Smooth Style - Magazine of Europe's only Smooth Jazz Festivals

International ARTIST Line-up feat. Grammy winners & nominees, No.1 hit and album chart breakers and many more

6 Days

24 Artists

15 Shows Plus Aftershow-Parties

5. ALGARVE SMOOTH JAZZ FESTIVAL

EUROPE‘S SOUL, FUNK & JAZZ PARTY AT THE ATLANTIC OCEAN

Editor / Herausgeber / Editor

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Tel. +49 (0)821 2292711, Fax +49 (0)821 2292712

info@smoothentertainment.de www.smoothentertainment.de

Equipa editorial / Redaktion / Editorial Staff:

Sandra Hoffmann, Christian Bössner

Gerente de Projeto / Projektleiter / Project Manager:

Christian Bössner

Layout / Gestaltung / Layout: www.blueorangeblue.de

Vendas de anúncios / Anzeigenverkauf / Ad Sales:

Christian Bössner

5.

ALGARVE SMOOTH JAZZ FESTIVAL

3. – 8. May 2022 - Portugal

Apresentado por: / Präsentiert von: / Presented by:

Mídia associada / Medienpartner / Media Partner

Patrocinadores / Sponsoren / Sponsors

Data de publicação / Erscheinungstermin / Date of publication: 5/2022 Não nos responsabilizamos pelos detalhes informativos que nos foram providenciados.

Alle Angaben trotz sorgfältiger Bearbeitung ohne Gewähr. No responsibility is taken for the correctness of the details provided.

Foto de capa / Titelfoto / Cover photo: Monica Orozco, deMonica Photo

Good music. Good food. Good wine. Good time!

Lasst uns feiern!

Let’s have a party!

Celebremos!

Music travel organizers Sandra Hoffmann and Christian Bößnerpresenters of the European Smooth Jazz Festivalsare looking forward to having a wonderful time with you.

Image: Christian Nordström

Reserva / Reservierung / Reservation

Lugar

del evento / Veranstaltungsort / Venue

PINE CLIFFS RESORT, 8200-593 Pinhal do Concelho, Albufeira Portugal

Entradas para conciertos y Paquetes de hotel

Konzerttickets & Hotelpakete

Concert Tickets & Hotel Packages

www.smoothjazzshop.eu/algarve

Terça-feira, 3 de Maio / Dienstag, 3. Mai / Tuesday, May 3

19:00 h Jantar de boas-vindas / Willkommens-Dinner / Welcome Dinner & JAM SESSION

Quarta-feira, 4 de Maio / Mittwoch, 4. Mai / Wednesday, May 2

20:15 h Entrada / Einlass / Entrance

20:45 h KIM SCOTT

22:15 h PIECES OF A DREAM

23:45 h Aftershow Party (DJ Richard Edwards)

Quinta-feira, 5 de Maio / Donnerstag, 5. Mai / Thursday, May 5

15:00 h The Afternoon Chill… feat. loungy DJ Grooves & live artist interviews

20:15 h Entrada / Einlass / Entrance

20:45 h FOUR80EAST

22:15 h EVERETTE HARP

23:45 h Aftershow Party (DJ Richard Edwards)

Sexta-feira, 6 de Maio / Freitag, 6. Mai / Friday, May 6

15:00 h The Afternoon Chill… feat. loungy DJ Grooves & live artist interviews

20:15 h Entrada / Einlass / Entrance

20:45 h KEN NAVARRO

22:15 h MINDI ABAIR

23:45 h Aftershow Party (DJ Richard Edwards)

Sábado, 7 de Maio / Samstag, 7. Mai / Saturday, May 7

10:30 h Entrada / Einlass / Entrance

11:00 h WILLIE BRADLEY

12:30 h OLI SILK

15:00 h The Afternoon Chill… feat. loungy DJ Grooves & live artist interviews

20:15 h Entrada / Einlass / Entrance

20:45 h GREGG KARUKAS

22:15 h PETER WHITE

23:45 h Aftershow Party (DJ Richard Edwards)

Domingo, 8 de Maio / Sonntag, 8. Mai / Sunday, May 8

10:30 h Entrada / Einlass / Entrance

11:00 h NILS

12:30 h JONATHAN FRITZEN

15:00 h The Afternoon Chill… feat. loungy DJ Grooves & live artist interviews

20:15 h Entrada / Einlass / Entrance

20:45 h MARK JAIMES

22:15 h ERIC DARIUS

23:45 h Farewell Aftershow-Chill (DJ Richard Edwards)

Festival program | Algarve Smooth Jazz Festival

Seit sie 2011 ihr Debütalbum „Crossing Over“ veröffentlichte, hat Kim Scott das Publikum auf der ganzen Welt mit ihren Live-Auftritten und „im Äther“ beeindruckt. Bekannt für ihren außergewöhnlichen Ton, ihre mitreißenden Melodien und ihre makellose Technik, ist sie eine der gefragtesten Flötistinnen im Klassik- und Jazzbereich. Sie bringt frisches Blut und frischen Sound in die Contemporary-Jazzszene von heute. Mit vier Alben hat Kim bewiesen, dass sie nicht nur eine verlässliche Größe in diesem Bereich ist, sondern auch ein Versprechen für die Zukunft. Sie ist bereits mit Künstlern wie Jonathan Fritzén, James Lloyd, Jazmin Ghent, Greg Manning und vielen anderen auf der Bühne und im Studio gestanden. Zudem ist sie Mitglied der „Frauenpower“Jazzgruppe Jazz in Pink und brillierte darüber hinaus als Solistin auf den Bühnen von Festivals wie Blues Alley, Seabreeze Jazz Festival, Greater Hartford Festival of Jazz, Catalina Jazztrax.

Desde que lançou o seu primeiro álbum “Crossing Over” em 2011, Kim Scott impressionou as audiências por todo o mundo em actuações e nas rádios. Conhecida pelo seu excepcional tom, melodias intoxicantes e técnica imaculada, ela é uma das mais procuradas flautistas tanto no campo da música clássica como no jazz. Ela traz uma lufada de ar fresco e um som fresco ao panorama do jazz contemporâneo. Com 4 álbuns editados, Kim provou ser um pilar na área e uma promessa para o futuro tanto como solista como colaboradora. As suas colaborações incluem actuações e gravações com Jonathan Fritzén, James Lloyd, Jazmin Ghent, Greg Manning e outros. É também membro do grupo de jazz feminino Jazz in Pink e actuou nos palcos de Blues Alley, Seabreeze Jazz Festival, Greater Hartford Festival of Jazz, Catalina Jazztrax e outros como solista.

Kim Scott

live at Algarve Smooth Jazz Festival 2022

Wednesday, 4. May, 20:45 h

Free to Be (2019)

Southern Heat (2016)

Rite of Passage (2013)

Crossing Over (2011)

www.kimscottmusic.com

Since having released her debut album, “Crossing Over” in 2011, Kim Scott has impressed audiences across the globe in performances and on the airwaves. Known for her exceptional tone, intoxicating melodies, and flawless technique, she is one of the most sought-after flutists in both the classical and jazz fields. She’s a fresh image and sound for today’s contemporary jazz scene. With four albums to her credit, Kim has proven to be a mainstay in the field and promise for the future as both a soloist and collaborator. Her collaborations include performances and recordings with Jonathan Fritzén, James Lloyd, Jazmin Ghent, Greg Manning and others. She is also a member of the allfemale jazz group Jazz in Pink and has performed on the stages of Blues Alley, Seabreeze Jazz Festival, Greater Hartford Festival of Jazz, Catalina Jazztrax and more as a soloist.

6Artists | Kim Scott

Image: Danny Austin Photography

4 solo albums | 3 No.1 hits & No.13 album at the Billboard jazz charts | 2021 Breakout Artist of the Year by Smooth Jazz Network

Keyboardist James Lloyd, drummer Curtis Harmon and bassist Cedric Napoleon founded ‘Pieces of a Dream’ in Philadelphia in 1976. They were still teenagers at that time and based the band’s name on ‘Pieces of Dreams’, a cover tune by Stanley Turrentine that they performed. The guys were swinging so hard as teenagers that the great Count Basie once proclaimed them “a tough act to follow”. But it was another jazz legend, Grover Washington Jr., who helped Pieces of a Dream become the internationally known stars they are today by producing their first three albums. Lloyd was only a senior in high school when the first record was released. Some years later, the group amicably parted ways with long time friend Cedric. In total, Pieces of a Dream has released 25 studio albums so far. Though jazz-based, the group also emphasized R&B and incorporated funk, quiet storm, hip-hop, new jack swing, and smooth jazz into their recordings. The band’s trademark are catchy riffs, infectious grooves and compelling vocals (featuring vocalists like Eva Cassidy, Barbara Walker or Maysa Leak).

Keyboarder James Lloyd, Schlagzeuger Curtis Harmon und Bassist Cedric Napoleon gründeten „Pieces of a Dream” 1976 in Philadelphia. Sie waren damals noch Teenager und benannten die Band nach „Pieces of Dreams“, einer Coverversion von Stanley Turrentine, die sie spielten. Die Jungs swingten als Teenager so heftig, dass der große Count Basie einst sagte, sie seien ein „tough Act to follow“. Aber es war eine andere Jazz-Legende, Grover Washington Jr., der Pieces of a Dream zu ihrem internationalen Durchbruch verhalf, indem er ihre ersten drei Alben produzierte. Lloyd war immer noch auf der High School, als die erste Platte veröffentlicht wurde. Einige Jahre später trennte sich die Gruppe freundschaftlich von ihrem langjährigen Freund Cedric. Insgesamt hat Pieces of a Dream bisher 25 Studioalben veröffentlicht. Obwohl ihre Wurzeln im Jazz liegen, finden sich in ihren Aufnahmen zahlreiche Elemente aus R&B, Funk, Quiet Storm, Hip-Hop, New Jack Swing und Smooth Jazz. Das Markenzeichen der Band sind eingängige Riffs, ansteckende Grooves und fesselnde Vocals (von Sängerinnen wie Eva Cassidy, Barbara Walker oder Maysa Leak).

O teclista James Lloyd, o baterista Curtis Harmon e o baixista Cedric Napoleon fundaram os “Pieces of a Dream” em Filadélfia em 1976. Na altura eram ainda adolescentes e basearam o nome da banda em “Pieces of Dreams” um cover de Stanley Turrentine que eles tocaram. O swing deles como adolescentes era tão grande que o grande Count Basie os proclamou como “difíceis de superar”. Mas foi outra lenda do jazz, Grover Washingto Jr. que ajudou os Pieces of a Dream a se tornarem nas estrelas actualmente reconhecidas mundialmente ao produzir os seus primeiros três álbuns. O Lloyd estava ainda a concluir o ensino secundário quando o seu primeiro álbum foi lançado. Alguns anos mais tarde, o grupo separou-se amigavelmente de Cedric, o amigo de longa data. No total os Pieces of a Dream lançaram 25 álguns de estúdio até à data. Embora com raízes no jazz, o grupo também deu enfase ao R&B e integrou funk, quiet storm, hip-hop, new jack swing e smooth jazz nas suas gravações. A imagem de marca da banda são os riffs cativantes, grooves contagiantes e vocals irresistíveis (com vocalistas como Eva Cassidy, Barbara Walker e Maysa Leak).

