Lindsey Webster Jul / Aug 2022

PHOTOS: Juneteenth * Jazz Legacy * Syracuse Jazz Fest

Jul / Aug 2022

TM

MAGAZINE

56 Feature

20 Average White Band 50th Anniversary Tour 26 Najee New CD Savoir Faire 42 Linsdey Webster

Discusses “Reasons” In-Depth Conversations

Concert 12 1st Annual Juneteenth

26 42 Festival 56 Hollywood Bowl

Jazz Festival formerly Playboy

76 Syracuse Jazz Festival Returns from Hiatus

84 Jazz Legacy Foundation 12

Music Celebrations

18 Thornton Winery

Peter White and Vincent Ingala

www.smoothjazzmag.com

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CD Reviews 90 Yellowjackets Parallel Motion

SmoothJazz

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July / Aug 2022

Web: www.smoothjazzmag.com

Art Jackson - Publisher/CEO Dr. Ahava Talon - Editor in Chief Doris Gee - Research Manager Mann - Graphic Artist Manager

Contributing Writers Keivu Knox

Charlotte

T Nicole

Los Angeles

Mia Howard

New York

Avzal Ismail

South Africa

Lexi Lewis

Tampa

Contributing Photographers Rod Morant

Baltimore

Ronald Parker

Durham

Mann

Los Angeles

Mario F Panzarino Jr. San Diego Rhonda Kilpatrick Bobby Roebuck

San Diego Winston-Salem

JAZZ FESTIVAL 2022

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Copyright @ 2022 Smooth Jazz Magazine All Rights Reserved.

The week of July 09, 2022 Catalina NIghts Braxton Brothers

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Summer In Blue Michael Broening

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Q’s Vibe Eric Valentine feat Evertte Harp /Greg Manning

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Dreamland Blake Aaron

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That’s My Jam Eric Darius feat Justin Lee Schultz

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Note GRAMMY® Celebrate Bonnie Raitt for receiving a Lifetime Achievement Award

achievement Award

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Concert Celebrate Juneteenth At the Hollywood Bowl By: Art Jackson

JUNE 19 a multi-artist, multigenre show broadcast live on CNN Sunday to commemorate this new national holiday.

In its 2nd year of conception as a national holiday, this celebration anniversary marks the Black emancipation in the U.S., the concert spanned almost as wide an array of musical and performance styles as could be packed into a single prime-time slot, from soul to classical to country to jazz to Farah Sosa dance to gospel to spoken word.

Three of the crowd favorites that got people jumping up dancing was Chaka Khan, Earth, Wind & Fire and Bel Biv DeVoe. Juneteenth, the longtime observance commemorating the end of slavery in 12| SmoothJazz Magazine

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Timothy Norris the U.S. after a June 19, 1865 proclamation in Galveston, Texas, has been a nationally recognized federal holiday since 2021. This June 19, an all-star cast of Black artists across generations — Anthony Hamilton, Billy Porter, Mary Mary, Debbie Allen Dance Academy, Robert Glasper, The Roots, Yolanda Adams, Jill Scott, Michelle Williams, Mickey Guyton, Khalid, Ne-Yo, QuestLove among others.

With CNN providing a national telecast, the opening rendition of “Lift Every Voice and Sing” by Yolanda Adams, was a pre-recorded segments, also including speeches by President Joe Biden, VP Kamala Harris and former First Lady Michelle Obama, and a fiery poetry reading on video from Jill Scott.

Beyonce made a voiceover cameo in a video segment on Opal Lee, 95, the activist many consider most responsible for leading the charge to make Jul/Aug

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Concert

to make Juneteenth a federal holiday, which finally happened only last year.

Timothy Norris Including a symphony orchestra made up entirely of Black musicians and conducted by composer Derrick Hodge — while a list of actors, comedians and sports casters gave a brief introduction of each act that was about to perform on this day of celebration.

Timothy Norris

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Mickey Guyton and Khalid performs at the sold out event.

Timothy Norris Jul/Aug

Timothy Norris

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Craig T. Mathew/Mathew Imaging

Timothy Norris

Debbie Allen Dance Company.

Mary Mary, Anthony Hamilton and Michelle Williams at the Juneteenth concert at the Hollywood BowlCraig T. Mathew/ 16| SmoothJazz Magazine

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The Roots backstage Craig T. Mathew/Mathew Imaging

Robert Glasper performs while actresses presenters Gabaurey Sidibe and Tisha Campbell backstage.

Timothy Norris

Timothy Norris

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Concert Photos By: Rhonda Kilpatrick

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Feature By: Mia Howard

Photo: Warren Linhart

During the 2022 Syracuse Jazz Festival I had the pleasure of interviewing frontman and one of the founding members of the legendary Average White Band, Alan Gorrie. The Average White Band is one of my favorite bands of all time, so this was an extraordinary opportunity for me. I definitely appreciated Alan taking time out of his busy schedule to sit down with me for such an insightful conversation. The Average White Band (AWB) is a platinum selling funk/soul band from Scotland. Don’t let the name fool you. They are not your average white band. I joked with Alan and told him the band should have been called, Not Your Average White Band, because they are just as funky as Con Funk Shun and as soulful as The Isley Brothers. Alan said that the name was supposed to be “tongue-in-cheek”, because they were not playing rock and roll or pop music like the majority of Caucasian bands or groups were playing in the seventies. When the group formed all members were Caucasian. The pandemic has affected the whole world. We have all been affected in one way or another. The Average White Band recently had a brief setback because one of their members had contracted Covid-19 prior to 20| SmoothJazz Magazine Let the music take you… Jul/Aug

Feature the band’s arrival in Syracuse. Thank the Lord the member is well now and already back performing. Also, with the airlines doing so many cancellations, the group has to worry about missing gigs on their current tour.

Alan informed me that they have had a flight canceled that was more than a month away. The other issue is the high cost of gas, which has really elevated the cost of travel.

One of my first questions to Alan was how they became so funky and why they chose funk/ soul for their preferred genre of music? Alan answered by explaining that the British are very odd music fans (as all the world should be), they like good music no matter who is playing it. So the group gravitated to the sounds of Motown, Stax, Chess Records or any Photo Bill DeLapp record company that R&B, soul or funk was playing on because it was great music. They would have the music imported.

They intensely studied the music. They learned to play note for note, then AWB took their sound from these American record companies, but used their precision instrumentalism to execute a cleaner and more technical sound. Alan said, “Other groups may dress better but we play better.” Their crisp harmonies and smooth vocal delivery was never meant to duplicate the African-American groups they admired but to innovate the sound and make it their own. A prime example of making the music their own is their cover of the Isley Brothers “Work to Do.” The AWB sped their version up and added a horn Alan Gorrie. line where Chris Jasper had a piano line.

