November / December 2015 Fourplay

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SmoothJazz November / December 2015

TM

MAGAZINE

INSIDE Terence Blanchard Kyle Eastwood Barbara Morrison Nils Victor Wooten LA Fashion Week

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16

Lifestyle 16 Sports

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Scott Van Pelt features Trombone Shorty

24 Miles Gets Hometown Statue

35 Fashion Show L.A. Fashion Week

81 Holiday Music 82 Book Guide Festival Guide 84 1st Annual “MADCatfish” Blues Festival

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FEATURE

62 Fourplay 25th Silver Anniversary

07Barbara

Morrison “The Queen”

Concert Review 26 Victor Wooten Nothin’ But Bass 33 Nils “Alley Cat” CD Release Party 55 KyleUSEastwood Tour 58 Terence Blanchard “Breathless”

CD Releases 93 New CDS CD Reviews 95 Inaki Arakistain—Saxual 95 John Dillard - Let's Ride 96 Believe David Benoit Trio Featuring Jane Monheit

100 Kenyon Carter Game On

Luxury All-Inclusive

SmoothJazz Jazz ArtMay Jackson— Publisher/CEO / June 2015 Doris Gee- - Research Manager Mann—Graphic Artist Contributing Writers Danette Watts Althea Turner Art Jackson Rosemarie Howard Maria Chinn Ronda Dixon Lourdes Hernandez Ahlia Love Lexi Lewis Natalie Rungan

Alton, IL D.C. Los Angeles Los Angeles Los Angeles Los Angeles Miami Philadelphia Tampa South Africa

Smooth Jazz Magazine Inc. 3715 Midvale Ave. Suite #6 Los Angeles, CA 90034 E-Mail:info@smoothjazzmag.com Web: www.smoothjazzmag.com

No part of this publication may be reproduced or transmitted in any form or by any means

Contributing Photographers Danette Watts Mann

Alton, IL Los Angeles

Paula Edelsteine

Los Angeles

Lexi Lewis

Tampa

without written consent from the publisher.

Copyright @ 2015 by Smooth Jazz Magazine Inc. All Rights Reserved.

FEATURE

On a nice hot summer day, I had the pleasure of interviewing Barbara Morrison.

She has become a legend.

An inspiration to so many.

Her family, friends and fans have labeled her The Queen.

SJM: Ms. Morrison how are you dealing with this weather? I'm ready for some rain.

Barbara: Girl me too! They need to have a construction company put a big hole in the mountain and lay a large fan in the middle just to cool us off (laughing).

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SJM: Thank you for giving me a little of your time tonight, just a little bit.

Barbara: Don't worry about it, I have to go to work, I was up anyway.

SJM: You have an extensive calendar?

Barbara: Yeah I've been working hard!

SJM: Yes you have. You have something coming up called The MADCatfish Blues Festival, how exciting is that being its first annual.

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Barbara: Oh I hope everyone comes!

SJM: I'm spreading the word, I think it is going to be a very nice turn out.

Barbara: I hope so. I was in Long Beach a couple of weeks ago with BABYFACE and all those cats and the blues can do just as well. People love the blues.

SJM: The blues always speaks to the heart and always tells a story.

Barbara: Yeah but you have to have a heart!

SJM: Yep that's true, this is the 1st annual festival, I hope this will keep going.

Barbara: I know LaQuetta personally and I know that 1 year is not going to be enough for her.

SJM: She is a visionary?

Barbara: She has success in her DNA. This is not the last of her.

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Barbara: I was into it.

SJM: You are also doing a tribute to Dinah Washington?

Barbara: It is getting rave reviews go to GOLDSTAR.com, five stars all over the place.

SJM: My mom, who is 92yrs loves Dinah Washington, she would put her 8 track tape in and put her ear phones on and relax.

Barbara: She had class.

SJM: She loved Dinah, Ella and Sarah Vaughn.

Barbara: If Dinah was alive right now she would be 91, around your mom's age.

SJM: We knew better not to bother her while her music was playing.

Barbara: Dinah, Ella and Sarah were her Beyoncé.

SJM: Exactly.

SJM: It says that you are the Queen of Jazz, Queen of Blues. You are THE QUEEN! SJM: What inspires you?

Barbara: I think people just do that. Do you want to know how that got started?

SJM: Yes I do.

Barbara: When I was younger, I first started my career studying music. I didn't know who a lot of people were, so when I got on the jazz scene, they would say baby I want you to go see Ella, and then I would go see jazz players perform, so they started seeing me around and would say "Oh there goes the Queen.”

SJM: Right.

Barbara: I learned about everybody on the scene, I got my cup full, running over.

SJM: Now you worked with many legends, such as Tony Bennett, Count Bassie and others.

Barbara: I just finished a CD with Kenny Burrell, the most recorded jazz guitarist in 10 | SmoothJazz Magazine

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FEATURE history of jazz.

SJM: And it just keeps coming.

Barbara: And the beat goes on.

SJM: Yes it does, during your career, you collaborated with so many, has anyone stuck in your mind and you may stop and say "I remember when he or she said that. "Barbara: Oh yeah, Cleanhead Vinson was my mentor, Eddie Cleanhead Vinson. He taught me the proper way to be a lady, to act like a lady. He used to tell me all the time go there and sit down with my wife, you’re not that cute! Do not mess with them musicians!

He gave me good fatherly advice. Then along came James Moody who gave me real good musical advice. He used to say you cannot sing like that, you have to lay down the melody before you scat. He cared about me as a singer. He used to say Barbara you could be a really good singer if you do it this way, he gave be constructive criticism. I have thick skin. I didn't take it personal. I did exactly what they said.

SJM: Barbara, I know you have no legs, and wear prostheses; how do you handle that? Did you go through a depression?

Barbara: Girl, no I never got depressed. I thought of the little girl who was 11 years old and she had cancer and she knew she was going to die and she went to the priest and said, "Father when I die and you put me in the casket will you put a fork in my right hand" and the priest said, "Why?" "Because when we go out to dinner mom always said save your fork for something good is going to happen and then we have dessert." That’s the way I think something good is going to happen.

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SJM: And look at you now!

Barbara: I'm talking to you.

Barbara: People would come up to me, and said if this could happen to you, it could happen to me. A lot of my friends started going to the doctor, and taking care of themselves, now they are exercising, taking their health serious.

SJM: It is like you are teaching?

Barbara: I tell my students, UCLA for 20 years, I put on iday when she was really then, I would put on a almost dying and I difference, you could was a difference. You took over her life.

SJM: Right.

“I'm glad I still have the gift that GOD gave me, I can inspire people, no I'm not depressed. I can still get up there and sing.“

I have been out at a record of Billie Holyoung and beautiful record when she was would show them the hear it, and feel it. There could see how the drugs

Barbara: Look at me, my dad had diabetes, my brothers and sisters had diabetes, my dad's dad had diabetes, when I went to the doctors I cried when the doctor told me I had diabetes. The doctor asked, Why are crying? I had just buried my dad from diabetes. The doctor told me not to be hard on myself; it just runs in your family, things are going to happen to you, you don't have to die like your father, so for 20 something years I controlled it.

SJM: Very good.

Barbara: Some things you can't control, but here is what I'm glad of, I'm glad I still have the gift that GOD gave me, I can inspire people, no I'm not depressed. I can still get up there and sing. I put my prosthesis on in the morning, I go to work every day, I just don't get in a wheelchair, I drive my car to work, I walk, what 12 | SmoothJazz Magazine

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more can you ask for!

SJM: Right there is a testimony.

Barbara: Yeah your right, GOD loves the legless people too.

SJM: Now I saw a video with you and a harmonica, I wanted to ask you about that video.

Barbara: That was the video BIG MOMMA THORNTON, the gentleman that discovered Big Momma, Esther Phillips is the same that discovered me, Muddy Waters. So she played the harmonica, one night I was feeling good and I pulled it out.

SJM: You were feeling it.

Barbara: We got a lot of NAACP awards for that, I won for Best Musical Director, I wrote the original songs.

SJM: And many more awards to come.

Barbara: Ah...Thank you, on Sept 27th, I am getting the HAL award presented by MOTOWN. SJM: Where is this going to be held? And congratulations.

Barbara: The Beverly Wilshire Hotel.

SJM: Such an honor, so deserving, well I am not going to hold you any longer.

Thank you so much for sharing YOU with Us. Barbara: You’re welcome, anytime.

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FEATURE

She is an Amazing Woman. Her infectious personality leaves you speechless. Her grace outlines her professionalism. She represents elegance as she performs with a distinctive style. You cannot compare her, for she is unique. She is a leading light amongst legends in musical entertainment, a business woman with numerous awards of Excellence, and many more to follow, the HAL Award being the latest, her determination, her strength and her essence permeate within the musical community. Barbara Morrison will always charm her audience with her humor, her voice and her passion for Jazz and The Blues.

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Nominations Announced...

BEST INSTRUMENTAL ALBUM

BEST INSTRUMENTAL ALBUM

BEST ENGINEEREDALBUM

Trilogy

Brazilian Nights

Made In Brazil

Chick Corea Trio

Kenny G

Eliane Elias

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Lifestyle So let’s say one day you are just sitting around with your boss and you are tossing around some ideas about the job and how to make it better or things that you would do differently. Then one day your boss says I like your ideas and we are going to have you make those changes.

