THE JAZZ IN M.E.E. MAGAZINE Issue 4 October 2013 by Wright Touch Designs

TH E

IN M .E.E. M A GA ZINE i s s u e 4 o ctobe r 2 0 1 3

Come Sail With

CANDY DULFER & M.E.E.

ON THE GREATEST PARTY AT SEA!

Hugh Masekela & Larry Willis Deliver Music Magic

REMEMBERING GEORGE DUKE EVERETTE HARP TALKS MUSIC, LIFE AND LEGACY

High Art with Christian McBride

I S S U E

J U L Y

2 0 1 3

SMOOTH JAZZ Mallorca FESTIVAL I Met M.E.E. in Spain

ISS UE 1 J AN UA RY 20 13

Recap

the return of

THE

JAZZ IN M.E.E.

Matsui Keiko

MAGAZINE LAUNCH PARTY

CELEBRATING A TRIUMPHANT

YEARS

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A fusion of jazz, fashion and art, THE JAZZ IN M.E.E magazine is the premiere source for the jazz industry and its artists. Captivating an audience of over 180,000 national and international readers, this quarterly digital and print magazine chronicles the stories behind the hottest and most fascinating artists and trends in the jazz industry. THE JAZZ IN M.E.E. magazine celebrates the jazz genre from a fresh and passionate perspective through dynamic cover stories, trendy blogs, festival/cruise insights, and “Jazz Watch” music reviews on past and present artists.

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photo by Peter Boehi

Contents Editor’s Notes of Jazz

Bobby Lyle

Mark Harper

Houston Spotlight

M.E.E. Art Gallery

Swag M.E.E

The Way I Feel

Mark Harper Project George Duke Publisher & Editor-in-Chief Melody Warren Contributing Writers Carolyn Beverly Peter Boehi Monica Murphy Eaves Contributing Photographers Vena Ashley Chi Modu Rod Bishop Michael Osborne Peter Boehi Christian Nordström Dave Clements Grant Photo Maureen Godber Grafton Johnson April Hall Carin Verbruggen Cover Image Carin Verbruggen Design & Layout THE JAZZ IN M.E.E. DESIGN TEAM Copy Editor Valerie McCarley THE JAZZ IN M.E.E. P.O. Box 683184 Houston, Texas 77268 281-260-8469 info@thejazzinmee.com www.thejazzinmee.com THE JAZZ IN M.E.E. is published 4 times a year quarterly. The publisher assumes no responsibility for claims or actions of its advertisers. Opinions expressed are not necessarily those of the publisher, advertisers or staff. No portion of this publication may be reproduced in any form without prior written permission from the publisher All rights reserved by Multifaceted Exquisite Events Inc. & THE JAZZ IN M.E.E.

Dosey Doe - A Hidden Treasure

COVER STORY

Candy Dulfer

The Smooth Jazz Cruise

Jazz Watch

Event Host - The Smooth Jazz Cruise

Artists that are Creating a Buzz

High Art

Chris Godber

THE MELODY IN M.E.E.

Christian McBride

My Offering

a blog of musical expression

Tip Jar: Music Ledger

Advertising Opportunities

Remembering

In The Jazzy Limelight

Rocco Ventrella

Sweet Temptation

Under the Sign with M.E.E.

Jazz Call

George Duke

Everette Harp - Unplugged

Magazine design and layout by THE JAZZ IN M.E.E. DESIGN TEAM

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with Herb Partlow

photo by Micheal Osborne

Editor’s Notes of Jazz

THE JAZZ IN M.E.E. has the jazz industry buzzing with our amazing new publication that’s a fusion of jazz, fashion and art. THE JAZZ IN M.E.E magazine is the premiere source for the jazz industry and its artists. Captivating an audience of over 180,000 national and international readers, this quarterly digital and print magazine chronicles the stories behind the hottest and most fascinating artists and trends in the jazz industry. THE JAZZ IN M.E.E. magazine celebrates the jazz genre from a fresh and passionate perspective through dynamic cover stories, trendy blogs, festival/cruise insights, and “Jazz Watch” music reviews on past and present artists. THE JAZZ IN M.E.E. is on a mission to keep the jazz genre and its artists in the present. In 2014, we will be transitioning to a subscription based magazine and would love for you to continue supporting us subscribe now: subscribe2014.thejazzinmee.com

THE JAZZ IN MEE MAGAZINEOCT2013

—Musically yours,

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ARE YOU WITH M.E.E. SUBSCRIBE TO M.E.E. Get your print and free digital download today! Offering a VIP special rate of $79.99, reg. $89.00, and, for a limited time only, if you subscribe online, youâ&#x20AC;&#x2122;ll receive our exclusive rate of $69.99. Our magazine is published quarterly and our journalists and photographers showcase the best that jazz has to offer. THE JAZZ IN M.E.E. magazine currently reaches approximately 35,000180,000 people nationally and internationally through online distribution, promotional events, jazz concerts, jazz festivals, music retailers, jazz clubs, and radio stations. ADVERTISE WITH M.E.E. Join us! Advertise your business and display your brand to jazz followers across the globe. Let us help you find your target market! This is an excellent opportunity for maximum exposure to artists, musicians, festivals, radio, internet stations, jazz business supporters and enthusiasts within the jazz community. Let us promote your brand, festival, or event with an effective targeted marketing campaign. LET M.E.E. BLAST YOU Our email blast service affords you the luxury of having leads, new clients and fans driven directly to you. We can e-blast your brand, event, product or service directly to our active M.E.E. Network subscribers.

LET M.E.E. PROMOTE YOU Our artist promotion packages range from 15, 30, 60, and 90 day plans. We also build social networking and marketing campaigns. LET M.E.E. SHAPE YOUR IMAGE Through EPK, press releases, and targeted photo shoots, our job is to continually generate positive publicity all while developing a strategic marketing plan. PARTNER WITH M.E.E. Partner with us and let M.E.E. bring the jazz enthusiasts to your destination. Whether itâ&#x20AC;&#x2122;s a festival, cruise, or event, let M.E.E. assist you in adding a fun, engaging and informative jazz crowd through an effective targeted marketing campaign. HELP M.E.E. SUPPORT GLAM Join THE JAZZ IN M.E.E. in supporting Girls & Guys Love Arts and Music (GLAM). GLAM is a non-profit organization striving to advance education and exposure to these innovative art forms, promote musical and artistic performances, sculpt new audiences and develop a new fan base. Take advantage of our services and opportunities. Email us at info@thejazzinmee, give us a call at 281-260-8469, or visit our website at www.jazzinmee.com. WWW.THEJAZZINMEE.COM 5

THE JAZZ IN MEE MAGAZINE OCT 2013

Bobby Lyle THE WAY I FEEL

Legendary jazz pianist Bobby Lyle, a 1997 Emmy nominee for his musical direction on Bette Midler’s Diva Las Vegas HBO special, has broken new ground with the release of his new project The Way I Feel. During a career that spans more than three decades, four record labels (including Capitol and Atlantic Jazz) and fourteen albums—all of them pianobased—there has never been an all Hammond B-3 organ CD, until now. The Way I Feel is a musical tribute to departed jazz icons: organist Jimmy Smith and guitarist Wes Montgomery. The ten tracks (seven of them Lyle originals) feature the soulful and fiery Hammond organ styling’s of Lyle with a definite nod to the Godfather of the jazz organ, Jimmy

Smith; nimble and tasty guitar work by newcomer Brennen Nase; and tight creative drum tracks by Patrick Williams. The CD is available for purchase on CD Baby, iTunes and Amazon.com.

The Way I Feel Bobby Lyle Released: 22 July 2013 2013 Bobby Lyle

The Mark Harper Project

by Carolyn Beverly Jazz guitarist Mark Harper is on the move with the release of The Mark Harper Project. This CD is more than just another project; it is one of the most creative projects around. Mark Harper presents a jazzy creative blend of everything from Funk to Hip Hop to that pure jazzy sound and everything in between. Harper has a definite creative edge on this one. Mark Harper clarifies the project by saying, “I chose the name Mark Harper Project because you just can’t put me in a box. I can be as creative as I want to be.” Mark adds, “If I want to work with a four piece band or work with a six piece, it is up to me. That is the same with working with different musicians; at any given time things could change. Not taking away from the creativity, only adding to the musical madness.” On The Mark Harper Project creative juices are without a doubt flowing with visions of jazzy notes throughout the power packed CD with 13 tracks that are sure to take you on a journey of musical madness that will touch your heart and soul with a special balance of everything to complete your evening with that special person. You know what I mean? Tracks like “One Less Bell To Answer,” “More of You,” “At Sunset,” “Dedication” and so much more.

Playing the guitar since the age of 12, he remembers how his mother would make his older brother, who was also a musician, take him to the club with him and let him play. Harper is no stranger when it comes to the business of music; he has played with the likes of the amazing late Wayman Tisdell. “Dedication,” the first tract on the CD, is a duet with Tisdale who was a personal friend. “Dedication” has a special meaning

for Harper and when he talked about it in a special interview, emotions emerged displaying that special bond they shared. In fact, Tisdale lived long enough to give his seal of approval on “Dedication”. The bond still continues. With influences like George Benson, Wes Montgomery, Al McKay, Phil Upchurch, Kenny Burrell, Lee Ritenour, and Larry Carlton just to name a few, how would it not be possible for The Mark Harper Project to be all that it is and more? He has also contributed to those influences on the other side of the music house and can be heard on Kirk Franklin’s “The Nu Nation Project,” Tom Braxton’s “Bouncy,” and Tower of Power’s “Great America Soul Book” just to name a few. And, if that is not enough, check out Mark Harper’s acoustic project. It is all Latin jazz and very interesting to say the least. Remember, the name is Mark Harper, the creativity is The Mark Harper Project, the experience is Latin Acoustic, and it is all good music.