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Feature In later years when Chris Jasper was working with the Average White Band to produce their cover of “Harvest For the World”, He commented, “What you guys did with “Work to Do” is what we should have done.” That is the best compliment when the producer of the original likes what you have done to the cover. Kudos AWB! When it comes to producing great music each artist or band has many ways to do it. I asked Alan Gorrie when AWB comes up with a song, is it already laid out before they get to the studio, or does the song come from improvisation? He says that they have used both techniques. The song that introduced the United States to AWB “Pick Up the Pieces” from the AWB Album derived from a jam session. Roger Ball took home what they had come up with and then wrote the classic bebop horn section that opens the song. Alan reflected on how serendipity played a part in AWB breaking into the U.S. music market. Bonnie Bramlett had heard them in the UK and had them flown over so that they could be her rhythm section on her solo studio album. This is when AWB went back to the UK with arms full of soul and funk albums. Alan said the group was ready to hit the U.S. market. They had been preparing. They had already recorded the soul/funk album “Show Your Hand” before the “Average White Band” album was released. As a matter of fact, Alan said, their first album was like a blueprint for the “Average White Band” album. Bonnie Bramlett had already exposed them to the States so when “Pick Up the Pieces” hit the airwaves it just took on a life of its own.

The Average White Band is one of the most talented bands in the business. They were exceptionally great when the original members began working together.

The original members were Alan Gorrie, Owen “Onnie” McIntyre (both are still performing today), Michael 22| SmoothJazz Magazine

Photo Bill DeLapp

Brett Carter

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Freddy Vigdor Freddy Vigdor

Photo: Bill Delapp

Rosen, Roger Ball, and the legendary drummer Robbie McIntosh. This band has been grooving for fifty years, so it is expected that members would eventually change. I asked Alan Gorrie what it is like to integrate new members into the band? He let me know it is difficult. Just like with adding someone new to any team that has been together for awhile. The band has a large catalog and they are precision instrumentalists and vocalists, it takes about six months to fully integrate a new member into the band. Alan reflected on the time when the band had to replace drummer Robbie McIntosh after his tragic death in 1974. He was only twenty-four. You could tell the death of Robbie is still very difficult for Alan. Although Alan was older than Robbie, he had a sincere reverence for Robbie’s extraordinary talent and for Robbie as a person. He gushed over Robbie being a child protégé and how Robbie was playing with the Senate and Herbie Mann before he was twenty years old. Robbie was the son of actor Bonar Colleano. His father was able to use his networking in the entertainment business to give Robbie opportunity, but it was Robbie’s talent that got him the work. The band replaced Robbie with Steve Ferrone, who became the first Black man in the group. When speaking of Robbie’s death Alan gave me an interesting fact, Robbie knew he would not live to see the age of thirty.

My thirty minute conversation with Alan Gorrie was fun, fresh and full of interesting information. He was so easy and interesting to talk to. I received enough information that I can still do another article. I only chose a few highlights for the sake of space. I enjoyed Alan and the rest of the band when they heated up the stage later that night. After fifty years these guys still sound amazing and have so much energy. If the Average White Band is in your area please check them out. Their whole ninety minute set is flawless and entertaining. Also, check out their discography which includes: “Average White Band” and the latest “Inside Out.” Thanks Alan Gorrie !

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Najee. Need I say more?

For those familiar with him, you understand. For those of you who are not familiar, he is a Grammy and NAACP Award-Winning Multi-Platinum selling saxophonist and flautist who has sustained the test of time and he keeps adding flavor to his repertoire of songs. In this interview we talk about his latest album, and we get to understand who Najee is on a little more personal level. I hope you enjoy reading this as much as I enjoyed conducting the interview!

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By: Lexi Lewis SJM: Najee, thank you for joining me today. I was so excited to interview you so let's get right to the point - you have a hot new CD out titled “Savoir Faire.” I have a few favorites that I've picked out but first, tell me a little bit about a few of the songs on the CD and what influenced them.

Najee: Well, as an artist I'm somewhat all over the place. And it's only because of my experience as a musician. I've been blessed to play so many different genres of music that, for me, to just devote myself to one genre of music is kind of difficult when I'm doing a project. But there are certain expectations that my audience and, of course, the label has to be able to promote for radio, so we put a little bit in to make sure that was satisfied but not lose my identity.

And let me make a quick statement here, it really was a COVID record because you had to be home (during the pandemic). So, I was able to connect with a lot of my friends and take contributions and this is what we ended up with. I can't say it was on any plan. We ended up with two songs that were actually recorded in Brazil. Two of the songs on there are produced by Rob Herbert. One song was written by Brenda Russell and Terri Lyne Carrington called Modern Lovers that features Frank McComb.

And the other one is A Felicidade featuring Antonio Carlos Jobim which was in the movie Black Orpheus.

SJM: Nice. How did you orchestrate the recordings? Did you do your parts then send tracks? Or did they do theirs and then you did yours?

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Feature Najee: It was a combination of both. In the case of the Brazilian tracks, yes, they recorded everything down there in Rio and Sao Paulo. They sent me the tracks for me to play flute over on A Felicidade. I put my flute parts down at home and Curtis King put his parts down at home as well. I did travel to St. Louis, Boston, and London. If it made sense to go, I went.

SJM: I had I had three favorites from Savoir Faire.

First was “Happiness (A Felicidade).” I loved the way you played the flute on that. It just spoke to me. Second was “Bottom To The Top” featuring David Dyson. What I really liked about that was, in certain parts, the sax and bass were completely in sync. Third, I really enjoyed “Modern Lovers” featuring Frank McComb. I liked that one because of the flair that it had to it. When I listened, the first thing I imagined in my mind was two dancers dancing this very sexy dance.

Najee: Well, you chose the two songs recorded in Brazil - that one and Happiness (A Felicidade).

David Dyson and I go back so many years and he actually wrote Bottom To The Top so I can't take credit for the writing part of it.

SJM: What’s your favorite song on this CD? Najee: I hate to sound detached because I'm not detached at all, but I don't really have one. When I listened to the stuff, I go back, and then I always have this self-criticism thing I go through which most artist go through, I'm not the only one. But, you know, it's like, I should have done this or maybe 28| SmoothJazz Magazine Let the music take you… Jul/Aug

Festival Feature played a different tenor saxophone than the one I played on there. My head goes through this whole process of redoing. I really don't have a favorite but if I had to say the performance that I'm most proud of would be…..I don't know [we laugh]. They call me Smooth Jazz but I'm really a real Jazz musician SMJ: [Laughing] See, you had me all set up for an answer! I was like, okay, okay, which one is it going be?

And then you said, “I don’t know.” That was not right, Najee [Laughing]. You're a man of many gifts and talents so how do you bring balance to your life with all that you do?

Najee: I’ve been doing it for so long. I was 18 years old when I did my very first tour. I toured half the world right out of high school with a group named Area Code and we did USO tours. We went all over Europe, Northern and Western Europe. Then we went to Central America, South America, all these different places around the world. Ever since then, I've been on the road. I’m a real road dog so it's really a lifestyle for me and I balanced it out. You know, people ask me where I go on vacation. I go home! [Laughs] SJM: Who was the most influential person to you as a child?

Najee: Oh, that's easy. I'd have to give that to my Mother. Now don't get me wrong I'm pro Dad, I really am. But my father was a very prominent classical musician who, unfortunately, died when I was very young. He was in the New York Met, NBC orchestra, the New York Philharmonic and when he died, he was a member of the San Francisco orchestra.

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Feature He was high up in the food chain, and as a matter of fact, just recently I found an article in The New York Times about his passing back in 1964.