Well that is the situation that Scott Van Pelt found himself to be in.

So let’s meet the new host of the ESPN Sports Center with Scott VanPelt.

“don’t go to social media for words of encouragement” SJM: Being the first sportscaster having marquee billing along side of ESPN flagship Sports Center and the Scott Van Pelt Show, how does that make you feel?

Scott: It’s thrilling, exciting and I am honored with all the things I imagine that would be obvious. And at the same time I don’t think I am doing anything that is particularly ground breaking. I did radio for years and I did Sports Center for quite some time, so it was a marriage of the two ideas and because my bosses had empowered me to be who I was and to do the show how I wanted to, I didn’t feel nervous and I could just be me and its thrilling that they think enough of me that I can be myself and keep a audience interested.

SJM: And how did the radio audience take the news of you cancelling the show to do television full time?

Scott: People were hurt and angry, the thing about radio in my opinion, it becomes apart of people’s day to day, their routine and whether they are listening word for word or if I am just background noise as they are driving around or whatever the case may be and to take that away from them, is something they really take personally.

SJM: With the advent of social media, people are more easily to voice their frustration and become negative.

Scott: Yes indeed, one of the guys here always say, you don’t go to social media for words of encourageLet the music take you… SmoothJazz Magazine | 17 ment.

SJM: Let’s talk a little baseball. Which is the most surprising team this year for you, the Astros after winning over the Yankees in the Wild Card Playoffs or the Nationals?

Scott: It has to be the Astros, don’t get me wrong the Nationals were a major disappointment to say the least, but for a team to have lost 3 years in a row over 100 games, they are the surprise of the league. And better yet, they are a young team so they have a bright future ahead of them.

SJM: I don’t know about that. When they went to the World Series, I thought then they would be on top for many years to come and we know what happen there.

Scott: You know, I always tell people, live in the now!

Especially when it comes to sports, you never know where that wave will take you.

SJM: Speaking of the Yankee’s, what is your view on CC Sabathia after announcing before the team heading into the playoffs that he would go to rehab for an alcohol problem?

Scott: I did a show that night and it got an incredible response, I spoke very openly about my life as I lost my dad to alcoholism so I am very aware of the cost and I am encourage by CC’s decision and I pray for him to get his mind right. He is a good man and I like him, I like him as a pitcher, but I like him as a man even more.

My aunt, 25 years sober and I lift her up as a shining example of what you can do if you get help. I know how difficult it is, I have seen it.

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Lifestyle SJM: I know that the two of you also have little girls.

Scott: That is exactly true, it was so cool, we were sitting around just talking like guys do and he found out that I had a daughter and he said bro you don’t even know, you just don’t know, he started laughing and he said that she is going to steal your heart. And he was so right; there is something about a little girl.

SJM: There are a number of NFL topics to choose from but I would like your take on the Brady vs. the NFL? Scott: I don’t know, every time you think that chapter is done and the page is turned and the book is up on the shelf there is some suggestion perhaps that it isn’t. I don’t know, I think we have spent a lot of time talking about it. I am not a Patriot fan, I live near there, but grew up in D.C. a Redskins, but I want to make it clear because when I say that this is much to do about nothing, then people say “oh l like the Patriots.” I like smart things, I don’t like dumb things and this whole thing to me is dumb. The waste of time and the enormous amount of energy and dollars spent by the NFL to have it shot down was pretty staggering and it does appear that Brady and New England for a lack of a more elegant way of saying it is pissed off and they are playing that way, and as long as he is out on the field, they are going to try and beat the living crap out of people. I don’t know if it’s over because you keep on hearing these rumblings that the NFL isn’t willing to take the lost. To what end, Is my question. I felt that way back in the day with the FEDS and Barry Bonds, to what end are you willing to go to catch a guy, who theoretically taking steroids to hit a baseball, Let the music take you… SmoothJazz Magazine | 19

this is the federal government. And in the end what did they get, nothing. I just don’t understand the managing and wasting resources, but hey man, the league is obviously going to do what they are going to do.

SJM: I am not a Patriot fan either, since they are in the same divisions with the Dolphins, but I have a friend who always jokingly says Belicheat.

Scott: There is no denying that portion of it. This is a league where you try to find any advantage you can and New England is linked to that, there is no escaping that perception of them being more willing than others to bend rules. That’s part of it, but what are we talking about, in the game that lead to this whole discussion it was agreed on by everybody that the footballs were inflated correctly and the Patriots beat the Colts even worst in the second half. All that lead to this, the thing that troubles me and I can’t even apologize for this characterization, it just give dumb people the ammunition to pretend that everything that the New England and Tom Brady has ever done is somehow cheating, and that’s what’s bothers me. To me that just doesn’t make any sense, they haven’t been this good for this long because of some kind of magic trick involving looking through a video camera at another team and the inflations of a football. That just doesn’t make any sense at all, but we love phrases to say, “The Patriots Are Cheater” then that becomes the catch all. Well ok, have fun saying that and looking dumb because that’s how you look. There is nuance to life; its not black and white life is normally gray. I try my best to just see things the way they are. I do not absolve them for whatever they may have done, but the amount of time that has been spent on it doesn’t make any sense at all.

SJM: On a positive note, you have Trombone Shorty apart of your show as musi20 | SmoothJazz Magazine

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cal back drop and guest appearance, how did all this come about and are you a big fan of his?

Scott: I am, it’s such a cool thing. The best way to tell this story is kind of long but as you can see I am long winded. About a 100 years ago, not really but maybe 15 or 20, my God! I was in New Orleans and I saw the Rebirth Brass Band at a place called the Maple Leaf Bar a local spot where they play every Tuesday night, I went there and it was like finding religion man, if you got a horn section and the Rebirth horn section is ridiculous so I was a Rebirth fan since the mid-90s. After Katrina they had a concert where U2 and Green Day played and they had Rebirth on stage with them and at one point the lead singer Bono of U2 shouted out Rebirth and then he says Trombone Shorty, and I said Trombone Shorty, and I thought that was the greatest thing I ever heard of. So wanting to find out who is Trombone Shorty, is how I became a fan of Troy. I started finding his music and finding out about him. Now, fast forward to when I had the radio show and when we Let the music take you‌ SmoothJazz Magazine | 21

“Trombone Shorty to help me get my mind right.” did this one segment where we would pick games against the spread every Friday and the music that we used as the music bed was one of his songs called “Hurricane Season” and when I moved over to TV, I thought I have to be able to get that song, but I don’t think I will be able to because the TV rights are complicated blah, blah, blah. Well I reached out to his people so to speak, and it turns out that he is a fan of ours and just happened to be up in New England touring and he said we will come by and play it for you and you can use the song. I was like you have to be kidding me! Shorty and the fellas came through after they had played in Massachusetts and set up shop in the studio and played the song a few times and that’s how that came about. He was just a soft spoken dude, all the guys where great, I am sure they had other things they wanted to do than come here and play in the morn-

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ng after a gig the night before, and I just hopes that it benefits them in some way because every Thursday on our show his music is playing on our air, we have a nationwide audience and if somebody who has not heard of him but thinks that is pretty funky, they will enjoy it as much as I do. And this is the only version of his song that he plays on our show that is actually done on Trombone. So during our “Winners” segment each week during football season you will see the taping that the band did for the show.

SM: I wanted to end this interview by doing a spin off from your show and get your Top 5 greatest athletes of all time?

Scott: Oh my Word! Hmm Muhammad Ali, hmm are we talking all time, ALL TIME? In any sport? Oh my God! Muhammad Ali, I will start with the greatest of all time.

Wow, you got to let me think about this…I am notoriously bad with lists. You are going to look at my list and say how did he put John Riggins as my number five.

(Laughing) I want this to be a good list. This dude works for ESPN and that’s his list. (Laughing) Ok here goes…1.

Muhammad Ali 2. Michael Jordan 3. Jim Thorpe 4. Jim Brown 5.Babe Ruth. In five minutes I am going to think of something different. (Laughing) SJM: (Laughing) It was great speaking with you, all the best with your show.

Scott: Thanks for all the kind words about being a fan and all that of the show and for asking me to do this.

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By: Danette Watt 24 | SmoothJazz Magazine

Miles Davis, one of the most influential jazz musicians of the 20th century, was honored in his birth town in September with a bronze statue. It’s just one of three tributes to Davis and the only one erected in the United States. Davis was born May 26, 1926 on Milnor Avenue in Alton, IL., 23 miles north of East St. Louis where he grew up.

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The larger-than-life figure shows him in his 30s, eyes closed, putting every bit of his soul into blowing his horn. He was 33 when he recorded “Kind of Blue,” one of the best-selling jazz albums of all time and part of the “cool jazz” movement. Davis was 65 when he died in Santa Monica, California in 1991.

The statute is located on Third Street, in Alton’s downtown entertainment district.

It stands on a pedestal designed to look like an eighth note, with alternating colored and commemorative granite bricks creating a five-line music staff.

