CD, Concert and Festival Reviews...
SmoothJazz July / August 2015
TM
Magazine
ls Smooth Voca
KENNY LATTIMORE
& MAYSA Nelson Rangell 2 New C
Ds
Summer
s l a v ti s e F PICKS G
REMEMBERIN
B.B.
KING
SAX LADY
JESSY J
KIRK WHALUM
Making Gospel Smooth
36 51 25
Feature 25 Nelson Rangell
COVER
Getting Back to Basics
21 Maysa
Back to Love
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11 Kirk Whalum Making Gospel Smooth
Festival Guide Concert Review 34 New Orleans Heritage Jazz 15 Jessy J CD Release Party Festival
36 Blue Note Jazz Festival 40 Hampton Jazz Festival 45 Asian Heritage Jazz Festival Cover Photo By: Damyion Robinson
18 Kenny Lattimore Anatomy of a Soul Singer 32 With Joshua Redman THE BAD PLUS
Remembering 6 B.B. King King of the Blues 9 Bruce Lundvall President: Blue
CD Releases 49 New CDS CD Reviews 52 Robert Glasper - Covered 54 Jessy J My One And Only One
58 Lin Rountree Soul Funky
59 David Benoit 2 In Love
TOP
SmoothJazz Jazz Art Jackson—Publisher/CEO May /Lynn JuneCurtis 2015 Copy Editor Darcella Doris Gee- - Research Manager Mann—Graphic Artist
JULY 4
Contributing Writers Shena Eiram
Charlotte
James Shatley Mary Williams Dana Brenklin Rosemarie Howard
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ED R E B M REME
1925 - 2015
Remembering...
L
egendary Blues artists dies at 89. Birth Name Riley B. King born September 16, 1925 near Itta Bena, MS., died at his home 5/14/15 in Las Vegas last night. The
owner of the most GRAMMYs in the Blues category 15’ had suffered from type 2 diabetes over the years. B.B. King was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 1987, where Sting of the Police made the induction speech. He is a founding member of the John F. Kennedy Performing Arts Center. B.B. King received the Grammy "Lifetime Achievement Award" in December of 1987 at the first televised awards in May 1990. B.B. Has received four honorary doctorates: Tou-
galoo (Mississippi) College (L.H.D.) in 1973; Yale University (D. Music) in 1977; Berklee College of Music (D. Music) in 1982; and Rhodes College of Memphis (D. Fine Arts) in 1990. In 1992 he received the National Award of Distinction from the University of Mississippi. On May 3, 1991, "B.B. King's Blues Club" opened in Memphis, and also at the Universal City Walk in Los Angeles in 1994. B.B. has mixed traditional blues, jazz, swing, mainstream pop and jump into a unique sound. His singing is richly melodic, both vocally and in the "singing" that comes from his guitar. In B.B's words, "When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille". - See more at: http://www.bbkingblues.com/
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Remembering...
B
ruce Lundvall, Longtime BLUE NOTE President, struggled against the effects of Parkinson’s dies at 79 5/19/15. With a music industry career spanning more than 50 years, under his stewardship Blue Note established itself as the most-respected and longestrunning jazz label in the world. He presided over a prosperous nearly-30-year period of the label's history, reaching commercial heights with artists including McCoy Tyner, Dianne Reeves, Terence Blanchard, Joe Lovano, Cassandra Wilson, John Scofield, Freddie Hubbard, Jason Moran, Robert Glasper, Norah Jones, Bobby McFerrin, Al Green, Amos Lee, Ambrose Akinmusire, and many others.
Bruce with Herbie Hancock
In “Bruce Lundvall: Playing by Ear,” a biography by Dan Ouellette published by ArtistShare last year, Mr. Lundvall recalled his three-pronged strategy for the label’s revitalization: “We had an important catalog, I could resign original Blue Note artists who were still alive and vital, and I had the opportunity to bring in new talent.”
Cassandra Wilson Let the music take you… SmoothJazz Magazine | 9
Festival Guide
May 16 & 17
COVER STORY By: Mary Williams
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It’s been over three decades since Grammy award winning Kirk Whaulm arrived on the music scene with his debut album “Floppy Disk” in 1985 followed by “And you Know That!” in 1988. It seems like yesterday to be honest,” says Kirk Whalum after just performing at the annual Red Cat Jazz Festival in Galveston, TX. Kirk got his first big break in 1983 when his band opened for jazz pianist and composer Bob James who produced Kirk’s first album. Although sales for the albums were modest, each helped to build Whalum’s reputation with critics and jazz lovers. Recorded and filmed live at the Christian Cultural Center in Brooklyn, New York, the fourth installment of his “The Gospel According to Jazz” series and has transformed the concept of sharing the gospel truth through instrumental music. This album eloquently demonstrates the deep connections between Gospel and Jazz. Whalum said about seeing the album unfold live is something special. The doubledisc album, Whalum teams up with many of his friends such as Rick Braun and Norman Brown of “BWB”; brother Kevin and nephew Kenneth Whalum III as well as special guests Marcus Finnie, Doc Gibbs, Shelea, John Staddart, Gerald Veasley, Braylon Lacy, Ralph T. Loften, Kevin Turner, and Kortland Whalum. “Music keeps you young” says Whalum as well as “remaining humble to your gospel roots.”
