Jul - Aug 2016 Najee by Smooth Jazz Magazine

CDs: Bob Dylan-Incognito-Pat Metheny-Steve Oliver...

Smo hJazz Jul/Aug 2016

MAGAZINE

Tom Browne

Still Funkinâ&#x20AC;&#x2122;

SUMMER

Festival GUIDE

Concerts Kim Waters

Brian Bromberg

SPYRO GYRA

0721

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Features

28 Najee 30th Anniversary Tour 34 Tom Browne Still Funkin’

42 Kim Waters

Romances The Crowd

Festivals

10 38th Playboy

Jazz Festival—in Photos

14 1st Notti Big Bear Jazz Festival 2016 - in Photos 18 Summer Festival Guide Concert Review

21 Brian Bromberg -

Full Circle –CD/Concert Review

30th Anniversary SPYRO GYRA - @ 30th Blue Note - New York Tour Video Anniversary Here Tour Video Ambrosia - in Photos Free Concert in the Park

CD Releases 45 New CDS CD Reviews 47 Better Incognito - In Search Of Days 50 Steve Oliver Pictures & Frames 52 Bob Dylan Fallen Angels 55 Marquis Hill - The Way We Play 56 Meets Cuong Vu Trio Pat Metheny 58 Pat Metheny The Unity Sessions 60 The Rippingtons True Stories 62 Warren Wolf - Covergence

Andra Day “Cheers To The Fall”

Gary Clark Jr “The Story Of Sonny Boy Slim”

DVSN “Sept 5th”

SmoothJazz Jazz Art Jacksonâ&#x20AC;&#x201D; Publisher/CEO May / June 2015 Doris Gee- - Research Manager Mannâ&#x20AC;&#x201D;Graphic Artist Contributing Writers Keivu G. Knox Charlotte Maria L. Lewis Chicago Althea Turner D.C. Eryn K. Bozeman Franklin, TN Art Jackson Los Angeles Lismett Velasquez Los Angeles Melissa Berry Los Angeles Andrew Reeves New York Mike Chimeri New York Ahlia Love Philadelphia Carolyn Beverly San Antonio Contributing Photographers Natalie Dorris Tyree McLemore

D.C. Las Vegas

Lamar Webster Lismett Velasquez Mann Mathew Imaging Pat Benter Mike Chimeri

Los Angeles Los Angeles Los Angeles Los Angeles Los Angeles New York

Videographer Kirk McLemore

Las Vegas

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THE WEEK OF

JULY 9, 2016

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Let the music take youâ&#x20AC;¦

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Festival

Naturally 7

Grace Kelly

Seth MacFarlane

Joshua Redman Photos By: Matthew Imaging 10| SmoothJazz Magazine

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Festival

Geisinger Winery

Jon Batiste & Stay Human feat. Grace Kelly Let the music take youâ&#x20AC;Ś SmoothJazz Magazine | 11

Festival

Janelle Monae

Fourplay Harvey Mason Bob James, Natan East, Chuck Loeb

Christian Scott

Liv Warfield 12| SmoothJazz Magazine

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Festival

Pete Escovedo Orchestra featuring Sheila E., Juan and Peter MIchael

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Festival

Photos By: Pat Benter

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LIVE STREAM Contact for artist submission Let | 47 Magazine | 17 Letthe themusic musictake takeyou… you…Magazine SmoothJazz

Festival JUL 2016 22-24

07-10

1-3 Iowa City Jazz Festival IA 1-3 Essence Music Festival LA 16 The Oakland Jazz Festival CA 16-17 Winter Park Jazz Festival CO 18| SmoothJazz Magazine

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15-17

Festival AUG 2016

6-7 Litchfield Jazz Festival CT 6-7 Scranton Jazz Festival PA 6-7 Telluride Jazz Celebration CO

1 2- 1 3

19-21 Idyllwild Jazz in the Pines CA 29-31 Eric Essix's Jazz Escape AL

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Concert Review Review By: Lismett Velasquez My heart sang from the first note to the last; this masterful trio lead by Brian Bromberg’s new CD 'Full Circle' was fabulous! Brian is an extraordinary jazz bass player and music composer who shared the lime light in each song with Don Webber- Saxophone Player and Mitch Foreman- Keyboards / Accordionist who was later joined by an electrifying Horn Section toping the night with the jazz rendition of Michael Jackson's pop song 'Don't Stop Till You Get Enough.'

"Havana Nights" was a light salsa jazz blend that got my hands clapping and my feet tapping, that it almost drove me to get up and dance. I am sure that other people felt the same. Whether your music forte is bebop, traditional or smooth jazz the night offered enough variety, showmanship and awe inspiring sounds that I recommend to all music lovers I was in a delightful zone at the talents of these gifted men who graciously shared their passion with the world at the Catalina Jazz Bar and Grill in Hollywood this evening.

