Brian Culbertson

Brian Brian Culbertson Culbertson

Rolls out a grand piano to showcase the vibe of his new songs

By Ken Capobianco

hen it comes to music, Brian Culbertson doesn’t like to stay in one place for too long. One of the great instrumentalists and composers of his generation, Culbertson has a restless musical soul. And, in the spirit of countless creative chameleons who refused to play by the pop music conventional wisdom, the keyboardist takes chances and periodically reinvents his sound. With his latest record, Colors of Love, Culbertson explores his romantic side with an impressionistic set of songs heavy on mood and atmosphere. It’s a sharp diversion from his last effort, and more dreamlike than anything he’s recorded. Filled with nuanced, sonically sumptuous, midtempo songs evoking the many shades of amour, the beautifully produced and executed effort is a genuine headphones album that reveals a different color of Culbertson’s musical persona. “I don’t like to make the same record over and over, and I have many creative ideas that lead me to experimenting and exploring interesting soundscapes,” Culbertson said via phone recently. “I’ve done so many live band recordings in recent years, and I’m coming off the record, so I thought I’d switch it up. Actually, I’ve been switching around a lot over the years. “This is different, but it’s not like I’m coming out of left field. If you go to my records It’s On Tonight and Dreams, there are similarities in them, but this is just more of a sustained concept.” The 45-year-old Illinois native said the album was a love letter to his wife, Michelle. “My wife and I celebrated our 20th anniversary this past year, so I was thinking about that and definitely looking to the romantic side of things. I was using different sounds to create an atmosphere and vibe. If you are in the right mood for the record, it’s really cool, but you have to be in the mood, no doubt. If you’re thinking, ‘Hey, it’s midafternoon, I’m going out to work,’ it’s probably not going to work as well for you, but if you are in for romance, it definitely does.” Culbertson’s compositions are complex, and his intricate production utilizes effects and reverb, creating lush, often enchanting music. He played every instrument on the record except guitar, and wrote all the songs during a month’s burst of inspiration. “I wrote all of the music in March of last year while I was in Chicago. I left the windows open in the studio. It was dark and rainy and cold, so I lit candles, and I could smell the air outside,”

the hyper-articulate and friendly musician said. “Location certainly has a lot to do with how it turned out. It always does. “The record is cohesive, and I made it so once you are into it, that headspace, you are there for an hour and four minutes––or whatever it is. If you are in a romantic mood with someone or if you are just trying to relax, you’re gonna feel the music, and it will keep you there. In that way, it’s conceptual.” Even though it’s an instrumental album, it works as a song cycle, revealing how love unfolds and evolves. Culbertson had a very specific story and meaning in mind when he conceived each cut. “Track two, ‘I Want You,’ is more of a lustful, early-in-the-relationship kind of song, and track six, ‘Through the Years,’ is about a couple that has been together for a long time. They’re sitting drinking wine and reminiscing. “The record looks at many different shades and colors of love. I named these as I wrote them, which doesn’t happen frequently. With instrumentals, I often don’t name the songs until much later, but these I knew what they were evoking. I had the feeling and visuals in my head while I was writing. And I knew I was going to release it on Valentine’s Day the following year.” While his records usually feature a broad array of musicians and contributors, Culbertson understood that this one demanded a different approach. “This was such an intimate style of record, it didn’t make sense to bring other people in on it because it was so personal. “It was the opposite of the record, which had a million musicians and felt like a party. Trust me, there’s a reason behind how these records are made. I felt I needed to play every instrument here, but I’m just not a good enough guitar player so that’s why I hired a guitarist to take care of it, and I like how it all worked out.” The much-lauded artist, who recorded for a major label throughout the first two decades of his career, decided to skip the label association and crowdfund Colors of Love, giving him complete control. “I’ve had it with labels,” he said. “I was with them for 20 years straight, and they are a great thing when you are getting started. For me, they paid for some amazing records, but the landscape of the music business has changed so drastically. “I don’t know if sub-genre musicians need labels anymore. If you are making mass pop, you still need the labels to push those buttons for you and spend millions of dollars on marketing. Labels for jazz artists aren’t doing that, though. I realized I really didn’t need a label at this point.” He added that having creative control was a crucial component in his decision to eschew the label route a few years ago. “I have more creative freedom, and that’s really important. I was often pulling teeth to get a label to agree with a concept. My first funk record (Bring on the Funk in 2008) almost didn’t get made. Universal said, ‘You’re a jazz artist, not a funk artist.’ And, of course, after it came out and was successful, they said, ‘Great idea, fantastic,’” he said with a laugh. “I was coming up on a renewal four years ago, and I did the math and realized it doesn’t make any sense anymore.” Culbertson is taking the new record on the road this year for three months with the most elaborate show he’s ever designed. “This will be special. The whole set is planned out. I came up with the idea to present this show in three acts. Act one is a lot of the new material interspersed with older songs that are within the same realm,” he said. “Some of these songs get rocking. When we get to the chorus of ‘Love Transcended,’ it will be slamming, so it will not be sleepy––far from it––but there will be intimate moments. I’ll be playing a grand piano because I’ll be bringing one on this tour. Certain songs, it will be appropriate to be seated at the grand piano.” He added that the show, which currently has a 38-song set list, will have great variety, with each act emphasizing a different vibe. “Act two will be a funk set. Thirty minutes of in-your-face party dance music, and then act three will be love set-part two. We’ll go back to the love stuff, including an acoustic segment, where I’ll be at