Kirk and Kevin Whalum
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“This album eloquently demonstrates the deep connections between Gospel and Jazz.“ “The truth of the gospel is to share with people, God wants us unique for a purpose in making a joyful and skillful noise unto the Lord, inspire your-self.” So how many more chapters will there be of “The Gospel According to Jazz”? “I’m 56 and turn 57 on July 11 and I’m grateful for my life and spending time doing what I love, which is making music”, Whalum expresses. “The next chapter is not promised but we know who holds the future.” His good friend George Duke, whom he pays homage to in this album, said that he would be there with him when he started making the album, and is now gone. This spectacular album project is an invitation to pause, hear, and see, but above all, it’s a tribute album in a gospel centric way. According to Whalum, “The Gospel According to Jazz IV” is an album of music based off the culmination of music put all together. “The Gospel According to Jazz IV” is truly a master musical piece. According to Whalum, he had no record company, no money, or resources when he had the idea to make the very first album but God had a plan otherwise. “I try to let the music dictate because God speaks to all of us differently.” Whalum says that he has had nothing but extraordinary response to the album. Influenced by the Stax sound and his musically inclined family, I asked Kirk about the Stax label and the Stax Museum of American Soul Music, “I am thrilled to be included in Stax’s comeback and the label’s rebirth.” Kirk recently took on the duties as president/CEO of the STAX Music Academy and the STAX Museum of American Soul Music. In March 2015, Let the music take you… SmoothJazz Magazine | 13
Concord Music Group released Stax 50th Anniversary Celebration. Kirk explains, “I have a sincere love for this musical legacy, for the heroes who forged it, and for letting the world know that we are dedicated to taking it into the future.” According to Whalum STAX’s mission is to nurture the next generation of soul communicators. Kicking off in New York City on March 16, Kirk embarks on a multi-city tour promoting the release The Gospel according to Jazz and screening docu-musical at churches, theaters and film festivals. Kirk Whalum’s three-decade career gives him a range of inspiration that continues today to offer him fresh ideas for the future. The heart of The Gospel According to Jazz IV is an invitation to see and to hear in expansive ways. The final track “Love is the Answer” not only completes the album, but sums it up and describes all the previous and subsequent chapters to come simply, and profoundly.
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Review By: Rosemarie Howard—Photos By: Ronda Dixon
CD RELEASE PARTY Beverly Hills, CA to Seal Beach, CA With the release of her latest CD “My One And Only One,” Jessy J entertained both Spaghettini’s with two CD Release Parties. The essence of her music passionately captivates the audience" The incomparable instrumentalist Jessy J gave an electrifying performance this Saturday evening in Beverly Hills. Her opening selection "Back to the Basics" buoyantly embraces the drum paying tribute to the Mother land of Africa breathing fresh sounds of an upbeat soulful composition.
Seal Beach, CA
Jessy J takes her audience on a journey from her travels in Africa harmoniously blending jazz and blues leaving us uplifted. The soft spoken artista's energy resonates her compassion for learning all harmonies. Throughout the night she engaged the audience in song participation, allowing her fans to sing. Savoring the moments of a night filled with historical sounds, you could
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honestly feel the music. She took you to Africa and Cuba. The visualization alone captured the palm trees, the clear water and the sun. Her selection "Paraiso Magico" exposed us to the flute, the instrument magically portraying solitude along with vocals making her one of the jazz sensations to keep an eye on. The fascination with both cultures became the inspiration for her latest CD "My One and Only One." This gracious maestro shared a stage with a band, complimenting her poise and perfection playing tenacious intonations, we were hypnotized by each instrument. During each intercession, you would have to catch a breath in preparation for the next surprised selection. And there it was, her big
hit from 2011 "Hot Sauce." audience. A humbled Jessy A song that displayed her J shared her life and told her story from her upJessy J Website bringing, thanking family, friends and fans for the support and the love exBUY pressed. There is so Released much magic when she 5/26/15 plays the flute, the saxophone or even when she is gift and labeled her a sax- singing. Multi talented, ophonist perfectionist. she is a poet's sounding Jessy J tells the story of a board. She commands the boy who dances through audience and they listen life in the song "Tango with ease. How can you Boy," another selection spell success, Jessy J! Her from her latest CD. "We heart spoke to us clearly, all know Tango Boy!", you jubilantly with inspiring could hear laughter in the Latin, Soul, Rhythm and audience. If there was a Blues and Classical sounds. dance floor, you could had She personifies music made a bet there would greatness and she is still have been empty seats. learning soaking in Her instrumental selection knowledge from her Toni Braxton's "You're teachers and other great Makin Me High", exposed artists. us to the rhythm and Brava Jessy J... blues side. You could hear words whispering in the
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Beverly Hills, CA
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K E N N Y
L A T T I M O R E
By: Dana Brenklin
Photos By: Dana Brenklin
BUY CD
Anatomy of a Soul Singer
Washington, D.C. R&B crooner, Kenny Lattimore, recently dropped by the Grammy Museum in downtown Los Angeles at L.A. Live, to discuss his new album, the music business and give an intimate performance to a crowd predominantly made up of women.
