New CD Releases: Patrick Yandall * Catherine Russell *
SmoothJazz MAR / APR 2019
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Magazine
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Norman Brown Keiko Matsui Paul Jackson Jr Lindsey Webster Christian Scott
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28 Paul Jackson Jr. Concert Jazz Funk Soul: Life and Times 12 Lindsey Webster 35 Norman Brown Valentine’s Day Spiritual Reflections 17 Nile Rogers on Stage Lifestyles 20 Keiko Matsui 42 NAMM: Music For All Ages CD Release Party 25 Theatre at Ace Hotel 48 One Movie Review: New Orleans The Soul Rebels * Macy Gray Note At A Time 52 61st GRAMMYs: 100 Photos of Music Biggest Night Jazz Notes 08 Sting to Headline TX Festival Remembering 10 James Ingram Smooth Vocals
CD Reviews 87 Patrick Yandall - When Its Hip 90 Catherine Russell - Alone Together 93 Bob Holz - Silverthorne 95 Keiko Matsui - Echo 98 Christian Scott a Atunde Adjuah Ascending Recall CD Releases 86
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Contributing Writers
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Keivu G. Knox Maria L. Lewis Sherelle Smith E.L. Johnson Lismett Vasquez Maria Chinn Ahlia Love Carl Wayne Wesley Azval Ismail Sheila E. Ross
Charlotte Chicago DC Los Angeles Los Angeles Los Angeles Philadelphia Philadelphia South Africa San Diego
Contributing Photographers Lexi Lewis Cloe Jalipa Darnell Wade Mann Reed Hutchinson Sheila E. Ross
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Special Thanks: Monty Brinton/CBS, Diana Ross in the audience . Francis Copyright @ 2019 by Smooth Specker/CBS, behind the scenes and Jazz Magazine. All Rights Reserved. Timothy Kuratek/CBS Let the music take you… SmoothJazz Magazine | 05
The week of January 5, 2019 Rise
Ben Tankard Julian Vaughan
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Top Down Greg Manning
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How Sweet It Is (To be loved by you) Nick Colionne
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4 On The Floor Gerald Albright
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The B Spot Byron Miller feat Walter Beasley
***2 Weeks at #1 ***
BOOK BY NOVEMBER 10, 2018
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Remembering James Ingram, the soulful, smooth voice behind R&B hits like "Just Once" and "I Don't Have The Heart," has died at the age of 66. Ingram, an Ohio native, got his start as a musician with the band Revelation Funk and later played keyboards for Ray Charles. He was nominated for 14 Grammy Awards, winning for best male R&B performance for his song "One Hundred Ways" in 1981 and best R&B "I have lost my dearest friend and performance for a duo or group in 1984 for creative partner James Ingram to the Celestial Choir," Debbie Allen "Yah Mo B There." His duet with Patti Austin, "How Do You Keep the Music Playing," earned an Oscar nomination for best original song in 1983. Over the course of his career, Ingram also had successful collaborations with Linda Ronstadt, Quincy Jones, Barry White and Dolly Parton. He co-wrote Michael Jackson's hit song "P.Y.T. (Pretty Young Thing)" with Jones. Ingram was also nominated for two Golden Globe Awards -- one in 1994 for best original song for "The Day I Fall in Love" and again in the same category the following year for "Look What Love Has Done." 10| SmoothJazz Magazine
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“When you thought the Lies, Betrayal and Deceit could not get any worse…”
Author Robin Munro
“Pure Revenge picks up right after the end of Pure Deception with even more twist and turns.”
