Gregory Porter NAT KING COLE & ME

504 MAGAZINE 504 MULTIMEDIA PUBLICATION

VOLUME 5 ISSUE 11

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FEATURING

Arturo O’Farrill Jon Batiste Stephen Colbert Doc Jones Nayo Jones Mario Abney Kirk A Wilson Stephaine Jordan

GREGORY PORTER

‘NatKingCole&Me’

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“This is a truly innovative company, and I’m thrilled to be part of it,” Nayo Jones said

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Photo By Allan Kealy

ARTURO O’FARILL LIVE AT Bird Basment in Australia

PAST GRAMMY AWARDS ARTURO O’FARRILL, pianist, composer, educator, and founder and Artistic Director of the nonprofit Afro Latin Jazz Alliance, *was Between andand 1980, a self-produced artist received one GRAMborn in1965 Mexico grew up in New York City.

His debut MY Award an Afro artistLatin and Jazz an additional Award as a producer album withasthe Orchestra,GRAMMY Una Noche Inolvin Record of theaYear AlbumAward of thenomination Year categories. idable, earned first and GRAMMY in 2006.

His next album Song for Chico, earned a GRAMMY Award for Best Latin Jazz Album in 2009.

Photo By Allaen Kealty Photo by Allen Kealy

CONTENTS

A NEW NEW ORLEANS MAGAZINE “This magazine is dedicated toward supporting live entertainment in Arizona” - Doc Jones Publisher -

504Mag

10 Arturo O’Farill

12

DOC JONES

Arturo O’ Farill

10

14

HARRY CONNICK JR

16

Doc Jones

Jazz Day Mission

Jon Batiste For customer service, change of address, and subscription inquiries, please visit www.504mag.com

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Steven Colbert

12

14

Harry Connick

Nayo

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NAYO JONES

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Mario Abney

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Jon Batiste 16

23

Steven Colbert

21

ELAN TROTMAN

40 STEPHAINE JORDAN

Elan Trotman 36

Stephaine Jordan

ALL CONTENT AND PHOTOGRAPHIC MATERIALS ARE COPYRIGHTED TO THEIR RESPECTED OWNERS. TO CONTACT OUR EDITORIAL TEAM PLEASE EMAIL US AT PUBLISH@504MAG.COM

Mario Abney

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Continued... Page 6

Photo by Allan Kealy

Allan Kealy

Publisher / CEO William “Doc” Jones Senior Writer / Chief Editor Shirley

7TH ANNUAL ARIZONA INTERNATIONAL JAZZ DAY

FESTIVALS

JAZZDAY 2018

Allen Kealy Senior Editor Australia Associate Writer/ Editor Belinda Foster Senior Design Layout Wm. Doc. Jones Associate Editor / Ass. Layout design Tanya Hedjazi Chief Photo Editor Jerry Maroney Aubrey Morris Events Director/ Producer

photo by Vincent J. Ricardel

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HARRY CONNICK JR

2018 JAZZ DAY AZ FESTIVALS IN YOUR CITY

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APRIL 29TH MESA MESA ARTS CENTER

“Welcome to 504 jazz Magazine.

As Publisher & CEO, I would like to pay tribute to the history of the Jazz greats of New Orleans and those musicians that have dedicated their lives to mastering their instruments. I’m blessed to have the support and respect of some of the greatest players in New Orleans.

Publisher/CEO DR WILIAM DOC JONES

Once you meet him, you’ll remember him. Dr. Jones (lovingly referred to as Doc) is Chief Editor of the pulse of New Orleans, 504Jazz Mag.com. Doc brings a high level energy, excitement and hands on involvement to anything he believes in. Doc Jones’s motto, love of people, and talents continues to be, “if you believe in it, you should be a contributing factor in it.”

“

Doc Jones & Herbie Hancock

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ARTURO O’FARRILL

Cuban: The Conversation Continues

by Allan Kealy.

After performing at his usual Sunday gig at Bird Land New York,one of the music worlds greatest and most respected composers and performers of Latin Jazz Aturo O’Farrill made the 21 hour flight from New York to perform in Bird’s Basement Jazz Club Melbourne, Australia.

Arturo O’Farill and his 7 piece band arrived in Melbourne Australia for a season at Melbourne’s Iconic Bird’s Basement Jazz Club.

This was the first visit to Australia by Latin Jazz musician Aturo and his band playing two concerts a night to capacity and appreciative audiences.

And they kept coming night after night hanging on every arrangement that O’Farrill performed form his original compositions to a variety of other composers from the Latin Jazz genre.

Aturo is of course no stranger to the world of Afro Cuban Jazz, the Son of the legendary Chico O’Farrill Aturo was influenced by possibly the best exponent of Afro Cuban Jazz in history.

Aturo’s credentials as composer, arranger, pianist and educator are well documented as are his many awards, and Grammy’s, but he is not a musician who commands the stage, indeed his 7 piece band all from New York had the Australian patrons applauding every solo that they delivered.

Every one of his support players is an outstanding musician and Aturo gave them that the space to shine.

Aturo is not the first band leader to acknowledge the value of performing with musicians of a high calibre, but Aturo does it with great humility and compassion.

Aturo O’Farrill is a man who wears his heart on his sleeve, and is well known for his out spoken campaigns against power brokers, corrupt bankers, war’s and the like. His personal philosophy is that musicians and artists have a responsibility to challenge the many injustices that are inflicted on the citizens of the world and he is living testimony to that belief.

“During 2010 Arturo O’Farrill travelled to Cuba with his mother, sons, and the Chico O’Farrill Afro Cuban Orchestra in order to bring his Father’s music back to the island.There, the band headlined the 26th Havana International Jazz Plaza Festival.

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On August 14, 2015, Arturo O’Farrill was among those who were invited to witness the moment the U.S. flag was raised over a newly reopened U.S. Embassy in Cuba for the first time in 54 years. And today Aturo maintains an on going commitment and respect for the people of Cuba.” (Wikipedia) This compassion for Humanity was not lost on the patrons of Bird’s Basement in Melbourne indeed they left at the end of each performance in the knowledge that they had jus been part of a musical experience that was challenging and performed with passion and credibility from a musician and his band who believe that change is not only essential but that with the help of all musicians and artist it will be achieved.

Like all touring Musicians Aturo and his band had no time to enjoy the magic that is Melbourne, living out of a hotel and commuting to the gig every night seems to be their world.

Upon playing their last night at Bird’s Basement Aturo and band had nothing but admiration for the management and staff of what they claim to be a world class Jazz venue and all vowed to return.

Catching a flight the next Day they returned to New York where upon arriving Aturo was awarded another acknowledgement for composition.

And, as would be expected Aturo has also shown his support and compassion for the Indigenous people at Standing Rock Indian reservation in the recent weeks.

Photos by Allan Kealy

Photos by Allan Kealy

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Aqua Hydrate Water CONGRAULATES DOC JONES 7th Auuanu Arizona International Jazz Day Festival 2018 International Jazz Day Arizona: A cultural musical movement embraced by the state of Arizona!

The International Jazz Day Arizona Foundation In collaboration with Al Heggs, owner of Superstition Springs Chrysler, recently refined and concluded its 7th Annual Jazz Day Arizona Festival celebrations. This year’s festivities were the best yet. Approximately 1500 people during the day attended “Jazz at Lunch Time” at the state capitol in Phoenix, Arizona. ‘Doc’ Jones also produced similar festivals in Mesa, Phoenix, Arizona and Alamos, Sonora Mexico to celebrate the 6th International Jazz Day and the response was overwhelming.