The Mark Harper Project Mark Harper Released: 2010 2010 Anointed Jazz

WWW.THEJAZZINMEE.COM

Mark Harper, a native of Michigan, says, “We had Motown for sure, but we also had all the other music as well like James Brown. He wasn’t jazz, but growing up in Michigan it was all good music.” That is the way Harper defines his music, expressing “if you can’t make people feel good with music there is something missing. My music is music that makes you feel good.”

photo by Rod Bishop Photography

photo by Dave Clements

photo by Melody Warren

photo by Dave Clements

HOUSTON SPOTLIGHT oe: A HIDDEN TREA d y se SUR do E

by Melody Warren osey Doe of The Woodlands, Texas is a live music venue crafted from a 165-year-old historical structure that has been saved for its current purpose. Originally built as a tobacco barn in Kentucky, the venue features massive 300600 year old oak and birch beams, providing the foundation not only for a beautiful room but also for the great acoustics. The barn is adorned with artifacts that date back to the late 1800’s through the early 1900’s. This dining and music venue seats 290 guests, making it an ideal up-close-and-personal experience. The interior of the barn was acoustically engineered to provide the best sound without relying on electronic equipment. Dosey Doe is one of the most well respected listening rooms in the country, featuring nationally recognized artists from jazz, contemporary to country to bluegrass, and everything in between. It is a place where memories are made. No need to run from restaurant to music hall - at Dosey Doe’s you have it all. Entrees include chicken, steak, seafood, and pasta, plus salads, vegetables and delightful desserts, each served with gourmet flair. A full bar is also available.

Dosey Doe now has two great venues to choose from - and a third cafe! The BIG BARN has become known as one of the great listening rooms in the country featuring nationally recognized artists from contemporary to country, from jazz to bluegrass and everything in between. The new MUSIC CAFÉ, located 7 miles north, has the same great acoustic attributes as the BIG BARN, however, it offers breakfast, lunch and dinner every day and shows for an inexpensive cover. Their COFFEE SHOP is located in the heart of The Woodlands, off of Research Forest Blvd in Alden Bridge. For more information about Dosey Doe Coffee House’s Music Café or other venues, call 936-271-2171 or visit their website at www.doseydoecoffeeshop.com. The Music Café is located at 463 FM 1488 in Conroe, Big Barn is located at 25911 Interstate Highway 45 North in The Woodlands, and Dosey Doe’s Coffeeshop is located at 8021 Research Forest Drive in The Woodlands. photos by Melody Warren

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M.E.E. was delightfully pleased to discover Dosey Doe while covering international jazz pianist Keiko Matsui for a previous article. If first impressions are everything, then this establishment hit the mark. The staff and management team at Dosey Doe rolled out the red carpet for M.E.E. and were gracious hosts to all their guests. We applaud them for their superb hospitality, professionalism and for providing such a phenomenal music venue for artists.

Owners Steve and Joan Said have proven that you can bring in national entertainers and offer fans an opportunity to hear great music in a aesthetically pleasing, sound environment, all indoors, alluding Houston’s unpredictable weather conditions. Dosey Doe, the small-but-mighty music venue just north of Houston, is growing in popularity among nationally-known artists and bands. Artists from around the world now dominate the calendar, from Jerry Jeff Walker to the Rippingtons, Keiko Matsui to Huge Masekela, Dave Mason to Lee Roy Parnell, Clint Black to Bela Fleck, Leon Russell to Spro Gyra, Steve Wariner to Hayes Carll, Roger Creager to Mel Tillis, and from Manhattan Transfer to Gallagh.

Art by Imperial Artistic Creations Art by Imperial Artistic Creations

Art by Brenda Dover King

Art by Imperial Artistic Creations

M.E.E. ART GALLERY

Welcome to the M.E.E. art exhibition. Each quarter, we will profile

emerging artists who are already garnering attention for their work. This is a chance to discover some of the most exciting artists and to identify strong new talent.

THE JAZZ IN MEE MAGAZINEOCT2013

Wine Women and Song

Painting by Brenda Dover King

Brenda is a California native, born and raised in the Los Angeles area. She has been a resident of Temecula, California since 1994. As a long time resident of Temecula, she finds inspiration in all the things that Temecula is famous for: beautiful scenery, delicious wines, and a variety of great live music. She is showcasing Wine, Women, and Song. She paints in acrylic, and sells original, signed and numbered prints on canvas, as well as lithographs. Her art can be spotted at local wineries, restaurants, and wine bars. She uses lots of vibrant colors, and music flows through them. She has a passion for music and expresses it in her artwork. — Brenda Dover King 951. 775.8101

Celebration of Love Painting by Imperial Artistic Creations

Crystal Yvonne LaBoy, a.k.a. Imperial, was born in a small East Texas town. Imperial has always had an incredibly creative spirit, dabbling in some and mastering other creative endeavors to include: culinary arts, event planning, photography, spoken word writing and reciting, and painting. She has catered and planned events for some very well-known performers, authors, and artists. She has been featured and competed in poetry shows as well as poetry slam competitions. After completing a Bachelor in Business Management, obtaining multiple medical coding certifications, and her most important feat, becoming a mother, she has finally found her true passion: painting. Imperial is quickly establishing herself as one of Houston’s hottest up and coming artists. She has participated in charity events and has hosted local networking venues. Using acrylics and other mixed media, she is exploring and expressing her view of the world within her paintings. Her many versatile works are available for viewing and purchase at: http://www.facebook.com/ImperialArtisticCreations and www.etsy/shop/ImperialArtistic. — Crystal Y. LaBoy 281.684.1100

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photo by Grafton Johnson

Visit THE JAZZ IN M.E.E. store to purchase yours today. shop.thejazzinmee.com

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Visit our store to purchase popular merchandise that has been spotted on jazz artists and fans across the globe. Matt Marshak was spotted showing his swag. Send us pics of you in our swag and we may show your photo in our next issue!

photo by Carin Verbruggen

THE JAZZ IN MEE MAGAZINE OCT 2013

by Melody Warren

Dutch smooth jazz and funk alto saxophonist Candy Dufler will be the Event Host on the “Greatest Party at Sea,” The Smooth Jazz Cruise (SJC), setting sail from San Diego for the Mexican Riviera from October 12 ‐ 19, 2013, with more artists, more musical events and more exciting events than any of the other 18 smooth jazz cruises that Entertainment Cruise Productions has produced.

HOW DID YOU GET STARTED WITH THE SMOOTH JAZZ CRUISE? Actually, I have to thank Dave Koz, because he invited me to be a part of the cruise that he used to host together with the SJC and I also participated on my very first cruise with Brian Culbertson, so thanks to these two guys I got in touch with Michael Lazaroff and from then on it has been every year and I am just really happy that they like me. This is a really cool gig, but it is, of course, not a holiday for us because it’s a lot of work. The surroundings are amazing, of course, and it is really nice to hang with your peers. You normally only see your peers when you are doing a festival - you see other people

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Reasons to sail on the “Greatest Party at Sea” • Wall‐to‐wall live music that will feature 60 concerts. • Best rates ever offered are available NOW. Good cabins are still available. • Sail Now, Pay Later. If you book now, you can take advantage of our Sail Now, Pay Later payment schedule. You make one payment now, and the balance is divided into five payments - three before we sail and two due after the cruise is over! • Priority for The Smooth Jazz Cruise ’15. SJC’15 is going to be “UNFORGETTABLE”! Reservations for this sailing are currently limited to guests of SJC’13 and SJC’14. • Since SJC’14 is already SOLDOUT, sailing on SJC’13 just might be the best way to secure a reservation on The Smooth Jazz Cruise ’15, January 11‐18, 2015, departing from Ft. Lauderdale.

There was a connection between cruises and Event Host Candy Dulfer before she officially joined the Smooth Jazz Cruise family, so you can say that this successful relationship was destined to happen. There was a very special lady by the name of Rosa King, originally from Macon, Georgia, that lived in the Netherlands. She came by cruiseship and just stayed. Rosa gave Candy Dulfer her first real job when she was twelve years old. Candy was a part of her ladies horn section and she really believed in her. Aside from Candy’s parents, Rosa was the person who really lead the way and was a major role model during the early years. Candy would stand next to her and she played saxophone and she sang and from that moment Candy aspired to be a band leader. During our interview, Candy expressed how thankful she was for Rosa and how super important Rosa was in sculpting her future. Rosa, unfortunately, passed away eight years ago, but will never ever be forgotten. “For me, it is so beautiful that now I am playing on cruise ships and Rosa came to Holland by cruise ship. I also met my fiancée on a cruise ship, so there is something with me and cruise ships,” says Candy. “Now I’m a proud member of the Smooth Jazz Cruise family.”

THE JAZZ IN MEE MAGAZINE OCT 2013

play and perform but you never have the time to really engage your colleagues, play and enjoy them because you have to go on yourself. When you are on the cruise, the whole week you can see all the concerts and jam with everybody. That is the power and the fun of The Smooth Jazz Cruise. They create a relaxed environment that makes everyone want to hang and have fun with each other, not just the artists with the artists, but the crew with the artists, and the artists with the guests. It’s all very respectfully mixed and the guests are extremely pleasant. They come up and ask questions they can normally never ask and hang out with you and everyone feels like you are friends. It sounds easy, but it is an enormous accomplishment that SJC has created this environment. It is a task to get everybody together and the audience notices that all the performers are so relaxed and having so much fun. That aside, the tropical destinations are amazing and is the main selling point.

DO YOU HAVE A MESSAGE FOR YOUR SMOOTH JAZZ CRUISE FANS? First of all, I’m probably more excited than they are. There will be a lot of familiar faces and I am looking forward to seeing them again. Also, the new cruisers should be prepared for a week of the greatest party at sea. I think cruising in itself is wonderful and relaxing and an extra element for me is that it fills my head and spirit with so much energy. There are so many great performers; it really is inspiring. So aside from resting, having great food and nice weather going to the islands, you really get some brain food from all the great jam sessions that are really beautiful stories from the musicians and I think that is the added bonus of being so close on the ship with one another. People should be prepared to enjoy themselves, bring light clothing and your fun party outfits because we like to dress up at night and enjoy it. You will get your monies worth. It’s alway funny to witness, once the cruise has ended and everyone is saying goodbye, the first timers come up to you and saying, “It really is the greatest party,” and the others just say, “See you next year!” DO YOU HAVE ANY REMAINING ITEMS ON YOUR MUSICAL OR LIFE BUCKET LIST? Yes, my bucket list is endless. I am that kind of person that needs goals, ideas, dreams and plans to get me moving forward or otherwise I am very stagnant. Sometimes I encounter weeks of time that I don’t know what to do; I am really lethargic and then suddenly I have this light bulb thought and everything changes. The funny thing is that most people think that all dreams are super big.