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Concert -- Photos Lifestyle Music By: Lexi Lewis
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Concert -- Photos Lifestyle GRAMMY
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Lifestyle Concert -- Photos Grammy
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Concert - Photos Photos By: Darnell Wade
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Concert - Photos
By: Lismett Velasquez
Photos By: Reed Hutchinson/CAP UCLA
Watching 'Marcy Gray' and 'The Soul Rebels' LIVE was spectacular! I was taken back by all the young talent as well as those older Artists who are experienced in their Art form of performing great sounds of music to a large crowd of people The Soul Rebels played as if they had been performing all their lives. It kept me entertained as the music was up to date and it crossed all ages from young to senior citizens who enjoyed it all! Let the music take you‌ SmoothJazz Magazine | 25
Concert - Photos The crowd bobbed their heads and swayed to the different tunes from The varied instruments that were played, from The Trumpet to The Saxaphone which created nice melodies which some listeners enjoyed dancing to while others as myself listened and took it all in. Marcy Gray; The R & B singer was my favorite by far but Big Freedia created such a buzz with a high octane flamboyant show, where some in the audience was gestured to come up on stage to dance. I wish Macy could have been on stage longer for more than two songs, 'I Try' brought me back to the time her song played on the radio and I'd be dancing to her this song at a friend's house party years back. It was nostalgic reminiscing of good times with this catchy tune and upbeat sound! I loved it when she spoke on stage and everyone was waiting to see what she'd say about a New Year's Resolution and how the year will be... "Nobody F&%$* knows!" "You just wish for the best!" I left wanting more and I suspect that others in the audience might have felt the same. I loved her energy and how she took charge of the stage by her smooth and charismatic personality and positive vibes and hope for the New Year in 2019 as she stated, “its still early in the year.� 26| SmoothJazz Magazine
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CD Review Feature By: Ahlia Love
Jazz funk
soul Jazzy, Funky & Soulful
For the record, this interview started out a bit challenging because the power went out for several hours effecting over 900 homes in my area. But we were determined to make this interview happen especially since Mr. Paul Jackson Jr. was about to head out on tour and was gracious enough to grant us this interview. SJM: Among your early musical influences listed are Gary Bell, Earl Klugh, George Benson, Ray Parker Jr., George Duke, Al McKay, and Lee Ritenour; along with your mentor, Patrice Rushen and of course Wes Montgomery. What was it about Wes Montgomery's style that influenced you become a guitarist you are today? PJJR: Well, not only did he play octaves but it was also the way he played melodies. And the way that he played chord melodies. And also Wes was unfortunately, kind of accused of being commercial; when he released songs like “Fly Me to the Moon, “Road Song and “Bumpin’ on Sunset.” But he was very accessible in terms of being able to make you understand what he was doing. So that accessibility made me want to learn more of the earlier stuff he had done like when he was on Riverside Records, which was more complicated than some of the things that George Benson had done on CTI (record label) and things like that. So it was 28| SmoothJazz Magazine
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CD Review Feature probably the way he approached melodies, the octaves and his also his accessibility. SJM: What ever became of the band you started with your siblings? PJJR: Well let’s see…everybody kind of went in their own direction. My sister continues to play for orchestras and she is a business manager at a big firm. And my brother still plays keyboards for fun and he designs software for the city of Los Angeles. So they are still doing a lot of stuff. SJM: You have played with some outstanding Artists from Whitney, and Celine...to Michael Jackson, just to name a few. Can you recall a moment while on stage with any of them that stands out as most memorable? PJJR: Well with Michael (Jackson) I was never on stage, it was all recordings. But probably the thing that stands out most for me with Michael was on the song “This Place Hotel” which used to be called “Heartbreak Hotel” (name changed because of the Elvis Presley song by the same name). I get to the studio and he actually sang me the guitar solo that he wanted me to play and that was kind of slick. It was actually on a cassette tape and he said “I want you to play this” and he played me the tape and so what he Let the music take you… SmoothJazz Magazine | 29
CD Review Feature sang ended up being the guitar solo . So that was one of the many memorable things with Michael. I was like 23 and he was 24, we were both real young hanging out in the studio just making music. Going over to his house sitting with him, just he and I and the guitar while he sang and I would play chords and he would record. He’d say “Maybe not this cord, another chord” and that’s how he would write songs. You know Just things like that. Probably those two experiences. With Whitney it would probably have to be when we played in South Africa. I remember when we were in Johannesburg and they opened the curtain. There were 100,000 people in the soccer stadium and it was one of the first concerts, if not the first where Black people, White people, Indian and other nationalities could come to the same venue at the same time. So it was pretty amazing. SJM: Your bio mentions that you worked with two of my favorite composers, Quincy Jones and Barry White. Who would you say was more of a perfectionist in the studio? PJJR: Between Quincy Jones and Barry White? Totally different approaches. With Barry, he leaned heavily on an arranger named Gene Page. Gene Page arranged the Righteous Brother’s hit “Lost That Lovin’ Feeling” and “Love’s Theme”. He used to arrange for Johnny Mathis (the song “Too much, To Little To Late”) and just hit after hit after hit. So Barry relied heavily, heavily, heavily on Gene Page’s arrangements. What Barry would do is come out and he would sing parts. He’d sing guitar parts, he’d sing bass lines and play piano. Whereas Quincy would take the role sometimes as a Casting Director. And what he would do, which was amazing, is he would call guys who’s styles and background he knew and he’d put them together in a room and give us the song and the arrangements and stuff and start letting us create and he would take the helm and steer the thing into a hit record. He is amazing. 30| SmoothJazz Magazine