The night was filled with a variety of unique sounds that were diverse, featuring the musical abilities of each artist. For example the song ‘Saturday Night In The Village’ had a contagious tune which reminds me of the great 70’s Jazz with its melodic acoustic sounds. Let the music take you… SmoothJazz Magazine | 21

Concert CD Review Review Review By: Andrew Reeves Good music doesn’t get much better than Brian Bromberg’s new CD “Full Circle.” And like every album Bromberg puts out, this one is a lot of fun to experience. There’s an acoustic band sound, mixed with just the right amount of soul, and Bromberg spices up Michael Jackson’s “Don’t Stop ‘Til You Get Enough” to add that extra little bit of Pop that makes this album far more than just another jazz recording. But “Full Circle” is special for another reason much closer to Bromberg’s heart. The album gave him a chance to reunite with his late father on the songs, “Jazz Me Blues” and “Washington and Lee Swing.” something he was never able to do while his father was alive. It is this mixture of past and present; timeless tunes alongside newly written material that gives “Full Circle” its magic. 22 | SmoothJazz Magazine

Bromberg teamed up with some amazing musicians on this record. Saxophonist Kirk Whalum accompanies the artist on “Naw’lins!” an up-tempo, soulful tune that pays home to the deep jazz roots of New Orleans. On “Susumu’s Blues,” Bromberg tapped Craig Fundyga for the solo, inspired by Japanese record mogul Susumu Morikawa. “Full Circle” has undertones of traditional jazz, mingled with Bromberg’s original style and arrangements. Whether you’re looking for a cool summer night soundtrack or something to kick back and relax to, Brian Bromberg’s “Full Circle” does not disappoint.

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Concert Review

New York By: Mike Chimeri

Jay Beckenstein

I was back at Blue Note on Thursday night to see Spyro Gyra‘s 8:00 show. This is a recurring expression in these recaps, but it was Spyro Gyra’s third night of a six-night engagement at the famous jazz club in Greenwich Village. It was also the first time I’d seen the band in nearly three years.. This was the first time seeing them on land since June 2007 at the YMCA Boulton Center in Bay Shore. My original plan on Thursday afternoon was to take the 4:27 westbound train from LIRR’s Wantagh Station (currently in the first phase of renovations) to Penn Station. But I was bored at home, so I left the house an hour and a half early. Let the music take you… SmoothJazz Magazine | 23

Concert Review The train ride was longer than scheduled due to a delay at Jamaica, but I still got to Penn Station within an hour of boarding. My girlfriend took Metro-North and the S and 1 trains, and we met at Penn 15 minutes after I arrived. We then took the A train to West Fourth Street. We walked up the stairs at West Third and killed time by watching basketball games at the West Fourth Street Courts. At 5:20, we decided walk up the block to Blue Note and wait for the doors to open. There was no line at first, but about 15 minutes, a line began to form.

Tom Shuman

Shortly after 6:00, the doors opened and Kelly and I chose our usual table at center stage. Our seats were the last before the stage. Through dinner and dessert, 8:00 came, Spyro Gyra walked on stage, and the show began. As he has been for all 40 years, Jay Beckenstein was on saxophone. He mostly played alto: So here is tonightâ&#x20AC;&#x2122;s playlist enjoy.

Scott Ambush

Julio Fernandez Lionel Cordew 24 | SmoothJazz Magazine

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1. Catching the Sun Originally heard on: Catching the Sun, 1980 2. Stolen Moments (Oliver Nelson cover) 3. Havana Moonlight Originally heard on: Got the Magic, 1999 4. Morning Dance Originally heard on: Morning Dance, 1979; Access All Areas, 1984; Road Scholars, 1998 5. Cape Town Love Originally heard on: Original Cinema, 2003 6. Harbor Nights Originally heard on: Incognito, 1982; Access All Areas, 1984 7. Good to Go-Go Originally heard on: Good to Go-Go, 2007 8. Funkyard Dog Originally heard on: Good to Go-Go, 2007

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Concert Review Photos By: Lamar Webster

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With Special Guests:

MAYSA*NAJEE and many more. Available Everywhere July 15, 2016 Let the music take youâ&#x20AC;¦ SmoothJazz Magazine | 27

Feature

By: Art Jackson

Photos By: Tyree McLemore

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He has played for Presidents of the United States, and Africa; Grammy, NAACP Image and Soul Train Awards nominated,; Toured with Prince, worked with Stevie Wonder, Quincy Jones, Chaka Khan, Herbie Hancock and a host of artists while having several #1 singles on Billboard Smooth Jazz Charts, Najee reflects on his major milestones of 30 years. Let the music take youâ&#x20AC;Ś