Thanks to Doc Jones efforts the state of Arizona has joined more than 196 Global Jazz Day celebrations during the month of April, designated by the United Nations Educational, Scientific And Cultural Organization (UNESCO) to celebrate and preserve jazz, the icons, the culture, and the role it plays in uniting people around the world.

The 6th Annual Celebration of International Jazz Day kicked off at the state capitol on April 26. The celebration was endorsed by Arizona Governor Doug Ducey and several mayors throughout the state including: mayor of Tucson, Jonathan Rothschild; mayor of Phoenix, Greg Stanton; mayor of Scottsdale, Jim Lane; mayor of Flagstaff, Coral Evans; and mayor of Douglas, Robert Uribe. This historical celebration had an overwhelming attendance that included more than 150 members of the state Senate, House representatives, and their staff!

Katherine McKinney, International Jazz Day AZ Host Committee director, described Arizona Jazz Day, “ A beautiful and united experience. Jazz has brought the community to our state capitol.” with this festival gets the respect of the entire jazz community.”

We encourage you visit our website at www.JazzDayAZ.Com where information regarding our upcoming events calendar, publication and advertising opportunities, social club membership and VIP benefits can be found.

The second festival was at the Mesa Arts Center in Mesa, Arizona co- sponsored by the Mesa Arts Center under the direction of Randall Vogel . This event was marked by its classic appeal, and featured artists such as B3 great Tony Monaco, Scott & Ginger Whitman, and the Dowell Davis Trio featuring Jesse McGuire.

International Jazz Day Arizona festival also partnered this year with Downtown Phoenix Association and the Phoenix Market Cafe to host the Urban Wine And Jazz Walk. The ‘Wine and Jazz Walk’ attracted 2,000 people from 4 p.m. until 9 p.m. The headline performer of the night, Chicago’s own, Max V, serenaded the crowd with his sultry guitar style and sounds! Hundreds of Phoenix patrons experienced a beautiful time under the stars with live jazz and wine.

International Jazz Day Arizona Foundation’s producer, the legendary William “Doc” Jones, has envisioned the fruition of this day for many years. Mr. Jones has worked diligently on the development of his works and also with the development of young artists. His program, “Next Student Academy,” has provided 100’s of instruments for school-age children unable to purchase instruments of their own. Doc Jones also manages a successful multi-media company with publications in 3 states and 2 counties, 504 Mag, 602mag and 215 Jazz. Alamos Mexico, and 021 South Africa magazine which offers fans historical captures and updates of the national and international jazz markets. He has been praised for his efforts by many greats in the jazz community.

Herbie Hancock said, “Doc Jones over the past five years has covered a tremendous amount of ground. He has done a great job in producing concerts and festivals all over the world including Japan, Australia, Kansas City, with the largest festival being held in Phoenix, Arizona and now in Alamos and Puerto Penasco Mexico.”

To quote the legendary George Benson, “What Doc Jones has done in the last five years

Article with photo

Harry Connick Jr. says his new talk show could be ‘the most fulfilling thing I’ve ever done’

Harry Connick Jr. has a lot of fans. They just may not all be fans of the same person. The New Orleans native has both performed on and composed for Broadway (“The Pajama Game,” “Thou Shalt Not”). He’s appeared in a wide range of films — from “Dolphin Tale” to “Independence Day” original flavor — and on television as an actor (“Will & Grace”) as well as a stint as a judge on the final seasons of “American Idol.” And, of course, he has had a long, award-winning career as a jazz singer-musician. Now he takes on a new challenge with the premiere Monday of his daytime talk show “Harry.”

“Can you imagine how lucky I feel to know this is happening?” asked Connick. “If I got to do this for two weeks and the ratings were horrible and that was the end of it, I’d feel like I really got to do something exactly like I wanted to do. Just the fact that we have a chance to celebrate people and positive things, it’s humbling.”

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We chatted recently with the voluble and infectiously energetic performer about his new show. You’re used to the grind of touring and Broadway. But a daily show is a whole new beast where you have to come up with material every day. I don’t like the word “grind” because I’ve never felt that. I’ve been on Broadway, eight shows a week, and people say, “Are you ready for the grind?” I don’t know who these people are. I’m an entertainer, so I love it. I’ve been on the road for months. I’ve had bronchitis and had ripped muscles. I’ve been tired, but I’ve never once thought, “This is a grind.” It’s the job of this immense and talented staff to come up with things for me to respond to. There’s music, there’s talking to people, there’s listening to people, there’s man on the street. There’s so many different places to go that it feels like maybe the most fulfilling thing I’ve ever done because I’ve never had to do anything that allowed me to do all of those things. For me it’s the perfect scenario.

HARRY IS AT THE TOP OF HIS GAME AND HIS NEW TV SHOW IS A HIT

Many of the people who have hosted talk shows have been actors and comedians who are used to following a script or honing a routine. But as a musician you’re used to improvising. Do you think that’s part of the appeal? Yeah, because even if a light breaks on set, there’s a segment there.

The main thing is explaining to the technical side of the crew [to be] ready for me to walk across the street to Starbucks in real time. I couldn’t do it any other way. The risk-reward ratio is higher because you never know what you’re going to get. But even if you fail, you can fail in an interesting way. Well, “fail” isn’t the right word but … No, no, “fail” is the right word. I like that. Do you know how many times I’ve been onstage where I tried stuff and it failed? And I’m so OK with it. If I sing a ballad that doesn’t work — you know how many tunes I’ve stopped in the middle and said, “This is horrible.” It’s not rocket science. Was it suggested to you to do it the traditional way? No. When we went to NBC Universal, I said, “I want to have it completely unstructured.” Here’s another example: There’s a segment that we do called “I Got This.” show up at somebody’s place of business or their house. I don’t want to know anything about ‘em, but y’all got to find me somebody that may be working two jobs or is a single mom, somebody that’s struggling. Don’t tell them it’s me coming, so when I show up they’re surprised. I show up and say, “What do you do?” So I say, “Look, I’m going to take care of everything you do and we’re going to send you off to a spa or something and just give you a little bit of a break.” And we’ve already shot 10 of them on the road. I like playing across the country and meeting people. I said I want to What have you had to do so far? I don’t want to give it away.

Just one This woman named Poochie from Atlanta grew up in a really crap neighborhood and started this amazing nail salon where she has got thousands of Instagram followers. I had to take over doing people’s nails. It was awful. But the amazing thing is I sat with Poochie in the back office and 10 minutes of just listening to her, it was just a snapshot of how great our country is and how filled to the brim it is with extraordinary people. There’s another segment we’re doing called “Harry’s Leading Ladies” where I said, “Y’all need to find a woman who has accomplished something great or small.” It could be a little girl who sold a bunch of Girl Scout Cookies. It could be a woman who just retired after teaching 2nd grade for 30 years. I don’t care, but I need to celebrate a woman every day at the beginning of the show. I love strong women. I’ve been around them my whole life and I want to meet more.

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New Orleans Owns

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JON BATISTE

Late Show Band Director for Stephen Colbert Jon Batiste gets off the elevator and doesn’t say a word to the percussionists already tapping out rhythms for a rooftop soundcheck at New York’s NoMad Hotel — he just plops down at the white Steinway and joins in. There’s not much of an audience beyond a handful of photographers, a soundman and some staff steaming a white tablecloth for a makeshift bar. Still, he’s performing: winking and smiling at everyone, digging into the keys, laughing, shouting. Until he gets up from his stool maybe a half-hour later, he doesn’t ever seem too especially concerned with the actual checking of sound.