FACTS

25 solo albums | No.1 & 4 Top10 hits plus No.1 album & 11 Top10 albums at the Billboard jazz charts | Since over 40 years Contemporary Jazz Pioneers

DISCOGRAPHY

Fired Up! (2021)

On Another Note (2019)

Just Funkin’ Around (2017) All In (2015)

In The Moment (2013)

Soul Intent (2009)

Pillow Talk (2006)

No Assembly Required (2004)

Love’s Silhouette (2002)

Acquainted With The Night (2001) Ahead To The Past (1999)

Pieces (1997)

Goodbye Manhattan (1994) In Flight (1993)

Makes You Wanna (1990)

Bout Dat Time (1989)

Joyride (1986)

Imagine This (1983)

We Are One (1982)

Pieces Of A Dream (1981) etc.

www.piecesofadream.net

Four80East

Bei dem in Toronto ansässigen Electro-Jazz-Duo Four80East dreht sich alles um „den Groove“. Rob DeBoer (Keyboards, Bass, Gitarre) und Tony Grace (Percussion) haben aus ihren vielfältigen musikalischen Einflüssen einen unverwechselbaren Sound entwickelt, der elektronische Produktion mit Live-Instrumenten kombiniert. Obwohl Four80East als Studioprojekt aus der Taufe gehoben wurde, schafften es Tony und Rob, ihre vielschichtigen und fesselnden Klangproduktionen in eine energiegeladene Live-Show zu verwandeln – nicht zuletzt mit Hilfe der vielen Weltklasse-Musiker, die mit ihnen die Bühne teilen. Auch aus dem zeitgenössischen Jazzradio sind Four80East seit der Veröffentlichung ihres Debüts „The Album“ 1997 nicht mehr wegzudenken. Sie haben mehrere TopTen-Billboard-Hits gelandet; mit „Cinco Cinco Seis“ wurden sie z. B. 2019 #1. In diesem Jahr feiern Four80East ihr 25-jähriges Jubiläum.

live at Algarve Smooth Jazz Festival 2022

Thursday, 5. May, 20:45 h

FACTS

12 Solo albums | No.1 & 3 Top10 hits plus 2 Top10 albums at the Billboard jazz charts | Groovy electro-jazz

DISCOGRAPHY

Mixed Up (2021)

Straight Round (2020)

Four On The Floor (EP, 2018)

Cherry Picked (limited vinyl, 2016)

Positraction (2015)

Four80East Live (2014)

Off Duty (2012)

Roll On (2009)

En Route (2007)

Round 3 (2002)

Nocturnal (2001)

The Album (1997)

Four80East is a Toronto-based electro-jazz duo that’s all about the groove. Drawing from their diverse musical influences, Rob DeBoer (keyboards, bass, guitar) and Tony Grace (percussion) have created a signature sound that combines electronic production with live instrumentation. Although Four80East was born as a studio project, Tony and Rob have been able to transform their layered and captivating sonic productions into a high-energy live show, with the help of the many world-class musicians who join them on stage. Since breaking out with their debut “The Album” in 1997, Four80East has been a mainstay on contemporary jazz radio. They have scored several top-ten Billboard hits, including e. g. #1 in 2019 with “Cinco Cinco Seis”. This year, Four80East is celebrating its 25th anniversary.

Four80East é um duo de electro-jazz de Toronto que tem tudo a ver com o groove. Com base nas suas diversas influências musicais, Rob DeBoer (teclas, baixo, guitarra) e Tony Grace (percursão) criaram um som único que combina a produção electrónica com a instrumentalização ao vivo. Embora o Four80East tenha nascido como um projecto de estúdio, o Tony e o Rob conseguiram transformar as suas produções sónicas estratificadas e cativantes num espectáculo ao vivo cheio de energia com a ajuda de muitos músicos de renome mundial que se juntam a eles no palco. Desde o lançamento do seu álbum de estreia “The Album” em 1997, os Four80East têm sido uma constante na rádio de jazz contemporâneo. Eles alcançaram alguns Top 10 na tabela Billboard, incluindo pro exemplo o #1 em 2019 com “Cinco Cinco Seis”. Este ano os Four80East celebram o seu 25º aniversário.

Image: Four80East

Everette Harp began to play the piano as a toddler and at the tender age of 4 he discovered the saxophone. As his father was a minister and his mother a pianist/ organist, his first love was gospel music. Jazz he discovered in high school and later he studied music. For a time, he played in local Houston bands, but moved to LA in 1988. Soon he toured with Teena Marie and Anita Baker. In 1990, George Duke, Harps idol and later his friend and mentor, signed him to a production deal, and another two years later a record deal followed. His first album, produced by Duke, was a great success. Soon after, Harp appeared at festivals, amongst them also Montreux, and in tv shows. The list, enclosing the celebrities he has already performed with, is long: Chaka Khan, Kenny Loggins, Marcus Miller, Joe Sample, Aretha Franklin, Al Jarreau, Dionne Warwick, The Pointer Sisters, Billy Joel, Patti Labelle, Luther Vandross and many more. This list also encloses Europeans, e. g. Peter Maffay. And with Eros Ramazotti, Everette toured the world in 2009 and 2013.

Everette Harp begann schon als Kleinkind, Klavier zu spielen; das Saxophon entdeckte er im zarten Alter von 4. Da sein Vater Pastor und seine Mutter Pianistin/Organistin war, galt seine erste Liebe der Gospel-Musik. Auf Jazz kam er in der High School. Später studierte er Musik und spielte eine Zeitlang in lokalen Houstoner Bands. 1988 zog er nach LA und tourte bald mit Teena Marie und Anita Baker. Zwei Jahre später verhalf ihm George Duke, sein Idol und späterer Freund und Mentor, zu einem Produktionsvertrag, wieder zwei Jahre später folgte ein Plattenvertrag. Sein erstes Album, produziert von Duke, war ein großer Erfolg. Bald darauf trat Everette auf Festivals, darunter auch Montreux, und in Fernsehshows auf. Die Liste berühmter Namen, mit denen er schon aufgetreten ist, ist lang: Chaka Khan, Kenny Loggins, Marcus Miller, Joe Sample, Aretha Franklin, Al Jarreau, Dionne Warwick, The Pointer Sisters, Billy Joel, Patti Labelle, Luther Vandross u.v.a. Auch Europäer finden sich auf dieser Liste, z. B. Peter Maffay. Und mit Eros Ramazotti tourte Everette 2009 und 2013 um die Welt.

Everette Harp

live at Algarve Smooth Jazz Festival 2022

Thursday, 5. May, 22:15 h

FACTS

9 solo albums | 3 Jazz Funk Soul albums | 2 No.1 hits plus No. 1 & 10 Top10 albums at the Billboard jazz charts

DISCOGRAPHY

Life and Times (2019)

More Serious Business (2016)

Jazz Funk Soul (2014)

First Love (2009)

My Inspiration (2008)

In The Moment (2006)

All For You (2004)

For The Love (2000)

Better Days (1999)

What‘s Going On (1997)

Common Ground (1994)

Everette Harp (1992)

www.everetteharp.com

Everette Harp começou a tocar piano com tenra idade e aos 4 anos descobriu o saxofone. Como o seu pai era pastor da igreja e a sua mãe pianista/organista, o seu primeiro amor foi a música gospel. Ele descobriu o jazz na escola secundária e mais tarde estudou música. Durante algum tempo tocou em bandas locais em Houston, mas em 1988 mudou-se para L.A. Pouco depois andou em tournée com Teena Marie e Anita Baker. Em 1990 George Duke, ídolo de Harp e mais tarde seu amigo e mentor, ajudou-o a obter um contrato de produção e dois anos mais tarde outro para gravar. O seu primeiro álbum, produzido por Duke, foi um enorme êxito. Pouco depois Harp participou em festivais, entre os quais Montreux e em shows televisivos. A lista de celebridades com as quais ele já actuou é longa: Chaka Khan, Kenny Loggins, Marcus Miller, Joe Sample, Aretha Franklin, Al Jarreau, Dionne Warwick, The Pointer Sisters, Billy Joel, Patti Labelle, Luther Vandross e muitos outros.

Image: Bobby Quillard

Ken

Navarro

live at Algarve Smooth Jazz Festival 2022 Friday, 6. May, 20:45 h

Die musikalisch vielfältige Diskographie des Gitarristen Ken Navarro spricht mit inspirierenden Kompositionen und hervorragenden Gitarrendarbietungen (Akustik- und E-Gitarre) ein breites Publikum an. Er begann seine Laufbahn in Los Angeles als Premier-Session-Gitarrist, Performer und Komponist. Bis dato hat er 26 Alben veröffentlicht und auf seinen unzähligen Konzertauftritten hat er die Bühne mit Künstlern wie Spyro Gyra, Chris Botti, The Rippingtons, David Sanborn, Joe Sample, Larry Carlton, Keiko Matsui, David Benoit, Boney James und vielen anderen geteilt. Aber sein Beitrag zum Contemporary und Mainstream-Jazz geht über sein persönliches Können hinaus. So hat er, um nur ein paar zu nennen, erfolgreiche Alben für Eric Darius, Tony Craddock Jr. und Jay Rowe produziert. Zudem hat Ken als Gründer von Positive Music Records Karrieren von Künstlern wie Brandon Fields, Grant Geissman, Thom Rotella sowie Gregg Karukas, Jay Rowe und Marcus Johnson ins Rollen gebracht. Insgesamt hat Kens Vision eines Plattenlabels für Musiker das Genre bereits mit über 35 neuen Künstlern und 100 Veröffentlichungen bereichert.