The 30th year anniversary for Najee’s debut album “Najee’s Theme” released in August 1986, on Capitol/ EMI. Tour dates and celebrations surrounding this anniversary is taking place all summer as we caught up with Najee in Las Vegas at the Aliante Casino and Spa playing to a packed house. Najee’s chameleonic artistry allows him to traverse diverse artistic terrain without skipping a beat as his currently new CD “You, Me, and Forever”, is a perfect example of this fact. Najee harnesses his expansive musical palate to craft a sonic journal that fuses his love of jazz with R&B, Brazilian music, blues and pop while reaching #1 Most Added album on the Smooth Jazz charts and the lead single “Fly With The Wind” reached #1 Single on Billboard jazz charts. With this being Najee’s third album for the Shanachie label, released on June 23, 2015, its is an inspired collection of songs that break the often heard formulaic approach. Instead, His latest musical offering is a commanding statement and affirmation as to why he has long reigned as the King of contemporary jazz. Equally at home playing the tenor, soprano and flute, Najee features all three throughout the CD. “As a whole they all make up my musical personality, the instrument I use depends on the composition. However, I did play more flute on this recording. The CD reflects my need as an artist to show the different facets of my musical personality.” Let the music take you… SmoothJazz Magazine | 29

Feature Born in the Greenwich Village in New York City and raised in Jamaica, Queens; an alumnus of the New England Conservatory of Music, Najee was mentored by jazz giants Frank Foster and Jimmy Heath as well as classical maven and flutist Harold Jones of the New York Philharmonic. When he emerged onto the scene with his soulful R&B, and jazz fused sound, with songs such as “Najee’s Theme,” “Sweet Love” and “Betcha Don’t Know,” it was not long before his trademark soprano found a home at the top of the charts and he carved out his own unique niche in the musical landscape. “My first love was the ten-

or saxophone and flute,” confides Najee. “It was my brother Fareed who got me to play soprano saxophone. We would argue over me not wanting to play soprano. Then one day someone gave me a

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“Making music at this point in my career is still exciting and I am always evolving. As a musician the love of performing for people whether in studio or live is still a gratifying experience. The best feeling to me is presenting something new to the world!” soprano saxophone and I played on his songs. That began my soprano saxophone career and little did I know then, that would be the instrument to make me popular.

“You, Me And Forever” produced by Najee, was intercontinental as Najee recorded the music in such diverse and far apart locations as Najee recorded the music in such diverse and far apart locations as Kansas City and London. He assembled an all-star cast of musicians on You, Me And Forever that includes pianists/composers James Lloyd (Pieces Of A Dream) and Robert Damper (Kenny G). The album also features guest spots from vocalist Frank McComb (Branford Marsalis, Buckshot LeFonque, Gamble & Huff), guitarist and vocalist from Najee’s touring band, Chuck Johnson, and singer Andrea Wallace (Kirk Franklin).

Frank McComb

The making of the CD seamlessly moves from Jobim to a rousing version of David Pack and Ambrosia’s 1980 Gold selling hit “Biggest Part of Me.” The memorable number highlights the powerhouse vocals of guitarist and singer Chuck Johnson. The second single, entitled “Signature” featuring singer/songwriter Frank McComb, Najee says “its long overdue.“ With two Platinum and four Gold albums under his belt, Najee is an icon whose musical vision spawned an entire new genre by fusing the music close to his heart (R&B and Jazz).

Chuck Johnson

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Feature

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Feature Photos By: Natalie Dorris

Interview By: Althea Turner

Tom Browne

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Funkinâ&#x20AC;&#x2122; Let the music take youâ&#x20AC;Ś

I had the privilege of sitting down and talking to one of the legends of jazz and funk…Tom Browne. I have to admit I was a tad bit nervous at the beginning, but it only took a few minutes for me to settle into what felt like two friends talking who hadn’t seen each other in a while. This is what Mr. Browne had to say: SJM: I’ll begin with what I feel everyone wants to read about. You lit up the world with “Funkin for Jamaica.” That song was the song that made everybody get on the dance floor. So, when you have such a successful song, what’s your reaction? Did you think it would be (and still is) a “staple” song to all dance parties?

proach” album, and Arista said, oh, feels like it needs one more song, and so I just put this musical thang in my home town together, wrote the bass line, showed it to Bernard Wright. He was like, “oh I dig it.” But NOBODY thought it was gonna do what it did. Nobody thought it. SJM: What inspired you to write “Funkin for Jamaica?” I know you were born and raised in Queens, which played a major role in composing it. Tell us about how it came to be.