In 2013, the Miles Davis Memorial Project committee began fundraising for the statue and met its goal of $150,000 by July 2015. The committee hired Preston Jackson, a sculptor and musician who grew up listening to Davis.

Cheryl Davis (daughter of Miles) and Vince Wilburn, Jr. (nephew of Miles) pay their respects before the anniversary of his passing, 24 years ago .

“Miles had quite an affect on me,” said Preston at the unveiling. “His gestures, his postures. I tried to emulate him but it was the complexity of his music that attracted me. The notes would go on and on.”

James Killion, also a member of the Miles Davis Memorial Project committee, noted “Miles Ahead” starring Don Cheadle, as one of several upcoming projects honoring Davis. The biopic is set to open early 2016.

“His sound and stature are more alive now than ever,” said James Killion.

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Concert Review

Review and Photos By: Lexi Lewis Victor Wooten appeared at the Largo Cultural Center in Largo, FL on Thursday, October 1, 2015 for a captivating one night show that lasted nearly two and a half hours. With no formal introduction, Victor walked out on stage with a smile, casually dressed, wearing a black knitted hat covering most his dreadlocks, a daisy yellow colored baseball style shirt with “Wooten” written on the back, black pants, black sneakers and his bass guitar already in place ready to play. With his greeting, he informed us he’d be taking us on a musical journey so we’d better buckle up for the ride but convinced us that he’d take good care of us. From the start of the show, he made his bass play notes I didn’t know existed on a bass guitar; it was magical. With every stroke

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the bass, there was a musical turn in the journey; one in which we were happy to take with him. Because of the intensity of his playing, we were all sitting in such silence you could hear a pin drop. Suddenly, the bass got really funky, the lights changed from a cool blue and white to a soft but fire red – that’s when I decided to buckle up! I must say, he did warn us. After the funky tune, he began to speak to the audience telling us that during sound check, there was an interruption of a radio station coming through but it eventually was fixed. He said that to take time to acknowledge the people who work tirelessly behind the scenes to make a show a success.

After the acknowledgement, it was time for more bass! He joked and told us that he uses a looping pedal so he doesn’t have to hire others to play for him. This time, he played the bass “funkier than an unwashed armpit.” That quote is compliments of my friend, Otis Williams of The Temptations. While this show is the majority of him playing the bass, there were times where he spoke to the audience to maintain a nice flow. At one particular point, he recited words that had great meaning then later told us it was called “The Message” and was written by his brother Joseph Wooten.

Next he sang the words “my life” along with a few other words then took us on an obscure turn in the journey where his fingers moved so fast, my eyes couldn’t keep up! A lady in the audience yelled “make it talk!” He continued with an incredibly deep sound; it was unbelievable to watch as he did this almost effortlessly. It was extremely intense. The audience began to applaud. He, Let the music take you… SmoothJazz Magazine | 27

Concert Review...

Next he sang the words “my life” along with a few other words then took us on an obscure turn in the journey where his fingers moved so fast, my eyes couldn’t keep up! A lady in the audience yelled “make it talk!” He continued with an incredibly deep sound; it was unbelievable to watch as he did this almost effortlessly. It was extremely intense. The audience began to applaud. He, again, sang the words “my life” and at the very end, he asked everyone to sing the words “my life” then the song ended with a roaring applause.

When the applause died down, Victor brought out his long-time friend and fellow bassist, Joe Aranda.

Joe strapped on his bass and away they went. They played an upbeat tempo where Victor began to scat then encouraged the audience to participate by following his lead and repeating after him. I know the audience enjoyed it; no more silence for sure! After they played together we went to intermission.

Upon the return from intermission, Victor talked about his book “The Lesson.” He stated that he didn’t want to write an instructional book but a book of stories. To his surprise, the book has done well all over the world and is used in colleges including the prestigious Berkley College of Music. At the beginning of each chapter, there are music notes and if you put them all together, you can play his song entitled “The Lesson.” After explaining, he played the song. By the way, did I mention that the only instrument in his entire show was the bass? That’s right, “Nothin’ But Bass.”

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Joe joined Victor on stage again, once they began to play, I thought I was going to lose my mind because they played The Jacksons’ “Shake Your Body (Down to the Ground).”

Stop! Two bass guitars playing this song!? Yes, it happened.

I witnessed it. Joe held it down while Victor played the lead.

Joe had a solo in which he slapped that bass so hard I thought it was going scream “ouch!” This song got so intense I thought Victor was going to pump his hips like Michael Jackson or moonwalk! Okay, I confess, maybe I was thinking of getting up and doing that! No, I didn’t – I said “thinking.” It was electrifying to see these two play off each other.

He also brought up a vocalist, Ari, who delivered a very soulful song. I never expected to hear what came out of her mouth! No wonder Victor invited her up on stage to sing. Ari was fierce. She has a band called Ari and The Alibis in which I will be checking out in the near future for sure. This was a nice showcase in addition to his already fantastic show.

Victor spoke to us again pointing out the fact that the media usually reports all that is bad and we as a people are not all bad. He made an assumption that everyone in the auditorium didn’t care what race, creed, color, religion or political views you have or a part of, you were just there to enjoy the show while setting aside any differences you may have. Basically, he was saying how nice it was for all these different types of wonderful people to be toLet the music take you… SmoothJazz Magazine | 29

Concert Review gether without incident but you don’t see the media reporting on that. And, if we can do this in this setting, to take it outside the setting and show the world that all people aren’t bad. It was a great lead in to his next song.

He started his follow-up song with Dr. Martin Luther King Jr.’s words “I have a dream.” As he played the bass, various portions of that famous speech were played. Honestly, it was tear-jerking. He set that song up so well with his previous story that you could not help but be moved. At the end of the song, he said two very touching and powerful words “don’t forget” to which he received a standing ovation from a good majority of the audience. Influential.

We got back on the funky journey for a little bit but the journey came to an end.

Upon his goodbye he received a well-deserved standing ovation from every person in the place. I “unbuckled my belt” then saw an imaginary sign that read “until next time.”

The meet and greet after the show was also incredible. Victor was so warm to each and every person. I don’t think there was one person he didn’t hug! And, he stayed until every fan was greeted.

In closing, to watch Victor Wooten play is to watch him become one with the instrument and the music. As I said in a previous review, he is a master of his craft; simply phenomenal. I want to leave you with something to think about that he said in the show last night, “do what you believe and you’ll find an audience.”

Thank you to Rob Mondora for your hospitality while I was at the Largo Cultural Center. For information on the Largo Cultural center visit www.largo.com.

Thank you, Victor Wooten, for sharing your talent, your hugs, knowledge, thought -provoking messages and time with the world. To see if Victor is going to be in your city, visit www.victorwooten.com. It’s a show you don’t want to miss!

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CONCERT REVIEW

I arrived at Spaghettini’s around 7:40 not expecting anything extraordinary. I witnessed a frizzy-haired, slender blond, greeting and making conversations with most people seated, ready for the show. Not long after, here’s that gentleman with his prominent German accent, approached my friend…that slim guy was Nils!

Before last night, I have to admit the name Nils Jiptner had not caught much of my attention. I knew he was a guitarist and that he was releasing his new CD “Alley Cat” tonight; however, I had no clue though how brilliant. That quickly shifted as my feelings after hearing his versions of the classics “Georgy Porgy” and Sara Smiles.” I was mesmerized by those tunes, Nils’s music and performance had me in complete awe. This guy’s a genius! I remembered feeling how passionate Nils played as he delivLet the music take you… SmoothJazz Magazine | 33

delivered two sets on the evening, the second half was even more exciting. Nils captivated the audience even more when he wooed everyone by playing at each table. The ladies couldn’t get enough; they couldn’t keep their excitement in as their adrenaline got them dancing and a Conga line soon started. Last night was Absolute Pure Fun! Nils wrote 11 of the 12 tracks that are on “Alley Cat" and there are just too many to pick a favorite. Undeniably equally enthusiastic were the other talented musicians who played tonight, and who are on the new CD. On keyboards was a young Grammy nominated Nate Harasim, who also currently has his own single “Harmony Park” on the Billboard Chart at #16 and climbing. Clydene Jackson played on Rhodes and added her smooth vocals. The percussionist was Oliver C. Brown, Reggie McBride on bass and trumpeter Johnny Britt. Jeff Taboloff on saxophone and drummer Tony Moore took the night of jazz to a higher level. Special mentions, 8 of the tracks on drums were recorded by legendary drummer Ricky Lawson before his passing.

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Lifestyle

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The new F word, F.R.E.D, their daring Tshirts, camouflage jackets, dark colors, the Review By: Rosemarie Howard logo “Punk’s Not Fashion” is a brand unPhotos By: Mann Lights, camera, action, Fashion daunted and recognizable worldwide.

Next presented by David Dea and Parris Harris was an event that premiered designer’s fashions.

Lingerie, swimwear, casual and evening wear were premiered on the runway. The private fashion show captured its audience of buyers and consumers with a platform of style.

David Dea of Factory Direct gave a warm welcome. As Siri introduced each designers line.

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Galeano Designs has a flair with lace and satin fabrics. Vintage creations, very bold and modern mixture, elegance that can be worn anytime.