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CD Review Feature SJM: You were part of the American Idol experience. Having worked with so many raw talents, was there anyone who stepped on stage who you knew from the first note they belted that they were destined for mega stardom? PJJR: I would say Carrie Underwood would be one. Probably Chris Daughtry, even though he didn’t win I knew he was going to be a star. Those off the top of my head are the two that come to mind. SJM: What would you be doing if music had not become such a success for you? PJJR: Oh that’s easy. I would have become an Electrical Engineer like my Dad. Yeah, that’s very easy. That’s actually what I was going into before I decided to go into music. SJM: I bet that comes in handy in the studio? PJJR: Oh well, in terms of creating things and putting things together I use Engineering and Mathematics everyday, so absolutely it does. SJM: Of the many places you've traveled what has been one of your favorite places/ countries to perform in? Let the music take you… SmoothJazz Magazine | 31
Feature PJJR: Let’s see, probably Spain. I did a worship conference in Spain, I loved that. I played a few times in Hawaii, that was really nice. I played there with Whitney and James Ingram and actually with Dave Coz, which was fun. Oh gosh…Puerto Rico was nice. Australia and then all over the (United) States. I really like being in the States. SJM: What was you initial reaction upon being asked to become part of the super group Jazz, Funk, Soul after the passing of the late guitar wizard, Chuck Loeb? PJJR: My initial reaction was if you guys want to keep it going I would love to do it. Because I had worked a lot with Everette Harp and with George Duke on his records. And then Jeff Lorber and I had done oodles of projects together, besides being one of my best friends. So, when they decided that they wanted to keep the project going I said if you Guys would have me I would love to be there. So I was chompin’ at the bit. I was super excited. SJM: SJM: In the Life & Times CD insert you, Jeff & Everette made some very moving statements in tribute to Chuck Loeb. Your words truly brought me to tears becauseI’m a person who looks at the passing of someone that I care deeply about in the same exact way. You said 32| SmoothJazz Magazine
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CD Review Feature “Chuck, you’re one of the best musicians and best people I’ve ever met. I speak in present tense because you are not gone, you just are not here.” I miss you and look forward to making music with you in heaven.” So I wonder, what conversation would you have now with Chuck Loeb about the role you currently play in the group Jazz, Funk Soul? PJJR: I would probably ask him, “Am I doing you proud? “What do you think of my guitar playing?” And he would probably say “Well, you’re doing a good job but on such and such a song this is the solo I would have played”. And the cool thing is that we’ll have an eternity to figure it out. So it probably would have gone something like that. SJM: "Life & Times” is the third CD for Jazz, Funk, Soul but the first with you as part of the group. Is there a song on this particular project that stands out as your favorite? PJJR: Actually yes and my only regret is that I didn’t write it. I think my favorite is the song called “Ready Freddy”. I like that song because it’s a little bit of a departure from other stuff on the record and I just like the way it feels. I like the melody and I like the solos that I played. I like the solos that Everette played a lot. And I just think the playing of the song is particularly good. I like the horn parts that Dave Mann came up with. So just really, I just thought it as excellently done. SJM: Well that definitely concludes the interview… PJJR: You’re kidding, that was fast. Let the music take you… SmoothJazz Magazine | 33
Feature Keivu G. Knox
Since 1992, Grammy-Award winning guitarist/vocalist Norman Brown has been one of the most popular artists in Jazz music. He has sold over 2 million albums and has worked with legendary artists such as Stevie Wonder, George Benson and Norman Connors, along with being 1/3 of the super group BWB (along with Kirk Whalum and Rick Braun.) As Brown is set to release his 10th studio album in February, entitled “The Highest Act of Love,” I had the distinct pleasure of chatting with him, and getting a deeper understanding of who he is, not only as an artist, but as a person. SJM: Hello Mr. Brown how are you? Norman: I’m better than great, thanks for asking. SJM: So here’s my first question; the Grammys are approaching, and you won one 16 years ago. What did that feel like? Norman: It was a big pat on the back from The Most High, saying ‘you did good son, now let’s go to work!’ (laughs) SJM: I can imagine! But now, when you’re introduced as “Grammy-Award Winner Norman Brown,” does it feel any different? Did you notice anything different up to that point, and from a career standpoint after winning? Let the music take you… SmoothJazz Magazine | 35
Feature Norman : The difference I noticed was that my responsibility became greater . My responsibility to be accurate in my expression, because I’m handling one of the greatest gifts that exists and one of the most powerful forces there is, and that’s music; which is a vessel for love and so now I’m handling this in a way that’s a big deal. It made me say ‘wow, I gotta get in the lab and really be serious.” SJM: When we take a look at the new album and the title of the album being “The Highest Act of Love,” what does that mean to you? Norman: The concept for this album is a framework for thinking and reasoning about life and living. The highest act of love is the summary of something the Ancient Egyptians called root of Anu, it’s the tree of life. The tree of life is the anatomy of our spirit. There are eleven faculties or deities that govern our spirit, or creation and these eleven faculties I represent in eleven songs. I have a song for each of the eleven faculties. The Highest Act of Love comes from the fourth one, which summarized everything, and it’s called “Maat.” The law of Maat says: God needs you in order to come into the world. Fulfilling God’s need is the highest act of love. It’s only through your love for God, that you can fulfill your love for others. Become the love of God in the world, for the protection of the world. These are God’s laws, and that’s the highest act of love right there…when you learn to love what you are, a vessel of God on Earth, then you can love yourself, and then, love the world. SJM: That is the highest commandment He gave us. Did you write this album from the perspective of wanting this to be an Inspirational or Gospel project?
