Jeff Lorber Mar Apr 2018 by Smooth Jazz Magazine

CD Reviews * JAZZ Notes * Concert Reviews*

Mar/Apr 2018

SmoothJazz

Magazine

Voted Best New Smooth Jazz Artist! Jazmin Deborah Ghent Inside: Michael Paulo Nick Colionne Warren Hill

fJeff

Lorber

Atlanta’s Suite Jazz Promoter “Doc” Robinson

Grego-

GRAMMY WINNER

Feature

38 Jeff Lorber Wins Grammy Concerts 30 Jazmin Ghent 2018 25 Warren Hill the Godfather Best New Smooth Jazz Artists Of Smooth Jazz Cruises

Lifestyle

12 Cloe Jalipa on Exhibit 16 Doc Robinson Suite Atlanta Promoter Jazz Notes

08 Michael Paulo Donates Check to American Red Cross 09 Nick Colionne

Makes History on the Billboard

COVER PHOTO BY: Aric Thompson

CD Reviews 51 Robert Holz - Visions: Coast to Coast Connections 54 David Davis - Dig This 58 Rob Tardik - Synergy 60 Zemill - Timeless 64 Nils - Play 67 Kurt Elling - The Question 70 Chris Standring - Sunlight 72 Eric Valentine- Velvet Smooth CD Releases 57 New CDâ&#x20AC;&#x2122;s

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Contributing Writers

Web: www.smoothjazzmag.com

Sheila E. Ross Maria L. Lewis Robin Munro Althea Turner Keivu G. Knox Shumon Hutchinson Carolyn Beverly Azval Ismail

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MAR

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Baby Coffee Michael J. Thomas Tick Tock Boney James Piccadilly Circus Paul Brown feat. Chris Standring Let It Go Jonathan Fritzen Between You And I Riley Richard Going Out Julian Vaughn So Strong Rick RileyBraun Richard Baby Coffee Michael Riley Richard J. Thomas Down The Road Paul RileyJackson, Richard Jr. Letâ&#x20AC;&#x2122;s Take A Ride Brian Riley Richard Culbertson

Jazz Notes Apaulo Music Productions held a smooth jazz concert in September at Hawai‘i Convention Center’s Lili‘u Theater, featuring Rick Braun, Ray

Parker, Jr. and Michael Paulo with an all-star band. To help with disaster relief across the nation, Paulo organized a silent auction — benefiting American Red Cross — and every item was sold. The total donation was $4,310.07. Pictured are (from left) Coralie Matayoshi, CEO, American Red Cross; Michael Paulo and Andree Fallas. 08 | SmoothJazz Magazine

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Jazz Notes

Nick's 2016 Trippin 'N' Rhythm album The Journey is his greatest triumph yet, making history as the only artist in the history of the format to score five (5) consecutive #1's on the Billboard Smooth Jazz National Airplay and Smooth Jazz Songs charts from one album. He hit the pole position with "The Journey," followed by "Say What's on Your Mind," "Morning Call" , "Uncle Nick" and this week with "Buckle Up" featuring Najee.

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Jazz Notes

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Lifestyle

www.cloejalipa-art.net “to all my musicians friends all over the world! Music is one source of happiness in life!” Cloe Jalipa

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Lifestyle By: Art Jackson From her humble beginnings growing up in the Philippines to now living in France. Monte-Carlo to be exact, this talented artist has been on a whirlwind of Exhibits throughout the countryside over the last few months. With each showing the word spreads in the art community of this artist who is making a name for herself. The versatile imagery from lush nature, sports to self expression portraits, these paintings in acrylic are making fans all over the world. Being one with her art, Cloe Jalipa personality, brush strokes, and vivid color schemes light up the room. As it is clear to see that art lovers who are in her presence are deeply captivated in hearing what each painting represents in Ms. Jalipaâ&#x20AC;&#x2122;s world. With each narrative Cloeâ&#x20AC;&#x2122;s enthusiasm breathes life into each stunning moment that is captured on canvas. With a style all her own, she paints without sketching first; as she begins each painting by applying directly the colors, as random thoughts become beautiful creations, that bring smiles and wonderment from all who gaze at the finish works of art. Here are a few selections that encompass the rainbow of life and love that Cloe richly displays and freely shares with us all. 12| SmoothJazz Magazine Let the music take youâ&#x20AC;Ś

Festivals Lifestyle

Exposition “The Sleeping Knight,” this Prince is sleeping but he’s dreaming, having a strong and wild horse like a Mustang to explore the rest of his existence. Find his princess with determination and live happily until the end.”

“Blockhaus” the remains of The 2nd World War German Bunker nestled in the mountain of France.

“One With Nature” “Panther Spirit” strong with having a determination to get the prey. Let the music take you… SmoothJazz Magazine | 13

Festivals Lifestyle

Having a goal to exhibit throughout Europe, Asia and the United States Cloe is constantly honing her skills in her studio while putting her dreams and thoughts from within on display for art enthusiasts to see. Each painting embodies every being of Cloeâ&#x20AC;&#x2122;s soul, from her heritage to social consciousness as the colorful arrays of her paintings take you to a state of zen meditation.

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Lifestyle By: Sheila E. Ross

ATLANTA

Promoter

“DOC” ROBINSON Arriving at Revel here in Atlanta, the ambience set by the “Sinfo-Nia Youth Orchestra“ with their family of violins: the cello, viola, bass and violin fill the air, and then reveling in the soft, sweet, acoustic sound-check of Earth Wind and Fire’s “Reasons.” The room, robed in royalty, gold and purple, low-lit, dim, set, surely ready for the evening entertainment for the birthday bash celebration for Morning D.J. Atlanta’s 91.9 WCLK Smooth Jazz Radio Station, Morris Baxter. Being escorted by Mr. Robinson to a dim candle-lit table, I sat down for an interview with the long time music promoter entrepreneur. SJM: Mr. Robinson it is a sincere pleasure to speak with you this evening. So tell me, how long have you been a promoter? Doc: Almost thirty years. Upon joining the military I started doing shows with the USO, bringing guys over and then I started a program called the Military In-Store Program in which I would bring artist into the PX or BX and they would perform and sign our CD’s. 16| SmoothJazz Magazine

