CD REVIEWS:: Chick Corea, Santana, Pieces Of A Dream and more….
July/ August 2019
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MAGAZINE
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Feature
22 Philip Bailey of EWF Remembering Talks Solo, Family &Friends 32 Joey Alexander: POV 08 A New Orleans Icon Dr. John 37 Patrice Rushen Remembers Ndugu Chancler at Playboy
Festival 44 Playboy Jazz Festival Blues, Funk, Jazz, Latin, R&B & World
62 Capital Jazz Festival In Photos
Concert
12 Niles Rogers & Chic With DRUMline Live 16 Leon Bridges show is A Good Thing 19 Joey Alexander
Special Thanks to Playboy Jazz Festival and the LA Phil Photo credits: Matthew Imaging.
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CD Reviews 69 Chick Corea - The Spanish Heart Band: Antidote 73 Santana—Africa Speaks 77 Pieces Of A Dream On Another Note 80 Art Still Experiences: Real and Imaginary 83 Audrey Logan 86 Jazzmeia Horn Where The Sunshine Is Expensive
Love and Liberation
CD Releases 67
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SmoothJazz Jazz July /August 2019
Smooth Jazz Magazine
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Web: www.smoothjazzmag.com
Contributing Writers Keivu Knox Maria L. Lewis Liz Velasquez Ronda Dixon Michelle King Ahlia Love Azval Ismail Sammy Stein
Charlotte Chicago Los Angeles Los Angeles New York Philadelphia South Africa United Kingdom
Contributing Photographers Dawn Stephens Mann Michelle King
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No part of this publication ma y be reproduced or transmitted in any form or by any means without written consent from the publisher. Copyright @ 2019 by Smooth Jazz Magazine. All Rights Reserved.
Chicago Los Angeles New York
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Julian Vaughan
The week of July 6, 2019 Topside Bob James Trio
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Black Dynamite Julian Vaughn
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Stylin’ Gregory Goodloe
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It’s Alright Walter Beasley
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Illuminate Steve Oliver
*** #1 ***
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Remembering
Dr. John, a member of the Rock & Roll Hall of Fame and a sixtime Grammy winner, died said publicist and social media manager Karen Beninato. Dr. John, whose real name was Malcolm John Rebennack Jr., created a unique blend of music which carried his home town, New Orleans, in his heart. Born in 1941, Dr. John’s love of music started at an early age as his entire family played the piano. When he was just 14, Dr. John’s music career kicked off when he began performing with New Orleans blues singer Professor Longhair, he went on to play keyboard on tracks by, Aretha Franklin, Van Morrison, Sonny and Cher, and The Rolling Stones song “Exile on Main St”. In a interview in 2009, that in 1960, or so, he got shot in a finger when he went to defend a bandmate who was being pistol-whipped. He switched to piano after that. In the late 1960s, he became "Dr. John, the Nite Tripper" when he went solo. 08| SmoothJazz Magazine
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Remembering His song "Right Place Wrong Time" peaked at No. 9 on the Billboard chart in 1973. The blues, rock and jazz musician won his most recent Grammy in 2012 for the best blues album, "Locked Down” making him a six-time Grammy Award winning pianist. In 1968, he released his popular album Gris-Gris, which earned him national recognition for his voodoo mysticism, funk, psychedelic rock sound. He is most known for his album Sun, Moon and Herbs in 1971, which featured Mick Jagger. He is also known for “Down in New Orleans” from Disney’s 2009 The Princess and the Frog. His other Grammys included “Makin’ Whoopee” in 1989; his album Goin’ Back to New Orleans in 1992; Best Rock Instrumental Performance for SRV in 1996; “Is You Is, or Is You Ain’t (My Baby) in 2000; the album City That Care Forgot in 2008. In 2007, Dr. John was inducted into the Louisiana Music of Fame and Blues Hall of Fame and 2011 he was inducted into the Rock & Roll Hall of Fame.
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“When you thought the Lies, Betrayal and Deceit could not get any worse…”
Author Robin Munro
“Pure Revenge picks up right after the end of Pure Deception with even more twist and turns.”
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Festival - Photos
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Concert
By: Ronda Dixon
“I am going to tour more than I have ever done before, I am going to write more songs than I ever have before, I am going to collaborate with more people than I have ever done before.”
NILE ROGERS
As we entered the Hollywood bowl there was a drum line that was rehearsing and then they started doing a second line through the crowd as we are entering the amphitheater. This was the start of a very festive evening. “Drumline Live” which is the name of the band came on later and perform their steps with the drum major dressed in blue and gold with a cape doing his matrix dance. This is the same band that gave the memorable performance with Beyoncé at Coachella. The LA Phil Orchestra led by Maestro Thomas Wilkens performed with a military band to warm up the crowd. 12| SmoothJazz Magazine
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Concert Nile Rodgers and Chic entered the stage playing with the full orchestra of the LA Philharmonic backing them up. It was a magical evening bringing back the memories of the disco ball, strobe lights, platform shoes and bell bottoms swirling on the dance floor. Nile Rodgers with singers Kimberly Davis and Felani sang many of the number one hits that Nile Rodgers wrote and produced for other artists starting with Dianna Ross "I'm Coming Out" his first #1 hit record. Chic launched a medley of Sister Sledge songs beginning with "Greatest Dancer" and ending with "We Are Family". Felani sang Madonna’s "Like A Virgin". Kimberly Davis was a virtuoso performer on her vocals. She dragged us through silky smooth, rough, down and dirty riffs. Nile followed with a guitar
solo, then he NILES ROGERS CREDITS: dedicated Producer, songwriter, "Thinking of musician, composer, You" to his former Chic arranger and guitarist. partner Ber- The co-founder of Chic. nard EdSold more than 500 milwards. Nike lion albums and 75 milbecame a lion singles worldwide. little emotional as he Rock and Roll Hall of shared that Fame inductee, a 3he had been time Grammy Award diagnosed winner, and chairman of with an agthe Songwriters Hall of gressive form of can- Fame . cer. Instead of giving in he resolved to write more songs than he ever wrote before, do more performances and produce more songs than in his entire career. He then told the story of how he came to write "Get Lucky" by Daft Punk. He was asked by Pharrell to write the song. I loved that song because my dog Lucky would get excited and start dancing when he heard his name. Nile also shared that his cancer was cured after embarking on this challenge to do more than he ever did before.