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The Hodges Collection, designer Deanna Hodges catches your eye with her soft fabrics and chic designs.

You can wear her designs casually in the day and dress them up at night. The dye and flair of the fabric signifies comfort.

www.hodgescollection.com

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Studio 1042’s intricate lace designs of lingerie and swimwear is attractive and elegant. The quality of fabric was alluring and passionately crafted.

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www.purpledivadesigns.com

Purple Diva Designs gave us a sneak view of her up in coming EMPIRE collection, inspired by the show itself.

Fur, knee high boots, prints and leather and stunning dresses, designer Angela Rene’ designs confidence, self-determination for the curvy woman sizes 12-26.

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Courtney Allegra and CA11, the very young designer splashes the catwalk with fun and fancy swimwear fabric of metallic, sassy prints are very sexy and unique. Her metallic swimwear was inspired by the movie Zoolander. She draws her inspiration from her travels.

www.courtneyallegra.com

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https://www.7androse.com/ Dashing the runway, 7 and ROSE puts the edginess to sportswear. Dressing up shorts, jeans with vest couture accents with hats, favorite fashions for all types of occasions.

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KS Kami shade fashionista designs gorgeous evening wear for that special occasion, holiday or dinner. The shimmer sparkles to the eye. Vogue fashion graced the stage with each presentation. http://www.kamishade.com/

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Her fashions are breathtaking. Katrina Z’Chori designs with confidence. Her textured colors are smooth with poise. Whether the tones are black and white, flowered or striped print, her baggy collection are creative.

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Paula Marie designs are sophisticated, introducing class with solace.

www.arakistain.com

CD Release: Release 08/14/15 CD 08/14/15

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CONCERT REVIEW...

West Coast Tour in Hollywood, CA.

By: Ronda Dixon - Photos By: Paula Edelsteine Renown bassist Kyle Eastwood, in the mist of his world tour delivers to the Hollywood crowd a musical journey of his discography with his current release being “Time Pieces” being prominently showcased.

Kyle leads a quintet of phenomenal artists - Kyle Eastwood on electric bass guitar/acoustic bass/ fretless electric bass guitar, Alex Pope Norris on trumpet and flugelhorn, Andrew McCormack on piano, Jason Rigby on saxophones and Joe Strasser on drums.

Prosecco Smile” (from Time Pieces) opened the show while “Big Noise From Winnetka” (from Paris Blue) provided rousing solo’s from the band, as several applauses from the crowd expressed that they were totally vested in the number.

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Another jam laden tune was “Marrakech” (from Paris Blue). In between songs, Kyle was able to connect with everyone as he shared his love for music and set the imagery of he and the songs were one. But one song was more of a collaboration with his Award Winner director dad Clint Eastwood, as “Letter From Iwo Jima” written by Kyle capture the time and era of the movie.

This number actually received a ovation as the duet of Andrew on piano and Kyle on electric bass touched everyone’s heart strings.

Another CD showcased was Metropolitan as a “Song for You” was played while in closing “From Rio to Havana” (from The View From Here) featured the fiery latin rhythms which again got the whole house on its feet and the party fiesta was in full swing as cheers and clapping filled the air that left smiles with everyone as the great show ended.

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Available Now!

www.kenyoncarter.com

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“Being tired, just tired of the same stories and of the same rhetoric”

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CONCERT REVIEW By: Rosemarie Howard Photos By: Mann

T heGrammy Museum Presents Terence Blanchard featuring The ECollective.

What a night to remember. His latest CD “Breathless” is based on the Eric Garner, “I Can’t Breathe Campaign, Black Lives Matter. “ A natural evolution in his life, this album is a collection of jazz, spoken word, funk and rhythm and blues. A jazz trumpeter and composer with a voice of conscious, Terence Blanchard expresses national concerns through instrumental musical selections. A few selections were performed and written by his son, JRei Oliver. Appearing on the album also is the soulful vocals of PJ Morton (member of the band Maroon 5). His daughter, Sydney gave the CD its title, “Breathless” which gives instrumental interpretation of Let the music take you… SmoothJazz Magazine | 59

society injustices. A native of New Orleans, you were able to feel his frustrations as he discussed Hurricane Katrina.

He spoke loud and clear, anger of concern and very opinionated on political corruption involving the breaking of the levees. He articulated his annoyance in disbelief as the world watched the catastrophe. He mentioned a few political figures at the time of Katrina for he found it hard to be cordial at a political engagement because his family, friends and his home were affected by this disaster. So music becomes a foundation for healing.

His inspiration comes from legends such as John Coltrane, Herbie Hancock, Earth Wind and Fire, Miles Davis and so many more. This CD brings about change. An interview of the awaken consciousness. You left the museum going “wow,” what just happen.

An enlightened interview, you almost wanted to ask him, Mr. Blanchard, have you ever thought about running for office? at least that is what came to mind. His points were valid. We all watched on TV, Eric Garner’s call for help “I can’t breathe”. In the 21st century, United States of America why is this happening?

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Terence Blanchard emphasized someone needs to be held accountable for the disarray within the police dept., he was speaking from his heart and it was real. He left you reflecting on his answers and understanding who he really is. A father, educator, entertainer, husband, and a human being trying to convey understanding during so much darkness. Terence Blanchard and the E-Collective quintet performed selections that left you breathless. This CD is well perceived with a purpose, Eric Garner a name we should not forget along with others. Another successful musical creation, this jazz extraordinaire along with the E-Collective quintet is beyond brilliant. A CD one must have in their collection.

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FEATURE Photos By: John Robert Williams and Toshio Sakurai

SILVER ANNIVESARY

By Ahlia Love

I’d like to begin this feature by thanking Smooth Jazz Magazine Publisher, Art Jackson for allowing me the challenge of coordinating the following individual interviews via Skype and completing this package with a live interview after Fourplay’s recent sold out Rehobeth Beach Jazz Festival performance. As we celebrate this legendary band’s Silver Anniversary we will experience four separate perspectives that seem to follow one common theme. “The quest for excellence”. The Interviews took place on September 30th 2015 at 11am, 12pm, 3pm and 5pm and appears in that order.

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Feature

Bob James SJM: What exactly was the encountered you had with Quincy Jones when he first discovered your talent after you performed at the Norte Dame jazz festival in 1963?

Bob: Everybody hopes to have a break somehow when they’re trying to go into the arts and it certainly turned out that Quincy was a big break for me. I had the amazing experience of competing in a jazz festival where not only Quincy was one of the judges but Henry Mancini as well. So when my group won the competition that year it led to all kinds of things for me. Quincy signed me to make my very first record for Mercury Records. He was Vice President of A & R of Mercury Records at that time. Shortly after that festival I got to go in and make a trio record called Bold Conceptions for Quincy and that was the start of a pretty long friendship.

Quincy Jones SJM: Grover Washington Jr., was among the numerous artists you've worked with. So I have to ask how the two of you connected and what projects did you work on together?

Bob: Grover and I met on a Creed Taylor session. Actually, when I met him it was before he got signed to Creed Taylor’s label.

He’d been hired by Creed Taylor as a sideman and I was meeting him for the first time. It turned out that the arrangements that I had written got shifted over to Grover and he at that time was playing tenor sax but my arrangements had Grover Wash- been written for alto. So we quickly got him an alto sax and all of that eventually turned into be a record called “Inner ington Jr. City Blues” which got Grover off to his start and we became friends. After that I arranged and conducted several album projects with him.

SJM: “Angela,” the theme song from sitcom “Taxi,” was the first song that made many of us aware of Bob James. The tune is so catchy it's hard to forget. To me it sounded truly inspired.

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Was there actually an Angela who was the source of inspiration for that legendary track?

Bob: Indirectly, yes. I had actually not seen the episode that featured the character Angela in the cast; but, I had been asked by the (TV show’s) producers if I would consider composing some music similar to a record that I had just made for CTI also called “BJ4.” It was my 4th solo project for the CTI label. The producers happened to have that album in their collection and they were kind of experimenting with what would be the right mood for the series. I told them that since it was a half hour sitcom it would be hard for me to get that kind of mood if I was going to just write a 10 or 15 second cue. My musicians don’t even get warmed up in that amount of time. So I talked them into letting me do a recording session where I just treated it like it was an album date. I recorded 5 or 6 longer songs and sent them off to the producers. I had one in particular in mind that I thought might be appropriate for the theme for the series because I assumed that they would want something upbeat. New York taxi cab drivers, the hustle and bustle of the city and all of that. But as it turned out they had a whole different idea in mind. They were already using this lonely taxi going over the bridge at dusk so they wanted a much more mellow mood for the theme. I had composed a kind of background piece for the lead character, Judd Hirsch. He was walking down the hallway of an apartment building to knock on the door of a girl he was going to be taking out for a blind date. Her name was Angela. She was the answering machine operator that he had only met by telephone so he was nervous to meet the lady in person. Little bit of a fluke. It was my good fortune that the series became a big success and got syndicated and played all over the world. Hundreds, thousands of times more than my music would have ever been played otherwise. So it (Angela) has stuck as being the piece that is requested far more than any other (tune) when I perform. But it’s such a mellow piece that I still enjoy playing it. I don’t really grow tired of it like Let the music take you… SmoothJazz Magazine | 65

I would if it was some dated disco kinda’ tune I had a hit on; then you’d really be annoyed if you had to keep playing it every night.

