NEW CD RELEASES AND CONCERTS IN PHOTOS
SmoothJazz SEP/OCT 2018
TM
Magazine
THE CAREER SPAN OF...
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103
Feature
41 Bob James Godfather of two Genre’s 33 Connie Han 25 Goapele Living Her Dream Commitment To The Music
Remembering
10 Festivals
81 Central Avenue Jazz Fest Celebrates 23rd Anniversary 87 Newport Jazz Fest in Pics 62nd Annual Newport, RI 92 Hartford Jazz Festival Celebrates 23rd Anniversary 96 St. Andrews Jazz Festival Celebrates 23rd Anniversary 99 Culver City’s Community Fiesta La Ballona 103 Dallas Riverfront Jazz
10 The QUEEN Of SOUL 13 A Motown Funk Brother Concerts 15 Blue Note NY Legends Pics 2nd Annual Stanley Clarke, Earl Klugh & more 19 Hubert Laws L.A. Made Jazz Notes 21 Eric Marienthal & Friends 08 Sade New CD Update Benefit Head Injury Program
CD Reviews 52 Bob James - Espresso 54 Eddie Palmieri - Full Circle 56 Connie Han - Crime Zone 59 Yellowjackets - Silver Lining 64 Maiko Hata - Peaceful Erosion 66 Jose James - Lean On Me 69 Kandace Springs - Indigo 72 Madoca - Illusion Of Love 75 Steve Oliver - Illuminate 78 Greg Chambers - A New Day CD Releases 50
SmoothJazz Jazz
Smooth Jazz Magazine
Art Jackson— Publisher/CEO May / June 2015
3751 Motor Ave. Suite #34531
Doris Gee- - Research Manager
Los Angeles, CA 90034
Mann—Graphic Artist
E-Mail: editorial@smoothjazzmag.com
Contributing Writers
Web: www.smoothjazzmag.com
Sherelle Cary Smith
Alexandria, VA
Robin Munro Eryn Bozeman Keivu G. Knox Carl Wayne Wesley Azval Ismail Althea Turner
Dallas Nashville Charlotte Philadelphia South Africa Washington, DC
Contributing Photographers Chanelle Harris Darnell Wade Mann Melanie Futorian Ron Hancox
Dallas Los Angeles Los Angeles New York New York
No part of this publication may be reproduced or transmitted in any form or by any means without written consent from the publisher. Copyright @ 2018 by Smooth Jazz Magazine. All Rights Reserved.
Special Thanks to : Anna Webbe (Yellowjackets) Let the music take you… SmoothJazz Magazine | 05
WEEK OF
September 1, 2018 Up All Night Boney James
Jazz Notes
A New Album Coming Soon A New Sade Album Is Reportedly In The Works : Sade’s Stuart Matthewman has revealed that the band have begun working towards a new album. According to Matthewman, Sade Adu and company have already written “a bunch of songs” for the follow-up to Soldier of Love, which was released in 2010. “[Sade’s] not interested in the fame or any of that [other] stuff. She likes to put out art,” Matthewman said. “So when it’s ready, it will come out.” The British musician said that Sade’s label, Epic, understands her commitment to artistry. 08| SmoothJazz Magazine
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USA TOUR
Feature Concert
Sep 26 Lebanon, NH Sep 27 Ridgefield, CT Sep 28 Morristown, NJ Sep 29 Stony Brook, NY Sep 30 Beverly, MA
Oct 2 Burlington, VT
Oct 12 Chicago, IL
Oct 21 Bremerton, WA
Oct 3 Portland, ME
Oct 13 Brookfield, WI
Oct 22 Eugene, OR
Oct 5 Philadelphia, PA Oct 14 Madison, WI
Oct 24 Sacramento, CA
Oct 6 N Bethesda, MD Oct 16 Boulder, CO
Oct 25 Oakland, CA
Oct 7 Red Bank, NJ
Oct 17 Denver, CO
Oct 26 Los Angeles, CA
Oct 10 Ann Arbor, MI
Oct 19 Portland, OR
Oct 27 San Diego, CA
Oct 11 Carmel, IN
Oct 20 Vancouver, CAN Oct 28 Santa Barbara, CA
Remembering Photos By: Mann
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Remembering
Aretha Franklin was an incomparable artist who came to be recognized as one of the most profound voices in music. Known universally as the Queen of Soul, she solidified her legendary status in the late 1960s with chart-topping recordings that included "Respect," "A Natural Woman (You Make Me Feel Like)," and "Think." During her sixdecade career Aretha earned 44 GRAMMY® nominations, 18 GRAMMY Awards, and was recognized by the Recording Academy™ on several occasions for her remarkable accomplishments as an artist and philanthropist. We were privileged to honor her with the Recording Academy's GRAMMY Legend Award in 1991, the Lifetime Achievement Award in 1994, and as the 2008 MusiCares® Person of the Year for her extraordinary artistic achievements and charitable efforts. Her distinctive sound, unforgettable recordings, and giving spirit will continue to be celebrated worldwide. Aretha will be dearly missed, and our thoughts go out to her loved ones during this difficult time.
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Remembering Lifestyle
Legendary Eddie Willis, guitarist for Motown’s The Funk Brothers, died Monday 08/20/18 near his hometown of Grenada, MS at 82 years, he battled from complications from his lifelong bout with polio. An original member of the famed Motown Records house band. Willis was known for his signature style of muted guitar riffs which added a distinctive tone or "color" to the beat, often timed with the snare, of the hundreds of hit songs recorded at Hitsville U.S.A. for Motown artists. He played on hits like the Marvelette’s “Please Mr. Postman,” "The Way You Do the Things You Do" by The Temptations, the Supremes’ “You Keep Me Hangin’ On” and Stevie Wonder’s “My Cherie Amour” and "I Was Made to Love Her" just to name a few.