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Concert After a brief interlude the LA Phil and the Airforce military bands took the stage to accompany the opening night of the annual Independence Day fireworks display which did not disappoint. It was nice to see the fireworks choreographed to the orchestra's rendition of each official military branch songs and other patriotic favorites. When Chic returned Nile was wearing bell bottoms. He said we make dance music hint. They finally performed their hits. Everyone was up for "Le Freak" c'EST chic. Their signature song. They performed "Good Times" and it took me back to Venice beach in the 70s roller skating and dancing. Those were good times for sure. Nile rapped to the Sugarhill Gang's "Rapper's Delight" which created controversy when the group rapped over the music to "Good Times". The beginning of a trend in rap music called sampling. Some Artists welcomed it as it revived their careers but others did not. Nile introduced Ralph Rolle, the drummer as the funkiest man he knows and then he sang the vocals for "Let's Dance" by David Bowie. The drum line and members of the audience took the stage and the grand finale was one big dance party.
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By: Lis Velasquez
Concert
am breathless as I describe my first experience watching Leon Bridges perform and my first time at The Hollywood Bowl! There were many ahh moments. His performance far exceeded my expectations. I would definitely watch him again and again! The minute he sauntered onto the stage; he had everyone's attention including mine. His energy was positive, powerful and it captivated the whole audience which filled the whole bowl! His Live Performance was powerful and phenomenal! He can switch from Blues, Country, R & B, and Funk at a drop of a dime. His voice is sultry and smooth and upbeat. You can slow dance with your sweetheart to The R & B Music or you can sway back and forth solo. His Soul Music made me think about my own love life with some of the lyrics of his songs, while other songs that were Funky gave me hope in getting through a relationship and seeing a positive way in moving forward. What captivated me most about this amazing talented Artist and songwriter is his humble disposition. Despite the magnitude of his stardom, he comes across as very humble and I felt that he is very approachable and easy to talk to. The fact that he is from The South; Forth Worth, Texas brought about a gentleness and friendliness to him that made me like him even more since I love the Southern Hospitality, and Leon Bridges defi16| SmoothJazz Magazine
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Concert initely exudes it in his Live Performance! The show was highlighted with him and the only female member of the 7-piece band, Brittini Vanesa Jesse singing “River” a tender duet, while another moment was the sing-along to his country hit that the fans adored and sang in unison with him on “Beyond.” Bravo! Leon, Bravo!
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Concert Photos By: Cheryl Boone
Review and Photos By: Michelle King Joey Alexander performed at The Blue Note in NYC for the first time this year (June 6-9). The Joey Alexander Trio, which also included Larry Grenadier on bass cello and Kendrick Scott on drums, performed completely all new music with only "Inner Urge" not being a Joey original which he has never recorded, but in the near future he will be recording it for the debut new album on Verve Records. If you closed your eyes, you would think that this phenomenal jazz pianist was telling intriguing, complex stories lived through the many decades of his global, sophisticated life. Then you
open your eyes and are totally stunned by the astonishing fact that he is only fifteen years old! He first came to New York at eleven years old from Bali and later Jakarta, literally the other side of the world from this music. Trying to comprehend this is distracting while listening and watching him play, so reading this now will help you enjoy his magnificent artistry more when you see him live (or listen to his recordings). It is so much more than his brilliant technical mastery of the piano, or his engaging and electric interactions with Grenadier and Scott. Think of jazz essence itself as both Let the music take you‌ SmoothJazz Magazine | 19
Concert an ethereal and profound source in nature. It is the humble and spiritual soul of Joey Alexander that confidently taps into this source, and brings it forth with both reverence and ingenuity. It is miraculous, only made more exciting by the fact that Alexander is constantly creating in improvisation and composition. Witness a set when Joey Alexander comes to your town, and certainly buy ECLIPSE his latest CD. This is what jazz is all about, and I cannot wait to see and hear what comes next!
