Steve Cole Sep/Oct 2019

CD REVIEWS:: David Benoit, Rick Braun, Poncho Sanchez and more….

SmoothJazz Sep / Oct 2019

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MAGAZINE

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30 Steve Cole talk about New

Concert

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09 Josef Leimberg talks

CD “Gratitude�

Dave Koz having fun with Summer Horns Tour

Hip Hop Beats to Jazz

17 Herbie Hancock Smooth vocals on Summer Tour Thrills The Beacon in NY 21 Richmond Punch @ The Quarry in Chicago Festival 26 Kirk Whalum 40 Concord Jazz Festival 50th Anniversary Lets his Gospel Light Shine 50 Richmond Jazz Festival Jazz For Lovers

45 Kenny Lattimore brings

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Marcus Anderson inaugural

Escape Coffee Jazz Festival!

Jazz Notes 07 Earth, Wind & Fire A First for Kennedy Honors

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CD Reviews 58 Rick Braun - Crossroads 63 David Benoit and Friends 66 Poncho Sanchez - Trane’s Delight 69 Ramsey Lewis and Urban Knights VII 73 Shannon Kennedy - Back Again 76 Jon Batiste –Anatomy of Angels

Live at the Village Vanguard New Orleans to the Marina del Rey Concert

82 Heidi Tann – Here Is Where We Meet 84 James James Carter – Carter Organ Trio: Live from Newport Jazz

CD Releases 57

SmoothJazz Jazz September / October 2019 Art Jackson - Publisher/CEO

Smooth Jazz Magazine

Ahava Talon-Jackson - Editor-in-Chief

3751 Motor Ave. Suite #34531

Doris Gee - Research Manager Mann - Graphic Artist Manager

Los Angeles, CA 9 0034

Web: www.smoothjazzmag.com

Contributing Writers Angela P. Moore Keivu Knox Vicki Norton Dawn Stephens Marva Hill Rosemarie Howard Eryn Bozeman Michelle King Ahlia Love Alise Levine Betty Jean Lang Azval Ismail Sammy Stein

E-Mail: info@smoothjazzmag.com

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Copyright @ 2019 by Smooth Jazz Magazine. All Rights Reserved.

Contributing Photographers David Johnson Dawn Stephens Mann Michelle King Bobby Roebuck Alise Levine

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The week of August 31, 2019 Moon Over Gotham Keiko Matsui

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Jam It Ragan Whiteside

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I’ll Never Love Again Michael J. Thomas

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Cinco Cinco Seis Four80East

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*** #1 ***

Amends Jazmin Ghent Feat: Jeff Lorber

Earth, Wind & Fire Makes HISTORY AGAIN‌.

becoming the first R&B group in history to be recipients of the 2019 Kennedy Center Honors. The 42nd Annual event will be televised on CBS December 8, 2019 in Washington D.C.

"Earth, Wind & Fire's hooks and grooves are the foundation of a seminal style that continues to shape our musical landscape."

"The Kennedy Center Honors celebrates icons who, through their artistry, have left an indelible stamp on our collective cultural consciousness," stated Kennedy Center Chairman David M. Rubenstein.

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co-founder of the legendary band Earth, Wind & Fire, has released a new single titled

Everything’s Cool

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Concert By: Art Jackson Skirball Cultural Center and Sunset Concerts end their 2019 series with Josef Leimberg. Know for his mellow jazz and which brought him acclaim from his debut CD “Astral Progression” it was a evening that many music fan, wanted to experience live.

Smooth Jazz Magazine sat down with Josef before his show to discuss his journey and future in the music realm.

SJM: What should we expect to hear from tonight’s show?

Josef: Expect some spiritual jazz. That will be the vibe.

SJM: How did you come up with this sound?

Josef: Man, I tell you, I put a record out 3 years ago, and then I put together a band and I was trying to figure out I could translate it onto the stage and do something live. And I chose strategically different cats that were really into jazz Let the music take you… SmoothJazz Magazine | 09

Concert fusion and things that I like, as in progressive rock. All the guys I chose to play with are amazing musicians and then we started writing a lot of music together which was a lot different from how I use to write music, I use to sample, make beats and stuff like that but when I got these guys together they kind of opened my mind up to different approaches to composition and performance, so that’s what really opened me up to get the sound that I have.

Anand Bennett

Wannomae

SJM: Was part of it from educational training or more of a flow or spiritual connection that came together?

Josef: I would say it was more of a flow in a spiritual connection, I wanted guys who were really good and receptive to what I was doing and we meet somewhere in the middle. But I have done some training in school and stuff like that, to me just getting out there and stepping into the deep if you will, with guys that I feel are amazing it just makes me play better. That’s what cool getting with the cats and putting it all out there.

SJM: Your music has been categorized as jazz, rap to rock, but I also hear tones of New Age, coming out of your music.

Matt Little

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Buddy Lewis

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Carlos Nino Will Logan

Concert Josef: Hey! I am open to that. Whatever label they want to put on me, I am cool, I am just trying to make music that people feel something.

SJM: Do you think it’s a new trend now, you have Robert Glasper, Thunder Cat and among others becoming successful in jazz as their shows are sold out, but the average person or some in the media says that jazz is dead.

So what do you say?

Josef: Man I tell you, when I hear Thunder Cat, I hear echoes of George Duke, Jaco Pastorious and when I check out Glasper I hear echoes of Herbie Hancock and people like that. I think it’s a resurgence of a jazz renaissance. I definitely feel it and happy to be mentioned in the midst of that while this renaissance is happening.

SJM: So tell me that from the spectrum of artists that you have performed with traditional jazz to Terrence Blanchard then to hip hop with Kendrick Lamar, Snoop Dog, how did you get connected to all these different types of people with different flavors of music?

Josef: When I played with Snoop’s band many years ago, Kamasi Washington was in that band, along with Thunder Cat, Terrance Martin, I got to meet a lot of those cats and played with them in the early 2,000 so I connected with a lot of them when they were in their late teens, early 20s and you know its just the strange things that bring people together. After producing beats and sampling you run into all sorts of people in the studios and Let the music take you… SmoothJazz Magazine | 11

Concert people would collaborate on different projects. So just with decades and decades of beats and sampling I kind of burnt out, and for me, this is more refreshing, by putting a band together and really explore the live aspect of music. Because I always had the trumpet, but I had put it down for many many years while producing beats and grooves for many artists whether rappers and singers and I caught myself hit chasing if you will. It was like being brainwashed to do something you think that they will want to play on the radio, oh or Jimmy Kimmel will want to book this, so that type of thing, and once I threw all that crap in the trash, I started to create music, not only with people that I wanted to but also, when I listen to my own music it makes me feel good and I listen to it with bias and still like it.

SJM: Are you making music for you now or what you think your audience will gravitate towards now?

Josef: You know honestly I would say for me. If I think it makes me feel good, then I feel like I am tapping into my fullest potential of what I can do then I think other people will dig it. So definitely I have to impress myself first. Which isn’t hard to do when you are dealing with great musicians as I always try and play with musicians who are way better than me, way more innovated and seasoned as it gives me a little cushion on the comfort zone where I can get in and make my statement then get out.