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Concert Photos By: Melanie Futorian
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Lifestyle Sports Concert
Lenny White
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Concert
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Concert Feature Photos By: Mann at the Los Angeles Public Library
HUBERT LAWS
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“We need to pay attention to where the future of humanity is going.�
Concert For Photos By: Darnell Wade
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Concert
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Feature
Concert Feature By: Art Jackson Growing up in Oakland, CA surrounded by her family her father an activist from South Africa and a New York–born Israeli Jewish mother and an extended family of South African performing artists she began to learn to sing and perform by being in the background at the tender age of 8. From that very first moment of performing for a audience of family and friends Goapele knew that music was what she wanted to do. “I just followed every step they did and followed every harmony they did and I had so many butterflies, but it was just so exciting and there was something in me that wanted to seize the moment, even though I was really nervous I just felt like this is what I wanted to do.” SJM: What is your approach to your music style to keep it unique and different? Goapele: My motivation is to connect with people and have a positive impact on the world, I feel that I want that kind of edge in a live show, and even in my recording and I want people to feel something and touch them emotionally and connect and I feel that is the power of music and the arts it has the power of transformation, 26| SmoothJazz Magazine
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Concert Feature I feel like that is the underline in the process of what I am doing. As a singer and songwriter, I am just expressing snapshots of different moments of what I am going through. I have put out 5 albums now and the productions sometimes changes depending on what I am being inspired by and what I am being influenced by at the moment whether it is on the live side some albums have been influenced more by hip-hop and reggae and some have been influenced more by classic soul, some songs are influenced by jazz, blues and kind of finding the combination that feels right for me. At the end of it has to feel like me, I can't always conform to the trends to me, hopefully, there is a certain vibe that people are feeling at the time. SJM: For me, Dreamseeker had that Smooth Jazz feel. Goapele: It was a little more Sunset Vibe I want to say to it, more acoustic guitar mixed in there and production was more of that vibe to it. There were interludes to link it all together so you could feel like you were on a journey where you didn’t have to stop/start but just flow with the ease of the day. SJM: The interludes were as if they could stand alone. Goapele: Thank you, I wanted them to feel good, for them to feel organic. And I did that with Mike Tiger the producer of the interludes, and he produced “Closer” and he has worked with me on all my albums. He is just a super talent. Let the music take you… SmoothJazz Magazine | 27
Concert Feature SJM: Since you have been in the business for almost 20 years now, what do you like least/most about the business? Goapele: What I like least is having to deal with marketing. I just want to be creative and perform because I am in the mood for it. And not have to think about, might this song fit the radio format and just all those kind of things. Anytime I feel like I have to fit into a box it becomes frustrating for me. What I feel that I been lucky about is doing the music that I want and always maintain some type of independence even when working with a major label and having it be more of a partnership and we have been able to think about the single's together even with the general public help as songs that I have had on the radio were helped influence by them, rather than making it a radio song. The song Closer didn’t fit the format but resonated with people for different reasons, even “Stay” the duet that I did with BJ “The Chicago Kid” which was more of an R&B feel to it, I loved from the 90’s. Even though I dislike marketing it has produced one of the good things for me; that is having a good team around me. Having people to support me with the vision that I have and who can help me push it out there. And also as it is an interesting time as social media makes things easier in a way, we basically have our own channels as artists that we can connect with my fans easily. It makes it an even more playing field in a way. Not only do I want to inspired the people that
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Concert Feature and want to keep evolving, I like trying different ways to write songs, work with different musicians and producers and sometimes when I am writing a song, I am not even in the studio, I am at the beach, or singing into my phone and then go into the studio and just trying different creative ways of keeping it interesting. SJM: Are you on social media heavily? Goapele: I am on it pretty heavily on it at this point. lol SJM: So are you addicted to it? Goapele: Every now and then, I find my thumb is sore from swiping. LOL But I also believe in unplugging sometimes too. Just being around people and connecting I can value that. Unplugging and being quiet sometimes, that I can allow room for creativity. SJM: What is the average typical day/week like for you? Goapele: I have no typical day, as when I start to get some type of rhythm, it gets thrown off as I am traveling. I am constantly in and out of town doing shows. And I have a daughter and a family. SJM: Actually when we first met in Barbados back in 2007 you had a little bump then. Let the music take you‌ SmoothJazz Magazine | 29
Concert Feature Goapele: Oh my Gosh! And I was pregnant then! I think I was like 6 months pregnant and while I was performing, I felt like it was this private news that was a secret, but it was pretty obvious that I was pregnant. That is hilarious. LOL Yes so I have a daughter now, my life changed a few years ago as far as my schedule, my life has expanded from early mornings to mom routines, school days, homework and sometimes there are late nights mixed in, and me and the family figure out how to juggle it. But I am really happy that I have been able to handle a family life and still a full music life. And not have to choose just one so it’s been greatly exciting and a humbling balance for me.
there. Yeah, my hair is one of my markers on how much time has gone by and what phase I was in during that time. Was it braids, flat iron, was it cut off, was it blonde, and I can kind of tell, ok this is what was happening then. It's kind of like when I am ready for another transformation or some new energy I usually end up switching my hairstyle. SJM: So what is the phase you are in now? Goapele: Just living in the moment and not get caught up, not spend too much time on my hair, just be present and seize the moment.
SJM: From meeting you in 2007, and when I see new projects from you, you haven’t aged much, but what stands out is your hairstyle, so what can I expect to see next week? Goapele: LOL yeah, my hair is all cut off right now. I am back to my black hair, I am in this phase of keeping it really short and tight with some lines here and 30 | SmoothJazz Magazine
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Concert Feature “I think most people
SJM: Just how important is your image?
have a lot of
Goapele: It is important for my image to be a true reflection of me. I dimension and feel that I am pretty similar on and different sides off stage, its fun dressing up, but I also have never wanted to feel that I am playing a character and I to them.” want to be a reflection of being a Goapele real and dynamic women and share I want my music to be sensual and I like to express that in my clothing, I am complex, sometimes I am thinking about relationships stuff, sometimes I am thinking about the overall system where the injustice and I want to be able to talk about that, and sometimes I am silly and playful. I think it's important that we get to express just different sides of who we are. I think most people have a lot of dimension and different sides to them. I think it goes back to the marketing thing, as sometimes I think the marketing gets limited and people cant see all of that, especially when the marketing comes off as if you are just one way, especially for women. I do not feel as if that’s real. SJM: For your show at the Skirball Cultural Center on July 26th, what will your playlist consist of and is this your traveling band.? Goapele: Yes, it is my traveling band, we really enjoy playing together. I am looking forward to playing there at the Skirball Cultural Center. I plan or going through all the albums, even “Closer,” “Dreamseeker” songs from “Strong As Glass,” “Change It All,” “Break of Dawn,” it will definitely be a combination of numerous songs and songs that we like to perform and some songs that may surprise you. More info on Goapele Here: Let the music take you… SmoothJazz Magazine | 31
GREGCHAMBERSMUSIC. Lifestyle - Theatre COM
www.cloejalipa-art.net
Art meets Nature Ronnie Laws 32| SmoothJazz Magazine
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Feature By: Art Jackson First impressions are everything and seeing Connie Han for the first time on stage, I marveled at the speed of her piano playing, the song selections of her set from Freddie Hubbard to Bob James and most of all the youthfulness that she embodied. However the overall visual just didn’t add up. How could someone so young in appearance play with such a ferocious style on some of these old standards?
Connie Han
So together let us meet this little dynamo. SJM: How did you learn to play in your style? Connie: I attribute it to my commitment to the tradition of this music which I am an eternal student of. Even as I transition from a student musician to a professional one playing with my own group I always consider myself to be striving toward the greatness of my heroes like McCoy Tyner and Freddie Hubbard as I really gravitate to that style and school of playing and that era approach of take no prisoners to rhythm and swinging there is a fire that I like to corporate in my style. SJM: Those are some heavy jazz icons, who introduced them to you?