GUITAR: Charles “Chuck” Johnson KEYS: Rob Bonner DRUMS: Daniel “DP” Powell
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Smooth Jazz Magazine
Feature
Jazz and Contemporary Jazz
Photos By: Dawn Stephens
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Feature By: Maria L. Lewis
Smooth Jazz Magazine sat down with Philip Bailey from the legendary R&B group Earth Wind and Fire here in Chicago as he prepares to perform at City Winery,. We talked about his new album “Love Will Find A Way” recently released June 21st on Verve Records. Philip gave us an inside view of his experience working with the greats on his new album, and the culmination of ideas and themes that went into the making of it. This is what he had to say: SJM: What was it like working with Pro- had this song on this project that initialducer Will. I. Am., on your new album ? ly started in New York with Christian McBride, and we actually cut that parPhilip: He was in school with my daugh- ticular song over, but I loved what we ter – who is now my assistant – in Junior were doing on the upright bass and kaHigh and High School, and they knew limba. So I edited it, and said man, I am each other then. To my point, we going to write another song on this. I worked with him, and it was during the needed it to be a lot more consistent whole change of the computer becom- and to pop! So, I said I know exactly who ing a significant part of Music. I have to call for this. Will was doing his founworked with other people who were dation, and we did a swap. We did a experienced, but Will was the first occa- couple songs for his foundation, and he sion where I actually could see someone worked on this song for me that same manipulate the computer as an instru- evening. We sent it to Christian Scott, ment in real time – at the speed musi- he put trumpet on it, and there it was. cians can play their instruments. He was just so proficient in multi-tasking, doing SJM: Tell us more about the impression research, putting the beat together, ed- you experienced while listening to Robiting it, shifting it, and playing it at tem- ert Glasper’s performance, that you felt is the new direction of today’s Jazz? po. My mouth was open! So when we Let the music take you… SmoothJazz Magazine | 23
CD Review Feature Philip: I want to clarify that I won’t be so bold as to say that it is the new direction of today’s Jazz, because I don’t know what that is. I will say that I was pleasantly surprised to see the “grown and sexy” at his concert, and it was very helpful to see that there was a fresh audience of people who were actually listening to his music., I was thinking wow! I am actually hearing chord changes and solos. Much of the younger generation believe that Traditional Jazz is dead or dying with the age You would think that the younger generation has no appetite whatsoever for music of any intricacy whatsoever. However, since I went to his concert, and Kamasi Washington’s concert in New Orleans that particular year, I was pleasantly surprised. I was so hopeful that there is a lane! It really defined the direction of the project with him, because we were specifically going after that marketplace. We want to build and continue to perpetuate the art form. Robert likes to say, “That one needs a face lift”! (Laughs) He is able to take a Traditional Jazz style and touch it in a certain way to make it all his own. All the young stars were at the concert doing different sit-ins with him. It was an exciting musical night! SJM: Your new album has so many eclectic musical elements. Iconic legends such as Chick Corea, Steve Gadd, and others. Tell us about your experience working with the great artists you have featured on your album. Philip: Chick and I were always fans of one another’s music. We started doodling and playing around a few years ago. When we were in Florida, and doing an outside concert there. The next day we had off, so Verdine, Ralph, and myself went to Chick’s house to just jam. So when we were constructing this idea, my daughter and my creative team said that you should start it with people you have a relationship with. At the time, I also had a relationship with Christian McBride. We started the project with Chick first. Steve Gadd and those guys were in Florida 24| SmoothJazz Magazine Let the music take you…
Feature working with Chick on a project. So while they were there, I worked on a song for his project, and he worked on several songs for mine. SJM: Will you continue to tour with EWF once your new album is released? Philip: Not at all – just kidding! (Laughs fill the room) I call my “Fire” gig my day gig, and this is my night gig. I’ll join my day gig next week! I’ve been doing the record and touring, and now doing this promotional tour. Then I will join back up with them. I’ve always done that since the 80’s, and it has been very liberating in a way. It has also been very encouraging and inspirational for me, because I get a chance to spread my wings and do things that I am not doing everyday. I’ll have something to bring back. Verdine has been stepping out, and doing some things with other Artists too. It is very healthy and necessary for you to do other things beside what you normally do. Otherwise, it can get stale. SJM: Since Father’s Day just recently passed, Happy Father’s Day by the way, please tell us more about your son’s musical career, and co-writing with him on this new project. Philip: Philip is a graduate from Berkeley School of Music, and like myself he was singing before he was talking. I always knew that he had “the gift.” After he graduated from school, and worked 9 years in Boston with other casual bands, I asked him whether he has any feelings about working with us for a while. It has been great because we get a chance to bond. He wrote several songs on the last “Here and Now Forever” project of EWF. He also Let the music take you… SmoothJazz Magazine | 25
Feature “You let the Music dictate to you.” Philip Bailey
helped to conceptualize this project, with my daughter Trinity, and our Artistic Director Tishaun Dawson. SJM: It’s a “Who’s Who” of Jazz Artists on this project from Christian Scott to Bilal. You have young talent to legendary Artists. Was there a theme going into the making of this CD?
Philip: The project was inspired, or the best word would be “pricked” by the current political, social, and economic times that we have been in for the last 3 – 4 years. We wanted to speak to that in a way that we do as artists. We use our music as our weapon of choice, and we choose songs that also helped our people get through the turbulent 60’s. For that reason, we chose the songs that we did to speak to a lot of the issues that are as prevalent today as they were back in the 60’s. SJM: How did your musical director Herman Jackson help to create the theme for this project, and also is there an overall spiritual message from start to finish of this album? Philip: You let the Music dictate to you. The project took a real turn when we worked with Robert Glasper. Herman was able to listen to that direction, take a
few of the songs we had rec-
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Feature few of the songs we had recorded, and re-do them. So that they fit the overall feeling, flow, and timbre of the project. The theme of the project is Love Will Find A Way. I actually found that song later on after we had recorded most of everything. I didn’t know that version of the Farrell Sanders “Love Will Find A Way,” and when I heard it, I played it for Tyshawn. Then Herman did a track on it, and I also called Casey Benjamin – who I had met with the Robert Glasper Experiment. I asked him if he would do a duet on it with me, and he was kind enough to do so. SJM: It has been 17 years since your last solo project. What was the motivation for doing this new project? Philip: The music Industry has changed so much since we came up. We came up in a time when the Music Industry and companies were everything for an Artist. Radio was everything to get your music out to people. It meant a lot for records to come out and so forth. It was lucrative during the time that we came up, and it also made stars! That’s drastically changed so much over the years. The need to be creative has not changed. I wanted to do a project and feel like I was involved in a project similar to how we used to do records back in the day. Great records where we take the time to actually allow the music to guide us. Where we can bring in an A Team of people, and construct a project that you can be proud of. I knew there wasn’t a record company that was going to support that kind of thing, so this project is self-funded. From start to finish it took over 2 years to complete. At the end of the day, we were very happy that when people began to listen to the record after we finished, we were getting exactly the kind of comments we were hoping for when we conceived the idea. SJM: You are use to playing large venues, but you have been performing in more intimate venues for the City Winery Tour. How has this touring experience been for you? Let the music take you… SmoothJazz Magazine | 27
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CD Review Feature Philip: I have toured small club gigs before back in my career as a soloist. I used to play the Blue Notes with my band. It is nothing new. It is quite refreshing to be able to touch the people, and to get that kind of intimate reaction right there. You get a chance to take pictures with people after the gig. It’s more of a relaxing environment.