I wanted to play in stadiums, but when my dreams came true they were never on huge stages. I have played with Prince in all these stadiums, but, musically, it is so loud and overwhelming. You are doing a show, you are not making music. With Prince, my favorite moments were in little clubs and those after hour shows he does. The same goes for the things I have on my bucket list, I want to be able to do a set where I work with a DJ and incorporate jazz, funk and house music. That is what I am doing at the moment. It is a big dream of mine but has nothing to do with Grammys, selling albums or earning a lot of money. I just accomplished another big dream of mine which was designing clothes; it has nothing to do with music, though it has, in a way, [been] the same as making a record. There are so many fun things in life, but I have to thank music for it. Sometimes I feel that I have to do things even if they are silly or different from what musicians should do. If I were a very serious musician, I should focus all my time and energy on music, but I know sometimes it helps to focus on something totally different because when you come back to music you are energized. You love music even more when you come back to it. The last ten or fifteen years of my life I found out that even the dreams you think are silly, you should just go for them and they will always help in the end. Sometimes I am confused about why I was I put on this earth: should I just stick to music and give it my all or should I just go back and forth and see how it goes? I never go without playing for a week or so, but sometimes you need other roads or avenues to bring you back to the one that has lead you there. HOW WAS YOUR SEASON ON DUTCH X FACTOR? I like doing TV. I never wanted to be a TV personality, but this time it was great timing. Dutch X Factor has sort of paved the road for the American version. Holland is such a small country and we can experiment more. The people from American X Factor would watch us every week to see what we were doing and we received great reviews. It was not something I had aspired to do, but it was really fun to do and I love working with young talent, which I do quite often outside of X Factor. Normally when I help people in Holland, I have more time to work with them, spread the word, give them advice, etc. On X Factor, you sit there in the chair and make decisions rather quickly and it felt very uncomfortable to send people away. It was a good learning experience and they asked me to come back next season, but it takes a lot of time away from touring. It was an honor that they thought I would be good at it. The great thing is that I am a saxo-

phone player and they included me as a judge with other famous artists/singers and they allowed me criticize the singers and give them advice. I really enjoyed and valued the experience of X Factor. ARE YOU WORKING ON A NEW MUSIC PROJECT? I need that idea, that light bulb moment, and it is almost there. Once I have that I am going into the studio. I am waiting until I get the real inspiration; I think now I have found it. I am not someone who likes to make records every year because I have been in a situation where my first record was a big success. You only get the real inspiration when you are broke and you are not famous yet. When you are not working, you have all this time to think about your music and you have time to write, but from the moment that you are successful you don’t have time to write. You have to lock yourself up in the studio and I was never able to do that. I have been in the situation where I have had to go into the studio with no music and I always felt that was very contrived. It worked in the end, I always made it happen, but later in my career I said I am only going to make records that really say something and that really come from inspiration and not just from a contract with a record company. [It] always took one or two years for me because I am touring so much. I feel that I am really close to knowing what I want; I think the next record will be somewhere beginning next year coming out.

photo by Carin Verbruggen

guy said, “Next time if you want to come with your own band or outfit you can come to my place and play here. I will give you my band.” Then I called up all my father’s ex-musicians that I knew and said, “I could pay you $100, would you want to come and play with me in the club? I have a performance.” They all said, “Yes,” really sweet, and that is how my career started. We got a lot of work from the first one and I am still in touch with the gentleman that booked me there. The meat of my career is playing live and I have always loved that more than anything else. I have been making records and I love when I can have that but my first love will always be the stage playing with bands. The Smooth Jazz Cruise ‘13 will set sail from San Diego October 12 - 19, 2013. Join Candy Dulfer, Event Host, for breathtaking scenery, inspiring music and great company. For more information: http://www.thesmoothjazzcruise.com.

WWW.THEJAZZINMEE.COM

WHAT WAS YOUR EXPERIENCE STARTING SO YOUNG IN MUSIC AND WHAT ROLE DID YOUR FATHER PLAY? His main concern was always that I would have fun. He only helped me when I would ask him. He was never a stage parents - like you should do this, you should practice. He would just help me. He gave me my first lesson the same day he gave me my saxophone. I was so independent that right away we were arguing about the notes. He is always encouraging me and we still play together and he is still a major influence in my life and my playing. He never steered me toward anything, but he and my mom were always there for advice. He did not believe a child should practice religiously every day. I still don’t have any discipline in that area and I never had any strong idea that I wanted to be a musician. I was already a professional musician before I ever really thought about it. So I went on playing and right away he took me on the stage with him and I could jam with his band. That is how I learned; basically, I learned with records. I never really had a real formal training and when I was like twelve or thirteen I started playing with him and his band. Then one day we played somewhere and the

MILITARY PARTNERSHIP Entertainment Cruise Productions, LLC (ECP) and the Texas based THE JAZZ IN M.E.E. magazine (affiliate) of Multifaceted Exquisite Events Inc. join forces to support national treasures, the military and jazz. ECP is proud to announce the formation of the charter cruise industry’s first Military Special Events Department and THE JAZZ IN M.E.E. has recently launched a magazine created to be a platform to showcase, support, advocate, market and promote the love of jazz, the artists, musicians, enthusiasts and supporters of this magnificent genre of music.

THE JAZZ IN MEE MAGAZINE OCT 2013

These companies are merging their efforts to preserve our jazz heritage and support the military community, while educating and informing the world about our military and jazz national treasures. The Military Special Events Department will focus on creating unique opportunities for military personnel to sail on ECP’s various cruise programs. Under the direction of Ms. Dinkins, special rates and onboard activities will be tailored to suit the needs and interests of military personnel, providing them the opportunity to network and share time with fellow military personnel, to include active duty, Guard/Reservists, and retirees. Director Laura S. Dinkins served in the United States Army for 22 years, achieving the rank of CW4 (Chief Warrant Officer 4) prior to retirement.

“Reaching out to military personnel to join us on our cruise programs is something that we have done informally for years,” explains Michael Lazaroff, Executive Director of Entertainment Cruise Productions, LLC, “but it was time that we formalized our activities and really put together an infrastructure to make this happen. Laura S. Dinkins is uniquely qualified to take on this task and opportunity.” The first program Ms. Dinkins and the Military Special Events Division have developed will be featured on the Smooth Jazz Cruise ’13, which departs from San Diego on October 12-19, 2013. The ship will sail through the glittering Pacific Ocean for seven days with stops in picturesque Cabo San Lucas and Puerto Vallarta and features an astounding 60 concerts by such amazing jazz performers as Boney James, Brian Culbertson, David Sanborn, Marcus Miller, Tower of Power, Candy Dulfer, Jonathan Butler, Kenny Lattimore, Oleta Adams, Richard Elliot, Rick Braun, Euge Groove and so many others. photo by Carin Verbruggen

To learn more visit: http://www.ecpcruises.com/Cruises or www.thejazzinmee.com

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also display different dynamic approaches using brushes and sticks. The Acker Brothers were very instrumental in the recording /production of All In and inspired him to open a studio that he would use to complete the process. He always wanted to record “Groovin’” when he was touring with Curtis Mayfield and have him sing it but he never had that opportunity, so he included it on the project. Check out this fun filled project.

WATCH Laura Ainsworth - Necessary Evil Laura’s second album features a dozen terrific songs from the 1920’s to right now on the theme of love as a “necessary evil” in all its forms -- from the longing of “My Foolish Heart” to the self-delusion of “The Lies of Handsome Men;” from the exotic fantasy of “Out of This World” to the hilarious honesty of “Just Give Me A Man.” In the end, we learn that the only place where love is always pure, true and eternal is in the great old songs on the jukebox (“I’d Give a Dollar for a Dime”).

THE JAZZ IN MEE MAGAZINEOCT2013

B.W.B. - Human Nature B.W.B.’s sophomore album, 2013’s Human Nature, features the smooth jazz super group’s reworkings of songs by the late Michael Jackson. Once again showcasing the talents of guitarist Norman Brown, saxophonist Kirk Whalum, and trumpeter Rick Braun, B.W.B. lay down such Jackson favorites as “Billie Jean,” “Beat It,” “She’s Out of My Life,” “Man in the Mirror,” and others.

Bob Baldwin - Twenty Twenty celebrates a humble milestone in the career of New York native/Arranger/ Producer/Entrepreneur Bob Baldwin and represents 20 discs in 25 years, which has been a great journey for Baldwin, “The project is part of that evolution of honing your voice and using great musicians to bring the best out of you and vice versa.” The album features Marion Meadows, Joey Sommervile, and Ragan Whiteside, among others. Lee Goodness - All In Lee Goodness has been playing drums professionally for over 40 years and has toured with both Chuck Leavell and Curtis Mayfield. Lee wanted to take some of his favorite tunes from over the years and showcase various styles of play on this project ( i.e. Swing, R&B, Latin) and

Euge Groove - House of Groove For centuries music has been utilized throughout the globe for its therapeutic and cathartic properties. Chart-topping multi-instrumentalist Euge Groove, one of the most sought after instrumentalists on the scene, taps into the power of music’s innate abilities on his third Shanachie Entertainment recording, House of Groove. Euge Groove shares, “In all that is going on in everyone’s lives, my own included, I hope people can remove themselves and connect with the emotions of where I was coming from when writing this album. It’s far too easy to get caught up on the dark side of things going on all around us. I hope that the music’s positive vibe reaches people.”