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Feature Lifestyle Connie: My drummer in the show and musical director Bill Wysaske composed and arranged a lot of the music that you heard. I met him while attending the Los Angeles High School for the Arts. (Gerald Clayton, Kris Bowers, Josh Groban) I went originally for classical piano and voice when I was 14, but when I got there, I got really into jazz as I felt like there was a hole in my heart for improvised music so I got into the jazz department and I met Bill and a lot of philosophy that I subscribe to now, he hipped me to it SJM: So as a student what did you take away from it? Connie: I loved everything from the transition in the 40 bebop era to all the way to Herbie, Chick Corea, Fats Waller, Art Tatum, Charlie Parker, Bob James whom I just love, so I think all this music in Jazz are all related to each other, and when you try and play a lot of the modern stuff, its actually really harder than it sounds, then you realize in order to play those sounds you have to have the respect of the source of where it came. SJM: Let’s talk about your new CD. So tell me how were you able to get a record label (Mack Avenue Records) to sign you with this being only your second CD? Connie: I had many advisors, as Bill who has also been my mentor for the past 10 years and advising me not only on the art form but also on the music industry on how to deal with the environment which can be very cruel and hard for a very young teenage girl who doesn’t know what she is doing. And then he introduced me to my manager Earl S. Cole, who new Mack Avenue, so its about having good people around you to be a part of the team Bill Wysaske Edwin Livingston to make it all happen. Let the music take you… SmoothJazz Magazine | 35
Feature SJM: There are a lot of talented artists out there, what did you do differently to stand out from the crowd? Connie: Marketing was a key for me; I made a video of myself talking about how I feel about this music, and added it to my EPK (Electronic Press Kit) and started hustling and grinding. It has been a long process, about a year from when I recorded “Crime Zone.” So it takes a lot of hard work and a little bit of luck and the willingness to put yourself out there. I consider myself to be very lucky. SJM: So when you say hard work, again I see this still very young lady who is talking about hard work. Connie: Well I am not trying to be conceded but I worked my tail off. I practice at least six hours a day. Then I try to add two to four hours on music business related stuff, so I dedicate a lot of time to self-marketing as I like to have a lot of control over my image which is a huge part of what I do. I spend a lot of time on my newsletter and social media. I know a lot of cats think that if they play good, go to a lot of jam sessions they will become an artist and have a career. No! You got to know how to brand yourself.
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Feature “over time the teaching of jazz can start sounding very academic and that is something that I want to stay away from.”
SJM: This is interesting as I interview artists twice your age and this is an area that a lot of them really look over and do not put in the hard work.
Connie: I consider myself to be very unique position as a young Chinese jazz female piano player that’s just my demographics so just keeping it real, I try and capitalize on the sex appeal LOL as jazz is a very sensual art form. At least that’s how it use to be, an art form brought up from passion and struggle not some sterilized art form that you perceive it to be in a college classroom. So I like to show that in my image because some people may associate straight-ahead jazz with some old guy in a fedora on a bandstand, I am just going to put it out there. LOL so you have to not only just think of the music but how you are putting yourself out there especially today when you can reach thousands of people with just a single click, so you got to really take advantage of that. SJM: So tell me about your musical upbringing and when did you know that this is what you wanted to do as a profession. Connie: My parents are both classical musicians and I started playing the piano at age 5 and I got a lot of my hard work ethics from them, so its one of the positive Asian stereotypes that I embrace. And from LACHSA, that is where I started to be different and create my style. Not treating it just like an academic thing, for instance, I am going to play this in the style of 1960’s Freddie Hubbard, as over time the teaching of jazz can start sounding very academic very technical and that is something that I want to stay Let the music take you… SmoothJazz Magazine | 37
Feature away from. I want my music to have that raw expression while having great respect for legitimacy for the profession. SJM: How do you describe your music? Connie: It’s a hint of a feminine side with passion and grit its apart of who I am edgy and portraying that sexy image, jazz has a lot of sex appeal, I want to bring that to the forefront because that's what I think made this music so special and the guys that I mentioned earlier they have that raw energy when they are playing. SJM: You seem to be very good at what you do, so which do you like the best Marketing or performing? Connie: I love it all. You have to enjoy the process of all the ups and downs that come with this career that you commit too. You can’t appreciate the highs if you don’t have the lows. When I put myself into an artistic mode of playing, I’m not thinking about my sex appeal and the marketing crap. When I play, I am thinking about nothing else but channeling my heroes like Oscar Peterson and McCoy Tyner. I have to compartmentalize the process so that my art isn’t diluted by the marketing side of the process." SJM: So what drives you? Connie: I had to go into the professional world straight out of high school because I made a conscious decision to drop out of UCLA three weeks into my freshman year in 2014. I think dropping out of college and start hustling clubs and restaurants around town and entering the LA Jazz scene and not pigeonhole myself as a college student and go after this. You can play flight of the bumble bees for days but if you can’t swing, then it doesn’t matter. LOL 38| SmoothJazz Magazine
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Feature So surrounding yourself around musicians who are better than you, and most importantly hands -on experience is the only way to learn and acquire the skill to truly be successful in performance, you do not need a degree to become a great musician.
NILS-PLAY CD RELEASE PARTY
The Crime Zone CD is not your typical jazz artist cd cover, its a little on the controversial side with Connie’s sexual imagery coming right at you. But once you sit down and talk with her, you will find out in no time that she is not afraid to tell you the truth, no political correctness here. And in Los Angeles that is refreshing as people are afraid to say what they really think because of not wanting to hurt each other’s feelings, but Connie is wise beyond her years. As she states, ““Jazz has always had sex appeal: In my music, I aim to channel that kind of raw expression while preserving the sophistication of my craft.”
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By: Carl Wayne Wesley It was my privilege as well as a pleasure to interview a Jazz Master and legend. Thanks for taking the time to speak with me. SJM: How are you doing? Bob: I am doing fine, I live out here in Northern Michigan and sometimes the cell phone reception is unpredictable and I wanted to make sure I got you, and now I am a little more relaxed. SJM: I know that you started playing piano at the age of 4, and that you have perfect pitch. You also play trumpet, timpani, and percussion. One of your first gigs was for a Tap Dance class at the age of eight. When did you first start to improvise, and did you improvise while playing for the Tap Dance Class?