Tom: I was from a town called St. Albans. It was a tri-town area; St. Albans House Jamaica. It was a tri-community area, and the thing about Jamaica was, Tom: <Lots of Laughter> I don’t know it was just so many known jazz and funk nothing ‘bout that song! <Even more cats. You had one block where Count laughter> Basie lived there. Right down the block It’s been 36 years, 36 years.! That song was James Brown. You just had that is just as popular today as when it came mix, and all the clubs was that mix of out. We didn’t even know we had a hit. jazz, funk, jazzy, you know. And that’s all we heard. That’s all we knew, and it We didn’t know it because I think we just produced the Marcus Millers, the had seven songs on the “Love ApLet the music take you… SmoothJazz Magazine | 35

Feature

Bernard Wrights, you know, folks like that.

Wind & Fire was a jazz group. Aretha is a jazz/blues organist, very strong jazz/ SJM: So, the vocalist on the song. How blues organist. It all comes out of the same root music, and that’s why I have did the two of you get together and a tremendous problem with this . . . what’s going on with her these days? what’s called smooth jazz nowadays. Tom: Oh Toni, Toni Smith. Yeah, noThere’s a tendency to take away the body knew. I mean, she was heritage of the music from the fiancée of the keyboard within the music, the foundaplayer I was playing with in tion of it. The foundation of the band at the time. I just this music was always traced knew she was a good vocalTom and Najee back to slave songs; all of ist. I heard her sing, but I them… blues and jazz all didn’t think it was going to be a Chaka traced back to it, and so it’s kinda diffithing! cult if you play funk not to have those roots that just go back to that original SJM: Being a jazz trumpeter, most song. Same thing with blues. So, with would think “there’s no funk in that!” smooth jazz it’s all about, well let’s kinYou have, in my opinion, an incredible da water it down and take some of the gift. You have mastered the art of jazzedge out of it. The hard thing is, and infused funk. How did you become inI’m just being honest, and it’s probably terested in the trumpet? Did you study not politically correct to say it, but the trumpet classically? you’re hearing more and more Dave Tom: My training was classical, but I Koz, Boney James, and less and less of just got introduced to Clifford Brown Najee and George Benson. And that’s and Ornette Coleman, and just fell in the reason. It’s because somehow this love with jazz. But there’s definitely a music is being given a different name jazz thing happening in funk. In fact, and suddenly it’s not our music anymost of the good funk players … Earth, more. I have an issue with that.

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SJM: Who are some jazz legends that have influenced you along the way and who are some you’ve worked/ collaborated with personally?

Tom: It’s a left brain/right brain thing. I was an airline captain until 2009. Along with trumpet, that was my first love. I just always loved it.

Tom: Definitely Roy Ayers. I played SJM: Do you miss it? with Roy a long time. On the jazz side, I Tom: I do. played with Sonny Fortune for several SJM: Do you still fly? years. Clifford Brown, Dizzie, Louie Armstrong. The older I get, the further Tom: I still fly charter now back I tend to go because I’m and then. We have a projust looking for a deeper gram where we’re teaching foundation. I love my bebop. young kids to fly; actually I SJM: What has been one of your biggest musical accomplishments? Tom: I’m thankful for the “Funkin’ for Jamaica” song. I’m thankful for the doors that opened up. I tend to be, like most musicians I know, I tend to be . . . as soon as the record’s done or as soon as it’s out there. . . Next! Everyone I know is like that. So I just try to go for what’s next. At this point in my career, with the way the industry is right now, it’s all about survival. SJM: So this really caught me off guard. Aviation! You’re a pilot?

and another former airline captain. He’s the first black captain on Piedmont Airlines. His name is Warren Wheeler. Warren and I have a program called “Aeroliner.” We’re targeting for kids who are freshmen/sophomore in high school. We have a full-scale flight simulator and a program where they will have their license by the time they graduate high school. You’ve probably seen the peak of what you’re going to see as far as black airline pilots, and unless someone or some entity or someone steps in and says okay we have to start to recruit our own kids it’s pretty much peaked out.