He wasn't much of a direct influence.

But my mother had such a great ear for different kinds of music. She was a West Indian lady, but she listened to gospel and more. I remember waking up, on Saturday when we had to clean the house, we'd have to listen to Edwin Hawkins singers, or we'd have to listen to Mongo Santamaria. Miles Davis was one of our favorites. I grew up listening to George Coleman playing the tenor saxophone. And to this day, they say, a young saxophonist generally keeps the sound that he first heard when he heard the instrument and that is true for me. You know, I remember all my life trying to play fast like George Coleman in Miles Davis’ band and until this day, I always sneak in these fast passages but it’s because of how I was raised. I have to actually slow myself down and listen to the songs and say no, you don't need to try to do these Lydian chro 30| SmoothJazz Magazine

matic things over everything just slow down. So, I would have to say my Mother because she really gave me the first exposure to Jazz. Absolutely.

SJM: Who is the most influential person in your life today?

Najee: I’d have to say my brother Fareed. He's not only my brother, but a protector, friend, and advisor. Very wise man. We started out as kids playing in the local bands in New York and that evolved into touring together with Chaka Khan in 1983. He went on to have a touring career with Jeffrey Osborne and others and eventually he decided to retire from the road and since then, he's been managing me. I get my inspiration from many people.

Musically, I still love listening to Michael Brecker and his untimely death was not a good one for a lot of us. John Coltrane of course is still one of my favorites, Hubert Laws on flute, James Galway on classical flute. You know, I'm a little schizophrenic when it comes to different things; I really don't lock myself into as we say

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Feature “Smooth Jazz” but that's what the world calls me. I go to a lot of places.

SJM: What kinds of music do you listen to outside of Jazz?

Najee: I listen to James Galway. I listen to classical and different kinds of music. I've been listening to a lot of Brazilian artists and a lot of R&B, Jared Lawson. You know, I even listen to rap sometimes. I still love Biggie I'm sorry. I hate to apologize, but I love Biggie, I can’t help it…I’m from New York!

[Laughs] SJM: Name a person who is no longer here that you wish you could have worked with and why.

Najee: Mmmm….Minnie Riperton. I know you weren't expecting that, but I think she was very unique. I like unique people. And to be honest with you, I've been so blessed to work with everybody. I could never imagine that I would work with Al Jarreau, George Duke. I never ever thought I would have been on the same stage or shared some kind of light with them. We actually ended up being friends, touring and recording. But I would have loved to work with Minnie Riperton. I listened to some of her earlier works, and I just thought she was brilliant.

SJM: Let's go opposite of that. Who is still living today, that you have not worked with, that you would just absolutely love to work with and why?

Najee: Oh, I would love to work with Robert Glasper. I think he's one of those people, I admire, that crosses all the bridges. We have played together once, unfortunately, during George Duke’s funeral. I would like to work with him and record it because Jul/Aug Let the music take you… SmoothJazz Magazine | 31

Feature he stretches across R&B. He can play straight ahead and really play it. Some guys try to play but they don't really play but I can see myself doing something with someone like that.

SJM: Is there a dream that you haven't lived yet that you want to do?

Najee: I hope this doesn't sound arrogant but honestly, I have been blessed to live so many things that I could have never imagined. As a kid, I used to listen to Chaka Khan records when she was with Rufus and never imagined she would actually hire me to be in her band and go on tour with her. Later on, Prince – I would never have thought he and I would ever have any association, but I went out to Minneapolis to hang out with him for two weeks and ended up being with him for three years.

SJM: That’s incredible. Okay, you're composing a new song and the title describes your life.

What's the title?

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Najee: Oh! That's a good one! I hate to sound so generic and cliché but “Blessed.” I cannot complain about my life at all even with all the struggles and all the things that I've been through. A lot of people look at your success and think that you've always been there. My brother and I always talk about how we came from behind the eight ball. We were poor kids in New York City and would have done this stuff for free. I’ve just been blessed to do so much.

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Feature SJM: For the title “Blessed” that you mentioned what kind of rhythm would it have?

Najee: I have no idea. I wish I could be honest and say I had a beat in my head, but I don’t think it would be a commercial song, I can tell you that. [We both laugh] You won’t hear it on smooth jazz radio! [Najee laughs harder] So here you go.

SJM: I want you fill in the blanks. I really dislike it when…

Najee: When you’re put into a category as an Photo: Mario F Panzarino Jr. artist.

SJM: I love it when…

Najee: When you're free to think freely, I guess. I know that sounds corny, but you know, I think a guy like me, the worst thing you could ever do is lock me in the hole mentally and physically.

SJM: I believe...

Najee: I believe in progress. I believe in change.

SJM: What does the human experience mean to you?

Najee: Multi-dimensional. I'm going to be a little detailed and maybe a little too philosophical, but I hope not. I really believe each human being is blessed with a tremendous amount of gifts, some we never discover, but I really believe we are spiritual creatures in a physical dimension for a short period of time. The life we had before and after is one life - I believe that. This physical dimension we experience is really for a reason.

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Feature SJM: What today's Najee say to the young Najee? What advice would you give him?

Najee: I would say don't be afraid to be honest with yourself. That's the worst lie you can tell is the lie that people tell you that you should be this and you should be that. No matter what level you are, develop from where you are.

Trust the voice that's given to you as an individual because sometimes you don't have to have the greatest ability, but you grow and the more you experience, the more you grow in ability. Sometimes you try to live a pattern that you think you should live based on somebody else's dream or whatever. I'll give you an example of what I mean.

As a kid, I wanted to play like John Coltrane on tenor, I wanted to be Charlie Parker on alto, I wanted to be Grover Washington. I wanted to be all these guys. I wanted to be David Sanborn. But at the end of the day, every time I Photo: Sheryl learned something technically, I still sounded like Najee. It Aronson wasn't until I was an adult, I began to appreciate that voice that is only unique to myself, you know? Because no matter when I tried to imitate what others do, I still sounded like me. I say trust that. I could play note per note. You could ask me to play John Coltrane’s Countdown up tempo. I could rip it off, read it down and play it. But I still sound like Najee.

SJM: I guess you just put your Najee stamp on it.

Najee: You have some good ones! [Questions] I mean, that's a unique approach.

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SJM: Thank you. I try.

Najee: It's refreshing. I really appreciate your approach to interviewing, I really do.

SJM: Thank you, that makes me feel really good. I’m blushing now but I’ll continue on with the last set of questions. What is the best piece of advice you would give to a music student?

Najee: Make up your bed in the morning. I learned back in college that if I made my bed in the morning, I liked the way it looked, I wasn't going back. I was going to focus on whatever I had to do that day. On a serious note, just focus on what it is you want to do and don't worry if you think you're not making progress. Most importantly, part of your education as a young student is having fun with what you do.

Don't get frustrated, learn to do the difficult things, but also have fun doing it.

That’s a big part of development.

SJM: Earlier we talked about a song title that you were composing that describes your life but which one of your song titles describes you best?