the first place, and part of it was because I watched my older sister take piano lessons doing her homework and practicing and I was four years younger than she was trying to figure out what was going on, and when my mother realized this and saw me trying to imitate to imitate it, she decided to encourage me to take lessons too at a very young age, age four; but Probably I remember the most about it is that I was always rebellious, and I did not like the discipline of practicing, so I guess at an early age I was trying to do somethings different from what the teacher said or to do my variation of it, and over many years that kind of turned into improvisation turned into a kind of unpredictable adventure, I love that aspect of not knowing what was coming next, and when I realized that I could create that, I could just play some notes at the piano, I did not know what they were at the time; but I could do something and it wasn’t
Bob: Great question; can you imagine how many years ago that was? I must have a pretty amazing memory. I do still remember a little bit of the reason why I was intrigued to get into music in Let the music take you‌ SmoothJazz Magazine | 41
Feature what was written on the page, it wasn’t Mozart, and it wasn’t Bach, and it wasn’t anything except what I had played, and that had a sort of power for me, and still does. So, many, many, years later I loved the unknown, and I love the challenge and excitement of performing for people to listen when they realize that I’m improvising. Yes I have a lot of weapons, a lot of knowledge now that I can bring to that situation when I ‘m trying to create a new melody on the spot or something new, but it is still exciting, it is still unknown, and sometimes you fail, sometimes you hit a note that sounds a little sour, and then you have to try and work with that, and figure out how to make your listeners think that you met that, and play another sour note and then they start to sound a little sweet and with this power comes great responsibility. You have the power to make them angry or fall in love. You should use the power wisely. SJM: Artist such as Slick Rick, Run DMC even Montell Jordan's on "This is How We Do It" and over 200 more artists have sampled Nautilus. How do you feel about your music being so well received by the younger generation over the years? 42| SmoothJazz Magazine
Bob: It’s crazy, it’s crazy, I have no idea, I wish I could tell you a logical explanation for it but, I try to theorize what made that happen, and you can’t, it’s just another example of how unpredictable music is, and I will share with you the background of Nautilus. 1974 I was recording an album for CTI and as always there is a deadline, you know the sessions coming up, so you have the songs you worked on the most and prepared, you head into the studio, and it’s always the songs you payed least attention too. With that project I had a song, “I Feel Like Making Love” that I was very lucky to have to have played for Roberta Flack’s Virgin, and I
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Feature wanted to do the cover, I wanted to be the first instrument cover of that song. Roberta Flack’s version took off and a lot of radio station started playing both our versions back to back, they would play her virgin and then they would play the instrumental; mind was in the same key, and I used most of the same musicians that was on Roberta’s record, so that got a lot of attention. I also did a classical piece, “Night on Bald Mountain” and it featured Steve Gadd and it was very early in his career and we got a lot of attention from that record, but nobody payed any attention to Nautilus, it was on side “B,” it was the last track, and in some ways, we were thinking of it as a filler. I liked it; it had a bit of a baseline hook and melody that I liked and I had a great band. It was fun for me then 20 years later I hear that people in the Hip – Hop world were sampling it and I was shocked. I said really and serval hundred samples later, it is just amazing to me. It reached the point as to why we are talking today and I am promoting my newest project today, “Espresso” that is coming out in the next couple of weeks, and one of the songs on there “Submarine” in which I sampled myself. If they can sample me, why can’t I turn the tables on them, I have ownership of the recording so it is no way they can stop me from doing it, I would only have to ask permission from myself, so I did. And now many years later I have come full circle with it. SJM: Since you have worked with all the mainstays in jazz, do you plan on doing a duet album, or collaborating with any Hip Hop artists who have sampled Nautilus? Bob: We talk about it all the time and its timing. Getting things simonize in terms of scheduling in terms of personalities and I have not been able to make it happen even though I had many conversations with people in the Hip-Hop world. If I could get into the studio with a young Hip-Hop artist that I could relate to and start from scratch and both of us go to our strengths, and both of us try to figure out how to come to the finish line with something new, it would be Let the music take you… SmoothJazz Magazine | 43
Feature citing for me. I tell that to my manager all the time. I send the word out all the time. I am not out there on the HipHop scene so I don’t see a lot of people. A few years ago, I started a project with an artist but it did not work out. Of course, my main thing is Jazz.
looped and changed the track to put the song together. First of all, we made sure that the grove was good. Beyond that, I just let the song flow and unfold.
and hooks. If something sticks, then I try to extend it. In this case, I had to bring in my celebrator Sonny Alvarado who is also the producer of the entire album Espresso, and he has been my manager for many, many years. He’s also a talented musician and he came to me with two ideas Submarine and Top Side. I took the song and changed some of the chords and the form. We
SJM: I know what you mean! I have played with some musicians that could.t find one, but that a different story!
SJM: I have listened to the songs 3 or 4 times and the grove was nice moving in and out of straight ahead jazz to touchSJM: The tracks Bulgogi, and Submarine ing on elements of Smooth Jazz and seems to have some Hip - Hop influences in it? Can you tell me what you Bob: I’m glad that you said that bewere aiming for with these charts? cause no matter what style we are shifting around, there’s one pretty Bob: Bulgogi is a Korean beef dish. like basic element that never changed very the word Bulgogi, it sounds mysterious much and that is, “its gotta have a and our music is instrumental, its ab- grove!” When the grove is there you stract. I had to come up with some kind can do almost anything, and if the of title, so I called it Bulgogi. I wasn’t grove isn’t there it doesn’t matter what trying to make it Korean. you do, it isn’t going to work. First you better get that grove and take it from Submarine, I wasn’t trying to aim for anything. I’m at the piano rifts, sounds, there
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Bob: Ha, ha, ha!
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Feature SJM: How many CDs have you done? Bob: I’m up to the 50 or 60 range, but then I also have the Fourplay group I’ve been involved with, we have 13 records and the collaborations with David Sanborn and Earl Klugh and others’, so I’ve made a lot of records. SJM: Speaking of Style, I know that you are a lover of the Baroque Period, and in 1984, you interpreted the works of Baroque Composers’ such as Bach. What were some of the most enlightening moments of this study, and how has this contributed to Espresso? Bob: That’s a great question because that has been my life, I go back and forward between listening to classical and jazz as a hobby and when I go to Spotify or Pandora I might be looking for Stravinsky or it might be Miles Davis, I don’t know, I kind of go back and forward and I think that shows up in the music, I hope that it shows up in a natural way. I’m not trying to force it. I have learned a lot in my education and training in the classical music world. I think it spills over to what I do with jazz, and I hope that is a good way. Going back to the CTI (records) Creed Taylor era, he was big on taking the most familiar classical themes and re-do them in a jazz format. He had a lot of new artist. I know with Hubert Laws he did some Stravinsky and reinterpreted it in a jazz way. It was a stylist theme that Creed Taylor had with his label. I had an opportunity to work with him for a lot of session for many years in which we did exactly Let the music take you… SmoothJazz Magazine | 45
Feature that. We took a very familiar melody that people would recognize immediately and then we change it, shift it, and take it in a different direction. SJM: As a fan and a musician; What advice would you have for the musicians, and upcoming musicians today in the field of Jazz, Smooth Jazz, and Hip-Hop? Bob: Do something else for a living. I tell that to anybody; no matter how talented they are. I say don’t do it. Do not go into this field. And the reason I say this is; if their rough enough and talented enough and tuff enough they’re not going to listen to Bob James anyway, they’re going to tell me to get lost and go do their own thing and probably be “Have the courage really good; but if they’re insecure and don’t know, then they to be yourself, shouldn’t go into this tuff very don’t try to be heavy field that does not have enough possibilities to make a lesomeone else. “ gitimate living. So, my tuff advice to say don’t do it, find something else to make a living and maybe keep jazz as a hobby. Good advice in either direction! One other thing that I would always say is; have the courage to be yourself, don’t try to be someone else. The minute you try to be someone else, no matter how good you think they are; you’re going to lose because you are automatically in second place because they did it and it was their life and their personality and all the things that were individual to them that made it their music. Work with your own personality. Your own strengths and your own weaknesses; be yourself! SJM: Being a musician I understand what you are saying. After I studied others and tried to imitate them, I reached a point where I wanted to define myself. Bob: Of course early on imitation is great. I would not have a student shy away 46| SmoothJazz Magazine
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Feature away from that at all. In that case, it still does not matter how much you imitate, it still is going to come out different anyway. You might try to imitate John Coltrane and by the time it comes out it is John Smith because Coltrane is the only one to do it Coltrane’s way. Everything you learn of his scales eventually they become yours. SJM: Can you tell me your impressions of being known as the God Father of two different music genre’s Smooth Jazz and Hip Hop? Bob James: I feel good that I am in a position to be known for anything, which gives me the opportunity to go out and prove that it is a good thing. So, if I have enough of a name to get a gig, and I can go out and perform and demonstrate what I do, then it’s always going to be up to the audience to decide whether it is any good or not. If I help the creation of new music and it turn out that people do not like that music, then I suppose I have a bit of a stigma attached to it. In the area that jazz has divided itself into two different stylist areas one smoother and one more straight ahead. My music got associated with the smooth side of it. Actually, I admit that at least 50 percent of the time I like making smooth music and the other 50 percent I like it to be rough. So, if the radio stations that plays smooth jazz plays one of my cuts because it’s smooth I’m happy about it because they play it. They still have to decide whether it’s any good or not. We are always at the mercy of that. Any credit for creating it “God Father” I don’t know. That title; I’ll take it, as long as they play my music, after that the public has to decide if they like it Let the music take you… SmoothJazz Magazine | 47
Feature SJM: After listening to you through the years, I can always identify you style and I can see that it is a never-ending quest Bob: I am personal with my music for better or worse and I want to represent my own passion that I love, and I’m willing to live with that. Beyond that, I don’t have any control of it. I send it out to do the best that I can with it. The amazing thing about records is how they take on a life of their own. You may be in Thailand, or China or Russia, or whatever and somebody has a recording that they have lived with. Now it’s theirs, and they have a feeling about it. That whole process fascinates me. I love creating, and that I had the opportunity to create something like that and have it travel around the world, I don’t have any control of that. Mr. James, thank you for taking the time to speak with me, it has truly been an honor! Bob: Thanks for keeping music alive!
