Whip Appeal” and Sly Stone’s anthem “If You Want Me To Stay,” show off her playful and comedic side. Vesta states, “I had a lot of fun with Sly’s song and got to show off my more stank funky side!” Vesta equally enjoyed recording the Bill Withers hit “Use Me,” a song she frequently performs in concert. “This song has a lot to do with some of the experiences I have had,” says Vesta. “I have run into a lot of severe vultures in the business and in relationships.” Vesta also calls upon songs from her youth on Distant Lover, like the Spinners staple “Could It Be I’m Falling in Love” and the title track, which was a hit for Marvin Gaye. Vesta recalls “In my youth, I remember sitting in my living room and listening to ‘Distant Lover’ over and over again. Growing up it was one of my favorite songs. I guess I was lonely and the song just spoke to me.”
Other highlights on Distant Lover include “Ooh Baby Baby,” popularized by Smokey Robinson who Vesta calls “the coolest of the cool.” The ballad is the perfect vehicle for Vesta to display her range of emotion as she delivers a stunning performance. The singer explains, “If you do not really pay attention to the words of this song, it can sound happier than it is. I tried to get to the real pain of the lyrics and convey what I felt Smokey was trying to say.” Vesta also took great joy in recording Steve Wonder’s “Knock Me Off My Feet.” She confesses, “Stevie’s songs are deceptively difficult. His genius is such that his songs sound easier to sing then they are. ‘Knock Me Off My Feet’ is so beautifully romantic and I am a romantic!”
While most of the tracks on Distant Lover are classics recorded by men, Vesta highlights three songs sung by women for whom she holds deep admiration: Deniece Williams, Sade and Syreeta Wright. Vesta remakes Deniece Williams’ smash hit “Free” and says “Deniece Williams is an amazing vocalist and person. She happens to be someone who is as sweet as she sounds!” Sade’s “No Ordinary Love” is a song that Vesta fell in love with the first time she heard it. She shares, “There is a wonderful mood to Sade’s writing. She stands alone in her genre.” Vesta and singer Issac Clemon, perform a memorable version of “Born Again,” which was sung by Syreeta and the late Billy Preston. The singer confides, “I had the pleasure of spending time with Syreeta at her home and she was such wonderful person. When the idea of a duet came up, I knew ‘Born Again’ was the right song. With the passing of Billy Preston, it was heavy on my heart. He was a sweetheart and a killer piano player and you could almost forget how well he sang until you heard him singing. I called upon Syreeta in my minds eye when we were recording this song. Hopefully she came and visited. Maybe that beautiful smile from heaven blessed us with her essence.”
As much as Vesta enjoyed recording the repertoire on Distant Lover, she equally enjoyed collaborating with the personnel on the CD which includes saxophonists Kim Waters and Marty Q, guitarists Derrick “HotSauce” Cummings, Randy Bowland, Rhon Lawrence and Wayne Bruce. Producer Chris “Big Dog” Davis, who Vesta affectionately refers to as “Muscle,” plays all the additional instruments heard on the CD. “Recording this music with ‘Muscle’ was just magical,” says Vesta. “Creative energies are powerful and sometime stubborn but this was such a beautiful experience.”
With the release of Distant Lover, Vesta is sure to delight and surprise old fans and garner new ones with her refreshing takes on timeless classics. Vesta concludes, “I hope that my love for this music and the musicians and composers who wrote and sang them comes through.”
Chillout Productions have confirmed the presence of the scruffy, self-taught British pianist/singer/songwriter, Jamie Cullum, at the 5th edition of the Skywards Dubai International Jazz Festival 2007.
Jamie can create music to which both seasoned jazz fans and young pop fanatics have responded earnestly. Jamie is not just another music fad. His major label debut, Twentysomething, has not only made Jamie a star, but has set the records as the fastest-selling jazz debut in UK history, where it was certified Platinum in just six weeks!
“To categorize Jamie’s music as Jazz is doing him injustice because to some, Jazz is now considered largely mired in the past. However, at the same time, Cullum is not even one of those sort of a fad, glittery bubble gum wanna-be musicians. He doesn’t even fall between any styles. This HYPER LAD simply laces his original jazzy tunes with modern hip-hop, rock or even folk accents, leaving you in a relaxed and comfortable state of mind where you’d feel more secure to the future of music where piano men will be as exciting as lead guitar players!”
Jamie celebrates jazz through his original material and retrofits standards to accommodate elements of the music he grew up with, from rock to rap to drum & bass.
And in one of his interviews Jamie said: "I'm pulling in loads of elements from all these different areas, and then making my own sound out of them all. I'm not interested in being some kind of museum piece, and I don't want to present my music in a way that's old fashioned. I'm not wearing a suit, and I don't stand still when I'm singing. I'm jumping off the piano."
“We’re looking forward to see Jamie treating his piano well as a prop, hammering it with rock 'n' roll fervor, and slapping every inch of it’s body, all the while coaxing sonorous and echoing tones from its keys. No doubt, the 26-year-old phenomenon is coming to Dubai with one thing in his mind, and that is to set the stage and crowd on fire. “ Said Anthony Younes Managing Director Of Chillout Productions, the founders and Organizers of the Skywards Dubai International Jazz Festival.
Two big names have been confirmed till now, Toto, the rock legends on the 9th of March 2007 and Jamie Cullum on the 10th of March 2007 will be rocking the city of Dubai with Jazz at Dubai Media City “outdoor amphitheater” during the 5th edition of the 2007 Skywards Dubai International Jazz Festival.
March 6th album release previewed by “Hello Betty,” spring/summer tour planned
With a spirit, energy and diversity that are uniquely New York City, guitarist Jeff Golub will open the doors to Grand Central, his seventh solo album, on March 6th. Golub produced most of the Narada Jazz/Blue Note Label Group collection of electric and acoustic blues, contemporary jazz, rock and pop with Steven Miller, with a few tracks produced by Rick Braun and Paul Brown. Roaring out of the station first is “Hello Betty,” which is engineered by Golub’s cool-toned electric riffing and powered by an incendiary horn section. Conductors will begin punching tickets for the track at smooth jazz radio on February 5th.
Golub has a natural flare for delivering raw and honest recordings. Grand Central was primarily recorded with a live band in a New York studio by musicians Golub jams and improvises with at small, informal club gigs around the city that they do for the love of playing when they’re off the road. Golub deftly deployed a clean blues sound to his guitar that took on more of a lyrical, vocal-like quality on the new record. The New York City dweller wrote or co-wrote nine new songs for the disc in addition to selecting a few classics to record, including Sly Stone’s “If You Want Me To Stay,” George Harrison’s “Something,” and the soulful “Ain’t No Woman,” on which saxophonist Richard Elliot shines. Other luminaries contributing were Rick Braun (trumpet, flugelhorn), Kirk Whalum (sax), Philippe Saisse (piano), Stephen Ferrone (drums), Mitchell Foreman (keyboards) and Luis Conte (percussion).
“Part of being a New Yorker is that you’re in a state of constant communication with people. Sometimes words are spoken. Sometimes the communication is just a glance or an unspoken acknowledgement on a subway train, while in line at a newsstand or as you brush past someone in a corner grocer. I wanted this album to capture the constant communication between musicians: the sometimes overt dialogue as well as the subtle exchanges. I embrace living in New York City and I think Grand Central has got a real New York vibe to it,” explained Golub.
To support the release, Golub will again be co-headlining the perennial fan-favorite “Guitars & Saxes” tour with concert dates starting in the spring that will run through summer. On the national trek, he’ll be sharing the stage with Kirk Whalum, Gerald Albright and Tim Bowman. Dates and cities will soon be announced.
A native of Akron, Ohio, Golub initially made his name as an in-demand sideman during long-term gigs backing rock stars Rod Stewart and Billy Squire. He released his solo debut in 1988, but then recorded several successful albums in the mid-1990s under his band name, Avenue Blue, which established him as a core artist in contemporary jazz. Golub returned to recording under is own name in 1999 and he has continued to consistently deliver bluesy jazz albums and radio hits ever since. Additional information can be found at www.jeffgolub.com.
Golub’s Grand Central contains the following songs:
“Hello Betty”
“Lulu’s Back”
“If You Want Me To Stay”
“Mojito”
“Something”
“Shockwave”
“Slinky”
“Grand Central”
“Ain’t No Woman”
“The Way I Feel Tonight”
“Stuffin’ It”
Bonus Tracks: “Brooklyn Dreams” and “Let’s Stay Together”
Saxophonist/vocalist Walter Beasley understands what it means to be prepared. A prolific recording artist and a compelling performer for more than two decades, he has proven his success as an instrumentalist, vocalist, composer, producer and educator - a range of talents that has made him one of the highest selling and most accomplished African-American saxophonists of the last ten years. Ready For Love, his new Heads Up CD scheduled for worldwide release on January 24, 2007, is the culmination of two decades of pushing his own creative envelope and the boundaries of contemporary jazz in general.
But while the title is clearly a reference to the universality of romantic love, the record is fueled just as much by other passions that Beasley considers equally important. "This record is an indication of what hard work, dedication, talent and effort will accomplish, and it's a gesture of love and appreciation for the people who have supported me along the way," he says. "To actually take the time to dedicate yourself to music, dedicate yourself to a strong work ethic, dedicate yourself to being better, means you love what you do."
Ranging from the playful to the introspective, from the old school to the edgy, Ready For Love is filled with a variety of soulful grooves and infectious melodies that showcase the countless satisfying shades of Beasley's rich musical tapestry. Along with Beasley's own production on five of the eleven tracks, the album also includes a number of noteworthy guest producers, including Phil Davis and Lil' John Roberts, both of whom have produced and/or played with Janet Jackson, George Duke, Alex Bugnon, Rachelle Ferrell. Also guest producing on two tracks is James Lloyd, co-founder and keyboardist for Pieces of a Dream.
The set opens with "Free," a stirring piece originally penned by Deniece Williams and features the vocal accents of Tiffany Davis. "It was just a blast to be able to record a song by someone who I had my first crush on when I was 12 years old, and then put my own spin on it. I just think that song - especially the saxophone work during the outro - sets the tone for the whole album."
Beasley brings not only his horn but his rich vocals to the smoky backbeat groove of "Be Thankful," the classic William DeVaughan piece that looks beyond material trappings and instead acknowledges some of life's most simple and profound blessings. "I have two female African-American friends who recently told me that they were very frustrated by the feeling that the world no longer valued their worth," says Beasley. "That song just hit me. I saw it as a way for me and others to step back and reassess who we are to ourselves and what we represent to other people. It serves as a reminder that all of us - regardless of race, economics, or whatever - should be thankful for what we do have and what we're able to bring to the table."
Keyboardist James Lloyd lends a hand on a couple tracks. The title track - along with the punchy "Why Not You," toward the end of the set - both feature Lloyd as writer, producer and guest keyboardist. "James is very clear about what he hears in a song and what he sees as the end result," says Beasley, who previously enlisted Lloyd for a track on For Her ("Coolness," which shot to number 5 on the smooth jazz charts). "You just have to trust that the end result is going to be good, because with James, it always is. Sometimes you get too close to a project and you have to step back, and for those two tracks I just stepped back, because I knew they were in good hands."
The island groove of "She Moves Me" takes Beasley into territory that he hadn't explored in previous projects, with highly favorable results. "Hands down, that's my favorite song on the album," he says with no hesitation. "That was the first time I ever wrote anything in a reggae style. It's a beautiful song that goes through various time changes. It just grooves. It moved me when I was recording it, and it still moves me whenever I hear it."
"Sugar Puddin'" is a sensual track wherein Beasley's alto sax work atop the churning backbeat creates the perfect union of the sweet with the spicy - a fitting combination, given the origins of the title. "Sugar Puddin' is actually a slang term that we used in the South, where I spent my summers with my grandparents," says Beasley. "It could be a reference to a little girl, or a girlfriend, or any girl who moves your heart in some way. Now, as I got older, I started to understand the more spicy definition of the term." He pauses to elaborate, then thinks better of it. "I'll just leave the rest to the imagination."
The heartfelt closer, "Willa Mae's Place," is a tribute to Willa Mae Brothers, a lady who gave Beasley some much needed direction many years ago when he was a student at Berklee College of Music in Boston. "When my parents were very far away, and I was dealing with different issues and challenges in my life - musically, personally, economically - she was there to really make sure that I considered all my options and made the right decisions," Beasley explains. "She was a foundation for me. She's gone now, but she made a big impact on my life."