Najee: There's a song that never really surfaced called “The Journey” on one of my previous albums. And another song called “Alfie” and I’ll tell you why – and everybody knows that song. It has a personal attachment to me because my mother loved that song and used to play Dionne Warwick’s version all the time when I was a kid. I remember saying to myself one day I want to record this song because I thought it was such a brilliant melody. I ended up recording this song and everybody that's heard it said they love that version. It's because I really feel as if there's a real attachment to that song for me based Jul/Aug Let the music take you… SmoothJazz Magazine | 35

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on the memory of my mom.

SJM: Najee, if you have one do over in life, what would it be?

Najee: I got a few of those. People I wouldn't have married…[We laugh]. You know, the morning after feeling everybody hates that. [Continued laughter] If I had to do one do over…I can't think of one. I really can't. At the end of the day for me, and I hope this doesn't disappoint you, but when I look at everything in its totality, everything had a purpose. There is a saying that some people meet their destiny while traveling on a road when they were trying to avoid it.

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Feature I met him the next day and he gave me his alto saxophone and started calling me for all these gigs. Before I knew it, I was making more money than I was at the bank. I went home to my wife to tell her I quit the bank and that was the end of our relationship! I then moved to New York. After I got to New York, three days later, Chaka Khan hired me. So, there you go - that's a true story.

SJM: If you were a cartoon character, who would it be and why?

Najee: Let me think about that one for a quick second...probably Road Runner because he could never get caught. [We’re laughing] He was always fast and smarter than everybody, but he wasn’t deceptive like Bugs Bunny.

SJM: I just want the readers to know some of your favorite things. What’s your favorite place to visit in the United States?

Najee: I would probably have to say that I love Colorado, California and the state of Washington is beautiful.

SJM: What is your favorite place to visit outside the USA? Najee: I can’t name just one. I love going to South Africa and there are some parts of Nigeria that absolutely gorgeous that people don't know about. I love Europe, Spain and I like Brazil.

SJM: What's your favorite food?

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Najee: My mother was Caribbean, from St. Thomas so I like somewhat spicy foods. I love Thai food. I love Indian food. I love Jamaican food. I have to eat Jamaican food at least once a month and I can get my jerk chicken where I live in Orlando. When I go to Europe, in London I always go to where the Middle Eastern restaurants because they are the tastiest places.

SJM: What's your favorite color?

Najee: I don't have a favorite color.

SMJ: Favorite movie?

Najee: Favorite movie until this day is The Godfather series. And I like Forrest Gump as well.

SJM: Favorite book?

Najee: There are several books, but one that I really l like is titled “Black Folks Guide to Making Money in America.” That book is written by a guy named George E. Trower. I met him in Detroit in 1983 when I was walking down the street and he was on the streets selling the book.

That book was a very powerful to me. It had a line in it that I’ll share “you’re only wealthy when you can either respond to either opportunity or emergency.”That one statement in that book changed my life forever. If you can't respond to either one, you're not wealthy.

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And then there was the book “Why Should White Guys Have All The Fun?” written by a guy from Baltimore named Reginald Lewis. I know these books have racial titles, but they don't deal from a racial point of view. It wasn't like oh black man go get your money or anything like that. It's really educational in terms of helping people understand that things of wealth shouldn't really be a secret. It's accessible to white folks but it's accessible to others as well so that's really the beauty I carried away from all those books. That particular guy ended up owning Avis and Beatrice foods before he died. His book was very powerful for me as well.

SJM: If this was your last interview to speak to your fans, what would you say?

Najee: I would have to borrow a line from Muhammad Ali which says, “service to others is the rent you pay for your room in heaven.”

I want to thank Najee for his willingness to be open and honest in his answers and allowing fans/readers to get to know him. We had a blast during the interview, and I learned that he’s really a funny guy too! Please make sure to listen to his new album – you’ll be glad you did!

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Festival Feature By: Keivu Knox

Lindsey Webster has become one of the most recognizable voices in jazz music. After five albums and more than 10 Billboard Charting singles, she is ready to release her latest album which is also her more personal album yet, entitled “Reasons.”

She recently chatted with Smooth Jazz Magazine to discuss the album, her career and stepping out of her comfort zone.

SJM: Hey Lindsey! Overall how's everything going post-pandemic? I know that you have been able to start touring again!

Lindsey: It's great. Really happy to be back at it. It's been a rocky road climbing back into gigs because people are still getting sick and cancelling from time to time but you can tell we’re on the other side of things. It's kind of this indescribable feeling because when the pandemic hit none of us really knew what we were getting into, or what we were about to experience as a world. So, as time passed, and more things canceled and things got worse, I felt like I slowly like lost grip of what it meant to not have shows. At first it felt like a vacation. But then it was like we didn't have gigs Jul/Aug Let the music take you… SmoothJazz Magazine | 43

Feature for, a whole year. It was an adjustment but then we had our first show back at Seabreeze and that made me remember what a huge part of me is tied to performing. A lot of my identity pre pandemic was based on my career, and that's a tricky place because at that point all of a sudden when the career is gone, what are you left with? It was a wild experience. But it's been great since things are open because honestly the pandemic gave me time to really force some serious growth. I had some personal lessons and growth and through that came this incredible album!

SJM: It is an incredible album, one last question before we get into it. How was Jakarta?

Lindsey: Jakarta! Oh Jakarta was like a dream. It took 30 hours door to door to get there. So we got there and it was like 2:30 in the morning their time without was like 1:30 In the afternoon our time so I was wide awake and then I stayed up until 6am. When breakfast opened, I went downstairs, got some food and I 44| SmoothJazz Magazine

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Festival Feature ran into Jeff Lorber and ended up singing with him that following night. I stayed up for 60 hours and then I slept for 13 hours, then I had my show.

That was incredible there were so many people who've never heard our music before, we're all of a sudden big fans. I got about 250 followers after that performance on Instagram and Facebook. That was cool because the crowd is a little younger than the crowds that we play for here, and so they're a little more active on social media. The cool thing was that it was very interesting because all these young people are loving jazz. I'm like, man, what's going on in America? (laughs) They like Doja Cat and all of that kind of music but they also appreciate the musicians playing music.

SJM: How was the food? I heard you had goat tongue!

Lindsey: Yeah, I wouldn’t go for it again! Keith (Slattery) liked it and said it was so tender and delicious. I’m like “Tender? It was like chewing rubber. Not doing that again!

SJM: So with the new album, I have to ask, why the title “Reasons?”

Lindsey: So the original plan was that we were going to release two EPs. The first would be called “Library Lane” and the second “Moonlight Way.” That is because they were just such different times in my life, and they didn't belong on the same album. In my opinion back then I was like “no, these are not alike the songs are different. They're not alike they don't add up.” Looking at it now they actually do add up really well. But back then I had these two parts, and I was trying Jul/Aug Let the music take you… SmoothJazz Magazine | 45

Feature to figure out how to put them together and Reasons (the song) was probably the second or third to the last song that I wrote for the album. and that particular Part Two was a really profound experience in my life. So I thought that pulling the title from the second part was something I wanted to do. Also, ”Reasons” kind of sums up what this whole album is really about. It's like we all have the reasons that we do things we do and my whole experience that I describe on the album going through two different relationships in that one COVID year. I was a different person, like from the first song to the next song to the next song and I just had all these reasons of why I did things I did and I didn't even realize what they were at the time. There were so many reasons why things didn't work out with either one of them and then there were reasons that sent me into my growth. The album ends with the song “I'm OK” because that's genuinely how I feel now. Part One is more of like me talking about how I really like this person and I really want to try things out with them, while just being so naive and totally blind to the fact that he was just a single guy and wants to be that way and I just couldn't wrap my head around it.