Watch Stephen Colbert Interview Eminem on Public Acces Rapper and aloof host discuss everything from traffic to Bob Seger The New Orleans–raised, New York–adopted pianist, 28, has a laundry list of accomplishments: a master’s degree from Julliard, a position as artistic director at large at the National Jazz Museum in Harlem, a cast member on HBO’s Emmy-nominated Treme and — starting this September — a role as the musical director of Late Night With Stephen Colbert on CBS. It’s evident that his greatest attribute, however, is an enthusiasm that immediately pulls people into his orbit. For many of the six percussionists (and one tap dancer) joining him, this “soundcheck” was also “the only rehearsal” and an “introduction without any official hello or instructions.” “That was it. None of us had met each other. That was it,” says percussionist Taku Hirano. “The only e-mail we got — one e-mail of where to be and what time. The other e-mail basically just has the list of musicians.” “The music speaks for itself,” explains Batiste. “I feel like the best thing to ever do with music is to not talk about it. It’s not to be talked about. It’s to be listened to.”

For this rehearsal and the night’s show in front of 165 lucky fans, the band will find its direction via Batiste’s musical cues: a bluesy solo, some salsa-style stabs, driving percussive rhythms, an EDM-style build, a climactic sweep of hands down the keys, a quick version of Scott Joplin’s “Maple Leaf Rag,” a snatch of Suzanne Vega’s “Tom’s Diner,” a total tumble into Gnarls Barkley’s “Crazy.” He grabs his melodica and wanders into the packed crowd. Tambourines are passed out and stayed jangling. An impromptu conga lines forms. Says NoMad co-owner Will Guidara about the first time he saw Batiste: “It was amazing music totally lacking in pretense, which is such a departure from what jazz has grown up to be. Just them getting into the crowd — ‘No, no no, it’s not crowd here, us here. We’re all together.’” Together Guidara and Batiste (with some financial assistance from Chase Bank) put a residency in motion: seven days in different small spaces around Guidara’s hotel, affordable ticket prices, food and drink, raucous music in tight spaces. “We have this shared kind of belief in creating experiences for people,” says Guidara “I’m in the hospitality business, and I just thought the approach to music, just fully engaging the people that you’re playing for, felt so profoundly hospitable to me.” Jon is currently the most prominent branch of the Batiste family tree, a lineage he says goes back four or five generations in New Orleans — freejazz saxophonist Alvin Batiste is a cousin of Jon’s grandfather, uncle Russell Batiste replaced Zigaboo Modeliste as the drummer of the Meters, Jon himself was a part the Batiste Brothers Band by 16 stylus magazine

age six or seven. “Earliest musical memory,” explains Batiste, poured into the corner of a NoMad couch, “is probably being scared stiff with my family’s band as a youngster on stage playing the conga drums. Yep. . . . Trial by fire. That was it. You didn’t have any real instruction other than, ‘Go. Play.’ One word instructions. ‘Play.

Go.’” He switched to piano in his teens, honing his chops on classical lessons and transcribing songs from video games (favorites include the music to Street Fighter Alpha, Final Fantasy 7 and the “Green Hill Zone” and “Casino Nights Zone” tunes from Sonic the Hedgehog). Though surrounded by jazz, he didn’t get serious about it until around age 14, juiced by the 1959 recording Sonny Stitt Sits in with the Oscar Peterson Trio and attending New Orleans Center for Creative Arts. Watch Stephen Colbert Break Character in Hilarious SupercutHost laughs hysterically about Suq Madiq, giggles through tongue-tied linesWhen he moved to New York to attend Julliard at age 17, he walked one of America’s most prestigious music conservatories with a melodica, tooting away in the halls or the cafeteria. “None of the administration or teachers liked that,” Batiste says about the uniquely rebellious act of playing music at a music school. “That’s one of those interesting things about institutions. It’s hard sometimes to understand but that’s the way it works, the rules get in the way of the intent.”

Batiste wanted to explore a musical career beyond sharpening his chops at school. “I always thought, man, if we’re working on all this stuff, we should actually put it into practice and go out there. I never forget the dean of the jazz department told me before I left, once things had become more clear that I wasn’t just some crazy kid who dismissed any authority, they were like, ‘Oh man you always had a plan didn’t you?’ It was kinda true, you know. I really did have a plan for going to school — it wasn’t just to go to school.” He self-released multiple albums and still managed to get his master’s degree in 2011 — Batiste wagers he only sleeps for about three to five a night and then crashes for a day.

He would take his melodica onto the city’s streets or subway cars and it ultimately inspired him to form a band of classmates, Stay Human, who would stage traveling mobile performances they called “love riots.” The guerilla performances earned the band some notoriety — and some tickets. “Yeah, three for playing on the subway and bringing people joy,” says Batiste. However, he says, one police officer offered something to the extent of, “This is against the law, but what am I gonna stop you for?” With Batiste’s theories about “social music,” it seems that no venue or stage can hold him. At a 2013 performance at Carnegie Hall he started his performance by playing in the seats. His 2014 appearance on The Colbert Report memorably concluded with the band and studio audience snaking out into the Manhattan streets. For what it’s worth, the NoMad has been accommodating to his unique vision, but not without their requests.

“The first two nights they said, ‘Don’t put more than one or two people on the bar,’” says Batiste. “We put five people on the bar, both nights. . . . It is not like we didn’t want to listen, it’s just the moment led to it. We take that into consideration, but then if a moment leads you to do something, don’t fight the feeling.

“That’s what I look forward to about going on The Late Show. The team there, we have a very similar philosophy and vision about the way they do jokes and the way we do music,” says Batiste, pointing to an attitude of focusing on how to do things as opposed to finding reasons not to do them. “In another scenario I wouldn’t even take a day gig like that because I think it would be too restrictive.”

The following Monday, the final night of his residency, Batiste and Stay Human stretched boundaries in fantastic ways. The evening started with an audience crammed in the NoMad’s “library room” as Batiste and band snaked their way through the ebb and flow of people, with versions of “My Favorite Things,” “The Star-Spangled Banner” and “Killing Me Softly” (audience members dutifully adding Wyclef-ian adlibs). Doors opened and the show was suddenly on 28th Street, then Broadway. The audience organically grew from the tight guest list to include rubberneckers, Citibikers, honking motorists, some Italian tourists (“Belissimo!”), the crew from a 25th birthday party and a Pekingese named Cloudy With a Chance of Meatballs.

It moved into the Belgian Beer Café to entertain clapping diners and a shocked bar staff who took photos instead of chasing them out. The final notes were played at the door of Eleven Madison Park — the famed restaurant owned by the NoMad team and one of only six New York restaurants with three Michelin stars.

Once inside, the band laid claim to different pockets of the restaurant. Two dueling sax players and a trombonist stood on islands. Later, eight musicians (including Batiste) crammed into a booth where people usually enjoy a $225 meal. The tap dancer commandeered the top of a cabinet.

By the end, the horn players sneaked off and turned up tooting from some scaffolding above the entrance — a height more appropriate for pigeons. Quipped 11 Madison Park director of strategic development Aaron Ginsburg earlier in the evening, “It’s a good thing you guys are a skinny band.”

“His music makes the audience feel so good, we may have to install a ‘Do Not Make Love’ sign,” Colbert says of Jon Batiste That night, the music ping-ponged from Dixieland to

Michael Jackson to Shoenberg-esque avant-garde to “If You’re Happy and You Know It.” This wide scope should assuredly help Batiste when he’s into millions of homes every weeknight.

“He believes in exposing people to different assets of American music,” says Batiste of Colbert. “And as I was saying, the idea of de-categorizing of American music. . . that concept resonates with him and that’s why he likes what we do, you know?”