FACTS

26 solo albums | No. 1 & numerous Top5 radio hits | 2x Grammy pre-nominee

DISCOGRAPHY

I Will Still Be Here (2021) Into The Light (2020)

Music For Guitar And Orchestra (2018)

Bonfire (2016)

Unbreakable Heart (2015)

Hope, Joy, Strength (2015)

Ruby Lane (2014)

The Test Of Time (2012)

Dreaming Of Trains (2010)

The Grace Of Summer Light (2008)

The Meeting Place (2007)

Love Coloured Soul (2005)

All The Way (2003)

Slow Dance (2002)

Island Life (2000)

In My Wildest Dreams (1999)

Ablaze In Orlando (1998)

Smooth Sensation (1997)

Christmas Cheer (1996)

When Night Calls (1996)

Brighter Days (1995)

Pride & Joy (1994)

I Can’t Complain (1993)

The Labor Of Love (1992)

After Dark (1991)

River Flows (1990)

www.kennavarro.com

The musically diverse discography of guitarist Ken Navarro appeals to a wide range of listeners with inspiring compositions and superb guitar performances (acoustic and electric guitar). He began his recording career in Los Angeles as a premier session guitarist, performer and composer. In a career that spans 26 albums, he has also made countless concert appearances, where he has shared the stage with artists such as Spyro Gyra, Chris Botti, The Rippingtons, David Sanborn, Joe Sample, Larry Carlton, Keiko Matsui, David Benoit, Boney James and many others. But his contribution to Contemporary and Mainstream Jazz goes beyond his personal artistry. He has produced successful albums for Eric Darius as well as Tony Craddock Jr. and Jay Rowe to name a few. As founder of Positive Music Records, Ken is responsible for launching and furthering the recording careers of Brandon Fields, Grant Geissman, Thom Rotella and Pat Kelley, as well as Gregg Karukas, Jay Rowe and Marcus Johnson. Ken’s vision of a musician’s record label has enhanced the genre with over 35 new artists and 100 releases.

A discografia musicalmente diversificada do guitarrista Ken Navarro apela a um vasto leque de ouvintes com composições inspiradoras e soberbas actuações de guitarra (guitarra acústica e eléctrica). Ele iniciou a sua carreira discográfica em Los Angeles como guitarrista, artista e compositor de estreia. Numa carreira que abrange 26 álbuns, teve igualmente imensas actuações em concertos, onde partilhou o palco com artistas como Spyro Gyra, Chris Botti, The Rippingtons, David Sanborn, Joe Sample, Larry Carlton, Keiko Matsui, David Benoit, Boney James e muitos outros. Mas a sua contribuição para o Jazz contemporâneo e mainstream vai para além da sua capacidade artística pessoal. Ele produziu álbuns com sucesso para Eric Darius assim como para Tony Craddock Jr. e jay Rowe, para mencionar alguns. Como fundador da Positive Music Records, Ken é responsável pelo lançamento e promoção das carreiras discográficas de Brandon Fields, Grant Geissman, Thom Rotella e Pat Kelley, bem como de Gregg Karukas, Jay Rowe e Marcus Johnson. A visão de Ken sobre a editora discográfica de um músico melhorou o género com mais de 35 novos artistas e 100 lançamentos.

10Artists | Ken Navarro

Image: Ken Navarro

Seit 1999 ihr Debütalbum erschien, elektrisiert Mindi Abair das Publikum mit ihren dynamischen LiveAuftritten und ihrem Können am Saxophon. Seit Junior Walker hat es niemand mit Saxophon und Gesang im Gepäck an die Spitze moderner Musik gebracht. Musik bekam Mindi von ihrer Großmutter und ihrem Vater in die Wiege gelegt. Schon mit 5 Jahren hat sie Klavier gelernt und in der vierten Klasse ist sie aufs Saxophon gekommen. Später besuchte sie das Berklee College of Music, wo sie ihren Abschluss im Bereich Holzblasinstrumente machte. Während einer Karriere, die neun Soloalben hervorbrachte, hat Mindi schon viele Spuren in der Musikwelt hinterlassen: Von Jazz, Pop, R&B, Funk, Rock, Soul und Blues war alles dabei. Sie stand schon im Studio und/ oder auf der Bühne mit Künstlern wie Aerosmith, Trombone Shorty, Booker T. Jones, Keb’ Mo’, Lee Ritenour, Richard Elliott, Dave Koz, Peter White, Gerald Albright und Lalah Hathaway. Ihre letzte CD ist 2022 erschienen. Es ist ein sehr persönliches Album. Mindi sagt: „Es repräsentiert ein Zurückkommen zu mir selbst als Solokünstler und das starke Gefühl, zu wissen, wer ich bin und wofür ich stehe.“

FACTS

13 albums | 2x Grammy nominee | 12 No.1 radio hits plus 2 No.1 & 10 Top5 albums at the Billboard jazz & blues charts | 8 Independent Blues Awards (with The Boneshakers)

DISCOGRAPHY

Forever (2022)

The Best Of Mindi Abair (2021) Wild Heart (2014)

In Hi-Fi Stereo (2010) Stars (2008)

Life Less Ordinary (2006)

Come As You Are (2005)

It Just Happens That Way (2003)

Always And Never The Same (1999)

With The Boneshakers: No Good Deed (2019)

All I Got For Christmas Is The Blues (2017)

The Eastwest Sessions (2017)

Live In Seattle (2015)

www.mindiabair.com

Mindi Abair tem vindo a electrificar audiências com as suas dinâmicas actuações ao vivo e proezas com o saxofone desde o seu álbum de estreia em 1999. Desde Junior Walker que ninguém trazia o saxofone e a voz para vanguarda da música moderna. Mindi recebeu música no seu berço pela sua avó e pelo seu pai. Com 5 anos aprendeu a tocar piano. No quarto ano escolheu o saxofone. Mais tarde frequentou a Berklee College of Music onde se formou em instrumentos de sopro. Numa carreira que engloba nove álbuns a solo, Midi ganhou renome num largo espectro do panorama musical que inclui jazz, pop, R&B, funk, rock, soul e blues. Ela fez tournées e/ou gravou com por exemplo: Aerosmith, Trombone Shorty, Booker T. Jones, Keb’ Mo’, Lee Ritenour, Richard Elliott, Dave Koz, Peter White, Gerald Albright e Lalah Hathaway. O seu último CD foi lançado em 2022. É um álbum muito pessoal. Mindi diz: “Representa um regresso a mim própria como artista a solo e sinto uma enorme sensação de saber quem sou e o que represento.”

Mindi Abair has been electrifying audiences with her dynamic live performances and sax prowess since her debut album in 1999. No one since Junior Walker has brought saxophone and vocals in one package to the forefront of modern music. Mindi got laid music in the cradle by her grandmother and her father. She has already taken up the piano at the age of 5. In the fourth grade she picked up the saxophone. Later, she attended Berklee College of Music, where she graduated with a degree in woodwind performance. In a career that spans nine solo albums, Mindi has made her mark on a broad stretch of the musical landscape that includes jazz, pop, R&B, funk, rock, soul and blues. She has toured and/or recorded with e. g. Aerosmith, Trombone Shorty, Booker T. Jones, Keb’ Mo’, Lee Ritenour, Richard Elliott, Dave Koz, Peter White, Gerald Albright, and Lalah Hathaway. Her latest CD was released in 2022. It’s a very personal album. Mindi says: “It represents a coming back to myself as a solo artist and feeling the strong sense of knowing who I am and what I stand for.”

Mindi Abair

live at Algarve Smooth Jazz Festival 2022

Friday, 6. May, 22:15 h

Image: Greg Allen

Trumpeter Willie Bradley is a graduate of South Carolina State University, Orangeburg, SC where he earned his BS Degree in Music Education and Performance. Bold, yet simultaneously charming; Edgy, yet at the same time beautiful; these seemingly opposing adjectives might well-describe the music of Willie, but also fittingly tell about the man. Willie’s music brings together many varied styles, but takes smooth jazz to a whole new level. In 2014, he released his debut Contemporary Jazz CD “Another Day & Time”, and his sophomore CD ”Going With The Flow” was being considered for a Grammy. Over the course of his career he has become a go-to musician for many of soul music’s greats over the years. Willie’s stage presence includes performances with jazz greats including Dizzy Gillespie, Clark Terry, Betty Carter, Gerald Albright, Walter Beasley, Alex Bugnon, Ronnie Laws, Hiroshima and Marion Meadows. And he has performed at high profile shows including Catalina Island Jazztrax, Denver’s Premier Jazz Room, Spaghettini Lounge, Newport Beach Jazz Festival.

Der Trompeter Willie Bradley ist Absolvent der South Carolina State University, Orangeburg, SC, wo er seinen Abschluss in Musikpädagogik und Performance machte. Kühn, aber gleichzeitig charmant; ausgefallen, aber gleichzeitig schön; Diese scheinbar gegensätzlichen Adjektive könnten die Musik von Willie gut beschreiben, aber auch treffend über den Mann erzählen. Willies Musik vereint viele verschiedene Stile und hebt dabei Smooth Jazz auf eine ganz neue Ebene. 2014 veröffentlichte er seine Contemporary-Jazz-Debüt-CD „Another Day & Time“ und seine zweite CD „Going With The Flow“ wurde für einen Grammy in Betracht gezogen. Im Laufe seiner Karriere haben schon viele SoulGrößen an seine Tür geklopft, wenn sie einen Trompeter suchten. Darüber hinaus hat Willie mit Jazzgrößen wie Dizzy Gillespie, Clark Terry, Betty Carter, Gerald Albright, Walter Beasley, Alex Bugnon, Ronnie Laws, Hiroshima oder Marion Meadows gearbeitet. Last but not least trat er bei hochkarätigen Shows auf, darunter Catalina Island Jazztrax, Denvers Premier Jazz Room, Spaghettini Lounge und Newport Beach Jazz Festival.

live at Algarve Smooth Jazz Festival 2022 Saturday, 7. May, 11:00 h

FACTS

3 solo albums | 2 No.1 hits at the Billboard jazz chart | Considered for a Grammy | 2021 Artist of the Year by Smooth Jazz Network

DISCOGRAPHY

It’s My Time (2021) Going With The Flow (2017) Another Day & Time (2013)

www.williebradley.net

O tompetista Willie Bradley formou-se na South Carolina State University, em Orangebur, SC onde obteve o seu grau de mestre em Educação e actuação musical. Arrojado, mas simultaneamente charmoso, nervoso, mas simultaneamente belo; este adjectivos aparentemente contraditórios podem bem descrever a música de Willie bem como dizer muito sobre ele. A música de Willie mistura muitos estilos variados, mas eleva o smooth jazz a um outro nível. Em 2014 ele lançou o seu primeiro CD de Jazz contemporâneo “Another Day & Time” e o seu segundo CD “Going With The Flow” foi considerado para um Grammy. Ao longo da sua carreira muitos foram os grandes músicos do soul que o procuraram. A presença de Willie no palco inclui actuações com os grandes do jazz incluindo Dizzy Gillespie, Clark Terry, Betty Carter, Gerald Albright, Walter Beasley, Alex Bugnon, Ronnie Laws, Hiroshima e Marion Meadows. E actuou em espectáculos de alto nível incluindo Catalina Island Jazztrax, Denver’s Premier Jazz Room, Spaghettini Lounge, Newport Beach Jazz Festival.