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New CD Releases 2018
Christian McBride “New Jawn" 10/26/18 BUY
Jazmin Ghent "Heat 10/01/18" BUY
Eddie Palmieri "Full Circle" 07/20/18 BUY
Kim Waters "What I Like" 09/07/18 BUY
Jake Shimabukuro "The Greatest Day" 08/31/18 BUY
Jonathan Butler "Close To You" 08/24/18 BUY
The Braxton Brothers "Higher" 08/24/18 BUY
Eric Darius "Breakin' Thru"08/24/18 BUY
Brian Simpson "Somehting About You" 07/27/18 BUY
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Feature CD Review By: Carl Wayne Wesley
Bob James’ new album Espresso stays true to traditional jazz as it blends contemporary styles and gives “O’l Skool” Jazzer’s a music makeover. Bob pulls together these styles and masterfully embellishes rhythm, contemporary harmonies and well known melodies to create fresh musical compositions. Bob’s piano playing is supported on the track of Mr. Magic by vintage drummer Billy Kilson who puts the magic in the chart with ruffles, flourishes, and smooth transitions between grove and solo. The fresh sound of Michael Palazzolo on bass brings a paradigm shift to the bass in a supportive role as well as a soloist. Michael’s concept of melody, lay, and rhythmic support for the ensemble rounds out the entire project. This trio give the listener a look at the future of jazz with the chart Submarine. Submarine dives and surfaces through a history of Jazz, Blues, R & B, and Hip – Hop, as it plots a course for the future (this chart would have made Milles smile). Bob James has picked up where he left off in 2006 with Espresso. There is something here for everyone to enjoy. Do yourself a favor and pick up this CD; this is a winner! 52| SmoothJazz Magazine
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Smooth Jazz
Magazine
CD Review Festivals By: Carl Wayne Wesley The CD is smoking. The rhythm sections are to die for! Nice Big band sound. A lot of percussion but not over played! The change between 2-3 to 3-2 was a work of art. You cannot sit still on this salsa. Pit Bull needs a band like this behind him! The horns with the syncopation was on fire. Latin All Stars is what it should have been called. I like it because the percussion soloed and was a melodic as the piano and horns. Yes Eddie has come full circle in 20 years to bring it home and keeping it real! Eddie is a musicians musician! Anyone that has played with Tito Pointe' is a monster w/o saying. I have not heard the whole CD. Of what I did hear, it chases the clouds away! This is music medicine for the depressed. Listen once every two hrs LOL! One last word. Eddie is the master of composition because the voicing of the winds and horns are perfect and supports every little detail that Eddie plays! Fantastic; Eddie is a super hero of music! Oh, Grammy material here!
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Feature CD Review By: Avzal Ismail
Connie Han, CRIME ZONE. Mack Ave Records. Releasing 12 October 2018. Ever so often, a new artist comes onto the jazz scene with the impact of a meteorite. Enter one Connie Han bringing a fire, passion, and maturity that belies her youth. Her debut album “Crime Zone” which releases on my birthday is most certainly an exciting addition to the jazz library and is certain to make an impact to both young and old alike. I first became aware of Connie after seeing an upload on social media of her a while back. I remember sharing it on my page as I normally do if something appeals to me. The second time was an upload with her playing the epic “Countdown” and this time, I sat up and took a serious look, sharing it again, raving like a lunatic knowing that there was an emerging new pianist that is going to go places. Here I was hearing Coltrane, McCoy with a healthy dose of counterpoint playing. A new force was in the making and it was only a matter of time. Come July and I was asked if I’d wanted to do a review of her debut album and naturally, I jumped at the opportunity. The album has been playing on repeat almost constantly since receiving it and each listen has revealed something new and refreshing. Ever had those albums where you never quite get tired of listening too? Well, the 10 track “Crime Zone” is such an album with Connie on Rhodes and Acoustic Piano, admirably supported by a sterling group of musicians in the
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Feature CD Review personas of her co-writer/producer of all the original music on the album as well as her musical director, and drummer Bill Wysaske. Then on bass Edwin Livingston, Walter Smith III on Tenor and Brian Swartz on trumpet on the first track. This next generation pianist who hails from L.A. has created an edgy blend that combines the best of tradition while making forays into modern jazz and blending the two to create what is uniquely hers. Often one hears new players who sound as if they all came from the same classroom with the same licks and ideas...Not Connie. Here is an innovator with a fresh approach, fiery yet sensible. Fierce yet sensitive. From the opening track “Another Kind of Right” to the up-tempo “Southern Rebellion” with brilliant drum solo all the way down to the Closing track “Extended Stay,” this is an exceptional album. Tight horn lines in the opening, and masterful performances all around, a beautiful rhythm section holding it all together, creating a canvas for the instrumentalists to paint on. Equally, at home on both acoustic piano and the Rhodes (a rarity these days), the ideas flow effortlessly in a highly creative deeply thought out way. McCoy Tyner, Kenny Kirkland, Bob James it’s all there and yet distinctly Connie Han. She has certainly absorbed the language to create her own freshly unique voice. To quote from the liner notes of the album which pretty much sums it up: “On CRIME ZONE, Han has staked her claim as a fresh new voice on jazz piano, one whose sense of visual style might even draw audiences who normally wouldn’t listen to straight-ahead jazz. “Even though jazz is meant to be fearless in its Let the music take you… SmoothJazz Magazine | 57
CD Review creative limits, I strongly believe in preserving the musical foundation,” Han continues “As a new artist, I want to show that it is possible to create infinite fresh ideas without having to deconstruct the building blocks of the jazz language. To me, that language is universal.” This is a worthy album to have in the collection. One that you will come back to repeatedly through the years. Buy it, listen to it, enjoy it. A new force in jazz has come to town!