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Lifestyle From there I started doing shows, NCO Clubs and off base. Actually, my company, JazzBeat Promotions, started as a newsletter entitled, Doc’s JazzBeat. I would interview artist, talk about their CD’s, just like you’re doing and I would print them out and hand them out and then one day Marcus Johnson said, “Why don’t you just drop the ‘Doc’ part.” So that was the beginning of the name Jazz Beat Promotions. SJM: Where did your love of music come from? Doc: Music was in my family, my grandfather’s brother, Leroy Bostic, Jr. was a jazz artist, so when I would go over my grandmother’s house, I would see his albums. He and his son were great jazz musicians out of the Philadelphia area. My mother was the church organist and pianist at the age of twelve. She could read music and I remember her at the stool of the piano and she would ask me to, “Pick out something” and I would ask her how was she reading that as it looked like Greek to me. My dad played, my sister played the cello, so everyone was musically inclined. SJM: How do you go about selecting the artist for your shows? Doc: Well, I use a variety of metrics. For music, it comes from both a feeling and a relationship with the artist. A lot of the artists that I deal with are artists that I started with back when they came out with their first CD. I helped them get their CD’s sold at places like Walmart, so we kind of grew up together over the years. The other part is, I look at their social media aspects, such as how many YouTube hits they have had, what they are doing on Instagram, so I am not just basing my decision on emotions. But some shows are cultural too, for example, Cyrus Chestnut, though it may not be as popular as Marion Meadows but his show is something that people need to experience. Let the music take you… SmoothJazz Magazine | 17

Lifestyle SJM: Since you have Marion Meadows performing next month at one of your shows, are you aware that he has a new CD that drops tomorrow (2/16/18)? Doc: Yes. “Soul City” You know he is a canvas artist too. My kids do canvas art. I do graphics and Marion does graphics as well. SJM: And as a fan, how would you describe his music? Doc: I think that it’s really soothing. It is consistent, very melodic. He is a very good artist, excellent saxophonist; he has been in the business for twenty years, and we have been friends for almost that long. It is great when you have people that you started listening to their music and really appreciate it, and then over the years you become friends and you no longer talk about the music. I have many friends like Ronnie Laws and Bobbie Lyles, they call me up and we do not even talk about music; we talk about sports. So to get to know the guys and have them sit in my car; we have these crazy conversations, which are priceless. One time I did an in-store with Darius Rucker, from Hootie and the Blowfish. We spent a couple days together in the car driving to different bases and I said, “Where did the name Hootie and the Blowfish come from, everybody thinks your Hootie,” and he 18 | SmoothJazz Magazine

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Ronnie Laws

Lifestyle said, “no, its everybody in the band.” As Darius explained, even before we started a band, we all went to the same college and one day we were in the union building and two of our friends were walking down the hallway, one had big eyes and one had big cheeks and my other friend said “There goes Hootie and the Blowfish.” So that’s where the name comes from. So it is the stories you get, the underline things about how they feel about the music; how they create the music, what they were thinking about when they created the music. Like “Friends and Strangers” from Ronnie Laws finding out that he created that song on the flute, but he actually plays it on the saxophone. So it is the things about the song that you don’t even know. SJM: Are you open to booking artists that live on the west coast? Doc: It does not really matter; I bring in artist from all over North America. The group, 480 East fly in from Canada. SJM: Do you have plans to promote a festival this year? Doc: I am doing three. I am doing the Aruba Jazz Festival in September, the St. Lucia Jazz Festival in May and Cancun with Warren Hill. SJM: Is there an artist or show that stands out that you were surprisingly surprised in regards to the performance and the crowd response to the artist? Doc: Well, there have been a few. the Lindsey Webster show, she was a surprise. The first time we had her, forty people were here and the next time we had her, two years later, the whole place sold out. People talked about her for two years. Let the music take you… SmoothJazz Magazine | 19

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“people are noticing what we’re doing and they feel there is a need for it. The same thing with Josh Vietti and Jerry Lawson, we have had many guys come in that people have been surprised about. Now, when people come to the shows, they come after doing their homework. People come to me reciting their homework. They say, “Yes,” I looked him up on line, as I did not know who he was. My whole concept of this series came from something I grew up with and it was in New Jersey, they have a place called the Latin Casino where they had people like Frank Sinatra playing there, but the whole premise was ‘dinner and a show’. It is the mid-range type of show where you are going to meet the artist if that’s what you want to do, where other shows you are not going to get that; they may not come out to meet and sign CD’s. The series here is personal; it is intimate and this is what you want to pay your money for. You want dinner and a show. SJM: The Suite Food Lounge has been open about four years, hasn’t it? Doc: We have been doing the ‘dinner and a show’ “Suite Jazz Series” for four years now, but we’ve been open for five years. SJM: Does Doc Robinson have a favorite artist? Doc: Music is like a mood. Many times, you will listen to Earth, Wind and Fire for a while. You pick up George Duke and then you put it down. I can change my mood based on what I am listening to… A favorite? It is hard to say. Lately, in my nighttime ventures, I have been going back to the Charlie Parkers and all those guys and really paying attention to their music. I listen to their catalogue. I listen to everything Herbie Hancock and Stevie Wonder ever made. SJM: If you could snap your finger and change anything about your career right now or these artists, what would you change? Doc: Create more opportunities to get into the nooks and crannies of the country that do not have this, the Idaho’s and the Nebraska’s. In some of the places they Let the music take you… SmoothJazz Magazine | 21

Lifestyle say, “We wish we had jazz like you got.” SJM: What are your peer’s saying about your series? Doc: I talked to Herb Alpert’s daughter. He has a place over in Beverly Hills and she said to me, “Oh I see what you’re doing with the Suite Jazz Series, your getting on Facebook, why don’t you try to do something here?” And others have seen what we’ve done with the series and started their own series here. And now with the addition with a smooth jazz station locally, so people are noticing what we’re doing and they feel there is a need for it. So maybe what we’re doing in a small part is helping that large view of things. So to add a smooth jazz station back, must mean that “hey” there’s a guy that’s doing the series and he’s consistent, fifty-two weeks a year for four years. Be sure to like and or follow Jazzbeats Promotions as you may never know who may show up from jazz diva Maysa to Heisman trophy winner Doug Flutie.

GRAMMY Winner

Jeff Lorber

Maysa

Doug Flutie 22| SmoothJazz Magazine

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Lifestyle

Photos By: Aric Thompson Top Row: Sinfo-Nia Youth Orchestra Center: Morris Baxter Bottom Row: Ken Ford, Maysa & Kim Waters

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WARREN HILL

OF THE...