Hudson on Bass - Bassed on a True Story Celebrating his sophomore release, Washington, D.C. native/Atlanta transplant Hudson on Bass (HOB) offers a diverse and emotional journey by capturing the anthems of his life through song on Bassed on a True Story. Each original track on this new effort represents an episode in HOB’s sometimes dramatic, yet ever expanding human experience. It details his triumph over heartbreak and pain and celebrates the joy of tested and enduring love. HOB’s ability to effortlessly blend hip-hop and jazz (well-noted on this album) has incited fans to call him “a creative master.” Earl Klugh - Hand Picked It’s been five years since Earl Klugh issued the smooth chamber group offering The Spice of Life. Hand Picked is an abundant 15-track collection, Klugh’s first for Heads Up International. With the exception of three duets, it’s a completely solo guitar effort that focuses on a range of covers from jazz, pop, and country as well as four fine originals. It’s been a long time since we heard Klugh this way, almost totally solo, taking an intimate look at the music he loves from across the spectrum. His graceful yet inventive playing, the clean production, and a canny choice of material make Hand Picked one of the finest recordings in his catalog.

Dave Koz and Friends - Summer Horns Koz has assembled three of his most talented and trusted colleagues – Gerald Albright, Richard Elliot and Mindi Abair – to revisit the golden age of the late 1960’s through the 70’s. They paid tribute to bands like Sly & the Family Stone, Tower of Power, Earth Wind & Fire, Chicago, and Blood Sweat & Tears with new arrangements of classic songs from this period in the history of popular music. Dave Koz and Friends Summer Horns, produced by Paul Brown (Al Jarreau, George Benson, June Tabor, Boney James). Joe Leavy - A Guy Named Joe Leavy This CD was passionate and heartfelt. Joe Leavy’s storytelling and smooth vocals were addictive. This CD embodied a true musical definition of Joe Leavy as brother, son, father, husband, and friend. You felt true romanticism, high regard for love, and devotion to music. “Skin in the Game” was incredible, the sentiment and zeal of the delivery in this song was breathtaking. ”I Heart You” and “My Little One” captured the essence of LOVE! Uplifting and redeeming is an understatement! Mission accomplished, this music will resonate in the hearts and minds of people forever. Bob James & David Sanborn - Quartette Humaine One of the first releases on the resurrected Okeh Records imprint, 2013’s Quartette Humaine features pianist Bob James and saxophonist David Sanborn performing a set of mostly original songs that walk the line between funky contemporary jazz and more thoughtful post-bop. It’s also the first collaboration between the two giants of contemporary jazz since their 1986 Grammy Award-winning album Double Vision. These are classy, no-nonsense songs that allow both of these jazz superstars to stretch themselves past what any existing fan might have thought of as their limit.

Mekiel Reuben - If You Were Here Tonight It’s saxman Mekiel Reuben’s latest offering, If You Were Here Tonight. Full of fresh originals with a light sprinkling of great interpretations of some well-chosen covers, the album opens with a silky mid-tempo charmer called “Another Sunday” and it’s a bouncy, sunny way to start off this collection of aural goodies. The swagger and bounce found in the cover of Bill Withers’ “Lovely Day” is addictive. For sure, an embraceable piece of work. Brian Simpson - Just What You Need There are no surprises on Brian Simpson’s fifth solo release, Just What You Need. The ten cuts are comprised of catchy, laid-back smooth jazz arrangements with elements of lite R&B, executed with ease and a very clean production. Also making guest appearances on Just What You Need are celebrated smooth jazz musicians Gerald Albright, Marc Antoine, Elan Trotman, and Jonathan Butler. Kim Waters - My Loves Kim again elevates his already luminous career profile to an even higher pinnacle with My Loves, his 19th solo album and major label debut. Resplendent with all the Kim Waters signature in-the-pocket grooves, seductive melodies, virtuoso improvisations, state-of-the-art production and inspired contributions from his musicians and guest vocalists, My Loves has an even deeper focus on the distinctly rich Urban Music mother-lode. It is a soulful, 11-track hymnal in praise of romance - always the essential emotional subtext of any Kim Waters album - in all its varied shadings, hues, depths, grandeur, yearnings and joyous fulfillments. Jazz Watch highlights artists that are creating a buzz in the industry and THE JAZZ IN M.E.E. is keeping watch. To listen to sample tracks from some of these amazing artists visit THE JAZZ IN M.E.E. listening party: www.thejazzinmee.com/listening-party

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Herb Partlow - Digital Future Fresh, funky, smooth and cutting. Sunrise over the desert. Sunset at the beach. A unique blend that defies genres and labels. It takes a dirty mind to create something this clean. Herb Partlow has found balance on the edge of a razor blade. The musical variations in this compilation are inviting from the smooth melodic sounds of jazz in “Midnight Interlude” to the hip hop sounds of “Mic Check” and more. The entire CD is filled with instrumental smooth, soulful jazz and hip hop for a new generation. Once again Mr. Partlow has exceeded our expectations with another hit full of tunes to please everyone.

Darren Rahn - Speechless Having firmly established himself as a first call producer, mixing up #1 hits for Dave Koz, Tim Bowman, and his longtime friend and collaborator, the late great Wayman Tisdale, Darren Rahn puts it all out on full display, proving that beyond being a serious producer, he is equally adept at songwriting and proves again that his saxophone chops rank with the best in the business. From cover to cover, Speechless never lets up and never lets down. Rahn’s latest ranks as one of the finest recordings to grace the genre and will force his peers to have to reach way up.

by Melody Warren THE JAZZ IN M.E.E. was tipped off about Christian McBride during the Martha’s Vineyard Jazz Festival by the talented and emerging jazz force Christian Sands and began to follow him. We were ecstatic to hear that he was coming to Houston with his band Inside Straight to celebrate 25 years of music with Da Camera chamber of music and jazz. We set out to the Wortham Theater in Houston to meet the Grammy Award winning bassist extraordinaire, composer, arranger, educator, curator and administrator. Christian McBride’s father, Lee Smith, and his great uncle, Howard Cooper, are also well known Philadelphia bassists who served as McBride’s early mentors. Christian McBride has been one of the most important and most omnipresent figures in the jazz world for 20 years.

THE JAZZ IN MEE MAGAZINE OCT 2013

He invited us into his musical territory with open arms and allowed us to engage him and the band during rehearsal and sound check in their ambiance. We had fun with them and enjoyed our creative freedom. We positioned and repositioned our signage around him to get the perfect picture and he rolled with the punches. He even joked by asking, “Do you carry that sign everywhere?” My answer was, “Yes…it’s our trademark,” and he chuckled. As he read through the magazine, he asked, “I’m I going to be in this magazine?” I said, “Yes, you are.” “Wow!!! It is awesome,” he replied. “I love what you are doing for jazz.” I felt very proud and grateful by his compliment and confidence in M.E.E.

Hanging with him for the day, we quickly experienced that his personality was magnetic, he loved to laugh, his smile brightened the room and everyone enjoyed being in his presence. He is mega talented, but very humble. Meeting him was like family; he wanted to show us jazz life from his eyes. He vowed to have our back (support us) in our jazz endeavors and at one point he had a M.E.E. t-shirt on his chest and a magazine in his hand, all under the M.E.E. sign, taking photos endorsing his support. It was hilarious! After rehearsal, the photo shoot, and and our hilarity session, we got down to business with the interview where he provided us an opportunity for an up close and personal view of jazz and his story.

photo by Chi Modu

So you wear a lot of hats: bassist, composer, arranger, educator and curator. What do you enjoy most and which one do you find most challenging? I enjoy meeting people, I enjoy touching people, inspiring people and getting inspired by people, so if it takes all those vehicles to meet more people then yes, I will always continue to wear all those hats. They are all challenging. I mean just being a bass player, just to be able to play the instrument and keep my chops up on the instrument is a challenge. When you talk about writing, composing and arranging which could be a completely different thing if you are not arranging your own music. Curating, administering - everybody knows what challenges lie in that because everyday even if you are not a musician, you are curating, you are creating something to do or you are administering something. Particularly if you are a parent, which I am not. So they are all challenging. How has your versatility contributed to your success? I don’t know. To me, my success is measured by how spiritually fulfilled I feel and how [it] relates to people, being able to work with people all across the globe, all across the artistic spectrum. I just have always been curious about everything, so I never thought of the word genre. Genre, that word was created by non-artists to help sell art. I have never worried about that. What are some key elements of being a bass player that you have to have to be successful in this industry? You have to be a supporter, you cannot think in terms of being out front. Your job is to be a bricklayer, a construction worker. If I may use a football analogy because I love football so much, you are an offensive lineman. Your job is to protect the rest of the band, to support the rest of the band. So a bass player, I believe, has to be selfless, because that is what the instrument is supposed to be: the support. Now if you do have the technique and the ability to step out front, then that is cool too, but that should not be your main goal as a bassist. What did James Brown leave you with? What did you learn from him in your experience of working with him?

Tell us what inspired you to create The Good Feeling? I have always been fascinated by big band writers and arrangers. Anybody who can take a big group of musicians and write for them has always fascinated me, because when you hear a symphony orchestra or if you hear a big band, rarely does the thought, even for a musician, cross your mind. “What did it take to write that?” Who sits down and sees 4 trumpets, 4 trombones, 5 saxophones, and makes sure everyone has their own part and intertwines and makes sense? How do you write to make sure the trumpets don’t get in the way of the trombones and the saxophones don’t get in the way of the trumpets, and what does the rhythm section do, and how do the harmonies work? That’s the part I have always been fascinated with, musicians who can do that. From the time that I was in my late teens, I have always quietly studied big band arranging. I would transcribe different albums, write down the saxophone part and then write down the trumpet part, the trombone part, and then try to analyze it to see what people were playing what part. Then I would go to the piano and work it out. In 1995, Wynton Marsalis commissioned me to write something for the Lincoln Center Jazz Orchestra and that was my maiden voyage into big band writing. I had no idea what I was doing, but I am always grateful to Wynton for giving me that opportunity to get my feet wet. Ever since then I have just been quietly practicing and every now and then there would be a youth assembly or some kind of lab band I would be able to practice on and get my writing together and before I knew it, I had all this big band music and I had enough to make a record, excuse me, a CD to release. Who were your inspirations? Outside of my family, a lot of people, Mr. Brown, of course James Brown, was probably the first person who I religiously followed, and then whose music I tried to really thoroughly analyze. As far as jazz is concerned, Wayne Shorter has always been a huge inspiration, McCoy Tyner has always been a huge inspiration, the usual suspects Duke Ellington, Dizzy Gillespie, Charlie Parker, Miles Davis, and then my favorite bass player of all times Ray Brown, someone I got to know very well who became like a second father to me. Ron Carter, Paul Chambers, Jaco Pastorius, those are all my heroes, and, another person who has become like my second father, who I love dearly as a musician and as a person, is George Duke. What is your opinion on the future of jazz and music, where do you see it now and where is it going? That is such a popular question, I think if we knew where it was going what fun would that be. You know the mystery of jazz is what makes it fun, we don’t know where it is going.