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CD Review Feature By: Avzal Ismail
“You have to stay focused, stick to your plan and make your own choices man. Don't let anyone take you away from that. Stay focused, stick to your plan.” Josiah Alexander Sila (born 25 June 2003), better known as Joey Alexander, is an Indonesian jazz pianist. He became the first Indonesian musician to chart on Billboard 200 when his album, My Favorite Things, debuted at number 174 and then peaked at 59. In 2015 he became the youngest-ever nominee for a GRAMMY Award in any jazz category for “Giant Steps.” With his third studio effort “Eclipse” released May 04, 2018 he is keeping very busy, but we caught up with Joey who now resides in New York to have a conversation via WhatsApp. SJM: First off thank you for taking the time to do this interview with me Joey. JOEY: It's a pleasure and thank you for asking me to do this.. SJM: So without further ado, let's delve right into this and we can save the small talk for later. JOEY: Sure thing.
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CD Review Feature SJM: What gives you inspiration in your music? JOEY: I guess many different things especially road experiences, seeing new places and cities, meeting new people and of course the guys that I play with. SJM: How often do you practice playing the piano? JOEY: I don't really have a fixed routine and I try to practice whenever I can or whenever I feel like it. But yeah pretty much when I feel like it. I don't have any structure and the routine will take it's own form. SJM: What has been the hardest song for you to learn and why? JOEY: Every song has a level of difficulty. It's not so much a matter of playing it but the real challenge lies in making it your own. I keep repeating the changes and working through a piece until I am comfortable with it. SJM: How have you seen your playing grow from CD to CD? JOEY: Yeah although I am no conscious of it. Every moment is an opportunity to grow and it's always great to try different things. I love trying out completely unprepared music and watching it take shape and grow into something. Eclipse being a case in point. SJM: What is the Joey Alexander sound? JOEY: Well, the trio format is certainly what defines my sound but I don't have a "sound" as such that I deliberately try and cultivate everything that happens in the moment is my sound. As long as you are just yourself. SJM: Have you thought about doing movie soundtracks? Let the music take you‌ SmoothJazz Magazine | 33
CD Review Feature JOEY: I’ve never thought about doing soundtracks but I'd be open to trying it if the opportunity came along. SJM: When you are not performing or practicing, what are some of the teenager activities that you like to do? JOEY: I love movies, sports, going to gym stuff like that. SJM: What advice would you give artists in your age range that wanted to pursue music as a career? JOEY: You have to stay focused, stick to your plan and make your own choices man. Don't let anyone take you away from that. Stay focused, stick to your plan.
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CD Review Feature SJM: If not music, what would be your second career path? JOEY: Nothing else other than being a musician. I can't even begin to imagine having another career. This is what I am. SJM: Do you like listening to hip hop and pop? If so, which artists do you like? JOEY: Yeah I like listening to all kinds of music really but Miles, Coltrane, Monk, Chick, these are the artists that I love and inspires me musically. SJM: For your new CD do you have a theme for it yet and what are your thoughts on being signed to your new label Verve? JOEY: I'm putting ideas down, its still to soon as I'm always thinking about stuff. “I’m humbled to be a part of such a historic label, and I’m looking forward to bringing my new music into the world.” SJM: thank you for taking the time to do this interview Joey. JOEY: It's a pleasure man and thank you and hope to see you in South Africa soon. The three time Grammy nominated pianist just signed with historic Verve Records deal in May and is set to debut an album on October 18, 2019 in conjunction with his Carnegie Hall debut as well. Joey recently performed his first-ever run at The Blue Note in New York from June 6-9, with bassist Larry Grenadier and drummer Kendrick Scott. The future looks bright for a great guy, humble and way too cool. Let the music take you… SmoothJazz Magazine | 35
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Feature By: Art Jackson
CELEBRATING
beautiful day to celebrate the memory of Ndugu Chancler by family and friends. An extraordinary drummer/percussionist who had graced the Playboy Jazz Festival many times behind and provided studio work for some of the top headlines of our generation Qunicy Jones, Michael Jackson, Herbie Hancock, and George Duke just to name a few. I sat down with Patrice Rushen backstage after her show at the 41st Playboy Jazz Festival to get a firsthand account from one of his closes friends as we talked about his and her various music passions. Marking the first anniversary of his passing, fellow artist/professor of music at USC Thornton School of Music Dr. Patrice Rushen presented this concept to Darlene Chan this longtime event organizer for selecting the performers each year agreed whole-heartedly that this was a must do tribute. The star-studded set featured not only Patrice but also Terri Lyne Carrington, T.C. Carson, Doc Powell, Byron Miller, Ernie Watts, Rayford Griffin, Josie James, Alexis Angulo, Munyungo Jackson, Alphonso Johnson, Mike Arrom, and special guest Sheila E., all of whom Ndugu had performed with over his career. A slide show of images of Ndugu were projected on the two jumbo screens while the musical set ranged from Jazz to the iconic Pop opening bars of Michael Jackson’s Billie Jean and ending with the Funk party anthem of George Duke that was co-written by Ndugu that sent the crowd into a frenzy “Reach For It.” Let the music take you… SmoothJazz Magazine | 37
Feature SJM: What is your first remembrance of Ndugu? Patrice: In high school, we went to Locke High here in Los Angeles. I played flute in the concert and marching band and the drumline was always on point behind me. No matter what we were doing and there was somebody back there running things and when I look back it was Ndugu. He had a crisp and precise sound, and I was like Wow! And we became really good friends as we shared the love of music and jazz we just bonded. SJM: What did he bring to USC as a drummer/professor? Patrice: He was actually there before me. For over 30 years, starting in the jazz program. He brought real knowledge to the program, certain experiences, music technics of the real masters like Miles Davis, Herbie, Weather Report, Wayne Shorter all of these people he had worked with and the level of understanding about the music. He also brought the idea about the future of the music in what can happen and he brought skills as he could recite anything which lead him into doing studio work because of that talent. It wasn’t always expected that brothers would have that reading of sheet music worked out but he did. As his development and comprehensive styles of playing the drums, later songwriting which he brought to the table but I don’t think they always used it. And by the time I got there as I am in the popular music program and there was no other choice but to have somebody with the knowledge of the traditional jazz background but the knowledge and respect of the popular music and by having those branches of language all of the same tree worked out so as colleagues and teaching together was a lot of fun. 38| SmoothJazz Magazine
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Feature SJM: What is the lasting impression that you have of him?