SJM: You've managed to form several incredible partnerships through the years and your partnership with Earl Klugh was no exception. What brought the two of you together?

Bob: Well, we have to credit Bruce Lundvall, the very legendary jazz producer who was the head of Blue Note Records for many years. In that era he was the head of Columbia records. Sort of my boss at the time. I had ended up going to Columbia on their A&R staff. Bruce had worked before that with Earl Klugh. Earl was on a different label from me; but because Bruce Lundvall wanted to see this happen he was able to work out whatever logistics so that Earl and I could collaborate. So it was definitely Bruces’ vision and I have him definitely to thank because the collaboration with Earl has been proven to be one of the major highlights of my career. Everybody still asks about our “One on One” album they’re always asking me when we’re going to collaborate again.

Earl Klugh

SJM: Please describe one of your most epic moments as a musician.

Bob: I’m fortunate to have had quite a few but you are talking to me at a time that’s about three weeks after I had a pretty epic moment over in Tokyo. I was trained when I was in college in classical music in addition to jazz…but the jazz bug caught me and I ended up going in that direction. But I have always dreamed about what would happen if I had taken more seriously my training in composition in classical music. I’ve always wanted to do a kind of heavier, longer form of composing. About two years ago I reached the conclusion that if I don’t do it now I never will do it. I undertook composing a piano concerto and because of a really nice connection I have over in Japan I was able to get the Tokyo Philharmonic to agree to perform it. I performed it at the Tokyo Jazz Festival September 5th, this year (2015) after 66 | SmoothJazz Magazine

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Bob James

after working on it for about a year and a half. It was the hardest thing I’ve ever done. So, definitely I would consider that a highlight moment. It was actually broadcast live in Japan.

SJM: Elixir, by definition is a magical or medicinal potion. Supposedly able to prolong life. I would have to say that with more than 90 weeks on the charts, a Grammy nomination and it being your third certified gold album; Elixer lived up to it’s name and definition. The title track is indeed a hauntingly beautiful yet soothing masterpiece. Mr. James, as executive producer on that particular project did you, in your wildest dreams, anticipate this level of “Elixer’s” success?

Bob: None of us in the group Fourplay had imagined that we would even make it past our first album when we recorded our first Fourplay album. Elixer was our third album on Warner Brothers and we wanted the group to have longevity but we were all pretty busy at that time with our separate careers and we really didn’t know whether the group would Elixir LP last. That record represented the fact that we had started to have some longevity. It was regrettably the last record Lee Ritenour made with us. He left the group right after that then we had Larry Carlton for quite a few years now we’re extremely lucky to have Chuck Loeb in the Fourplay group. But “Elixir,” that album is a very good example of me not really going back and listening. It’s been a long time since I’ve listened to that record. I have fond memories of it but I would say it’s probably been a few years since I’ve checked it out. And that song (Elixer) that you were talking about, the title track was one of the very few times, as I recall it, when we wrote the song together. It was a collaboration composition by all the members of the group at that time.

Bob James Final Thought: One of my most inspiring things that happens as a result of going out to perform live and meeting people all over the world is that I realize our music goes into peoples’ lives in a way that we very often don’t even know. It’s having an impact far after it’s left our creativity and we’ve gone on to other things. And that’s probably the greatest thing about the recording business for me is that that CD or in that era it was the LP, that found its’ way into peoples’ homes and if it brings that kind of inspiration or pleasure that’s a wonderful Let the music take you… SmoothJazz Magazine | 67

Bob James

Chuck Loeb

feeling. It’s a wonderful feeling for us to realize that we’ve got 25 years into this group and that we have had that kind of longevity. The most difficult thing has been to coordinate our schedules. All the guys individually are very busy and we live in different cities. So I think the best tribute to how much we love the group is that we’ve been able to stay together this long.

SJM: What specific experience did you have at age 11 that convinced you that music was the field you were destined to pursue?

Chuck: I started playing when I was 11 yrs. old and two things happened. I went away to Boy Scout camp and there was a lot of activity. I don’t know what you would call it; like initiation and stuff like that. They were like...you have to go over to this tent and get beat up and then they spray you with bug spray and all this stuff. I thought, you know I’m just going to St stay in my tent and just practice the guitar. And I wrote a song while I was there. Composing and guitar playing are kind of equal for me in importance and when I came back from camp I played this song that I wrote for my parents. When I played it for them I didn’t know what to expect.

When I got to the end of the song they looked each other and looked at me and said that’s pretty good actually. And so I got this reinforcement that maybe I could write music and play music well enough to do something with it. Then about maybe a year later I got called from a local band that did dances at the community center. They asked me to come down (I was only 13) and play on a Friday night.

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come back tomorrow. They handed me an envelope with 15.00 bucks in it and I said “Wait a second, I get to have all this fun and also I get paid?” For a 13 yr. old kid in 1966 that was something. So that kind of solidified my feeling and I never really looked back. I’ve been in music ever since and thank God I’ve been able to continue working on stuff that I love.

SJM: Since you started playing with local bands at the tender age of 13 did you encounter any issues with venue management due to your age?

Spotlight

“Wait a second, I get Chuck: I was in this band that was managed by the leader to have all this fun of this community center.

The name of the band was the and also I get paid?”

Sinclairs. We actually ended up playing on TV and doing a bunch of regional shows and having a little bit of notoriety in the New York area. So there was a lot of trust on my part just letting those guys handle all of the business. It was sort of my first experience of letting someone else take the reins and doing what needed to be done business wise while I concentrated on the music.

SJM: As a young musician you would often practice up to 8 hours a day. How were you so disciplined at such an early age?

Chuck: Well you know I think Miles Davis said once “Music is an Addiction.” And I believe that. I think there’s a feeling you get when you practice a lot. As a guitarist I’m lucky; because if I played the trumpet, you can’t play the trumpet 8 hours in a row you’d blow out your chops. But on the guitar you can play as much as you want. You actually feel better the more you play. The feeling that you would get when you have gotten over a certain hump or you’ve learned a certain thing and you can really play it in a flow is addictive. So I was always try to achieve that. I still practice a lot, I don’t practice that much but I try to practice as much as I can each day and the more I play, the better I feel.

SJM: Of the many television themes or jingles you've composed what are a few that we might recognize?

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Chuck Loeb

theme and I wrote that. So every time I hear that I think well, that's apart of the tapestry of American life, it’s kinda’ cool. I worked on a bunch of stuff for ESPN, the NCAA Basketball theme. I did the theme for the Yankees and one year worked on (the theme for) the Mets and a bunch of jingles and stuff like that.

SJM: As the newest addition to Fourplay, what do you believe is the key to the group’s success?

Chuck: I think that the combination of the four personalities that created the band originally with Lee Ritenour, Bob, Nathan and Harvey and then changed to the same set up with Larry Carlton and then with myself… I think that the element that strikes me is that there’s a level of excellence. A demand for a certain level of quality that we that we urge each other towards. So if somebody has a song and somebody feels that it can be improved in a certain way and it fits with the ideas of the composer and the other players we keep upping the ante until the final product kinda’ has this stamp of Fourplay quality.

Its’ production, its’ composition, its’ performance in terms of playing and excitement, in terms of the improvisation and solos. Each of those elements end up being at its’ very highest level because we’re spurring each other on. So I think that’s why it’s consistently good music and I think that this new album that we have, “Silver” lives up to that tradition.

SJM: What’s your most epic experience as a musician?

Chuck: Um, that’s a good question. Well I’m really blessed in a lot of ways so there’s a lot of moments that I hold dear musically for myself. One of them, I would have to say was in a band that I was part of in the 80’s called “Steps Ahead.” That was a band that featured saxophonist Michael Brecker. Victor Bailey was the bassist, Peter Erskine, Mike Mainieri and myself. I remember touring Europe and we were playing the music that we had been composing and not rec70 | SmoothJazz Magazine

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Chuck Loeb

orded yet. We were playing it live repeatedly in different venues and we came back to New York and before we went in the studio we did a few nights at The Bottom Line in the Village (Greenwich Village), a wonderful club that’s no longer there, unfortunately. Something happened on the stage in those three nights that for me was kind of a pinnacle. All the elements in every area of the thing came together and it’s all clicking and it’s all hitting on every piston; that stands out to me. Michael Brecker happens to be one of my heroes, may he rest in peace. I think he set a standard for a lot of musicians to try to achieve. His musicality, his technical ability, his taste and just every thing about him including his persona. cker e r B l ae And so playing with him every night the band was Mich coming together as a unit felt like being on a locomotive train. Now that happens a lot with also with Fourplay. We just finished a tour in Japan and there were some nights we played and every show was sold out.

There were some nights where we played and we just felt like it was not four people playing but one person, really united. That’s the same feeling that I’m talking about from the other shows back in the 80’s. I’m blessed in another way too which is that every member of my family is musical as well. My wife is a singer, songwriter and a guitarist as well. My (youngest) daughter, same thing. Singer, songwriter, guitarist. She’s been in it for a long time. My older daughter is very talented and just decided that she’s going to dive in there too. She’s composing music, singing and playing.