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Concert SJM: As we are speaking you have this Baritone voice sound, are you planning to sing in the future or are you more in it for the instrumental side?

Josef: I like playing the percussions and the trumpet, so I am not interested in doing vocals. Maybe I am not on that page yet, but I like laying out textures with my trumpet.

SJM: Within the industry, the trumpet is not as sexy as the Sax, Bass, and Guitar, so do you feel that the trumpet helps you with the textures you want to make?

Josef: I play what I hear, I like its tone, I like it when it is blended with the flute, trombone, I am really into the ensemble aspect of the whole thing. For me the trumpet is one part of the magic, I just play my part.

SJM: You were influenced by your dad, do you ever think wow I am doing something that the loved?

Josef: Yes, and he will be here tonight, he comes to all my LA shows. He never played professionally; he played out of the pure love of the joy of playing an instrument. And that is what I really dug about him, he always had a nice tone when he use to play. We use to play duets together; I use to love playing duets with him.

SJM: What part of Los Angeles did you grow up in?

Josef: I grew up in Eagle Rock, I am still out that way.

SJM: let's talk about your new project, so tell me more about it?

Josef: Its entitled “The Archer” and it’s a little over 3 hours of music with about 17 songs on average no less than about 6 minutes, I really wanted to showcase all the band members so they can get their solo’s, as opposed to trying to make some 3 Let the music take you… SmoothJazz Magazine | 13

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“You know what, if John Coltrane and stretch out and Miles Davis and stretch out and do long pieces, so why not.”

SJM: So during the creative process do you allow nuance’s by either you or the band members?

Josef: Oh man, after you hear a song so many times, you know where it is, it doesn’t matter whether it’s a 1 minute or a 10 minute song, if it takes you somewhere and makes you feel something other than where you were before its all good, I think that’s the accomplishment.

SJM: How did you come up with that title for the new CD? Josef: I am a Sagittarius, so I just rolled with that vibe. Sometimes you are reaching for a concept and you want something close to what you are all about.

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Concert SJM: How long is the process for making this your 2nd release?

Josef: Maybe about 3 years, but I do have some songs that I have been sitting on for long than that even. So I may take something unfinished a composition or idea, a recording embellish on it and bring it to the future or the now and then a lot of stuff was create from scratch, some were created during sound checks, or overseas or at a show in LA, I would hit a lick or somebody would hit something that falls into a interesting groove so there is a lot of spontaneity. I love that as we have an aspect of our show where we try and step into the unknown and try and keep that spirit of creativity alive somewhere, not having everything contrived or premeditated, so we like to step out into the unknown.

SJM: Do you do that live?

Josef: Oh yeah, we usually start our shows like that. Just go out there and play and if I hear something interesting, then I would say “hey man remember that� and we will go back to the studio sometimes a week or month later and record and then expand on it and actually make it into a song. Now we do have a set-list too, but we try and leave a little room for experimenting that important for us to do that every time.

SJM: Do you like performing live?

Josef: I love performing live, I do, SJM: So when do you plan on dropping the new CD? Josef: Well its been 3 years, so at the rate, I am going, more than likely by the first quarter of 2020.

SJM: I appreciated your time?

Josef: Thanks man, I appreciate you.

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Concert

By: Michelle King

Photos By: Michelle King

or those of you that have a jazz bucket list, seeing Herbie Hancock live in concert should be at or near the top.

As a member of The Miles Davis Quintet quite early in his now near sixty year career, Hancock was an essential influence for the beyond legendary Miles Davis to incarnate into multiple new style lives (a great documentary Birth of the Cool about Miles was just released in case you would like to explore more). That was back in the sixties. When Hancock became a solo artist once again, through the subsequent decades Herbie totally soared in the jazz universe, and created in his own jazz galaxy that stunning future mix of fusion, funk, and electro that musical artists of just about all genres have since borrowed from, been touched by, and have celebrated in their own music.

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Concert brilliance of longtime friend Joni Mitchell in a 2007 album project that won multiple Grammys, including album of the year, and working in global initiatives to raise cultural awareness and inspire world peace.

There is much more to say and list about the generosity and greatness of this man and his talent (check out Herbie’s wesite www.herbiehancock.com for more). You may be wondering at this point why all of this is relevant for a concert review. However, when you see and hear the level of flawless professionalism and jubilant connection between the musicians on a Herbie HanSome of Herbie’s best work has been in cock stage, it is awe inspiring and you a collaborative spirit, nurturing future marvel at how he commands all of it so greats (introducing Wynton Marsalis as seemingly effortlessly at 79 years of a soloist in 1980), paying tribute to the age!

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Concert Thundercat (a.k.a. Stephen Lee Bruner) opened the show with his own powerful set, and later joined Herbie and the band for the Chameleon finale. Herbie’s band is comprised of famed, multitalented Terrace Martin (keyboard, sax, vocoder and Thundercat contemporary), James Genus (also house bass player for Saturday Night Live), revered sessions drummer Vinnie Colaiuta, and true standout Lionel Loueke (otherworldly vocal sounds, guitar, percussion on guitar). “Cantaloupe Island” was a beautiful blast from the past to hear again, and Actual Proof, a former Headhunters recording, was brilliantly executed, showcasing everyone on stage seamlessly. Elena Ayodele, angelic vocalist and flutist joined onstage with the band and transported us into the clouds with her voice and sound.

Herbie jammed across the stage with his keytar during “Chameleon” like a superhero, and showed us what jazz life is like at the very peak of his giant talent. Much respect Mr. Hancock.

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Concert

Photos By: Dawn Stephens

Violinist Richmond Punch “A Chicago Night Out“

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Concert Review and Photos By: Dawn Stephens

Ten years and over 2,500 people later, Trinity United Church of Christ, a church on the south side of Chicago, is bringing peace and revitalization to the community. Ten years ago, its pastor Reverend Dr. Otis Moss III, sought an alternative to the traditional church picnic. After meeting with his leadership team, the vision came to have a jazz concert right in the parking lot of the church. “Jazz in the Parkin-Lot” became “Jazzapalozza.”

Reverend Moss’ vision has given birth to an annual jazz event that now attracts over 2,500 people coming from near and far. This event bridges the generation gap as the music bring together all ages. The young, along with the young at heart, enjoy the sounds of artists such as The Musical Arts Institute Youth Ensemble and the dynamic percussions of motivational speaker Taylor Moore.

Taylor - also known as The Princess of Percussion - has performed with a multi26| SmoothJazz Magazine

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Concert tude of musical greats including Roy Ayers, Boney James, Sheila E, Patrice Rushen, and Marvin Winans. Taylor wants youth to see that the sky is the limit by encouraging them to dream and to never give up.

Over the past 10 years Jazzapalozza has brought to the stage numerous jazz superstars and musical icons including Joan Collasso, The Chicago Horns, Corey Wilkes, Dee Alexander, Maggie Brown, Bobby Wilson, Edwin Daugherty, the late Ken Chaney, Ken Chaney, Corey Henry, Bobby Irving III, The Baylor Project, Snarky Puppy, and Kindred the Family Soul.