12Artists | Willlie Bradley

Image: Dee‘s Eyes Photography

Willie Bradley

UK-Keyboarder Oli Silk ist einer der dynamischsten und energetischsten Keyboarder des Genres. Seine einzigartige Mischung aus jazzigen Instrumentals, funky Vocal Cuts, einem „stinknormalen“ Keytar und einem Vocoder verleihen seinen Live-Shows ihren Wow-Effekt und versammeln regelmäßig treue und enthusiastische Fans um ihn. Oli begann in den späten 1990er Jahren als Teil des Jazz-Funk-Duos Sugar and Silk, Musik zu schreiben und aufzunehmen. Mittlerweile hat Oli fünf CDs auf seinen eigenen Namen herausgebracht, darunter viele Chart stürmende Radio-Singles. Auch als Musical Director hat er sich weltweit einen Namen gemacht – siehe nur die vier Jahre, die er im Rahmen des Dubai International Jazz Festival mehr als 30 Künstler auf der Jazz Garden Bühne „beaufsichtigt“ hat. Wenn er nicht gerade auf der Bühne aktiv ist, ist er ein gefragter Smooth-Jazz-Produzent, Komponist und Arrangeur. Auch fürs Fernsehen (Oprah Winfrey, MTV, Miami Ink) hat Oli schon Musik geschrieben.

6 Solo albums | 5 No.1 hits at the Billboard jazz chart | 2x Debut Artist of the Year

6 (2022)

Where I Left Off (2016) Razor Sharp Brit (2013) All We Need (2010)

The Limit’s The Sky (2008) So Many Ways (2006)

www.olisilk.com

O teclista britânico Oli Silk é um dos mais dinâmicos e enérgicos teclistas do género. A sua mistura única de instrumentais de jazz, funky vocal cuts e old school keytar e vocoder conferem aos seus espectáculos ao vivo aquele factor “uau” e têm-lhe granjeado fãs leais e entusiastas. Oli começou a compor e a gravar música como elemento do duo de funk jazz “Sugar and Silk” nos finais dos anos 90. Entretanto, lançou 5 CDs em seu nome, incluindo muitos singles de rádio de topo de tabela. É conhecido mundialmente como director musical, nomeadamente durante 4 anos no Festival de Jazz Internacional no Dubai – supervisionando mais de 30 artistas no palco do Jazz Garden. Quando está fora do palco, Oli é procurado como produtor, compositor e engenheiro de mistura de smooth jazz, cujos recentes clientes incluem o teclista Nicholas Cole e Tim Watson e o saxofonista Michael J. Thomas. Oli também compõe música para a televisão (Oprah Winfrey, MTV, Miami Ink).

Oli Silk

live at Algarve Smooth Jazz Festival 2022 Saturday, 7. May, 12:30 h

UK-Keyboardist Oli Silk is one of the most dynamic and energetic keyboardists in the genre. His unique mix of jazzy instrumentals, funky vocal cuts and down right dirty ol’ school keytar and vocoder, give his live shows that real wow factor and have garnered him a loyal and dedicated fan-base. Oli began writing and recording music as part of jazz funk duo ‘Sugar and Silk’ in the late 1990’s. Meanwhile, Oli has 5 CD’s to his name, including many chart topping radio singles. His credentials as a musical director are also far reaching, most notably for 4 years at the Dubai International Jazz Festival – overseeing some 30+ artists on the Jazz Garden Stage. When off stage, Oli is a sought-after smooth jazz producer, composer and mix engineer whose recent clients include keyboardists Nicholas Cole and Tim Watson, and saxophonist Michael J Thomas. Oli has also composed music for TV (Oprah Winfrey, MTV, Miami Ink).

Oli Silk | Artists

Image: Oli Silk

Keyboarder und Grammy-Gewinner Gregg Karukas stammt aus Baltimore. Bevor er den Jazz für sich entdeckte, spielte er in Rock- und Soulbands. Mit Anfang 20 gründete er die Band „Natural Bridge“, mit der er Shows für Künstler wie Angela Bofil, Larry Carlton oder Jeff Lorber eröffnete – Gregg war zu einem der TopFusion- und -Studio-Spieler der Stadt avanciert. 1983 zog er nach LA, wurde Gründungsmitglied der „Rippingtons“ und spielte überdies mit Musikern wie Rockwell, George Benson, Peter White, Rick Braun oder Patti Austin. In seinen frühen LA-Bands und CDs waren damals noch unentdeckte Sax-Talente wie Dave Koz oder Boney James mit von der Partie. 1987 kam sein erstes Solo-Album. Danach landete Gregg Hit auf Hit, war viel als Musical Director (u.a. Friends Cruise to Europe by Dave Koz) unterwegs, schreibt und produziert aber auch für andere Künstler. In seiner mehr als 25 Jahre langen Karriere ist er für die Oasis and National Smooth Jazz Awards schon oft als „Best Keyboardist“ nominiert worden. Greggs Markenzeichen: sein nuancierter funky-melodic Style, seine inspirierenden Auftritte und sein ansteckendes Lachen. Seine neueste CD „Serenata“ ist Greggs allererstes „Solo-Piano-Projekt“.

Gregg Karukas, o teclista galardoado com um Grammy, é natural de Baltimore. Antes do seu interesse em tocar jazz se manifestar, ele tocava órgão em bandas de rock e soul “Natural Bridge” e fizeram a primeira parte de espectáculos para artistas Angela Bofil, Larry Carlton ou Jeff Lorber – o Gregg tinha-se tornado um dos melhores músicos de fusão e estúdio da cidade. Em 1983 mudou-se para L.A., tornou-se membro fundador dos “The Rippingtons” e tocou com músicos como Rockwell, George Benson, Peter White, Rick Braun ou Patti Austin. As suas primeiras bandas em L.A. e CDs incluíram talentosos saxofonistas ainda desconhecidos como Dave Koz e Boney James. Em 1987 lançou o seu primeiro disco a solo. Muito requisitado como director musical (por exemplo, Friends Cruise to Europe por Dave Koz) e teclista, Gregg tem vinod a liderar as tabelas e tem escrito e produzido músicas para outros artistas. Numa carreira que se estende por mais de 25 anos, ele recebeu múltiplas nomeações para “melhor teclista” no Oasis and National Smooth Jazz Awards. A marca de Gregg: o seu estilo funky matizado e melódico, os seus espectáculos ao vivo inspiradores e o seu sorriso contagiante. O seu último CD “Serenata” é o primeiro projecto de piano a solo de sempre do Gregg.

Grammy winning keyboardist Gregg Karukas hails from Baltimore. Before his interest in playing jazz was sparked, he played organ in rock and soul bands. In his early 20ies, he formed the band “Natural Bridge” and they opened shows for artists such as Angela Bofil, Larry Carlton or Jeff Lorber – Gregg had become one of the top fusion and studio players in town. In 1983, he moved to L.A., became a founding member of “The Rippingtons”, and played with musicians such as Rockwell, George Benson, Peter White, Rick Braun or Patti Austin. His early L.A. bands and CD’s included young undiscovered sax talents like Dave Koz and Boney James. In 1987, he released his first independent recording. Always in demand as a musical director (e.g. Friends Cruise to Europe by Dave Koz) and keyboardist, Gregg has since then topped charts, and he has also written and produced songs for other artists. In a career, that spans more than 25 years, he has received multiple “Best Keyboardist” nominations at the Oasis and National Smooth Jazz Awards. Gregg’s trademarks: his nuanced funky, melodic style, his inspiring live shows and his contagious smile. His latest CD “Serenata” is Gregg’s first ever solo piano project.

FACTS

13 solo albums | Grammy winner | No.1 hit, 3 Top10 hits and 2 Top10 albums at the Billboard jazz charts

Serenata (2021)

Soul Secrets (2014)

GK (2009)

Looking Up (2005)

Heatwave (2002)

Nightshift (2000)

Blue Touch (1998)

You’ll Know It’s Me (1995)

Home For The Holidays (1993)

Summerhouse (1993)

Sound Of Emotion (1991)

Key Witness (1991)

The Night Owl (1987)

www.karukas.com

Gregg Karukas

live at Algarve Smooth Jazz Festival 2022 Saturday, 7. May, 20:45 h

DISCOGRAPHY Image: Ken Weil

14Artists | Greg Karukas

An Englishman who accentuates his music with charm and playfulness. The result: Smooth Jazz with a spiritedness which many others in this genre lack. Born in Luton in 1954, White devoted himself to music already as a child. He learned to play several instruments, including the clarinet, trombone, violin and piano. And of course, like so many youngsters growing up during the heyday of the Beatles and the Rolling Stones, he gravitated to the guitar. After his first electric guitar had burnt in a fire, he had to play an acoustic guitar. He made the best of it and discovered his love for acoustic music. At 20, he was invited to join Al Stewart’s band for a tour of England, Scotland, and the U.S. in 1975. This was the beginning of a 20 year association. He worked with Stewart as a pianist at first, and later also as a guitarist, composer and co-producer. In 1979 both moved to Los Angeles, formed the band ‘Shot in the Dark’ and a record label called Lobster Music. In 1990 White published his first solo CD.

FACTS

16 solo albums | 6 No.1 & 9 Top10 hits plus 4 No.1 & 10 Top10 albums at the Billboard jazz charts | 4x Best guitarist of the year

DISCOGRAPHY

Music For Starlux Airlines (2019)

Groovin’ (2016)

Smile (2014)

Here We Go (2012)

Good Day (2008)

Peter White Christmas (2007)

Playin’ Favorites (2006)

Confidential (2004)

Glow (2001)

Perfect Moment (1998)

Songs Of The Season (1997)

Caravan Of Dreams (1996)

Reflections (1994)

Promenade (1993)

Excusez-Moi (1992)

Reveillez-Vous (1990)

www.peterwhite.com

Ein Engländer, der Charme und Verspieltheit in seine Musik legt. Das Ergebnis: Smooth Jazz mit einer Lebendigkeit, die vielen anderen in diesem Genre fehlt. 1954 in Luton geboren, war White schon als Kind in Musik vernarrt. Er lernte viele Instrument, inklusive Klarinette, Posaune, Violine und Klavier. Und natürlich, wie so viele Jugendliche, die in der Blütezeit der Beatles und Rolling Stones aufwuchsen, tendierte er zur Gitarre. Nachdem seine erste elektrische Gitarre in einem Feuer verbrannt war, musste er mit einer akustischen Vorlieb nehmen. Aus der Not wurde Tugend: White entdeckte seine Liebe zur akustischen Musik. Mit 20 wurde er eingeladen, Al Stewart’s Band für die 1975erTour durch England, Schottland und die USA beizutreten – das war der Beginn einer 20-jährigen Zusammenarbeit. Zuerst als Pianist, später arbeitete er auch als Gitarrist, Komponist und Co-Produzent mit Stewart. 1979 zogen beide nach Los Angeles, gründeten die Band „Shot in the Dark“ und eine Plattenfirma namens Lobster Music. 1990 veröffentlichte White sein erstes Solo-Album.