Title track "CRIME ZONE" available now on Amazon iTunes and Spotify
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CD Review By: Azval Ismail
RAISING OUR VOICE The Yellowjackets. What does one say about a group that conjures up almost mythical, legendary status during their near four decades (a record of sorts in itself) of being together? A truly creative force on the music scene since 1981 when they recorded their iconic debut with Robben Ford and the late Ricky Lawson, their fourth album for Mack Avenue Records, Raising Our Voice, once again raises the bar this time by inviting vocalist extraordinaire Luciana Souza to collaborate with the group for seven of its thirteen tunes and as the liner notes say “subtly taking a resistant stand against the status quo of the cultural and political undercurrent of our times.” In passing, one has to give huge credit to Mack Avenue Records for bringing onto their artistic roster some of the finest talents in jazz today. Somewhat reminiscent of the great GRP and Stretch labels of days gone by. From the very beginning, one can follow how the band has made a consistently upward trajectory with loads of innovative writing with their unique approach to music that only this Let the music take you… SmoothJazz Magazine | 59
CD Review iconic group has and whom many including myself consider being one of the greatest quartets of any epoch. “The band keeps moving forward,” says saxophonist Bob Mintzer who joined the group in 1990. “It’s one of the few partnership bands in the last four decades. It’s democratic, laissez-faire and accommodating to everyone in the band to contribute. We’re constantly reinventing ourselves as a reflection of what’s happening in the world.” What is indeed very special about this album, in particular, is the collaboration of the incredible Luciana Souza. Souza contributes artistic, beautiful vocal lines as well as songs sung in Portuguese and English. She was quickly won over by the band. And what started out as only three songs initially ended up with her contributing on over half the album.
www.samhankinsmusic.com
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Festivals CD Review Raising our Voice features three older Yellowjackets tunes opening with the beautiful “Man Facing North” arranged with a fresh new take with Souza’s vocal contributions. In addition to two more co-compositions between Russell Ferrante and Luciana Souza, the album also features three new originals each for Ferrante and Mintzer and Dane Alderson’s first original piece for the band along with two short electronic bass interludes. All of the songs exude their own beauty ranging from the whimsical to the powerful and musically challenging. As is so much a part of their writing, the group draws from so many influences ranging from classical etudes to gospel, soul, bebop, straight-ahead jazz and fusion to create what is unique and instantly recognizable as theirs and theirs alone. Once again, the group proves it’s unique way of writing, so much so that an entire book has been written that deals specifically with the music of the Yellowjackets and their harmonic approach which is currently in use at great institutions such as Berklee further entrenching them in the annals of history as one of the great bands of American and world jazz. This writer has a personal friendship with the band and has seen them grow from the very beginning and boy are they just getting started again with the new voices of Luciana Souza as well as the baby in the band Dane Alderson who has admirably filled the rather large shoes of the great Jimmy Haslip. In fact, a key component to “Raising Our Voice” is the band’s stellar rhythm section of William Kennedy and Dane Alderson. “We provide a good foundation for our other band Let the music take you… SmoothJazz Magazine | 61
Festival CD Review TRACKS:
Raising Our Voices
1 Man Facing North 2 Mutuality 3 Everyone Else Is Taken 4 Ecuador 5 Strange Time 6 Emerge 7 Timeline 8 Quiet 9 Divert 10 Brotherly 11 Swing With It 12 In Search Of 13 Solitude
mates to stand on” says Kennedy who had at one stage taken a ten year hiatus from the group. “Inspired by music from around the world, we all listen, grow, and incorporate those influences in our sound.” and those world influences are plenty. If you are already a fan of the group, then you know exactly what to do. This is a MUST HAVE album and is a beautiful follow up to “Cohearance.” If you are just beginning to discover this group, prepare to embark on a musical journey of epic proportions and let this album be the catalyst for you to explore even more of the music of this iconic group. Raising our Voice delivers once again, and then some. Buy it and enjoy it for that it’s worth. I am and I know you will too. 62| SmoothJazz Magazine
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CD Review By: Carl Wayne Wesley The new CD by Maiko Hata “Peaceful Erosion” features classics such as Misty, I’ll Remember April, and Body and Soul. The CD will remind you of how important it is to love and be loved. I’ll Remember April will place a smile on your face and warmth in your hart, as Maiko musically tells the story of two people who only loved once in the month of April, and how that memory lived forever. The vocals are crystal clear with a smooth vocal line, accented with a masterful trumpet solo. The classic Misty is beautifully performed by Maiko’s enchanting voice. The smooth brushwork of the drummer and relaxing piano work are augmented by a soothing sets the mood.
peaceful erosion
loving bass line that
This is the perfect CD for a romantic evening, or if you just want to be in a sentimental mood. This classy and jazzy collection of romantic music will not disappoint. Maiko lives up to the meaning of her name “Performer of Song”; and she does this well! 64| SmoothJazz Magazine
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CD Review By: Keivu Knox
Since releasing his debut album, “The Dreamer” in 2008, guitarist and vocalist Jose James has been weaving back and forth between original albums and tribute albums. 10 years and 8 albums later, James tackles a full project that should come as no surprise to his fans. Over the years he has added songs by Bill Withers to his set, and this has evolved into a twelve-track album chronicling the career of Withers entitled “Lean On Me.” The question for me, as I approached this album and listening to it was rather simple when considering how familiar we are with the pen and voice of Withers; would James stay true to the original arrangements or would he look to modernize them? Fortunately, he and his band chose to do the former and not the latter. The result is a not only a warm and lush endeavor that will please longtime fans of both James and Withers, but a musical piece of art that will help to build a bridge across generations. The title track, and arguably Withers’ most recognizable song, becomes a pivotal piece. Nate Smith provides crucial work on the drums that help to provide the urgency needed for James to deliver an honest vocal. 66| SmoothJazz Magazine
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CD Review “Kissing My Love” is another track that benefits from strong percussion but James’ layering of vocals on this song brings a modern freshness to it as well. “Grandma’s Hands” is stripped down a bit, and is arranged with a slower tempo than the original, but the benefit here is that it gives James an opportunity to wring every emotion out of such a descriptive lyric. It is also powered by a piano solo by Kris Bowers that compliments the winding arrangement. “Lovely Day,” while staying close to the vest in the arrangement, is one of the standout tracks of this album thanks in large part to the vocal tour de force that is Lalah Hathaway. Her slight nuances to the melody breathe even more positivity into a song that brings sheer happiness no matter how many times you hear it.
1. Ain’t No Sunshine 2. Grandma’s Hands 3. Lovely Day (Feat. Lalah Hathaway) 4. Lean on Me 5. Kissing My Love 6. Use Me 7. Who Is He 8. Hello Like Before 9. Just The Two Of Us 10. Hope She’ll Be Happier 11, The Same Love That Made Me Laugh 12. Better Off Dead
Crafting a tribute album of solely one artist can be intimidating, but for Jose James, this album was in his musical DNA for years. He was able to keep the integrity with the songbook of one of music’ s most underrated and underappreciated legends while taking enough chances to put his own stamp on the music. Thank you Jose, for leaning on a musical rock, giving exposure to great music that is full of sincerity, and providing one of the better tribute albums in recent memory. Let the music take you… SmoothJazz Magazine | 67
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CD Review By: Keivu Knox Two years ago, I was given the opportunity to review “Soul Eyes,” which was the debut album by pianist/vocalist Kandace Springs. In that review, I stated that after listening to it ”you will immediately know that you are witnessing greatness beginning to sprout.” That greatness continues to become evident on her sophomore album, “Indigo.” This album takes the confidence of Soul Eyes and allows Springs to e4xpand across even more musical genres, pushing the boundaries of her musical envelope. When Springs crosses genres, the results are consistently brilliant. The album’s opening song is also the first single. “Don’t Need The Real thing leans on a dancehall groove that leans on percussion by Kariem Riggins, who is also the album’s primary producer. “Breakdown” serves as the pop torch ballad that serves as one of Spring’s best vocal performances on the album. “Piece of Me” Let the music take you… SmoothJazz Magazine | 69
CD Review is a slice of adult R&B that could find a nice home on radio, while “Black Orchid is a jazz/blues hybrid piece that shows Spring ability to own a lyric.
assume Springs would play it safe, her vocal performance here makes you realize how great of a vocalist she is to pull off such an authentic delivery.