At some point last year Batiste started thinking about gunning for the Late Show gig — he appeared as one of dozens of cameos on the final episode of Colbert’s beloved Comedy Central show in December. Before he approached Colbert with the idea, Batiste wanted to talk to the man who provided CBS with tunes around 11:30 for 23 years and more than 4,000 episodes. Over dinner, he asked Janey Chase, wife of Chevy, if she could introduce him to her friend Paul Shaffer, David Letterman’s longtime bandleader and foil. Unbeknownst to CBS, Batiste and Shaffer met at P.J. Clarke’s for hamburgers and Batiste hammered him with questions.

“He was like, ‘Yeah, all I wanted to do was to come from Toronto and play covers of American songs that I enjoy and do a little bit of acting,’ and I was like, ‘Well, man, you got the perfect gig to do that.’ The meeting was very powerful because he was so laid-back about it” Batiste says he had sat with Colbert a few times, talking for hours about his concepts for the show, but says both the comedian and the musician skirted around the idea of actually joining forces. Batiste was in St. Louis, performing as a guest for the Jazz Foundation when he got the phone call.

“He had the whole team of CBS execs, himself, his team and everyone on the speaker phone and the writers and everybody said, “You know, it’s your gig if you want it.’ . . .

Last time we spoke was the day before the call and he had told me that he would be in touch with me at some point several weeks maybe in the future. I was like, ‘Oh! I guess that’s what all the talks were about.’”

New Yorkers have had many chances to get up close and personal with Batiste from subway cars to Carnegie Hall.

But appearing on network TV on weeknights, Batiste wagers that everyone will get new perspectives.

“Some people don’t know that I’m funny, some people don’t know that. . . I have a point of view on certain things outside of music,” he says. “Some people may not know that I have a less gregarious side. So there’s five nights a week, over 200 days a year. They’ll see it all.”

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THE ONLY WATER THAT 50

The Preferred Source of Energy for the Heart muscle is

AQUA HYDRATE WATER

SUPPORTS INTERNATIONAL JAZZ DAY AZ

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04 MAGAZINE ENDORSES

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JAZZ IN JANUARY IS TUCSON ARIZONA’S #1 JAZZ FESTIVAL ONLY IN ITS 3RD YEAR SOME OF THE BEST IN THE WORLD OF JAZZ WILL BE HEADLINING THIS YEARS FESTIVAL Dee Dee Bridgewater, vocalist, has ascended to the upper echelon of singers, putting her unique spin on jazz standards. A fearless voyager, explorer, pioneer and keeper of tradition, and now three-time GRAMMY Award-winner, recently won the GRAMMY for Best Jazz Vocal Album for Eleanora Fagan (1915-1959): To Billie with Love from Dee Dee. Throughout the 70’s she performed with such jazz notables as Max Roach, Sonny Rollins, Dexter Gordon and Dizzy Gillespie. After a foray into the pop world during the 1980s, she relocated to Paris and began to turn her attention back to jazz.

Signing with the Universal Music Group as a producer (she produces all her albums), Dee Dee released a series of critically acclaimed titles beginning with Keeping Tradition in 1993. All but one of Dee Dee’s self-produced albums have received GRAMMY nominations. As a Goodwill Ambassador to the United Nations’ Food and Agriculture Organization, Dee Dee continues to appeal for international solidarity to finance global grassroots projects in the fight against world hunger. Bridgewater is the recipient of an NEA Jazz Masters Fellows Award with honors to be bestowed at the Kennedy Center in April 2017

Lewis Nash, drummer, is the drummer of choice for an incredible array of artists from the masters of the music to the hottest young players of today; he is equally in demand as a clinician and educator. “Rhythm Is My Business” is the title of his debut recording as a leader, and rhythm is a booming business as far as Lewis is concerned. Currently, while he continues to perform and record with a wide variety of artists, Lewis leads several of his own exciting groups, from duo to septet. Outside of his many touring and recording accomplishments, thanks to the sponsorship of Sonor drums, Zildjian cymbals, Remo drumheads and Regal Tip drumsticks, Lewis has become a sought after jazz educator. His lectures, clinics and workshops are as much in demand as his bandstand and studio work. Lewis Nash: Rhythm is indeed his business!

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Dee Dee Bridgewater, and the TJI Ellington Band with drummer Lewis Nash Tucson Jazz Institute Ellington Band, directed by Doug Tidaback, comprises high school musicians from southern Arizona who study at this award-winning community music school. This big band (one of six at the TJI), loved for their swinging, diverse and energetic big band sounds, was the #1 High School Big Band winner two years in a row (2013 and 2014) of the prestigious national Jazz at Lincoln Center Essentially Ellington Competition presided over by Wynton Marsalis. They were in the top three in 2015 and 2016.

Other recent awards include first place in the Monterey Next Generation Jazz Festival (2012) earning them a spot to perform at the festival and they were named the Best Community Jazz Band in the 35th Annual Student Music Awards in DownBeat magazine in 2012 and 2013. Their alumni attend some of the most prestigious schools in the nation (many on scholarship) including Julliard, the Manhattan School of Music, The New England Conservatory, Princeton, USC and Swarthmore and have gone on to major careers in jazz music.

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Late Show’ Host Says He Has Finally Found His Post-’Colbert Report’ Voice For Stephen Colbert, taking over as host of The Late Show was not a hard decisio "I love a live audience," he says. "I love the grind of every day and I love the people I work with."

It has been more than a year since Stephen Colbert took over as host of CBS’ The Late Show, and he’s finally feeling comfortable being himself and not a character.

Before The Late Show, Colbert spent nine years playing the role of a self-important blowhard on Comedy Central’s The Colbert Report. He tells Fresh Air’s Terry Gross that he initially shied away from discussing politics or current events on The Late Show in an effort to differentiate himself from his Colbert persona. “It took me almost half a year to realize ... that you can have a highly opinionated, highly topical show as yourself and not essentially fall back into the basket of The Colbert Report,” he says. “Now I have no qualms about being sharp and satirical 22 stylus magazine

and highly opinionated and saying whatever’s on my mind as quickly as I can.” This fall, Colbert’s mind has been on the election. He’s been doing political comedy nearly every night, but don’t expect him to be at his Late Show desk on election night. Colbert’s Nov. 8 show will be pre-empted by CBS News coverage, so instead he’ll be hosting the Showtime special Stephen Colbert’s Live Election Night Democracy’s Series Finale: Who’s Going To Clean Up This S***? He promises guest stars, special political commercials, musical guests and, of course, election results.

Interview Highlights On why he decided to end The Colbert Report Colbert Bringing More ‘Truthiness’ To Capitol Hill Today THE TWO-WAY Colbert Bringing More ‘Truthiness’ To Capitol Hill Today The idea of “truthiness” — that was the thesis statement for the entire show, that how you feel is more important than what the facts are, and that the truth that you feel is correct is more important than anything that the facts could support. ... We embodied it satirically, though it’s not really a new idea. ... But I didn’t want to play that game anymore. ... I just couldn’t take playing that character anymore. ... I began to feel like I was stumbling downhill with an armful of bottles and that I couldn’t actually keep up the discipline, because it took discipline to remind myself every day to be the character, don’t be yourself. ... And so I decided a couple years before the show ended that I was going to end the show. ... It wasn’t because I didn’t like it anymore — I still liked it — but I just thought, I’m not sure if I can actually keep this up without hurting someone. ...

I thought maybe I would make some big mistake with the character because he would say terrible things. And I got away with some of the terrible things he would say or do because it was all filtered through his mask, but if I didn’t maintain the mask, it would just be me being terrible.