Jazzapalooza 2019 featured TOCA Live led by world-renowned percussionist Tony Carpenter. Tony brought together Frank Russell, James Perkins, Tkou, Kelvin Strong, Olu, Uche’, Malcolm Banks, Keith Henderson, (who was the musical director of the Emotions and a Lifetime Achievement Award winner) and Bobby Irving III, the long-time musical director for Miles Davis. TOCA Live’s expressive performance demonstrated the culture and history of percussions.

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Concert Neo-Soul vocalist Maurice Mahon and his band brought the audience to their feet as they stepped as only Chicago can. Maurice’s music took the crowd on a journey back in time; the younger generation related to the music that they idolize today and the older generation reflected when music was LIFE. Kirk and Kevin Whalum, along with their phenomenal band closed out the evening.

Kirk played his way through the aisles as he made his way to the stage, where he stopped before an awestruck little girl and played just for her. Kirk Whalum is no stranger to Jazzapalozza, as he came to share his project “The Gospel According to Jazz” in 2015 and the crowd didn’t want the night to end. Kirk returned this year with his brother Kevin and their band that was the epitome of excellent. The brothers took the audience back to a time when one just didn’t walk into church service if you were in the choir; you marched in with swag, and they demonstrated this confidence. The smooth silkiness of Kevin Whalum’s vocals, a cool summer night’s breeze, and the passionate notes of Kirk’s saxophone created an atmosphere of peace and love.

The band consisted of Robinson Bridgeforth on drums, John Stoddart on keyboard, Braylon Lacey on bass and Andrea Lisa Groenewald on guitar. Andrea Lisa, a South African born guitarist joined Kirk Whalum when they met in Australia and is now known as “his new secret weapon.” Andrea Lisa and Kirk became one with 28| SmoothJazz Magazine Let the music take you…

Concert their instruments and gave power to the music.

Kirk slowed it down as he spoke of the climate of the country and the importance of peace and harmony. Tears flowed as he talked about the definition of friendship as he paid tribute to the Pastor Emeritus of Trinity United Church of Christ, Reverend Dr. Jeremiah A. Wright Jr. As love and peace filled the air, John Stoddart took to the keys. John introduced a song entitled “Only Love Can Rescue Me” written his young daughter and himself as they tried to process the mass shooting inside a church in Charleston, South Carolina. Kirk’s flute and saxophone gave the moment LIFE. As the song and the evening ended, Kirk spoke of the importance of letting your light shine. In the darkness he asked the audience to turn on the light from their phones and he left them with this, “No matter what the climate of the world looks like, we must continue to shine our light.”

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Feature By: Keivu Knox teve Cole is one of the most popular musicians in contemporary jazz today. Not only has he carved out a successful solo career with nine albums, but is is a charter member of The Sax Pack, a saxophone super group that has toured all over the world. Steve has released his 9th solo album, entitled “Gratitude” on July 26th, and it cracked the Top 10 on the Billboard charts for Jazz albums and Contemporary Jazz albums. On the heels of this success, Steve talked with us to discuss the album, his career, and more!

SJM: Hello Steve , how are you?

Steve: I’m awesome!

SJM: Great! So with the new album being released, give us a little background about it if you don’t mind.

Steve: Well, it started without any idea in mind; it was more like “hey I get to make another record.” I started writing some music and putting it together and get inspired, and I said “you know what? I like it, but I don’t love it.” At the same time this is going on, one of my family members got sick, and I basically had to drop everything, rally around and take care of them. It was horrible, but curable, and it took almost a year to resolve. Throughout that process, you start thinking about a lot of things and come in contact with people…and I found this entire new outlook on people….who are miraculous and are dedicated with helping people and healing people, and then people coming out of the woodwork asking what they can do to help. It was transformative.

All of a sudden, it founds its way into the music I was making. That positivity and gratitude that I had for those people that were helping my family to get better, it gave an amazing energy, it infiltrated the music, and the music began writing itself.

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Feature I wasn’t writing about a thing, but writing fueled by a thing. As a result, some of the music that I was original like “meh,” it transformed and was finished in a whole new mindset. It was a fascinating experience. Everything is now great and everyone is healthy and fighting the fight, but the music was given a whole new life and meaning, and was a great experience.

SJM: Absolutely, sometimes life experiences fuel creativity and breed creativity, good or bad.

Steve: Yes, some of the songs took a different direction, and some songs were written while in that space. I wrote a lot with David Mann, who has produced every one of my records since 2000. He contributed the title track to the song, and it was almost like he wrote that song as a perfect musical depiction of what happened. It starts off contemplative, and then morphs into a celebratory and energetic song. And then Marcus Anderson lays a song at my doorstep and says “hey here’s a song I wrote for you.” I said “no way,“ like why wouldn’t he keep it for himself, you know?

Steve: Exactly!

SJM: Let me ask a few questions about some songs that stood out to me. The first was “Neo Sol” which had an Incognito, Jamiroquai vibe mixed with some Ramsey Lewis.

Steve: Ah, so here’s the thing, that guitar part, reminds you of “Sun Goddess,” right? So David and I noticed, that it reminds me of the vibe, so how can we show appreciation but not be blatant about it. So I came up with the title, Neo SJM: Sometimes people give you things Sol; “Sol” for the sun And I’m a huge of Jamiroquai, Incognito, Brand New Heavthat you need, and they didn’t know ies, that entire English retro soul sound, that you needed it. and “SoHo” was 32| SmoothJazz Magazine Let the music take you…

CD Review Feature by that. I get to play at a club in SoHo every year for a few nights, and I get to play with some members of Incognito during that time as well.

SJM: So my question about your cover of “Love Ballad” On a few of your albums, you cover songs, such as “Woman’s Gotta Have It,” “Ain’t No Love in the Heart of the City,” and “Waterfalls.” What brought you to cover Love Ballad, and what was the approach you took? I thought it was interesting because when people cover it, they will do either the LTD version that’s a slow ballad, or the George Benson version that is more disco/uptempo. But your version found a sweet spot in between the two, with the lyrics being more complimentary.

Steve: For years in Chicago, growing up and learning to play, we would play every week at a club called The Jazz Bulls. We would play 9pm to 4am, and we would try out different songs, a lot of original tunes, but a lot of cover tunes as well. We would improvise and go into grooves, and they all stuck with me, and reminded me of those times. So a lot of these tunes that found their way on the albums are songs that I just enjoyed playing, and now I can put it into “I feel my live set now that I’ve recorded them. I just validated by the way learned how to cut my teeth on these great you songs. described I feel validated by the way you described it it because because that was exactly what we were looking that was for! It’s a bit iconic, and well known, with two exactly extremely well known versions that are what we extremely different from each other. So we were don’t want to do those versions, so we had to looking find that sweet spot, because it was kinda like for! “ a deal-breaker if we couldn’t find that spot.

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Feature SJM: It’s not an easy song to sing, and you have to have the vocal ability to pull it off.