SJM: So I did my research, and I did see that Library Lane and Moonlight way are streets in Woodstock, right? Do the actual street names represent something?

Lindsey: Yes! Library Lane is where the first guy lives. A lot of the inspiration for these songs, you know, occurred when I was like hanging out on Library Lane. Moonlight Way was where I moved in the middle of the pandemic. And it was where I was living when this other person came into my life. So they just kind of symbolize, the different chapters of that time. I spent 46| SmoothJazz Magazine

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Feature a lot of time on Library Lane and then when I stopped going there, I was just hanging out more at my house.

SJM: Most artists at some point or another, have an album that is more personal in terms of what they talk about. What made you come to a realization that this would be the album where you would do that for yourself?

Lindsey: I wonder if it was the combination of pandemic just scaring like the heck out of me and really rattling my cage and then just dating.

The first song I wrote for the album is “I Wish You Well.” When I was writing I was just thinking like I want to write these words so the guy I dated knows what I'm talking about but at the same time no one else knows what I'm talking about,” you know what I mean? I wanted to use specific phrases that he said to me in “I Wish You Well.” He would always say that I was at a different pace than he was so I wrote the lyric “so how is this for a change of pace?”

He’ sworn the same necklace on his neck for the last 20 years that I've known him and so that was always a thing. I would always like have this necklace with my fingers and I mention that in the song. It was weird because I felt like my songwriting all of a sudden was like “BAM! That's how you like go into like the heart and the soul of yourself and who you are.” I think that pre pandemic I was so far away from who I really am and was a little afraid to express things. I also haven't experienced anything like that. I really haven't had any real heartbreak or rejection was in relationships from, 14 to 17, 17 to 19 and then 21 to 30 and then 30 to 32. All of those relationships were with wonderful guys and now when I come out in the dating world and guys aren’t as wonderful. So I would definitely say it was a combination of, you know, experiences and COVID throwing me into a reality check.

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Feature SJM: Those experiences come across musically as well because aside from “I Didn’t Mean It,” which was the first single, the rest of the album is different than what we have historically heard from you.

Lindsey: I agree with you because I had a much bigger role in production this time, and extremely selective about songs. Keith probably sent me 50 ideas that I was like, “nope, nope, nope, “because I wanted to make an album that really represents who I am because, I kind of found out who I am during the pandemic. I realized that I was afraid to express myself a lot and be who I am. I think that I was, insecure a bit and I don't want to tell anyone how I really feel because they might not like me anymore. Or if I talk about, you know, the way I like someone putting their hands on me I've never done that before. While that's not really my style, this person made me want to express that part of me and I felt more comfortable just being that way. It's not even like my words are that risqué, you can go listen to a lot of pop songs for that. For me is a little risqué to talk about someone putting their hands on me or, talking about laying down with someone. I never ever really do that because I feel like my image had been shaped to where you wouldn’t expect those kind of lyrics from me. It was like, I was putting out albums, which I'm very, very proud of. I look back and I see where I was at that point. I remember writing those songs and being like: “Okay, this is good, the music is good.”But a lot of like the love songs that I would write on certain album weren't even personal. It’s more of an “inspired by” situation, that. I never experienced that. I never experienced like a guy cheating and coming to hang out with me like and that's what that song is about.

I feel like a lot of it was just writing songs that I thought should be written. They’re awesome and I love it and I’m so proud of my past albums.

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Feature But this album is ME! It’s like if I only would have waited to self-title an album maybe this would have been the one to self-title. It’s really fun to look at the growth and be comfortable with the growth. I wrote “I’m OK” and I’m happy. I’m single and I’m, happy, enjoying my life, my dog and my wonderful home that I get to live in. This is a great chapter of my life and I’m excited about the next chapter and excited about my next album!

SJM: There’s definitely a confidence that you’ve gained and as you stated, due to the pandemic. I think all of us have learned something in these 2 years.

Lindsey: I hope we did! I was working at a restaurant during the pandemic and people are like “where’s my salt and pepper?” and I just thought “where is your gratitude? I helped out a friend who opened a restaurant and it was great. I had to do something during that time but some people, I hope they learned something.

SJM: But even working at the restaurant speaks to the confidence you gained.

A lot of people wouldn’t do that, being an artist, just like a lot of people wouldn’t be that daring to put an album like this out. Some people may just go through the motions of putting albums out to fulfill a contract. But you are on your sixth album, you’ve built this fan base, and decided to go in a bit of a different direction musically. Are there any nerves there?

Lindsey: It's funny because it is different but still who we are! You can put on a song and say “oh that’s a Lindsey Webster song, that’s Keith’s music. So while it is different, it still fits right in with what we’ve done, you know what I mean? Sonically, we didn't make a whole new sound and the music still sounds the same and just as consistent I just I feel like it's the per– fect next chapter. And I do believe that because I feel in my bones that the more real, I can be with my lyrics and my music, the more people are gonna Jul/Aug Let the music take you… SmoothJazz Magazine | 49

Feature resonate with it. All throughout these last few months, I've been playing it for people. when I get together at a party and people are like “Lindsey this is your best one yet! I think the same way. It’s more R&B, and we have a big horn section on a couple songs. I know what you mean when you talk about it being different, but I just feel like it's who we are. Do you feel it’s that different?

SJM: I think it’s different in the sense of, for example, there’s not another “A Love Before” on this album, and that’s fine, because I like to see artists evolve, but you still know it’s them. Like every Stevie wonder album is different, but you still know it’s him.

Lindsey: That's exactly right. When we were making “A Woman Like Me, and we sent it to the label they were like “This is good. He's like, but we need different songs, you guys should we not put this out?” We said: “well we're putting it out,” and I look back now and see they wanted evolution, but we weren't ready to evolve. But it can be scary when you're like, “Okay, so now I'm gonna try something different. At one point somebody had suggested to me that I hire a band of old school jazz musicians and make, just a completely different type of album, a straight-ahead jazz album. To me that's a little bit too much of a calculated move. Not to mention I didn't really want to do that because I really like our sound and I'm so happy with our evolution SJM: As an artist, do you go into a recording process and say I want to recreate a previous album, or are you content with saying that this album isn’t like A Woman Like Me or Love Inside?

Lindsey: I don’t think we really do that because with the song on the album, “Stay With Me,” Keith wrote that music back in 2016. I found it years later and I was like “oh my God, this is so good, that I sat down, and I all those words at once. It was just what I was trying to say and it was perfect. When Keith and I write, we just don't really sit down and say “oh we’re going to write a song now. Keith is constantly writing song ideas and sending 50| SmoothJazz Magazine

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Feature them to me. He’s probably written just thousands of little ditties and songs. Then sometimes I go back through and go through my phone in the car and hear something. He’ll title it by the date and say “July 16, 2018” and I’ll say, “ooh July 16, 2018, I’m going to write to you.” So I don’t sit down and write to make an album, I’ll just get songs until I think it’s enough for a project.