From nostalgic tales of bygone role models to island interludes to spicy and passionate vignettes, Walter Beasley is musician of many stories - and is possessed of the various talents necessary to tell them well. Every one of these stories is a reflection of a unique musical vision that pays its respects to what has come before and makes ready for what's yet to come.
"For me, every song on here has a special meaning, and every song touches me in some kind of way," he says. "I listened to this record three times as much as any other record I've ever made, and I'm still listening to it. And I think people will get the same feeling when they listen to it, because I don't go too far from what moves me. I'm just taking it to that place where music moves you just because it's good."
Worldwide release set for January 24, 2007
Text by The Jazz Gypsy
Los Angeles’ very popular local smooth jazz radio station, 94.7 the Wave, has moved their weekly Wednesday night jazz series previously held at the Garden of Eden in Hollywood to Thursday nights at the Vault 350 in Long Beach, CA. The three level venue is their temporary home until renovations are complete on their new location, the Backstage Jazz and Blues Supper Club, next door at 330 Pine.
The Vault 350 and the Backstage Jazz and Blues Supper Club are located in the popular, and bustling downtown Pine Street district, filled with quaint shops, side walk cafes and businesses. It is conveniently located a few miles from the 710 Long Beach freeway and is just a short distance from the Long Beach Pier and restaurant row on Shoreline Drive. The open floor plan on the first floor allows for a variety of seating and dance floor configurations. The large, elevated stage provides perfect viewing from any seat on the main floor or mezzanine.
The lineup of artists and schedule has included Michael Lington, Stanley Jordan, A Tribute to Luther Vandross, and Earl Klugh. Upcoming scheduled performers include George Duke, 12/14; The Yellowjackets, 1/1/07; Jeffrey Osborne, 1/13; Gerald Albright, 1/18; Stanley Clarke, 2/8; Ramsey Lewis, 3/8; Chick Corea and Gary Burton, 3/22; Jeff Lorber, 4/9; and Keiko Matsui, 4/26. The Thursday night jazz series’ shows typically begin at 8:00 p.m. and have one show and two sets, with the doors opening at 6:00 p.m.
The Vault 350 also hosts live music (hip hop, R&B, rock, etc.) on other nights and some artists appearing in the Waves’ Thursday night jazz series are booked for multiple dates besides Thursday night. Admission fees, cocktails, drinks and menu items are moderately priced and tickets can be purchased in advance on the Wave’s (www.947wave) or the Vault’s (www.vault350.com) websites. Some shows offer general admission, dinner and VIP table seating in the mezzanine and the VIP lounge. DJ Jonathan Phillips is also on hand every Thursday night, spinning the best in smooth jazz, R&B, and oldies between and after the last set. Valet parking is available as well as ample garage parking next door.
The Backstage Jazz and Blues Supper Club is being designed as an upscale venue for those with discriminating taste. Combine that with the impressive line-up of artists and Long Beach may very well become the new Garden of Eden.
Well-received album released today salutes the artist’s musical influences and hometown while showcasing his skills as a soloist
Demonstrating that one can be inspired to greatness by simply returning to their roots, contemporary jazz saxophonist Steve Cole released his fifth album, True, today from Narada Jazz/Blue Note Label Group. Cole produced the collection and composed or co-wrote the nine new R&B, jazz, funk, dance and pop songs that comprise the disc.
Through his previous albums, Cole established himself as a core artist in contemporary jazz. His consistency as a songwriter and producer also merits recognition and respect as he’s scored four #1 radio hits and ten Top 5 singles since his 1998 debut. True promises to add to Cole’s impressive accomplishments.
The album title refers to a return to innocence, a return to the music that inspired Cole to explore his passion for jazz-funk made popular by artists such as Eddie Harris, Grover Washington, Jr., David Sanborn, Junior Walker and George Benson. It was an era of well-crafted songs, live production and expressive music that emerged from the core of the artists’ being. Those were the ingredients Cole used to create True. He pushed himself to reach new heights delivering unadulterated artistry and organic musicianship. He was inspired by the music that emerged from his hometown of Chicago where he still resides. On the album, Cole salutes seminal Chicago pioneers such as jazz-funk legend Quincy Jones and soul icon Curtis Mayfield along with clubby house music, which emerged from the Chicago underground. But broadening his saxwork and improvising were equally important objectives for Cole on True. He sought to produce the record as “live” as possible, fostering the setting for expansive soloing. A talented cast of musicians helped make True a reality, including Jeff Golub, Steve Rodby, David Mann, Ricky Peterson, Lenny Castro and Khari Parker.
Last month, the house music-inspired cut “Metro,” boasting an extended sax solo that’s both expressive and functional, was serviced to smooth jazz radio stations where it is presently garnering airplay. The early reaction to the album from music critics has been enthusiastic. All Music Guide said, “If the title of this superior collection is indicative of the true persona that's here to stay, then genre fans will be in for a powerful adventure… Cole has scored many hits while on the road to finding his true voice, and with any luck, he'll stay right there as the perfect antidote to his less imaginative contemporaries.” JazzReview wrote, “In this watershed album, Cole lets down his hair and goes for it, showing his talent in featured solos-- blending textures, melodies and awesome extremes… Cole states, ‘A lot of the substance of a player is evident once they get off the melody and start improvising.’ That’s exactly what Cole does on True, adding fresh notes, compelling hooks and smooth grooves.”
Concert dates to support True are being scheduled for early next year. For more information, please visit www.stevecole.net. To hear tracks from True, click www.bluenote.com/stevecole.
Indie Label Releases Special, Four-Disc Box Set Of Groundbreaking Jazz/Hip-Hop Series – Including Bonus Material
On November 21, and just in time for the holidays, Hidden Beach Recordings (HBR) will release a special four-CD box set of its groundbreaking “Unwrapped” series, the widely popular collection of jazzy, instrumental interpretations of standout Hip Hop classics and recent chart-toppers. Officially titled Hidden Beach Recordings Presents: Unwrapped The Ultimate Box Set, the multi-disc compilation features re-sequenced and re-mastered songs from all four previously released Unwrapped CDs (Vols. 1-4), broken down into “old school” and “new school” themes, as well as bonus tracks and music videos culled from the life of the project.
Among the more than 50 songs included in the Box Set are jazzy takes on such Hip Hop standards as Notorious Big’s “One More Chance,” 50 Cent’s “In Da Club,” Outkast’s “The Way You Move,” Eminem’s “Lose Yourself,” Slick Rick’s “Children’s Story,” The Roots’ “I Got You,” Common’s “The Light,” Tupac’s “I Get Around,” Busta Rhymes’ “Put Your Hands Where My Eyes Can See,” Nelly’s “Hot In Here,” A Tribe Called Quest’s “Electric Relaxation,” and the Terror Squad’s “Lean Back,” among many, many more.
These songs are given new life by some of the music industry’s most talented and accomplished instrumentalists, many of whom are featured across the span of all four Unwrapped editions. Included in this All-Star lineup are such notables as keyboardists Frank McComb, Jeff Lorber and Patrice Rushen; guitarists Paul Jackson Jr., Everett Harp and Dennis Nelson; violinist Karen Briggs; bassist Andrew Gouche; and flautist Louis Van Taylor, as well as Hidden Beach’s own sax sensation Mike Phillips, trombone impresario Jeff Bradshaw, and guitarist/singer Peter Black, among other leading musicians.
The Unwrapped series burst onto the music scene in 2001 with the critically acclaimed release of Unwrapped Vol. 1 and, without the benefit of national airplay or a high-priced marketing campaign, quickly went on to debut at the top spot on Billboard’s Contemporary Jazz Chart. Subsequent editions in 2002, 2004 and 2005 followed in the tradition of the premiere disc, all serving to build on the Hidden Beach legacy of fusing the two genres and building bridges between diverse music audiences.
Music producers Tony Joseph and Darryl Ross, who served to produce a majority of the material throughout the series, originally brought this specific concept, unnamed at the time, to HBR Founder/CEO Steve McKeever. The rest, as they say, is history.
The success of the Unwrapped series is best gauged by the impact it has had in the industry; it has spawned a number of copycat projects and, in many circles, the term “unwrapped” has come to be synonymous with the merging of jazz and Hip Hop.
The Box Set’s bonus material includes songs that were included on a limited edition version of Unwrapped Vol. 2 (Jay Z’s “Girls, Girls, Girls,” Junior Mafia’s “Get Money,” and Mystikal’s “Bouncin’ Back”), as well as music videos for “You Got Me,” “In Da Club,” and “Bouncin’ Back.” Also included are tribute medleys to fallen rappers Biggie, Tupac and Run DMC’s Jam Master Jay.
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Based in Santa Monica, CA, Hidden Beach Recordings publicly bowed onto the entertainment scene in 2000 with the introduction of multi-platinum, Grammy Award-winning vocal sensation Jill Scott. The label went on to release projects from such standout artists as award-winning songwriter/vocalist Brenda Russell, Kindred the Family Soul, saxman Mike Phillips, songstress Lina, gospel legend/Grammy-winner BeBe Winans, Hootie and the Blowfish frontman Darius Rucker, and trombone maestro Jeff Bradshaw, among others.
On October 17, Hidden Beach released the debut CD from TribalJazz, the multi-cultural jazz group led by John Densmore, the legendary drummer and co-founder of the seminal rock band The Doors. In 2007, the label will debut new Hidden Beach artists including vocalist/musician Keite Young, singer Leigh Jones, singer/guitarist Peter Black, and the Still Waters (HBR’s inspirational imprint) releases of song stylist Onitsha, and talented vocalist Sunny Hawkins.
The New Year will also bring a new studio album from Jill Scott, as well as a specialty compilation release of joint efforts between Scott and an eclectic array of hip hop, soul, instrumental, jazz, pop and gospel artists. The disc of wide-ranging collaborations shines a spotlight on the singer’s incredible diversity as she has teamed over the years with the likes of Sergio Mendes and Will.i.am of the Black Eyed Peas, Chris Botti, George Benson, Al Jarreau and Kirk Franklin, Lupe Fiasco, Common, The Roots and Will Smith. Also returning in 2007 will be such Hidden Beach favorites such as Kindred, Mike Phillips and Jeff Bradshaw.
Hidden Beach is distributed by Universal Music Group Distribution. Please visit www.hiddenbeach.com for more information on Hidden Beach Recordings.
The legendary rock group, Toto, have confirmed their participation in the 5th edition of the Dubai International Jazz Festival 2007. This leg is the band’s first gig in any Arab world.
A band like Toto, has become a worldwide household name, with at least a disc or two on every music rack that includes songs dating back to the late 70s, songs we grew up listening to, songs we’ve heard on every radio station, hits that lived on and on and no matter how much we think that music evolved, we keep coming back and humming Toto’s songs unwillingly.
Toto is one of the rare gems of rock music, a band with its front man guitar player, Steve Lukather who have influenced generations of rock stars and other inspiring artists just like Elvis Presley and Jimi Hendrix did.
But the band doesn’t fall short of a legendary line up besides Lukather, stars whom each have also their own independent work and have played with other legendary artists, the likes of Simon Philips on drums, Mike Porcaro on Bass, Bobby Kimball on Vocals, Greg Phillinganes on keyboards and vocals and David Paich on Keyboards and vocals too.
Anthony Younes, Managing Director Of Chillout Productions, the founders and Organizers of the Dubai International Jazz Festival, said: “I am so excited to have arranged this leg for the Dubai International Jazz Festival 2007. I have a clear vision of the audience watching Toto live, yes I can see endless waves of fans stoned immaculate while witnessing how Steve Lukather and Toto are continuing to hone their chops and progress musically, up to perfection.”
And by the time Toto reach Dubai, they will be celebrating their 30th anniversary with songs that defy taste or musical back ground, hits such as "Rosana", "Stop Loving you", "Hold the Line" and "Africa" to name a few.
And with the release of their new Album, Falling In Between, nothing short of excellence and genius”, Toto will not only be playing their classical repertoire but also some new and fresh material that includes Toto’s most innovative sounds, songs in which Toto have upped and revamped their musical tastes and ideas and retooled them for a new generation.