The atmospherically romantic Colors of Love album is a love letter to his wife, Michelle. They recently celebrated their 20th anniversary.

the grand piano. On some songs, my guitar player will be on acoustic, and we climax with some of my old songs everyone knows. “There will be a great flow, and that’s what I strive for when putting a show together. You have to keep it different to keep people interested. I want to take people on a journey––each set is represented by a color: the first set is silver, the second set is red, and the third is blue. That’s based on the three colors of the cover on the album. And wardrobe will go accordingly. I’m bringing out three video screens all timed to the music, and we have a giant lighting rig—we spent weeks programming the lighting and video element. It is a visual, complicated show I’m excited about.” When he’s not recording and touring, Culbertson is focused on his Jazz Getaway franchise, which this year expands beyond its Napa Valley roots to Chicago. He chose the Windy City for good reasons. “Chicago is my favorite big city in the U.S.––the downtown is my favorite place to hang out and walk around. There’s just so much there,” he said, overflowing with enthusiasm. “The artwork, the music, the food, the whole feel. It’s so much different than a New York or San Francisco. So I knew I always wanted to expand the Jazz Getaway brand, and Chicago was the best city. I went to college and lived here for many continued on page 22

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years. For me, the concept of Jazz Getaway is whatever city we do one in; we bring in the local flavor. “Napa is about wine and jazz pairing. Everyone loves it, and it’s a great time, but it’s different. In Chicago, we’re going to do a jam session at Buddy Guy’s club and bring in pizza into the fold. It’s about bringing in all that local flavor. It keeps each event fresh and different. It’s going to be right downtown in the heart of the city, right off Millennium Park, and I’m doing it the middle of September. It will be after the humidity and before the snow. Perfect timing.” He hinted that he is thinking of venturing into another city, but there are no definite plans yet. The Getaways are time-consuming and a lot of work, but Culbertson maintained he loves doing them despite the many hours involved.

“I have to compartmentalize when we do them. I say, ‘I’m going to take off my musician hat and put on my party planner hat.’ I call it throwing a giant party for a few thousand people. Every day I’m dealing with something, so it’s a lot, but manageable. It would be different if I was always on tour like a rock ’n’ roll band that goes out for a year-and-a-half around the globe.” The keyboardist added that while the events take a lot out of him, each one is special. “I’m always a little bit exhausted and exhilarated afterwards. There’s that euphoric sense of ‘Oh my God, what did we just do?’ And then I just need to take a break. “The Monday after, I sleep for 14 hours because that’s the most intense week of the year for me. There’s nothing like it, though. People come from all over the world now, and there’s always such a buzz––everyone is in a great mood. It becomes a community of people.” For Brian Culbertson the musician, though, there is still a lot more music to be made. He’s already thinking about his next record, but he will ultimately go where his muse leads him. “The next regular record will probably be an upbeat dance record with modern dance production and funk elements over the top of it. I love the Bruno Mars stuff––he’s got that modern production with old school elements. My record was party-style music, but part of it was midtempo. I want to take the tempo up––I mean really take it up a notch.” He hesitated as if he was already getting a bit ahead of himself. “That’s just an idea. Who knows? It may totally change when I get into

A local vintner pours a white vintage during Brian Culbertson’s Napa Valley Jazz Getaway “Wine Down” reception at The Westin Verasa

Brian Culbertson thrilling fans at The Westin Verasa Courtyard during his “Wine Down” at the 2017 Napa Valley Jazz Getaway

Napa is about wine and jazz pairing.

Brian Culbertson performing his Funk! show at the Lincoln Theater in Yountville, California, during his 2017 Napa Valley Jazz Getaway

Brian Culbertson performing a piano solo at the Lincoln Theater during his 2017 Napa Valley Jazz Getaway

the studio. Like always, I’ll discover the sound, and that’s part of the fun. You have to follow the inspiration.” For more information on Culbertson, including his complete tour schedule, visit www.brianculbertson.com.

on tour

April 6 28th Annual Boscov’s Berks Jazz Fest

Santander Performing Arts Center Reading, Pennsylvania www.berksjazzfest.com 800-745-3000

April 20 20th Annual Seabreeze Jazz Festival

Aaron Bessant Park Amphitheater Panama City Beach, Florida www.seabreezejazzfestival.com 877-987-6487

June 6-10 7th Annual Brian Culbertson’s Napa Valley Jazz Getaway Various venues Napa, California www.jazzgetaway.com