“We should do a set that he would be proud to watch.”
Patrice: He was always keen on wanting to help people. He came out of a community whereby the last thing he wanted to be was a statistic. He was about excellence in doing what he wanted to do and not be about fame. Everybody on the stage here tonight benefited tremendously from his friendship but most importantly from those of his mentorship.
SJM: Speaking about this show today, what was your concept in putting the show together? Patrice: A mutual friend of Ndugu and myself Gerald Smith brought the idea to me saying its time, Ndugu came to Playboy every year religiously and there needs to be some kind of recognition about all the music and the breathe of the music that he was apart of, so that was the start of the idea to put together an all-star tribute in his honor of people who were intimately touched my his musicianship involvement as a friend or from his mentorship of help so everybody who was there fit those categories. SJM: What was the feedback when you brought the show idea to Darlene of the Playboy Jazz Festival? Patrice: She said, “We should do a set that he would be proud to watch.” He was so beloved by the people who produce this festival so it wasn’t going to be little, his contributions were not small and we want to do this right, so we were able to make this happen. Let the music take you… SmoothJazz Magazine | 39
Feature SJM: What else are you involved with along with being at USC? Patrice: I still perform live shows, but along with being a teacher and chair of the Popular Music department at USC, I am also Ambassador of Artistry and Education at Berklee College of Music in Boston and for their campus in Spain. So teaching/lecturing is a really important and big part of what I am doing. Taking some of this information and sharing it in such a way to help people develop skills so they can look at careers and music as being viable options. I may do some recording while doing studio work and family you know the whole balancing act. SJM: What is the state of mind of the students today; do they gravitate to the more traditional jazz say of a Miles Da- In the studio with vis or lean more towards the smooth jazz sound of the day? Victor Fields for his new CD project. Patrice: It depends on the students, it’s very individual but what I think that has happened is that there are gaps in the language, gaps in the information so sometimes people will gravitate towards a certain idea or certain elements that are apart of jazz; which is a lot! and how to weave those into different aspects of jazz experience coming together. Jazz by definition is progressive music it keeps progressing there are things that do change about it and that’s a good thing. But the tradition and the guidance is to be able to know where it came from and be able to take and use that information to inform where you are going. The young people today are absolutely totally creative, dedicated, and talented but it's like speaking a language and if you only have part of the vocabulary you can only say things a certain way so we as educators try and help shape that narrative.
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Feature SJM: So as the Chair, do you put together a curriculum that you want students to adhere too? Patrice: Yes, we are trying to get to a certain place, and there is a method that gets you from A to Z. That method, however, sometimes how you offer the information might change slightly depending on the chemistry of the artists that you are dealing with… again these are artists but the idea is that before it is over they have done A thru Z. SJM: What is the one thing that you want them to get from these courses? Patrice: That there is a certain commitment and submit also as there are certain things that you are just going to just have to do and some are not fun but it’s the difference between being an amateur and a professional. I certainly would not want a surgeon operating on me who did it sometimes, I want somebody who has been in class every day and knows exactly what that it is that they are doing and have the skill to be able to definitely be able to maneuver if something unusual or spontaneous should happen because they have the skills to be able to roll with that and work it. I don’t want them guessing all the time, and I feel the same way about musical artists. I pay my money to hear you and I want to pay my money to experience something. If I leave there and I don’t care about it, then you didn’t do your job if I leave there and I don’t like it but I can't say that it wasn’t well presented then you did do your job. I don’t have to love or respect it. SJM: Do you find music out here that you do not respect? Patrice: I find a lot of music that doesn’t do anything for me, but a lot of people may like it. I am not able anymore to listen to it and just absorb it just as music its just the job hazard as you know more about something you are looking beyond just the result but also the process. Just like going to a basketball game, if you Let the music take you… SmoothJazz Magazine | 41
Feature CD Lifestyle Review - Cruise play it, then it is more than just about putting the ball in the basket, you are looking at how did it get there, the strategy on how did we get there. Wow! Look at that pass and how accurate that pass was. Wow! Look at the angle. Wow! Look at how the teamwork operated at that moment because everybody was clicking about what the goal was and how their technique as individuals would change at the moment to accommodate the goal. So music is the same thing, as a player, you can't just watch a basketball game and go ok, no you pay close attention and you are going to know if people out there don’t have it, or if there is more stuff going on within the game as its not just about winning or losing but about the journey.
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CD Review Festival By: Ronda Dixon Friend, brother, teacher, master musician; Ndugu Chancler was all that and more to Patrice Rushen his classmate at Locke High School. They played in the drumline for the saints. Local hometown musician who rose to the heights of success, playing on such luminaries as Michael Jackson’s iconic “Billie Jean”, “Let It Whip” by the Dazz Band and George Duke’s funk song “Dance” and may others. The audience was up and dancing to the familiar infectious beats of Ndugo’s drums. Sheila E., joined Patrice Rushen’s set to honor Ndugu by playing the drums prior to her set which would be much later in the evening. It was a party on the West Side or should I say the West Coast on the hottest day of the year to date. The sun was shining and there were many familiar faces at the 41st anniversary of the Playboy jazz Festival. There was a lot of funk going on at the Jazz Festival as an earlier set by Terence Blanchard featuring the E Collective.