There are also a couple of covers that show Springs gamut of creativity and diversity. Her take on The Stylistics’ “People Make The World Go Round” is fueled by a more futuristic programming and percussion that adds more to a slightly altered melody. The pendulum swings back a little more on her take on “The First Time I Saw Your Face” with an arrangement more aligned with Roberta Flack. But even where you would
For those familiar with Springs’ jazz chops, there are songs here that surely will not disappoint. “Simple Things”, features her father, Scat Springs, and has a stripped-down arrangement that brings the chemistry between the two to the forefront. “Six Eight” features Elena on flute and has a great interplay with Springs on the piano. The signature song, however, is “Unsophisticated,” a song also written by Springs, featuring Roy Hargrove on trumpet. This song is the perfect example of an artist full of control musically, melodically, emotionally and most definitely vocally.
1. Don’t Need The Real Thing 2. Breakdown 3. Fix Me 4. Indigo (Pt. 1) 5. Piece of Me 6. 6 8 7. Indigo (Pt. 2) 8. People Make The World Go Round
9. Unsophisticated 10. Black Orchid 11. Love Sucks 12. The Frist Time Ever I Saw Your Face
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“Indigo” is an album that is full of twists and turns, but Kandace Springs is driving this musical project safely and securely. It is a major step fo ward in her artistic progression, as she channels artists as wide-ranging as Nina Simone to Lauryn Hill to craft thirteen songs that fit seamlessly into what is arguably an instant classic. That ability is rarely seen in today’s musical landscape, but Springs is a rare flower in our musical garden.
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www.tracyeeileen.com
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CD Review By: Sherelle Cary Smith have to tell you that I was mesmerized listening to this album! I'm going to come out of the gate saying...Get this CD! An amazing journey in music! Produced by Bob Baldwin, this CD is a gem! I'm going to go ahead and skip to the second track, "On the Beach" If you love Smooth Jazz with an infusion of traditional Jazz piano playing, you will see yourself walking along the ocean shore line dancing to the beat with the one you love, hand in hand. The ocean waves in the beginning put you right in the mood! You've heard the term "tickling the ivories", well Madonna is doing this to the "enth" degree! Love this! "Surrender" is the actual first track. I love how it starts with her mirroring the saxophonist in melody and then breaking off into a fabulous piano solo. All I could do was close my eyes and bop along! Her runs, her mastery of the keyboards...amazing! "Illusion of Love" starts out with a beautiful "tapping" guitar sound, hauntingly beautiful. It's very simply done, very heartfelt and extremely melodic. I think I hear a Moog synthesizer here which is an absolutely amazing partnership. Again, just closing my eyes and feeling the song...so nice! "Sentimentally Yours" is hand dance heaven!!! Men, you are truly going to want to grab your 72| SmoothJazz Magazine
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CD Review
your lady and spin her around slowly on a sunny mid afternoon...that's what the song makes you feel like. Madoca's improvisation on this song is very masterful towards the end of the song. Oh my goodness! "Picadillo" ranks as my favorite cut although it's hard to pick one on this CD! Madoca takes her musicianship to a whole other level here! It was hard not to salsa in place! I love the authentic Latin feel of this cut, the brass, the timbales...I dare you not to dance! "Jasmine" is a soft and sexy, but grooving song. What I love most about this one is that thumping bass keeping the groove! I also love the flute and the saxophone interacting with Madoca's keyboards. I adore the chord changes she has going on here...very original and unique to me! "Softly As A Morning Sunrise" is as traditional as traditional jazz goes. I was tapping my feet and snapping my fingers instinctively on this one! There's an upright bass playing along with Madoca on keyboard and brushed drums...oh my gosh! Her skills truly shine through on this one. You just have to listen and be amazed... "I Fall in Love Too Easily" is a melancholy playing of piano in a dark and empty bar; a love song with a breathy saxophone that adds to the emotion of the song. It's bluesy, beautiful, simple yet touching and a great way to wrap up the CD. Get this CD! This is "Grammy" material! For more Information on Madoca Here: Let the music take you‌ SmoothJazz Magazine | 73
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CD Review By: Althea Turner
I listened to Steve Oliver’s latest CD, “Illuminate,” a couple of times before doing my homework to see the names of featured musicians. Some of the tracks I “sorta/kinda/maybe” thought, “this sounds familiar.” But it wasn’t until I opened Steve’s web page that I had that “A-ha” moment. The very first thing you see on his website is: “Steve's first album of original contemporary jazz instrumentals in 6 years featuring Jimmy Haslip, Joel Taylor, Nelson Rangell and many others.” That’s really all I needed to see, as it all made sense now. With names like that, it’s clear that this latest CD will undoubtedly be one of his best. Steve has taken his unique guitar sound and gifted it to us in the form of 11 acoustical and electric guitar tracks; each one with its own flavor. From “Soul Deep” to “The Game is On” (that’s Jimmy Haslip on bass), he delivers a melodic sound that’s so deeply enriched in perfection that there’s no mistake of artist identity. You just know, it’s Steve Oliver. I’ve also learned that this latest CD is dedicated to late influential guitarists Chuck Loeb and Allan Holdsworth. This influence can indeed be heard throughout the CD; tracks such as “Raise Up” and “Hidden Sun,” just to name a couple. If you like Spanish guitar, “Vamonos” is THE track to put on repeat. You can Let the music take you… SmoothJazz Magazine | 75
Concert CD Review
feel his energy on this one and features Chase Huna on saxophone. It’s full of Spanish funk and is one of my favorites. “Circles,” featuring Nelson Rangell on saxophone, exemplifies a guitar so tamed and a saxophone so smooth that one wonders how two different instruments can come together and create such magic. But you know, Steve has endless talent, as well as insight into other artists’ talent, and it’s this contributing factor that makes Steve such a huge success as songwriter and producer. "Illuminate" is Steve's 11th career CD and I see it lighting up the charts. In my opinion, it's one of his best works. It has the vibe and signature guitar riffs that Steve's been giving us repeatedly. He has been consistent over the years with his performance and uniqueness, and there's no question that "Illuminate" will be no different. I highly recommend this CD; add it to your collection, hear its perfection and get illuminated.