Steve: That’s a very “Jeffrey Osborne” thing, and he’s that cat, and George’s version is incredible too! So we found that spot, and the vocals were important too, because we wanted it to be an instrumental, but we wanted to include some lyrics because people know the words and are familiar with them. The suggestions of the lyrics throughout the verses was cool too, and something that the vocalist, John James, was very intuitive about as well. We gave him some direction, but some of his decisions were wonderful as well.

That’s one of the great things about working with great artists and people. You give them the idea and the big picture, and then you get out of their way. There are some artists that are prescriptive and it sounds good, but if I work with other human beings, I want to bring their gifts to the table, because if I’m the only brain in the room, I’m only going to hear my ideas. That is why I love collaborating.

SJM: Speaking of that, is there anyone right now on your bucket list that you would like to work with or collaborate with?

Steve: There’s a bunch of people (laughs)! I would love to work with Bluey and Incognito, Jamiroquai and those cats, it would be fun to work with David Sanborn one day. Its funny, when you put me on the spot its hard to think about people, Meshell Ndegeocello would be someone that would be fascinating to work with… but I would have to be on her radar! (laughs) I would like to work with great arrangers, like a Jeremy Lubbock as well.

SJM: I was reading the song titles and I came across the song “Five6Oh83.” It is a 34| SmoothJazz Magazine

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Feature code? I was trying to figure it out!

Steve: All I will say about this one is, the whole record is about Gratitude, in one way or another, either overt or subtle. So that song, is a song that expresses gratitude, to a particular musician, who has been inspiring me for decades. But again, I didn’t want to be like “this is a song for blah blah,” or have a blatant or overt song title with their name in it, so I really tried to figure out a really under the radar way for people to figure out who it might be. It’s like a treasure hunt!

SJM: Switching gears, knowing that you’re part of the Sax Pack, what is the difference you feel when performing with them versus performing solo?

Steve: Well first when I do a solo gig I gotta do all of the heaving lifting myself! (laughs) I enjoy doing my own show, because I can put the show together and have the audience to myself, and I enjoy the interaction with them. I enjoy the concentrated time of developing a relationship with them. But it’s kinda like what we were talking about earlier with collaborating. With the Sax Pack, I’m such big fans of Jeff and Kim, that when we’re on stage together, it’s like I’m on stage with people I listen to and people who represent some of the finest saxophone playing.

I love them to death, they're like my dearest friends. We hang out, so it’s like going to work with your best friends.

SJM: Yeah it’s not even work at that point, you’re just having fun!

Steve: Yeah we have a blast We put together a set with the same goal of a set that makes sense, has peaks and valleys, but incorporates not only our solo work, but music we created by the group, for the group. It is a different experience but I love both of them.

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Feature SJM: Now I did some research and I know that you are a member of the faculty at University of St. Thomas. Has teaching changed how you record or even listen to music?

Steve: Oh yeah! I find myself being more critical, but I found that teaching enables me to be better all around. Being a musician helps me to become a better teacher, and being a teacher helps me to become a better musician. When I talk to students about being authentic with their work, about finding authenticity and originality with their voice, and not settling for the first right answer, but to dig deeper in composing, and find originality and substance, and break through from being stuck. But that goes to how they conduct themselves socially, and how they conduct themselves as entrepreneurs. So teaching has raised my game because I want to be someone whose lived values are in alignment with their espoused values.

SJM: Do your students look at you differently, as Dr. Cole or Professor Cole, than Steve Cole the artist?

Steve: Its interesting because I don’t lead with “Steve Cole the Artist.” My responsibility to my students is to put them first. If Steve Cole, the Artist is helpful in a situation, then I’m very happy adopting that authentic self. It’s not my go-to, and I don’t expect them to respect me because of what I have achieved. My goal is to challenge you, and to tap into your potential, and however I can do that, I will do that. But a lot of my students are young, they don’t listen to the music I make, but a lot of their parents do! (laughs) I had one student, really smart, really accomplished, but had no idea or interest in the kind of music that I make, 36| SmoothJazz Magazine

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Feature and only knew me by Dr. Cole, or Professor. She comes in one day and said “I was home for Thanksgiving, and going through my dad’s CDs, and he’s got like 5 of your records. I didn’t realize that you were actually…somebody!” I said, “well, I’m somebody to your dad!”

SJM: Last question: Is there one thing that your fans would be surprised to know about you? Might be a loaded question!

Steve: You know the one guy that buys a guitar, they love it and want to play but they are terrible? No matter how hard they try they can’t do it? Yeah that’s me and cooking! (laughs) I love everything about cooking, I watch cooking shows, and sometimes I actually do okay. But the other thing that, especially if you know me you wouldn’t believe, I’ve recently become a dog person. I am all about my dog. My wife and I are crazy dog parents now; it scares us to see how ridiculous we are!

SJM: What kind of dog do you have?

Steve: We have a sheepadoodle. He’s a half of an Old English sheep dog, and half of a standard poodle.

SJM: Do you dress him and put boots on him in the winter?

Steve: No no no! Clothes are for people, (laughs) but we’re crazy dog parents.

We take him to his day care, and making sure he’s playing well with the other dogs, and buy him toys, and talks to him to like he understands what he’s saying.

His brother actually lives down the block. One of the neighbors pulled over and said that we say him at the breeder and almost got him but got his brother instead, so he has play dates with his brother.

SJM: Well, I appreciate you taking your time with us today, it’s been a pleasure, and congrats on the new album, and the new dog!

Steve: Thanks so much!

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CD Review Feature Rev / Photos By: Alise Levine

Rev / Photos By: Rosemarie Howard

This year the Concord Jazz festival celebrated its 50th Anniversary. The festival also included an Art and Wine Expo for the concert attendees. The festival started at 4 pm and didn’t end until 11:30 pm, which was a long day in the Concord heat.

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Patti Austin performed with the legendary Count Basie Orchestra and was quite entertaining with her sense of humor. I really enjoyed Pianist Chick Corea as well. His set included a full band and I like his JAZZ fusion AUSTIN style of music.

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CD Review Feature Count Basie Orchestra

CHICK COREA

ESPERAZA

SPAULDING

Esperanza Spalding performed a 45 minute set and had us laughing at her commentary. She is very talented, although by that time of the night people were getting tired from the sun and being out there all day.

She performed a few songs with 2 female vocalists and for one song they even did a “patty cake” style accompaniment that had us very entertained.

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CD Review Feature The highlight by far of the day was the performance

by Dave Koz and the Summer Horns featuring special guest Kenny Latimore. They performed so many fun songs that everyone knew, and also a few of his own. The audience loved the show!! Aubrey Logan was part of the horn section, and she is a young, new artist that also sings a few songs as well. The music legends Rick Braun and Gerald Albright were amazing as always, and their dynamics together as a group - especially with Dave Koz kept us dancing and singing the whole time. New comer Guitarist Adam Hawley also added to the dynamic of the show and had a solo as well.

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CD Review Feature Kenny Latimore sang songs with Dave and the Summer Horns and was the highlight of the night. He sang his hit song “For you” and the crowd went wild!! He also sang the classic hit “Everlasting Love” with the talented Aubrey Logan, and they all performed a Stevie Wonder classic together. The horns were perfect for the Stevie Wonder’s classic. The whole set was amazing and the crowd didn’t want it to end. I just wish they didn’t go on so late, as a good portion of the crowd left early due to a long day. They probably should not have saved the best for last – as they say – because a lot of people missed the best artists.