And so for me I have the added benefit of being able to share and create music with the people most important in the world to me, my family. So you know like I said, I’m a blessed guy. I have a lot to be thankful for and all those different things are experiences that are near and dear to my heart.

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Nathan East

SJM: You are indeed a highly decorated veteran of the music industry. Having won “Bassist of the Year” 3 times at the U.S. National Smooth Jazz Awards. N.A.R.A.S. MVP (bassist), multiple awards from ASCAP for most performed works, along with recognition by the United States Congress where you were awarded a Congressional Record for your contribution to the worldwide musical community…and that's just to name a few distinctions....

There are so many more that we could take up the entire interview just listing them. My question to you is when you first started out th playing the Cello in 7 grade at Horace Mann Jr. High, in San Diego …did you dream that all of this would one day become your reality?

Nathan: First of all I’m amazed that you even have all of that background information; but it’s very accurate. The only thing I was dreaming about was doing something that involved music, basically. So the biggest dream was to be in that realm and being one small part of some orchestra or just participating in something musical.

SJM: Exactly how old were you when you started to take music seriously as a possible career path?

Nathan: At about 10 or 11 years old was when I was sitting there watching Charlie Brown and listening to all of that cool music by Vince Guaraldi on TV. I was thinking, you know that’s cool and I wanna’ do something that has to do with that. So I was actually trying to take piano lessons but they didn’t have it in my Junior High School. So that’s where they said you can take one of the string instruments like cello. Upright bass was kinda’ too big. Violin and viola were a little bit on the small side. That’s where I settled on Cello. After about 3 years of that I discovered the bass and that was it. I said “Awww Lord, now this is something else.”

SJM: When reviewing a partial list of artists you've worked with my eyes welled up a little thinking about some of them whom I've had the chance to meet who left a major mark in my heart and Spirit… two of those legends are the late Ray 72 | SmoothJazz Magazine

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Charles and the late Barry White. Who, among the long list of giants you've worked with have left an indelible mark on you?

Nathan: Well you just named two of them because I had an opportunity to work with both of those guys. I recorded with Barry White in the early days. I used to come up to L.A. and be in the studio with him all day long and then drive back to San Diego and do my club gigs at night. It was one of those things where the A-Team, Ray Parker Jr., Lee Ritenour and WaWa and all these guys were in on those sessions. So I’d run back to San Diego and tell all my friends “Man, I just played this session and Gene Page was arranging”…it was just exciting for a guy sort of on a local level to be going up to L.A. and playing with somebody like Barry White who was completely a number one act. He was filling arenas and we eventually toured together and worked together a lot.

And then people like Quincy Jones... he’s like the God Father of the music industry. Working with him, he just lays some wisdom on you every single time and it’s valuable. It’s like going to a University. I’m very fortunate. Even Bob James, who I was a big fan of and Harvey Mason…I played those guys music when I was playing in clubs. So to end up in a band with those guys just ended up being something very special and something that I’m very grateful for.

SJM: If you had not achieved this level of success in the music industry what do you think you would have chosen as an alternate career path?

Nathan: I’m so thankful that I don’t really have to come up with the real answer for that. But, I did get my private pilot’s license in 1985. Flying planes is sort of like music. You just enjoy it so much that I thought I could have probably flown airplanes for a living and have a lot of fun doing that. My Brother-in Law was my flight instructor.

We used to fly to the Bahamas every year and just stop anywhere we wanted to along the way. No schedules to adhere to necessarily. Just go at your own rate.

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Nathan East

It’s probably the truest sense of freedom in that you can just be wherever you want and take yourself there.

SJM: Music has taken you many places. Is there any particular part of the world you have yet to experience that would be part of your bucket list?

Nathan: I’ve been to a lot of places. I haven’t been to India yet. I hear that’s pretty amazing. And I haven’t been to Alaska either and I hear it’s beautiful up there and that’s like right here in America. So those are a couple places. But to be honest...just in the last couple “Our first three months I have about 50 or 60 hours of time in the air between albums all went going back and forth to Japan, Korea and Singapore.

I’ve been Gold and the to Bangkok. I’ve been to Japan acfirst one went tually 72 times. No shortage of miles. We go to Fiji a lot and Platinum and it’s just gorgeous down there. Travel is just another one of those things that’s just an amazing opportunity if you that’s unheard get to do it. I just feel very blessed in that respect as well. of when you SJM: As one of the founding members of Fourplay did you ever imagine that 25 years later the group and its body of work would still be so well received; particularly with limited national airplay?

think about instrumental music selling over a million units of an album.

Nathan: You know, again that’s something that you really couldn’t anticipate. Our first three albums all went Gold and the first one went Platinum and that’s unheard of when you think about instrumental music selling over a million units of an album. So here we looked up and 25 years have gone by and it just feels like a blink. That’s the beauty of working with musicians that have such high standards. Because you get four guys in the room and everybody’s trying to take it up a notch and another notch you know. So it 74 | SmoothJazz Magazine

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Nathan East

Harvey Mason

was just nice to be able to form a group from that and how many groups stay together for 25 years? It’s very few. The mission statement of this band was first of all we had to have fun doing this. I think we got past that one ok. And this was always meant to be what the name implies, “Fourplay” not “For (Four) Work”. We do work hard at it but it’s something we work hard at because of the joy that we get from being able to play together.

Nathan East final thoughts: I think every musician plays music for an audience. So when people have been affected or touched by your music as I travel around the world and I hear these stories...“Oh, I was going through this or whatever and I put the music on and it helped me a lot”. That really to me is Mission Accomplished. That to me is the highest compliment. We just want to say “Hey” to our audience out there who will be checking this (interview) out. We appreciate 25 years of you hanging in there with Fourplay. It’s unbelievable.

SJM: Like every member of Fourplay, past and present you have such an incredible pedigree spanning the life of your career that it's hard to know where to begin with the questions. So, I'm going to start with the obvious…How old were you when you realized that music was something you had to peruse?

Harvey: I started lessons at 7 yrs. old and I was very good and I stood out as a musician then so I did it and it was just for fun. I didn’t think about it as a living until my senior year of High School when I read a magazine article about studio work. And that magazine is when I realized that I can do this and make a living. That area of music I loved, that was studio work. And so I set out to be a studio musician. Not to play live, but to work in the studios and play and record with everyone. Even though prior to that I was making a living playing in clubs but I didn’t see that as a life pursuit.

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SJM: You've played with super legends like Errol Garner and Duke Ellington. What was that experience like?

Harvey: Well fortunately I went to school in Boston and while there I was playing clubs as a side man, just a musician for hire. I had the opportunity to play with a lot of these legends. It was fun and it was a great education. Also being from Atlantic City, which was a hub for music, I grew up playing with so many people and worked some great night clubs there and met all the great guys so I had an amazing career as well as later in my life. It’s all been a great experience for me and it’s made me what I am today.

SJM: This is just my opinion and with all due respect I don’t really care who agrees or disagrees with me but I believe that you should be credited as THE Drummer who put the exclamation point on the 70’s R&B, Jazz, Funk era. You created those squeeze your nose real tight super funky drum patterns that have always amazed me. Your contributions to the industry as a whole are simply too numerous to list...I’m Just curious…Funk in a Mason Jar? Such a clever concept. Was that title your idea?

Harvey: (Harvey let’s out a big chuckle) Well, it was a collaborative idea but it was just one of those things. Mason Jar, I was trying to find a way to use that in a title but it’s lasted for a long time and a lot of people have heard the music and that seems to be a stamp. Everyone says (excitedly) “I have that record.” If all of the people who bought that record who tell me they actually have it…it would be incredible, so I don’t know what the deal is…But everyone tells me they have that record and I’ve been known by that for such a long time.

SJM: Speaking of cool CD concepts, your 25th Anniversary CD “Silver,” is yet another creation with interesting song titles. “Sterling,” “A Silver Lining,” “Silverado,” “Silver Streak,” “Precious Metal” and I have to throw in “Mine.” With such crazy schedules when do you all have time to discuss future projects? How do you plan what’s next?

Harvey: Well I think we will deal with “Silver” for a while and see how long the life 76 | SmoothJazz Magazine

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Feature

Harvey Mason

of “Silver” will be…and we’ll work and support that. Near the end of that we’ll start planning another cd and we’ll try to put together a time frame that’s best for everyone and we’ll make the next cd. But it’s a democratic band and we just make decisions, we look at when everybody’s available and just fly by the seat of our pants basically.

SJM: There is one song you co-wrote with Herbie Hancock on the “Head Hunters” album that became my theme song and life saver as a DJ. After I finished setting up my rig, I would play Chameleon while changing my clothes. First of all thank you so much and second, what made you all create a track over 15 minutes long?

Harvey: Well thank you first of all for supporting and appreciating the song. At the time we were writing as a group writing deal and we just came up with the song. On that CD I think there were about 4 or 5 songs on the whole CD and so they were all very long songs. We were crossing that bridge between traditional jazz and sort of fusion. So the songs were long and that’s just the way they were…we were just playing, jamming and having a great time. So that’s where that came from and it’s stood the test of time. It’s still being played and sampled…it’s a wonderful thing. And I have a new CD on Concord called “Chameleon” which I took that song and a bunch of other songs and re-did them with young musicians and it worked out really well. You should check that out. There are a lot of songs that I either wrote or participated in the recording of so I think you’ll enjoy it.