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Feature Norman: I was commissioned to write this, my spirit told me to write it. I wrote two albums in order to get to these songs. I had the first album and I thought I was done. I had mixed it and was getting ready to master it and I paused on it and just kept writing and it got better and better and it became more accurate. So I was really commissioned to write this, it was a message that I didn’t create, but I was taught it by a high priest, and it dates back to the Ancient Egyptians from over ten thousand years ago. It’s the framework these use for the anatomy of the spirit. SJM: As I listened to the album, and I was reading the liner notes, I noticed that Chris “Big Dog” Davis has a hand in 7 of the 11 songs. He’s been very busy and indemand as of late. How was it like working with him, and how did you determine which songs he worked on, versus songs that Paul Brown or others produced? Norman: This is how it went down. I wrote the songs with Paul Davis, and we finished them, mixed them, and was ready to go to mastery. But then I waited. Prior to this, people told me that I should work with Big Dog, and that we have a great vibe and could make a great record together. But when Big Dog sent me some ideas, and I didn’t really look into them, and I moved on with Phil. After we were done, I thought “let me go back and hear what Big Dog was doing.” So I went through his emails and found one of his tracks that I did not hear back then, but it touched me. I called him at 1 in the morning and asked him if it was still open and he said he was, and to go ahead and write on it. I immediately went to work writing on it. At 3am I sent it to Big Dog, he replied and said he loved it. At 5am he sent it back to me, and did some stuff to it, at 7am I sent it back to him and said it’s good, and by 9am he sent it back to me and it was mixed! We did that back and forth for three months, and we never saw each other! Let the music take you… SmoothJazz Magazine | 37
Feature One of the songs, called “Words of Wisdom,” there’s a lady singing on that song, her name was Baby Lee, she’s an old friend of mine that I’ve known for over 30 years. I called her to work on this song. She’s a great singer and writer, but had never gotten her shot. We got together to work on that song, and five days after she finished her lyrics and vocals, she got sick and went into ICU, and five weeks later she passed. It was her first and last record. So this record was really telling me what to do, I can’t take the credit I just consider myself the vessel, but it’s been incredible. SJM: How were you able to get Deniece Williams on the album? Norman: Wow! (laughs) in 2002, I did a version of Free, that I forgot about. The label asked me to do another album right after doing one, and I said “I don’t have time, I got tours and cruises to do!” But I went into my archives and I pulled Free out of my 2002 folder and when I listened to it I thought “whoa this is just about done.” It didn’t make the first round or second round for the album, but then I ended up on a cruise with Deniece. So I’m thinking at this point this must be a sign. I listened to it and said that I would be stupid if I didn’t put this out! It makes sense it represents your free will. So I went to Deniece and I told her about it, and she said “I tell you Norman, people have had me to do that song, and I get to the studio and I give them their money back, because they’re not gonna mess up my song (laughs)”. So the pressure is on! I played the demo for her, and she fell out the chair and she said “Norman you are playing your behind off.! I absolutely love it. You brought it back to life. Yes I will sing on it!” And she didn’t charge me a penny! 38| SmoothJazz Magazine
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Feature SJM: That song really fits into the context of the album, and it’s great because your album really is the definition of a “concept” album, and that’s something that you really don’t hear about anymore. “The song will tell me to leave it alone or not, so my job and task , which is a large one, is to live in this world, and obey what it says. “
Norman: You are right, you don’t. It started with my last album “Let It Go.” Up until that point, I made records that reflect my life, but I didn’t realize it until after its out. But with Let It Go, and this new album, I was conscious and aware. For “Let It Go,” I was going through a relationship and breakup, and I just had to let it go. It was very personal, and it led me to this record. When I started making this record, I was looking at my notes and I realized that I had said I wanted to make a record about the tree of life. SJM: Are you the type of artist that will finish a song and tweak it, or do you say “well this is where I was at this particular time, and I want it to stay where it was when I initially record it.” Norman: I don’t get to choose that, the song chooses it for me. The song will tell me to leave it alone or not, so my job and task , which is a large one, is to live in this world, and obey what it says. With “Free” and “The King Is Here,” those were done in 2002. I did not play the guitars over, those are the same guitars I played in 2002. At that time, I didn’t know I was going to be bringing it out in 2019. I had no idea, I just followed my spirit. SJM: Do you have a favorite song from the album? Norman: For me, “Fountains of Spiritual Water.” What’s yours? Let the music take you… SmoothJazz Magazine | 39