The night with Kenny started with an in depth interview about urban/ adult music. Kenny took us on a journey of his life in the industry. As in any relationship, Lattimore has gone from being in love with music, to resenting the music business, to falling in love
with music again today and he had no problem sharing his vulnerabilities and strengths with the crowd
Kenny is a classically trained vocalist, well spoken man and has decided to do what many actors and actresses are doing these days and that is take the bull by the horn and control his own destiny.
Reading, PA 18 | SmoothJazz Magazine
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“if you want to keep music alive, loving the music and performing it is the key.” He’s recently started his own label and he’ll be the first to tell you that was not the dream but after countless attempts of record executives trying to make him into something he is not, he’d had enough. Kenny has studied his craft and the business and knows what urban/adult music lovers want. Lattimore reminded lovers of 90’s soul music what it was like to feel that physical copy of music, of art in your hand. What it was like to read the album credits from beginning to end. How those of us born in the 70’s want to know who wrote the songs, who produced them, who played what and who’s singing background. Kenny knows urban music lovers want to feel like they are a part of the experience. And so was the case on a Monday night in April, inside the Clive Davis Theatre. Lattimore serenaded the crowd with classical snippets & Luther imitations as he took us down memory lane. Kenny sang tracks from his new album “Anatomy of a Love Song,” stripped down with only two background singers and one acoustic guitarist. No dancers, no big band, just a man, his music as he laid his heart out for public view, before delivering his signature hit “For You.” Kenny’s true talent was shown and it seems he had just as much of an amazing time performing as his crowd had witnessing. Some ask what happened to music, some act as if music, soul and real art have died. If Lattimore is any indication, soul is alive and well. According to Kenny, “if you want to keep music alive, loving the music and performing it is the key.” Let the music take you… SmoothJazz Magazine | 19
2 NEW CD’S BY WaDELL JONES
READ THE REVIEW
GOSPEL JAZZ SOUL
“Wa'Dell puts his true virtuosity of musical talents on display from two different genres, making these a must have. Record Label: Rock Of Ages Records http://www.wadelljones.biz Brian Bromberg Paul Taylor
M A Y S A
BUY CD
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FEATURE By: Carolyn Beverly
Photos By: Westley Beverly
Celebrating twenty years as a solo artist, Maysa, Smooth jazz artist and former lead singer of Incognito is still going strong. And, if her latest release “Back 2 Love” is any indication she will be around a long, long time. The release of “Back 2 Love” is a display of who Maysa is, she says in the interview after her great performance. “I always wanted to be a singer who could pretty much sing anything, adding that is what I trained for.” Her training in classical music at Morgan State University helped to set the pace for her successful career in the business of music. Maysa, says that she did have thoughts of becoming an Opera singer for a minute but what makes her heart beat is jazz, jazz-funk and soul. Maysa expands her musical taste on Back 2 Love by adding a combination of jazz, jazz funk, soul and a bit of pop that is sure to be explosive on this cd that is being released on May 26th. “I went out of the box on the album,” adding “a lot of people don’t 22 | SmoothJazz Magazine
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“my last CD “Blue Velvet Soul” is close to my heart because it received my first Grammy Award nomination.” expect the song “Radio Play That Song,” it has a pop Rhianna vibe. It felt so good and I really wanted to record it.” And, she did and she kills it! It is simply amazingly done. She believes that taking a chance is something good if it feels good inside. And, under the direction of God. Her prayer is for longevity in the business so far she has proven the test of time. There are twelve tracks on Back 2 Love eight of which are written by Maysa. I asked her did she have a favorite. She laughed saying, “No, I can’t,” adding “They are all my children. I love them all the same.” However, she did say that her last CD “Blue Velvet Soul” released June 2013 is close to her heart because it received her first Grammy
Award nomination but Back 2 Love gives her a freedom as a artist. She teams up with Stokley of Mint Condition on “Heavenly” and Phil Perry R&B, Jazz icon on “Last Chance for Love.” Producers include JR Hutson (Jill Scott, Earth Wind & Fire) Stokley (Mint Condition) Lorenzo Johnson (Ledisi). This was my first time catching Maysa’s performance and was very impressed with her as well as the interview. So, I asked the question “Who is Maysa”? Her answer was just simply “I am me,” she adds “A singer from Baltimore. A mother to one child, a son that I love with all of my heart. Just a regular person who likes to sing and make people happy with BUY my music.”