SJM: Who do you recognize as some of the young musicians on their way to becoming the future legends?

Harvey: As far as predicting who’s going to be a future legend, that’s tough because it takes years to accomplish that. But as far as being influential musicians I’d say Kamasi Washington is well on his way to becoming a very influential musician.

Mark De Clive Lowe, who’s been playing with me as a keyboardist. I think he will be a very strong influence in music going forward. And I would say there are a couple of others. Christian Scott, trumpeter…he is amazing.

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SJM: It is safe to say that you've been the featured drummer on at least 85% of my all time favorite tunes…what are two of your favorite songs that you’ve helped create?

Harvey: Wow, that’s tricky…you know I really can’t say.

There’s so much stuff I haven’t really sat down and figured it out but I appreciate so much of the music and every time I hear the music it brings smiles to my face. I’m always discovering there’s something else that I did during that period too so it’s hard for me to say. But I have to say that Herbie Hancock and Head Hunters looms as one of the best things I’ve ever done and one of the most influential pieces of music I’ve ever been involved with. So I’d have to start the list with that then we’d have to go from there to Donald Byrd. The stuff that we did for Blue Note Records that was ground breaking. The Brecker Brothers, that was ground breaking as well. I mean there was just so much stuff that I’ve had the opportunity to play on it’s hard to go past that but I’d say it’s a long list and I’m very appreciative having been involved with all of that music.

SJM: Congratulations on 25 phenomenal years with Fourplay.

What do you believe is the key to the group’s longevity?

Harvey: I think the fact that we’re like-minded musicians that respect each other and love music. It’s easy for us to play together because we listen to each other. We’ve all been accompanists.

We’ve all played in studios and we wanted the band to last a long time. We thought about it when we originally put the band together. We hoped that we would sort of mirror the MJQ which has been around for many, many years. So we said this is not going to be a one off. Let’s just try to keep it together. We’ve made it for 25 years now so I think that’s a milestone. Mission Accomplished.

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CONCERT REVIEW...

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Remembering the 10th Anniversary of Hurricane Katrina in New Jersey.

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Stocking Stuffers & more Something for your loved one...

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BOOK GUIDE

Chapter 1 A Portrait of Words A Mothers Love Although she is often taken for granted she is the glue. That holds her 82| SmoothJazz Magazine

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Playboy Swings: How Hugh Hefner and Playboy Changed the Face of Music….

“From the beginning , it was clear that the mixture of Playboy and jazz was a very good combination. I had first met Hef in the 1950s, but sadly I wasn’t able to get to Chicago for the first Playboy Jazz Festival in 1959. But it was a very big deal at the time—it got wonderful reviews and generated a lot of publicity. In March, 1960…”

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Festival Guide

Photos By: Darnell Wade August 08, 2015

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Festival Guide

Photos By: Mann

Ray Bailey

Mark Vincent

Sunnie Paxson

Barbara Morrison

Delgado Brothers

Yu Ooka

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By: Rosemarie Howard The 1st Annual MADCatfish Blues Festival as artist paid tribute to the late “King of the Blues” Legend B.B. King. The festival ran for 2 days Sept 5th and 6th at the Famous Santa Anita Race Track. The audience was very intimate and the aura was very relaxing. The stage was positioned in front of the beautiful San Gabriel Mountains and the seats were located under shaded areas. At your leisure, you were able to enjoy the clothing, jewelry and art vendors surrounding the venue. If you were hungry, there was something for everyone; Hot Dogs, Hamburgers, Roast Beef and Andouille Sausage sandwiches, ice cream and for sure catfish with hush puppies along with domestic and imported beers.

The Festival was emceed by the “Gentleman of Jazz,” James Janisse of KJMJ. His vibrant hosting was so smooth from introduction to the finale. He was Mr. Personality, mingling within the audience, making you feel comfortable and welcomed.

The festival was kicked off by the Yu Ooka Band featuring Yu Ooka on guitar, Rob McBass on Bass, Kenny Elliott on Drums, Kemo Cornwall of the super band “Hiroshima” on Keyboards and guest vocalist the outstanding writer Brenda Lee Eager. The band set the tone of a mellow atmosphere with hypnotizing grooves. Ms. Eager’s powerful voice defined breathtaking. The feisty country girl gave us an insight by sharing a memory of a conversation with Legend Ray Charles.

Her performance was emotional and personal. An entertainer passionate about her craft, Ms. Brenda Lee’s melodies will always be spellbinding.

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assist, Leslie Baker was exhilarating. She was accompanied by Doug Legasy vocals, piano and accordion, John David on guitar, Gary Ferguson on drums and guest vocalist Marguaret Love. Ms. Baker performed songs, “They Call Me the Breeze,” “I Like it Like That,” a fun song with audience participation but the 2014 hit song by Meghan Trainor, “All About That Bass” charmed the crowd, as everyone sang the chorus in unison. Ms. Love is no stranger to the JAZZ or Blues venues. Two songs unforgettable, she paid tribute to B.B. King by singing “Rock Me Baby” putting her personal touch on his #1 hit and her duet with John David on guitar playing “The Thrill is Gone” was remarkable.

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he Latin Blues group, the sensational Delgado Brothers enraptured the audience whole heartedly. The group is composed of Steve Delgado on drums/vocals, Bob Delgado on bass, Joey Delgado on guitar/vocals and David B. Kelly on Keyboards. If you have never seen this group, they are a must see! Culturally absorbed by guitar inspiration Joey Delgado was 88 | SmoothJazz Magazine

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incredible, if you closed your eyes for a moment you would have thought you were listening to another legend, Santana! Their compositions are blended with LATIN BLUES galvanizing and invigorating song after song. The brothers were accompanied by vocalist Marguaret Love on rhythm and blues song, “Kansas City.”

ext on the bill, Sunnie Paxson-Mark Vincent All Star Band which featured Sunnie Paxson on Piano, Mark Vincent on Guitar, Sekou Bunch on Bass, Rayford Griffin on Drums and guest Vocalist and Percussionist, Rock Deadrick. This All Star Band performed with an explosion, B.T. Express’s #1 hit “Do It (“Til You’re Satisfied).” Their rendition of “Ain’t No Sunshine When She’s Gone” was a soulful gourmet mixture instrumentally and vocally executed. Ms. Paxson’s featured song, “Sophie’s Blues” written for a friend, exhibited her brilliance as a jazz pianist. An All Star Band jointly composed of instrumentalists of Mastery, music geniuses performing PERFECTION.

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he first evening ended with Ray T “MADCatfish” Bailey paying tribute to the late legendary B.B. King. Accompanying Mr. Bailey was vocalist, Kenyatta Mackey aka BabyDoll, Sabine Pothier on Piano, Ron Battle on Bass, Land Richards on Drums and Michael Session on Saxophone. A magical ending to a magnificent day. Ray Bailey, a phenomena himself, speaks to his audience with his guitar. One would say that finesse was at its best.

The appreciation of defining The Blues was packaged with instrumental eruption and

An evening festivity “The Juke Joint”, was a Red Carpet affair featuring many celebrities. This event was hosted by Ernest L. Thomas from the famous comedy show “What’s Happening!” This event was a continuation from the blues jamboree. It featured a live band, dancing and comedienne performances.

Opening the second day was the “The Scorch Sisters”. If you have not heard of them, remember the name! This sassy blues ensemble featured Francesca Capasso, vocals/percussion, Alicia Morgan, vocals/keyboard and Kimberly “KC” Allison, guitar. Soul energized smothered with sophistication sauce and a dash of flair just plain mind blowing. Please if you have a chance to see them, treat yourself!

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The Queen...BARBARA MORRISON and her Bu Crew Band.

She’s a DIVA of JAZZ. She is quite frank, to the point, feisty, she is the REAL DEAL. She scats with intensity.

Her smooth vocals on “Candy” left you silent. She had a guest vocalist Jay Jackson who is very familiar to the stage and T.V., Ms. Morrison with her bright orange of happiness is charismatic, her personality is magnetic and her performance is sensational. On Sept 27th, she will be receiving the HAL Award presented by Motown, an Honoree of Merit.

Corney Mims and the Know-IT-Allz Band brought the house down with a little Frankie Beverly and their instrumental translation was flawless.

The Finale……Cecil Ray Bailey, aka MADCatish (The Ray Bailey Review) gave a warm hearted tribute to the late B.B. King.

The Blues flow was spontaneous and astounding.

I would like to applaud, La Quetta M. Shamblee, Executive Producer, MADCatifsh Entertainment and all involved on putting on such a successful festival for 2015, until next year 2016 it can only get better.

There was one act I saved to review in closing. There was a young man that performed both days. Eleven year old prodigy, Richard Cameron Lovely. His piano performance of “Misty” was exceptional.

The audience was captured by Mr. Lovely’s essence. Enjoyable to watch, and a name to remember.