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Concert By: Art Jackson

Over the years, we have covered Warren Hill as our cover issue to concert reviews and each time he does not fail to impress. This particular evening in San Juan Capistrano, at the San Juan Hill Resort and Golf Club, Warren and special guest his daughter who goes by the stage name Olivia Rox. As an American Idol contestant she impressed the crowd with a few songs. In between the two set evening, I wanted to asked a few questions on what inspired him in the beginning to being a jazz man and the business innovator in smooth Jazz promoter that he has become. SJM: What was your thought process for going into jazz over rock? Warren: It was a natural transition as I started with guitar and always wanted to progress beyond regular rock. So when I discovered Jeff Beck; who became my guitar hero, then I got into Blood Sweat & Tears for the soul stuff and then the sax hit me and I discovered Coltrane, Charlie Parker, 26| SmoothJazz Magazine

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Concert Cannonball Adderly, Michael Brecker and David Sanborn they just moved me to that transition from rock to jazz. I learned the basics from all those contemporary “I worked guys. As I lived in Toronmy butt off to, and we were not for two getting inundated with years before the music, you had to the first one seek it out, you had to sailed.” know about it, and just find it. It wasn't like being in an American city and they are traveling on the circuit all the time. So when I did get to see Weather Report, Spyro Gyra, Chuck Mangione and others; its like it all blew my mind. Now we are taking it to another level but keeping it palpable to the average person so they can relate to and it. Then I started hearing chord changes and all the colors that came with it in backing up a melody of songs in rock, then getting deeper into Jazz and R&B. SJM: Speaking of getting in deeper what is your reaction to Jeff Lorber just winning a Grammy? Let the music take you… SmoothJazz Magazine | 27

Concert Warren: He certainly deserves one, long before this actually. The guy is certainly a torch bearer for fusion and incredible keyboard player, he raises the bar for everyone. I remember seeing Jeff as a kid when I was 17, so he was already “Jeff Lorber,” I went to see him in some small club in Miami, he had a truck load of keyboards on stage and he was going up and down on the keyboard, just working it; he was my inspiration, he had an incredible band, he inspired me to play with better players and to keep on pushing the boundaries of the chops on stage. Then having toured with Jeff here and there he is very much into the music and making sure its right. SJM: Would you consider yourself the Godfather of Smooth Jazz Cruises? Warren: Ha! Well, I was the creator, I did the first one and got the whole thing rolling. I worked my butt off for two years before the first one sailed. It was just an idea and I believed in it and I was right. Now I am taking that same mind-set with an hotel experience with Cancun at the Hard Rock; the line-up is phenomenal.

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www.savoybrown.com

Feature

z z a J oth

o m S By: Sheila E. Ross

Saturated in a male dominated business, Jazmin Deborah Ghent is the best new artist voted by Smooth Jazz fans. Smooth Jazz Magazine caught up with the saxophonist in between her busy schedule as an artist and elementary school teacher so we can learn about this new shining star. SJM: Congratulations on wining the New Artist of the Year Award! What does winning the New Artist of the Year Award mean for you? Jazmin: It means so much; I think representing up-and-coming jazz musicians, representing women, specifically African American women as well. I know that I want to represent well. I want to be a part of this format in the future of jazz and be able to link jazz to a younger generation. I do not take it lightly and I am so honored and thankful. 30| SmoothJazz Magazine

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Photo BY: Tina Pruitt

Feature Lifestyle SJM: When did you know that music was something that you wanted to do professionally? Jazmin: I knew in middle school when I was in band, music was my savings grace, and I would teach a choir at church. I would do honor band and things like that and I just really took to teaching music and playing music. SJM: Myself, I was an eight-year band booster mom for my kids in high school, they played in both the concert band and marching band. I learned early on that band helps the students succeed in their academic courses as well and so I can see why you placed such energy into band and it is so rewarding for the middle and high school age groups.

“my mom basically

said, “You’re playing this, you need to go in there and practice” and so, I’m happy she made me do that. “

SJM: At what age did you pick up the sax, and were you at all intimidated by its massive size? Jazmin: I picked up the saxophone in middle school. In sixth grade, I was playing the alto saxophone and then in seventh grade, my mom brought home a tenor saxophone, so intimidated, definitely. I grew up listening to jazz. My parents had many different jazz CDs and so it was not like a foreign object; my mom basically said, “You’re playing this, you need to go in there and practice” and so, I’m happy she made me do that. Let the music take you… SmoothJazz Magazine | 31

Feature SJM: So your parents were music lovers. Jazmin: Oh big time; they loved jazz music so much to where on their first date they both said, “If they had a daughter, they would name her Jazmin”. So, I am named after Jazz music because they really loved jazz music! SJM: Can you recall the music your parents listened to? Jazmin: Yes, there are so many, just everyone! Gerald Albright, Spiro Gyro, George Duke, Kirk Whalum, Donnie Hathaway; there were hundreds of CDs, Luther Vandross for R&B. They had a huge range, so I was very spoiled and that’s just an awesome question! SJM: Did you eventually go to school to perfect your craft? Jazmin: Well, I think we all do want to hone our craft and get better and I did go to study more jazz, and I also went to get better with teaching as well, in music education. So of course I like to write music and play music, but once I got in school, it was tuff because it’s almost like you’re in this factory. They want you to play just like this person or like that person and you can lose yourself as an individual sometimes. SJM: Why do you think they teach like that? Where do you think that comes from, playing the jazz standards? Jazmin: I think the jazz standards are so important. People I listened to such as Gene Emmons and Stanley Turrentine, the standards are the foundation for jazz; we do have to take it a step further, which is difficult. It takes time, but in college we might all be listening to the same standards and sounding the same because you’re imitating these people, so it’s like taking that and putting a spin on it, not the easiest thing to do. 32| SmoothJazz Magazine

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Feature SJM: There are a number of Smooth Jazz Artists who are also educators, a few that come to mind are Patrice Rushen who is the Chair of Popular Music Program and Assistant Professor at the Thornton School of Music, USC in California, along with other notables there like Russell Ferrante Adjunct Assistant Professor and Bob Mintzer who is a Professor of Jazz Studies both of the Yellowjackets and Steve Cole noted member of the Sax Pack is a professor/adviser of music business at the University of St. Thomas.

saxophone from time to time to play for the class to show them that music goes beyond this classroom. I want them to know that I was once sitting in the same shoes as them and if they want to, they definitely can do it. I do not consider myself a school person, yet I am a schoolteacher and yet, I have a Master’s degree so I try to be a living testimony; I say hey, “If I can do it, you guys can do it.” SJM: When you say you are not a school person, what do you mean specifically?

Jazmin: You know that child who does SJM: Do you incorporate your music tal- not pay attention, likes to move around, ents in your classroom teaching? just be all over the place---that was toJazmin: I tally me! I’m still kind of like that now! do. I play SJM: How do you reach out to your my saxo- community? phone; I Jazmin: I love doing different events do not here in Lakeland, FL. I am very active in play videmy church; I do bible study sometimes. I os of me play for various organizations both profit for my and non-profit organizations. I love to students, help the community; I think it starts but I with the community. bring my Let the music take you… SmoothJazz Magazine | 33

Feature SJM: What are some of the things you have learned about the music industry that you have found interesting? Are there any down sides to being a famous music artist? Jazmin: You know when I am talking about a female being a female, it is definitely great being a female within this industry and its eye opening as well. It can be a challenge some time: it is male dominated. It is not rare to be the only female amongst all these men. All the way down to communication like how you’re communicating with these bands; I find that interesting. I am learning so much about myself. And I’m thankful to be learning these things. The one thing I believe is important is to stay true to myself is the biggest thing. If I am writing a song and I don’t like how something sounds, I just have to speak up and say that. I think there are pros and cons to everything, if anything--down side? I have done a lot of traveling within the past two months and I have probably been out each weekend playing and performing, which is definitely a blessing, but I can see how it could be stressful and cause a balancing act. So I don’t want to say, “down side, just challenging.” SJM: So do you have to be right back into the classroom on Monday morning? Jazmin: Yes. So for example, this past weekend, I am recording for my third CD; it’s called the “Story of Jazz” and by the way, which I have a Go Fund Me account. So this past weekend I was recording for that in California and I flew in this morning and drove straight to my school and that’s where the challenge comes in.