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By: James Shatley
In-depth Interview with Nelson Rangell With the release of his latest two CDs "Blue" and "Red" getting back to the basics was the focus of these two works of Art as the passion of the music from the 70's and 80's provided that most can relate with.
SJM: Tell me a little bit about the process used when you decided to record the two albums, Red and Blue. What prompts you when you start the process? What's your muse? What motivates you to do something like this?
time, iconic artists like Grover Washington Jr, David Sanborn, Bob James, the Brecker Brothers, George Benson, Lee Ritenour, Pat Metheny, Larry Carlton, Al Jarreau, Spyro Gyra etc. were putting forward a very dynamic brand of contemporary jazz and pop instrumental music. I feel those musicians made a huge impact in the mid and late '70s and throughout the '80s. It was an amazing period. A lot of great music happened that hugely inspired and influenced many players that followed.
Nelson: I was fortunate; generationally, that I experienced the tail end of a very dynamic period in both contemporary jazz and commercial jazz. I feel what I listened to and got to participate in as a student and young musician in the 70's and 80's, was an especially wonderful period in terms of popular jazz, whethSJM: It's more. er it was fusion jazz, commercial jazz or whatever name it went by. During that Nelson: Yes, there were some big in26 | SmoothJazz Magazine
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strumental hits like Grover Washington's “Mister Magic,” Chuck Mangione's “Feel’s So Good,” George Benson's “ Breezin’,” Spyro Gyra's “Morning Dance,” or Weather Report's “Birdland” to name a few. When you think about some of the tunes from that era, quite a few became mainstay tunes for popular, commercial jazz. It was also a period where within those tunes, there was a lot of improvisation going as a focal point. I think that was really important.
came up and what inspired me musically, Tom Scott & the L.A. Express, David Sanborn and the Brecker Brothers, the Crusaders. All of the stuff was just hitting me hard and still does. SJM: Tom Scott, he was amazing, just a terrific artist.
Nelson: All of this music was a big inspiration for what followed. For me, I always felt a real affinity for that particular era. This was the kind of commercial, contemporary jazz that I was most Also during this time, pop hits by artists drawn to. With my CD "Red", I wanted to do a recording that I felt had enerlike Billy Joel, James Taylor, Gino Vannelgetic and accessible songs, where the li, Paul McCartney, Cameo, etc. conimprovisations would factor importantly tained really important instrumental so- within the material. I chose to record 2 los. A lot of tunes featured well-known CDs because the flute is an important studio instrumentalists and contempo- part of who I am musically and, in tandem with the sax, I think if there is mayrary jazz stars. The saxophone solos on be something that's a little different or a lot of recordings, such as “Just The unique about me, it’s that! So I decided Way You Are” by Phil Woods or “Don’t to record a CD of all flute tunes as well, Let Me Be Lonely” by Michael Brecker, titled "Blue", to complete some part of were integral parts of the song…Iconic the “whole idea” I had in mind. "Red" and "Blue." stuff. It was a time that I think was the well spring for the jazz influenced pop I've often felt on my past albums, that instrumental music that followed; and, some of the music I liked the most were what ultimately became the smooth the flute tunes. But they never got jazz that followed later. I was mostly a much notice because there would only product of this period in terms of how I be a couple of them on the record and Let the music take you… SmoothJazz Magazine |27
they weren't the emphasized commercial material. I wanted to give that side of "the musical coin", it’s day. That was important to me and I'm glad I took the opportunity to do it. As far as I can tell I wasn't really hearing anybody else trying something like this so I thought it was good to try something sort of new. There’s some pretty diverse material on Blue and Red which I hope will prove to be a strength of the recordings as a whole. SJM: Nelson, having mastered both the sax and flute, I am curious. I would assume that the keys on each instrument are somewhat similar just based upon what I know. Nelson: They're similar, but obviously, they're distinct voices. The instruments cover different ground. The voices communicate different things. For me, it has been very important to play both. I don't feel complete in terms of one without the other and I generally don't play a show without both. The question is, is the technique the same? The flute and saxophone are quite related; and so, in terms of the woodwinds, it's not an enormous jump. In terms of certain elements, the technique or the fingerings from flute and saxophone they're similar. A lot of saxophonists double on the flute. To really be good on one instrument is of course itself, a life's study. SJM: I was raised in that same era, so I agree with you. In the late '70s and early '80s, everything was on the table. Artists experimented and fused many kinds of music; there was funk, there was rock, there was folk, there was traditional jazz. There were so many really well done kinds of music and I was drawn to the same thing; artists like Jean-Luc Ponty and John McLaughlin. All of that stuff. Nelson: A lot of styles were mixing together. The term fusion started being used a 28 | SmoothJazz Magazine