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Well, I only got a chance to work with him once, but it was one big, big concert. It was in the Hollywood Bowl, it was a show that I produced. It was James Brown’s first ever jazz concert. He did a handful of his hits. He did “I Feel Good,” “Sex Machine” and “It’s A Man’s World,” but most of the concert was centered around a big band record he did in the late 60’s that was called Soul On Top with Oliver Nelson’s arrangements, Louie Bellson’s big band with Ray Brown playing bass. So we recreated that album live with my big band. My big band on one side of the stage and his regular band on the other side of the stage, it went back and forth between both bands. So what did James Brown leave me with, gosh, I am not sure I can answer that

because he was a very complex individual as everyone knows. I think every musical genius is a little complicated. That is what makes their music so special, some are more special than others.

THE JAZZ IN MEE MAGAZINE OCT 2013

Do you think that jazz is a dying art form?

No, creativity can’t die. I always like to say, people have been saying for the last century now that jazz is dying. They have been saying that since the British invasion in the early sixties when the Beatles and the Rolling Stones came around. I think if jazz could survive rock and roll, heavy metal, hip hop, gangster rap, it isn’t going anywhere. It will always be around. I am not sure if jazz will ever be as popular mainstream. I don’t know if it will ever be the pop music of American culture ever again. But that’s ok. I think what I hope for and I don’t know if we will ever see it in our lifetime, but I just really hope that one day all artists - be it jazz musicians, classical musicians, avant-garde musicians, dancers, actors, painters, whatever it may be - if they could just live in a culture where it is a little more level, more of a level playing field where more people are curious and more people are appreciative of the artist process. Now Americans have been subconsciously made to think that you are only worth checking out if you are blinging, if you are on the cover of People magazine or if you are on TV. If you ask people what is high art, I think the majority of Americans, they cannot tell you. You go anywhere around the world, anywhere in Europe, South America, Asia, India, wherever it may be, yes, Beyonce is famous there, Lady Gaga is famous there, Justin Bieber is famous there. They could sell out stadiums over there as well, but it seems like every other culture understands that [it] is entertainment, that it’s for show, that it’s something you do when you want to have a quick fast food meal. The real heavy art is something we must support, and that is why all jazz musicians and all serious artists of every nature can go anywhere else in the world and be appreciated, not worshipped, but just appreciated. You walk down the street somewhere in Germany and somebody might say, ‘Oh, hey Chris McBride. I got that record you made with such in such.’ That will never happen here, it might happen in five cities. Do you still have any To Do’s on your life bucket list or musical bucket list? Yes. I kind of sort of touched on one of my bucket list items last year. I was very honored to write the music for a new film that was made by the great actress S. Epatha Merkerson from Law And Order. Now that Law And Order is off the air, it is off into

the sunset, she is now behind the camera as a filmmaker. She made her first film, a documentary film called The Contradictions of Fair Hope and she asked me to write the music for the film. That was always, like, one of my more long term dreams to write for film and the fact that I got to do it for her. You don’t understand, there are like three things in my life that I am a total expert on. You cannot stump me on any of them. James Brown, Sanford and Son and Law And Order. The fact that Lieutenant Van Buren from Law And Order asked me to write the music for a film, that was awesome. So other than that, I actually would like to one day disappear for a year. You are the first person I have ever told that to, other than my manager and my wife. I look forward to one year of not playing at all and to be a planetary citizen. I just want to go fishing or do nothing. Miles Davis did it, Shirley Horn did it, Sony Rollins went to India to study religion in the late 60’s. I would like to do something like that. Anything else you would want the readers to know about you Follow me on Facebook and Twitter https://www.facebook.com/officialchristianmcbride or https:// twitter.com/mcbridesworld After the interview, Christian prepared for his performance with his fabulous band members: saxophonist Steve Wilson, vibraphonist Warren Wolf, pianist Peter Martin and drummer Carl Allen. These guys put on a dynamic show and Christian got down to busy making the bass do things I had never witnessed. His performance was breathtaking. I found myself holding my breath at times to endure the beauty of the it. They charmed us with “Theme for Kareem” (Freddie Hubbard), “Sophisticated Lady” (Duke Ellington), photo by VA Creations “Stick & Move” (McBride), and “Brother Mister (excerpt)” (McBride). This talented Grammy Award winner was incredible! Christian, his management team, his band and the venue treated M.E.E. like “royalty”. They were totally open, gracious and supportive. We appreciate and value what Christian McBride has and will continue to contribute to the jazz journey. Our journey continues to get better. Look for more about the charismatic Christian McBride and to purchase his new CD visit: http://www.christianmcbride.com/

CHRIS GODBER My Offering

by Monica Murphy Eaves www.pinkandbluenotes.com

There are some great cover songs on this CD as well as originals. Godber starts the CD off with a mellow cover of “Ain’t No Stoppin’ Us Now.” He definitely makes it his own and, with his own life as the backdrop, is saying that “with God, all things

are possible.” His original “Kick Back” makes you feel like you want to do just that and kick back. He goes on to cover “September” while maintaining its authenticity, and “Soul Jam” has a funky groove to it, but most will recognize the song “Just The Way You Are.” He also wrote a beautiful song to his wife expressing his feelings titled “Falling In Love.” His melodic and powerful instrumentation on the song “Praise Is What I Do” will leave you with chill bumps. “Bless The Broken Road” reminds us that although we have trials in our lives, God is in the business of miracles, and Chris is a living testimony. Lastly, he delivers his funky rendition of Grover Washington Jr.’s classic “Mister Magic.” Chris Godber’s music tells a story, and each story is true and inspirational. It’s very safe to say that this CD will inspire everyone who hears it. My Offering Chris Godber Released: Jun 23, 2011 2011 Chris Godber

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mooth, laid-back, melodic, and full of worship describes the fourth and latest CD by Chris Godber, My Offering. At first, it seems it would be easy to compare Chris to Kenny G., however, all you have to do is listen a little more intently to realize that he has a sound of his own. In each song, you are keenly aware of Chris’ Gospel and R&B influences. My Offering is the perfect title for this project. Each song has a meaning that’s indicative of God’s love. Chris wrote My Offering as a way to give back to God because God has been very good to him and his family; he has a lot to be thankful for. As a child, Chris was told that he would never play the saxophone due to his asthma. Well, instead of listening to being told “No,” he pursued his passion in spite of his illness. With his music, he reminds us all that God is good, and he gives him all the credit for his ability to play the saxophone and minister to others through the gift of song. Since signing with L.A. Sax in 2011, Chris’ music has gotten recognition from jazz greats such as Kirk Whalum and Gerald Albright.

photo by Maureen Godber

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THE JAZZ IN MEE MAGAZINEOCT2013

THE MELODY IN M.E.E. is a blog of musical expression that will take you on a journey of exploration into the world of jazz.

Hugh Masekela BRINGS MUSIC MAGIC TO M.E.E IN TEXAS THE JAZZ IN M.E.E. magazine experienced history on June 13, 2013 during Hugh Masekela’s performance at Dosey Doe in the Woodlands. People live a lifetime and never experience music like we did. Hugh Masekela and Larry Willis delivered a real dose of national treasure… mesmerizing, impassioned, genuine, legendary, emotional and witty. We were in awe! Joe Sample came out to support Hugh as well. M.E.E. was able to spend time with three legends and they were amazingly humble, down to earth and supportive. Hugh Masekela is more than special and beyond talented. It was only he and Larry Willis on stage and the performance was breathtaking… full cycle entertainment at its finest. His storytelling in song, both vocally and through the trumpet, was magical. He shared the greats of jazz with us through his eyes, experience and interpretation. Get to know Hugh Masekela and Larry Willis! Stay tuned for Hugh Masekela’s interview in an upcoming issue of THE JAZZ IN M.E.E. magazine. www.hughmasekela.co.za

photo by Melody Warren

Theresa Grayson

LISTENING PARTY FOR HER NEW CD LIVE2LOVE

www.theresagrayson.com

Heston

THE JAZZ IN M.E.E. MAGAZINE HOSTED A PRIVATE MEET AND GREET FOR OUR FRIEND AND NATIONAL RECORDING ARTIST HESTON TO HEAR ALL ABOUT HIS NEW PROJECT LOVE JUNKIE. We got up close and personal with HESTON! He autographed his new single and we gave away magazines, t-shirts and wine glasses. Heston’s music is beautiful, lyrically refreshing, vocally and melodically unique, timeless, rich and soulful. He has been compared to legendary artists such as Marvin Gaye and Leon Ware for his honesty and musicality. Heston possesses one of those rare “instant classic” voices laced with confident sensuality - nostalgic, yet very much his own style. This Dominica born, Atlanta based, ‘Love Junkie’ is a hot-blooded man; unabashedly romantic, he allows listeners to enter his most intimate spaces and thoughts. With his polished voice, passion for delivering stellar music, and loyal and growing fan base, Heston is poised to make a legendary impact on the music world. Thanks LA Vie Fusion Bistro & Lounge for your support!!! 14520 Memorial Drive suite 112, Houston, Texas 77079 (832) 770-4392. http://www.hestonmusic.com

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THE JAZZ IN M.E.E. magazine hits The Living Room for Theresa Grayson’s listening party for her new CD Live2Love! This CD is HOT! Live2Love is a sparkling, energetic and well arranged album for audiences around the world to enjoy! Saxophonist Theresa Grayson is a remarkable and talented artist that delivers exceptional jazz music. Theresa’s sophomore album, the newly released Live2Love, will be one to treasure for a very long time. Her expressions of her first single release “Natural Woman” have received rave reviews from around the world. Her musical style and arrangement of top hit favorites on this album will give you the feeling of listening to her live in concert! The musical arrangements of all the tunes showcase the great talents of Producer Terence Fisher. The arrangement and smooth stylistic approach to “It Never Rains In Southern California” is sultry, smooth and explosive.

photo by April Hall

photo by Melody Warren

Robert Glasper THE JAZZ IN M.E.E. INTERVIEWS GRAMMY AWARD WINNER ROBERT GLASPER!