Yes after 7 years of original studio inactivity one of the world’s most favorite bands returns with a dynamic illustration of why this group of 6 can be considered the most talented rock group ever assembled and lucky Dubai will be the eye witness to why Toto won 4 Grammy Awards and why each member has played on most of our best songs ever recorded.
“If anything, the band is stronger and vital than ever and they’re flying to Dubai to show a definite resurgence in their live musical powers. Toto live at the Dubai International Jazz Festival is already a divine memory written down in the chapters of history before their arrival here. And who knows maybe next year we’ll be resurrecting Janis Joplin, Jimi Hendrix or Jim Morrison.” Said Anthony laughing.
In almost 30 years, with some of the most skillful, interesting, and great music ever recorded, Toto who have already received their own star on Vienna's Walk Of Stars at the Gasometer on August 17th 2006, is not to be missed live at The Dubai International Jazz Festival 2007.
This new loving tribute features all-star performances by Patti Austin, Gerald Albright, Jonathan Butler, Norman Brown, Will Downing, Everette Harp, Jeff Lorber, Maysa, Najee, Wayman Tisdale, Kevin Whalum and Kirk Whalum
“Having the opportunity to know and to work with Luther has truly been a blessing. This album was important in that it celebrates Luther as both singer and songwriter.” - Rex Rideout, Co-Producer Forever, For Always, For Luther Vols. I & II
This November 21st, Rendezvous Entertainment will release Forever, For Always, For Luther Volume II. Once again produced by Rex Rideout and Bud Harner, Vol. II boasts a new cast of all-star singers and players.
“Huge personality, huge talent...Luther Vandross will be forever missed,” says Dave Koz. “But in true Luther-style, he left such large footprints for us to continue to inspire...as evidenced by this outpouring of musical love. I am thrilled and honored that Rendezvous could be part of the legacy, and help keep the man and his music alive.”
In keeping with tradition, Rendezvous Entertainment is partnering the release with the American Heart Association’s lifesaving campaign “The Power To End Stroke.” Especially targeted to the African-American community, the program seeks to raise the awareness of the warning signs of stroke in order to prevent or greatly minimize many of its debilitating consequences.
“When you look at the African American community, you see a greater disposition to virtually all the risk factors for stroke,” states the American Heart Association’s Dr. Bruce Ovbiagele. “This is exacerbated by the fact that there’s such a shortage of good, accurate information out there, especially in the black community on stoke. That’s leading to a stroke epidemic in the black community, and it’s critical that we act now to stop it.”
Preview the album before its release exclusively at www.rendezvousmusic.com
The dramatic news was music to the ears of loyal and passionate listeners of smooth jazz radio.
Greater Media announced last week that Michael Tozzi will be the program director of the "new" Smooth Jazz WJJZ 97.5 FM in Philadelphia when the format returns to the airwaves on Wednesday, Nov. 15.
"I cannot tell you what a thrill it is to be asked to help in bringing Smooth Jazz back to Philadelphia,” said Tozzi. “Greater Media is a company that many of my friends have been attracted to over the last few years, so I am delighted to be joining a team that is committed to winning in such a competitive marketplace."
Greater Media announced its agreement to acquire 97.5 FM from Nassau Broadcasting Partners last July. The acquisition will be finalized in November.
Greater Media will flip the current format -- Classic Rock WTHK/The Hawk -- to Smooth Jazz WJJZ 97.5 FM on Nov. 15.
The return of WJJZ will quell the firestorm of public outcry from numerous and extremely vocal disenfranchised smooth jazz fans in the market after Clear Channel abruptly abandoned the format in Philadelphia late last August.
"We are very excited about bringing smooth jazz back to the Philadelphia market," said Greater Media Philadelphia VP and market manager John Fullam. "We sensed a lot of disappointment among listeners and advertisers when WJJZ changed its format.
"It's gratifying to be able to relaunch a station with such a loyal following and one that has been successful for so long in Philadelphia and surrounding markets.
“Michael Tozzi is synonymous with WJJZ and is the natural choice to lead the way. Michael's passion, vision and leadership in smooth jazz will serve us well and we are thrilled to have him on our team."
After releasing three eclectic, critically-acclaimed albums, vocalist Victor Fields has found a comfortable niche to focus his soul-kissed adult pop songs of love. His Thinking Of You CD was released today by Regina Records. Joined by smooth jazz luminaries Richard Elliot (sax), Rick Braun (flugelhorn), Jeff Lorber (keyboards), Nelson Braxton (multi-instrumentalist) and Chris Camozzi (guitar), Fields fully explored the genre while serving up eight R&B cover tunes and two originals co-penned by Lorber on the Camozzi-produced collection. Naturally suited to his silky vocals, Fields’ version of the Bill Withers’ sunny classic, “Lovely Day,” was serviced to smooth jazz radio last month where it is presently garnering airplay.
Fields recorded Thinking Of You with Camozzi as close to live as possible at the famed The Record Plant studio in Sausalito, California, not too far from the Bay Area resident’s home. The album is up-tempo and organic comprised of elegant vocals over funky tracks. It’s decidedly more fun, more upbeat and more danceable than his previous releases (Victor, 52nd Street and Promise). Attempting to make each song a musical event, Fields carefully selects interesting and challenging songs that he can make his own by infusing his personality and energy. His phrasing, color and tone are distinctly jazzy and soulful. While Fields is naturally drawn to love songs, he’s quick to remind that not all love songs are slow and sad. In this era of disposable popular music and “flavor of the month” idols, Fields is a refreshing song stylist who truly studies his craft, sings songs of meaning and substance, and strives to create a significant body of work that will stand the test of time.
Thinking Of You has already begun earning praise. ABYSSJazz Magazine declared, “If you are looking for that soulful R&B crooner with a jazzy feel, Victor Fields is your man. His voice can be described as satin, velvet, suede…This album is all hits and no misses. With guest appearances by Richard Elliot on ‘Walking In Rhythm’ and Rick Braun on ‘Creepin’,’ you can’t go wrong.” SoulTracks wrote, “…the tasteful take given by Fields and the fine musicianship of the band make Thinking Of You a surprisingly enjoyable effort…His (Fields) unassuming, smooth lead plus strong, jazzy arrangements throughout make this a solid effort and fine late-night listening.”
Last month, Fields delivered a sterling performance with his band at the annual Radio & Records convention in front of an enthusiastic audience of key radio and music industry professionals. He also filmed an interview that will soon air on the nationally syndicated Smooth Jazz Television show. On November 10th, Fields will perform a concert in his “backyard” at the Regents Theatre in Oakland.
Having achieved wealth through business, Fields decided to pursue his true love: singing. He’s invested his own money into producing his albums and releasing them independently, which certainly isn’t easy. Top recording artists and musicians work with him because they believe in his talent. “I’m trying to be the best musically that I can be,” explained Fields. “I feel blessed to work with such great musicians. They inspire me to elevate my game and to come up with something special. What I aim to do is bring elements of old school jazz legends and classic R&B artists and merge them with the best of today’s musical sensibilities.”
For additional information on Fields, please visit www.victorfields.com.
Close your eyes. Imagine, if you can, a place where the various musical genres and styles have gathered; a melodic intersection of sounds culled from the four corners of the globe, inspired by the cultures and passions of the human condition – past, present and future. Now, listen closely as this sophisticated, yet primitive music takes you on a melodic journey around the world, and back…straight to your heart.
Now, open your eyes and meet TribalJazz.
TribalJazz is more than just an exciting new group. It's a movement - an approach to music making that incorporates cultural unification with celebration, meditation and improvisation. It is the brainchild of drummer John Densmore and flautist/saxophonist Art Ellis. Imagine John Coltrane's classic quartet gone tribal filled with accessible and memorable melodies – and you're on the right path.
Their self-titled album's opening two numbers provide a clear barometer of what this pan cultural septet is capable of creating. From the Afro-bob of the opener "Skytrails" to the laidback modal swing of "Blues for Bali," the essence unfolds as a fusion of jazz with Afro-Cuban, Brazilian and Latin rhythms.
Densmore, renowned in the rock universe as the founding drummer of '60s Los Angeles rock legends The Doors, is realizing a long-burning dream. "For thirty years I've wanted to make a jazz record. I am finally putting my sticks where my mouth is. I'd played with a few heavyweights at jam sessions, but that was about it. Then I met Art and immediately fell in love with his melodies. And he loves African music, as I do. At heart, we're just a couple of old school jazz dudes who love world music."
The spirit of John and Art's union first came together as proud, proactive parents at a fundraising concert for the music program for Canyon Charter Elementary School, opening for recording artist Randy Newman. Both men had volunteered but neither was in an existing group, so the event coordinators paired them up. Simply put, sparks flew - so much so that people asked them afterward if they were ever going to play together again. Thus, the seed for TribalJazz was planted.
Art Ellis, a veteran multi-reed player who’s played with R&B greats Bo Diddley and Freddie Scott (as well as African bands that have opened concerts for Sting, Herbie Hancock, Milton Nascimento and King Sunny Ade), had been writing some new music of his own. "I was working with producer Jimmy Haslip, bassist of the Yellowjackets and a hometown friend. I'd written these tunes and was playing them around town in a jazz quartet, but leaning toward another concept. I had been playing with four Nigerian Master Drummers in my band Magic Cartoons. We'd gig at jazz clubs and have people up dancing! The audiences were eclectic and diverse, both age and color-wise. But it was getting harder to book shows without having a well-produced CD. I ran the concept by John, who immediately began adding both his soulful drum sound and some unique production ideas.”
Excited, they booked some time at Stag Street Studio in the San Fernando Valley - a facility respected for capturing a warm, live acoustic sound - and assembled an incredible, culturally diverse group of musicians to bring the newly arranged songs to life. This included Wisconsin-born pianist Quinn Johnson, a film and TV specialist already seasoned in the ways of Latin Jazz fusion. There was Egyptian bassist Osama Affifi, a regular in Art's group who brought an expansive range via his acoustic upright playing with such acts as L.A.'s B-Sharp Jazz Quartet and singer Vanessa Paradis. There was Italian-born/Armenian-bred percussionist Christina Berio, who'd spent 18 years in Brazil playing with Paulinho Braga, drummer Grady Tate and jazz vocal icon Sarah Vaughan.
They took three songs from the sessions and mixed them at Capitol Studio 'A' with Bruce Botnick, who had engineered all of The Doors' records. Then John's lawyer suggested they send the demo to Hidden Beach Recordings - a record company known as hip and cutting edge. Label President Steve McKeever liked what he heard, but it was a subsequent fateful meeting that sealed the deal.
"McKeever has some serious ears," John states. "With him, I knew his interest in the group wasn't about my past. It was the music. After two meetings and phone conversations, I decided, ‘Enough with the talking,’ and did something without telling him. I asked Art to come to a meeting with his flute and master African hand drummer Marcel Adjibi. I strolled in with a cajon (note: a resonant, box-like Mexican instrument that the percussionist sits on and beats beneath them). I said to Steve, 'I know this seems corny - like something out of an office audition in the '50s - but we're just gonna play for you for a few minutes.' We started cookin' up a groove and you could feel everyone in the office getting into it. He signed us right there."
TribalJazz spent months perfecting the balance of multi-cultural elements they would unleash on their debut. "La Tormentas" is a two-tempo guajira with a smoky flute melody based on the Doors “Riders On The Storm.” “Vegetable Wizard" is a playfully seductive samba with Ellis on alto. The lovely "Lyria" (with a breathtaking introductory piano solo by Quinn Johnson) is a hypnotic spatial mediation in 6/8 time that was inspired by the distant constellation Lyra. The driving Afro-groove "Orange Midnight" opens with Art’s poem, which is translated and recited by Aziz Faye in Senegalese. Art explains "He's saying TribalJazz sees the world as one village...from the countryside to the big city. Music explodes with joy and lights up the village like an orange midnight.”
A more sobering view is expressed in "Violet Love," perhaps the most potent song on the TribalJazz CD. "I wrote it the day after 9/11," Ellis shares. "I was absolutely blown away by two things: the event itself and the fact that it leveled everyone into a state of aftershock. All the bullshit disappeared for a few days - football, fashion shows and advertising...things that ultimately don't matter much. People were starting to connect on a deeper level and I saw something very promising in that.” The remix of "Violet Love" features activist/musician/poet Michael Franti, leader of the band Spearhead.