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CD Review
“Nothing, I repeat, nothing will disappoint when it comes to this solid CD.” By: Eryn K. Bozeman www.gregchambersmusic.com Greg Chambers is a stylist saxophonist and music educator from the San Francisco Bay area. The “A New Day” CD, is his fifth album and I was personally impassioned by his sound. The CD is brilliant from beginning to end. Nothing, I repeat, nothing will disappoint when it comes to this solid CD. I enjoyed the way the music moves, dances, and surrounds you. You will feel happy and find yourself enjoying every song for its own musicality. The CD has up-tempo tracks, as well as slower smoother tracks, and the all around mixture, brings balance to this CD. “A New Day” is full of collaborations from Lin Rountree, David P. Stevens, Nils, and Kenji Matsui, just to name a few. Such an array of talent, just adds fun to the and overall feel of this CD. As always, I have a few CD favorites, “Side By Side,” “A New Day,” “When I Think Of You,” and “All For You.” I love them all for different reasons, but of these I have a few standouts. I love the title track, “A New Day,” for its up-tempo sound and of course the guitar work with David P Stevens. My other standout is “Side By Side,” 78| SmoothJazz Magazine
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Festival CD Review it is also uptempo and guides you along through its sound making you feel this is what music is made for. Side note: My 13 month old grandson truly loves this song, he bounced and danced through the entire track, every time it was played. I won’t leave this CD review without saying that “Once In A While,” has funky fun vibe you can’t resist and I truly expect this one to get a ton of radio play. It’s a hit from start to finish, in my humble opinion. In conclusion, the CD has a great sound. It has wonderful placement from track order, to musicality. I can really find no mistakes made in this addition to the Jazz world of music. My hats off to Greg Chambers for this well put together CD, everyone should add “A New Day” to their personal collection. However, don’t buy it and shelf it, play it often and enjoy EVERYTHING, it has to offer. Let the music take you… SmoothJazz Magazine | 79
Festival Lifestyle - Fashion
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Festival By: Art Jackson
From first time performers who played on Day 2, new jazz Pianist Connie Han who will be releasing her debut CD "Crime Zone" on the Mack Avenue Records label on October 12th, to a local mainstay legendary Ernie Andrews the 23rd Annual Central Avenue Jazz Festival had a little something for everyone. Whether if your musical taste range from bebop to Latin jazz, or jazz-rock fusion to jazz vocals you had it all here. Let the music take you‌ SmoothJazz Magazine | 81
Festival With two main stages, "Etta James" and "Tito Puente" along with the Improv Jazz stage and a location at the Dunbar Hotel, the sound of music could be heard as you walked and mingle amongst the variety of vendors in the Councilmember Curren D. Price Jr. district. As this festival was spear-headed by his staff as Andrea Greene, Director of Community Programs hard work paid off with her talented crew and volunteers made for a great experience.
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Festival
Actor/Singer TC keeping busy and working on a new CD due to come out at the end of the year, while "Coins for Christmas" and Bricked" will be seen on the big and small screens later in the year as well. Providing the big band sound were the students of the Los Angeles Unified School District "Beyond the Bell" All-City Jazz Big Band as proud parents marveled at their kids and as one parent mentioned to me, that his son is teaching him and giving him more of an appreciation of jazz music. Each student that participated received a Certificate of Achievement from the Thelonious Monk Institute as Stephan Hicks and Mackrae Eckelberry a first-time participant was all smiles.
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Festival Blues and Latin Jazz was well represented with both legendary Roy Gaines and Pete Escovedo on the Etta James and Tito Puente stages respectively.
The melodic jazzy voices of Gretchen Parlato on the Tito Puente stage and Tierney Sutton graced the Etta James stage.
Getting to experience new artists such as Mark de Clive Lowe was a delight which he is now on my radar to see again.
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Jazz fan Alison
Last but certainly not least, there were plenty dancers enjoying themselves and a plethora of food vendors that had your taste buds in a quandary as you didn't know what to order first. There was something for every palette, fried fish to sweet desserts, taco's to Cajun. And on a hot summer's day, the festival goer's had plenty of shaded seating area to keep cool as much as possible.
Stage Manager Monica Let the music take you‌ SmoothJazz Magazine | 85
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Festival Photos By: Melanie Futorian
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Festival Photos By: Ron Hancox
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Enter to win this signed autograph CD by Emilio Castillo band leader of Tower Of Power "The Soul Side of Town" ....just fill in the FREE GIFT form on our website and enter the special PROMOTION CODE and you may be randomly selected to win…. www.smoothjazzmag.com
Festival Jazz at St. Andrews Festival
Photos By: Darnell Wade
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A community affair in Culver City, CA host the Fiesta by offering many dining options including barbeque, global cuisine, classic American fare, and delicious desserts and sweets, over the three-day event. Additionally many other attractions and activities were provided to this carnival experience with Pony rides, petting zoo, amusement park rides and games to win that stuffed animal. The music entertainment boasted American and World music ranging from rock ‘n soul dance band, New Orleans Jazz, Swing, Folk, Polynesian Dancers and even a Heart and Pat Benatar tribute bands. But to close out the 3 day weekend event percussionist Louie Cruz Beltran with his style of Latin Jazz had dancers doing Salsa, Samba to Cha, Cha, Cha as the music vibe had young and old on the dance floor.
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By Robin Munro
Photos By: Chanelle Harris
beautiful hot summer weekend in Dallas, Texas over Labor Day weekend the inaugural festivities from last year’s at Texas Horse Park on the Trinity, moved to an indoor affair at The Black Academy of Arts and Letters. The new venue did not disappoint. The weekend opened with Erykah Badu Friday evening, one of the Honorary Chairs, as she did last year’s inaugural. Saturday on the Main Stage was Chicago’s own, Miki Howard, opening with a heartfelt and soulful “Ain’t Nobody Like You.” She paid homage to The Queen of Miki Howard Soul, Aretha Franklin with, “Until You Come Back To Me.” The women in the Miki Howard crowd loved it and were her backup singers, including me. Showing love for her fans, she took off her shoes and engaged them walking off the stage into the crowd singing “Love Under New Management.” Great show and full of energy! Let the music take you… SmoothJazz Magazine | 103
Festival Kim Waters just hopped off of a plane and made the Riverfront Jazz Festival and brought the house down on “Love Don’t Live Here Anymore.” He held the audience hostage in a playful way with a challenge on how long he could play a note in the song. I cannot wait to see him again and look out for his new album September 7th.
Kim Waters
Also on stage Rachelle Farrell opening her with ‘Satisfied.” With her granny laced white boots and long maxi dress, she showed off her dance moves to the rhythm of her band. Blues fans are never disappointed by the one and only Bobby Rush. This legend has been playing for 67 years and recorded over 300 singles and has a new CD on the horizon within a month. I asked him what he attributed to his longevity in the industry. He stated that he Rachelle Ferrell has a wide fan base that has grown tremendously and crossed over to a new fan base that is extremely hard to do and keeps him going. He looks amazing and his performance was the equivalent.
Bobby Rush
Sunday’s performances were in abundance. Alex Bugnon, if you were a fan, were so on autopilot that he did not tell you what he was playing, because if you were there, you better know. He was absolutely enjoyable to watch how he commanded the keyboards and how he really show-
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Festival cased his band members, J Rod, Cory, and Vernon. Cheers from the audience overflowed with his “107 Degrees In The Shade” as he danced up and down the keyboard.
Alex Bugnon
Lalah Hathaway, the daughter of Donny Hathaway, was a songbird. Her vocals on “Angel” gave you goosebumps and she soulfully segued into Anita Baker’s “Good Love.” She let her backup singers Dennis and Jason show off their vocals, and invited Rashaan Patterson on stage to give a very entertaining tribute singing a few of Michael Jackson’s hits. Her latest album is definitely worth adding to your music collection “Honesty.”
On the TBAAL Blues and Soul Mainstage to end the evening was Michael Lington and Kenny Lattimore. Michael tantalizing on the saxophone Lalah Hathaway while his guitarist and bass player challenged one another to a dual of the guitar versus Kenny Lattimore the bass. It was very entertaining and upbeat. Kenny Lattimore added to the performance with his infamous and always heartfelt song “For You.” Originally from Washington D.C. and trained in classical music, he entertained the crowd displaying those skills and then was joined by Michael Lington into the crowd of Michael Lington screaming women to close out the show. Let the music take you… SmoothJazz Magazine | 105