THE JAZZ IN MEE MAGAZINE OCT 2013

On their 2012 breakout Black Radio, Robert Glasper Experiment laid out a new paradigm for creative music, reaching beyond entrenched genre boundaries to create a singular vision that drew from all reaches of contemporary black music and beyond. Black Radio drew unanimous praise from critics across the board and earned Glasper the highest chart positions of his career when the album debuted at #10 on Billboardâ&#x20AC;&#x2DC;s Top Current Albums chart, also claiming the #1 spot on both the Billboard Jazz chart and the iTunes R&B chart. The album kept earning accolades all the way to the 2013 Grammy Awards where Black Radio was awarded Best R&B Album.

THE JAZZ IN M.E.E. interviewed Grammy Award winner Robert Glasper during his visit to Houston to be a part of an event that benefited Non-Hodgkins Lymphoma Youth. This event was hosted by Mayweather Entertainment and comprised a cast of stellar musical talent in the form of Nikki Ross, Lalah Hathaway, Kyle Turner and the Patrick Williams Quartet, all hosted by the comedian Marcus Wiley. We were excited and honored for an opportunity to meet him shortly after his Grammy win! http://robertglasper.com

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THE JAZZ IN M.E.E. SUPPORTS FASHION, THE ARTS AND MUSIC! photo by Grant Foto

Girls & Guys Love Arts & Music (GLAM) is an organization for young girls and boys that is dedicated to the jazz and arts community.

GLAM ·

GIRLS & GUYS LOVE ARTS & MUSIC

This non-profit organization’s goals include: - Advancing education and exposure to innovative art forms - Promoting musical and artistic performances - Sculpting new audiences and developing a new fan base for jazz If you are interested in partnering with us, please email us at info@glammee.org

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THE MUSIC LEDGER

THE JAZZ IN MEE MAGAZINE OCT 2013

Do you know how to balance both sides?

by: Melody Warren

y jazz journey has connected M.E.E. to quite a few incredible people, but meeting Herb Partlow, CEO of Superb Muzic Productions has been impactful, exciting and informative. Superb Muzic Productions, LLC is a full-service music production company and independent record label with operations in the San Francisco Bay Area and Charleston, South Carolina. Our connection and conversations have led to a plethora of music business discoveries that M.E.E would like to share with our readers.

One of the revelations outlined was a major paradigm shift in the music business that was brought about in recent years by advanced technology and the Internet. Music artists and jazz artists, in particular, should be aware of this change and be prepared to leverage the technology and marketing tools that are now at their disposal versus just hoping to be discovered by a major label. Those days are few and far between. In 2013, artists have to take responsibility for building their own

brand, fan base and establishing a track record of sales before a major label would even consider them. Based on statistics and consumer trends from the Recording Industry Association of America (RIAA), when you look at music sales by genre, Rock is still king with 31-32% of the pie chart. Country is 11-12%, Hip Hop/Rap is 11-12%, R&B is 10-11%, Pop sales are 9-10%, and the jazz genre accounts for only 1-2% of the musical revenue pie chart. These statistics would imply that the jazz genre could be considered a “dying art form” on some levels. While that might be true, Herb points out that 1-2% still represents millions of global consumers. Another major factor is the advent of the radio broadcasting conglomerate. Clear Channel, Cumulus Broadcasting and Citadel Broadcasting own the majority of the commercial radio stations in the United States. A recent trend has seen the closure of a majority of the smooth jazz radio format stations because they are just no longer profitable for the broadcasting companies. With the jazz industry losing their commercial radio stations and labels in record numbers, it is now the responsibility of the artist to take control of their own destiny. We are clearly now in the Digital Age; it’s the D. I. Y. (Do It Yourself) age and artists have to be well versed and equipped with the right tools to help them navigate it! Artists are now left to pick up where the record labels normally would and many have to learn more about the music business instead of just concentrating on the art of creating music. As a music industry veteran told Herb many years ago, “It’s really 10% music and 90% business.” That equation will increase the chance of a successful career in the music business. Herb Partlow is a veteran in the music business with upwards of 30 years in the industry. He has covered a broad range of roles including: radio personality, artist, writer, producer, manager, recording and mastering engineer. Digital Future is his new release on the Superb Muzic label. In our conversation about his project he was able to enlighten us on some of the trending topics in the music business. We are excited to highlight this information in our “Tip Jar.”

A. I have done a lot of music business mentoring with young aspiring artists of multiple genres over the years, and when I refer to my music ledger concept, I stress that I am speaking metaphorically. Envision a ledger where there is a left side and a right side.

One thing that I stress is that lots of people make GREAT MUSIC . . . but if you don’t have a clue about the music business, the chance for real success is minimal. “10% music / 90% business.” Q. How can artists stay sustainable in the industry? A. That’s a good question . . . and if we had a canned answer to that question, I/we would all be rich! (LOL) I would concur that there has to be some degree of proficiency at your craft first and foremost. In addition, a good working knowledge of the music business and the legal aspects of this business are essential for sustained success. Another key component is that the music has to have some commercial appeal; it must be sellable. But, as I mentioned earlier, the music can be absolutely “off the chain.” Lots of people make great music. But if there is no marketing strategy, understanding and utilization of digital marketing tools, and more importantly, marketing dollars, then success will be difficult to achieve. Q. How would you define this shift in the musical paradigm? A. Years ago, in order to get that “professional” sound in your recordings, you had to go to the big commercial studio with all of that expensive hardware. Well, with the advancements in technology along with the internet, the playing field has become somewhat leveled. Now a person can put together a digital audio home studio at an affordable cost, and if they have some music engineering proficiency, the recordings can compete with the commercial studio recordings and major label level products. With the advent of the internet, I often tell people, “you really don’t need a label” to build your own brand, create your own fan base, distribute your music, and market your music. We are clearly in the D. I. Y. (Do It Yourself) age! There are no barriers to entry into global markets; you can reach out and touch someone across the globe via your computer, tablet or smartphone.

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Q. You spoke to us about your musical ledger concept, please share what that entails.

On the left side of the ledger is the “MUSICIANS MENTALITY” and on the right side of the ledger is the “MUSIC BUSINESS.” The “musicians mentality” equates to the passion, the art, talent, creativity, ego, performing; all things music. The “music business” equates to music business knowledge and concepts: mechanical licensing, compulsory licensing, synchronization, copyrights, publishing, performing rights organizations, royalty structures, points, digital distribution, recording process, sales and marketing.

I employ what I refer to as the “micro label” concept. I have my own digital recording studio, I’m the audio and mastering engineer, I have my own e-commerce enabled website, in house graphics design, and I leverage all of the D. I. Y. marketing tools that are at my disposal (e.g., Facebook, Facebook Groups, YouTube, Twitter, Instagram, Constant Contact, Internet Radio Stations, Blogs, Podcasts, Digital Distribution, etc.). Here are some benchmarks: 500K units sold = Gold | 1MM units sold = Platinum I have a modest goal of 50,000 units for my new release. Now while that might not seem like a lot when compared to those benchmark numbers, if I reach that goal, I will gross well over a quarter of a million dollars. That’s REAL money! Q. What is the benefit of learning the recording process? A. It’s essential! If your recordings are sub par, you can’t compete. Plain and simple. I have come across lots of talented artists with potentially great songs, but the recordings are sub-par, so, they don’t get heard and have no commercial appeal. Now that doesn’t mean that they can’t find success as writers of good material. But, at some point, a professional recording is essential. For a fee, I have taken some really amateurish recordings and turned them into professional quality songs. A good mix engineer is a key ingredient, and after the tracking, recording and mixing is complete, then mastering is the final step in the process.

ists who can perform live; must have their own following; not national, it can be local/regional, and must have a track record of music sales.” As I mentioned earlier, you are not going to be on the radar of the major labels unless you invest the time to build your own brand, your own fan base, and have a track record of significant music sales. In short, that’s how artists can become and stay competitive. Q. Tell us about your new music release and what you hope to achieve? A. With the Digital Future project, I have incorporated elements of jazz, funk and hip-hop. It is very smooth and jazzy music, but it also knocks with 808 kicks and drum rhythms that will appeal to the younger generation, as well as the traditional smooth jazz consumers. I play the keyboards, piano, bass guitar, along with drum programming and string arrangements. Dale Ramsey, Delon Charley, J. L. P., and Allen Webb are featured saxophonists; Rick Hurley plays guitar on two tracks; Freddie White and G-Lo are featured on “Mic Check”, and Bigg Chaly and Kin Harris add vocal arrangements to the project. MARKETING TAG LINE: This is “jazz music for a new generation.”