Also exceptionally inspired is "The First Time (I Heard Coltrane)," a deep, reverential bow to the man who so deeply enriched the lives of both Densmore and Ellis: John Coltrane. The Los Angeles bred Densmore wore out his fake I.D. sneaking into LA clubs like Shelley's Manne Hole to see Coltrane's legendary quartet of McCoy Tyner on piano, Jimmy Garrison on bass and John's Herculean hero Elvin Jones on drums. Years later after befriending Jones and lionizing him in his Doors autobiography, Densmore told him, "YOU gave me my hands." As for Art - recalling the moment of epiphany when a friend played him "My Favorite Things" off the classic Atlantic Records Lp - the Upstate, New York-native gushes, "Next to my kid being born, that was the most spiritual moment of my life." 'Trane moved Ellis to put down his trumpet and switch to flute, soprano, alto AND tenor saxophone!
“We needed something to breathe life into Ellis' vibrant poem ‘The First Time (I Heard Coltrane)’," Densmore shares. "I had a brainstorm: 'Let's get a woman to do it...like she falls in love with the sound of Coltrane's horn.' I know the world class actress Alfre Woodard.” She did a couple of takes then asked if Densmore had any feedback. “I said ‘Well...imagine that the first time you heard that horn, it made you...hot.’ She said, 'Oh,' and that next take was it!"
Finally, TribalJazz could not ignore the golden opportunity to reshape one of The Doors' classics, "Riders on the Storm," originally recorded on their eighth and final album before lead singer Jim Morrison's death, L.A. Woman (1971). "Whenever we get ready to play it in concert," Densmore states, "I always say, 'Alright you all, we're gonna do ONE Doors song, disguised as a salsa. You're going to have to guess what it is...but I'll give you a hint.' Then I turn over a rainstick."
That rocker Densmore would turn to jazz after all these years should come as no surprise to anyone who has really listened to and watched him in action. "Jazz was my first love," he confesses. "I believe my jazz sensibilities and my affinity for Latin rhythms freed me up in the music I played with The Doors. Like on 'When the Music's Over' when Jim is doing his poetry - 'What have they done to the Earth?!' I don't know why but I just stopped playing time and starting doing these accents. Subliminally, I attribute that to Elvin (Jones). And when bossa nova came to the States from Brazil in the early '60s, The Doors were rehearsing and we thought, 'My God...listen to this stuff!' If you listen closely to 'Break on Through,' it's a bossa beat. I just played it stiff instead of fluid 'cuz I wanted it to rock."
"Dynamics is my thing," says Densmore, who started out on piano at age 8 then switched to drums in his junior high school marching band. Summing up his approach to arranging music, he continues, "It's all about the spaces between pianissimo (very soft) and fortissimo (very loud). I've never been the fastest drummer in the world. When jazz-rock fusion flourished in the '70s, I went nuts. My two feet could never do what (drumming legend) Billy Cobham's could do with one! But I've always been about dynamics. It's what brings the breathing and the drama to the music.”
Surveying the stellar musicians who surrounded him now as members of TribalJazz, Densmore muses, "I have a global village in this band - men and women, White guys and African Americans, young lions and elders like me. Some may consider it yesterday’s news, but I'm still down with Jesse Jackson and the Rainbow Coalition. And if any element of that is missing, Planet Earth ain't gonna make it. We all have a unique contribution to make.
"We're playing music for today about today," Densmore concludes, "trying to mix cultures and create some healing. Look at how the planet is these days. I want to build bridges, not bombs. If we don't even start thinking bout unity, we'll never truly conceive it. What better way to do it than through music.”
Clubby “Metro” will be the first track serviced to radio
Focusing on performance, improvisation and really playing from the heart & soul, fueled by the metropolitan sounds and influences of his hometown of Chicago, saxman Steve Cole will release his fifth album, True, on November 21st on the Narada Jazz/Blue Note Label Group record label. Cole produced this engaging record that sets the bar high on each song. Prefacing the album release will be the servicing to smooth jazz radio of the house music-inspired “Metro,” which goes for adds on October 23rd.
With a title that takes on a host of meanings, True signifies a return to innocence for Cole, going back to the roots of the music that touched him during his formative years. Recalling Grover Washington Jr., David Sanborn, Spyro Gyra, George Benson and others, Cole also couldn’t help from being influenced by the music from his own backyard and the iconic artists who have emerged from Chicago, such as Quincy Jones, Curtis Mayfield, Rufus, and house music. After writing or co-authoring nine new songs, Cole sought musicians of the highest level whom he could “feel, people who truly care and bring the kind of magic that can only happen organically.” Some of those special players were Jeff Golub, Steve Rodby, David Mann, Ricky Peterson, Lenny Castro and Khari Parker.
“People want an honest, human portrayal of the music, music that is truly what you’re about naturally,” explained Cole. “I wanted to focus on giving a unique performance on each track and really playing. How a musician improvises when soloing off the melody reveals the true heart & soul of the artist and the depth of their artistry. I wanted the music on this record to be more expressive, something that people can feel authentically.”
True is a well-crafted album from beginning to end that was recorded as close to “live” as possible. It opens big with “Bounce,” as massive Chicago horns blast you with a sweaty dose of deep-fried funk. The sultry and sophisticated “Cote Seine,” featuring Rodby’s nimble basswork, adeptly blends contemporary and be-bop jazz riffs. A couple salutes to music legends are also standouts: “Curtis” is a soulful nod to Mayfield, while “Just A Natural Thing” pays tribute to Jones. Writing pop anthems like “Take Me” comes easily to Cole. Layers of horns funk up “Something About You.” “Metro” boasts an extended sax solo that’s both expressive and functional. “Closer” is an unabashedly “cuddle up close” slow jam. Cole plays both soprano and tenor saxes on “Come With Me,” in addition to wielding acoustic and electric guitars, keyboards and synth bass.
After studying modern classical music for saxophone at Northwestern University, Cole earned an MBA at the University of Chicago. Making his debut in 1998 with the Atlantic Records release, Stay Awhile, he scored three radio hits out of the box that helped him garner the 2000 Oasis Smooth Jazz Prism Award as Best New Artist. Subsequent albums – Between Us, NY LA, and Spin - have also spawned radio hits; he’s amassed four #1 singles to date. Cole has toured and/or recorded with Brian Culbertson, Junior Wells, Boz Scaggs, Larry Carlton, Jeff Lorber, Freddie Cole, Cyrus Chestnut, KMFDM, Rick Braun and others.
Steve Cole’s True contains the following songs:
“Bounce”
“Something About You”
“Cote Seine”
“Metro”
“Curtis”
“Closer”
“Just A Natural Thang”
“Come With Me”
“Take Me”
SwissGroove.ch, now the home of SwissGroove & SmoothVibes audiochannels, is proud to announce today the launch of its newly designed website, created by nothing.ch.
While earlier facelifts of the site has been done internally, the new website has been planned and realized by professional web designers from Switzerland.
"It's high time we develop a website that really lives up to not only our sense of quality, but also that of our listeners. It reflects our intention and aim to be regarded as serious entrepreneurs within the online-radio business. It must serve as an attractive and well structured platform so that advertising companies, sponsors and partners feel comfortable having their names and logos displayed on it," says Thomas P. Illes, PR & Marketing Director.
The designers have done an excellent job: the website contains a simple navigation menu, an attractive, clean layout and lean programming.
Time goes on and the progress within the online-radio sector is fast and steep. "We carefully evaluate the infrastructure and technology in use on a regular basis so that we can adjust them quickly, as the needs of our high quality biased listeners dictate," says founder Patrik Jungo.
Besides the newly launched website, the makers have also succeeded in partnering with All Blues, the leading concert-agency within Switzerland in the Jazz, Soul, Blues & World sector. "Thanks to the Internet, our audiochannels can be heard worldwide. We want to be best known and most listened to locally here in Switzerland, but, of course, don't mind if people from other countries fancy our radio, too," says Patrik Jungo.
SwissGroove listeners may also look forward to some new Station Ids & Jingles that will be introduced in October on both channels. They will be produced by Devaweb in Great Britain, the company who has already been in charge of the ones currently used on SwissGroove.
Moreover, a special radio shows fully dedicated to Jazz, produced and presented by Thomas P. Illes, aka DJ Thilles will soon be introduced. The show will be called Exploring Jazz and will be broadcasted weekly.
Now, it's time for you to check out our new website at www.swissgroove.ch, where you will find further information about SwissGroove, the music and people behind this innovative venture.
Chillout Productions, winner of the Award for the Best Festival in the UAE has announced the dates for the 5th edition of the Dubai International Jazz Festival 2007, which will run for nine days instead of three. The festival will take place between March 1, and 9, at Dubai Media City and at Madinat Jumeirah Outdoor Amphitheater.
“Due to the overwhelming and maintained growth of audiences by 20% each year since the beginning of the Dubai International Jazz Festival in 2003 and due to the large demand of fans and friends of the festival, we have decided to extend the festival to nine consecutive nights and add an additional venue.” Said Anthony Younes, Managing Director for Chillout Productions.
This year, the festival will showcase an incredibly diverse array of more than 24 internationally recognized recording artists. Featured genres include everything with a jazzy flavor: singer-songwriter, rocket-fueled funk and bluegrass, pop, blues, rock, reggae, and afro-centric music.
The Dubai International Jazz Festival 2007 is the only mutli-day music event of its caliber in the UAE and the region where music-loving souls meet. This year the 1st six nights “March 1-6” will take place at Madinat Jumeirah outdoor amphitheater and will feature 12 mainstream jazz bands and artists from different parts of the world whereby the admission is free for all.
The last three nights, “March 7-9” will remain at the Dubai Media City outdoor amphitheater park and will host 12 world-recognized, legends and pop acts.
“Last year, we have witnessed more than 21,500 fans flocking into the festival. This year we speculate a tremendous increase of fans’ attendance during the 9 days and thus create a new chapter in the history of Dubai International Jazz Festival.’ added Anthony.
[Festival home page] [Infos for artists interested to perform at this event]
After the great success of Drum’n’voice – All That Groove distributed world wide by Sony on 2001, within few weeks Nicolosi Productions will release Billy Cobham Drum’n’voice Vol. 2 in which Billy Cobham is performing with some old friends from the ‘1970's when musicians first experimented with jazz-rock 'fusion' (this involves the combining of jazz musical concepts with rock and roll rhythms) - and show that those years still can be inspirational.
Nicolosi Productions is following the usual formula and again is offering a great list of guests like: Brian Auger (hammond organ), Buddy Miles (voice), Frank Gambale (el.guit.), Mike Lindup (voice), Dominic Miller (guitars), Jeff Berlin (el.bass), Guy Barker (flicorno), John Patitucci (el.bass), Airto Moreira (perc.), Novecento (band) and Jan Hammer (synt. 30 years after Spectrum), inside a panorama of pop, electric jazz, funky, blues, smooth and world music.
With the first Drum’n’Voice, Billy Cobham made himself approachable as well for the less used to the jazz sonority - something that has given to him the vantage to increase his popularity - the Drum’n’Voice Vol. 2 abandoned a good part of the pop concepts and presents sounds that stand strongly with jazz, rock, funky and blues.
Here Cobham is again the album’s soul as his guests take strength in their performance from his drumming. A home coming that is clearly updated from the Seventies.
The Nicolosis Brothers (owner of the label) are the authors of all the tracks but two: Real Funk written in collaboration with Buddy Miles and One more time to live in collaboration with Dominic Miller and Mike Lindup.
At the moment Nicolosi Productions features an album on world wide distribution with Wrasse: Gregg “Kofi” Brown’s Together as One (feat. Sting).
Another one of their productions, Novecento’s Dreams of Peace featuring Stanley Jordan, has been on top (1st place) of CD101.9 Smooth Jazz in New York on 2003.