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Feature SJM: So, I’ve been listening to your latest CD, “Legacy,” and WOW! To say it’s a great CD would be an understatement. You have a way of bringing out melodies and turning them in to something unexpected. Please share how this project got off the ground (pun intended). Tom: The basic tracks, except for “Bounce,” were handed to me. It was from a lady named Dee Dee Alexander who lives in New Orleans. She was doing her own record project and it just didn’t come out right. She had someone write all these tracks for her and it didn’t turn out right, so she said “here Tom, if you can do someJoyce Mateo thing with these tracks, here you go.” And so it was like, seven or eight tracks, and I said, “okay, I’ll work on it.” It seemed like it just leaned toward neo-soul. It really wasn’t smooth jazz, it was more like neo-soul jazz. It took about a year and a half, just building and developing, and in the interim I met this young lady totally unexpected. This is the second vocalist I’ve met like this, Toni Smith was the first one. I went over to the Netherlands to play a jazz festival and it was this Filipino gal, Joyce San Mateo. SJM: I listen to her on the CD and think; she has the perfect voice for what I hear instrumentally. In other words, her voice married your instruments and they produced a perfect sound. How did the two of you meet and what was your reaction when you heard her sing? Tom: She was totally unexpected; a Filipino gal in the middle of the Netherlands. I thought okay, what’s she going to do? She opened her mouth and I was like Oh My God; who are you? That’s pretty much how it was, and I thought, I got to get her on this project. She’s kind of like Tina Marie. 38 | SmoothJazz Magazine

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SJM: There’s a track on the CD titled “Mandela.” What is the theme behind that song? Tom: I tried to shape that song so that it was strong. I tried to shape that song in a way that was like a pillar, like a foundational pivot point; being that Mandela fathered a nation and was an inspiration to all nations. The funny thing is I had that as the lead song on the record, and I put a couple of trial feels out there and it wasn’t that well received in Europe. What I wanted was to have a chorus with a whole group of children and everybody to sing “Mandela.” But that’s where it all came from. SJM: Are you planning a world tour for the “Legacy” CD? Tom: Yeah. As this CD gains momentum, we definitely have some things going on. We’re going to Dubai, Europe, going back to Amsterdam in a couple of months. SJM: Now to the fun questions. This is where your fans will hopefully gain some insight into who Tom Browne is. Do you have children? Tom: Yep. You ready for this? 31, 29 and . . . .15! <Lots of laughter> And again, 31, 29 and . . .15! ALL BOYS! I wanted a little girl so bad. I wanted a daddy’s girl, you know.

“Most of the folk I know approach funk from like a jazzy vibe.”

SJM: What’s your favorite food? Do you cook? Tom: I grill. Favorite food is Thai food. SJM: Where’s your favorite spot to vacation? Tom: Southern Italy. My wife and I wanna go to Spain; we haven’t been there yet,

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Feature so we’re going this year. SJM: How do you relax? Tom: See what I’m doing right now? This is my chill. When I’m on the road playing gigs, I’m chilled. My work is when I go home and I chill when I’m on the road. SJM: What’s a typical day like for you? Tom: Can’t get started without mocha. Gotta have my mocha!! We’re remodeling the house right now, so I’m “painter Tom.” Doing the whole house. SJM: Social Media? Instagram, Facebook, Twitter? Tom: I do. Facebook mainly. I Facebook a lot. SJM: What can we expect from Tom Browne this summer? Do you have tour dates? Where can we find you? Tom: Definitely Europe and the Mid-East. California. Capital Jazz Cruise in October. SJM: Mr. Browne, it’s been a pleasure. This is one of those moments for me I’ll cherish. Being able to sit down with a legend such as yourself and have you open up about your music is truly amazing to me, and I’m sure your fans reading this appreciate it as well. One final question. What does that word “funk” mean to you? Tom: It’s a way of approaching the music. Most of the folk I know approach funk from like a jazzy vibe. It’s a neighborhood, a lean into; it’s an attitude. It’s more of a feeling than a definition. You can build whatever you want around it. SJM: Again, thank you for your time, and I look forward to seeing you perform shortly. 40 | SmoothJazz Magazine

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Concert Review

Interview and Photos By: Carolyn Beverly Saxophonist Kim Waters “Rhythm and Romance,” released June 3, is definitely the one to check out. There are ten tracks on this cd that is filled with Kim Waters signature flavor capturing the attention jazz lovers have become accustomed too. Tracks on the cd include seven originals and three rewrites which include but, not limited to 1983 hit by Currently #15 On El DeBarge “Time Will Reveal” and “No Sleep” by Janet Jackson just to name a few. Once again Kim Waters nails it! The first single release “Bring It” is a nice up beat tune to get things started right. In a recent interview with Kim Waters in Houston when asked about the title as to which came first Rhythm or Romance, his response was in this case “Rhythm.” Once you listen to the cd it will be clear that there is an equal balance of just what you need to fuel your musical appetite to its entirety. With approximately twenty-seven years in the business with millions of albums sold with singles to match Mr. Waters has seen his fair share of industry 42 | SmoothJazz Magazine

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industry changes. “The industry has changed completely.” Adding, “It is a time unfortunately for the record companies people do not have to buy the entire cd they can pick their favorite songs from the artists they choose.” Kim Waters in concert is like going a musical adventure of pure pleasure that is a sure love affair between the man and his sax. He takes it nice and easy making each note smooth, leaving the audience in musical trance of romance. He clearly knows how to capture attention both on and off the stage. When it comes to entertaining he has it especially packaged with his signature style of delivery. Remember “Rhythm and Romance” by Kim Waters available NOW!