Feature Festivals SJM: I like “The King Is here,” “Words of Wisdom,” and the title track. Norman: You’re going to fall into “Don’t Make Me Wait” in a minute! Just watch, it’s amazing how some songs stands out, and then others, and it sends you through the tree of life. Making this album was the highest act of love for me, I am definitely in an attitude of gratitude, living in thanks, to be used as a vessel to be chosen to spread this message of love to the world. SJM: One final question, and thank you again for allowing us to share this time with you. I remember listening to you on the radio back in 1992, and a lot of us have followed you over the years. What is something that people don’t know about you, that they would be surprised to find out? Norman: That is a really good question! I would say that people may not know how spiritual I am. This project helps to show that side of me and what I’ve learned from the studying I’ve done. From there, I’m just going to continue to carry this musical message with me, wherever I go. 40| SmoothJazz Magazine Let the music take you…
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Lifestyle - Business Review / Photos by: Sheila E Ross
A recent visit to southern California afforded me with breath-taking panoramic views of the San Diego Harbor, gorgeous palm trees, spectacular mountain ranges, and valleys and the desert in North America, the Mojave. In addition to frequently surrendering my feet to the near-by sands and crystal waters, while the recurring sun, always so warm, inspired me further to venture north to the city of Anaheim. Just south of Los Angeles, this jewel of a southern California city is slightly over an hour’s coastal-drive north of San Diego. A charming, yet a progressive city, Anaheim hosts the California NAMM (National Association of Music Merchants) Show each year (inception 1901). Having lived in Atlanta, working both in corporate America and in education, attending the NAMM show has only recently become a dream-come-true of mine. To acquaint you further, I am a smooth jazz lover, listener, and supporter of twenty plus years. I consistently appreciate the exposure to the music business by writing reviews on new CD’s, shows, jazz festivals, interview artists so with my affiliation naturally NAMM was one of the events that I always wanted to experience while seeing smooth jazz artists in another element as they pledge their time and dedication to their craft each year. 42| SmoothJazz Magazine
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Lifestyle - Business As I parked my car and headed over to the Anaheim Convention Center, my general knowledge of this massive music show was basic, to say the least. You see, prior to this day, I perceived NAMM as a smooth jazz lover’s paradise where both experienced and novice artists represent, perform and promote instruments for a wide variety of merchants. Yet, surprisingly, there is so much more! So please allow me to share my first-time NAMM Show experience with you. Upon my arrival at the Anaheim convention center grounds, the atmosphere is inviting, exciting, and filled with lots of people. This year’s theme for the NAMM Show was The Music Begins Here. This choice is remarkably fitting because for four fun-filled days, the space of this gigantic convention center becomes home for music retailers, manufacturers, and distributors that pair up with music educators, live sound and recording engineers, event technology professionals, touring and lighting professionals, software and app developers, music students, and of course----those professional artists that we all love so well! The floor of the convention center literally comes to life with terrific lighting, sounds, mini-performances, concerts, people, buyers, teachers, educators, musicians, consultants, booths, exhibits, conferences, interviews, meetings, food, instruments, merchants, designers, experts, sponsors, seminars, media, and so much more! To ensure you can plan your time Let the music take you‌ SmoothJazz Magazine | 43
Lifestyle - Business well, a show guide and map greet you upon your arrival. New and exciting this year, was the addition of the NAMM App! Just a quick download and you are ready to enjoy! Perhaps a talk and answer session with the legendary Herbie Hancock or The Roomful of Pianos event piques your interest as various workshops are being conducted hourly. At night, the show remains alive with both in and outdoor events and concerts with nearby hotels collaborating exquisitely! For me personally, pacing through the showroom floors remained the most exciting for me. With every twist and turn, a mini-show performance appeared directly in front of me! Guitarist Teresa Topaz electrifying a crowd, while a New Orleans Bayou City Brass Band takes over a aisle. Turning one corner there was the legendary Kirk Whalum, and a few steps down was Jeff Kashiwa, while surrounded by a group of fans the energetic Eric Darius takes time to take photos with them. Well you get the picture, a plethora of smooth jazz artists everywhere, there is so much to take in; as artists try out new innovative features from mouthpieces to earbuds, while signature lines of instruments endorsed by these artists have fans pick up the instruments for impromptu playing to get 44| SmoothJazz Magazine
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Lifestyle - Business a feel of the equipment workmanship from drums, bass, sax, piano and so much more. I would advise any artist to attend and make new networking opportunities to advance a career as there is nothing better than meeting face to face directly with manufacturers brands you use.