More info on Nicolosi Productions: www.nicolosiproductions.com
More info on Billy Cobham: www.billycobham.com
Releasing date: September 20, 2006
Track list:
1. Waveform (feat. Brian Auger)
2. Real Funk (feat. Buddy Miles-Frank Gambale)
3. Running (feat. Novecento)
4. Final Destination (feat. Novecento)
5. One More Day To Live (feat. Mike Lindup-Dominic Miller)
6. Ozone Part 1 (feat. Airto Moreira)
7. Ozone Part 2 (feat. Dominic Miller, Jan Hammer, Jeff Berlin)
8. Take Seven (feat. John Patitucci)
9. Let Me Breathe (feat. Novecento)
10. Amazon (feat. Airto Moreira)
by Val Vaccaro
The 1st annual CD101.9 Liberty Jazz Festival presented by The Star Ledger will take place Saturday September 9th through Sunday September 10th, 2006. (http://www.cd1019.com/feature/liberty_jazz.aspx); (http://www.starledger.com/)
The exciting new Festival will be held in Liberty State Park in New Jersey, about 200 feet away from the Statue of Liberty. Smooth jazz fans can have a double delight with watching some of their favorite artists perform, while being so close to the iconic statue, with the beautiful New York City skyline in the background. The Festival is being promoted as the culmination of CD101.9FM. summer events that included the Cool Cruise concerts (which depart from New York City's Chelsea Piers and cruise around lower Manhattan and near the Statue of Liberty).
ON SATURDAY, SEPTEMBER 9th, the Festival will have shows from 12 noon to 10pm. The festival will kick off with the Spirit of Life Ensemble featuring Daoud-David Williams.
Popular, eight-time Grammy winning legendary guitarist/vocalist George Benson will be there to perform a great, uplifting show with dozens of hishits such as "Breezin,'" "Turn Your Love Around," "Give Me the Night" and "This Masquerade." George's upcoming CD is a duets album with singer Al Jarreau called Givin' It Up (to be released in October). The CD has special guests including Chris Botti, Patti Austin and Paul McCartney.
Also gracing the stage will also be the legendary tenor saxophonist Gato Barbieri, with his passionate, emotive style who has recorded an amazing 50 albums, including his classic Caliente! (1976) with his signature renditionof "Europa" to lush, gorgeous tunes such as "Into the Sunrise" on the CD Que Pasa (1997) - the fourth highest selling Contemporary Jazz album that year. Another treat will be guitarist Gil Harris (who has toured with Blood Sweat& Tears).
To top off this special evening, the finale concert jam will feature a superstar group with vocalist Patti Austin, guitarist Norman Brown, pianist Alex Bugnon and saxophonist Paul Taylor. Patti Austin's now classic duet with James Ingram "Baby Come to Me" is amongst the most popular song in the vocalist 's repertoire. Her music is adored by fans as she tours around the world. Austin has recorded 16 solo albums. Recently, Austin recorded a live CD with a big band called For Ella, a tribute to Ella Fitzgerald. At present, Austin, is working on her next CD entitled "The Highest Standards," a concept album of inspirational, empowering songs in celebration of the "higher standards " in life, love, and the pursuit of happiness.
For over ten years, Norman Brown has been working his magic on the guitar. When you listen to CD101.9FM, you probably hear Norman Brown's classic, catchy cover version of "Any Love" or his catchy song "Better Days Ahead." In 2002, Brown's CD Just Chillin' - won a Grammy® in the prestigious Best Pop Instrumental Category. Brown was also part of the successful BWB group with their 2002 CD Groovin' with Kirk Whalum and Rick Braun. Brown's current CD West Coast Coolin (2004)
Its' been 11 years since the release of Taylor's debut album On The Horn. His current CD Nightlife (Peak Records) is a sensuous soul jazz vibe similar to his Steppin' Out CD. "Steppin' Out," was the popular titletrack from his 2003 Top Ten Billboard Contemporary Jazz album. Taylor has toured the U.S. with the all-star "Groovin' For Grover" lineup with Jeff Lorber, Richard Elliot and Gerald Albright. He also made his acting debut on the legendary ABC soap opera One Life To Live.
Pianist Alex Bugnon's lush melodic hits have been played on CD101.9, from "107 Degrees in the Shade," to the gorgeous, inspirational "Love Season," to the pretty tune "Around 12:15am." His most recent album, Free (2005) is a mixture of exotic rhythms with haunting, soulful melodies.
On SUNDAY, SEPTEMBER 10th from 12 noon to 8pm, there will be another great day of jazz in the sun at Liberty State Park.
The first afternoon concert will feature Stanley Jordan, the brilliant, classically influenced jazz guitarist, known for his special guitar technique, as well as his smooth jazz hit cover of the tune "Lady in My Life" (originally from his CD Magic Touch). Jordan's new CD is called Ragas featuring Jay Kishor (on sitar), of music in the Indian classical tradition. Jordan has also has an interest in the healing of music therapy.
Next onstage will be legendary alto saxophonist David Sanborn. A six-time Grammy winner, Sanborn has released over 20 solo albums since 1975. One of the innovators of the pop-jazz alto saxophone sound, Sanborn has worked with Eric Clapton, Stevie Wonder, The Who, Miles Davis and many others. Sanborn's CD Timeagain (Verve 2003) featured the hit cover tune of "Comin' Home Baby" and includes classics such as "Tequila" and "Isn't She Lovely" as well as many bluesy, soulful songs. Recently, CD101.9 has been playing Sanborn's version of "Got to Give It Up". Some of Sanborn's biggest hits include "Chicago Song," "This Masquerade," "The Dream," and "Benny."
Another highlight of this year's first annual Liberty Jazz Festival will be the "Guitars and Saxes" show with some of smooth jazz genre's most popular artists: saxophonists Richard Elliot and Gerald Albright and guitarists Jeff Golub and Peter White.
Richard Elliot's highly dramatic tenor saxophone's distinctive growls and heartwarming sounds can be heard on his trademark tune "When a Man Loves a Woman," as well as "Ain't Nothin' Like the Real Thing" and his cover of "Secret Love." Metro Blue (ARTizen Music Group), Elliot's 14th solo album includes three catchy hits: The Stylistics' classic R & B tune "People Make The World Go Round," an optimistic, passionate original tune "Mystique," and the soulful song "Inside Out."
Jeff Golub is known for his funky, boisterous covers of the Average White Band's " Pick Up The Pieces" (Avenue Blue CD) and "Cut The Cake" (from the CD Do It Again). He's also recorded a catchy duet with Peter White "No Two Ways About It" (on the CD Dangerous Curves). On the Do It Again CD, Golub recorded the classic tune "Cold Duck Time" with Gerald Albright, which they get to do live - a real treat! Golub has an incredible repertoire, with tunes such as "Uptown Express" spiked with a spunky Wes Montgomery inspired spin from Temptation, his current CD on the Narada Jazz label). Also, Golub has a new CD in the works.
Gerald Albright's bright, bluesy and uplifting tone on alto sax and incredibly high altissimo notes are instantly recognizable. His cover of Luther Vandross' hit "So Amazing" demonstrates his incredibly inspiring range and power. Albright's improvisational prowess and soulful sounds delight on other hit tunes like "My, My, My" and "Bermuda Nights". Albright expressively soars on the classic Ray Charles tune "Georgia On My Mind"- featured on the current CD New Beginnings (Peak Records), his 11th recording as a solo artist.
Peter White's smooth grooves have earned him the title "Guitarist of the Year" four years in a row from National Smooth Jazz Awards. Peter's new CD is Playin' Favorites (Sony), a follow-up to his popular CD Reflections of romantic cover tunes, as well as his cover of the Isley Brothers' tune "Who's That Lady" (from the Glow CD). White's new CD includes the single "What Does It Take (To Win Your Love)" - the old Junior Walker song - and the classic Grover Washington tune "Mister Magic" - a favorite or as White would prefer, a "favourite" (British version) song of fans and musicians alike.
The big CD101.9FM Liberty Jazz Festival finale will be a fantastic show with the Rendezvous All Stars featuring: saxophonist Kirk Whalum, bassist Wayman Tisdale, guitarist/vocalist Jonathan Butler, and pianist Brian Simpson.
Bassist Wayman Tisdale's current CD, Way Up, was aptly named by Dave Koz, because it's been topping the smooth jazz radio charts since it's release this past June. Hear a note or two, and you instantly recognize the buoyant bass sounds of Wayman Tisdale on songs like his current hit "Get Down On It" on his 7th CD, Way Up (2006 Rendezvous), the enthusiastic cover of "Ain'tNo Stoppin' Us Now" (from the CD Hang Time) or "Can't Hide Love" (from the CD Face to Face). This past June, during an instore appearance at FYE Records in New York City, Tisdale said that Marcus Miller once told him that if the audience can recognize an artist in a note or two, he's achieved something great.Tisdale has certainly done that and more.
It's always a great pleasure to hear the ever soulful, smooth sounds of Kirk Whalum. For the past few months, Whalum has been touring with the Rendezvous All Stars. His latest CD is Kirk Whalum Performs the Babyface Songbook (Rendezvous Records), which includes covers of hit songs such as "Can We Talk," "I'll Make Love To You," "When Can I See You," and "Someone to Love." One of Whalum's specialties for over a decade has been doing beautifully soulful interpretations of R&B tunes (e.g., "Ascension," "Same Ole' Love," "My All," "If Only For One Night" "God Must Have Spent (A Little More Time With You)" ). Next year, Whalum will have the honor of being the first full-time artist in residence at the Stax Music Academy in Memphis, Tennessee.
The sensitive stylings of South-African guitarist/songwriter Jonathan Butler' s latest CD is simply titled Jonathan (his debut on Rendezvous). The first single is Butler's poignantly beautiful cover of the classic "Fire and Rain." Another tune on the new CD is "Mandela Bay," an optimistic,joyful tribute to the legacy of Nelson Mandela.
Pianist Brian Simpson's catchy, enthusiastic, upbeat hit song "It's All Good" (the title track to his current solo CD (Rendezvous) is a breath of fresh air on smooth jazz radio. Simpson was musical director and touring keyboardist for Dave Koz and pop star Janet Jackson.
This year's Liberty Jazz Fest promises to be a wonderful experience! We hope it will become a tradition and look forward to next year's Fest.
GENERAL INFORMATION: Smooth Jazz fans can purchase a 1 day or a 2 day pass (Liberty Jazz Festival 2 Day Pass). Two types of tickets are available, VIP tickets (assigned on a first come basis in reserved seating near the stage, with access to the VIP tent that has separate food service and restrooms) and also lawn tickets. Children who are 6 years old and under can attend for free. So you can bring the kids!
Here's the Schedule:
Saturday 9/9 *
11am - Shuttle Buses from parking lots available
11:30am - Will-call ticket window opens
Noon - Gates open!
12:30pm - Spirit of Life Ensemble featuring Daoud-David Williams performance
2:00pm - Gil Parris performance
3:30pm - Gato Barbieri performance
5:00pm - George Benson performance
7:30pm - Norman Brown, Patti Austin, Alex Bugnon & Paul Taylor all-star jam finale!
Sunday 9/10 *
11am - Shuttle Buses from parking lots available
11:30am - Will-call ticket w indow opens
Noon - Gates Open!
12:30pm - Stanley Jordon performance
2:00pm - David Sanborn performance
3:30pm - GUITARS & SAXES with Jeff Golub, Richard Elliot, Gerald Albright and Peter White all-star jam
6:00pm- RENDEZVOUS ALL-STARS with Wayman Tisdale, Kirk Whalum, Jonathan Butler and Brian Simpson all-star finale!
*all times subject to change
Major Fall Tour Planned
Madeleine Peyroux, the smoky voiced singer whose remarkable recent success made her one of the major surprise hit stories of last year, has completed work on her new album titled Half the Perfect World, set for release September 12 on Rounder Records. Peyroux spent the month of April in Los Angeles recording with producer Larry Klein, who also worked with the singer on her worldwide million selling smash Careless Love. Klein recently told the Wall St. Journal that Peyroux is working with an “expanded palette,” while the newspaper predicted the new album “may expand...her audience.”
Besides landing on top ten album of the year lists in Newsweek and the Wall St. Journal among many other critical coups, Careless Love is nearing Gold in the US with another 600,000 for the rest of the world. It’s Gold in the UK, France and Australia.
Plans are in the works for major touring in the Fall. For more information on Half the Perfect World and the Madeleine Peyroux tour visit http://www.rounder.com/?id=artistHome.php
Founded in 1970, Rounder Records is America's premier independent label. Rounder and its Zoë, Heartbeat, Philo and Bullseye Blues imprints have a catalog of over 3000 albums, representing a wide variety of folk, roots, rock, blues, and reggae music.