THE JAZZ IN MEE MAGAZINE OCT 2013

Q. What are current jazz labels looking for in new artists? How can artists stay competitive?

A. I don’t have details about jazz labels, but I will share an experience with you. I initially wanted to seek out major jazz labels for my project(s) and the “Mo Jazz” label (Motown Jazz Division) came to mind. After doing some research, I realized that Mo Jazz no longer existed, and that all of the jazz music was consolidated under the Verve Music Group, a subsidiary of the Universal Music Group (UMG is one of the four remaining major labels). So, through my sources I was able to get the name and phone number for the senior vice president of the Verve Music Group in New York. She was actually very nice and we had a half hour conversation. When I asked about the prospects of being added to the label, she said that they weren’t adding any new jazz artists and would be sticking with the two that they currently had. She said, “It’s just not worth it with all of the jazz stations closing down and soft sales for that genre.” So, I asked her, “What are you looking for?” She said, “We are looking for vocal-

Herb Partlow Superb Muzic Productions t: 510.776.4083 f: 510-280-6071 e: info@superbmuzic.com http://www.superbmuzic.com/digitalfuture.htm Digital Future iTunes Link: https://itunes.apple.com/us/album/digital-future/ id675330057

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THE JAZZ IN M.E.E. is an affiliate of Multifaceted Exquisite Events Inc. News and Media division. THE JAZZ IN M.E.E., based in Houston, hosts and reports on jazz, literary and art events nationally. THE JAZZ IN M.E.E. is the newest addition to the M.E.E. network, targeting devotees to jazz and the arts. This magazine includes dynamic cover stories, trendy “Jazz Watch” music reviews, boldly stylish CD releases, trend setting blog updates, enchantingly cool featured festival insights, informative “Inside M.E.E.” reports and other consequential jazz information. The magazine was developed after the success of “In the Jazzy Limelight,” an online article profiling various jazz artists. “In the Jazzy Limelight” has reached over 180,000 readers in 25 countries, with highest international views in Japan, Canada, Russia, Ukraine, France, and the United Kingdom. Readers of the online feature have a passion for jazz vacations, explorations and getaways. These topics continue to be explored and expanded upon in THE JAZZ IN M.E.E. magazine.

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THE JAZZ IN M.E.E. was created to be a platform to showcase, support, advocate, market and promote the love of jazz, the artists, musicians, enthusiasts and supporters of this magnificent genre of music and the events that are a springboard for its success. M.E.E. is on a mission to keep jazz and its artists in the forefront. THE JAZZ IN M.E.E. aims to be an informative, inspiring and entertaining jazz style of living magazine where readers can find in-depth feature articles and columns pertaining to everything jazz with an artistic flair. Let us help you find your target market! This is an excellent opportunity for maximum exposure to artists, musicians, festivals, radio/internet stations, jazz business supporters and enthusiasts within the jazz and arts community. Please e-mail info@thejazzinmee.com if you are interested in advertising in a magazine that is dedicated to keeping the jazz genre and its artists present! WWW.THEJAZZINMEE.COM

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THE JAZZ IN MEE MAGAZINEOCT2013

by Peter Boehi

THE JAZZ IN M.E.E. sends our deepest condolences to the Duke family for their precious loss. MONDAY, AUGUST 5, 2013, we lost keyboardist George Duke, who died from chronic lymphocytic leukemia (CLL) at St. John’s Hospital in Los Angeles at the age of 67. Having lost his wife Corine one year earlier from cancer had a deep impact on him. After a period of mourning and difficulty working, he reignited his creative juices and gave the world his final album with DreamWeaver, released in July 2013 on the HeadsUp label. With the passing of George Duke, we lost a true giant of jazz who influenced a generation of musicians. So let’s reflect on the impressive career of this outstanding artist. George Duke was born on January 12, 1946, in San Rafael, California, near San Francisco. When George Duke was four, attending a concert by Duke Ellington along with his mother left a lasting impression and the desire to be on stage one day himself. Being a maestro on stage and entertaining people was his goal. He graduated from the San Francisco Conservatory of Music in 1967. In the early stages of his career, he was into straight ahead jazz with Miles Davis being his hero and role model, focusing on his piano playing and not putting too much interest into his audience. Later, after having worked with people like Cannonball Adderley, Jean-Luc Ponty and Frank Zappa, his attitude changed and he turned into the consummate entertainer and crowd pleaser as we knew him during the later course of his career.

During the first half of the 70’s, George Duke recorded a string of solo albums for the MPS label in Germany, which yielded some great fusion albums, reflecting the adventurous

Starting in the late 70’s, George Duke became increasingly in demand as a producer, a job he was destined for with his vast background of performing, composing and arranging in many different styles. He worked with people like trombonist Raul De Souza, singers Dee Dee Bridgewater, A Taste Of Honey, Jeffrey Osborne, Deniece Williams, Gladys Knight, Chanté Moore, Anita Baker, Dianne Reeves and many others, yielding several hit records. In the 80’s, his collaboration with bassist Stanley Clarke as Clarke/Duke-Project gave them a top 20 crossover hit with “Sweet Baby,” continuing his career in 1984 on Elektra Records with successful pop/adult-contemporary albums. Continuing on Warner Bros in the 90’s, he started to incorporate more jazz into his music again, releasing his masterpiece Face The Music in 2002, a smashing fusion album with a tight band, and In A Mellow Tone, a traditional jazz album, in 2006. His final albums straddled the line between jazz, funk, R&B and Latin, showing a mature and complete musician. Other well received collaborations were with saxophonist Kirk Whalum and his “Gospel According To Jazz” series, which yielded several albums and concert videos. In addition, George Duke was a welcome guest on various smooth jazz cruises and festivals, always bringing down the house with his funk parties, standing on the stage with his keytar slapped around his shoulders, giving the people what they wanted. He will be sorely missed.

Dreamweaver George Duke Released: Jul 16, 2013 2013 Concord Music Group, Inc.

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Working with a then unknown Al Jarreau in a club in San Francisco allowed him to meet Jean-Luc Ponty who turned out to be instrumental in his career, actually hiring him as a keyboard player and introducing him to more rock oriented audiences who were musically very open minded back in the day. In these days, he started to play the fender rhodes and later early synthesizers, experimenting and crossing new frontiers, leading to a stint with Frank Zappa. Despite the fact that the music of Frank Zappa was a bit far off from the jazz he had been playing so far, George Duke sensed the opportunity to learn and expand as a musician - a mindset that has been evident throughout his whole career - so he joined Frank Zappa’s band from 1969-1975, which became a fruitful and very influential time in his development as an artist. In between, he also played with Cannonball Adderley from 1971-1972. Other notable collaborations were with Sonny Rollins in 1975 and the seminal jazz-rock live recording he did with Billy Cobham called Live on Tour in Europe (1976), a musical milestone of the genre.

spirit of the time and never losing sight of the groove. In late 1975, George Duke signed with CBS which started the next chapter in his career by incorporating funk, disco, soul and pop into his music - certainly raising some criticism from the jazz purists - giving him one of his biggest hit albums with Reach For It that moved him from clubs to big arenas. Other seminal albums that stood the test of time and have become milestones of the genre are Follow The Rainbow and the beautiful Brazilian Love Affair, both released in 1979.

Everette Harp

UNPLUGGED by Melody Warren

THE JAZZ IN MEE MAGAZINE OCT 2013

Everette Harp Talks Music, Life and Legacy

Since embarking on my jazz journey, his name would come up often once people realized that I resided in Houston, Texas. “Do you know him?” they would ask. This intrigued me enough to set out to meet the man that many across the USA linked with M.E.E., Everette Harp. I started to research a little more about him, but discovered that there was not overabundance of information out there even though he had been in the business for many years. He was cloaked in privacy, which fascinated me even more. One day an event was posted in THE JAZZ IN M.E.E. group that announced an upcoming Everette Harp performance in San Antonio, which presented the perfect opportunity to meet my fellow Houstonian. The man with the beautiful smile, sexy promotional pictures and killer sax talent was so much more. He was deeply rooted in family, extremely intellectual, confident, humorous, comfortable in his skin, and had definite opinions about music, life, and his legacy. I enjoyed talking to him immensely; his serene demeanor, wisdom, life lessons and experiences were scholarly and therapeutic. “The days of being politically correct during

photo by Melody Warren

interviews are over,” says Harp and THE JAZZ IN M.E.E. had no qualms about it. I loved his candid, honest, no holds barred answers to my questions. This interview was genuine, powerful, and forever notable. We talked a very long time. This will be the first of a two part interview series. WHO IS EVERETTE HARP? That is a good question! I am still trying to figure that out. Like you mentioned earlier, I have this cloak of privacy about me. My friends are just normal guys. I rarely hang out with musicians. When I’m playing or working, that is generally when I see musicians. I think down inside I am just a normal guy. I like to try and say music is a big part of me because I was born into it, but it’s not who I am. It does not solely define me, so when music is not there I am not lost. There are other things now that I focus on, but it did not used to be that way. There are other things now that I really love. Music is still on the top of my list, but when I am not playing I am not lost. I am 51 now and when my father died about 5 years ago, I figured that

life has to be more than just about hauling yourself up in a room and doing one thing and I needed to figure out a little bit more about life and enjoy life a little bit more. I started doing that, so now I am actually rediscovering who Everette Harp is, but for the most part Everett is a guy who is passionate about music [and] loves playing the saxophone. I have also found a love of golf, life, friends, my daughter and my wife. It is just figuring out that there is a lot to life that really helps make you who you are in addition to the music we are defined by. WHAT WAS YOUR FONDEST MUSICAL CHILDHOOD MEMORY? I grew up in a musical family of seven kids and my mom is a piano player and my dad was a minister, so the fondest memories were of the family choir. I am the youngest of seven kids and we would go with my dad from church to church singing. Representing either our home church at that time or, when my dad became a pastor, representing his churches and we would go from church to church singing all the time. I was a little Michael Jackson in the family, I had the high voice and I could go. But everybody in the family could sing and those where the fondest early musical memories. Saxophone I started when I was four, but really did not do a lot of that when we would do the church travelling. HOW WOULD YOU DESCRIBE YOUR SAX STYLE? I guess you would say I am kind of a hybrid, soulful jazz R&B but with a crossover with mainstream jazz. I kind of dabble in a little bit of everything which is very eclectic. WHO WERE YOUR MUSICAL INFLUENCES? When I was eight years old I discovered John Coltrane and Dave Brubeck records in my family’s gospel collection. The John Coltrane record was called Soul Train. The song “I Want To Talk About You” was probably one of the most influential songs that hit me early on, as well as Dave Brubeck’s “Take Five.” Soul Train’s “I Want To Talk About You,” written by Billy Eckstine, was a beautiful ballad that I could connect with, because Coltrane was a little too heavy for an eight year old. Other influences in my college years were Grover Washington, Dexter Gordon, David Sanborn, and Michael Brecker. Stanley Turrentine was really large when I got to Junior High and I started learning some of his music. I had some pretty big sax inspirations out there.