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lot. Jazz is an amazing immediate experience. Jazz is also a very social experience. It's a very interactive art form. It's an art form that is taking place, fresh each time, as you are watching it. You are not watching a painting hanging in a gallery in the same way, as watching every stroke in real time. SJM: No. Nelson: In jazz, in a live performance, you are. Something else about the particular period we've been talking about, I think it was also rich in terms of ... the prominence of the singer-songwriter and very different than many of them now. Joni Mitchell, Steely Dan, James Taylor, Stevie Wonder, Marvin Gaye all had hits with far reaching material. It was a very different and substantive period in contemporary popular music. SJM: I am certainly impressed with this. Now, I want to ask you a little bit more about some of the recordings, who you had on the recordings, and how it originally came together for you. If you make some phone calls to your friends, people that you knew like Bob James. You mentioned that Bob played on Blue. Nelson: Bob is on four tunes on "Blue". It’s a highlight in my career. He's always
been one of my favorite musicians since I was a kid. He's on some very diverse pieces on Blue" and he plays wonderfully on all of them. His knowledge and abilities are incredible. He plays on "I Loved You" which is a beautiful modern classical piece by Claus Ogerman and on a burning straight ahead tune by Don Sebesky that he was actually the pianist on the original recording 40 years before! When I proposed playing on my CD to Bob, I said, "You know, I have this one tune that you're the original pianist on. I think it would be really a cool “book end” if you played on it now." The tune is titled "Free as a Bird". Bob played great on the original and he plays a remarkable jazz solo on the new version that I’m very proud to have on my CD. He's featured on an arrangement of Maurice Ravel's "Le Tombeau de Couperin" and also plays on a tune that I co-wrote titled “Little Face” which was inspired, in part, by Bob’s writing. He was incredibly gracious. I wrote him, "Here is the material. Would you do it?" He wrote me back about 35 minutes later and, just like that, said "I'm in." He brought something very special to the music.
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SJM: Did you do a lot of arranging? Nelson: Yeah. Except for the arrangement of “Peter and the Wolf” on "Blue", my friend Alex Nekrasov and I did them all. Alex's contributions on "Red" and "Blue" were central to everything. He's one of the best musicians I've ever met. SJM: Wow! Nelson: I feel good about both "Red" and "Blue". I think there is a lot of fun and interesting music on each. They're both heart felt.... "Red" features all original compositions except for one cover. "Blue" is mostly tunes of other artists that I love and think we had good and interesting takes and arrangements on. There is a couple originals on it. For me, where the flute is concerned, there was an accent on favorite classical pieces that I felt would be especially nice for the instrument like “Le Tombeau de Couperin” or “Peter and the Wolf” or “Pavane.” It was wonderful working on those jazz arrangements. A great arrangement can be almost as challenging or as significant as writing a tune. You can really go some places and get pretty far away from the original. It's quite a creative process coming up with a good arrangement. SJM: What are your plans to promote the albums now that you've done this on your own? Now is the time to get out and promote the album and do all that? Nelson: I hope they inspire different audiences, varied audiences and also bring those audiences together. We'll just see. I'm holding my breath for the whole thing, but you just keep your fingers and toes crossed that you have good luck with it all. If you're especially blessed you contribute something good and reach people with it. SJM: Nelson, this has been very cool to talk with you and I appreciate the time. Nelson: Me too. I appreciate it a lot. I appreciate your interest and your kindness and I also thank you for your support. Thanks!
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Photos By: Eddie Jackson
IN PICTURES
THE BAD PLUS JOSHUA REDMAN
New York
Free Concert Series in Albany, NY
Festival Guide
34 | SmoothJazz Magazine
Photos By: ChanellĂŠ Harris
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Review and Photos By: Michelle King
Festival Guide June 9
It was a legendary kind of night at BB King Blues Club, one of the
hosts of The Blue Note Jazz Festival. 2015 Grammy Lifetime Achievement Award winner Buddy Guy, playing in the house the late great BB King created, was watched with respect and reverence by a packed house, including Pink Floyd founder Roger Waters at a table near the stage. Seeing him enjoy the show along with us puts in perspective the history and influences that help the music we love evolve and endure. The evening opened with Guy’s current producer Tom Hambridge, an accomplished writer and performer in his own right, who played a set of his own unique songs. Standout -- “The Upside of Lonely,” which Tom introduced as “a happy blues song.”
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Definitely worth a listen--check it out on iTunes! The charismatic and bluesy Marty Sammon on keyboard accompanied Tom, and stayed as Buddy Guy took the stage, along with Orlando Wright and Rick Hall on guitar and Tim Austin on drums. There was no set list, all was improvised. Guy opened with a strong, sanctified “Damn Right, I’ve Got the Blues,” and from there never looked back. Song after song, including “Fever,” “My Mama Done Told Me,” and of course some “Strange Brew.” Buddy Guy is 78 years young and is an absolute powerhouse, both in his musical prowess and salty language and rhythmic movements with the guitar. Lots of cussing and gyrations! It’s all in stride--playing chords with his belt buckle or against his chest, and still sounding distinctive and better than most ever will. Humor, tales of youth, memories with other greats, and the music that lingered and left us wanting more blues. That’s Buddy Guy.