Peter White

live at Algarve Smooth Jazz Festival 2022 Saturday, 7. May, 22:15 h

Um inglês que confere charme e alegria à sua música. O resultado: Smooth Jazz com uma vivacidade que falta a muitos outros neste género musical. Nascido em Luton em 1954, White era, já em criança, um apaixonado pela música. Aprendeu a tocar muitos instrumentos, incluindo clarinete, trombone, violino e piano. E naturalmente, como tantos outros jovens que cresceram no auge dos Beatles e Rolling Stones, tendeu para a guitarra. Quando a sua guitarra elétrica ardeu num incêndio, ele teve de recorrer a uma acústica. Da necessidade fez-se virtude: White descobriu o seu amor pela música acústica. Aos 20 anos foi convidado a integrar a Al Stewart’s Band para a digressão pela Inglaterra, Escócia e Estados Unidos da América em 1975 – foi o início de uma colaboração de 20 anos. Trabalhou com Stewart, inicialmente como pianista e posteriormente também como guitarrista, compositor e coprodutor. Em 1979 mudaramse os dois para Los Angeles e fundaram a banda “Shot in the Dark” e uma discográfica de nome Lobster Music. Em 1990 White lançou o seu primeiro álbum a solo.

FACTS

12 solo albums | 5 No.1 hits at the Billboard jazz chart | Smooth Jazz Song of the Year 2005 & 2011

DISCOGRAPHY

Nils – Live At The Alvas (2021) Caught In The Groove (2020)

Christmas Everyday (2018) Play (2018)

Alley Cat (2015)

Jazz Gems, The Best Of Nils (2014) City Groove (2012)

What The Funk? (2010)

Up Close & Personal (2009)

Ready To Play (2007)

Pacific Coast Highway (2005)

Blue Planet (1998)

www.nilsmusic.com

Nils

live at Algarve Smooth Jazz Festival 2022

Sunday, 8. May, 11:00 h

Der in Deutschland geborene Gitarrist, Produzent und Songwriter Nils lebt seit Mitte der 80er Jahre in Südkalifornien. Er besuchte das Musiker-Institut in Hollywood und begann danach als Toningenieur in einem Aufnahmestudio. Sein erstes Album „Blue Planet” erschien 1998 und fand großen Anklang. Nach einigen Kompositionen für Film und Fernsehen arbeitete Nils u.a. mit George Benson, Paul Brown, The Temptations, Rick Braun, Paul Jackson Jr. und Gerald Albright zusammen. 2005 kehrte er mit dem Album „Pacific Coast Highway” zu seiner Solo-Karriere zurück. Die gleichnamige Hit-Single war für mehr als sieben Wochen auf Platz 1 der Radio- und Verkaufs-Charts und wurde später zum meistgespielten Smooth Jazz-Song des Jahrzehnts (2001-2010) im US-Radio. Nach zwei weiteren Alben wurde er für die American Smooth Jazz Awards als „Best Guitarist” nominiert. Die Single „Jump Start” aus seinem Album „What The Funk?” (2010) stand acht Wochen am Stück auf Platz 1. Seine neueste Studio-CD „Caught In The Groove” erschien 2020.

German born guitarist, producer and songwriter Nils has been residing in southern California since the mid-80‘s. After visiting the musician institute in Hollywood Nils started in the 80‘s as an engineer in a recording studio. His first album “Blue Planet” was released in 1998 and received high acclaims. After composing for movie and TV Nils had the chance to work with George Benson, Paul Brown, The Temptations, Rick Braun, Paul Jackson Jr., and Gerald Albright among others. He returned to his solo career in 2005 with the album “Pacific Coast Highway”. The hit single of the same name was staying at #1 on the Radio & Records airplay charts and was later named the most played Smooth Jazz track on US Radio of the decade (2001-2010). After two more albums, he got nominated “Best Guitarist” at the American Smooth Jazz Awards. “Jump Start”, the first single from his album “What The Funk?” (2010), hit eight weeks in a role #1 of the Billboard Jazz Song Charts. His latest Studio-CD “Caught In The Groove” was released in 2020.

Nascido na Alemanha, o guitarrista, produtor e compositor Nils reside desde meados dos anos 80 no sul da Califórnia. Após frequentar o instituto de música em Hollywood, Nils começou a trabalhar como engenheiro num estúdio de gravação. O seu primeiro álbum “Blue Planet” foi lançado em 1998 e foi muito aclamado. Após ter composto para cinema e televisão, Nils teve a oportunidade de trabalhar com George Benson, Paul Brown, The Temptations, Rick Braun, Paul Jackson Jr. e Gerald Albright, entre outros. Em 2005 regressou à carreia a solo com o álbum “Pacific Coast Highway”. O single com o mesmo nome, que foi um hit, manteve-se no #1 da tabela de Radio & Records mais de sete semanas e foi mais tarde considerado a música do smooth jazz mais tocada na rádio dos Estados Unidos da década (2001-2010). Após mais dois álbuns, foi nomeado “Melhor Guitarrista” nos American Smooth Jazz Awards. “Jump Start”, o primeiro single do seu álbum “What The Funk?” (2010) esteve em #1 da tabela das músicas jazz da Billboard durante oito semanas consecutivas. O seu último CD de estúdio “Caught In The Groove” foi lançado em 2020.

Image: Nils Jiptner

Jonathan Fritzén ist der Sohn einer schwedischen Mutter und eines amerikanischen Vaters. Inmitten seiner musikalischen Familie wuchs er in Stockholm auf und begann schon klein, Schlagzeug zu spielen. Später fügte der talentierte Künstler Piano, Bass, Gitarre, Flöte und Gesang hinzu. Während seiner Ausbildung an der Royal Academy of Music in Stockholm erhielt Jonathan als einer der ersten Studenten seinen MasterAbschluss in Jazz. Mit 22 Jahren trat er bereits mehrmals im nationalen schwedischen Fernsehen auf und tourte mit einigen der angesehensten Jazzmusiker des Landes. Drei Jahre später nahm er sein erstes Album auf und war damit der erste schwedische Pianist, der eine Smooth-Jazz-CD veröffentlichte. „Piano Tales“ ist das nunmehr siebte Album des charismatischen Billboard-Chart-Stürmers.

Jonathan Fritzén was born in Stockholm to a Swedish mother and an American father. He grew up in a musical family and started playing drums as a young child. Later, the talented artist added piano, bass, guitar, flute and vocals. During his formal training at the Royal Academy of Music in Stockholm Jonathan became one of the first students to receive a Masters degree in jazz. By the age of 22 he had performed on national Swedish television several times and toured with some of the countries most respected jazz musicians. Three years later he recorded his first album and in doing so he made his mark as the first Swedish pianist to release a smooth jazz CD. “Piano Tales” is the seventh solo recording from the Billboard chart-topping musician.

Jonathan Fritzén nasceu em Estocolmo, filho de mãe sueca e pai americano. Cresceu numa família de músicos e começou a tocar bateria ainda em criança. Mais tarde o talentoso artista adicionou o piano, o baixo, a guitarra, a flauta e a voz. Durante a sua formação na Royal Academy of Music em Estocolmo, Jonathan tornou-se num dos primeiros estudantes a concluir o mestrado em jazz. Com 22 anos, já tinha actuado várias vezes na televisão nacional sueca e feito tournées com alguns dos meus respeitados músicos de jazz do país. Três anos mais tarde gravou o seu primeiro álbum tornando-se assim o primeiro pianista sueco a lançar um CD de jazz. “Piano Tales” é a sétima gravação a solo do músico da tabela Billboard.

Jonathan

live at Algarve Smooth Jazz Festival 2022

Sunday, 8. May, 12:30 h

7 solo albums | No.1 & No.2 hit at the Billboard jazz charts

Piano Tales (2022)

Ballads (2017)

Fritzenized (2015)

Magical (2012)

Diamonds (2010)

VIP (2009)

Love Birds (2008)

www.jonathanfritzen.com

Jonathan Fritzén

Mark Jaimes ist ein zeitgenössischer Jazz- und R&B-Gitarrist, Komponist und Produzent aus London. Sein Spielstil verbindet die funky, mehrsaitige chromatische Lyrik von Grant Green und George Benson mit den elektrisierend-funky Rhythmus-Skills von Ronny Jordan und Chuck Loeb. Mark begann mit fünf Jahren Gitarre zu lernen und hatte seinen ersten Gig im Alter von neun. Nach mehreren Plattenverträgen in Soulbands entschied er sich 1992 für eine Karriere als Session- und Tourmusiker. Er tourte mit verschiedenen Künstlern, bis er 1998 nach einer Aufnahmesession mit Simply Red gebeten wurde, der Band beizutreten. Mark stand mit der Band fünf Jahre lang im Studio und auf der Bühne. Danach begann er eine Karriere als Produzent. Er produzierte Hits für verschiedene Künstler, darunter Simply Red und Luciano Pavarotti. Auch aus der Smooth-Jazz-Szene ist Mark nicht mehr wegzudenken – er hat mit Dave Koz, Peter White, Rick Braun, Richard Elliott, Chuck Loeb, Euge Groove, Mindi Abair und vielen anderen gespielt. Zudem ist er ein langjähriges Mitglied der Hausbands unseres Smooth Jazz Festivals. 2021 veröffentlichte Jaimes endlich sein erstes Solo-Album: „Hear at Last“. Er schrieb oder war Co-Autor aller bis auf eine Melodie des 11-Song-Sets.

Mark Jaimes is a London based contemporary jazz and R&B guitarist, composer, and producer. His playing style weds the funky, multi-string chromatic lyricism of Grant Green and George Benson to the vamping funky rhythmic prowess of Ronny Jordan and Chuck Loeb. Mark started playing guitar at age five and did his first gig age nine. After several record contracts playing in soul bands, he decided to pursue a career as a session and touring musician in 1992. He toured with various artists ‘til 1998 when after a recording session with Simply Red, was asked to join the band. Mark toured and recorded with Simply Red for five years, then embarked on a career as a producer. He produced hits for various artists including Simply Red and Luciano Pavarotti. Mark is also a regular on the smooth jazz scene, having played with Dave Koz, Peter White, Rick Braun, Richard Elliott, Chuck Loeb, Euge Groove, Mindi Abair and many more. Apart from that he has been a longtime member of our Smooth Jazz Festival bands. In 2021, Jaimes finally released his debut solo outing “Hear at Last”. He wrote or co-wrote all but one tune on the 11-song set.