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Feature SJM: Whose music do you listen to and enjoy? Jazmin: I like anything that sounds good. Where do I even start? Of course I like to listen to Kirk Whalum, Victor Wooten, Marcus Miller, Demi Lovato, she’s a pop singer; I like her voice a lot, the vocalist Jessy J. I like to listen to anything that sounds good. SJM: What are some of the similarities and differences between your first two CDs “Boss” and “Chocolate Sunshine”? As you know, I purchased “Chocolate Sunshine” from you at your recent Atlanta show and I just said, “Whoa!” and I listened to “Boss” on YouTube last week and fell in love all over again for a second time. Jazmin: Similarities, I always like to have a good mixture of style, from gospel to a Latin vibe that can fit everyone. The one thing that is different between them is my first CD “Boss” was the process; literally, the whole CD was recorded in one day! I will never do that again. So I took more time with “Chocolate Sunshine” and this next CD, “The Story of Jazz” I’m taking even more time with this one because this is telling my story, of my life and this is defining me. SJM: Where has your music taken you in the world that you may have never thought of going? Jazmin: I never thought I’d be going to California so much. I’ve been to California maybe four or five times within the past seven/eight months. I’m going to Spain in April. I always wanted to play on a Jazz Cruise and I did that in October, so every where I’ve been was not expected, but I’m thankful that music has taken me there. Let the music take you… SmoothJazz Magazine | 35

Feature SJM: What do you think about our younger generation, say high school age and even younger, how do we bridge their music to the music you and I listen to? Jazmin: I think, especially me as a musician and musical artist and composer, having influences from rap, hiphop, pop, even country music, having those influences and embedding them into jazz music. I think the misconception is that the music of today is so bad and not quality when in fact, music is recycled. SJM: So what is next for Jazmine Ghent? Jazmin: I am working on my CD and Iâ&#x20AC;&#x2122;m all about growing as an person, striving to be the best I can be for my students and for jazz music, and also expansion. I want to expand to where my music can reach different audiences. I just want to bridge the gap. Expansion is the biggest thing for me.

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Feature Concert By: Althea Turner It was truly an honor and privilege to have had the opportunity to sit with Jeff Lorber and talk about The Jeff Lorber Fusion’s Grammy award for Best Contemporary Instrumental Album, “Prototype.” After seven past nominations, he has won his first Grammy, and it is well deserved. He explains his reaction and how he feels about being considered by many as The Godfather of Fusion. SJM: Mr. Lorber, first and foremost, congratulations from SJM on your Grammy win. How does it feel? : It feels great. This is my seventh time being nominated, so I definitely know what it feels like to not win (laughter). Being nominated is pretty great; just being recognized is really great. When you’re nominated you get to be part of the Grammy Awards, you’re invited to be there, and they have a lot of other events going on around all that which are usually fun to go to. SJM: Do you always go when you are nominated? : Oh yeah. You never expect that many nominations or that it will happen that many times in your life, so you want to enjoy it while you have the opportunity, so you just can’t say “I’m just not gonna go this year; I’ll probably get nominated again next year.” I was very, very surprised to be nominatLet the music take you… SmoothJazz Magazine | 39

Feature Concert ed in the first place. The last few records that I’ve made haven’t been nominated, and it’s kinda the luck of the draw, in terms of who else is putting out records, who’s voting. I think this year they had, for the first time, for the contemporary album, an actual committee. I think some awards have a committee and some don’t The committee is a group of about 10 people who spend about three days listening to all the records that people voted for. SJM: Are you or have you been a voting member of the Grammy organization?

ated a deal with CBS, but all these articles were coming out against him in the LA Times, and at the time, my friend, Dave Koz, was really involved with the Grammy organization. I would talk to Dave, because I was working with him a lot back then, and say “this organization is supposed to be representing musicians and look at all this bad press.” So Dave told me I should get involved in the organization. And I said, “okay, you’re right, I should.” So anyway, they ended up firing that guy. But because of that I got involved with the organization, and I was on the Board of Governors for quite a long time, maybe like over 10 years. I got a chance to really know the people who were involved. I got a chance to know what the Grammy organization does.

: Yeah. Actually there’s a funny story about that. Many, many years ago, about 20 years ago, there was this guy, Michael Greene, who was President at NARAS (National Academy of Recording Arts and Sciences). This was way, way before the #MeToo Movement; but there were a lot of articles showing up in the LA Times about this guy and that he was harassing some of the women One thing people might not know who were working for him. I guess he about is something called Music Cares. was a really good president in some ways; for instance; he originally negoti- Basically, it’s a charity for musicians who 40 | SmoothJazz Magazine

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Feature was going through a really tough time; he was a well-known musician, and I said “you should call up Music Cares because that’s what it’s there for; they’re there to help musicians.” And sure enough, they helped him out when he was having a tough time. I was really glad to see that. A lot of times you don’t have any personal experience with it, but I found out that it was actually there and they really help people. A lot of things you don’t hear about, they’re done behind the scene, but if you’re part of the Grammy organization, that’s what they’re doing. And it’s real and it really makes a difference. SJM: Since this was not your first nomination, do you feel the process is overly political and subjective in winning? : I think definitely there’s something there, you know; you’re voting. It’s common sense that the people who are more wellknown tend to win more than the people who are less well-known. Sometimes they nominate some people because those same people are very, very good and whatever it is that they’re doing is better than their competition. It’s not a perfect process; it’s voting and it’s a little bit of a popularity contest. Every year there’s enormous articles written about why the Grammys are out of touch and I can tell you from being inside the organization, they make a real, real major effort for diversity. They try to get African Americans to join, they try to get women to join, they try to get Latino folk to join. They really, really make an effort, and they also have succeeded with that effort; they have to a degree. Let the music take you… SmoothJazz Magazine | 41