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New CD Releases 2016

Carol Duboc "Open The Curtains" 08/19/16 BUY

Steve Cole “Turn It Up" 07/15/16 BUY

Maxwell ""Black Summers Night ” 07/0116 BUY

Bob Baldwin "The Brazilian- Branford Marsalis Quartet Dominick Farinacci "Short Stories" 06/10/16 American Soundtrack " w/Kurt Elling "Upward SpiBUY 07/01/16 BUY ral " 04/29/16 BUY

Brad Mehldau Trio "Blues & Ballad" 06/03/16 BUY

Les Sabler "Sweet Drive” 06/03/16 BUY

Matt Marshak "New York” 06/01/16 BUY

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CD Review Review By: Ahlia Love One thing about Incognito is that they are undeniably, capitol “F”, funky. I’m sure that somewhere in their lengthy discography there may be a few tracks that may not be classified as favs or hits; but this 2016 release ”In Search of Better Days” bears many selections that will fit a variety of moods and have classic potential. Track 3: “Everyday Grind,” aside from that fact that Maysa’s velvety vocals helped to melt this lyrical Mantra into my head; the musical arrangement drove the message deep into my soul...That is what good music is designed to do. A much needed add to any playlist. It's definitely in mine. Track 4: “Racing Through The Bends” has a sophisticated party groove working for it. Track 6: “Selfishly” is another flow featuring Maysa Leak which blended with this awesome band works as another treat for me to call a must have for my collection. This is classic Incognito. Track 7: “Love Be The Messenger” is great message music complimented with their trademark acidic jazzy flow. I can only hope that while grooving to the song the information contained within will really be absorbed by more than the average fans of this style of music. Track 8: “I See The Light;” while I love the musical accompaniment of this track I can't say that I immediately loved the lyrics or vocals for this piece. It is one of those tracks that you just have to take a second listen to in order to fall into the vibe completely. Track 9: “Echos Of Utopia” is everything I expected and needed to hear from this amazing unit at this point in the CD. The band is undeniably tight on this one. This track alone has me wanting to stand in line to hear them play this live in the very near future. Pure excellence. Let the music take you… SmoothJazz Magazine | 47

Track 10: “Move It Up,” I'm so sure many people will listen to this track and feel the song was written for them, exclusively. So just go on and add it to your “Songs for Empowerment” playlist. You won't be disappointed. Track 11: “Crystal Walls” ahh, sneaky sneaky…This song is surprisingly, mystically HOT. The multilayered track was exciting and the only disappointment was realizing that it did eventually come to an end...I was left wanting more. Track 12: “Bridges Of Fire” is pure fire with funky acid jazz as an accelerant. Bathed in traditional jazz piano undertones, the lead guitar, horns and funky drumming keep the heat flowing throughout the entire track. This is another piece I would love to hear Incognito play live. Track 13: “All I Wanted” impacts me in the same manner as the classic 1993 release, “Deep Water.” I heard it once, like it. Listened again and loved it. By the third listen I'm trying to memorize the lyrics. The YouTube video for this track makes it easy since the lyrics are layered on to the video. Another great vocal performance by the extraordinary song stylist Maysa Leak. Track 14: “Better Days” deserves honorable mention because it proves once again how versatile this band can be. This is a great track for the house music lovers, Voguers and fitness fiends. Energetic and oozing with inspiration. Another addition to my “Go Forth and Conquer the World” playlist. Overall, I’m excited by the newest release by Incognito. “In Search of Better Days” is a must have for true music lovers. I can't wait to hear what they come up with next.

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CD Review CD Reviews

PhoReview By: Keivu K. Knox After a string of successful and Billboard Charting Smooth Jazz singles and albums, guitarist Steve Oliver has released the first vocal album of his career, “Pictures and Frames.” Some may take this information and worry about this change of pace, and what the result would be. Two things are clear after listening to this project: Oliver’s musicianship is still prevalent and this was a carefully crafted statement that will please current fans and make new ones. Recorded in the legendary Capitol Records Studio, the album starts off with “Why,” which is not only the first single, but a song that compels the listener to think critically. “Looking for simplicity and apathy is all we see;” is a lyric from this song that stood out to me. It’s a song with heavy lyrical content, but is musically stellar. Another song that takes on social 50 | SmoothJazz Magazine