1 solo album | JazzTrax’s Debut Artist of the Year 2021 | taught Gwyneth Paltrow how to play the guitar | longtime member of our Smooth Jazz Festival bands

Hear At Last (2021) www.facebook.com/ mark.jaimes.37

Mark Jaimes

live at Algarve Smooth Jazz Festival 2022 Sunday, 8. May, 20:45 h

Mark Jaimes é um guitarrista, compositor e produtor de jazz contemporâneo e R&B natural de Londres. O seu estilo combina o lirismo funky e cromático de múltiplas cordas de Grant Green e George Benson com as proezas rítmicas funky de improvisação de Ronny Jordan e Chuck Loeb. Mark começou a tocar guitarra com 5 anos e deu o seu primeiro concerto com 9. Em 1992, após vários contratos discográficos tocando com bandas soul, decidiu seguir uma carreira como músico de sessão e de digressão. Ele fez tournées e gravou com os Simply Red e Luciano Pavarotti. Mark é uma presença habitual no panorama do smooth jazz, tendo actuado com Dave Koz, Peter White, Rick Braun, Richard Elliott, Chuck Loeb, Euge Groove, Mindi Abair e muitos mais. Para além disso, é membro de longa data das nossas bandas do Smooth Jazz Festival. Em 2021 Jaimes finalmente lançou o seu primeiro álbum a solo “Hear at Last”. Ele compôs e co-compôs todas as músicas do conjunto de 11 músicas, com excepção de uma.

18Artists | Mark Jaimes

Image: 2021 Sarel Jansen

ERIC DARIUS

Er möchte nicht musikalisch eingesperrt oder eingepackt werden. Es wäre ohnehin schwer, das zu tun, denn seine letzte CD – seine erste Veröffentlichung über sein eigenes Label SagiDarius Music – vereint wieder viele Elemente aus Hip-Hop, R&B, Pop, Rock, Gospel, Funk und Reggae. Der Künstler, der so unerschrocken alle musikalischen Grenzen überschreitet, heißt Eric Darius. Er wurde in New Jersey geboren, wuchs in Florida auf und lebt nun in Los Angeles. Seine ganze Familie ist musikalisch: Der haitianische Vater ist Bassist, die jamaikanische Mutter ist Sängerin und Pianistin. Der ältere Bruder spielt Schlagzeug und Trompete, die Schwester singt und spielt Klarinette. Eric selbst verliebte sich ins Saxophon, als er neun Jahre alt war. Mit elf tourte er schon weltweit mit Sonny LaRosa und America’s Youngest Jazz Band, mit 17, noch auf der High School, nahm er sein erstes Album auf. Später studierte er an der University of South Florida Musik und Wirtschaft. Mittlerweile hat sich der energiegeladene Saxophonist, der u.a. schon mit Prince, Mary J. Blige, George Benson, Carlos Santana oder Marcus Miller auf der Bühne stand, längst international einen Namen gemacht.

He doesn’t want to be caged or boxed in musically – and anyway, it would be hard to do so. His latest CD – his first release via his own label, SagiDarius Music – melds again many elements from Hip-Hop, to R&B, Pop, Rock, Gospel, Funk, and Reggae. The artist, who is fearlessly pushing all musical boundaries, is called Eric Darius. He was born in New Jersey, raised in Florida, and now resides in Los Angeles. His whole family is into music: his Haitian father is a bass player, his Jamaican mother is a singer and piano player. His older brother plays drums and trumpets, his sister sings and plays clarinet. Eric himself fell in love with the sax at the age of 9. Aged 11, he started touring worldwide with Sonny LaRosa and America’s Youngest Jazz Band and aged 17, while still in High School, he recorded and released his first album. Later, he attended the University of South Florida where he studied music and business. By now, the energetic saxophonist, who has shared the stage with artists such as Prince, Mary J. Blige, George Benson, Carlos Santana or Marcus Miller, has long made his mark internationally.

live at Algarve Smooth Jazz Festival 2022 Sunday, 8. May, 22:15 h

7 solo albums | 2 No.1 & 4 Top10 hits plus 6 Top10 albums at the Billboard jazz charts

Breakin’ Thru (2018)

Retro Forward (2014)

On A Mission (2010)

Goin‘ All Out (2008)

Just Getting Started (2006) Night On The Town (2004) Cruisin’ (2000)

www.ericdarius.com

Ele não quer ser rotulado ou circunscrito em termos musicais – o que seria difícil de fazer. O seu último CD – o seu primeiro lançamento com a sua própria editora, SagiDarius Music – funde novamente muitos elementos do Hip-Hip ao R&B, Pop, Rock, Gospel, Funk e Reggae. O artista, que destemidamente ultrapassa todas as fronteiras musicais, dá pelo nome de Eric Darius. Nasceu em New Jersey, cresceu na Flórida e actualmente reside em Los Angeles. Toda a sua família está ligada à música: o pai, natural do Haiti, é baixista, a mãe, natural da Jamaica, é cantora e pianista. O irmão mais velho toca bateria e trompete, a irmã canta e toca clarinete. O próprio Eric apaixonou-se pelo saxofone quando tinha nove anos. Com onze já fazia tournées pelo mundo inteiro com Sonny LaRosa e a America’s Youngest Jazz Band e aos 17 anos, enquanto frequentava ainda a escola secundária, gravou e lançou o seu primeiro álbum. Mais tarde frequentou a Universidade de South Florida onde estudou música e economia. Entretanto, o energético saxofonista, que partilhou o palco com artistas como Prince, Mary J. Blige, Geore Benson, Carlos Santana ou Marcus Miller, há muito que se tornou conhecido a nível internacional.

Image: Eric Darius

FEATURED ARTISTS

Orefo Orakwue – Bass www.orefo.com

Featured Artists

Marius Goldhammer – Bass www.mariusgoldhammer.net

Carl Stanley – Saxophone

FEATURED ARTISTS

Westley Joseph – Drums www.westleyjoseph.com

Christoph Lindner – Guitar www.facebook.com/christoph. lindner.549

Home of the Festival Pine Cliffs Resort

The 5-star resort, managed a Marriott International franchise through its ‘The Luxury Collection’ brand, is traditionally styled with indigenous design, where Portuguese history is narrated through murals and hand painted tiles, skillfully complemented by native architecture. On 72 hectares, Pine Cliffs Resort boasts leisure and sports facilities incl. the 1,100m² awarded Serenity Spa, a gym & health club, a Tennis Academy, a 9-hole cliff-top golf course, swimming pools, water sports as well as 12 restaurants and bars. The Resort also comes up with different options of hotels and properties, e. g. the ‚Pine Cliffs Hotel‘ and the ‚Pine Cliffs Ocean Suites‘ (both part of The Luxury Collection brand; located in the main building complex, where the main festival action happens), the brand-new ‚Pine Cliffs Gardens‘ or the ‚Pine Cliffs Townhouses’. All this embedded in a breathtaking backdrop of pine groves, cliffs and the Atlantic coast ...

Das 5-Sterne-Resort, ein Franchise von Marriott International über die Marke „The Luxury Collection“, ist traditionell im landestypischen Design gestaltet. Wandbilder und handgemalte Fliesen erzählen, ergänzt durch einheimische Architektur, die portugiesische Geschichte. Auf einer Fläche von 72 Hektar bietet Pine Cliffs Resort Freizeit- und Sporteinrichtungen, darunter das 1.100 m² große ausgezeichnete Serenity Spa, ein Fitnesscenter mit Health Club, eine Tennis Academy, einen 9-Loch-Golfplatz auf einer Klippe, Pools, Wassersport sowie 12 Restaurants und Bars. Zudem wartet das Resort mit verschiedenen Optionen für Hotels und Unterkünften auf, z. B. das ‚Pine Cliffs Hotel‘, die ‚Pine Cliffs Ocean Suites‘ (beide Teil der Marke The Luxury Collection; im Hauptgebäudekomplex gelegen, wo die Hauptaktion des Festivals stattfindet), die brandneuen »Pine Cliffs Gardens« und die »Pine Cliffs Townhouses«. All das eingebettet in eine wunderbare Kulisse aus Pinienwäldchen, Klippen und der Atlantikküste...

24Location | Pine Cliffs Resort

Images: Pine Cliffs Resort

O resort de 5 estrelas gerido pelo Marriott, sob a marca Luxury Collection foi concebido com um design tradicional e típico da região. Os quadros e os azulejos pintados à mão, em conjunto com a arquitectura local, contam a história de Portugal. Numa área de 72 hectares, o Pine Cliffs Resort oferece instalações de lazer e desportivas, entre as quais se encontra o excelente Serenity SPA com uma área de 1.100 m², um centro de fitness, uma academia de ténis, um campo de golfe de 9 buracos sobre a falésia, piscinas, desportos aquáticos bem como 12 restaurantes e bares. O resort também oferece variadas opções para hotéis e alojamentos, por exemplo o ‘Pine Cliffs Hotel’ e o ‘Pine Cliffs Ocean Suites’ (ambos fazem parte da The Luxury Collection; situam-se no coração do resort, onde vai decorrer a ação principal do festival), os novos ‘Pine Cliffs Gardens’ e as ‘Pine Cliffs Townhouses’. Tudo isto num cenário deslumbrante de pinhais, falésias e costa atlântica ...

Algarve Smooth Jazz Festival 2019:

It‘s the good life!

Review by Peter Böhi of smoothjazzvibes.com

The 4th annual Algarve Smooth Jazz Festival took place from October 1-6, 2019 at a new hotel, the 5 star Pine Cliffs Resort, a huge resort with restaurants, pools, a private beach and various amenities. Due to the nice, warm weather, all concerts were scheduled outside in the park area. Music aficionados from all across Europe and the US gathered, it was a meeting of the like-minded, and over the years, we have become a big smooth jazz family.

The festival started on Tuesday evening with a welcome dinner and Jam Session, a pre-festival event that I skipped due to work reasons. On Wednesday, I arrived for the first official show in the late afternoon. After settling in at the hotel, bumping into some friends and getting food, it was time for music. The night was rather chilly, so we dressed appropriately. The first performer was saxophonist Jeff Kashiwa, backed by Westley Joseph (drums), Orefo Orakwue (bass), Arden Hart (keys) and Tony Remy (guitar; hereinafter ‘band a’). Jeff was in a relaxed playing mood and went through some great tracks like “Six Of One” and “7th Heaven”, relating to a ski slope in his native Washington state, both from his latest release “Fly Away”. In the middle of his show, he demonstrated the EWI, an electronic wind instrument with an 8 octave range, beautifully soloing on it. Then he picked up the alto flute to play “The Asian Persuasion”, referring to a nick name he got in high school. The band provided a smooth, groovy carpet of sound allowing

Jeff to deliver his awesome sax playing. Tony provided some cool solos. No show of Jeff is complete without his break through hit and smooth jazz staple “Hyde Park (The ‘Ah, Oooh’ Song)” with the necessary audience participation, which is always fun. He returned for one encore, doing “Three Day Weekend”. This was a great, relaxed and entertaining show by a consummate artist.