On getting The Late Show offer It fell out of the sky. It was absolutely no part of my plans when I decided to end The Colbert Report. It was a complete surprise to me. It hadn’t been an ambition of mine, and I had just been an enormous fan of [David Letterman] and so I had great respect for what he had built. But when they called and said, “OK, how about you?” I was shocked. ...

I love a live audience, I love the grind of every day and I love the people I work with. And it gave me

all the things that I loved, and that was not a hard decision. ... To know that I could continue that was the greatest draw, and I also couldn’t think of anything after The Colbert Report that would seem like a promotion other than taking over for Dave. On leaving his Colbert character behind and finding his authentic voice on The Late Show There’s a confessional aspect to wearing a mask, the same reason why it’s easier to confess behind a screen to a priest than face to face. So the character was a 10-year confession, perhaps indulging ego and appetite through the person of this character. Then you go onstage as yourself and you’re responsible for everything you say and there’s a natural inclination to pull your punch because you have to be responsible for what you’re saying. You cannot hide behind the mask. ... It took me a little while to realize that the character was not in danger of re-emerging. On the work pace of The Late Show compared to The Colbert Report We would talk about a single subject maybe for a week, or we would think about one idea that we might do three or four days from now, or maybe two weeks from now as we developed the idea and how my character might put himself in that news story.

The joke I’ve made is that we went from go-kart to NASCAR, with all the advertising stickers on the side of our car, too. But it’s a different, much faster way of working than we used to. It’s less essay; it’s more like reportage with jokes than a columnist. I used be like a columnist and now I’m writing daily headlines.

Experiencing Nayo Jones Ahead of her Jazz Fest debut as The Nayo Jones Experience, Nayo Jones reflects on a fairytale career that started with a one-way ticket to New Orleans.

by KATIE SIKORA Re print from GoNOLA

“They’re not going to accept me so I’m not going to apply again,” Nayo Jones tells me, explaining why she originally had no plans to submit her name for a coveted performance slot at the 2016 Jazz & Heritage Festival presented by Shell. “I had totally given up hope,” she says. “I try not taking it personally, but as artists, we’re sensitive people.” So after five years of applying — and getting rejected — for a Jazz Fest billing, it became mentally easier for her to simply not apply.

But she applied anyway.

Nayo Jones performs at The Little Gem Saloon with her band, The Nayo Jones Experience.

What Jones has in sensitivity, she also has in pure talent. Jones performs weekly with her band, The Nayo Jones Experience, at the Hotel Monteleone on Thursday nights and at The Little Gem Saloon on Friday nights, not to mention special out-of-town events like headlining the Rocky Point Jazz & Art Festival in Puerto Penasco, Mexico, and performing at the AlexRiverFête in Alexandria, Louisiana. So, a friend finally convinced her to apply for Jazz Fest one more time.

‘It’s not just about the notes. I want people to leave feeling a connection to the music and the musicians.’ — Nayo Jones When her agent called with the confirmation — that moment she found out she had not only been given a chance to perform at her first Jazz Fest, but also that she had been given the Jazz Tent — it was an acknowledgement of the growth she has made in her time here. There is a notoriety that comes with being a part of the Jazz Fest and Jazz Tent history, and it is not lost on her just how fortunate she is to be a part of that history.

“I’m going to hit a bad note, I’m going to mess up a lyric, but it’s never been about that. It’s always been about the experience.”

Photo By Jerry Maroney

THE EXPERIENCE IS TAKING NEW ORLEANS

BY STORM THE NAYO JONES EXPERIENCE New Orleans met Nayo Jones when she “accidentally” moved here in September of 2011. She bought a one-way ticket to work with a producer, not knowing how long the project would take. In the process, she met the legendary Kermit Ruffins, who, after hearing her voice, instantly made the decision to bring her on tour with him. It sounds a lot like the scenario many performers dream up in their heads — move to a new city, get discovered, and live happily ever after. I hate that phrase, but it’s a cliché for a reason, people. And not to say that she isn’t happy, but she is first and foremost hardworking, even after her accomplishments with Ruffins and his band.

Jones grew up under the care and influence of her father, William “Doc” Jones, a prolific jazz performer in his own circles. An accomplished saxophonist and piano player, he introduced his daughter to jazz. She ran with it, happily turning his gigs into father-daughter performances. Jones grew up playing the flute and the saxophone like her father and, at the insistence of her mother, sang in the gospel of choir at church, although she refused to take solos due to stage fright. It was because of those nerves that she “never wanted to do music professionally even though I loved it,” she says. Luckily for her (and more so for the rest of us), “I can control it instead of it controlling me,” Jones says. She also has an ability to connect with the audience, perhaps another way of dealing with her own potentially debilitating stage fright. A lot of talented vocalists can hit the notes and sound beautiful, but very few have the ability to form relationships with their audiences in the time they are on stage performing. This connection is in part what helped inspire “The Nayo Jones Experience.” Although Jones has been playing music professionally for close to 12 years, the Experience is only two years old. What sets it apart?

“The music is big music, but it’s not just about the notes,” Jones says. “I want people to leave feeling a connection to the music and the musicians. I want them to have as much fun as I have with music.”

New Orleans Jazz Evening starring the Mario Abney Sextet

Photo by Doc Jones

Chicago born and raised Jazz Trumpeter Mario Abney now of New Orleans fuses traditional and extended trumpet techniques in a most inventive way; his strikingly personal instrumental vision endows the music with an infinite array of tonal color. Recognized for his ability to create pure musical dialog, and hear music in a universally spiritual way, he is definitely one of New Orleans most pioneering young jazz musicians. Trumpeter, composer and bandleader Mario Abneyʼs musical career began with his introduction to the piano at age 7. Influenced by his uncle Arthurʼs piano playing and the musical background of his church, Abneyʼs love and fascination for music grew. By age 11 Mario added drums to his musical experiences. He continued to hone his percussion skills by playing drums for his church. It was during high school years that his interest turned from piano and drums to wind instruments. “Iʼve always loved playing instruments, it was just something that seemed to come naturally for me and allowed me to express myself,” says Abney. During Marioʼs freshman year in high school he enrolled in the beginning band program and played the mellophone and french horn.

Marioʼs first experience hearing jazz was the music of trumpeter Wynton Marsalis. “I heard a song by Wynton Marsalis from the “Tune in Tomorrow” soundtrack and I was hooked, I knew the trumpet was my instrument.” After jazz trumpet peaked his interest in music Mario began to absorb the music of Louis Armstrong, Dizzy Gillespie, Miles Davis, and all the great trumpeters who pioneered the music.

During his sophomore year Mario picked up trumpet and under the direction of John McFadden, Mike McGrath, and Phill Crews of Thornton Township High School, Mario began to focus on the trumpet.

During the weekends Marioʼs mother Ora Abney would often drive Mario his best friend and several other young musicians to the historical Chicago Jazz Landmark Fred Anderson’s The Velvet Lounge.

Known for the most inspiring and creative jazz jam sessions in the nation, this is where Mario and many musicians like him self got their first experiences on the stage in a real performance. The sessions at the Velvet Lounge were key in Mario and many other Chicago musicians careers and musical development. Inspired by his Uncle Arthur, his experiences at church, jazz trumpet recordings and the sessions at The Velvet Lounge Mario set his sights on a career in music. With a band scholarship in hand, Mario attended Central State University, Ohio, majoring in Music Education with a minor in jazz studies.