I had the honor of interviewing both Kenny Latimore and Dave Koz. I asked them both a bunch of questions and they were so excited to answer them for my interview.

My first interview was with Dave Koz. I asked him what were the highlights of the tour so far. He said it was the chance to be with all 5 of the artists and to perform nightly with them. It reminded him of the classic bands : EWF, Chicago and Kool and the Gang and the chemistry that those bands have still to this day. All of the horns activate fun within each other and the sound they produce together is so electrifying.

I asked him what does Aubrey Logan bring to the group as a newer artist. Dave said she is the future of music and a towering talent.

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Feature She has an 8 octave vocal range and her trombone skills are amazing. He has major respect for her as an artist. She brings a young energy that they need to the show.

I also asked Dave how has it been touring with Kenny Latimore and what dynamic does he bring to the tour. He said he is an incredible communicator and makes the experience for them so special. As Kenny says: ”I sing to the hearts of women and the minds of men.”

I asked Dave what is new for him as far as music. Dave said he released a new CD about a month ago, “Live from the Dave Koz Cruise“ and he will also release a new Christmas record in the fall titled “Gifts of the Season.” It will also feature Jonathan Butler and Chris Walker.

He is very excited to also do his 22nd annual Christmas tour which kicks off around Thanksgiving time.

It was such a fun interview and Dave is such a nice guy!!!

I also had a chance to interview Kenny Latimore, who I am blessed to know personally. I have been on a few music cruises with him and have seen him perform live over 15x. He is one of my favorite male R&B artists.

I asked him what the highlights of the tour are for him so far. Kenny said – “Being on tour with Dave Koz is like a family on tour. They love cheering each other on and are huge fans of each other.” He also said “that it is a true collaboration of musical genius that people may never see again.”

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Feature and they all learn from and lean on each other.

I asked about what he has going on currently.

His latest CD is called “Vulnerable” and it is doing very well. He is also very excited to be doing a Christmas tour this year with the amazing Regina Bell. It was really a fun conversation and he is always glad to talk about his background and his music. hat a way to spend a cool summer evening than at the Hollywood Bowl. Right now the world is in such turmoil, so for one night no matter your religion, your color or your political views, California came to party and listen to some phenomenal musicians.

DAVE KOZ

Dave Koz Summer Horns II left us remembering all the 70’s and 80’s classics.

The opening performance guitarist Adam Hawley is not new to the jazz scene. His energetic performance demonstrated his passion for the art. His band members included extraordinaire instrumentalist, bassist Dwayne “Smitty” Smith, drummer Eric Valentine, saxophonist Keith McKelley , keyboardist Greg Manning and vocalist Kat Hawley. The ole school jams such as Kool and the Gangs “Get Down on It” and Earth Wind and Fire’s “Let’s Groove” had everyone at The Bowl dancing in the aisles, in the stands by yourself or with your neighbor. But it didn’t stop there, with The Gap Band’s, “Yearning for Your Love” and each band member’s solo performance showed off their instrumental expertise for the love of JAZZ. His performance ended with “Uptown Funk,” a Bruno Mars classic.

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Feature Award winning hometown band, Hiroshima is a band well known universally. I believe we all look forward to listening to June Kuramoto playing the Koto, Dan Yamamoto playing the flute, and music greats drummer Danny Yamamoto, keyboard Kimo Cornwell, bassist Dean Cortez and drummer Land Richards. Their sound is unique, smooth and forever everlasting. If you are a jazz connoisseur, Hiroshima is on your playlist. Their music resonates RB, Pop and Jazz.

Performing many of their old and new songs, ending their evening with their hit single “One Wish,” a classic.

Be on the lookout of a new CD coming in a few months.

The Legendary and Phenomenal Commodores were explosive on stage with all their hit singles, “I Feel Sanctified,” “Lady,” “Easy Like Sunday Morning,” “Night Shift” and “Still.” Their classic hit “Brick House,” you know, “36 24 36, oh what a winning hand” The Bowl had an old house party only it was outdoors.

Summer Horns Dave Koz, Gerald Albright, Rick Braun, Aubrey Logan and vocalist Kenny Lattimore concluded a Spectacular summer evening.

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Feature

But, I must admit when Dave, Gerald and Rick began playing in their black and white attire why did I not think of Three the Hard Way because they are just out of this world musicians. Aubrey Logan made me wish I had learned to play an instrument growing up. Her passion displayed on playing the trombone, and her vocals on “Natural Woman” transcended on stage. Each entertainer displayed their exquisite abilities showing us why they always sale out concerts.

It was ole school night. The assemble played classics from KC and the Sunshine Band, Maze, Stevie Wonder, The Emotions, Rick James, Kool and The Gang, Natalie Cole and Earth Wind and Fire.

Mr. Love Song himself, Kenny Lattimore sung directly to every woman at the Bowl in English and Spanish. His hit song “For You” still to this day can be heard at many wedding ceremonies. He also sang a classic rendition of “Higher and Higher” by the late Jackie Wilson.

All the entertainers played old and new songs. You really needed to be there to experience the astounding performances by all. I feel sorry for those that had to leave the concert early because Dave gave us a surprise at the end with Mindi Abair and Candy Dulfer gracing the stage. Summer Horns Hollywood Bowl Explosion!!!

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Smooth Jazz

Magazine

Festival By: Betty Jean Lang

Photos: David Johnson

or music lovers, the Richmond Jazz Festival was the place to be August 10th and 11th. With blue skies, 85 degree temperature, the picturesque Maymont Park was the perfect setting for a weekend of live music.

The Richmond Jazz Festival boast of three stages, packed with a heavy mixture of local and national music artist. With over 30 performances and with the sounds of funk, reggae, rhythm and blues, contemporary jazz and traditional jazz artist, there was music to satisfy all.

This is the festival where you can meet and make new friends from around the country, mingle at the mobile cigar lounge, sip wines from the 14hands winery or shop at the vendors row for art, jewelry, clothes hats and more, or take in some great food from local eateries.

Now, where do you start with the performances. Wow! Amazing! The Black Violin duo was amazing with their style of play. Lizz Wright has a voice of pure beauty. Ro James has shown why he’s an 50| SmoothJazz Magazine

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Festival

“in demand” artist with his edgy sound. Shaggy had the reggae lovers in rhythm. Bobby Caldwell is still a crowd favorite with his classical music. The Bill Withers tribute by Jose James was outstanding, as he took the audience down memory lane. The Latin Jazz Messengers have a new fan in me! Jill Scott closed out the show Saturday night in he “Jilly from Philly” way, that only she can do. She had the crowd in a frenzy from the moment she took the stage.