Let the music take you…

10/25/16

stood out to me. It’s a song with heavy lyrical content, but is musically stellar. Another song that takes on social concerns is “Instant Gratification.” It’s a unique look at how social media has affected us all and created a “push button society.” The driving drums and bass work on this song, along with an Al Jarreau-influenced vocal by Oliver, will cause you to tap your feet and hum along. The clear message of this song, however still comes through. Oliver’s influence by so many different genres is also apparent on this album which helps to keep the project cohesive. . One of my favorite songs from this album is “Waltz To You,” as Oliver delivers a great vocal performance capturing how a love can grow over time. It’s a song that captures the 80’s West Coast Cool pop sound of Airplay or Toto, and it may serve as a future wedding song. Another favorite is “A Piece of Me,” which has a memorable hook and melody that suddenly changes in the middle that brings jazz and soul together. “Long Time Comin’” showcases not just Oliver’s acappella effectively, but also his vocal range. With Oliver’s latest album, he takes a bold step forward musically, but he does so with a confidence that produces a very good album. His ability to mix social issues with love and relationship content, while using various genres as a backdrop, has set this album up to be one of the better releases of 2016 so far.

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CD Review

“Sings the Great American Songbook…” “Fallen Angels," Bob Dylan’s current album, may be listened to in several ways because of who Dylan is, and the material he's chosen. Although the songs are all from the classic Great American Songbook, and were all previously recorded by Sinatra, don't expect crooning. But, do expect the unexpected with Dylan’s interpretations and arrangements which create a kind of musical comfort food with some very familiar ingredients. In this instance, that would be a pedal guitar with its sinuous sound reminiscent of the old Hawaiian guitar, violin lines that have that old time Western Swing of Spade Cooley, traditional rhythm guitar riffs, and even an occasional cowbell thrown in during "That Old Black Magic." All recognizable sounds, yet by initially giving each song its own unique opening musically, and 52 | SmoothJazz Magazine

Review By: Melissa Berry then following through with his ageappropriate interpretations of the lyrics, Dylan musically meets the requirements of the 21st century by giving a new point of view to the familiar. Beginning with the first track, "If you’re Young At Heart," Dylan makes it clear this is no album which includes honeyed -voiced backup singers with lush string arrangements. This opens with the creamy sound of pedal guitar leading us slightly astray melodically and then takes us right into the familiar tune, but with the interpretation of a Dylan who recently turned 75. To begin "It Had to Be You," Dylan opens with the story telling verse which sets up the theme of the whole song. He reinforces the subject of this song with

Let the music take you…

with the thoughtfully interpreted bridge in the middle. His musical acknowledgement and use of the verse, and then the bridge, throughout this album creates just what the songs of this period are famous for - a beginning, middle and end just like a good short story.

the song "Skylark" which is an exception only because it was never recorded by Sinatra. Written by Hoagy Carmichael ("Stardust"), Dylan continues with his simple storytelling that lacks sentimentality or remorse, but does have a kind of wisdom to it. With "Fallen Angel," Bob Dylan continues to provide a new awareness to familiar situations. Through his musical interpretations and phrasings, Dylan gives a new point of view to old thoughts and feelings, continuing to keep us all "Young at Heart."

Dylan takes a different approach than usual to "Come Rain or Come Shine." This song is often arranged and performed with a kind of urgency to the lyrics, but this version opens very thoughtfully with a bowed bass fiddle setting it up. From there, Dylan slowly and carefully explains just how much and what his love includes as he makes his statement of the depth of his love through the lyrics. A single violin line hypnotically opens "Maybe You'll Be There," and then continues to follow Dylan through the song with a mournful kind of obbligato. Midway through there is the addition of some beautiful horn work, again making the musical story telling complete. The only exception in "Fallen Angels" is Let the music take youâ&#x20AC;Ś SmoothJazz Magazine | 53

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CD Review Is a new and upcoming Review By: Maria L. Lewis trumpeter from Chicago hitting the Jazz scene. He won the 2014 Thelonious Monk Jazz competition award and “The Way We Play” is his debut album on Concord Jazz label. The album kicks things off with the opening track Welcome/”Bulls Theme.” It is an introduction of the group The Blacktet consisting of Christopher McBride, alto sax; Justin Thomas, Vibraphone; Makaya McCraven, drums; and Joshua Ramos on bass. The track “The Way We Play” begins with spoken word poetry then followed by Hill on trumpet. The drum cadences are on point, and display a terrific sense of focused dynamics. “My foolish Heart” is performed with the smooth vocals of Christie Dashiell. Hill’s muted trumpet solo has a smooth and robust tone creating a nice atmosphere. He does a rendition on this album to Donald Byrd’s “Fly Little Bird Fly.” It has an Afro-Cuban flavor, adding in spoken word lines, and set to an upbeat tempo. “Beep Durple” is heavy on the brass with a trombone solo. Jazz improvisation at its best! The last track is “Smile” a rendition of the classic Charlie Chaplin song featuring Hill on trumpet. “The Way We Play” is a traditional or bop-influenced album that exhibits influences from Horace Silver, John Coltrane, and others from the 60’s era, but Hill manages to add a touch of his Windy City roots in the mix as well. The album will be released on June 24th 2016. If you are an admirer of traditional Jazz this is the album for you! Let the music take you… SmoothJazz Magazine | 55