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Saxophone- Stacy Dillard Trombone- Thomas Grant Trumpet- Mario Abney Piano-Jason Butler Bass-Gary Washington Drums-Willie Green With a band scholarship in hand, Mario attended Central State University, Ohio, majoring in Music Education with a minor in jazz studies. It was at CSU that Mario began to learn more of the knowledge he had been seeking. In Abneyʼs freshman year he was introduced to Cincinnati Jazz trumpeter and music educator Mike Wade. Mike Wade was and remains to be one of Marioʼs musical mentors. While at CSU and the surrounding cities of the area Mario began to play professional gigs and play from special recommendations of his mentor. “During my college years I became involved in the jazz scene in Dayton playing trumpet in several professional ensembles such as the Afro-Cuban Jazz ensemble, Babalu, the Chicago based House of Twang, The AfroRican Ensemble, SYM, and several other ensembles. In 2001, after several years of playing as a side man Abney was inspired to lead his own Quintet. In 2004 Mario was invited to be part of the prestigious HBCU All Star Big Band Upon graduating from Central State University in (2005 B.A. Educational studies with emphasis in music Education and Jazz Studies) Mario held a weekly show with his quintet at the Dayton Jazz Club Jazz Central. and another at The 88 Club. During Marioʼs stint @Jazz Central he composed and recorded his first album Spiritual Perception and also became a known musician on the Local and Regional jazz scene. From 2001 until 2008 Mario Abney has performed at many different venues in the Mid- West including The Velvet Lounge in Chicago, The Jazz Kitchen in Indianapolis, The Jazz Factory in Kentucky, Jazz At The Hyatt in Cincinnati, Jazz Central in Dayton, The Greenwich in Cincinnati, and many other clubs venues and festivals in the tri-state area. ” During a performance at the Dayton RiverWalk festival in 2007 Mario became interested in going to New Orleans after hearing the Hot 8 Brass Band perform. By spring of 2008 Abney and two members from his quintet moved to New Orleans to absorb its rich musical culture and become part of the music scene. During the first year of his residency in the Crescent City, Mario was invited to perform with renowned artists Charmaine Neville, Ellis Marsalis, Delfpheo Marsalis, Irving Mayfield, Bill Summers, George Porter Jr. and many other outstanding New Orleans musicians. Since Abneyʼs arrival to New Orleans he has been featured in the 2009 and 2010 New Orleans Jazz and Heritage festivals as well as the The 2010 Saratoga Jazz Festival and the 2008 and 2009 Jazz Aspen Snow Mass Festivals. Mario Abney has also been featured with residencies at Snug Harbor, The Balcony Music Club, Sweet Lorraine’s Jazz Supper Club. Other performances include appearances at the Millennium Jazz Series@ Kennedy Center In D.C, The Columbus Jazz and Ribs Festival Columbus Ohio, The Dayton Black Culture Festival Dayton Ohio, The Masden District Jazz Festival Buffalo New York, The Ocho Rios Music Festival Ocho Rios Jamaica, The Clifford Brown Jazz Festival Dover Delaware, and various other jazz and cultural festivals in Illinois, Ohio, New York, West Virginia, D.C and different destinations in the united States. ” As a musician and artist Mario is believes “music is freedom, its a channel from a Higher Source, and there is so much freedom in the beauty of that”. Mario constantly strives to let the music speak. As s composer Abneyʼs music can be heard on His Album Spiritual Perception radio stations such as, WWOZ New Orleans, WBOK New Orleans, WCSU Wilberforce Ohio, and several other radio stations and cable tv programs. Mario Abneyʼs compositions can also be heard during his weekly shows at The Winsor Court Polo Lounge Sundays in New Orleans and Wednesdays at Sweet Lorraine’s Sundays in New Orleans. Currently Mario Abney is also a featured member of the Soul Apostles on the HBO tv series Treme. Mario has also appeared on stage with musicians such as Jimmy Cobb, Herlin Riley, Wes “Warmdaddy” Anderson, Christian McBride, Bill Summers, George Porter jr., Nicholas Payton, Kermit Ruffins, Erykah Badu, Ellis Marsalis, Roy Hargrove, and many other various outstanding musicians.

504 Magazine cover Arturo O’Farrill And his Afro Latin Jazz Ensemble Live at the Bird’s Basement in Melbourne, Australia

ARTURO O’FARRILL, pianist, composer, educator, ARTURO O’FARRILL, pianist, composer, educator, and founder and and founder and Artistic Director of the nonprofit A ARTURO O’FARRILL, pianist, composer, educator, and founder Afro Latin Jazz Alliance, was born in Mexico and and Artistic Director of the nonprofit Afro Latin Jazz Alliance, was grew up in New York City. His debut album with born in Mexico and grew up in New York City. His debut album the Afro Latin Jazz Orchestra, Una Noche Inolvidwith the Afro Latin Jazz Orchestra, Una Noche Inolvidable, earned able, earned a first GRAMMY Award nomination a first GRAMMY Award nomination in 2006. His next album Song in 2006. His next album Song for Chico, earned for Chico, earned a GRAMMY Award for Best Latin Jazz Album in a GRAMMY Award for Best Latin Jazz Album in 2009. rtistic Director of the nonprofit Afro Latin Jazz Alliance, was 2009. born in Mexico and grew up in New York City. His debut album

Photo By Allan Kealy

Nat King Cole & Me, Porter’s glittery new album, is a more refined — and more emotionally fraught — experience.

Nat King Cole & Me,

Porter’s glittery new album, is a more refined — and more emotionally fraught — experience.

Photo by Doc Jones Photo by Doc Jones

Elan Trotman Joins Nayo Jones for her CD Release Concert at The Kerr Center Nayo Jones describes her most recent album Nayo Jones Live at the Kerr Center, will be released this Fall, as “a bold statement of creative possibilities for the 21st century” on version of some great Jazz standards. It features Dowell Davis on drums, Felix Sainz on bass, Loannisn Goudelis on piano, Kerry Campbell on Alto Saxophone and Doc Jones on Piano on a few tunes. For them to participate on a new Nayo Jones album is a little like coming full circle for her. In seeking their collaboration, Nayo shows that her desire to be at the forefront of music is one of her main goal and for the last 10 year she has put in the work to back it up.

When I met her at the ASU Kerr Center in Scottsdale AZ, she was relaxed to the point of being laid-back: all

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this unexpectedly changes, however, towards the end of the interview, when I ask Nayo about how’s it been after moving to New Orleans and getting a chance to tour with one of New Orleans legend Kermit Ruffins. She becomes unstoppable, running the interview over time to excitedly explain the Ins and outs of living and working in a city that never stop. Live music and good musicians are everywhere including the streets. I’m living the Dream.

Track one is of the band

Photo by Bruce Talbot

Jazz, R&B Friday, February 24 – 7:30 p.m. $35 premium, $30 reserved, $25 general admission Young, energetic and talented vocalist Nayo Jones deftly explores genres from jazz to soul with an authenticity and intuition that belies her

age. Garnering comparisons to artists like Billie Holiday, Roberta Flack and Natalie Cole, Jones’ innate ability to charm audiences has made her a favorite at famed events like the New Orleans Jazz & Heritage Festival.

She also performs on tour as a featured singer with trumpeter and New Orleans jazz icon Kermit Ruffins.

Jones will be joined by Elan Trotman (sax), quickly becoming one of jazz’s most thrilling and emotive performers to shine and push boundaries as a composer, performer, teacher and recording artist.