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CD Review Lifestyle - Movie By: E.L. Johnson
“Music exists as the heart of iconic jazz city” Music exists as the heart of iconic jazz city, New Orleans. If we accept this notion, the film “One Note at a Time”, reminds us that after Hurricane Katrina the “city’s heart remains” in cardiac arrest. The fury of Hurricane Katrina devastated the various Wards once the levy broke, causing loss of life and destruction of property. The film “One Note at a Time” highlights a forgotten collateral impact of the ruin, the brutal force on musicians and their music as told through the lens of those performers who sought aid from a federally funded medical clinic in New Orleans.
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New Orleans’ MUSICIAN’S CLINIC exists as the touchstone of the film as individuals connected to the clinic, administrators, workers/ patients provide poignant narrative of their music lives, and the Hurricane Katrina impact on their city and existence. The film points out that a good percentage of New Let the music take you…
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Orleans-based musicians do not have access to health care because they either make too much to qualify for Medicaid and too little for Obama-Care, an unfortunate circumstance given that the typical musician’s experience includes long hours of practice and performance, smoking, drinking, and unhealthy food options often leaves medical conditions undiagnosed to their detriment. Consequently, many musicians become ill only seeking treatment when an ailment prevents said performer from “gigging,” which often revealed previously untreated illnesses such as late stage diabetes, hypertension or worse. The Musician’s Clinic remains a stop gap between life and death for many uninsured musicians, but the flow of federal funding after Katrina, threatens to paradoxically
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CD Review Lifestyle - Movie run dry and the federal government remains deaf to the clinic’s request for additional funding. As many of the film’s interviewees are gravely ill the film takes an almost “mystical” turn during its discussion of the role of music in resident’s lives. Music exists as a part of the city’s mystique and culture as a fundamental part of everyday life even to death. Through the lens we see that existence in this mythology is only temporary and going “home” to heaven is cause to celebrate with joyful music. However, musicians through compliance with treatment and teachings of the Musician’s Clinic, endeavored to delay going “home” for as long as possible. In the most affecting and heartrending moments of the film, we learn that a few of the film’s participants went “home” prior to the movie release. The music showed in various testimonials and snippets of a vast array of different jazz styles that music exists as an important part of the city’s recovery and that the forgotten musicians provide music to heal themselves and the community. The architects and artisans are rebuilding the city one brick at a time, but the nameless faceless jazz artists are restoring the spirit of the community... one note at a time.
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CD Review
I enjoyed reading the magazine on the app! It was easy to follow. Easy to navigate. And, most of all, very informative! Thanks again for sharing. Keep GREAT music and TALENTED artist alive!
Rhonda McDaniel Swann
FREE PREVIEW
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Concert --Photos Lifestyle Awards
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CD Review Lifestyle - Awards
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Award Winner and Host of the Premiere Ceremony.
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L to R: Ashlee Simpson, Antonio Brown, Julian Edleman, Alicia Keys, Andra Day, Dolly Parton
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Singer/Songwriter/Multi-instrumentalist
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Michelle Obama
Philip Bailey, Smokey Robinson and Verdine White ,
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Ashlee Simpson, Swizz Beats, Diana Ross
Tracee Ellis Ross, Eve, Evan Ross Let the music take you‌ SmoothJazz Magazine | 77
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Jada Pinkett, Michelle Obama, Alicia Keys, Jennifer Lopez, Lady Gaga
Offset and Jaden Smith
Post Malone & Toni Braxton
Diana Krall and Tony Bennett
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Lifestyle - Awards Katy Perry, Lele Pons, Major, Mimi Saballa, Janice Kephart
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New CD Releases 2019
Eric Reed “Everybody Get Douyé "Quatro (Bossa Nova The Blues” 04/12/19 Deluxe)" 04/05/19 BUY BUY
Ron Jackson “Standard And Theo Croker “The Messenger” 03/01/19 BUY Other Songs“ 03/08/19 BUY
Alicia Olatuja "Intuition: Songs From The Minds Of Women" 02/22/19 BUY
Four80East "Four On The Floor EP" 02/12/19 BUY
The Rippingtons “Open Road” 03/22/19 BUY
The Branford Marsalis Quartet “The Secret Between The Shadow And The Soul” 03/01/19 BUY
U-Nam “Future Love” 02/08/19 BUY
CD Reviews Review By: Maria L. Lewis
Patrick Yandall is a Smooth Jazz guitarist from Fort Bragg, North Carolina. Patrick has spearheaded musical pursuits that has appeared on film, television, and news broadcasts. His song titled “Mr. Fattburger” appeared in the film Fruitvale Station, and a song called “Who’s The Bossa” from his album Samoa Soul appeared in the film “War INC”. Mr. Yandall is also a session musician in San Diego, Los Angeles, New York, and New Jersey. His work has appeared on The Weather Channel’s “Local on the 8s” segments. Patrick Yandall’s self-produced, latest album for 2019 is titled, “ When It’s Hip.” Recognitions from past albums include his single “Tower of Soul” from his album “The Window” that spent five weeks at No. 1 on the Smooth Jazz Now Chart and reached No. 1 on the Live 365 Smooth Jazz radio chart. Other albums released to his credit are “From the Ashes” (2004), and “Eyes of Mars” (2005) – of which it was featured in Jazz Times Magazine as one of the top albums of the season. Let’s dive into Yandall’s latest and explore the “hip” experience of the “When Its Hip” album that is set for release this current year. The first track is appropriately titled “When Its Hip” and lives up to its title with its electrifying electric guitar solo, and horn parts. The track “Who’s That Lady” is an Isley Brothers rendition that features a hair-raising, electric guitar solo, fired-up with sheer funky guitar riffs. Let the music take you… SmoothJazz Magazine | 87