Weekend Plans started day two with some very cool, very smooth sounds. Sherry Winston’s flute play was smooth and sexy. Peter White still amazes me every time I see him play those strings with such a mood setting sound. There is only one Stanley Clarke and you know why, as soon as he Let the music take you… SmoothJazz Magazine |51

Festival starts to pluck that bass. Ledisi is a gifted singer with unbelievable range in her vocals. The legendary Maze, featuring Frankie Beverly, sound will never, ever get old and can close a festival like no other group.

The crowd stayed on their feet, singing and dancing the entire performance and did not want them to leave the stage.

This was my very first time attending the Richmond Jazz Festival and I can’t wait to come back next year! This is a highly recommended East Coast Festival to attend.

Special Note: In the wake of the recent mass shootings, Smooth Jazz Magazine would like to extend prayers to all impacted by these senseless acts of violence. Richmond Jazz Festival thanks you for providing an atmosphere of safety.

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Festival –- Photos Photos Photos By: Bobby Roebuck

Nick Colionne Jeanette Harris James Lloyd Phil Denny Lindsey Webster

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CD Review Festival –- Photos Photos

Julian Vaughn Althea Rene Lin Roundtree Janette Harris Nick Colionne

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Festival - Photos

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New CD Releases 2019

Harry Connick Jr. “True Love A Celebration Of Cole Porter” 10/25/19 BUY

Hiromi “Spectrum” 10/04/19 BUY

Scott Wilkie “Brasil” 08/16/19 BUY

Frank Sutton “Rain the Experience” 07/26/19 BUY

Althea Rene “Flawsome” 06/21/19 BUY

Marcus Anderson “My Inspiration” Vol 2 05/24/19 BUY

Tom Grant and Phil Baker “Blue Sapphire” 09/13/19 BUY

Kim Scott “Free To Be” 07/19/19 BUY

Maxine Hardcastle”The Collection” 05/10/19 BUY

Concert CD Review - Photos By: Vicki Norton

Rick’s latest album, “Crossroads,” is perhaps his best album yet! #18! It is nothing short of a musical wonderland. A beautiful blend of so many elements that Rick incorporates in this absolutely evolving musical adventure. In my opinion… his best yet! He just steps through this with ease making it extremely enjoyable to listen to. Rick has his friends join him in this masterpiece including: guitarist, Peter White; Keyboardist, Philippe Saisse; Tenor sax man, Richard Elliot; drummer extraordinaire, Eric Valentine & legendary percussionist, Richie "Gajate" Garcia with Chris “Big Dog” Davis as first time collaborator along with keyboardist, Greg Phillinganes, world class session guitarist, Michael Thompson and drummer great, Gregg Bissonette.

Rick starts off with “Around the Corner:” It is a very FUNKY, upbeat Latin-style song guaranteed to give you the musical buzz you have been looking for. Listening to it is like taking your best worn-in shoes to a dance; familiar, comfortable.

You won't want to stop dancing to that infectious groove. It will become addicting. I've played this song no less than a dozen times and never tire of it.

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CD Review SHANACHIE SHANACHIE

It's in my head and I've got it on a loop. A super way to kick off Crossroads!

“Brazz Street:” Comes on soft.

One of the greatest songs I've heard in a long time! Sweet, soft, smooth, silky, sexy! That covers a lot of "S's!"And with it comes goose bumps! Rick cowrote this enchanting tune with Chris “Big Dog” Davis. David Dyson is on bass while the extraordinary Eric Valentine appears here on drums.

Then magic happens! “Crossroads:” Light and breezy. A most beautiful composition and arrangement. Crossroads is a collaboration with friend and co writer Philippe Saisse. Typical RB in a non typical way with some serious added flair! I can see Crossroads being a great tune for film and TV! The remarkable piano by Philipe Saisse is out of this world.

“The Moment I Saw You:” This is a brilliant piece of music played sensually and slowly while, all the time, gently luring your body and mind into places you’ve imagined yourself always wanting to go. In and of itself, it is an incredible interpretation of this classic song composed by the legendary songwriting team of Burt Bacharach & Hal David.

“I Wish:“ All I have to say is "WOW" to this extremely funky & jazzy tune. It’s truly an amazing version of a Stevie Wonder cover. The talented, Greg Phillinganes, delights us with his keyboards expertise. This entire creation was recorded masterfully by Rick and his Let the music take you… SmoothJazz Magazine | 59

CD Review Next is “Me and You:” Beautiful wanderings like being on the beach or cruzin' down the street with the top down on a Summer day! The incredible guitar sounds and solos are played by Peter White with much added emotion throughout the song.

Rick and Peter, who are long time friends, worked so naturally together to create this remarkable track, providing us with yet another undeniable stone-cold winner!

“Family:” Rick brings it all together and adds in a little “fiddle” guitar. This song was inspired by his memory of his Grandpa who played the fiddle. It crescendos with incredible emotional highs. You can feel the love of his family in this piece evoking so much joy and happiness within!

“Bahia:” You will want to get out on the floor & samba with this sensuous Bossa Nova offering. It’s smooth and sexy as well as jazzy, and tranquil, inviting you to come & participate in its infectious groove. Recorded with some well played, unforgettable steel drums and bongos, it is a bright and cheerful addition to this already delicious cache of songs. Bahia was inspired by the work Philippe did with Gato Barbieri and inspired Rick with Que Pasa which he has used as a starting point.

“Come With Me:” This song begs you to come with Rick on his musical journey. It is both dream-like & haunting with a very funky drum, bass and percussive groove.

“Versace On the Floor:” This is a “come hither” type of song filled with beautiful musical elements. Kyle, Rick's son, creates & performs an incredible intro on the keyboard! Saxophonist, Richard Elliot, provides us with a stylish & memorable solo.

Rick has made this Bruno Mars song completely his own with his inimitable & magical velvet touch.

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Festival CD Review One thing I learned about music from my late husband was “how does it make you feel?” “What do you feel when you listen to it?” What stands out to me in Crossroads is that it is an exceptional “feel good” album. One you will want to listen to and to treasure for as long as you can hear and feel the beat of life! It’s true soul food for the heart, mind, body and soul!

Rick Braun really delivers the "musical goods" on Crossroads! It’s a delightful musical project from start to finish laced with some of the world’s top professional players & uniquely dynamic instrumental melodies. Thank you Rick for being you and doing all that you do! The world is a far better place because of your trademark style, abundance of talent, musical vision, warm & welcoming personality and all of your undeniable & extraordinarily musical contributions!

Crossroads is available now from Shanachie Entertainment. Make sure you have a copy to add to your collection. You won’t regret making the move to the groove Rick Braun is laying down on these tracks.

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www.gtfjazz.com

CD Review By: Keivu Knox

n a career that has spanned over four decades and has produced over thirty albums, David Benoit has consistently crafted songs and albums that provide musical moments that engage the listener. His most recent album, entitled David Benoit and Friends, is no different. Despite the name of the album, there is no mistaking that this project is a Benoit album, but he is strategic and calculating with how the guests are presented and showcased.

The albums opening track, “The Ballad of Jane Hawk,” is a tribute to a character in Benoit’s favorite series of novels written by Dean Koontz. It comes across as a sweeping declaration of victory, wrapped in a lush melody aided by Peter White on guitar and Tim Weisberg on flute. The following track switches the pace up a bit, but “Make It Real” continues the musical journey of this project. Jazz vocal sensation Lindsey Webster floats over the Latin-flavored track and transforms the song into an opportunity for Benoit to showcase one of his patented solos by the end of it.