Feature There’s a problem because obviously when it comes to musicians, there’s a lot more that are male than female, and when it comes to these kinds of organizations, sometimes the minorities are less likely to get involved in an organization like this. It’s a battle that has to be fought, but they’re definitely fighting it. As far as NARAS themselves, the people who work there, it’s a pretty diverse group. It’s not all white males there, it’s pretty diverse. SJM: How do you join? How do you become a member of the Grammy organization? : First of all, anybody can join. I joined at a really early point in time. If you’re a member for over 25 years, then you don’t have to pay anymore. I think I joined when I made my first couple of records. I thought it was great! Here’s this organization that looks out for musicians, and I wanted to be a part of that. In talking to Dave Koz, what that did was got me interested in running for the Board of Governors, and I won. One of the reasons why I’m not on that Board anymore has to do, to some extent, with the thing about diversity. They’re trying to get it more diverse; I’m a white male, so (laughter). The thing that got me so excited about it, and (L-R) Chair of the Board for what a lot of people don’t know is, I go out The Recording Academy John Poppo, Recording and I perform , but really what I do to a large artists Jimmy Haslip extent, is me sitting in a room writing music or staring at a computer screen. In fact, that’s what I was doing right before this interview. I was writing some music and playing a little base line and playing through some chords; trying to write some new music. Being a musician can be a real solitary thing. Having an organization like NARAS, where you get to meet and hang out with all these other people who are doing the same thing, and you can 42| SmoothJazz Magazine

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Feature talk to them about what they’re doing. I was pretty excited about being a part of that, and that’s another reason why I wanted to be a part of it. SJM: What was your initial reaction when you heard those words “and the Grammy goes to Jeff Lorber Fusion?” : It was a great feeling. It’s hard to describe. We were at Madison Square Garden and we were in a big room with a lot of people. The people in that room, most of them, are all very, very talented musicians and they’re all part of the Grammy Award experience. So I look up on that stage and it was Paul Shaffer; I love Paul Shaffer, he’s awesome. He was the guy who was the emcee. So they have this huge screen up there, and then all of a sudden it says on the screen “Jeff Lorber Fusion “Prototype.” It’s like WOW!!! It’s kinda like that feeling when you win a race or the Superbowl or something like that. It’s just a really, really nice experience that you won’t forget. That’s for sure. SJM: Did you have an acceptance speech prepared? : You know what, I didn’t say a whole lot. I just thanked the guys in the band, the record company. I think I said something like I’ve been doing this for a long time, and being a musician and having the chance to make your living by being a musician is a really great reward right there; you don’t need a Grammy award for that, but that’s basically how I felt; Whatever it was I said was pretty short and sweet because they really don’t want you to talk very long up there. I just thanked some of the people who were real important—the guys in the band; my manager, Bud Harner. He’s been there for me and he’s big part of my team. Let the music take you… SmoothJazz Magazine | 43

Feature After that, they sent us backstage with the press, and they took pictures. It was cool. SJM: What was it like being in New York vs LA for the Grammys? : It’s a lot different in New York, because in LA it’s at the Staples Center in downtown with all this space…big, open space. There’s a perimeter because they want to have security, so there’s a big perimeter around the Staples Center, so you walk toward the Staples Center and there’s nobody walking toward the Center other than the people who have tickets. So, it’s kind of relaxing. But in New York, right next to Madison Square Garden, they have a busy street on every side of Madison Square Garden, so they have a barricade there and then you have all the “looky-loos,” and you got the red carpet, and you got the police, and it’s just hard to even move. There’s no space to do anything over there. If you just try to walk across the street, that can take 20 minutes; so crowded, and so hard to get around. It’s really quite a different experience, but we got quite lucky because the weather wasn’t too bad. SJM: What were the reactions of Jimmy Haslip and others who played on the CD with you? : I don’t know if you know this, but Jimmy Haslip, when he was with the Yellowjackets, those guys were nominated all the time. So this is my seventh nomination and my first win. But for Jimmy, he’s actually been nominated a couple of times with The Jeff Lorber Fusion too, and basically been a member of my band for a few years. So, between all that, he’s had 23 nominations, and this is the 3rd time he’s won. It’s hard to compete with that. He’s like the grand champion when it comes to Grammy awards. Jimmy’s a really good friend and it was just so great to have him there. I wish the other guys could’ve been there, like Andy Snitzer and Gary Novak. They were invited too but couldn’t make it. 44 | SmoothJazz Magazine Let the music take you…

Feature SJM: Some reactions from other artists that you know, such as Warren Hill. He was ecstatic for you; and artists that you may not know, like an artist from New Orleans, Kirk Andres Wilson, is a huge fan. He was so excited. Do you realize how broad of a reach your music has touched people over the years? : I’m just glad people like it and that I can keep doing it. It’s an interesting business, because in some ways it’s like fashion business; it’s always changing and you have to figure out ways to re-invent yourself. To be honest, in the 80s, that was sort of my decade; because during the 80s, at the beginning of the 80s, The Jeff Lorber Fusion was very popular, and then like toward the middle and end of the 80s I kind of changed my career for a while, and I was doing nothing but working as a studio musician in LA. I was working big time on Pop and R&B projects, and that was really great too. My job has sort of changed over the years. Now it’s really about touring. If you want to promote yourself and promote your music, that’s sort of one of the best ways to do it. SJM: “Prototype” sounds like your day-1 CD; your early 80s music. Is this what you meant earlier when you said re-inventing yourself? : You’re absolutely right about that, from the standpoint that what we’re really going after is exactly what I was going after when I started my group which is to just come up with these real funky tunes that are harmonically and improvisewise are very jazzy but are still melodic in a way that the average listener can really enjoy too, as well the jazz fan. That’s exactly what we’re going after. I have a really good team, the guys in the band and some of the guys we work with; like David Mann, he does the horn arrangements. And then Paul Jackson, Jr. and Michael Thompson; those are the guys that I used for a lot of the guitar parts, who were both incredible. Lately I’ve been working with a fella named Peter Mokran. Let the music take you… SmoothJazz Magazine | 45

Feature Festivals He does some mixing, I do some mixing. It takes all these people who are experts in these different areas to make a record like that, and luckily all those people are so good and they really contribute; it’s just so much fun to just let them be creative and see what they come up with. It’s a collaborative thing and we just have a great team of really cool people who are really musical and they really enhance what I do and what we all do and hopefully the sum is greater than the parts. SJM: Being considered the Godfather of Jazz Fusion, do you wear that title proudly? : When I started my band, really what happened was, I was living in the Portland, Oregon area and there were a lot of places to play and country/rock was real popular back in those days, back in the 70s, in that town. So I just wanted to let people know this is not country/rock that you’re coming to hear us play, this is fusion music that we’re doing. It was to let people know that it’s something different happening at the club tonight. By calling it The Jeff Lorber Fusion, some people think that because I did that, that it gave me some kind of ownership over fusion jazz or something. But really, I think we’ve contributed something, but I think at the same time, there’s a lot of other people who deserve a lot of credit too. Horace Silver is a guy who made his own kind of funky jazz ; Ramsey Lewis; Herbie Hancock; and even people like Earth Wind and Fire, who are an R&B group but they incorporated jazz into what they did quite a bit. There’s so many that con-