Join us in celebrating Jazz And The New Songbook Artists, starring Carmen Lundy Sun. September 10 at 7:00 p.m. at the Ford Amphitheatre in Hollywood! Win a $100 Gift Card to amazon.com and an autographed concert poster signed by Carmen Lundy and the New Songbook Artists.
A summit of jazz notables who’ve won acclaim far and wide. Vocalist Carmen Lundy, violinist Regina Carter, pianist Robert Glasper, trombonist Steve Turre, guitarist Phil Upchurch, and a dozen more — open an international tour spotlighting their own compositions.
Tickets: $30 Students and Children 12 & under $12 Ford Amphitheatre www.FordAmphitheatre.org 323.461.3673 for tickets
Tour Dates:
09/10/2006 John Anson Ford Amphitheatre Hollywood, CA
09/21/2006 Club Istanbul,TR with the Robert Glasper Trio
09/22/2006 Club Istanbul,TR with the Robert Glasper Trio
09/30/2006 Berklee Beantown Jazz Festival Boston, MA 02118
10/02/2006 UMO Jazz House Pursimiehenkatu 6, Helsinki, 00150,FI
10/03/2006 UMO Jazz House Pursimiehenkatu 6, Helsinki, 00150,FI
10/04/2006 UMO Jazz House Pursimiehenkatu 6, Helsinki, 00150,FI
10/19/2006 Miami Performing Arts Center Miami, FL 33109
10/20/2006 Hyatt Regency Hotel Cincinnati, OH 45245
10/21/2006 Jazz Mentors Program Princeton, NJ 08540
10/22/2006 Jazz Mentors Program Princeton, NJ 08540
03/04/2007 Disney Concert Hall Los Angeles, CA 90001
03/25/2007 -04/05/2007 Italy Tour 2 weeks in various cities in Italy. With The New Songbook Artists.
Grammy winner Skip Martin of Kool & the Gang and the Dazz Band releases his debut jazz CD Miles High today. ‘Are You Ready’ the debut single with Skip on trumpet and vocals, features Wayman Tisdale on bass guitar and 6-time Grammy winner Ricky Lawson on drums. The 13-track CD also features sax man Ronnie Laws, 5-time Grammy winner Al McKay of Earth Wind & Fire and Bruce Conti of Tower of Power. Miles High will be in stores on Tuesday, August 8, 2006.
The idea of Skip Martin’s debut jazz project was pure and simple – “it was just time”. With over 26 album releases as lead vocalist with the Dazz Band, Kool & the Gang and his own solo projects, Skip wanted to record a project where he did his ‘singing’ through his trumpet. “I’ve recorded with both groups in the horn section but never as a solo artist,” stated Skip. The result is Miles High filled with hip, cool, funky, smooth jazz grooves. “You’ll definitely come away ... with ... a sense of what Miles might be doing musically if he were still with us.” (Scott O’Brien for smoothjazz.com).
‘Are You Ready’ is “...a laid back blend of classic styles. If Freddie Hubbard and Donald Byrd were in the same band they would open their set with this tune...” (Gene Harris, Jr., MBA and Cat Lee for GrooveDoctorsRadio.com). Ronnie Laws appears on the ‘Smooth Sailing’ track in a beautiful trumpet and sax duet – ranging from sultry grooves to profound narratives.
‘Miles High’, the title cut, a tribute to Miles Davis written the night Miles died, clearly shows an insightful range of diverse influences from the modern jazz era known as the Miles Years. “... jazz that can appeal to the novice and seasoned listener...” (Enorman for soulpatrol.netradio).
Al McKay comes through on guitar with the track ‘Old School Rules’ and Bruce Conti also on guitar is featured on ‘Careless Whisper’. The album includes the first recordings of spoken word poet Bronze Paragon on the tracks ‘Are You Ready’ (Spoken Word) and ‘Apropos’ (Spoken Word) – which just make you sit up and listen. “I’m very excited about this project” admits Skip Martin. “It took 2 years in the making with a few starts and stops but the journey was well worth the time.”
The album is beautifully mastered by multiple Grammy winner Bernie Grundman.
MILES HIGH TRACKLIST
1. Do Da
2. Smooth Sailing (featuring Ronnie Laws)
3. Apropos
4. Are You Ready (featuring Wayman Tisdale & Ricky Lawson)
5. I Give My Heart
6. Miles High
7. You Are My Starship
8. Are You Ready (Spoken Word)
9. Old School Rules (featuring Al McKay)
10. Moon Splash
11. Monster Bites
12. Apropos (Spoken Word)
13. Careless Whisper (featuring Bruce Conti & Ricky Lawson)
Heads Up Set Features Guests Brian Culbertson and Kirk Whalum On Single Cover Of Carole King’s Classic Hit, “It’s Too Late.”
It’s taken veteran guitarist Doc Powell two decades and the celebration of his tenth solo record to reveal that he’s been in the closet , hiding his passion for the acoustic and classical style of guitar. But core fans of his patented electric guitar licks won’t be disappointed, because Powell blends dueling guitar styles and yet another dimension to his arsenal of skills on his self-titled new set. The contrasting styles are brilliantly displayed on the records lead single, “It’s Too Late,” an inspired groove-laden arrangement of Carole King’s classic seventies hit which also features special guest appearances by Grammy award winning saxophonist Kirk Whalum and chart-topping keyboardist, Brian Culbertson.
Powell has built a legacy as a musical chameleon, traversing from one genre to another without losing a beat. He’s contributed to over 125 recordings of some of the premiere recording stars in R & B/Pop, like Stevie Wonder, Aretha Franklin, Teddy Pendergrass, and enjoyed a 12-year stint recording and performing with the late Luther Vandross. He’s also played with jazz greats Lonnie Liston Smith, Bob James, the late Grover Washington Jr., and Stanley Clarke, and with gospel superstars, Shirley Caesar, The Might Clouds of Joy, Ce Ce Winans, Yolanda Adams, Donnie McClurkin, and performed and recorded with gospel’s record-breaking superstar Kirk Franklin since 2002.
In fact, Powell, who has personally financed and run his own homespun record label, DPR Music Group, with his life partner and wife of 25 years, (and former manager of the late Phyllis Hyman) started recording his new set on buses, in hotel rooms, and backstage while touring with Franklin on his mega three-month national Hero, tour launched in November 2005. Doc Powell, is his third release with Heads Up.
His decision to integrate acoustic with electric guitar comes after picking up a Martin guitar that he started playing five years ago. “The Martin guitar has a voice and tone that is more true to a classical guitar sound,” says Powell, “and I wanted to integrate that with the electric style I’ve most known for playing. At one time, I even thought about naming the record, “Duets,” because I’m showing two sides of myself, and often on the same track.”
On, “It’s Too Late,” Powell even offers listener’s two versions - an electric version that features a sizzling duet between him and Kirk Whalum, with Brian Culbertson adding a touch of elegance on acoustic piano, and background singer Faith Anderson supplying sparse vocals – And an “Unplugged” version that is more organic – with an emotional arrangement and gentle percussion by Pablo Batista. “I wanted a song that was universal and that music fans from my generation could identify with,” says Powell, “and I feel each version is unique and special in its’ own way.”
Like his nine previous recordings, Powell mixes soulful straight-to-the-heart melodies, with infectious and cutting edge grooves, laced with some retro R & B and compelling rock and jazz tones. Since the bulk of the record was written while Powell was touring with Franklin, he used Franklin’s musicians to lay down most of the tracks, including Franklin’s co-producer and musical director, keyboardist Shaun Martin, along with keyboardist Jerome Harmon, Matt Cappy on trumpet, Pablo Batista on percussion, Derek Ray on bass guitar and DJ Ernie Green. He also enlisted the talents of fellow label mate Bobby Lyle on keyboards, who is featured on the CD’s explosive Latin-fueled gem, “Me, Myself and Rio.”
While the musicians show off their prowess on the sexy slo-jam, “Hip Pocket,” the acoustic funky, “Hey,” and the retro grooved, “Another Place And Time,” Powell also branched out to collaborate with Grammy Award winning producer Barry Eastmond (Whitney Houston, Anita Baker, Jonathan Butler) who co-produced the seductive and romantic ballads, “Let Go,” and “Together We Can.” “On that track,” Powell attests, “I’m playing octaves on the electric guitar in a Wes Montgomery style, and the acoustic guitar is playing the same thing but in a different tone.”
Powell’s musical journey started in Spring Valley, NY. He began playing guitar at age six and later studied at the University of Charleston, West Virginia. After college he land session work in NY, honing his skills on live recording sessions, cutting commercials, and a few movie soundtracks. He also scored a gig as a solo artist at Mikell’s, one of Manhattan’s hot jazz clubs, where veterans like Art Blakely and The Jazz Messengers, McCoy Turner, George Benson and Miles Davis frequented.
In 1987, he released his first solo record, Love Is Where It’s At, and earned a Grammy nomination (Best R & B Instrumental) for his cover of Marvin Gaye’s signature hit, “What’s Going On.” A string of well-received releases followed, most notably Inner City Blues, which was funded and released on his own imprint, West Coast Records. Recalls Powell, “I took all the money I had earned touring with Luther and was ready to sell it door to door.” In fact, the keyboard Powell used to lay the tracks was a birthday present from Vandross.
Powell’s dozen years performing with Vandross, catapulted him to another level as a musician, and was highlighted by his legendary rock guitar solo on one of Vandross’s biggest hits, “Stop To Love,” which is still imitated by rockers today. He also performed on Vandross’s history-making 10 days at Wembley Stadium (1989) that broke the previous record held by Elton John. Powell was featured on five of the stars biggest CD’s, including, The Night I Fell In Love, and Give Me The Reason.
In 1996, Powell enjoyed his biggest solo commercial success with his Laid Back, CD. The record yielded two Top 10 hits, including “Sunday Morning,” which made history at smooth jazz radio by achieving the most spins (over 1000) in it’s first week of release. By year end’s Laid Back, was rated the #2 jazz record of the year.
A few years later, Powell surprised his jazz fans with his first entrée into contemporary gospel, I Claim Victory, which Powell created not only to fulfill his own passion for the music, but also a fund-raising tool for his church. Not surprisingly, Powell ended up serving as the band leader for gospel superstar Kirk Franklin on his mega “Hopeville Tour,” which also featured headliners Donnie McCurklin and Yolanda Adams. He later recorded and toured on Franklin’s current platinum-selling Hero CD.
Doc Powell fans will probably revel in discovering his “acoustic side,” and according to Powell, even after twenty years and ten solo records, the real joy in making records has always been the same, “The most exciting thing is the first time someone tells me that he or she connected somehow to what I was feeling at a specific moment,” he lauded, “That’s very satisfying and that’s when I know I’ve been successful.”
CD Release Date: August 22, 2006
Smooth Jazz guitarist Ken Navarro has begun to record his next CD. The new CD is called The Meeting Place. It includes 11 new songs and will be released December 1, 2006 exclusively at www.kennavarro.com followed by national retail and radio release on January 16, 2007.
Beginning August 1, there will be an entire section at Ken's website devoted to following the creation and recording of his new music. (http://www.kennavarro.com/newcdkn/mp.htm)
Included will be weekly video and audio previews as well as regular diary entries by Ken following the progress of his CD to its completion. There will also be special offers for visitors to Ken's website to purchase the CD well in advance of the retail release date with free extras only available when purchased at www.kennavarro.com.
In addition, subscribers to Ken Podcast Series (http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=160275933) will receive free weekly podcast updates from Ken.
Album title inspired by her brother’s battle with mental illness; “Mildred’s Attraction” will be the first track serviced to radio
Sometimes we’re inspired by those closest to us. For her seventh album, chart-topping cool-jazz guitarist Joyce Cooling turned to her brother for inspiration on her forthcoming Narada Jazz/Blue Note Label Group release, Revolving Door, which will arrive in record stores nationally on September 12th. Cooling’s brother has been battling schizophrenia ever since they grew up together. She wrote the songs that comprise the album with her long-time collaborator Jay Wagner, who produced the collection. A portion of the proceeds from album sales will go directly to the National Alliance on Mental Illness (NAMI) to help support people living with mental illness. The first track being serviced to smooth jazz radio is the uplifting and funky “Mildred’s Attraction,” which will go for adds on August 14th.