Photo by Doc Jones

Jimmy Heath

The Nayo Jones Experience featuring Elan Trotman

Photo by Doc Jones

Jazz singer Gregory Porter is certainly famous. He earns love-letter praise from critics, picking up two Grammys in the past four years. He’s appeared on “Good Morning America” and “The Tonight Show,” and his concerts usually sell out, as he did at the Mesa Arts Center

Photo By: Doc Jones

GREGORY PORTER LIVE AT THE MESA ART CENTER THE # 1 VENUE FOR JAZZ IN ARIZONA By: Shirley Jones I had no idea what to expect as we drove the 45 minute drove to one of Arizona’s premier live performance facilities in beautiful downtown Mesa, Arizona. The Mesa Arts Center hosts a gamut of live events and caters to its neighbors as well as to the public at large. Doc Jones, the Publisher of this magazine posed a question to me, “Do U know who Gregory Porter is?” Although I had heard smatterings of a couple of Mr. Porter’s latest album currently being regularly aired, I had no idea what to expect at the concert. Doc Jones, simply put, is a lover of music; all music. Given his extensive background in various music genres, one might become confused on listening to him master an Irish Jig, however, his first love is definitely Jazz. Doc Jones is thoroughly entrenched in, has performed and taught Jazz music for decades, although he would be the first to say “I’m a lover of all Music.” Armed with that knowledge, i replied “No but is he like that guy who was just singing. He promptly asked that I Google Gregory Porter. To my surprise upon my search, not only was his photo unexpected, but his vocals were even less expected. Wow, he could really sing! I had no idea what to expect as we drove the 45 minute drove to one of Arizona’s premier live performance facilities in beautiful downtown Mesa, Arizona. The Mesa Arts Center hosts a gamut of live events and caters to its neighbors as well as to the public at large. Doc, the Publisher of this magazine posed a question to me, “Do U know who Gregory Porter is?”

Although I had heard smatterings of a couple of Mr. Porter’s latest album currently being regularly aired, I had no idea what to expect at the concert. Doc, simply put, is a lover of music; all music. Given his extensive background in various music genres, one might become confused on listening to him master an Irish Jig, however, his first love is definitely Jazz. Doc Jones is thoroughly entrenched in, has performed and taught Jazz music for decades, although he would be the first to say “I’m a lover of all Music.” Armed w/ that knowledge, i replied “No but is he like that guy who was just singing. He promptly asked that I Google Gregory Porter. To my surprise upon my search, not only was his photo unexpected, but his vocals were even less expected.

Wow, he could really sing!

It would seem natural, given Young Gregory’s stature that he’d become involved in sports. His American college full ride football career was cut short his Junior year by a shoulder injury. That injury prompted his mother’s deathbed encouragement that he should stick with music. Nothing like a Mother’s loving advice; millions of music lovers have enjoyed that advice since then.

Though Gregory was led to sing early on, as young as five years old by his mother. Even taken by her to perform on the streets with a small self-contain PA box. The PA system may have been contained, but there is no containing or labeling his artistry as he flows between and in and out of varying music genres to include Jazz, Blues, Soul and Gospel. This evening at the beautiful Mesa Arts Center, the audience experienced the full spectrum @of Mr. Porter’s vocal acrobatics. About his once budding career, Porter once said, “In this business as a singer it’s feast or famine. You got to hit it while its hot. Needless to say as supported by his receiving a Grammy and sales of his latest hit CD Nat “King” Cole & Me, Gregory Porter is Hot!!

Stephaine Jordan NEW ORLEANS 1ST LADY OF JAZZ “Local chanteuse Stephanie Jordan set the anthem on a slow burn Sunday night (Feb 17, 2008), delivering the most smoldering rendition of the song since Marvin Gaye performed it at another NBA All-Star Game more than 20 years ago... Another blazing light in our constellation” writes Chris Rose Selected for the cover of the World’s Who’s Who in Jazz; “SHOWBIZ, PIONEERS, BEST SINGERS, ENTERTAINERS AND MUSICIANS FROM 1606 TO THE PRESENT,” the London Monthly Herald declares, “Ms. Stephanie Jordan in her silk green dress catches your eyes. She reminds me of the flashy dashy days of Josephine Baker at the Lido in Paris, the author referred to her as “The classy lady of modern Jazz!”

The Washington Post boasts of her Kennedy Center performance, “Contributing intimate and thoroughly enjoyable interludes were . . . Stephanie Jordan, who performed with a quartet that featured her brother Marlon on trumpet. A poised, soulfully articulate vocalist, Jordan turned in a performance that warmly evoked the influence of Abbey Lincoln, Shirley Horn, Carmen McRae and other jazz greats.”

Following the national televised Jazz at Lincoln Center Higher Ground Hurricane Relief Benefit Concert, Bill Milkowski of JazzTimes Magazine writes “Stephanie Jordan, a standout here, was the real discovery of the evening. Her haunting rendition of (Here’s to Life) this bittersweet ode associated with Shirley Horn was delivered with uncanny poise and a dept of understated soul that mesmerized the crowd and registered to the back rows. Singing with a clarity of diction that recalled Nat “King” Cole . . .”

“After Hurricane Katrina, an extraordinary cohort of singers-among them, in no particular order, Shirley Caesar, Aaron and Arthur Neville, Cassandra Wilson, Diane Reeves, Elvis Costello, Diana Krall, Norah Jones, James Taylor, and Bette Midler-convened at the Rose Theatre to perform a benefit relief concert for the victims of the catastrophic. On that memorable night; none sang with greater authority or emotional resonance than Stephanie Jordan, who enthralled the packed house and a national PBS NPR audience of millions with an ascendant reading of “Here’s To Life.” Framed by her siblings Marlon (trumpet), Kent (flute), and Rachel (violin), each, like their sister, a native New Orleanian newly uprooted from their home.

Jordan brought the concert to its climax, rendering the Phyllis Molinary lyric-an instant classic when the late Shirley Horn recorded it in 1991—with impeccable diction, dead-center pitch, and a personal point of view, acknowledging Horn’s antecedent version while drawing independent conclusions about tempo, phrasing, and dynamics. In the process, Jordan… revealed a fully evolved tonal personality, one that can be mentioned in a conversation about such distinguished mentors and influences as Horn, Abbey Lincoln, and Nancy Wilson.” (Ted Panken / Jazz at Lincoln Center Playbill) The Here’s to Life track is one of the selected songs on Blue Note Records’ Higher Ground CD. Jordan is scheduled to perform with the Lionel Hampton Big Band during the Official Lionel Hampton Centennial Birthday Celebration on April 19, 2008.

azz at Lincoln Center notes, “every so often a new voice stands up and proclaims itself, but few do so with such supreme depth and understated soul.” Her four shows in October 2006 during Jazz at Lincoln Center’s “Singers Over Manhattan” series left them wanting for more.

Stephanie and Marlon Jordan embark during the fall of 2005 as ‘Jazz Ambassadors’ on a European Tour sponsored by the U.S. Department of State and Jazz at Lincoln Center to thank the people of Europe for their support of New Orleans and the Gulf Region following Hurricane Katrina. The countries included Bucharest, Germany, Lithuania and Ukraine.

Gambit Weekly Music declares, “Stephanie Jordan is a lady with a great set of pipes. Anyone who has ever romanced their honey to Johnny Adams’s moody, lounge-lizard smoky vocals on ‘You Don’t Know What Love Is’ will thrill to Stephanie’s silk-between-the-fingers treatment of that song, the title cut.” All About Jazz adds, “Her tone is crisp, perfect, but not in that polished way that sounds like an opera singer attempting jazz. She is more like a master of technique, yet with plenty of soul.”