When I wrote the songs about my first relationship and when everything ended with him.

I was like, “well, I have nothing more to say about that so I guess this will be an EP.” I just wanted it to be its own body of work. I wanted to Taylor Swift him! just really wanted it to be its own entity. So that's why I was thinking it would be an EP, and then life unfolded and then I got to experience that next relationship. That it all kind of came together. And I love how it's part one and part two, and it worked out even better than I really could have imagined. And I think a lot of that was just letting it unfold without really putting much thought into it. For this I told Keith that I wanted to incorporate more R&B into it. Not like today's R&B but more neo-soul. I wanted it to be us. leaning into that lane by adding programmed drums. Even though Lil Roberts plays live drums on the entire album we mixed loudly. programmed drums in there because it sounds more contemporary. As much as we don't like write songs to be for, certain genres, the truth of the matter is you can take the same song and just turn the drums up and maybe Heart and Soul will pick it up on Sirius XM. So I would be truthful If I said we're not trying to expand our market. Like you said, the album isn't in the smooth jazz lane necessarily.

SJM: So in listening to the album, I’m still mad that 4AM is only an interlude, we need a full song!

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Feature Lindsey: It is a full song, that’s it! It ends on the perfect note, and it leaves things up to the imagination.

SJM: It does, and it makes sense with the album being in two parts, and it’s an interlude dividing the parts, it makes total sense.

Lindsey: Isn’t that cool? I didn’t plan it that way. Originally, I was going to do something different. On “Twin Flame” on this album there’s a verse where I’m doing “oohs” and “ahhs” and harmonies, and the interlude was going to be that. But I was sitting here one night late at night, and the interlude music for 4AM came on, and I wrote it in one sitting. I knew there were things that I wanted to express about that experience in the second relationship but at the time I didn’t know how. But then it just came right to me, and it says exactly what I wanted it to. It was a perfect segue from part one to part two, and the lyrics came out great and totally captured everything I felt about the beginning of that relationship. It just started with him calling me when he got back from Colorado and then we just couldn't stop talking and then he wanted to come pick you up and I just didn't know how to word all of that at first.

SJM: You definitely were able to word it the right way and had great imagery with the lyrics. After the success of “I Didn’t Mean It” have you thought about what the next single is going to be?

Lindsey: We’re trying to figure it out. We thought it was going to be “Stay With Me” because the radio edit is on the album, but now the talk is putting “I’m OK” as the next single. I may have to put a veto on that one, because that is more like the 3rd or 4th single. I’m not finished with telling the story of the album yet. I want one of the angsty heartbreak songs to be the next single, or maybe “Twin Flame” which is about being so much in 52| SmoothJazz Magazine Let the music take you… Jul/Aug

Feature love. Who knows? What would you choose?

SJM: I would say either “Love of Your Life” or “Wish You Well.” For me its about the melody and “Love of Your Life” has a good melody and hook, along with the arrangements and vocals. Who would you say you inspires you from a melodic standpoint?

Lindsey: Probably Mariah Carey. That's what I love most about Mariah.

I love her voice and her instrument and how she carved melodies. I think that's why she had so many hits because she just was able to come up with these awesome beautiful hooks. But then there's Stevie Wonder, you know, she always says how Stevie Wonder inspires her. So, you know, Stevie is master of the melody and is an originator and I hear him in the back of my mind all the time when I'm writing. But it's really between those two. But I have other influences as well growing up.

SJM: Who would you say is one influencer that people will be surprised that you listen to or consider as an influence.

Lindsey: Probably Jeff Buckley, because his tone for me is just so awesome. He can hold those notes really long and I’ve learned from him how to understand breath control.

SJM: Another thing I’ve noticed since the pandemic it seems like you’ve placed more of a priority on your health. Was that a direct result of the pandemic or has it been important all of your life or both?

Lindsey: You know what, that's a good question because it was kind of forced upon me when I realized that in 2016 or early 2017, I was having back problems and that I was still in like my 20s. I would pull my back just from like pressing the brake in the car or just moving in a certain way. I wasn’t Jul/Aug Let the music take you… SmoothJazz Magazine | 53

Feature super active at that point. I would love to hike and go for walks, but I hadn't gotten into running so much at that point on a consistent basis. But with all the pain I was thinking “dang, I feel old!” And so I started seeing a physical therapist and massage therapist. At my first appointment with her she said “you're just so inflamed all over your body, it seems like you’ve got this chronic inflammation. I think you should really consider switching your diet.” And so I was finally ready to make changes. I've been told that before by other people that said that if you have physical problems. It's got to be something you're eating. I was not ready to hear no bread in my diet or I could not have cream in my coffee. And so I finally made the switch and I cut out dairy mostly and gluten at the same time. After that I just experienced so much less pain that it inspired me to be more active. I will say that at one point I was self-conscious about my appearance but now I’m doing it for myself and I’m happy about who I am and how I look.

SJM: Do you have any pre-show rituals? I’ve heard of artists running before a show, is there anything that you do to get ready?

Lindsey: No not really (laughs). I don’t need anything; I just like to be comfortable on stage. That might be my thing. I don’t have any elixirs or rituals. I run every day because that’s who I am but just staying in the groove of my normal routine, that helps me now.

SJM: Even though this album is releasing in September, what is next on the horizon.

Lindsey: Well, we're shooting music videos. We’re in the process of storyboarding the ideas but we are definitely shooting a video for “Reasons.” We’re going to recreate the night that the guy in the second relationship and I met and started spending time together and then I'm going to 54| SmoothJazz Magazine

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Feature recreate just little key moments of our relationship. The chorus is going to be me meditating on a beautiful mountain side because that was something between us that we that we had. We would enjoy waking up at dawn and going to meditate at sunrise. It was the perfect way to start the day. I’m excited to see how its going to come together! We have some CD release dates as well so we’ll be on tour for those.

SJM: Last question. What is one thing people do not know about you, would be surprised to know about?

Lindsey: Well, the thing that I always tell people when I get asked this question is that I was an EMT. Before I was a professional singer. I was studying cell and molecular biology. I just started that program in State University. I graduated on the Dean's list from my community college, and I was on the Student Senate, and I was extremely involved in college even though I dropped out of high school and got my GED so I could go to college early. I was failing all my classes in high school because I wouldn't go to school, but I did have A's and perfect scores in my orchestra and chorus. I also did landscaping for a few years when I was growing up.

SJM: Is there anything from that time, or you being an EMT, that resonates with you today?

Lindsey: Absolutely! Take care of people, be selfless and do your best to comfort others in dire need and pain.

SJM: Thank you so much Lindsey, good luck on the new album and it was a pleasure!

Lindsey: Thank you it was great!

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Festival (formally “The Playboy Jazz Festival”)

By: T. Nicole

After an enduring pandemic, the 42-year-old Festival returns to Hollywood Bowl with a new name, Host and a serious line up for the 2-day festival. Saturday begins with the introduction of their new Host Arsenio Hall!

The diverse American Actor, Comedian, Producer, better known for his late-night variety show, “The Arsenio Hall Show” and his appearances on the “Coming to America” movies. The long-standing event has only had 2 other Host, George Lopez and Bill Cosby.