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Feature tributed. Music’s like this big thing with a lot of moving parts that take all these various styles and ingredients and combine them all in different ways; the things that really become popular and successful become very influential for everybody. SJM: What makes it fusion? What’s your personal definition of fusion? : When jazz fusion first started in the late 60s and early 70s, it was really kind of like what Miles Davis was doing. He would have an electric guitar player in the band; he would have all these heavy funk rhythms and stuff like that, then all of a sudden he added to what he was doing. It was very experimental then. It started out just being a lot of different ingredients, which is where the word fusion comes from. But then, there was a next generation of jazz fusion which I think what my group was and in a way Spyro Gryra and Pat Metheny were, which was more melodic and included more R&B/ instrumental/pop music with a lot of jazz overtones. Of course Weather Report was another group incredibly creative and made a big impact. So anyway, that’s sort of the way I look at it. SJM: Were you classically trained on the piano? : Yeah. I did study classical music. I’m one of those people who has a very good ear and so I’ve used that, rather than learning how to read as much as I should. I do read music but I’m more ear based. Jazz improvisation is really fun because you’re creating stuff in the moment. You have to really be in tune with your other band members in listening and interacting. That’s what’s really fun about it, for the musician and the listener. There are composed sections of the music where everybody’s playing the same thing together and it’s planned out, Let the music take you… SmoothJazz Magazine | 47

Feature and then there’s other parts that are very improvisational. There’s a certain element; you’re on a voyage or exploration; experiment trip. As musicians, we really enjoy that and when we put ourselves into that position, we try to make the most out of it. You can’t walk into a show and not rehearse and not have practiced; you have to have your act together, technically, to make sure you can take advantage and do your very best. SJM: You’re working on new music. What can you tell us about that? : We’re almost done with the new Jeff Lorber Fusion album, and it’s gonna be titled “Impact.” I’m pretty excited about it. Also, simultaneously, I’m not as far along, but I’m working with my partners on a new Jazz, Funk, Soul record with Paul Jackson, Jr. and Everette Harp. Everette’s a very meticulous kind of guy. I like to work fast and he likes to work slow; we’re opposites. So that’s one reason that project is taking a little longer to get going. So that’s something else that’s in the works. I asked Jeff why he was up so early on this morning and he said he’s up by 4 a.m. and at the gym by 5; the early bird gets the worm. I guess that could be part of the formula for his success, and what a success! SJM looks forward to his new music release and wishes him nothing but the best for 2018 and continued success; and of course, more Grammy wins.

Mr. Lorber, once again, congratulations on your Grammy! 48 | SmoothJazz Magazine

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Congratulations!! 2018 Grammy Winner BEST JAZZ VOCAL ALBUM Cécile McLorin Salvant “Dreams and Daggers” 2018 Grammy Winner BEST JAZZ INSTRUMENTAL ALBUM Billy Childs

“Rebirth”

2018 Grammy Winner BEST LARGE JAZZ ENSEMBLE ALBUM Christian McBride Big Band “Bringin' It”

CD Review By: Shumon Hutchinson

Bob Holz took a couple of his current band members of A Vision Forward, a very special guest, Stanley Clarke on bass and featured artist Randy Brecker on trumpet and other highly talented artists to create his third album titled “Visions: Coast To Coast Connection.” Holz, being a highly acclaimed drummer and fusion jazz composer was quoted as saying he was honored to record with Stanley Clarke as his music has been a strong influence on him. Having won several Grammy Awards and composed over 70 movie scores, legendary bass guitarist Clarke guest appears on this release to bring funk, rock and pop to the jazz fusion table that they both are so comfortable playing in. Including A Vision Forward members Ralphe Armstrong on bass, Billy Steinway on keyboard and featured trumpeter Randy Brecker this album showcases eclectic interplays between the instrumentalists as they fuse jazz with a

quite a large spectrum of other musical genres. Every song on this album speaks a different musical voice. “Richie’s Trip” has a very electric sound with distinct mixes of pop and rock music while “Pink Fur” is a very funk infused piece. You get Latin jazz influence as explained in the title of “Spanish Plains” and a heavy reggae feel in “Jammin Man” which features the jazz fusion skills of Stanley Clarke. “Espresso Addiction,” which is dedicated to the late Larry Conyell who worked with Holz for three years is the only piece with vocals, sang by Dave Porter, and offers a nice, heartfelt tribute. The appropriately titled “West Coast Blues” is a straight blues and rock shooter and “Light In The Dark” is a high energy, flirty sultry number.

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CD Review I personally love a live piece, which in this case is “Flat Out,” which was recorded live at the Catalina Jazz Bar & Grill in Hollywood, CA. This song brings in the guitar talents of Chet Catallo and the trumpet strengths of Jeff Jarvis and really peaks the album as does “Next In Line,” which also features Stanley Clarke and is one of those tracks you never want to end. Although jazz music has made a mark in the music world and is appreciated by multitudes of enthusiasts it’s nice to see musicians such as Holz and Clarke take a daring approach to mix it up and keep it lively and newly relevant. The inspiration that Clarke lent Holz is obvious in his composition of music. This album delivers and continues to help jazz fusion composers shine.

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CD Review Festivals By: Keivu Knox Saxophonist David Davis’ latest release is entitled “Dig This” and after one listen, it is pretty easy why he chose this title. From the varied sounds, styles, vibes and tempo, Davis is able to create a project that has something for everyone. He is just as comfortable in lanes that are familiar to him as he is in expanding in different sonic territories. The opening track on this album is also the title track, and is a straightforward smooth jazz cut that should easily find its way to radio. Drummer Isaac Monts delivers a firm pocket to allow Davis to showcase his Alto sax in a fun way over a nice melody. “Blue Skies” is next up to bat, and finds a cool mix of programming and organic musicianship that is effective is crafting a nice midtempo number. In that same vein is “Chick Flick” which also benefits from some impressive violin work by Christian Howes. It is at this point of the album where Davis takes the training wheels off and begins to expand the overall album’s sound. “Tell Me” features Elizabeth Dellinger on vocals (who also co-wrote the tune with Davis.) and has some classic R&B undertones complimented by Davis and among others, Sly Turner on Bass. “I Need Your Love” picks up the pace over a futuristic beat while Jasleni handles lead vocals on the track. Pushing the musical envelope even further is “Music Chose Me,” and “What Love Is.” “Music Chose Me” not only features Davis on sax and Dellinger on vocals, but features Jordon rapping over this jazz/trap hybrid composition. It works very well and fits in the concept of this project. “What Love Is” features L. NuNuu Smith providing spoken 54| SmoothJazz Magazine

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CD Review word poetry over a sweeping groove aided by Davis’ layering of sax, Raymond Clarke on guitar, and Corey Claiborne on bass. David Davis has worked with a cross section of who’s who in the music industry, and this exposure translates well in this project. “Dig This” succeeds in multiple genres, without sacrificing musicianship or artistry. Once you start digging into this album, you will not want to put down your shovel!