Jazz critic Sandy Ingram writes “She’s a singer with poise and pizzazz, with a voice and an appealing look that bring to mind Carmen McRae and Lena Horn.” Stephanie’s lyrical style has also been compared to Norah Jones and Diana Krall, while others say it’s more like living legends Cassandra Wilson Ms. Jordan performed the national anthem along side Grammy Award-winning saxophonist Branford Marsalis and guitarist Jonathan Dubose at the 2008 NBA All-Star Game in New Orleans. She has appeared live on NPR Talk of the Nation, the Kennedy Center, Jazz Standard New York, Central Park, Marians Jazzroom in Bern, Switzerland, St. Croix Blue Bay Jazz Fest, Manship Theatre in Baton Rouge, Duke Ellington Festival, Washington, D.C., Chicago JazzFest Heritage, Glenwood Springs, Co., the New Orleans Ladies of Jazz, Adagio’s Jazz Club in Savannah, Hayti Heritage Center in Durham, Sweet Lorraine’s in New Orleans and is a regular at the New Orleans Jazz and Heritage Festival. Jordan has been inducted as a member of the New Orleans Magazine Jazz All-Stars for 2008.

Stephanie has opened for NaJee, Roy Ayres, and Howard Hewitt. She has collaborated with her sister, Rachel in a fully staged concert with strings from the Louisiana Philharmonic and her Jazz Quintet entitled “Stephanie with Strings.” A version of this performance featuring her brother, Kent was repeated with the Alabama Symphony. She has performed with the Harlem Renaissance Orchestra during Jazzmobile’s “Great Jazz on the Great Hill” in Central Park, New York.

Stephanie made her debut at Takoma Station Jazz Club. She joined the Doug Carne Band in an unrehearsed rendition of “I Remember April.” Within a few months she developed a loyal following and became much sought after. She has performed at many of the Washington, D.C. jazz haunts such as Twins Jazz Lounge, Blues Alley, and Carter Baron Amphitheater. Stephanie has also appeared at the opening of the Schomburg Center of the New York Public Library, Langston Hughes Auditorium in New York City, the Marciac Jazz Festival in France, and Jazz Aspen. She accepted an extended engagement at “The Palace” Hotel in Istanbul, Turkey and upon her return became a regular-featured performer at Harrah’s Casino in New Orleans. Recognized internationally, the Sud Ouest French publication calls her “unbelievably superb.”

The Washingtonian Magazine labeled her “JAZZHOT.” In 1995 Stephanie Jordan performed the title soundtrack “Season’s Start” in the Tribecca Film release of Café Society staring Lara Flynn Boyle and Peter Gallagher. Ms. Jordan is the fifth performer to emerge from a family of New Orleans bred musicians. As the daughter of saxophonist Edward “Kidd” Jordan, Stephanie’s musical roots run deep. www.StephanieJordan.com

Kirk Andrés Wilson

Pianist, organist, guitarist, writer, composer, arranger, lyricist, producer, vocalist and teacher, Kirk Wilson is a professional entertainer and musician. With an exceptional level of focus and skill, he is a brilliant artist on the rise. Amazingly gifted, he has a wide range and talent in production as well as enjoying life as a wonderful musician. Wilson has a unique voice in this ever changing world of music, keeping a grand sense of awareness that allows him to communicate the essence of what he’s playing to his audience with a subtle and humble attitude. Along with simple, sing – along melodies within complex compositions, there is a freshness of style that allows Wilson to have a special sound that doesn’t blend in, but stands out. Beginning as a young child on the guitar at age 8, Kirk Wilson was strongly influenced to play jazz guitar by the sounds of George Benson coming out of his brother’s bedroom door every night. Fervently cultivating his musical skills, his parents, Robert and Doris Wilson, raised him in church and brought him into their gospel group “The Bell of Harmony” at the tender age of 11. As he grew into playing his 1st instrument, Kirk recalls, “My grandfather would at often times, give me multiple guitar and organ lessons throughout the day”. Rev. Richard Kirk, his grandfather would leave to him a legacy of musical gifts and talents from the Lord that he never imagined until later in life. His parents brought an organ for the home, when he was 15 years of age, later tipping into his high school choir room to find even more inspiration on the piano at age 16.

Entering into band at East Ascension High School in Gonzales, LA, he began learning how to play the Tuba as a graduating senior at age 17.

Beginning his collegiate career, Wilson received a full scholarship to attend Southeastern Louisiana University in Hammond, LA. He made his way into the Southeastern Louisiana University Jazz Orchestra directed by Dr. Ronald Nethercutt. As a freshman, Wilson qualified to participate in the Southeastern Louisiana Symphonic Band playing the Tuba as well as the Euphonium, under the musical instruction of the late Dr. Alvin Batiste at Southern University in Baton Rouge, LA where he continued his education. Dr. Alvin Batiste had a great influence on Wilson developing his style on piano from artists such as Count Basie, Art Tatum and Oscar Peterson. Furthermore, during the mid 80′s to the mid 90′s he played keys and guitar for “Vortex, “Cool Breeze Jazz Band”, and Camelot Club, along with playing keys with many artists such as, Roland Guerin, Herman Jackson, Donald Edwards, Tommy Scott, Mark Whitfield, Micheal Ward, Dr. Alvin Batiste and the Jazzronauts, Ed Perkins, and a list of many others. Wilsond also served as lead musician for the house band on the Hammond B3 organ for the Annual American Gospel Quartet Convention, George W. Stewart, president. Wilson has often appeared on the Hammond B3 or keyboards with artists such as

The Williams Brothers, The Canton Spirituals, Luther Barnes, Lee Williams and the Spiritual QC’s, The Five Blind Boys, victory in all of his endeavors, not only within the arena of music, but within his life and family. The Mississippi Mass Choir, (David Curry president), Kirk Franklin, Kurt Carr, the late Reverend James Cleveland and a host of many more recording artist, groups, demo reels and studio / live recording projects. He has served as full time staff member as well as lead musician / music director and producer at “Word of Life Christian Center” under Dr. Leroy Thompson, Sr., “The Christian Assembly Full Gospel Church”, under Rev. Richard Rayborn, “Church Point Ministries”, Pastor Dewight Payte, “Greater New Guide Baptist Church”, Rev. Isaiah Webster, and an extending list of other churches throughout southern Louisiana. He has also appeared as a keyboard player for guest vocalist and various groups on “Bobby Jones Gospel” a national Christian television program on BET. As a part of his many experiences, Wilson explored and studied the art of jazz, the skill of classical, the styles of gospel, the groves of R&B, the bounce of reggae, the stories of country, and the feel of soft rock. It is the combination of these great influences in his life that has given Kirk his fresh, soulful and passionate sound that gives him a unique voice and original perspective of the art of composition and musicianship. His close and personal relationship with Jesus Christ keeps his edge on life and a posture of constant

HOTEL MONTELEONE, NEW ORLEANS 214 ROYAL STREET, NEW ORLEANS, LA 70130 855-516-1090 COME CATCH

The Nayo Jones Experience LIVE AT A GLANCE A landmark hotel in central New Orleans, the 4-star Hotel Monteleone, New Orleans is home to deluxe comforts. Guests dine in style in 2 restaurants and delight in the pulsating Carousel Bar. Accommodations are furnished with antique reproductions and open to grand city views.

N AND AROUN Within the French Quarter 4 blocks from Jackson Square Within walking distance from the shops along Canal Street Steps from the pulsating Harrah’s Casino Within 4 blocks from the dynamic Bourbon Street and the Café du Monde Easy airport access Near public transport Guests dine in style in the elegant restaurant and ease off at the revolving Carousel Lounge 46 stylus magazine

YOU SHOULD KNOW 17-floor hotel with business and leisure amenities 570 spacious and stylish accommodations offering elegant antique-reproductions 25 well-equipped meeting rooms and a modern business center The famous Carousel Lounge complete with a circus motif and a revolving carousel Fine-dining restaurant with dark-wood fixtures Casual café serving light fare Outdoor swimming pool situated at the rooftop and complete with a poolside bar Well-equipped fitness center with modern strength and weight equipment

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