Cory Wong feat Dave Koz

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Festival The Festival Saturday line up included: The Roots, Jose James, Azar Lawrence with the Azar Lawrence Experience, Veronica Swift, Jungle Fire, Fantastic Negrito, Cory Wong, Gerald Clayton and LA County High School for the Arts.

The festival tradition is the start of their event with the future elite young and upcoming performers and Schools programs design to teach the passion of the Music Arts with the formation of singing and playing musical instruments.

This year we were delighted to hear LA County High School for the Arts and LAUSD “Beyond the Bell.”

The Roots

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Festival Saturday’s musical performances gave concert goers an awe-inspiring treat! Just days after the Juneteenth Celebration. We were able to keep that familiar sentiment with the performance of Xavier Amin Dphrepaulezz better known as Fantastic Negrito. The Californian contemporary Blues singer introduced us to songs like “White Jesus Black Problems” with critical thinking lyrics with soul chasing sound, mimicking the backyard southern music. An additional upcoming Act to energize the Crowd was New York singer Veronica Swift who started her set off with a cabaret sound, giving you Liza Minnelli vibes, then transitioning from Bebop to Soul and Rock with a Dramatic flair including powerful covers from Peggy Lee and Queen.

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Festival Another Crowd favorite was Jungle Fire. The LA based group of musicians who recorded, toured and played with celebrity icons Stevie Wonder, Celia Cruz and U2! This group of talented musicians gave us Latin- Afro style feeling, with high energy with Guitar, Drums and percussion instruments.

Cory Wong feat. Dave Koz

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CD Reviews Concert Festival Jose James, an American Vocalist from Minneapolis gave us a tribute to the singer/musician Bill Withers.

Singing renditions of Bill Withers’ classics “Lovely Day” and “Lean on me”. One of the best parts of the show is when he brought out Connie Withers (The daughter of Bill Withers). She was not only beautiful to the eye, but you felt like the soul of her father was delivered in her sweet smooth voice with a little Spice. If you thought the show couldn’t get better, Let’s talk about The Roots!

The Hip Hop Band from Philly and house band on the Late Night with Jimmy Fallon. Known for their hits like “You got me,: (feat Erykah Badu) and “Break you off’. The frontman and MC Black Thought, Drummer Questlove and Guitarist Cap ‘N Kirk. Gave us the experience we didn’t know we were longing for, Jazz music with a flare of hip Hop influenced touch leading us to a new universe. They even gave us Hip Hop Heads a treat be their rendition of the Golden Hip Hop Group Main Source’s song “Looking at the front door” 61| SmoothJazz Magazine

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CD Reviews Concert Festival Hello Sunday! Hollywood Bowl did not just give us an amazing show on Saturday but continued throughout Sunday.

Sunday’s Line-up: Tower of Power, Gregory Porter, Gordan Goodwin – Big Phat Band, Carmen Lundy, The Lao Tizer Band, Femi Kuti & The Positive Force, Chief Adjuah (Formerly Christian Scott,) Terri Lynn Carrington + Social Science and LAUSD “Beyond the Bell.”

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Festival The Lao Tizer Band

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Terri Lynn Carrington + Social Science

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Festival Vibrant performances from Femi Kuti + the Positive Force. The Nigerian musician and the son of Afro-Beat pioneer and activist Fela Kuti. He gave an energized performance that illuminated the stage with 3 Nigerian cultured dressed dancers and with blazing Saxophone solos and political message lyrics.

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Festival Chief Adjuah (Formerly Christian Scott)

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Festival Another Crowd favorite and awaited, the Grammy Award winner Gregory Porter. The singer-song writer gave the audience a soulful and inspiring lyric. With his baritone voice that will melt your heart. The Crowd listened intensely as he delivers a calm place of serenity in his songs which included his 2017 hit “Take me to the Alley.”

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Feature Festival After numerous incredible Artist and musicians. The festival journey ended the night with a celebration with an American Favorite Tower of Power! The Oakland, CA band won us over with there iconic hits like “So Very Hard to Go,” Don’t change Horses” and “You’re Still a Young Man.”

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Festival The Hollywood Bowl Festival is not only back, but it was an experience that took the audience on a musical journey from the Classical Jazz, Blues, Rock, R&B and Hip Hop. No matter where you were seated the acoustics were on point and scenic views from every angle of the Iconic Bowl, including the glowing lights of the Hollywood sign on the hills. The Hollywood Bowl is still the cream of the Crop when it comes to delivering Great Musical performances. Great Job bring in a new fresh look to the ever-changing music industry with an artistic composition made of various Musicians and Artist!

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Festival Photos By: Brian Pace

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Festival Review & Photos By: Mia Howard This past June the award winning Syracuse Jazz Festival returned to Syracuse after a five year hiatus. The return of the festival in the beautiful Clinton Square and other venues around the Syracuse area, marked its thirtysixth year and Smooth Jazz Magazine was there to help the city celebrate the return. Before going any further in this article I have to give a shout out to the festival’s founder and organizer Frank Malfitano.

Frank was a gracious host. He and his staff rolled out the red carpet for Smooth Jazz Magazine. I am so glad I was the representative for the publication, because Frank and his entire staff showed me unprecedented hospitality. I even shared the dance floor with Frank during the Average White Band set.

The free award winning festival was brought back in collaboration with Amazon and New York State elected officials on the local and state level; including Senator Chuck Schumer and Syracuse Mayor Ben Walsh. The free festival ran for three nights June 23-25, 2022 and featured performances by International and National Artists on the main stage in downtown Syracuse at Clinton Square. The festival also featured twenty performances by twenty of Syracuse’s finest jazz groups who performed in local venues around the Syracuse area. The Thirty-sixth edition of the Syracuse Jazz Festival had amazing performances. I will highlight a few of my favorite moments from artists who performed on the main stage June 24-25.

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Syracuse had the pleasure of having the legendary jazz and bebop pioneer singer/composer Sheila Jordan grace the stage on Friday. Sheila has been praised as one of the most creative performers of all time because she is the queen of improvisation.

The festival attendees were able to see Sheila in creative mode as she did an improv greeting to the crowd, backed by the bassist Harvey S. and Ron Ben-Hur on guitar. She also taught us how to create a minor blues song. Sheila had all of us singing the blues before the end of her set. The ninety-four year old performer was presented with a prestigious award from the Journalist Association and a beautiful bouquet of flowers from the festival. At ninety-four Sheila Jordan is still a spunky performer.

The iconic saxophonist David Sanborn slayed at this year’s Syracuse Jazz Festival. Although David’s travel was delayed and he did not have much time to unwind and prepare for his performance, he did not disappoint. David is one of the most respected musicians/composers in the world. He is revered by other musicians and entertainers as well as the numerous audiences he entertains.. After experiencing his performance at this year’s jazz festival, I know why. He is not just a great musician, but he is very humble and he loves to showcase his band. David and his band Jul/Aug Let the music take you… SmoothJazz Magazine | 79

Festival opened with Stevie Wonder's “Another Star.” The famous la, la, la intro to the song was sung by David’s band as he did his interpretation on the saxophone.