Revolving Door is the most personal recording from Cooling to date. It’s an eclectic body of electric and acoustic jazz, R&B, blues and Latin rhythms that allowed the Bay Area resident to stretch creatively. She used ten different guitars on the ten compositions, each with a different sound that was used to fit a specific emotion for each particular song. Cooling croons on several cuts, her voice chill, elegant and jazzy. The melodies and moods are diverse and although the title cut inspired the record, the subject matter, while at times pensive, never becomes depressing or overwrought with despair. Instead Cooling offers compassion and understanding.
“I wanted to make the music real and about something that matters,” explained Cooling. “Revolving Door is different from the rest of our CDs in that we wanted to tell the story first, and then let the music follow. ‘Revolving door’ is a metaphor for a situation we humans often find ourselves in where there is seemingly no beginning and no end to a problem. It can be a frustrating treadmill with the same path ruthlessly cycling under your feet.”
A photogenic natural beauty with a humble, down-to-earth attitude, Cooling is looking forward to playing the revealing songs on Revolving Door in concert, where she hopes to connect with fans in a more meaningful way. She’s already got a few concert dates lined up for the fall with a full itinerary to be announced later.
The New Jersey native is self-taught and she developed her distinctive finger-picking style on her own. After debuting in 1990 with an independently released album, she landed her first #1 radio single (“South of the Market”) in 1997. Reaching her creative stride, Cooling has had several #1 singles and a handful of Top 10 smooth jazz radio hits. She was voted “Best New Talent” in a Jazziz Reader’s Poll, won the Gibson Guitars Award as “Best Jazz Guitarist of the Year” and was nominated as “Smooth Jazz Artist of the Year” by the Gavin Report.
Joyce Cooling’s Revolving Door contains the following songs:
“Mildred’s Attraction”
“Cool Of The Night”
“Revolving Door”
“At The Modern”
“I’ll Always Love You” (Ode to the Audience)
“One Again”
“Come And Get It”
“Little Sister”
“In Case Of Rain”
“Jesse’s Bench”
There I was sitting with my uncle “Peanuts”, who’s literally a legend in a kind of musical microcosm... someone who’s played with Nat King Cole, Miles Davis and Ella Fitzgerald. Once I asked David Sanborn if he knew him and he said, ‘Of course I do. Who doesn’t know “Peanuts” Whalum?’ So my resolution this year was, “I am going to somehow document what my Uncle “Peanuts” does…’ To have him sit there and play songs for me… Oh goodness. It was such an experience! It was hard for me to concentrate on what I was doing. Everything he played I loved. 90% of the songs I didn’t know. I thought I knew a lot of Jazz standards - but, around someone like him, you know nothing. This man is a giant… he’s a five foot five giant! - Kirk Whalum
In the category of Talent Deserving Wider Recognition and Best Kept Musical Secret, Hugh “Peanuts” Whalum shines with unparalleled brightness. On his self-titled debut on Rendezvous Entertainment, the singer, composer and multi-instrumentalist stamps pop, swing, jazz, blues and gospel standards, underexposed classics and inspired originals with his exquisite vocal sensibilities and instrumental savvy, playing both piano and tenor saxophone.
Spanning decades and crossing genres and generations, the 75-years-young Peanut’s musicality and sensitivity find perfect expression on the 11 tracks of an album that is both timeless and classic. Produced by his nephew, Kirk Whalum (the chart-topping, No. 1-selling saxophonist who has been relentlessly occupying the top of the charts for that past few years), Hugh “Peanuts” Whalum takes his place among the great interpretative singers and instrumentalists of all time: Tony Bennett, Johnny Matthis, Frank Sinatra and Nat King Cole, among others.
Backing the singer is a stellar band formed around Peanut’s trio (the artist himself on piano, tenor sax and vocals) with Rob Block on guitar and Jeff Anderson on bass. The A-list of players includes nephew Kirk Whalum joining in on saxophone, Rick Jackson (Amy Grant, Larry Carlton) on additional keys, Chester Thompson (of Genesis fame) on drums, and Lalo Davila on percussion. Additionally, a special guest appearance is made by Kenneth Whalum, III (“Peanuts” and Kirk’s grand nephew and nephew respectively).
Although Hugh “Peanuts” Whalum is a fixture in the city that gave birth to the blues, St. Louis, this gracious gentleman was born in Memphis. “A few years ago”, he says with a laugh. “I began playing violin when I was eight. I had six lessons, which is all the formal musical training I ever had.” From the violin, he moved on to the cornet and a spot in the YMCA band. He and his three brothers were also an in-demand quartet in Memphis and the surrounding areas, where they opened for their father, a well-respected orator and lecturer. “Peanuts” continued on trumpet through his third year in college, when “one of the tenor saxes in the swing band finished college and there was no one to take his place, so I started goofing around with tenor saxophone and that turned out to be ‘the calling’, if you will.
As a member of the Central State Collegians, he played Carnegie Hall, sharing the stage with Woody Herman, Billy Eckstine, Peggy Lee and Ella Fitzgerald. He and his college cohorts (including the renowned Frank Foster) were called in on a gig in Dayton, Ohio, when the band that was hired to back Billy Eckstine cancelled. Eckstine was so impressed that when he played Indianapolis, “Peanuts” and company were brought in once again. “On this particular night”, “Peanuts” recalls, “Jazz At The Philharmonic” was in town… So look who’s coming to see Eckstine, but Ella Fitzgerald, Lester Young, Howard McGee, etc. They sat in, so I played with young and McGee and behind Ella.
Following graduation (with a degree in chemistry), he toured with the Lionel Hampton Band on tenor sax, ultimately relocating to St. Louis, playing solo piano at hotels, theatres and clubs around the city, gigging on sax with the likes of Miles Davis and Ed Thigpen when they came to town. “I have a picture with Miles and Ed,” “Peanuts” chuckles. “We’re wearing Zoot suits.”
In the ‘50’s, as part of the Jeeter-Pillars band, “Peanuts” played behind Nat King Cole and his trio. “Whenever Nat would come on and be announced, ‘Lady’s and Gentlemen, Nat King Cole’, the first thing Nat would say is, ‘I’d like to introduce you to my friend.’ He’d call me out of the band, you now, to come and play with him. So every song he played, I played with him… that didn’t strike me then, but jeez, I think about it now, and say ‘Whoa, was that me? Was that really me?”
It may be hard for “Peanuts” to believe, but for anyone listening to the musical magic on Hugh “Peanuts” Whalum, it makes perfect sense.
Although long known for his distinction on tenor saxophone, vocals finally took center stage for “Peanuts” when a club he was playing couldn’t afford a trio during Lent, as business would fall off in a highly Catholic part of the city. “Peanuts” volunteered to do a solo gig, singing and playing the piano. “You’ve never seen me scuffle like that. That week I went to work. I couldn’t play anything, but I could sing and when someone would request a song, I’d try to find something complementary, key-wise, on the piano. I’d sit there and play, laughing. Do you know business picked up… business picked up during Lent.”
With Hugh “Peanuts” Whalum, business is bound to pick up again. Romantic and elegant, “Peanuts” and his velvet voice imbue every lyric with added meaning and subtlety. His choice of material is impeccable. Covers of songs like the Elvis perennial, “I Can’t Help Falling”, and Frank Sinatra’s “Why Try To Change Me Now” find perfect balance alongside Sammy Cahn’s rarely recorded lyrical gem “It’s Always Four A.M.” (music by Ron Anthony). With Whalum and Whalum, the latter becomes one of the most evocative and atmospheric songs in memory, making it hard to imagine that anyone but “Peanuts” could match the songs’ bittersweet eloquence. Producer Kirk Whalum says, “It’s the kind of lyric that’s so magical, so carefully thought out. It tells a story, has depth… such a great twist of imagination to say, ‘When you’re all alone, it’s always four a.m.”
Other standout tracks include “I Don’t Know Why”, “The Best Man” and “Beautiful Friendship”. Rounding out the romance is album-opener “I’ll Close My Eyes” which has been recorded by everyone from Cannonball Adderley to Ella Fitzgerald, Dinah Shore and Dinah Washington. “Peanuts” makes it entirely his own, with delightful nuance and shading. “The song came out in ‘40’s or ‘50’s; it’s always been very special and dear to me, but the versions back then were slow. On this one, I bounced a bit.”
Hugh “Peanuts” Whalum is a secret that can’t be kept any longer. If his reputation reaches as far as his inspired talent, he’ll be a legend not only in St. Louis (where he’s considered a local treasure) and with jazz insiders, but also around the world.
Hugh “Peanuts” Whalum, the one and only, is unequivocally a giant. With any luck, and “God Willing,” as “Peanuts” is want to say, this man, who should be a household name, “soon will be.”
Kirk is presenting his uncle on August 10, at the Vic in Los Angeles. Then the next night, Peanuts is performing with Kirk Whalum and the Rendezvous All-Stars at the Long Beach Jazz Festival. Audiences will see what SMOOTH really is when they hear the velvety timbres of the Peanut!
He will also join Dave Koz on the Dave Koz & Friends At Sea Cruise in November. When most gentlemen Peanuts' age are passengers on cruises, he will be taking stage and "working" during his trip.
To me, artists like Peanuts are the real American idols.
The Old Pasadena JazzFest will soon take place July 22 & 23, 2006 at the L.A. County Arboretum. As alyways there is a great lineup of first rate smooth jazz artists.
Line-up for Sat. July 22: Incognito featuring Maysa, Rachelle Ferrell, Candy Dulfer featuring Jason Miles, Soul Express (Jody Watley, Jeff Lorber, Chris Standring), Marc Antoine & Michael Lington with the Philippe Saisse Trio, Gerald Veasley.
Line-Up For Sun. July 23: Teena Marie, The Music Of Marvin Gaye & Motown (an All-Star Jam featuring Jason Miles, Ledisi, Candy Dulfer, Greg Adams, Dj Logic and very special guest Candy Dulfer!), Rick Braun, Hiroshima (their 25th anniversary), Eric Darius, Nick Colionne... and others!
For the first time, the Old Pasadena JazzFest will be held on the lush grounds of The L.A. County Arboretum. This 127-acre venue is one of Southern California's treasures, with manicured gardens and trees throughout. The spectacular meadow called Bauer Lawn will be utilized for the festival, which will allow more room for general seating, plus plenty of room for the Vendor Village, International Food Court and large shade structures.
by Val Vaccaro
This year’s 2006 Guitars & Saxes (G & S) terrific lineup includes guitarists Jeff Golub and Peter White, and saxophonists Richard Elliot and Gerald Albright.
If you are a smooth jazz fan, and you haven’t already been to a G & S show in the past 11 years (it now has institution-status!), you need to know that you are guaranteed to have a great time! Each of these guys is a consummate musician in his own right and has a wonderful rapport with the audience. Together, the dynamic, playful, and improvisational interaction between the musicians makes for delightful entertainment! The top-notch G & S backing band members for this tour include: Ron Reinhardt on keyboards, Nate Philips on bass, Dwight Sills on guitar, and Ricky Lawson on drums.
Jeff Golub always amazes audiences as an exciting and endearing performer with his diversity on electric guitar on everything from sultry smooth jazz ballads to playful, funky, bluesy, uptempo soulful pop-rock tunes. Golub’s influences range from Wes Montgomery to Jeff Beck to The Average White band; his work with contemporary jazz icons like Bob James, and rockers like Rod Stewart, Billy Squier and Peter Wolf might also have something to do with it.
From the smooth finesse of Wes Montgomery, to edgy, searing, rousing sounds of rock… Jeff Golub is a musician of great emotional depth and range. Jeff has said, “When I was a kid playing rock music, so much of it was jazz… early Cream records, …Traffic, Santana, the Allman Brothers. I’m not happy about the way that music has to be pigeonholed and categorized with words. You have to say what bin it's going to go into in the store, which radio station is going to play it because it fits this description. The things that inspired most of us to play had no description of where they were coming from. It was just a lot of different influences coming together… Things like formats and what is popular come and go, but if you are true to yourself as an artist, that doesn't come and go. That is what is always there, and the people who come to listen to you will always appreciate that. You have to be yourself. You try to be the most charming version of yourself, but you still have to be yourself.”