After the intermission, guitarist Adam Hawley entered the stage, supported by Andrew Small (drums), John McKenzie (bass), Steve Turner (keys) and Carl Stanley (sax). Adam is a great newcomer on the smooth jazz scene with two successful albums under his belt, having played with many established smooth jazz players like Brian Culbertson, Eric Darius and many others. He played several of his own hits, like the smashing “35th Street”, “Old School Jam” and “Cruisin’”, which showed his dazzling guitar skills and sense for the groove. He chose some interesting covers, like Stevie Wonder’s “Don’t You Worry Bout A Thing” (ft. Adam’s wife Kat) and Jaco Pastorius’ “Portrait Of Tracy”. Carl contributed some nice sax work throughout the concert. At the end, they raised the heat with a medley of funk classics, especially his rendition of “Funkin’ For Jamaica” was special, having the audience on their feet. He was asked for one encore, finishing a great first night of music. After this show, people gathered for the aftershow party with DJ Richard Edwards, spinning some old school dance music.

Images by Christian Nordström and Bianca Berger

Thursday night continued with saxophonist Elan Trotman who brought his “Dear Marvin” project to the stage, a tribute to the late Marvin Gaye covering his music. His band consisted of Andrew Small (drums), John McKenzie (bass), Steve Turner (keys), Dave Ital (guitar; hereinafter ‘band b’), plus Carl Stanley (sax) and Gabriel Mark Hasselbach (trumpet). The show was introduced by DJ Richard Edwards with a few words about Marvin and a rundown through his signature tracks, before the band kicked in. The leader played beautifully, and with the addition of the two horns, a smooth, full sound was produced. They went through tracks like “Inner City Blues”, “Sexual Healing”, and others, while “Mercy Mercy Me” gave Elan a chance to feature his vocal talents. Everybody on stage got some solo space, especially his fellow horn players contributed strong solos. Towards the end of the show, he cranked it up doing “Got To Give It Up”, and was asked back for an encore, playing “I Heard It Through The Grapevine”, having people dance in front of the stage.

Next was keyboardist Brian Simpson, backed by band a (without Arden Hart, but with Carl Stanley). He played strictly original material from his vast catalog, having the crowd it the palm of his hand right from the start. He did songs like “Persuasion”, the appropriate “Sky Watcher” with the band playing underneath big trees and starry night sky, and my personal highlight, the heartfelt “Our Love” that gave

Adam Hawley

Elan Trotman

Jeff Kashiwa

REVIEW

Brian ample opportunity to stretch out on the keys. The band played beautifully, and bassist Orefo did a great job on their rendition of “Take Five”, arguably the greatest jazz song of all time. Tony provided some hot guitar solos, while Carl complemented the music nicely with his smooth sax playing. Towards the end, he funked it up having people get up, coming back for an encore, ending a very satisfying concert.

Friday night, guitarist Blake Aaron was appearing. He played with band a (without Tony Remy) and delved right into it doing songs from his catalog ft. his funky guitar playing, alternating on the hollow and solid body guitars, in addition, saxophonist Carl joined in for a few songs. Among the tracks played was “Cantadora”, beautiful covers of Santana’s “Europa” where he soared on the guitar, and the Halls & Oates classic “Sara Smile”, which was simply beautiful, and “Story Of My Life”, all songs from his current release “Soul Stories”. He displayed great chops and provided a solid show.

Next was trumpeter Rick Braun – a veteran of the scene, who was backed by band b, plus Carl Stanley. They went through a varied program of music, among the songs played was “Crossroads”, the title track of his brand new release, and a host of classics from his catalog, like “Notorious”, “Crossroads”, the Bill Withers’ classic “Use Me”, and others. A nice surprise was his vocal rendition of “My Funny Valentine” with a nice muted trumpet solo, and his War medley was cool, with songs like “Cisco Kid” and “Why Can’t We Be Friends”. His playing on the trumpet and flugelhorn was simply awesome, and the band was grooving hard and provided many solos, at the end of the show, he had people dancing in front of the stage, finishing with “Grazing In the Grass”. Rick is a class act that knows how to deliver an entertaining set on the highest level of artistry.

Saturday morning, rising star Kayla Waters on keys appeared. She played with band a and also brought her flutist Kelly Gainer with her which added a nice flavour to the music. Kayla mostly played material

Brian Simpson

from her current release “Coevolve”, especially “Zephyr” which was her biggest hit so far stood out. She is a real talent getting much deserved attention, which is no surprise given her pedigree, with father Kim Waters supporting her career. Her show was well received.

Next was another veteran of the scene: bassist Gerald Veasley. He was accompanied by band b, but with Orefo on bass, plus Carl. The band was grooving, and they went through tracks like “Cross Currents” and the heartfelt “Sarah’s Song” ft. Carl on soprano sax. Over the course of the show, things began to get funkier with “Thank You (Falettinme Be Mice Elf Agin)” and a couple of Grover songs like “Just The Two Of Us” and “Winelight” which featured special guest Kim Waters on saxophone, providing a great solo. Later they tackled Stevie Wonder’s “Do I Do” which incorporated the world’s most famous bass lines from tracks like “Rapper’s Delight”, “Hollywood Swinging”, “Skin Tight” and more. Gerald was in a great playing

Rick Braun

Paul Brown

Gerald Veasley

REVIEW

mood and delivered tons of superior bass work. They came back for an encore and did their rendition of “Valdez In The Country”, ending a great show.

In the evening, pop singer Javier Colon appeared, branding his music acoustic soul, but to my ears, it was pure pop and folk, which became apparent during the show when he did a few James Taylor covers, one of his biggest idols. Among the songs performed were covers of “I Will Always Love You” and “Purple Rain”, he accompanied himself on the acoustic guitar, plus members of our trusty house band. Despite his style of music was an oddity for this festival, it was well received.

After the intermission, things got serious again with saxophonist Kim Waters appearing, he was backed by band a, laying down a thick carpet of grooves, allowing Kim to soar and deliver his sharp sax playing. He was in fine form, doing songs like “Waterfall” and a tremendous rendition of Rose Royce’s “Love Don’t Live Here Anymore” where he pulled all the stops, a true highlight of the show. For “Go-Go Smooth”, he invited his daughter Kayla to the stage to play the keys with him, another winner. At the end, every member of the band got some solo space, showing off their skills. This was one of the best shows of the whole festival, and after 35 years in the business, this man shows no signs of slowing down.

Sunday morning was opened by Canadian trumpeter Gabriel Mark Hasselbach, accompanied by band b, but with Orefo on bass. He went through several songs of his vast catalog, often playing the muted trumpet, but occasionally switching to the flugelhorn and flute. He did songs like “Recife”, a nice latin track ft. the flute, “Mulberry Street” and “Starpixie”, a hit song originally done with Jeff Lorber, the groovy “Rockin’ The Ribjoint” and more, leading through an entertaining program

Javier Colon

Kim Waters

Impressions

of original material. The band was cooking, and they finished in style with “Comin’ Home For Mardi Gras”, his nod to New Orleans. This was a very nice concert by an underrated trumpet player.

Then appeared living legend Bobby Lyle on piano, at age 75 still going strong, presenting material from his lengthy career. He mostly played the acoustic piano, being backed by band a, plus Carl joining in for a few songs. He was in fine playing mood and was visibly thrilled to play for us in this great setting. He did a few original songs from his smooth jazz catalog like “You And I”, “Exotic Love” and others, before doing a few covers, like Sade’s “The Sweetest Taboo” and the Carpenters “Superstar”, which was pure bliss with Bobby pulling all the stops on this track, one of the highlights. Because he felt like it, without rehearsal, he went into “Groovin’” with the band nicely going along, before he did the ultragrooving “Spankin” and his version of “Minute By Minute” complete with audience participation. He played just beautifully and

REVIEW

the excellent band had a ball to support his playing, creating monster grooves without end. They were asked back for an encore, and did “The Genie”, one of his very first hits, which truly made my day. Witnessing this concert was a privilege, I was really thrilled after the show.

In the evening, guitarist and well known producer Paul Brown appeared, backed by band a (without Tony Remy but with Carl). He opened with “Winelight” and brought things nicely up to speed, followed by “The Funky Joint”, delivering some nice bluesy guitar playing. In the middle part, he invited his wife Jacqui Brown to the stage, giving her an opportunity to showcase her own c&w material with a couple of songs, before the smooth jazz groove continued. He invited special guest Blake Aaron to do the Larry Carlton classic “Sleepwalker” with him, before the groove picked up again with the slamming “24/7” and others. To conclude the festival, we got a “Farewell Jam Session” supported by the solid house band that played earlier plus guests like Kim Waters, Bobby Lyle, Gabriel Mark Hasselbach and Blake Aaron, plus upcoming players like Matthias Beckmann (trumpet) and Naomi Adriaansz (sax). They went through tracks like “Put It Where You Want It”, “Cantaloupe Island”, “Lovely Day” and others, ending a great festival.

Summing up this year’s Algarve Smooth Jazz Festival, I had another great time among my music friends from all over the world, met several artists in person and was able to spend some time with them, the weather was nice all week (although the evenings were a bit chilly), the outdoor setting is just perfect, and the hotel is a very suitable host for our needs. The two house bands ft. London based players provided an outstanding level of musicianship, and DJ Rich did beautiful Q&A sessions during the afternoons on the patio accompanied by a handpicked selection of tracks, plus spinned nice old school dance tracks during the after show parties. I expect the festival to continue successfully at this place, and I am looking forward to being back next year.

Bobby Lyle

Gabriel Mark Hasselbach

Kayla Waters

Mallorca Smooth Jazz Festival 2019:

Start me up

Review by Peter Böhi of smoothjazzvibes.com

Images by Christian Nordström and Bianca Berger

The 8th annual Mallorca Smooth Jazz Festival took place like usual at the hospitable Protur Biomar Gran Hotel & Spa in Sa Coma, Mallorca, May 13-19, 2019. The festival had been pushed a little closer to summer to allow for warmer temperatures. The skies were blue and the weather nice, fans were gathering from all over the world, and everybody was ready to meet friends, hear their favourite music and have a good time. The festival started on Monday with a pre-program with a dinner accompanied by Oli Silk (keys), followed by a show of the local band Saxophobia Funk Project and a welcome gala dinner on Tuesday, followed by show of singer Bart Brandjes and Rob Zinn (trumpet) on the smaller open air stage.

I arrived on Wednesday, when the major acts started to appear. Like every year, two alternating house bands supported the main players. Guitarist Chieli Minucci opened the festival, supported by Westley Joseph (drums), Orefo Orakwue (bass), Oli Silk (keys), local players José (percussion) and Miguel Ramon (sax), plus Rob Zinn (trumpet). They went right into it with “Kicking It Hard” and “Body Beat”, bringing things up to speed. The band was cooking and Chieli played his electric guitar beautifully, with a wide range of expression and technical prowess. Next were his radio hit “Cruise Control” and the classic “Ballerina” he wrote for his daughter 30 years ago. The highlight of the whole show for me was his rendition of Stevie Wonder’s “Cause We’ve Ended

Chieli Minucci

Rob Zinn Bart Brandjes

As Lovers” reaching a tremendous climax. His show was well received, and he was visibly impressed by the whole festival and the great vibe in the room.