CD Reviews Review Let’s chill with the tune “Chill Factor” with its cool synthesizer effects; and get stirred up by the down-home bluesy tune called “Money”. This tune was originally performed by the group Pink Floyd, but Yandall still manages to add his own funkiness into the mix. The track titled “Lovers Moon” is toned down just featuring Yandall on acoustics and bongos for the rhythm. The album ends in a patriotic flair with a rendition of “The Star-Spangled Banner”. If you are an electric guitar enthusiast this CD fits the bill. Yandall’s eclectic taste in musical styles fuses together into a perfectly matched creation. Yandall’s latest “When Its Hip” album
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will make a lovely addition to your Music collection!
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CD Reviews Review By: Sherelle Cary Smith
Imagine yourself in a smoky bar on Bourbon Street in New Orleans back in the 1940's where a renaissance of ragtime is fused with Jazz and the Blues. You hear a voice singing sweetly and soulfully. It's Catherine Russell transcending time and space. As I read her bio, I understand why I feel this way. Her father, the late Luis Russell, was Louis Armstrong's Musical Director. Her knowledge of this musical past is something she gets firsthand. She is a vocal treasure and icon. As you listen to her latest work entitled, "Alone Together", be prepared to step back in time. Her voice is reminiscent of every famous jazz and blues singer from Billie Holiday, to Sarah Vaughn, Ella Fitzgerald and Terri Thornton but yet completely unique in it's own right. She styles a song like no one I've ever known or heard. I am truly amazed at the perfected ease of her singing. Every note is right where it should be. There are thirteen songs on this album which starts out with the title track, “"Alone Together'. The term, "sassy horns" comes to mind when I listen to the in90 | SmoothJazz Magazine
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CD Reviews Review intro. Trombone and saxophone take turns with skillful solos as Catherine's floats vocally throughout the song. Phrasing, vibrato, emotion, enunciation and execution are flawless as she swings you through this first song offering. "When Did You Leave Heaven" is perfectly matched to a Gospel-like feel and echo's of Mahalia as Catherine earnestly asks the man of her dreams where he hid his halo...so very well done. I have to jump to my most favorite track on this album, "Early In The Morning"...New Orleans Blues flavor through and through. I absolutely love this and the way ivories are tickled in the introduction along with a sexy saxophone solo that makes you close your eyes and swing. You just have to hear this one. If this were a beignet, you'd be licking your fingers in delight. I love it! You must also hear "Errand Girl For Rhythm " which I think is one of the most unique cuts on this album. Fast tempoed, Catherine nails this effortlessly! Amazing! Other performances include, "I Only Have Eyes For You", "How Deep Is The Ocean", "Is You Is Or Is You Ain't My Baby", "You're Not The Only Oyster In The Stew" (Love this!), and "I Wonder" just to name a few. Every song on "Alone Together" is sung with "one-of-akind" unique vocal skill. This is a treasure that you must have in your collection! I enjoyed every single cut and so will you! It's a perfect vocal mix of Blues, Jazz, and Swing! Let the music take you‌ SmoothJazz Magazine | 91
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CD Reviews Review By: Avzal Ismail
BOB
HOLZ
SILVERTHORNE When I first got to listen to the new album from drummer Bob Holz (Larry Coryell Band), I wasn’t too sure what to make of it. However, the presence of musicians such as Mike Stern, Randy Brecker and my good friend Jamie Glaser piqued my interest and I decided to give it a much more attentive listen. Often as a reviewer who often gets inundated with countless albums to go through, one does become jaded and if the first few bars to not grab my ear, then I tend to move on to the next offering. Thank goodness I took the time to give one a further listening after seeing who was in the stellar line up that makes up this 10 track offering of original material, the 7th album release from Holz. Whilst not the most musically intricate album, this album lays down some serious grooves that warrant further listening. The album opens with the funky “Intervals” which has some nice sax and guitar work with Bob laying down some solid playing. The second track “Less is More” is my personal favorite off the album. A nice medium funk groove with some great melodic sax lines, keyboard work and a tasteLet the music take you… SmoothJazz Magazine | 93
CD Reviews Review ful guitar solo courtesy of the great Jamie Glaser. One must not forget to mention the pivotal role played by bassist Ralphe Armstrong who anchors so much of the music with his tight and tasteful bass lines. Another super track is the Steely Dan-like shuffle “Larry’s Blues” which one would deduce was written as a homage to his former band leader the late great Larry Coryell with some wailing guitar and trumpet work. I could probably go through each track but that would be spoiling the fun, so go ahead, get the album and enjoy it. Bob’s music certainly blends the elegance of jazz with the raunchiness of some solid rock to create a super blend of music that is accessible to fans of both genres. All in all a pretty good album. The kind of album you want to put in your car for those long, lonely open roads. I am pretty sure we’re going to hear a whole lot more from Bob Holz in the future.