IN PICTURES
Photos By: Ernest Gregory
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JUN 26
JUN 26 By: Shena Eiram Photos By: James Vincent Henderson
Jill Scott,
This year the Hampton Jazz Festival tradition celebrated its 48th year with an electrifying rendition! The festival not only gave audience members, as well as the artists who performed, the ability to experience in a bit of euphoric nostalgia in the sharing of several classics tunes from seasoned performers such as The Whispers and Maze featuring Frankie Beverly, but it also added some new sounds from stellar performers like KEM and Fantasia. The festival also featuredJill Scott, Trombone Shorty, Eric Benet, and Avery Sunshine. 40 | SmoothJazz Magazine
Trombone Shorty
Eric Benet
Avery Sunshine.
On Saturday, the second day of the event, despite the tremendous down pour of rain in the Hampton Road area, the wet weather did not damper the energy from the live shows, nor the enthusiasm from eager fans and couples. Myra Smith started the evening followed by The Whispers, who brought the house down. The degree of fan participation literally transformed the coliseum into one big sing-a-long. KEM, arrived decked out in all white Dolce and Gabbana from head to toe performed his hits, “Share My Life” and "I Can't Stop Loving You." Song after song KEM made certain to capture the affection of all the ladies. During
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Festival Guide June 26-28 parts of his act, he interacted with both men and women as they sang key parts of his songs, per his direction. This year marked Jennifer Hudson's first time at the festival. Hudson gave an electrifying performance, but not before opening her act in acknowledgement to the legendary greats Aretha Franklin and Patti Labelle, who top her lists of musical and talented inspirations. Hudson wooed the crowd with her rendition of Al Green's hit, “Simply Beautiful” and ironically, her rendering was just that. Earning the ranks of a diva, Hudson remained humble and very cooperative with her fans. She devoted a lot of time creating rapport with fans and even encouraged audience participation by allowing audience members the opportunity to join her on stage. Jennifer closed her show with “I’m Telling You” the song that garnered her an Oscar for her role as Effie in the 2006 film adaptation of Dreamgirls. Weather conditions were sunny and clear on the last day of the Jazz Festival, however, a sold out turnout caused major traffic entering the coliseum. Fans could not suppress the build-up of anticipation to see and experience Frankie Beverly and Maze. Once inside, so many
Kem
Jennifer Hudson
The Whispers
Myrna Smith
Photo By: Shena Eiram
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Spotlight
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fans wore white that the stadium literally glowed. The Unifics were the opening act and set a soulful tone for the rest of the following performances.
Frankie Beverly
Jazz trio Norman Brown, Kirk Whalum and Rick Braun, better known as “BWB” paid tribute to Michael Jackson in honor of the six-year anniversary of Jackson's untimely death. The trio opened their acts performing Jackson's "Billy Jean" and "I'll Be There." Fantasia brought the house down and the audience responded with cheers and smiles, a captured reaction that every artist desires in response to their mastered craft.
Fantasia
Concluding Sunday's Jazz Festival, the always popular main attraction, Frankie Beverly and Maze. From the start of his opening act folks rushed up out of their seats to dance in the aisles. Heavy security and police subtly refrained enthusiastic fans until the last 15 minutes of the show when Frankie encouraged the BWB: Brown, Whalum and Braun audience to get up and dance. A great time was had by all and it was greatly reflected by the grand exodus that left the Hampton Memorial Coliseum. Photo By: Shena Eiram
Unifics
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By: Art Jackson
he only thing hotter on this beautiful day in Los Angeles was the 1st Annual Asian Heritage Jazz Festival. Beaming as the host and producer a native Hawaiian Michael Paulo put on an event that showcased various Asian jazz artists. “But
there were artists that the crowd was very familiar with such as Jeff Kashiwa of “The Sax Pack” and June Kuramoto of “Hiroshima.” Countries represented Chinese, Indonesian , Japan, Korea and Philliphines as the ages range from the young sax-
VIP TIX Winner Sunny ophonist Justin Klunk in his early twenties to Hwaii's King of the Keyboards Rene Paulo who is in eighties and also the dad of Michael Paulo. In the heart of downtown Los Angeles, in the city district of Little Tokyo, by arriving early I made time to have lunch before the 7 hour festival extravaganza kicked off. Let the music take you… SmoothJazz Magazine | 45
The festival was co-hosted by Filipino actress Tamlyn Tomita and Japanese American sports anchor for ABC7 Eyewitness News Rob Fukuzaki. Also an philanthropist along with family and friends “The Heads Up Youth Foundation” held auctions during the day for where bidding from Golf packages, paintings to pies raised thousands of dollars.