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Festival Terrence introduced Quiana Lynell, a new artist who released her first record earlier this year. Quiana was wearing a beautiful bright magenta pink flowing outfit with indigo lines. That flowed with a rich fluidity like her beautiful voice. Quiana sang a few gospel songs which gave her a chance to show off her vocal calisthenics and wow the audience with her powerful melodic strong voice. Singing I'm Gonna March” Her vocals charged through the song with conviction “Gotta keep on marching. Don’t you ever stop marching.” Her second gospel song “Wish I Knew How to Be Free” sung in the style of a Negro spiritual, “Won’t you please look down and see my people though. Wish I knew how to be free…” sung with a multi octave trill in her voice. Terrance Blanchard’s electronic jazz set was a fusion of instrumental jazz and electronic music. Started out as a nice stroll in the park that evolved to a crescendo of trumpet and bass then devolved to bass rhythm, drums and lead guitar. Terrance also plays trumpet on Bella Fleck’s set as a special guest along with bassist Victor Wooten.
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Festival - Photos Festivals NDUGU CHANCLER CELEBRATION R to L: Alphonso Johnson, Mike Arrom, Alexis Angulo, Rayford Griffin, T.C. Carson, Patrice Rushen, Sheila E., George Lopez, Munyungo Jackson, Ernie Watts, Byron Miller, Josie James, and Doc Powell.
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PAVLION STAGE
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Singer/Songwriter/Multi-instrumentalist
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New CD Releases 2019
Eliane Elias “Love Stores” 08/30/19 BUY
Matthew Whitaker “Now Hear This” 08/09/19 BUY
Julian Vaughn “Supreme” Mattias Roos “It Goes On And On” 06/24/19 BUY 06/28/19 BUY
Keb Mo “Oklahoma” 06/14/19 BUY
Jamie Cullum “Taller” 06/07/19 BUY
Mindi Abair and The Boneshakers “No Good Deed” 06/28/19 BUY
The Philippe Saisse Trio “The Body and Soul Sessions” Remastered 06/21/19 BUY
Cindy Bradley “The Little Things” 05/31/19 BUY
Lifestyle - Awards
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Concert CD Review - Photos By: Avzal Ismail There are not enough superlatives to describe the living Master that is Chick Corea Spanning over sixty years in a historical music career working with Miles and just about every great while coming up through the ranks like a meteor, the legendary keyboardist, composer, pianist and bandleader has explored a wealth of music spanning many geographical and stylistic borders. Yet, time and again through the decades he returns to what he calls his “Spanish Heart” – The Latin and Flamenco traditions that have shaped his unique yet universally recognizable sound. Now, with his new album “Antidote,” recorded with his brand-new Spanish Heart Band, Corea once again delves deeply into the Latin side with an epic collective of musicians from Spain, Cuba, Venezuela and the U.S. spanning cultures and artificial borders once again showing that music is a truly universal force that does not care for politics and other man made constructs.
Photo By: Mikoaj Rutkowski
Courtesy of Chick Corea Prod.
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CD Review Antidote revisits classic themes from two of the bandleader’s most beloved albums, “My Spanish Heart” and “Touchstone,” together with new compositions and compositions as penned by the likes of Antônio Carlos Jobim, Paco de Lucía and Igor Stravinsky. Released on June 28, 2019 from Concord Jazz, Antidote is just that – a musical antidote for turbulent times, bringing together artists from diverse cultures to make harmonious music together. In addition to this stellar new ensemble, the recording features guest appearances by acclaimed vocalists Rubén Blades, Gayle Moran Corea and Maria Bianca. “My genetics are Italian,” Corea says, “but my heart is Spanish. I grew up with that music. This new band is a mix of all the wonderful and various aspects of my love and lifetime experience with these rhythms that have been such a big part of my musical heritage.” To embark on this new epic musical adventure, the 78-year-old keyboard virtuoso has assembled a brilliant eightpiece band: Flamenco guitarist Niño Josele and saxophonist/ flutist Jorge Pardo both hail from Spain and have both worked with the late flamenco master Paco de Lucía. Bassist Carlitos Del Puerto was born in Havana, Cuba who has been working extensively with Chick in recent years. Venezuelan percussionist Luisito Quintero lends rhythmic flair. Photos By: Mad Hatter Studios 70| SmoothJazz Magazine
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CD Review Trumpeter Michael Rodriguez and trombonist Steve Davis form an unstoppable horn front line, while Marcus Gilmore follows in the footsteps of his grandfather, the great Roy Haynes, as a master drummer (and close collaborator with Corea). The band is augmented by the fiery footwork of rising star flamenco dancer Nino de los Reyes. In the words of Del Puerto, “Chick is like the Oracle and if you hang around long enough, you might just get some of it rub onto you.” And truly, he is like the gatekeeper to the keys of the musical universe. Says John Burk of Concord Records: “Chick applies his creative genius to further explorations of Spanish and Afro-Cuban styles with an exceptional cast of musicians, to produce some of the most thrilling, dynamic, and deeply musical work of his entire career.” With a band of incredibly versatile musicians and his usual wide horizons, Corea has created music that draws from a wealth of sources – jazz and Latin music, naturally, but also classical, funk and fusion elements. “This is the mixer,” he says, pointing to his head. “I drink in the culture around me, which is rich in ideas. I’m excited about this record because there are a lot of influences that come through in it.” Let the music take you… SmoothJazz Magazine | 71
CD Review The pianist’s art and life is a mission statement, defying the divisive issues we face with the fact that, “Music, musicians and all artists are the antidote to man’s inhumanity to man.” The music on this beautiful album captures that feeling with a deeply healing camaraderie and spirit. In a harsh world where so much is wrong, Antidote is truly just that, an Antidote to the everyday harshness of the daily struggle. As someone who has been a fan of Corea’s for over four decades, I can well and truly say that this is truly one of those desert island albums and is easily one of his greatest works ever. A MUST HAVE in any music collection and especially for any fan of the legendary musician.