CD Review Review By: Keivu G. Knox

It’s not every day that you get a chance to have someone you have worked for and helped create great masterpieces, return the favor and help create your masterpiece. For Cuong Vu, a trumpeter that appreciated Pat Metheny’s work over the years and ultimately joined Metheny’s trio 10+ years ago, this was his reality when Metheny lent his legendary status to this album. With Vu on trumpet, Stomu Takeishi on bass, and Ted Poor on drums comprising the trio, this album will immediately take you back to going into the basement, digging in your father’s jazz collection, putting on your headphones, and finding a classic free form jazz album! 56 | SmoothJazz Magazine

While the album’s running time clocks in at 53:23, the fact that it consists of 7 tracks gives this quartet the space and opportunity to explore sonically, and the results are great. The album’s opening track, Acid Kiss, is bursting with layers of melodies, guided by Vu’s trumpet and Poor’s drum work. While deeply rooted in jazz, the rock undertones allow this track to transform throughout its 9 minutes. Not only does Metheny’s signature guitar shine through on the song Seeds of Doubt, but also allows Vu’s trumpet to carry the track and tempo. The most traditional song on this album is arguably Telescope, but even here, we can hear masters of innovative and expressive work.

Let the music take you…

CD Review

The album’s longest track, “Tiny Little Pieces” perfectly encompasses what this album is about. There is a metamorphosis in sound, a chance for all of the musicians to impose their abilities on the listeners’ ears. While the feel of this song, along with the majority of the album is relatively darker, it does not get in the way of the quality of expression. It is amazing to hear how so much can be packed into these pieces of music, and the marriage or sounds amongst these four musicians

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CD Review

Review By: Eryn K. Boseman

I enjoyed reviewing this cd, possibly why I Jammed it so many times. I played this in the car (of course), while cooking, cleaning, packing, and currently in my seat on the plane. It is a really good cd for getting things done. For me Pat Metheny Group is everything when it comes to Jazz. You can hear all kinds of musical influences

and you never know what to expect to experience from Metheny and coproducer Steve Rodby. Talent includes Pat Metheny: electric/acoustic guitars, guitar synth, electronics, orchestrionics; Chris Potter: tenor/soprano sax, bass clarinet, flute, guitar; Antonio Sanchez: drums and cajon; Ben Williams: acoustic/ electric basses; Giulio Carmassi: flugelhorn, piano, whistling, synth and vocals. I learned that the "Unity Sessions" is taken from a filmed performance with Pat Metheny Unity Group that was also released on DVD. As I listened to the double cd, I of course, found cd favorites. One that captured me completely every time I played the CDs was "Rise Up." I could be doing many other things but when this song played, it would stop me in my tracks. Its tempo and movement are amazing and of course the guitar. Words can't give credit to the sweet perfection of this song. Please play it over and over as I did to really grasp the magnitude. "Cherokee" is also outstanding. All I could think of when I heard this song, was saxophone reigns supreme. Chris Porter speaks on saxophone and I have to say, it is beauty beyond words. The entire cd has the feel of sitting in on a jam session and you really experience this on the songs "On Day One" and "Roof Dogs." The songs move without 58 | SmoothJazz Magazine

Let the music take youâ&#x20AC;Ś

- 2 Disc Set interruption and you can mentally feel the band working it out. I would definitely like to Disc 1 see these two performed live. CD #2: Should be called Metheny revisited in my opinion. Some of his Grammy award winning work along with other familiar Music from earlier CDs. The first song "Come And See," has a very old jazz club sound, oozing the feel of stepping into a smoke filled room. The guitar on this piece is like no other. Metheny's musical genius is all over this tune. The breathtaking intro is perfection as only he can do it. Music is personal, when you push play, it becomes a conversation between you and the artist. Metheny has a lot to say and I listened intently. The unity sessions in its live recording without audience format, is brilliant in feel, intensity, and of course quality. It gives everything you need from a live performance minus audience interruptions or sound quality loss. The cd is brilliant in every way. I found nothing lacking on this project. I can't wait to purchase the DVD and jam to it next. A must have in your Metheny collection.

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