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Festival Guide
June 20
“I wanted to give great musicians exposure here on the mainland who may not be known but are among the top artists in their homeland.”
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Spotlight
New CD Releases 2015
Dee Dee Bridgewater "Dee Dee's Feathers” 08/11/15 BUY
Joy Williams “Venus" 06/2915
Najee “You, Me and Foreever" 06/23/15
BUY
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Bob Baldwin "Mellowonder / Aaron Diehl "Space Time Songs Key of Stevie" 6/16/15 Continuum" 06/16/15 BUY BUY
Al Di Meola "Elysium" 06/09/15 BUY
Jessie Cook "One World" 04/28/15 BUY
Bluey "Life Between The Notes" 04/28/15 BUY
Jill Scott "Fool's Gold" 05/04/15 BUY
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CD REVIEWS Review By: Andrew Reeves
O
ver the past few years, Robert Glasper has been busy. He won two Grammys for his Black Radio albums and has been hard at work writing the score for the upcoming film “Miles Ahead”. Last December, Glasper invited a few close friends and family to the famous Capitol Studios in Hollywood California for a live recording of the artist’s forthcoming album, ‘Covered’, releasing June 16th on Blue Note Rec-
BUY
‘Covered’ is a collection of songs hand-picked by Glasper covering some of the most popular songs in R&B. Among them are Glasper’s take on ‘So Beautiful’ by Musiq Soulchild and the Macy Gray/Jean Grae hit ‘I Don’t Even Care’. The best part of ‘Covered’ is undoubtedly Glasper’s ability to translate the live recording into organic energy listeners can feel from the first track. To achieve this truly authentic experience, Glasper opts for the Steinway piano instead of his usual electric keyboard. Combined with the impromptu vibe of the live recording, ‘Covered’ is a sneak peak into the playlist of an artist who has forever changed the definition of what good music sounds like. ‘Covered’ also reunites Glasper with Trio band mates Vicente Archer on bass and Damion Reid on drums. And in true Glasper fashion, ‘Covered’ highlights the issue of racial violence with a presentation of Kendrick Lamar’s ‘I’m Dying of Thirst’, featuring a cameo by Glasper’s son reciting the names of the some of the victims of police brutality. Glasper has once again gifted us an album that expresses his love of jazz and his connection with contemporary music. Whether a die-hard fan or newcomer to Glasper’s work, ‘Covered’ is the truth. 52 | SmoothJazz Magazine Let the music take you…
K
Review By: Mary Williams Photos By: Kim Reilly
BUY
irk Whalum starts the fourth installment of his "The Gospel According to Jazz" series with a saxophone solo of the hymn “Just As I Am,” a tune that is a standard in Christian hymnals across denominations and throughout the world. It has transformed the concept of sharing the “gospel truth” through instrumental music. Recorded live at the Christian Cultural Center in Brooklyn, New York; The Gospel According to Jazz, Chapter IV serves up more of a “good thing” but not just “more of the same.” GATJ IV is a tribute album in a uniquely gospel centric way. Honored here are heads of state (Mandela and Obama), departed and greatly respected and loved artists (George Duke, Wayman Tisdale, and John Coltrane), alongside a homelss woman Whalum came to call friend. Whalum’s music and perspective is informed by the unconventional and expansive.
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CD REVIEWS Review By: Gigi Brooks
Label: Shanachie Entertainment
Jessy J. is back again with her fifth release on the Shanachie Entertainment label, My One And Only One. This project is fueled with inspirations from her African and Cuban travels, including classic R&B and new smooth grooves. It comes as no surprise that the saxophonist, singer and composer has chosen to journey into her Latin roots to give rebirth to those “oldie but goodies” tucked away in our memories. The album pays homage to some of music's greatest compositions of all time. The personnel is a handful of cherry-picked artists, which include guitarists Michael Ripoll and Paul Brown, Thiago Pinheiro on piano, Grammy-award winning keyboardist, Gregg Karukas and many others. The project consists of 10 tracks with special attention to Jessy's Latin roots and R&B music influence. The title tune “My One And Only One” glides smoothly into a love sax solo, delicately laced with guitar licks and the sweet yearning sounds masterfully crafted by pianist, Thiago Pinheiro. The Tango Boy spills out with the immediate bounce and groove tempo of things to come rolling into the next track, Latin groove, “Paraiso Magico,” rich with full ethnic sound and tantalizing percussion, where we hear Jessy's vocal Let the music take you… SmoothJazz Magazine | 55
A signed Jessy J autographed poster and CD. Just enter “Jessy J” as the promo code HERE: Contest Ends: July 15, 2015
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Later in the album, Jessy reveals her interpretation of Toni Braxton and Baby Face's top hit, “You're Making Me High,” where Jessy once again showcases her fluid sound on saxophone, joined once again by Michael Ripoll and Paul Brown. The final number, The Brother's Johnson's classic, “Strawberry Letter 23,” is an unforeseen tribute to the great talent of George and Louis Johnson's rare, unmatchable talent and the untimely death of Louis Johnson. Jessy manages to recreate that time in music when things were growing and open to take it as far as one could go. Jessy J's "My One And Only One" is a fresh compilation of the best in music composition. Look with wonder at that which is before her.More on Jessy Here:
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CD REVIEWS Release 05/18/15
By: Andrew Reeves
sound. The infectiously fun-filled atmosphere of his live performances shows up in songs like Amplified and the rambunctious Mouse in the House. Beth Griffith adds a touch of sultry R&B vocals to Givin’ You Love. Rountree even closes the album with a special live recording of Every Day, with Mike Phillips on sax and a smokin’ hot guitar riff toward the end of the song.