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CD Reviews Review By: Keivu G. Knox
One of the definitions of the word “echo” is “to repeat or reverberate after the original sound has stopped.” In other words, you are able to hear something after the original sound has ended, which means that there is a lasting or lingering affect to what was heard. With that framework in mind, it is clear as to why pianist and composer Keiko Matsui chose to name her latest album, Echo. With an all-star musical cast by her side, Matsui has created a project full of lush melodies and moments that will remain with you long after the song ends. The album’s opener, “Unshakeable,” immediately pulls you in with its syncopated rhythm, led by Vinnie Colaiuta on drums. Paul Jackson Jr. also makes an appearance on this song, and his guitar terplay with Matsui makes a significant impact. “Moon Over Gotham” follows next, and keeps the momentum from the previous track. Not only are Colaiuta and Jackson on this song as well, but a great horn section keeps it lively and percolating.
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The title track of the album slows things down a bit, but despite the change of pace, there is nothing lost in terms of musicianship and melody. Matsui creates a breezy mid=tempo number that allows Marcus Miller to roam freely with his perforLet the music take you… SmoothJazz Magazine | 95
CD Reviews Review performance on bass. Next up to bat is “Espirit,” featuring Kirk Whalum on tenor saxophone, and it continues the vibe of the previous song, with a great melody allowing all of the musicians involved to showcase their abilities. Matsui’s arrangement on this song effectively provides the listener to take every nuance in. Other notable guest appearances include vocalist Gretchen Parlato on “Spirit Dance.” Parlato’s performance is efficient, yet not overpowering. She effortlessly sweeps through another lively melody and makes you want to hear more. There is also an appearance by bassist Kyle Eastwood, son of the legendary actor/ director Clint Eastwood, on the album’s perfectly titled closer, “Return to Eternity,” Despite the various guests that find themselves scattered through the album’s 10 songs, it is evident that after listening to “Echo,” Keiko Matsui is in control of the album’s structure and sound. She is confident enough to allow others to have their time to shine, while knowing when to pick her spots and show why she has been one of the most popular smooth jazz artists over the last 25 years. 96| SmoothJazz Magazine
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www.gtfjazz.com
CD Reviews Review By: Maggi Bridgman
By: Carl Wesley Wayne
Christian’s mission is to heal his community through music in New Orleans. His objective was to mix the different cultures of music to show people that we are all the same. Christian has stated that the only time he saw people get along was through music. In this CD, I have heard the music from an Indian Raga, Polish Folk music, Korean music, Delta Blues, and rhythms from Saramaccan, and French Guianna. I have singled out three charts from his CD Ancestral Recall. The chart, “Her Arrival”, starts with hand clapping in 3/8 and adds counter rhythms in 6/8 played on tom-toms and various percussion instruments. Next, the beautiful blend of cultural singing voices and melodies from around the world, with Christian’s unique Whisper trumpet technique, completes this beautiful composition with a smooth 6/8 grove. The chart I own the night uses R & B Vocals, Spoken Word, Afro-Cuban like rhythms, with chords from wooden flutes to form the style of the chart. Christian brilliantly improvises over these model melodies that will induce a contemplating mood for the listener. The chart “Ancestral Recall” starts in a compound duple time that you can grove to in 4/4, 50| SmoothJazz Magazine
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CD Reviews Review 12/8, or 2/4. Along with spoken word, Eastern Chords are added with Christian’s trumpeting as it all tells a story of the US told through music. Christian has given us a look ahead into the future of Jazz Music.
“Christian has given us a look ahead into the future of Jazz Music.”
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