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CD Review By: Ahlia Love
Carlos Humberto Santana Barragán has sold more than 100 million records, won 10 GRAMMY® Awards and has a well deserved place in The Rock and Roll Hall of fame. So to say that I’m completely honored to review his latest project “Africa Speaks”, would be a complete understatement. Mr. Santana has tapped into a source the few artists have ever publicly attempted. The Well of Truth. This is evident by his narration during the introduction of the first track. “Deep in the jungle, beyond the reach of greed You hear the voices of spirits With their frequency of light Making sounds like the crackling of stars at night Communicating with plants, animals and mankind Affirming the universal truth… All and everything was conceived here in Africa The cradle of civilization.”
Released Date: June 7, 2019
Africa Speaks track listing: 1. Africa Speaks (4:47)
Track 1: Africa – This is a beautiful way to start this project and there’s no question that Carlos is still at the top of his game with the powerful introductory licks of his guitar. This song is an adventure and history lesson in World culture and classic Motherland rhythms. This first track has such a powerful intro that I feel it would have been an excellent song to introduce the film “Black Panther” or another project shedding light on true world history. Let the music take you… SmoothJazz Magazine | 73
CD Review Africa Speaks track listing: Track 2: Batonga (5:43) - Classic Santana guitar licks and powerful lead vocals are fused with a rock vibe, with Afro conga and Latin rhythms all forming one nasty blend. This is definitely one of my favorite tunes on this project. Track 3: Oye Este Mi Canto (5:58) - I love the flow of this track proving that music is universal. I may not be able to immediately translate the lyrics. But the layers go from a traditional Latin vibe then burst into a rock groove that’s undeniably funky only to return to the Latin vibe the close it out. Track 5: Blue Skies (6:12) – Jazzy, Gritty and Smooth. What a combination. The vocals are enchanting and the guitar work of Carlos Santana is explosive. Yup, I’d call this song pure Dynamite! Track 6: Paraisos Quemados (5:59) - Like most of the songs on this CD, Carlos revisits the rock licks that I’m certain have cemented his international appeal. However, the sweet surprise is when the lyrics kick in over this old school rhythm in Espanol.
Track 7: Breaking Down The Door (4:30) - has a little bit of everything going on in terms of musical elements and influences. This is by far my super favorite track on this project. It’s hard to listen to this tune without getting up to dance. I believe that this song will rise on the national music charts more quickly than most of the other selections; with a few exceptions. 74| SmoothJazz Magazine
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CD Review Africa Speaks track listing: Track 10: Bembele (5:51) - This is definitely good riding music and will be added to my road playlist. This is another selection that should do well on the national charts. Track 11: Candombe Cumbele (5:51) - This is another tune that will get you dancing. Carlos hasn’t deviated from his roots on this track either. From the percussion to the lyrics and the signature Santana sound “Cumbele” is a perfect way to conclude this project. All in all at least 8 out of 11 tracks will be added to my playlist. Mr. Carlos Santana is a consistent fiber in the thread of American music…I love it! Bottom line, GET THIS CD. But heed this warning: Seatbelts must be worn especially if you listen while driving. This is a true musical rollercoaster ride~
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CD Review
I enjoyed reading the magazine on the app! It was easy to follow. Easy to navigate. And, most of all, very informative! Thanks again for sharing. Keep GREAT music and TALENTED artist alive!
Rhonda McDaniel Swann
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FREE PREVIEW
CD Review By: Avzal Ismail
nd here they are 40 years and 24 albums later and sounding as great as ever. Yes I'm talking about those iconic titans of planet smooth jazz the lofty Pieces of a Dream with their new release “On Another Note.” I remember hearing their first album all those years ago back in around 1981 or so and following their musical progress sporadically through the years. The fact that they are still around and producing such consistently great work is a testament to their popularity and staying power. As is their trademark, Curtis Harmon and Charles K Lloyd bring on-board a small but formidable group of musicians to collaborate with on their latest project which includes saxophonist Tony Watson jr on sax, Chris Harris on guitar, percussionist Elec Simon and the keyboard talents of Bernie Sims and George Granville. This ten track album does not disappoint from the Rippingtons styled opening track “On another note” which is also the title track, down to the very funky closing track Last Call, there is a consistency of musicianship and production value that one has gotten used to associating with these creative and exacting team of formidable musicians. There is enough stylistic variety on this album to keep even the most jaded listenLet the music take you… SmoothJazz Magazine | 77
CD Review er satisfied, from the Latin influenced “A Pieces Fiesta” to the slow funky “Smooth Dreams” reminiscent of a young Kirk Whalum or Grover Washington who has left his mark indelibly, having produced their first three albums. Beautiful acoustic and electric pianos, lush strings, guitars, vocal choruses and horn lines all make up this very fine album. Throw in production value of the highest grade and you have a sure-fire winner which one comes to expect from this great group with this new release. The group may have gone through various personnel changes through the years but the substance, the character and the heart of the music remain consistently good.