“Vernazza” follows up, and features long=tome collaborator Dave Koz on sax. It’s a song birthed from Benoit’s time at a village in Italy of the same name, and the inspiration of that trip shows throughout the track.

It’s another example of an uplifting melodic journey that the listener will truly enjoy, and does not want to end. “Moon and Sand” a song that features Marc Anotine on guitar, and shows the chemistry that was so prevalent on their 2017 album, “So Nice” has not wavered at all.

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CD Review Other collaborations include the tribute to fellow pianist Dave Grusin, appropriately titled “Dave G” that features Vincent Ingala on sax, and the album’s closer, a brilliant cover of Coldplay’s “Viva La Vida,” featuring Justin Cheung providing a wonderful performance on cello.

There are plenty of moments throughout the album where Benoit runs the musical show without collaborators, and he remains in full control. On “96-132 Revisited,” Benoit offers a fresh take on a song from his very first album but doesn’t lose any of the complexities that made the song such a classic. “Sienna Step” is a groove that seems ready for radio spins, as it’s friendly tempo along with Benoit’s piano work complete the hit song recipe. There’s also a version of the 2017 pop hit “Feel It Still” that harkens back to the intended 60s vibe and feel of the song that delivers on that feeling even more than the popular version.

Some would expect David Benoit to begin to slow down or run out of ideas after thirty-five albums.

However, the true testament of an artist is their ability to evolve over time, but not lose their ability to engage their audience. Benoit is able to show this trait in abundance on his latest project, and by bringing some of his friends along for the ride, shows that he has no desire to end his musical journey anytime soon.

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I enjoyed reading the magazine on the app! It was easy to follow. Easy to navigate. And, most of all, very informative! Thanks again for sharing. Keep GREAT music and TALENTED artist alive!

Rhonda McDaniel Swann

FREE PREVIEW

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CD Review

By ANGELA P. MOORE

Grammy award-winning conguero and true Latin jazz pioneer, Poncho Sanchez, will release his tribute album, Trane's Delight, on Sept. 20, 2019. On this celebratory project, the Latin jazz legend pays homage to the iconic jazz saxophonist John Coltrane.

The album is being released in time for the late tenor titan's 93rd birthday on September 23.

Known for Latin jazz, straightahead jazz, gritty soul music, and infectious melodies and rhythms, Sanchez's latest project has an uptempo vibe. Trane’s Delight, an 11-track album, features three Latin-tinged reimaginings of Coltrane's classics, and several original compositions, composed in honor of the tenor titan. Trane's Delight is a love letter from one musical pioneer to another.

The extraordinary musical journey documents Sanchez's love affair with Coltrane that began at 11-years-old when he spotted Coltrane's self-titled 1962 blue-tinged album cover in the window of his local record store. This was the first record he bought with his own money and the rest is history.

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CD Review “I’ve always loved John Coltrane ever since I was a kid and first learned about jazz,” Sanchez said in a press release. “I’ve recorded tributes to a lot of my heroes ... so, I thought it was definitely time to do a tribute to the great John Coltrane.”

Throughout his career, Sanchez was at the forefront of his game. He joined the world-famous Latin Jazz ensemble led by vibraphonist, Cal Tjader in the mid-1970s and his life took on a new meaning. He performed with Tjader until his transition in 1982. Sanchez then joined Concord's label and 27 albums later, he is celebrating his 37th anniversary on Concord this month.

Surrounded by his longtime stellar band; trombonist and musical director Francisco Torres; trumpet and flugelhorn master Ron Blake; saxophonist Robert Hardt; pianist Andy Langham; bassists Rene Camacho and Ross Schodek, and percussionists Joey DeLeon and Giancarlo Anderson, Sanchez accomplished his mission.

Though most of Trane’s Delight is up-tempo, Sanchez manages to show off his soulful side with Soul Bourgeoisie and his elegant side with The Feeling of Jazz, originally recorded by Coltrane and composer Duke Ellington in 1963, and the band is in full effect with Blue Train with a cha-cha feel to it. In addition, there is a lot more to hear.

Overall, Sanchez's Trane's Delight did an extraordinary job of honoring jazz legend John Coltrane...

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CD Review By: Avzal Ismail hen you have an opportunity to review an album by and NEA Jazzmaster like Ramsey Lewis, you know you’re in for a treat.

As with so many of us, Lewis has been a part of the soundscape of our lives for the past (in my case) three decades and more.

With a career spanning some seven decades and countless recordings, multiple world tours, three Grammy awards, one would think that the venerable master would be slowing down, but this latest albums is the opposite.

Although Lewis has never been one for pyrotechnical displays of speed and flourish, his music has set a standard that many look up to. A master of the understated this album once again shows the subtle genius that Ramsey Lewis is, together Release Date: September 27, 2019 with his long time URBAN KNIGHTS group.

This eleven track album has something for everyone, from the understated solo opening of “Dear John” to the gospel like closing track “Trees” interestingly also solo piano...it almost feels like these two tracks create the parenthesis through which the rest of the album meanders.

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CD Review which features long term members of Urban Knights Charles Heath on drums and Tim Gant on keyboards in a funky new arrangement that is sure to get your feet tapping. Both drums and keyboards are given free reign and are featured extensively taking power house solos and upping the intensity.

Vocalist Dee Alexander features on the Latin flavored “Shape of my Heart” with a refreshing take on this Sting classic of which I am sure the composer would totally approve. Lewis’ comping and acoustic piano solo is an exercise in subtlety and understated elegance on this track with a fine call and response interplay between Lewis and Alexander towards the end fade.

Lewis features various musicians on each track with the next one showcasing the talents of guitarist Henry Johnson in a track reminiscent of something that the late Eric Gale would have played. The influence is clearly evident in yet another funky fusion groove.

“The Rose” is another joyful soul / fusion groove featuring once again the guitar work of Henry Johnson and the talents of trumpet master Maurice Brown with some great interplay between the two soloists being backed by a solid, in the pocket rhythm section.

Interestingly Lewis also does a gentle nod to The Beatles with “ And I love Her” as well as paying tribute to Chick Corea with “Armando’s Rhumba” which features bassist Joshua Ramos primarily.

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CD Review I was particularly partial to the shuffle blues “Baby don’t you Wanna.” One could almost visualize the group grinning away while doing this tune especially. At 84 Lewis shows that his still has it and can pull out the stops when he chooses to.

This is a great, fun album to have and to enjoy that also brings back the nostalgia of the first Urban Knights recording from way back.

Definitely a must have for Ramsey Lewis fans and great introduction to the jazz and fusion genre to the newbie. Highly recommended.

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CD Review By: Sammy Stein

A diverse musician with an evolving career in contemporary music and film scoring. She also set up Teen Jazz - a community and resource website for aspiring musicians and been part of groups Groove LTD, 10,000 Maniacs and Nivo Deux. Shannon has already enjoyed Billboard success and has collaborated with luminaries including Brian Culberston, Craig Chaquico, Peter White, Boney James, Candy Dulfer, Nick Colionne, and Michael Lington. This is her 6th release and runs to an impressive 10 tracks with original carefully crafted Kennedy compositions interspersed amongst covers.