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New CD Releases 2018

Greg Adams East Bay Soul "That's Life" 04/21/18 BUY

Joe Lovano and Dave Douglas "Soundprints Scandal" 04/06/18 BUY

Janice Kephart "Cherokee Voices" 03/26/18 BUY

Lindsey Webster "Love Inside" 03/16/18 BUY

Andrew Lloyd Weber "Unmasked: The Platinum Collection" 03/16/18 BUY

Lao Tizer "Songs From The Swinghouse" 03/16/18 BUY

Bill Frisell "Music Is" 03/16/18 BUY

Marion Meadows, "Soul City" 02/16/18" BUY

Delfeayo Marsalis “Kalamazoo (an Evening with Delfeayo Marsalis)” 09/29/17

CD Review By: Althea Turner

syn·er·gy /ˈsinərjē/ noun The interaction or cooperation of two or more organizations, substances, or other agents to produce a combined effect greater than the sum of their separate effects. More than just a nice album title, “Synergy,” and its contained song tracks represent an amazing vibe only Rob could piece together with his unique string arrangements interlaced with the sound of the sax. With just one listen, I was drawn into this Zen space, filled with peaceful expressions of sound that surely must emanate from his happy place. Each subsequent track, “Two Much Fun.” “M&M,” and “Crying With You” seem to build up this amazing compilation of audio ecstasy, becoming this tsunamic compilation from all these artists into the title track itself “Synergy”, an interaction or deliberate cooperation of two or more likeminded elements. “Hope” is another track appropriately named. You’ll find two tracks with this same title, one is a dance version (bring the beat in!) and the other a softer version; same energy, just softer. Awesome 58 | SmoothJazz Magazine

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CD Review cisely. You’ll have to listen and hear. “Synchronicity” is a favorite of mine, primarily because I love to hear music that takes me through a musical journey (I know, so cliché’). However, this journey had me somewhere far, far away where everything was still and quiet. I believe we all should take a trip and visit a place like that; a place where there’s peace and happiness. “Motion” is another favorite, not because of the music, per se, but rather the artistry of the musician. Rob finds his way through the strings as though it’s nothing. Every single chord played is so precise on this track; explains why he’s one of the jazz world’s most talented guitarist. By definition, the very essence of this CD is so beautifully crafted, the hearers are left with just one option…. To appreciate the time in which it was heard, and acknowledge the moment in which this creation was expressed.

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CD Review By: Robin Munro

Released: September 01, 2017

When asked to review the CD, Timeless, I was thrilled to find out Zemill resides right here in my backyard, Dallas, Texas. What makes him so unique? His talent as a poet, lyricist, and musician, the ability to wrap all of it into his music; makes him distinct. The artist first track on Timeless titled “Come Along and Roll with Me” did just that. It was the ultimate joy ride with his sleek and sexy poetic canvas he painted and the background percussion enhancing each expression to his words; a noteworthy song for an intimate club setting. It was quite hypnotic. One of my favorites was “Mellow Waters”. Zemill’s slinky voice made you believe that you were dancing over water. The title and the song were a perfect fit for its very mellow aura reinforced by the ivory keys from the piano. “Lovers Holiday” also one of my favorites had a subdued yet sultry flow with the saxophone in your ear made you envision you were on a holiday for lovers. I actual listened to this on Valentine’s Day the official holiday

“lTimeless” CD now playing on Willies Café Sunday Show in Germany….

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CD Review for friends, lovers, and married couples, you get my drift. Zemill delivered with “Over and Over”. He was convincing with his poetry in motion creating a picture of a woman that was the flicker in the flames, and after his spoken words the chorus chimed in “I am going to love you over and over loving you again”; it was very nice. The heartfelt expression of words and thoughts with “I Love my Baby” were on point when he spoke the words that his baby is the oxygen in the air that he breathes. Now “Cat Woman”, this track made me immediately think he wrote this with Halle Berry in mind as the silhouette of the night. “Meow!”

“lTimeless” CD now playing on Scorp Radio...

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Festivals CD Review The messages in “Undying Love” spoke of undying commitment and what he would do to you because his love was so deep nicely articulated through his artistic word. One of the bars in the background instrumental had the sound of Whitney Houston singing “I’ll do it naturally” from “I’m Every Woman.” It was very effective. Finally, his last three tracks with the last track “Tell me How You Like It” were showcasing his vocals, but his real strengths were in his ability to connect with listeners through his poetry and prose.

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CD Review By: Sheila E. Ross Speaking right from the heart of an east coast girl that immediately fell in love with the west coast sound of the early 21st century, indisputably grew to love that cool, crisp, inviting, heart-tugging, heart-warming California sound. Honestly speaking, it wasn’t until this west coast vibe reached eastward in the early 2000’s that she began to memorize music for the first time ever. Today, that same ‘California’ sound ("Play") continmastermind releases his new CD, simply titled, “Play” on March 16. Fondly known as Nils, and originally from Munich Germany, he motivates us ‘Straight Down the Line’! It’s fun! It’s inspirational! It’s cool with a Norman Brown ‘West Coast Coolin’ sound. It’s Nil’s guitar breathing life outward, stimulating us into another productive day! This is easy! All we have to do is, “just walk the line” (‘Straight Down the Line’). ues to echo east, reverberating from the cool-spirited west coast attractive sound ‘Coast to Coast’ and ‘We Got Love’ of guitarist, Nils Jiptner. launches the twelve track CD with a total of ten tracks written by Nils himself. Originally inspired from both rhythm Immediately, you hear the sound of Nil’s players and funk, this Paul Jackson, Jr., singing guitar and Gail Jhonson’s piano Led Zeppelin and Deep Purple inspired accompaniment which absorbs our 64 | SmoothJazz Magazine

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CD Review

P h o t o s b y :