Next were DW3, the “three Mexicans from LA living their dream” according to their own statement, who brought us their mix of originals and well selected covers, providing a great party vibe. DW3 are brothers Eric (keys) and Billy Mondragon (percussion), plus Damon Reel (vocals), all share harmony and lead vocals, propelling the music forward. They were supported by Marcus Finnie (drums), Marius Goldhammer (bass), Lutz Deterra (keys), Martin Feske (guitar; hereinafter “band a”), plus a horn section consisting of Rob (trumpet) and Miguel (sax). Their music falls more into the R&B category, but they have strong ties to the smooth jazz scene with Ricky Lawson having produced their music, people like Gerald Albright and Dave Koz guesting on their albums, apart from sailing on smooth jazz cruises. They opened with “Let The Music Be Your Guide”, followed by songs like “I’ll Be By Your Side” and “Hold Me, Love Me”, showing their impeccable vocal skills and great

harmonies. They did a beautiful version of “California Dreaming”, then shifting gears with EWF’s “Can’t Hide Love” and Stevie Wonder’s “Do I Do”, bringing people to their feet. They were asked for an encore and did an abridged version of JB’s “Sex Machine”, bringing a great concert evening to an end.

Thursday night after a nice “Cool By The Pool” party in the afternoon with lots of artists jamming on a small stage next to the pool, we got the next headliner, singer Chris Walker who honed his skills as bass player and background vocalist as a member of Al Jarreau’s band for 22 years. On one hand he is carrying his mentor’s legacy incorporating large parts of Al’s techniques into

Eric Darius

his singing, while remaining his own man at the same time. He was supported by Oli and Lutz (keys), Westley (drums), Orefo (bass), Dave Ital (guitar), plus Elle Cato and Bart (backing vocals). He kicked off his show with a great cover of the Gap Band’s “Outstanding”, having the crowd in the palm of his hand right from the start. The old school vibe continued with a tremendous rendition of “If Only For One Night”, dedicated to Doreen in the audience who celebrated her birthday, getting his full attention. Later he invited Bart to scat with him, both pushing their creativity to its limits. The Al Jarreau mode continued with an awesome rendition of “Take Five”, showing his vocal prowess. Another highlight was a medley of James Ingram songs, with pieces like “Just Once”, “One Hundred Ways” and others, showing his mature and soulful singing. His show was totally professional and entertaining on the highest level of musicianship, so he was asked for an encore doing George Benson’s “Give Me The Night”, ft. Dave on guitar, finishing a great show.

The late night show was done by Eric Darius with “band a”. The saxophonist entered the room from the rear, making his way to the stage, where they gave him a lot of room to move around to deliver his energetic playing. He went through a string of songs like “Goin’ All Out” and more of his uptempo material, with simple, yet effective melodies and not too much improvisation. Martin got several opportunities to contribute burning guitar solos,

Julian Vaughn

Four80East

Chris Walker

adding considerably to the music. A really nice segment was when he did “L.O.V.E.”, a slow and heartfelt track that allowed him to wander through the audience, paying birthday girl Doreen one more visit. With the current album “Breakin’ Thru”, Eric is trying to connect to younger audiences, fusing trap music with jazz and funk, so he did “Trazz” showing where he wants to go musically in the future. His show went past midnight and was well received.

Friday afternoon, I joined the “Cool At The Pool” jam session, after some music provided by DJ Richard Edwards and a Q&A session with Four80East, “band a” got ready to play supporting players like Eric Darius and Matthias Beckmann (trumpet) doing Grover’s “Winelight”, Bart singing “This Masquerade” beautiful, while James Lloyd (keys) and Curtis Harmon (drums) did a funked up version of the “Flintstone Theme”, which was a lot of fun. Despite the strong winds, people were grooving to the music and having a good time.

In the evening, saxophonist Marion Meadows did his show, he was with the festival from the start and wanted to come back again. He was accompanied by “band a”. He went through a string of his songs and thanks to the band who provided several hot solos, things were kicked up a notch. Among the songs played was “Suede” and “Humanity”, a cool touch was when he addressed a song to his wife building up a great solo that provided some nice improvisation. He did a stroll to the audience looping the same melody over and over again, getting closer to his fans. Nevertheless, his show was well received.

Next were the legendary Islandic band Mezzoforte which was founded in 1977 and still is going strong, the lineup consisted of founding members Eybor Gunnarsson (keys), Johann Asmundsson (bass), Gulli Briem (drums) and Fridrik Karlsson (guitar), plus Jonas Wall (sax) and Ari Bragi Karason (trumpet). The band was super tight going through their catalog of funky songs like “Midnight Sun”, “Action Man” and “Spring Fever”, with each member of the band contributing lots of solos, especially the horn section stood out with impeccable playing and great solos. Despite the fact, that they have been on the scene for such a long time, they were playing with a lot of joy and energy. They wrapped it up with their biggest hit “Garden Party” and came for an encore, giving us “Rollercoaster”, ending a great show.

Saturday morning, the double bill of Julian Vaughn and Four80East were scheduled outside in the open air theatre, but due to windy and chilly weather, it was moved inside. Bass player Julian Vaughn was supported by Dave (guitar), Westley (drums), Orefo (bass), Oli (keys; hereinafter “band b”) and Miguel (sax). He played his higher tuned bass as a lead instrument, going through some of his funky songs like “Your Mine” and “Initiate” which had everybody bopping their heads, which also was true for “Ju Ju’s Groove”, a reference to his nickname as a child. He also played a couple of tracks from his upcoming release “Black Dynamite”. Then he invited special guest Jeff Ryan onto the stage who tore it up, a great player to watch. Then he flipped the switch to party mode with songs like the Whispers’ “Rock Steady”, complete with audience participation, having everybody on their feet. He came back for two encores, among the songs played was the immortal “Ain’t No Stopping’ Us Now”, definitely giving the people what they wanted.

Next were Canadian duo Four80East ft. Rob DeBoer (keys) and Tony Grace (percussion), they were accompanied by Martin (guitar), Marcus (drums), Marius (bass) and Miguel (sax), working nicely together as a group. They started out slowly and built it up, ultimately falling into their trademark groove with excellent percussion and smooth keys, caressing the audience with their melodies and hooks, providing a very enjoyable musical experience. The band contributed great solos, most notably Martin and Miguel. Among the songs played were “Sandbar”, “Easy Come, Easy Go”, “Eegee Beegge” and “Cinco Cinco Seis” from their current “Four On The Floor EP”, among others. Their show was very well received.

Ragan Whiteside opened Saturday night, her band consisted of “band b”, plus Jeff (sax) and Rob (trumpet). She went through a few of her own songs, like “Early Arrival” and others, before she gave us her rendition of the Ohio Players’ classic “Sweet Sticky Thing”, delivered in style. She slowed it down with “In Love”, a beautiful track dedicated to her husband who was present in the audience. The groove picked up with Patrice Rushen’s “Remind

Marion Meadows

Jeff Ryan

Peter White

Pieces of a Dream

Ragan Whiteside

REVIEW

Me”, showing also her vocal skills. Things got even funkier with “Funktuation”, which required some participation from the audience providing the vocal part and offered several band members some solo space. Her great flute playing and funky vibe went down very well with the crowd, she was asked for one encore and left a satisfied crowd.

Due to health reasons, the scheduled Richard Elliot and his band had to cancel their European tour, filling in was his friend and festival favourite guitarist Peter White, who was an appropriate replacement. He also appeared with “band b”, plus sax player Jeff, who repeatedly joined him not only for the sax parts, but also provided some smoking solos, ironically reminding me a lot of Richard Elliot. Despite the fact that his shows have become a little predictable, he played with finesse and seemed to have a ball, we got the usual selection of songs like “Groovin’”, “Who’s That Lady”, “Papa Was A Rolling Stone”, “Bueno Funk”, “Bright”, “San Diego” and more, the moving “My Prayer” played solo was a nice breath of fresh air. He gave his fellow players ample room to play, Matthias joined in to deliver some great trumpet playing during “Papa Was A Rolling Stone”, providing another highlight. His show was very entertaining, he is a consummate artist that delivers smooth jazz on the highest level, possibly the best the genre has to offer.

Sunday morning keyboardist Greg Manning and rising sax player Jeff Ryan did their show, thanks to the nice weather, it was held outside. Their band consisted of “band b”. Greg had collaborated with Jeff in the past, so playing with each other was a natural thing for them, both were in a fine playing mood alternating between material from their own catalogs and complementing each other just fine. They opened with “Groove Me” and “Sweet Spot”, bringing things nicely up to speed. Highlights of the show were Greg’s “The Calling” which

Mezzoforte

Steve Oliver

Oli Silk

Jeff Ryan

Greg Manning

had a great west coast vibe, while Jeff killed it with the intense “Embrace” boasting his gutsy tenor sound with lots of soul and feeling, it was pure bliss. Both players were a breath of fresh air to the genre and discoveries of the festival, I am sure we will hear a lot more from them in the future. They were asked for an encore and did their cover of Pharrell Williams’ “Happy”, having a happy crowd of people dancing in front of the stage.

Next was Steve Oliver, a musician that helped to shape the smooth jazz genre, giving us his blend of smooth jazz, world, latin, new age and even rock. Accompanied by “band a”, he impressed us with his great acoustic guitar

playing and vocal artistry, doing songs like “We Are”, “Global Kiss”, “High Noon”, “Illuminate” which started out acoustically, before the band kicked in, “World Citizen” and more. He was raising the bar with “Chips & Salsa”, having people dance in front of the stage. Other highlights were when keyboardist Lutz played the accordion, showing an unexpected side of his talents. To expand his musical palette, he incorporated synth sounds to his guitar, mimicking a whole orchestra at one point. Later, he wandered into the audience, doing a Spanish solo piece on the acoustic guitar. Towards the end of the show, he even incorporated some rock into his music, having many people on their feet. His show was varied and entertaining.

Sunday night, the grande finale took place at the Església Nova, Son Servera, an unfinished church that only had most of its walls, but no roof, a great venue with a special vibe. People were transferred by bus from the hotel. The stage was set for Pieces Of A Dream ft. James Lloyd (keys) and Curtis Harmon (drums), they were supported by Martin (guitar), Marius (bass) and Oli (keys). They kicked off their show with the energetic “Wakeup Call”, “Right Back Atcha” and “Night Vision”, before the delved into their classics like “FoFi-Fo” and “Mt. Airy Groove”. They gave us a premiere of the title track of their soon to be released album “On Another Note”, before they slowed it down with “For You” which was dedicated to the people running this festival. The whole band was in a fine playing mood, and James was killing it on the keys. At the end of the concert, he strapped on his keytar to play “Come Together” walking around in the audience, bringing a great show and the festival as a whole to a close.

Impressions