Girl's Day's 'Something' is treated to a gentle arrangement with interesting changes and altercations, especially between the guitar of Peter White and the sax of Kennedy. ' Midnight Express' and 'back Again are Kennedy compositions, the first featuring Kennedy on guitar as well as sax in a gentle, rolling number whilst 'Back Again' has a heavier groove with a sweet line running right through it and some tricky percussion from Jordan West with some duelled ascensions from the sax. ' Attention' is heralded by piano, over which the sax soars, the rhythms chopping from short, driven riffs to elongated phrasing. It is a subtle contrast to the more power-driven 'Letting Me Go' - a collaboration between Kennedy and West, featuring vocals, some very cool rhythms and a dynamic sax led section. The track features guests Kay Dyson on guitar and Jeff Carlson on bass. 'Tell It Like It Is' Let the music take you‌ SmoothJazz Magazine | 73

CD Review

features some great dialogue between over dubbed saxes and percussion whilst Duke Dumont's 'Ocean Drive' is well worked and arranged with a layered texture under the main theme. Kennedy's own ' Mad Crazy Love' is the stand out piece on the album - hugely engaging and with great instrumentation. 'Where Is The Love' is another Kennedy-West collaboration and features sassy vocals over well-crafted musical arrangement. Adele's 'rolling In The deep' finishes the CD and this is an interesting version, with the sax singing out the emotion. An eclectic and listenable album.

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Singer/Songwriter/Multi-instrumentalist

Enter To Win: Goto, www.smoothjazzmag.com Click on FREE Gift button and fill in the form, type Jacqine on the Promo Code line.

CD Review By: AHLIA LOVE

If you’ve never heard the music of Jon Batiste please do not expect the usual style of music that you may be familiar with by Artists of his generation. He may be young but he is well seasoned in his craft.

Track 1: Creative – Appropriately titled.

This track kept my interest from start to finish. This could become a new old jazz classic in a short span of time. It’s upbeat, flavorful and full of pleasant surprises.

Track 2: Dusk Train to Doha – You can never know what’s in a Composer’s head (unless you interview him/her) when listening to one of their creations; but hearing this track made me envision a person running to the train station arriving just in time to get on board. It’s rush hour and most of the seats are full. But good fortune allows this person to find a window seat in a section designed for just four passengers. Only one other person is seated there. They greet each other with a silent nod. As the primary character gazes out of the window he reflects on the ups and downs associated with that day. Feeling relaxed in that seat, he nods off momentarily and awakens just in time to get off at the desired stop. One day, I’ll have to ask Jon if my vision was close to his inspiration. Nice track.

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CD Review

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CD Review Track 3: The Very Though of You ft. Rachel Price – This is the perfect example of taking a song covered numerous times and truly making it your own. The vocals on this masterpiece are absolutely stellar. Jon’s piano accompaniment is so outstandingly romantic that this song can make you fall in love with just the idea of falling in love~ Track 4: ‘Round Midnight – While Jon took many liberties in his interpretation, he respected the framework of the song giving honor to its’ origin. The inclusion of the horn section added excitement and took this track to a whole different level. I am sure Thelonious Monk would be very proud of Mr. Batiste’s rendition of this beloved classic.

Track 5: Anatomy of Angels – Expect the unexpected. Like every other track you can expect plenty of surprises. It’s hard, it’s soft, it’s high, it’s low. It’s another sample of why I believe that Jon Batiste is the one to watch in this music industry. I enjoyed listening to this entire project but I am going to have to call this track my favorite. If there is indeed a heaven, the Angels have to be loving this selection; And I’m sure they are all shouting “Go Jon Go”!

Jon Batiste is a young innovative old soul…I believe the Spirits of all of the Great Jazz Pianists of the past flow freely through his finger each time he touches the keys. Yet, being the Artist that he is, you feel Jon’s interpretations respectfully blended with that rich legacy. It is my belief that Jon Batiste is today’s poster child for avant-garde jazz.

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CD Review By: MARVA HILL

Heidi Tann’s vocal stylings transports the listener back in time to the 80s early 90s.

“Here Is Where We Meet” is infused with hints of influences from Anita Baker, Natalie Cole, Vanessa Williams, and A Taste of Honey.

The smooth groove of “When Love Is On The Line,” will have you instinctively moving to its rhythmic beats. While ”Missing You” is a beautiful melodic ballad with an amazing saxophone presence by Tomoka Nomura-Jarvis. “Love Is For Real” is a dance track that has funky guitars remi-

niscent of Nile Rogers of Chic. “Everything I Need” is a lovely ballad that is so beautifully arranged that it would be an ideal wedding song selection.

Overall, Heidi Tann's vocals on the EP are timeless and “Here Is Where We Meet” is a must and will leave the listener wanting more.

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“When you thought the Lies, Betrayal and Deceit could not get any worse…”

Author Robin Munro

“Pure Revenge picks up right after the end of Pure Deception with even more twist and turns.”

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CD Review

By ANGELA P. MOORE

Saxophonist James Carter, powerhouse musician and one of America's most celebrated jazz legends of his generation, recently released his Blue Note Records debut, "James Carter Organ Trio: Live from Newport Jazz".

Recorded at the 2018 Newport Jazz Festival, the CD is an exciting live performance of Carter's soul jazz reinvention of the legendary jazz guitarist Django Reinhardt's classics.

Joining Carter on his latest project is two of Detroit's finest: the young, versatile Drummer Alexander White, and Hammond B-3 virtuoso Gerard Gibbs. Although, Carter has been quiet for the last eight years, he makes a powerful return with his motor-city organ trio, bringing R&B-infused Detroit grit to Reinhardt's fine compositions. From the beginning to end, Carter's CD is explosive! This soulful sax man is on fire, and he puts his heart and soul into his music and he lets his creative juices flow, delivering funky, upbeat, jazz sounds. The album portrays the kind of sound that just cannot be created in a studio setting.

Carter kicked off the CD with his sax, and is joined with deep organ grooves, and the swinging force of drums, with “Les Manoir De Mes Reves.” The trio's individual talent is featured on this cut, allowing the audience the opportunity to indulge in each band member's expertise.

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Let the music take you…

CD Review “Melodie au Crespuscule," another great piece on the CD is a funky, jazz-meets-soul reimagination of Reinhardt's classic. Bill Wither's "Use Me" is tastefully recreated. Reinhardt's original version was sexy, laid back, and romantic; Carter's rendition is a powerful energy that sails with warm keys, percussion and his smooth saxophone. The organist performs and Carter eventually joins in and puts his soprano saxophone to work, creating everything you can imagine, from soothing and squealing, to delivering jazz history at its best.

Carter manages to keep the momentum going on the CD and the four additional songs are appealing. However, the first two tracks are my favorite. Even with almost a decade of not recording, Carter's album is superb and definitely worth adding to your collection.

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