BUY
Rountree is indeed making his mark Lin Rountree brings something reon the contemporary jazz scene. markably fresh to contemporary jazz Soulfunky offers listeners a taste of with his newest CD Soulfunky. The everything that makes jazz the tour Detroit native is at the top of his de force it has always been. From game with five albums to his credit the bluesy-swing-laden Let’s Roll to and collaborations with some of the the carefree tempo Rountree weaves hottest musicians in the industry. An- into No Worries Soulfunky might just yone who has seen Rountree perbe Rountree’s greatest achievement. form live will recognize the energetic funky vibe he conveys with his instrument. Soulfunky starts off with the upbeat Wish It Was, an energetic cut that puts a modern twist on the big band 58 | SmoothJazz Magazine
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By: Joe Frazier
Like two bubbly streams of smooth jazz, two Grammy-nominated greats, pianist/ composer/arranger David Benoit and vocalist Jane Monheit, collaborate on 2 in Love, an album that runs the gamut through Latin beat, ballad, Broadway, and more. They’re precisely paired so that Mr. Benoit’s deft, smooth touch on the keys and Ms. Monheit’s silky singing unerringly hit their target. It’s all too easy, with smooth jazz, to allow one note to slide into the next; not so here. Despite Ms. Monheit’s ability to smoothly transition between words, her enunciation allows us to here all of the lyrics. Similarly, Mr. Benoit’s smooth blending of chords never lets us lose sight (or sound) of individual
Label: : Concord Records
notes. I’m come to this album as a fan of Jane Monheit; I’m coming away as a fan of both. The jazz duo starts right in with a jumping Latin beat in “Barcelona Nights.” The song highlights how well the band comes together with Ms. Benoit’s fluid yet articulate singing and Mr. Benoit’s willingness to accompany as well as lead. This is an album that could have easily been ruined with ego, fortunately we sense sincere collaboration at every step. In presenting the true heart of jazz, this was recorded in live takes eschewing much in the way of edits, auto tune and other postproduction “help” so often present in contemporary recordings.
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Given the variety of types of songs, challenging keys and the need for a subtle touch, it really is a tribute to their musicianship they could pull this off.
I love how the weaving of singing, piano (and the overall band) mirror the songs idea of getting this one dance on which we must take a chance. The singing and instruments converge to sonically weave among one another in this live cut. They pick it up a bit again in “Too in Love” with a beautiful introduction of her voice and guitar in step with the rest of the band joining together quite organically; you can’t imagine it coming together any other way.
We have another change up in the waltz-like “Dragonfly;” one could almost sense this being a perfect song at a wedding reception (if bands could pull it off as well as they do) whereas “Love Will Light the Way” would be more suited to a song in the ceremony itself.
I love the instrumental “Love in Hyde Park.” I haven’t seen a flute mentioned on the album, but my ears are going a bit dull if there isn’t one played beautifully here. This is a delightful bon-bon of a song that simply carries you away.
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CD REVIEWS Once again the lyrics match nicely to the song in “The Songs We Sang” about a couple in the business writing songs and trying to resurrect their careers. This lovely, pensive song portrays that well. Juxtaposed to this bit of melancholy is the more exuberant “Fly Away” with Ms. Monheit letting loose, where silk meets power. We then turn the technically challenging “Something’s Gotta Give” with a bit of key change, changing meter and overall structure of pacing all being done with nuance. The album ends with a gorgeous piano solo melding the love them from Candide wonderfully with “Send in the Clowns.” This combination is so artfully done you would think they’re at least from the same musical, if not from the same song. Sure there’s a change in pacing but I’ve heard larger within other songs. 2 in Love represents a lovely opportunity to hear two extraordinary musicians express their passion in an intimate setting. While you sense each one’s commanding ability (hence, the solo careers) you also sense the marriage of their work. This is especially impressive given that Mr. Benoit has not recorded a (mostly) vocal jazz album in the past (although he did cut his musical teeth as an accompanist which clearly shows). Well done. I highly commend this moment of jazz art for your listening pleasure.
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