What a way to start the show! One of my favorite highlights from his set was when he performed the Marcus Miller composed “Maputo.” David is very fond of Marcus Miller. You can see his face light up as he talks about the iconic composer/bassist.

David’s approach to “Maputo” is very endearing. It is as if Sanborn savors each note he delivers out of his sax.

You already know if Marcus Miller composed it, the bass line would be prominent in “Maputo”. Bassist Andre Berry killed on the bass line as David’s smooth saxophone carried the melody. I also have to make mention of the solo David gave to his drummer Billy Kilson to round out the ending of the musical masterpiece. Billy Kilson is as graceful as a dancer when he is annihilating the drum kit. You must see him in action to appreciate his skill. A picture can not capture the experience. After the performance of “Maputo” David gave us the history of the song. You have to attend a David Sanborn or Marcus Miller performance to find where this song comes from. For now it is my secret.

The closing act on Friday night was none other than the illustrious funk/soul band from the UK, The Average White Band.

Prior to their performance I had the pleasure of interviewing the founder and front-man of Average White Band; Alan Gorrie (interview in separate article) what a history this band has. The performance actually started backstage where Alan introduced me to the rest of the band. If this band didn’t 80| SmoothJazz Magazine

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didn’t make it in music, the definitely could have been a team of impractical jokers. They are so much fun, especially the other original founding member Owen “Onnie” McIntyre. AWB was a hit from the moment they took the stage. They opened with their hit “What’Cha Gonna Do for Me?” They let the crowd know that they composed and recorded the hit before Chaka Khan came out with her version. AWB’s version is a little slower and melodic, while Chaka’s version is a little faster and grittier. As you know the crowd wanted to hear the song that introduced the US to the AWB, “Pick Up the Pieces,'' but AWB made us wait as they reintroduced us to classics like; “Love Of Your Own.” Let me tell you their harmony and delivery of this cut was better than the recording.

Brent Carter on lead vocals and the remaining members providing an impeccable back up was titillating.

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Festival night. I could not believe how flawless these gentlemen sounded. After going through many of their classics like; “School Boy Crush,' “Queen of My Soul,” and “Person to Person,” they finally hit the crowd with “Pick Up The Pieces.” The crowd was already jamming but when this cut started, the crowd went into an uproar. Alan Gorrie (vocals,bass) , Owen McIntyre (guitar) Brent Carter (vocals), Cliff Lyons (alto sax) Freddy V (alto sax) and Rocky Bryant (drums) gave us what we were looking for, a party!

Did I mention that AWB not only sounds amazing, but they have some moves that will rival the Temptations. After fifty plus years in the business, The Average White Band still puts on an amazing and flawless show.

On Saturday festival attendees had the privilege to enjoy the smooth jazz saxophonist Boney James. Boney is not a newcomer to the Syracuse Jazz Festival so it was an honor to have him as a returning artist. Boney James is a fun sax player. He draws the crowd in with his soft spoken voice and bright as the sun smile. Adorned in his signature fedora, Boney James entertained the crowd with songs from his vast discography including cuts from his last CD Solid.

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One of my favorite moments from Boney James was when he played “Bottom Line” from his Solid CD. Boney started the performance with a smooth sax intro followed by a precision tat-tat-tat of the drums (Omari Williams). The keys (Collin Clauson) and bass (Smitty) slowly entered the song as if they were sneaking up on the sax. By the end of the song, each instrument faded leaving Boney James to end on a sexy sax solo.

The Syracuse Jazz festival is a great place to enjoy friends, family, food and top notch entertainment, in a beautiful city. I hope to catch next year's edition.

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KEIKO MATSUI

JACKIEM JOYNER ALEX BUGNON LORI WILLIAMS

ADAM HAWLEY JJ SANSAVERINO KIRK WHALUM

MARION MEADOWS

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Photos by: Ronald Parker

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CD Reviews The Yellowjackets… repeat after me The Yellowjackets!! What does one say about one of the greatest groups to grace the planet of this or any other era?

Whenever this group announces the release of a new album, jazz lovers the world over wait in anticipation and to date four plus decades later, they have yet to disappoint and Parallel Motion is no different.

Messers Ferrante, Mintzer, Kennedy and Alderson once again deliver an off the charts musical punch that leaves the listener dazed with appreciation with brilliant, peerless musicianship and compositions that are the hallmark of this super group.

Review By: Avzal Ismail

Parallel Motion cements their reputation in the annals of musical history and at the rate that they are going there's a lot more where that came from.

As a lifelong follower and fan I have every album from the original Yellowjackets with Robben Ford to this latest offering and one can track the musical growth 90 SmoothJazz Magazine Let the music take you… Jul/Aug

CD Reviews and maturity through the years.

While they ooze with technical brilliance and chops to boot, the compositions have grown in depth and concept and this album displays that abundantly.

Now entering their FIFTH decade as a group, they sound as youthful and as fresh as ever.

What sets them apart isn't only their longevity as a group but also the consistently inspired quality of their music.

Marked for release on August 26th, this their sixth album for Mack Avenue Records captures once again a truly vibrant musical communion with no signs of slowing down.

According to Bob Mintzer in his own words "The music represents the commitment to stay together and keep moving forward. It's really about this four cornered square that functions no matter what. With each record, all four of us are on the hunt to put the notes together and the music keeps growing.

The focus is this band. A clear identifiable sound. Four equal parts."

Indeed, every member is well represented on Parallel Motion.

The album opens with a Mintzer composition "Intrigue" that offers various twists and turns with shifting grooves with all four musicians in perfect response to each other.

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CD Reviews Russell Ferrante's beautiful "Il Mio Amico" is a beautiful piece written in an inspired moment on his newly acquired Fazioli piano which was used on the album.

Alderson's grooving piece "Early" creates a lighter atmosphere with an R&B almost party flavour that gets the feet tapping no doubt.

My personal favorite is the beautiful "Samaritan" written by drummer William Kennedy. A warm beautiful melody that I have on repeat.

It's great to hear Jean Baylor again in collaboration with the band on the gorgeous "If you Believe." Jean of course being the wife of former Jackets drummer Marcus Baylor who held the drum thrown when Kennedy went on an extended hiatus.

Once again, the Yellowjackets have delivered with style, class and musicianship that is without peer. This album grows and grows on you with each subsequent listening session. It is hard to imagine that it could be surpassed, but knowing the Yellowjackets that's to be expected on the next album...in the meantime, I'll get down to the business of enjoying every single note on this brilliant offering from what is easily in my opinion the greatest quartet on the planet.

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New CD Releases 2022

John Scofield “John Scofield” 05.06.22 BUY Gerald Albright “G Stream 2 Turn it up” 04.29.22 BUY

Gerald Clayton “Bells On Sand” 04.01.22 BUY

Marqueal Jordan “All We Have Are Moments” 04.01.22 BUY

Jul/Aug

Jeanette Harris “Saxathrone” 04.15.22 BUY

Lani Hall and Herb Alpert “Seasons Of Love” 04.28.21 BUY

Lisa Hilton “Life Is Beautiful” 04.01.22 BUY

The Sure Fire Soul Ensemble Step Down 04.01.22 BUY

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