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CD Review By: Keivu Knox
Guitarist Alex Sill has released his debut album entitled “Experiences : Real and Imaginary.” It’s a two-fold project, as it not only serves as a musical reflection of the beliefs of Carl Jung, but it’s also a very vivid musical expression of an artist that draws on various examples on influence. Part of the connection to psychoanalyst Jung is that music can be linked to certain human behaviors and traits. As a result, listening to music can also encourage desired thoughts and reactions. As I listened to this project; the common thought that came to mind is clarity. Through Sill’s playing, along with his band, it became evident of how vivid these arrangements and songs are, which makes it easier for any listener to remain 80| SmoothJazz Magazine Let the music take you…
CD Review The album’s opener, “21st Century Academy,” is driven by Danny Janklow on sax and he and Sill’s guitar find themselves in an epic duel. In the midst of this duel and ebbs and flows that allow for the melody to come to the forefront of the arrangement, which again, keeps the listener on their toes throughout the 7 minutes of the track. “The Ballad of Janes Dean”s” tribute to the legendary actor, is another example of how pieces comes together to give a gem of a song to listen and engage to. Pianist Otmaro Ruiz allows the tempo to stay under his fingertips, and is aided by legendary musician/ composer Dave Grusin to help give Sill the ability to craft a vivid expression of a song that could be played during a scene of “East of Eden.”
Photo By: Preston Thalindroma
Speaking of movies, it is the albums closing piece entitled “To a Theatre Near You” that may be this album’s standout moment. It’s a song broken up in three distinct parts, as it moves from a sweeping freeform ballad to a Latin flavored mid tempo number aided by the drum work of Gene Coye only to evolve into a piano and guitar duo that feels like the perfect soundtrack to a films closing credits. In listening to this album from start to finish, Alex Sill is able to effortlessly provide the listener with enough musical images to fill a scrapbook. He truly has our ear in mind on each of the nine songs, and their consistency from song to song makes this album an experience that we won’t ever forget. Let the music take you… SmoothJazz Magazine | 81
www.gtfjazz.com
CD Review By: Sammy Stein
Aubrey Logan melds jazz, pop, blues, soul and some impressive trombone playing on this new release, a homage to her adopted home of Los Angeles. With the opening track 'Tom Bradley International Terminal' Aubrey Logan announces her intentions with a fast moving, ripping yarn of a number, full of interesting quips and quirky deviations around the theme, which itself is uplifting and solid. Followed by 'So Cute,’ an upbeat narrative told about changing fortunes over rock solid faith, with simmering vocals over solid rhythms and changes. 'Understand' begins with whistling and trombone in harmony and the number develops into a powerful, eloquently delivered track with some stunning vocals, not to mention a particularly sublime trombone break in the final section. 'Laundry ' is sassy, cool and features the sax of Dave Koz, who featured Aubrey on his major release for Concord ' Summer Horns'. Whoever thought the line 'rinse and spin' could be laced with nuances? Sax and trombone flow together in a solid arrangement in the middle section. This contrasts well with the gentle theme of 'L. A.' which is a poignant narra-
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CD Review tive of hope and the reality of city life. 'High Place' is gorgeous, bluesy with Aubrey's vocals swooping and soaring across beautifully placed piano lines with intriguing changes of tempo and rhythm. There is such a swing to this track with walking bass, a change of key and wonderful trombone in the mix for good measure. 'The remembering is slow, melodic and emotive whilst ' I Keep forgetting' has links to traditional jazz yet includes modern twists and turns, making it intriguing and ear-catching. 'Airport Codes' is sultry, atmospheric and features an instrumental turn on vocals which is beautiful and this track sits wonderfully alongside the gorgeous and soulful song of praise ' One Three Nine' which speaks volume about the strength of Aubrey's arrangements. 'Put It Where You Want' is a deliciously effervescent funk-driven, number , featuring again the impressive sax of Dave Koz and the final track 'Alfie' is an interesting and evocative finish to this album, which is jam packed with modern twists yet so obviously influenced by solid jazz harmonics and swing. 84| SmoothJazz Magazine
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CD Review
By: AHLIA LOVE
Sultry, sassy and seriously soulful. Jazzmeia Horn is the one to watch on today’s Jazz scene. When I heard the first few tracks I thought, this is refreshing. The more I listened the more I started to enjoy her product. She has an interesting backstory that made me anticipate greatness. But I still needed to be made a believer. Track 1: Free your mind - What a way to open a project. Jazzmeia shows us from the beginning that she is in command of her instrument. The message is simple but a strong affirmation on how to simply live your best life. A great add for your Motivational music play list. The arrangement, vocals and message all work well together Track 2: Time - One minute and fifty five seconds of cold blood groovin’…it was not enough but just enough at the same time…Jazzmeia knew that was just enough to get us hooked on this one. Track 3: Out The Window - Nice track. An upbeat future classic. Track 4: No More – Her she reminds me of Nina Simone on this track even though she sounds like none other than Jazzmeia. I knew she was powerful from the pre86| SmoothJazz Magazine
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CD Review Track 6: Legs and Arms – Jazzmeia proves once again that she is great at keeping a listener captivated. Her delivery keeps you interested as this story unfolds…nice work. Track 7: Searching - It’s scatastic….not my super fav but in the event that any traditionalist needed convincing…Jazzmeia has taken notes from the legendary Ladies of Jazz like Ella, Sarah and Billie and I’m sure they would agree that she has paid attention and mastered the scat craft. Track 8: Green Eyes – I really enjoyed Jazzmeia’s vocal stylings on this track. Track 9: Still Tryin’ – This young lady has a very old soul. This track sounds like she was around back when the Juke Joints were popular and she was the star attraction. Track 10: Only You – A very interesting interlude. Track 11: Reflections of My Heart – A beautiful duet with a beautiful story. I predict that this song could become a popular first dance song at future weddings. It’s intriguing. Track 12: I Thought About You- Just her voice and an upright Bass. Nothing else required on this track. I thoroughly enjoyed this track from start to finish. This young lady is the real deal! It’s official! Jazzmeia has just made me believe that she has cornered the market as a polished Jazz pro. She sounds as if she was born to do nothing else but pleasure our ear drums with her incredible sound. In my opinion, She may be one of, if not the youngest lady to be added to our modern day list of Jazz Legends. As I often suggest…don’t take my word for it. Make sure you grab a copy of Love & Liberation by Jazzmeia Horn and enjoy the experience yourself. Let the music take you… SmoothJazz Magazine | 87