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MIAMI SMOOTH This is bound to be one of those names that will rise quickly on the charts and will seem to come out of nowhere, this native Miami, FL son of Cuban immigrants is anything but an overnight success. Over the last 20 years Luis Alas has performed with, opened up for, or shared the stage with names like George Duke, Savoy Brown and Al Jarreau to name a few, and now this saxophonist is debuting his solo project “Shades Of My Soul.”

LA: “To me being a solo artist is so much more than just playing my instrument well. It’s about taking my audience on a trip, and ensuring I connect with them.”

Under Titan Music Entertainment and Caroline Distribution Luis is quickly garnering the recognition he rightfully deserves. His first single “Bella’s Melody” on this album dedicated to a girl who lost her battle with childhood cancer (Bella of the Live Like Bella Foundation) is being received with rave reviews here in the US and abroad.

What makes Luis stand out is his unique tone. Once you hear Luis you will realize that there is a style and timber in his playing that cannot be confused with anyone else.

LA: “I have always sought to be my own musician. I never wanted to sound or play like anyone else. Early on I understood what made each of the great icons who they were, was that they were unique they sounded like no one else. As such, I have sought to ensure I sound like me, and be the very best me I can be.”

When you see Luis perform be ready to see a show not just another performance. Luis is amazing, his band the “Project Band” are an amazing group of musicians with their own impressive pedigrees each of performing with some of the biggest names in Latin Music, Pop, Rock and Jazz; they are all masters in their own rite. As such what you get at one of Luis’ shows is a high energy performance that will leave you wanting more, so be sure to catch him and his band when they come to a city near to you!

CONCERT TICKETS & INFORMATION

WWW.LUISALAS.COM WWW.FACEBOOK.COM/LUISAJAZZ WWW.TWITTER.COM/LUISAJAZZ

PERFORMANCES 11/20 12/19 12/28 12/31 01/02 01/15 01/23

Port Charlotte, FL Columbia, SC Denver, CO Cheyenne, WY Fort Collins, CO Miramar, FL Newnan, GA

RELEASING EARLY 2016

New CD Releases 2015

Adele "25" 11/20/15 BUY

Stanley Clarke - Bireli Lagrène - Jean-Luc Ponty "D -Stringz" 11/06/15 BUY

Lalah Hathaway "Live" 10/30/15 BUY

Seth MacFarlane "No One Ever Tells You" 10/30/15 BUY

Kenny Burrell "The Road To Love" 10/23/15 BUY

Harry Connick Jr "That Would Be Me" 10/23/15 BUY

Pieces Of A Dream "All In" 11/06/15 BUY

Andy Snitzer "American Beauty" 10/23/15 BUY

Marcus Anderson "And Coffee" 10/16/15 BUY

Sincerely,

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Bob Baldwin President/CEO City Sketches Records

CD REVIEWS

Review By: Lourdes Hernandez

This Smooth Jazz CD offers a variety of smooth sounds for the Smooth Jazz Enthusiast. Offering a variety of Jazz Fusion, Funk, Pop and some R & B. “Saxual” gives you that groovy funk vibe that would entice any dinner party while “Sunny” adds total smoothness to enter into relaxing mode. I attended the Jaime Foxx “Blame It on the Boogie” Concert so this did take me back to memory lane. Love the sweet, sexy sounds it contributes making it Smooth Jazz. The piano on this track is awesome.

Different smooth jazz musicians have added their smooth to this all-time favorite of Michael Jackson‘s Rock With You. Love this rendition. It surely does not disappoint. “Chemical” offers very nice up-beat smoothness. “Jewish Incognita,” reminds me of cool Jazz Lounge Music. “Nocturnal Beings” is one of my favorites. Love it!

“Countdown” adds funk to this track. However, I was anticipating some up-beat funk to take it up a notch. “Black Samba” is easy listening Smooth Jazz. Nice. I would make this CD part of my Playlist.

Review By: Althea Turner Spoken word meets funky bass meets jazz on "Funk This." I wanted more! That intro wasn't enough! And is it just me, or did you think of Mr. Tisdale too? I miss Wayman, but I believe we may be on to something with this guy. This guy is John Dillard. John is coming from "the land of funk." Check him out on the titled track "Let's Ride." F-U-N-K-Y!!!!

Every song on this CD is head bobbing, drive in your car, sit in John Dillard traffic and don't care, good music. I think I like them all; however, I find myself coming back to "26 East" and "Cruise Control." "26 East" has a slow groove that takes you away and you get lost in the bass and the acoustical guitar fusing together and forming a nice, sexy groove. "Cruise Control" just has that sound. You know the sound that makes you want to close your eyes and hear every instrument being played.

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"Forward" is another funky track which features John showing us what a great bass player he is.

In summary, this one has been in heavy rotation; I suggest you check it out if you haven't already.

By: Althea Turner The David Benoit Trio “Believe” Featuring Jane Monheit And The All-American Boys Chorus Listening to vocals as smooth as Jane Monheit, along with the talented David Benoit on keys, makes me want to listen to this Christmas CD year round. Jane's voice is soft and angelic on "Christmas Time Is Here." Her personal touch on "My Favorite Things" and David's keyboard arrangement make this unusual Christmas song sound more like Christmas. For the longest, this song has not been your typical Christmas sound, but the two of them, coupled with the talented bassist, David Hughes, brings you into the spirit of the holiday season.

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Let's talk about how Mr. Benoit always shines on his "Guaraldi Medley." It starts with the upbeat tempo of drummer Jamey Tate and then David comes in right away on keys. I love how he transitions into each song so flawlessly; as if he's done this before. Oh yeah, he has, and continues to do it well. That's why I love listening to his Christmas CDs. He not only commands the keyboard but he allows the other instruments and vocals to transition along with him.

I really enjoyed The All- American Boys Chorus featured on David's "My Drum," a nice take on "The Little Drummer Boy." I picture myself at a holiday party having cocktails, mingling, soft chatter among the guests, and this CD playing in the background. It's sure to be noticed and I'm sure someone will ask "whose Christmas CD is playing." The answer will be "that's David Benoit's Christmas CD, ‘Believe,’ and it's amazing!"

For Your Consideration /

58th Annual Grammy Awards Halie Loren’s 2015 release “Butterfly Blue” www.halieloren.com Let the music take you… SmoothJazz Magazine | 97

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By: Joe Frazier

Label:By: : Concord Records Review Natalie Rungan

Kenyon Carter "Game On" Kenyon Carter's new release "Game On" is everything that the title suggests. He certainly brings his 'A' game to this album with an energy and sound that is melodic, honest, and refreshing, transforming in every track. The sequel to his 2014 album "Songs for my Father" which debuted at number 4 on iTunes top jazz chart, this is undoubtedly destined for similar acclaim. Featuring Grammy nominated Chuck Loeb who is an exemplary guitarist capable of playing any style, is a perfect fit for Kenyon's ability to blend various genres of music. He compliments Carter's firing lines on the title track which not only begins but also ends the album. It's difficult to imagine that this momentum could be maintained after you've heard the title track, yet Kenyon's strong writing abilities and arrangements keeps this album interesting, appealing and thoroughly enjoyable right until the end.

Kenyon has a perfect blend of several genres, the most prominent being that of fusion, straight ahead and smooth jazz, testifying to his greatest musical influences being that of Grover Washington, Gerald Albright, John Coltrane and Cannonball Adderly. His arrangement on "Going Home" with his use of acoustic guitar was completely unexpected, but once again supports his ease of combining different styles in one homogenous blend. With it's gospel undertone, Kenyon successfully allows all these styles on the track to coexist in the same space. The melody is simply honest, beautiful and heartfelt.

It requires a rather versatile band to effectively support a musician who is as diverse as Kenyon Carter. Keyboardist Tyrone Jackson, Guitarist Billy Wilkie, bassist Tim Aucoin, drummer John David, trumpeter Brent Whiten and trombonist Richard Sherrington successfully achieve this on the album.

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335 Records and WBA Records 2016 Grammy albums for your consideration

335 Records & WBA Records Grammy Submissions 2016 This year, 335 Records and WBA Records are proud to announce that we have three albums eligible for Grammy nominations. Be sure to listen to Four Hands & A Heart Christmas, Forgiven, and Larry Carlton & David T. Walker @ Billboard Live Tokyo, and you will surely be impressed!

"Wine on Eight" is catchy, lyrical and sassy while "Lights Down Low" and "In this Moment" testify to Kenyon's ability to write from a place deep within himself transporting the listener on a journey of their own. His melodic compositions, warmth and sincerity positions "Game On" to once again receive enthusiastic

Larry Carlton Four Hands Christmas Four-time Grammy winning and nineteen-time Grammy nominated legendary guitarist Larry Carlton, uses the same technique and style from the Grammy nominated "Four Hands & A Heart Volume One" in creating a unique album of classic Holiday songs that will put you in the Christmas spirit.

Larry Carlton & David T Walker Live @ Billboard Tokyo

For the first time, these two legendary guitarists share the stage at the Billboard Live club in Tokyo, Japan. Neither of these legends is unfamiliar to Japan, having commercial success that spans nearly 40 years. This special collaboration will no doubt be a favorite among guitar lovers.

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