WHAT DO YOU HAVE ON THE HORIZON AS FAR AS ANOTHER PROJECT? I’m getting ready to settle in and start working on a project. I have done a few of what we call organic records, basically live records. The last four records were more organic, done live in the studio. I think I will probably go back to doing some production style records where I do all of the bells and whistles with some really nice production around it. Trying to get that started within the next month or two. HOW DO YOU WANT YOUR LEGACY TO BE DEFINED? I never really thought about that before. It is something that has come up in conversation with a couple of other musicians. I think after you hit a certain age you start thinking about that. I need to change what I am doing because I do not want my legacy to be that I did this. You know what? I don’t care, at this point there is nothing I can do. People are going to have opinions of you whether it is good or bad, whether they think you are great or mediocre. All I can do is what is in my heart at the time . That is one thing that has probably inhibited me the most in this business, I don’t want to do what everybody is doing because it is what everybody is doing. I want to do what I set out to do in the very beginning, play music because it is what I feel, it is a natural process. I don’t like to gear myself or produce myself or focus myself for a certain sound or style that is being proliferated out there. I have always wanted to be natural and I think everybody in their core wants to be that way and I think most people believe they are being that way. I

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DO YOU STILL HAVE THE SAX THAT PRESIDENT BILL CLINTON PLAYED AT HIS INAUGURAL BALL? The horn that he played I retired almost immediately after that and got another horn. I put that horn away and it has been sitting in my house since ‘91. The Clinton’s library contacted me recently for that saxophone and I am sending it out at the end of the month to be displayed in the Smithsonian.

WHAT WAS YOUR INSPIRATION FOR FIRST LOVE? I did not want to do what the industry would call another smooth jazz record, I had nine of those. I was getting bored and like I said to you off tape before, my first love was always straight ahead jazz with Stanley Turrentine, Dexter Gordon, Cannonball Adderley, Charlie Parker, John Coltrane and all of those guys were my main influences when I got started. Grover Washington came early, but David Sanborn came a little later when I was in college. Playing contemporary music was not the first thing I did, gospel music and then straight into jazz and straight ahead jazz. Danny Weiss at Shanachie Record called me and said, “Everette, we need to get started on another record but I want you to do something different. What do you think about doing a live straight ahead record?” It was exactly what I was thinking and coupled with the fact that George Duke had always said that I do not want to do another contemporary record on you, basically led me to doing it. I knew I did not want to do another smooth jazz record, I knew I wanted to do something a little more aggressive for me just to keep me growing as a musician. That is how it happened and the reason I called it First Love is because straight ahead jazz was my first love.

THE JAZZ IN MEE MAGAZINE OCT 2013

photo by Melody Warren

do believe there is an overwhelming consciousness of what is radio worthy, what is already popular out there. If I sound like this, then I am going to get more radio airplay, people are going to love me if I dance like this, if I jump out into the audience, if I hold a high note this way. Those cliché things they get to me and I intend to dismiss those things and run and hide from them. Those could be the things that come back to bite me later on, but I think I would much rather they bite me than become a cliché. I try to at least stay true to my heart, which I do believe most musicians, most artists out there, they do try to stay true to their hearts as possible. My legacy will take care of itself. I cannot control it. All I can do is what I feel and the legacy will be what it is going to be. Our conversation continued to get deeper and more interesting. Stay tuned for part two of our interview in the next edition of the THE JAZZ IN M.E.E., including advice for young jazz artists, identifying with an instrumental solo, the respect of elders, Everett’s passion about the human elements, and the dynamics between the business of music and the downplaying to the audience. You won’t want to miss Everett’s “Music 101: Unplugged” advice in our January issue!

On the eve of our engaging interview, my fellow Houstonian gave an unprecedented performance at the elegant Plaza Club in San Antonio hosted by Southern Comfort. He was incredible as he showcased his multi-talent with his phenomenal sax ability and overwhelmed us with his melodious vocals. He sang “I’m Sorry” from his 1994 Common Ground CD and left the room in shock because many had no knowledge of his vocal gift. The band added the cherry to an already spectacular and delectable performance with Pat Carey on bass, Alex Ambrozaitis and Hans Zermuehlen on keys, Chris Knox on guitar, and Chris Knox Jr. on drums

First Love Everette Harp Released: 2009 2009 Shanachie Entertainment

Rocco Ventrella

SWEET TEMPTATION

by Carolyn Beverly Every once in a while when reviewing new music and/or a new artist, I run across one that will really catch my ear; you know, like it really grabs and holds onto my musical attention. Well, get ready because that every once in a while moment is now…

Rocco Ventrella has just captured my attention with his CD release titled Sweet Temptation. The CD was released earlier this year and this 15 track CD has covered it all from the first track “Dinner Talk,” which gives you a taste of the musical treat that is to follow, to the last track “Jet Steam,” which is a tribute to the late jazz saxophonist Grover Washington Jr., who, by the way, was discovered by Rocco Ventrella. On “Jet Stream,” track 15, Rocco recreates that signature sound only Grover Washington Jr. could deliver. What a tribute! “Teresa Margarita” has got a reggae vibe that is very creatively done with the beats all in place. What else can you or would you expect from an artist like Rocco? He has played with some of the biggest names in the business. And, Sweet Temptation is right in line with his love for music. Sweet Temptation has jazz for every occasion. There’s a mixture of jazzy jazz, funky jazz with a touch of that James Brown groove on tracks “What about Love” and “What about Funk,” and “Rocco Funk” has its own special flavor, traditional jazz, and jazz with layers of R&B with his special remake of “Summertime” (G. Gershwin), featuring Everett Harp on Saxophone. There is Latin jazz, Italian jazz, and everything in between. This CD actually blows my mind, leaving me with visions of smooth jazz with a mixture of vocals dancing around in my head, giving way to an evening of musical pleasure. Rocco Ventrella is one you want to keep your ears open for. Sweet Temptation is the name of the CD, highly recommended for your Smooth Jazz listening pleasure.

photo by Christian Nordström

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Sweet Temptation Rocco Ventrella Released: 2012 2012 Innervision Records

Under the Sign WITH M.E.E.

THE JAZZ IN MEE MAGAZINEOCT2013

Heston

Joe Sample, Huge Masekela, Larry Willis

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THE JAZZ IN MEE MAGAZINEOCT2013

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SUBSCRIBE TO M.E.E. Get your print and free digital download today! Offering a VIP special rate of $79.99, reg. $89.00, and, for a limited time only, if you subscribe online, you’ll receive our exclusive rate of $69.99. Our magazine is published quarterly and our journalists and photographers showcase the best that jazz has to offer. THE JAZZ IN M.E.E. magazine currently reaches approximately 35,000-180,000 people nationally and internationally through online distribution, promotional events, jazz concerts, jazz festivals, music retailers, jazz clubs, and radio stations. CALL FOR PHOTOGRAPHERS Please email THE JAZZ IN M.E.E./Multifaceted Exquisite Events Inc. at: info@thejazzinmee.com. CALL FOR WRITERS THE JAZZ IN M.E.E. is looking for guest contributors, so if there’s a story, tip, or feature you’d like to share, e-mail us. Our key areas of interest include content that showcases, supports, advocates, educates, markets and promotes the love of jazz and its artists. We can only consider posts that are your own writing, haven’t been published elsewhere, and which you allow THE JAZZ IN M.E.E. to publish exclusively. All articles are subject to editing prior to publication. What We Need In your pitch, please provide the topic or title of your article, outline briefly what the post would explain or deliver to the readers, and list any inclusions you would like to use to accompany your post (i.e. images, videos, etc.). How To Apply Please send clips and/or writing samples to: info@jazzinmee.com. www.thejazzinmee.com/in-the-jazzy-limelight-call-to-action CALL FOR ARTISTS THE JAZZ IN M.E.E. will be attending major jazz festivals and events this year and we would like to take you with us in song! If you are interested in being a featured artist on our JAZZ IN M.E.E. music CD sampler, we would be happy to hear from you.

We will use our CD to market our brand and yours. If you would like the opportunity to be exposed to over 100,000 additional jazz lovers, email us at info@thejazzinmee.com. This is an exceptional opportunity to reach different markets and share your music creatively. Reserve your space today. CALL FOR RADIO & JAZZ FESTIVAL PARTNERS THE JAZZ IN M.E.E. is seeking radio and festival partners to join us on our journey to ignite jazz passion and support our mission to keep jazz and its artists present. Join us as we embark on a tour of melodic pleasures of all things jazz! www.thejazzinmee.com/radio Please email info@thejazzinmee for additional information. E-BLAST SERVICES THE JAZZ IN M.E.E. is proud to roll out our E-Blast service. Our email blast service affords you the luxury of having leads, new clients, and fans driven directly to you. We can E-Blast your brand, event, product or service to our active subscribers. Take advantage of this marketing opportunity! Email us at info@thejazzinmee or give us a call at 281-260-8469. www.thejazzinmee.com/let-m-e-e-e-blast-you VENUES THE JAZZ IN M.E.E. is looking for hot, new, swanky, trendy venues to partner with for jazz events! Let us know if you have a hot new venue that’s looking for M.E.E. CD SUBMISSIONS THE JAZZ IN M.E.E. is accepting CD submissions for our music showcase and for editorial consideration. Please send your CD’s to: THE JAZZ IN M.E.E. P.O. Box 683184 Houston, Texas 77268 Attn: Melody Warren SUBSCRIBE TO OUR YOUTUBE CHANNEL youtube.multifacetedevents.com

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