J ü r g e n R e i s c h

attention, picks us up and takes us on a musical journey, ALL YOU CAN DO IS ‘Sway’ with the String section of Dov and the Lovestart strings. The sound swells soothing, appealing, uplifting, and commands our attention. The absolute perfect vocal trio provides the celebrationsound of a newfound love through the voices of Johnny Britt, Eddie Brown & Clydene Jackson. This impeccable trio yields joy, liveliness and illuminates a happy component here, a vocal lovecollaboration that comes through crystal clear accompanied by Nil’s guitar! ‘So Get On Up’ and amplify your groove with J-J Horns and Johnny Britt on trumpet, together the two with Nil’s guitar collaborate with accuracy and a beautiful alliance that works! Nil’s singing guitar takes us California-home with ‘Fire of My Heart’, a heart-warming, sweet, tug-onyour-heart tune with the beautiful spirited vocals of Johnny Britt, Clydene Jackson, Kathyrn Bostic, Eddie Brown, Emily K, and Nils himself, “take me higher” and “give me your love,” “your my fire, my heart’s desire, give me your love, take me higher.” Let the music take you… SmoothJazz Magazine | 65

Concert In Photos

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CD Review By: Avzal Ismail Deeply creative people are compelled to create works of art that express and explore the mysteries of existence, through the lens of the creative talent that they have been blessed with. One such creative spirit is Kurt Elling, one of the most innovative and well-respected jazz vocalists and poet/lyricists on the scene today. Elling seems to inhabit the lyrics of every song he sings, telling each story as if it came directly from his soul. He sometimes sets poems to music, or draws inspiration from great poets and philosophers like Rumi, Georg Hegel, and JĂźrgen Habermas, whose works he refers to as "cathedrals of thought." Elling, began his singing career by sitting in with pros on the Chicago jazz scene in the early '90s, while simultaneously pursuing a graduate degree at the University of Chicago Divinity School. Blessed with a three-octave range and an innate ability to scat and improvise, he got signed up by Blue Note Records, and his career took off placing him squarely into the pantheon of the greatest jazz vocalists of all time starting with Satchmo and continuing on to the likes of Sinatra, Nat Cole, Mel Torme, Joe Williams, Jimmy Borges and of course Mark Murphy among others. Elling who is probably influenced the most by the great Mark Murphy stands alone with a unique voice and is regarded by many as the preeminent male jazz vocalist on the planet today bar none. Let the music take youâ&#x20AC;Ś SmoothJazz Magazine | 67

CD Review Now, with 14 albums to his credit, a dozen Grammy nominations — he won for best jazz vocal album in 2007, he once again embarks on a collaboration with Branford Marsailles on his 2018 offering “ The Questions.”

but a number of commercial pop tunes rearranged to suit his style reminiscent of Herbie Hancock’s A New Standard. Backed by a superb band with brilliant, soulful all around performances, this is definitely Grammy nomination material and is an album worth savouring on a cold winter’s night sitting at a warm fireplace with a bottle or fine red wine, and like that fine red wine, this album gets better and better with each subsequent listening.

On this new superb ten track album, ( full personnel and recording details were not available at the time of this writing) Elling pays homage to various artists that have had a major influence on the global music scene. From his opening track “A hard rain’s a gonna fall” which was composed by Bob Dylan, Make sure that you give this one a listo the closing evergreen “Skylark” by ten..I’m pretty sure you will want to add Johnny Mecer, this album once again shows why Elling stands head and shoulders above the rest.

THE QUESTION

In between these two songs, he covers material written by as varied a group of composers as can be, Jaco Pastorius, Joey Calderazzo, Lenny Bernstein, Paul Simon and more. It is notable that Elling has chosen to cover not only material from the Jazz songbook 68| SmoothJazz Magazine

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Lifestyle

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CD Review By: Maria L. Lewis

Chris Standring is celebrating 20 years of an exciting Music career, and you can bet that Standring has more yet under his belt to bring to the world of Music. The multi-talented British born, Los Angeles based composer/ producer’s latest album is titled “Sunlight.”

Standring became a popular force in Contemporary Urban Jazz with catchy, ubiquitous R&B driven hits like “Cool Shades,” “Hip Sway,” “Ain’t Mad Atcha," and “ I Can’t Help Myself.” 2017 was an extraordinary year for Standring receiving a total of three #1 Chart Hits to his credits. He has played with bassist Jimmy Haslip to drummer Chris Coleman, and many others- definitely not to be considered a light-weight in the Jazz arena. So let’s dive in! The first track of the album is “Static In-The-Attic” an Urban Jazz experience adding some static electricity sounds, and “wah-wah” vocals in the song’s closing reprise. Let’s take a ride through the cosmos with “The Revisit” featuring the legendary pianist Bob James with its groovy, mystical, and palatial feel. “No Explanation” features the smooth and soulful Mica Paris. A high-spirited tune, topped off with Mica’s tight vocals; while “Moon Child” paints a free-flowing dreamscape that will teleport you to another time and space. The track “Principle-of-Pleasure” is a composition with a display of skill with its complex progressions, and rhythms. “Sunlight” is a collection that creatively reveals an Artist perfectly comfortable in his own skin. Strandring’s thoughts on the album is “The thing I like most about “Sunlight” is that it’s an album where you can just turn the musical faucet on and everything flows effortlessly and naturally. There’s nothing forced, everything breathes and every element fits seamlessly together.” Chris Standring’s new album release will be March 23rd 2018 worldwide! Let the music take you… SmoothJazz Magazine | 70

Smooth Jazz

Magazine

CD Review By: Carolyn Beverly

ERIC VALENTINE Be on the lookout for cd release titled “Velvet Groove” by producer and musician Eric Valentine.

This cd release is everything! It is intentionally packed with thirteen tracks musically designed for the music lover in you to love, reflect and groove on while meeting your musical needs leaving you with a forever smooth Velvet Groove from beginning to end. “Velvet Groove” is intimately layered with jazzy, soulful sounds amazingly layered with strong vocals adding to that special musical toping. You know like a toping with a cherry on top of your favorite sundae. Velvet Groove delivers that musical madness for that music you love to hear. It has a touch of be-bop leaving you bobbing your head to the beat of your feet delivered by Velvet Groove. If you need proof to the truth take the first track “Back to the Groove,” it will take you on a serious jazz trip landing you on track (2) “E Love,” which will surely put you in the mood for an evening of grooviness. And, the groove continues with track (3) which is the title track, ”Velvet Groove.” The other tracks included on “Velvet Groove” are equally holding fast to that groove. Other tracks include “Back in the Day”(4), “Mr. Z” (5), “That Guy”(6), “Velvet Groove Reprise” (7), “Mi Sol” (8), “Tis So Sweet” (for Wayman Tisdale) (9), “Joy Inside My Tears” (10), “Sixth Sense” (11), Icy Inside My Tears (reprise) (12) and Reflections (13). “Velvet Groove” is loaded with a huge “A” List of 72| SmoothJazz Magazine

Let the music take you…

CD Review of credits so, many that there is not enough room to list all of them. However, there are some major names included on the list of credits. Eric Valentine recorded, produced and mixed all songs on this cd assisted by Carlos Flood. Velvet Groove is an amazing cd but do not take my word for it get your own personal copy today! I am so sure you will not be disappointed.

SONGS: 1. Back to the Groove