Golub has certainly proved he has mastered more than one format, which makes for interesting compositions and wonderful performances appreciated by audiences. If you see Golub perform one of his smoldering originals such as “Naked City” or “Stockholm,” you know the incredible range and intensity of Golub’s electric guitar sounds, as well as special cat-like cries and violin sounds. Since I first saw Golub perform at SOB’s (Sounds of Brazil) nightclub in NYC in 1996, I have likened Golub’s musical diversity to the baby-boomer cartoon hero Felix the Cat, who had his magical bag of tricks.
Golub has often received airplay with the catchy duet recorded with Peter White aptly named “No Two Ways About It” (on Golub’s CD in 2000 called Dangerous Curves), which might be included in the set list. However, a show with Jeff Golub wouldn’t be complete without a funky, boisterous Average White Band medley of his No. 1 radio hit “Pick Up The Pieces” (Avenue Blue CD) and “Cut The Cake” (from the CD Do It Again). Speaking of cake, the icing on my wish list to see live has been the classic funky Eddie Harris jazz tune “Cold Duck Time” which Golub recorded with Albright (on Golub’s 2002 Do It Again CD). Audiences hopefully will finally get to see Golub and Albright work their dynamic duo musical exchange live – a real treat! Another song you most likely will hear on the tour is “Uptown Express” - an easy-going groovy, cool tune reminiscent of Wes and the 60’s vibe - spiked with Golub’s spunky spin (from Temptation, Golub’s current CD on the Narada Jazz label).
Also, Golub has a much-anticipated new CD in the works. Since Golub has such an affinity for groovy 60’s vibes, maybe he should consider covering tunes such as the TV theme “Secret Agent Man” or “Love Potion No. 9.” Golub has had some of his compositions on movie soundtracks before – maybe an Austin Powers sequel could include Golub in cameo scenes playing his version of “The In Crowd” (on Golub’s Nightlife CD), or other cool tunes Golub has recorded, or will record in the future! Check the website for updates.
Peter White’s sweet, melodic acoustic guitar sounds have graced twelve No. 1 smooth jazz radio hit songs including “Talkin’ Bout Love,” from his Confidential CD (Columbia). Peter has said, “I play from the heart, which is where music ultimately comes from. It’s about tapping into the soul and allowing the emotions within to pour forth. The battle is to trust your instincts without trying to be too clever, which only ends up corrupting the process and seldom works anyway.”
Peter’s smooth grooves have earned him the title “Guitarist of the Year” four years in a row from National Smooth Jazz Awards. Peter’s new CD is Playin' Favorites (Sony), a follow-up to his popular CD Reflections of romantic cover tunes, as well as his cover of the Isley Brothers’ tune “Who's That Lady" (from the Glow CD). White’s new CD includes the single "What Does It Take (To Win Your Love)" - the old Junior Walker song - and the classic Grover Washington tune “Mister Magic” – a favorite or as White would prefer, a “favourite” (British version) song of fans and musicians alike.
Richard Elliot’s dramatic emotive style, with distinctive growls and sensuous sounds on tenor sax have put his heart-warming imprints on Motown classics such as his now trademark tune “When a Man Loves a Woman,” and his cover of “Secret Love.” Elliot has worked with Natalie Cole, The Pointer Sisters, Smokey Robinson, The Four Tops, The Temptations, and Tower of Power.
Elliot’s current CD Metro Blue (ARTizen Music Group – his label with Rick Braun, manager Steve Chapman and industry veteran Al Evers) is his 14th solo album. So far, Metro Blue includes three catchy hits: The Stylistics’ classic R & B tune “People Make The World Go Round,” an optimistic, passionate original tune “Mystique,” and the soulful song “Inside Out.” According to Elliot, “I wanted to create a different sound that is organic, funky and soulful. I wanted it to have a moody urban vibe, but not an American urban sound; more like a Euro urban sound”.
Gerald Albright’s bright, bluesy and uplifting tone on alto sax and incredibly high altissimo notes are instantly recognizable. He also plays tenor and soprano sax, but it’s his work on alto that stays in my memory. Albright has worked with artists such as Anita Baker, Patrice Rushen, Nina Simone, Barry White, Nancy Wilson and The Temptations. Albright’s cover of Luther Vandross’ hit “So Amazing” demonstrates his incredibly inspiring range and power. Albright’s improvisational prowess and soulful sounds delight on other hit tunes like “My, My, My” and “Bermuda Nights.” The ultimate anthem that Albright expressively soars on is the classic Ray Charles tune “Georgia On My Mind.” A new version of “Georgia…” is on the current CD New Beginnings (Peak Records), his 11th recording as a solo artist. “We Got The Groove” is a catchy jam tune that jumpstarts the new CD. The G & S show will most likely feature a number of these songs.
Last year, Albright toured with Phil Collins, and performed on the “Groovin' for Grover” tour with Elliot and others. This summer, Albright, Elliot and White appear with other smooth jazz artists on a re-release of the CD Jason Miles presents: To Grover With Love (Artizen Music Group) a tribute to the late great saxophonist Grover Washington Jr.
Albright has said “I find the most gratification in the simple but powerful reactions of people in the audience when I play... It’s like through The Creator, I’m a messenger, and my job is to touch someone new every day with the music I play. If people come to one of my shows with the weight of the world on their shoulders, my goal for those few hours is to give them a nice release from their troubles and take them to a fresh, exciting place. … With every note I play, I really want to move people.” That’s true of all of the artists on the G & S tour!
Guitars & Saxes is still one of my favorite smooth jazz shows – a must to see for all smooth jazz fans. The first time I saw G & S I was really impressed; it was in 1996 at the Inter-Media Arts Center (IMAC) Theater in Huntington, Long Island (in New York) with Rick Braun, Kirk Whalum, Peter White and Marc Antoine. Back in my 1996 review I wrote, “For the sake of contemporary jazz fans across the nation, let’s hope they extend the (Guitars, Saxes and More) tour in the future.” Like so many thousands of fans, I’m glad the show goes on and hope it will continue to for many decades!
Here are some G & S tour dates and places (check the artists’ websites for updated listings):
2006 TOUR SCHEDULE
*GS denotes 2006 Guitars & Saxes featuring
Jeff Golub, Gerald Albright, Richard Elliot and Peter White.
DATE CITY VENUE
JULY 2006
14 St. Louis, MO The Pageant - *GS
15 Chicago, IL Chicago Theater - *GS
27 Glenside, PA Keswick Theatre - *GS
28 Huntington, NY IMAC - *GS
29 Harrisburg, PA The Forum - PA - *GS
30 Annapolis, MD Rams Head - *GS
31 Alexandria, VA The Birchmere - *GS
AUGUST 2006
01 Alexandria, VA The Birchmere - *GS
02 Annapolis, MD Rams Head - *GS
04 Norfolk, VA Town Point Park - *GS
05 Woodinville, WA Chateau Ste. Michelle - *GS
10 Saratoga, CA The Garden Theatre - *GS
11 Sacramento, CA Radison Hotel - *GS
12 Healdsburg, CA Rodney Strong Winery - *GS
13 Long Beach, CA Rainbow Lagoon Park - *GS
19 Concord, CA Chronicle Pavillion - *GS
25 Newport Beach, CA Hyatt Newport
OCTOBER 2006
22 Avalon, CA Avalon Ballroom - *GS
NOVEMBER 2006
06 Cabo San Lucas, Mexico Cabo Wabo
Jeff is a “PORT OF CALL GUEST” of the Dave Koz Cruise and will be appearing at Cabo Wabo in Cabo San Lucas on Monday November 6th
JANUARY
20-27, 2007 Lvs Ft. Lauderdale Warren Hill Smooth Jazz Cruise
If there’s one thing NBA star-turned-musical giant Wayman Tisdale learned from his former career, it’s that there’s no substitute for hard work. Emerging as one of the most consistent and admired players during his 12 years in the league – segueing from the gold-winning Olympic team to stints with the Indiana Pacers, Sacramento Kings and Phoenix Suns – his towering frame, exceptional strength and relentless work ethic made him one of the game’s most dominating power forwards. Tisdale still lives and breathes this work ethic as a musician. True to character, he is a trailblazer in the field of music with his unique use of the bass as a melodic lead instrument.
It’s this single-minded drive that propels the bassist forward while crafting what he considers his most ambitious and mature CD to date, Way Up, and he hopes to take listeners way up with him. Tisdale is at the top of his musical game on Way Up, which will be released in July 2006 from Rendezvous Entertainment, the label co-founded by saxophone star Dave Koz.
On Way Up, Tisdale continues to display the musical skills that landed his first five albums in the Billboard Top Ten. His latest features 11 songs in which Tisdale showcases how he has developed as an artist during the past dozen years. “I feel like I’ve grown up with this album,” he explains. “The way I matured as a basketball player is the same way I’m evolving as a musician, taking more control of this album and gaining the confidence to do this on my own.” The title for the album arose while Tisdale was discussing possibilities at dinner with Dave Koz, who remarked, “This album is going to be way up,” and right then they knew they had the title.
Way Up boasts collaborations with Dave Koz, Eric Benet, George Duke, Bob James, Kirk Whalum, Jonathan Butler and Jeff Lorber, all a dream come true for Tisdale. “Working with Dave again on ‘My Son’ was a great experience,” says Tisdale. “Being such great friends, it was a high point for me to collaborate with him on this song.” Tisdale is especially excited about his version of “Get Down On It,” which was produced by Darren Rahn, who also produced Tisdale’s last #1 hit “Ain’t No Stoppin’ Us Now.” “Sometimes remaking such classics can be a challenge,” he explains, “because people are so familiar with the original. But on ‘Get Down on It’ we came up with a fresh approach and it has people bugging out of their heads.”
Label-mates Jonathan Butler and Kirk Whalum are featured on the soulful “Sunday’s Best.” “You can feel the love on this one! Our spirits are inter-twined as we play together.” The three are touring this year as part of the Rendezvous All Stars. “Tell It Like It TIS” is a track written by and featuring funk legend George Duke. The R&B ballad “Sweet Dreams” features a soaring vocal from the Grammy-nominated Eric Benet. Grammy-winning jazz pianist and composer (“Theme from Taxi”) Bob James joins Tisdale on the playful “Conversation Piece,” a song co-written by Tisdale and Rahn.
Wayman Tisdale was born in Fort Worth, Texas and raised in Tulsa, Oklahoma. The son of a minister, he still embraces his Bible Belt roots which have shaped his strongly faith-based life. Tisdale first fell in love with his chosen instrument while watching the bass players in his hometown church, led by his father, the late Rev. Louis Tisdale. He recalls, “I thought they were the coolest cats. They got to stand and do their thing in the back. I’d watch their fingering and how they played.” One day, his father bought young Wayman and his two brothers a Mickey Mouse guitar each. Although his brothers quickly turned them into paddles and baseball bats, Wayman immediately began teaching himself how to play. “It’s the greatest gift my dad ever gave me,” he says.
A gifted athlete, Tisdale spent much of his youth on the basketball court when not making music. He played for the University of Oklahoma Sooners from 1983 to 1985 and became the first player to have his jersey, number 23, retired. All three years at Oklahoma, Tisdale was a member of the John Wooden Award All-American Team, and in 1984 he played on the U.S. Olympic team which brought home the gold. In 1986 the Indiana Pacers selected Tisdale as the No. 2 pick in the draft, behind Patrick Ewing. For the next 12 years, Tisdale left his mark on the NBA with the Pacers, Sacramento Kings and Phoenix Suns, scoring more than 12,800 points and pulling down more than 5,000 rebounds in a 12-year career.
Before he retired after the 1997 season, Tisdale had already made the transition toward a career in music. In 1995 he released his debut CD, appropriately titled Power Forward, which went to No. 4 on Billboard’s contemporary jazz charts and, like all of his music, crossed over into the R&B charts. His subsequent albums In the Zone, Decisions and Face to Face all landed in Billboard’s Top 10, with 2001’s Face to Face going all the way to No. 1. Hang Time, his debut release on Rendezvous Entertainment, set a record for Tisdale staying in the Top Five longer than any of his previous releases. Tisdale has had two #1 radio hits with “Can’t Hide Love” and Hang Time’s “Ain’t No Stoppin Us Now.”
In addition to his solo career, Tisdale has played on CDs by some of the most popular musicians in contemporary jazz, including David Sanborn, Brian Culbertson, Everette Harp and the jazz supergroup Maximum Grooves. His playing garnered the attention of Jamie Foxx who in a recent issue of Rolling Stone chose Wayman to play bass in his “dream band.” “Wayman can