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Michael Schivo... The Promoter Presents... April 2006 | $3.95 Vol. 2 Issue 2

Let the music take you...

MONTEREY A Scenic Drive Keeping Good Giving the fans Music Alive what they want CHRIS BOTTI Shines for PBS Sweeps WARREN HILL CREATES NEW POPJAZZ LABEL Strikes Gold Again MICHAEL SCHIVO PRESENTS THE 14TH ANNUAL LAS VEGAS CITY OF LIGHTS

HILLS PARK AT SUMMERLIN FRIDAY APRIL 21 & SAT. APRIL 22 STONE SOUL PICNIC FRIDAY 6 PM TO 10 PM CAMEO ~ OHIO PLAYERS ~ MINT CONDITION JAZZ FESTIVAL SATURDAY 1 PM TO 10 PM ~ ~ MIKE PHILLIPS & THE UNWRAPPED ALLSTARS JOE MCBRIDE ~ PAUL BROWN VIP EARLY BIRD & GA TICKETS AT 1-800-969-VEGAS INGLEWOOD TICKETS 310-671-6400 IN LAS VEGAS AT MR. BILLS PIPE & TOBACCO STORES UNLV PERFORMING ARTS CENTER BOX OFFICE DIRECTIONS & INFO AT WWW.YOURJAZZ.COM OR CALL 702-228-3780 PICNIC BASKETS AND GLASS BOTTLES ARE O.K. 35

18 22 2527 32

F e at U r e s

18 Coastal Getaway Highway 1 22 Christian McBride In-Demand 27 Najee His life, His Style, “His Point of View”

32 Warren Hill Creates New Label... POP Jazz

35 Angie Stone Keeping Good Music Alive 50 Michael Schivo The Jazz Promoters…. Promoter 10

16 d e Pa r t M e n t s

7 JAZZ NOTES 8

8 FASHION FREESTYLE Style line-up for Spring 2006 10 CHRIS BOTTI PBS Selects Chris for TV Sweeps 54 13 Travel Planner

16 Brenda Russell Strikes Gold with

38 CD REVIEW 58 : Wrapped In A Dream 40 REStaurant & Jazz Venue Guide to Tampa Bay, FL & Houston, TX 44 Concert Listings

52 Radio Listings

54 Venue Review Hollywood Bowl 58 Remembering & Jockey Shabalala of Just bring in this ad and receive a FREE CD!

10 SmoothJazz Magazine Let the music take you . . . Publisher/ CEO Art Jackson

Managing Editor Karly Pierre

Research Director Doris Gee

Marketing Director Mark Lawrence Burwell

Art Director Dominic De Lello Jr.

Copy Editors Teresa Fowler, Karmel Graham

Staff Photographer Ambrose

Contributing Writers Ahli Love Philadelphia Amy Rogin Los Angeles Belinda Harris Detroit Cheryl Boone Virgina Beach Teresa Fowler Chicago

Contributing Photographers Amy Rogin, Diane Hadley, Mr. Zac/Zac’s Photography, Fullmoon, Mann

Advertising Sales National David Facinelli Facinelli Media Sales 1400 E. Touhy Ave., Suite 260 Des Plaines, IL 60018 727-866-9647 Tel 727-866-9222 Fax [email protected] Every effort made to ensure accuracy of the information in this magazine. However, SmoothJazz Magazine, Inc. assumes no respon- Advertising Sales Los Angeles sibility for errors, changes or omissions, nor does it accept any re- sponsibility for any loss, injury, or inconvenience sustained by anyone Jonathan Smith | Tel: 323.290.0292 using this publication. SmoothJazz Magazine Inc. 3748 Keystone Avenue, Suite #406 No part of this publication may be reproduced nor transmitted in Los Angeles, CA 90034 any form by any means of electronic, mechanical, photocopying, re- Tel: 310.559.1218 Fax: 952.487.4999 cording or otherwise (except brief extracts for the purpose of review email: [email protected] or promotion), without written consent from the publisher. www.smoothjazzmag.net Smooth Jazz Jazz Notes GRAMMY NEWS… At the 48th Birthday List Annual GRAMMY Awards… and electric pio- neer Les Paul took home the Pop 03/02 58 Instrumental honors. Other noted 03/06 Mary Wilson 62 winners included Dianne Reeves for 03/06 her soundtrack to Good Night And Good Luck which 03/09 Jeffery Osborne 58 was her fourth GRAMMY and earning his 19 GRAMMY 03/12 James Taylor 58 overall, guitarist was named Best Contem- porary Jazz album for The Way Up. 03/14 73 03/18 Dana Owens (Queen Latifah) 36 Saxophonist is on 03/18 Vanessa Williams 43 the road again with and 03/19 Ruth Pointer 60 Saxes 2006, this year’s line up will include saxophonist Gerald 03/20 Josephine Baker Albright, Guitarists 03/22 63 and Jeff Golub. Also joining the 03/23 Chaka Kahn 53 tour is Richard Elliot label partner trumpeter . 03/25 64 03/26 62 All In the Family….Norman Lear’s Beverly Hills, CA- based independent record company Concord Music 03/27 36 Group has acquired Cleveland-based Telarc, a lead- 03/27 Sarah Vaughan ing classical and jazz recordings. This acquisition also 03/29 57 included the roster of world 03/30 61 renowned list of artists such as The Yellowjackets, Spyro 03/30 Celine Dion 38 Gyra, Najee, Ladysmith Black Mambazo, and Michael Brecker just to name a few. 03/30 Tracy Chapman 42 03/30 27 Label Signings…. 03/31 71 signs saxophonist Boney James. Ar- 04/02 Marvin Gaye tizen Music Group signs saxophonist Paul “Shilts” Weimar, who performs 04/05 72 with the British acid jazz band 04/07 Billie Holiday Down To The Bone. 04/10 Kenneth “” Edmonds 48 04/12 66 Guitarist Joyce Cooling is currently 04/12 66 putting the finishing touches on her new album, titled Revolving Door, and says that all proceeds from sales 04/13 Al Green 60 will be donated to two mental-health organizations: the 04/13 Peabo Bryson 55 National Alliance on Mental Ill- 04/20 ness and the National Alliance for 04/20 Tito Puente 83 Research on Schizophrenia and 04/24 64 Depression. The issue of mental health is important to Cooling, 04/25 whose brother has been diagnosed 04/29 Duke Ellington with schizophrenia.

Let the music take you... SmoothJazz Magazine  LIFESTYLES

legant, trendy and new casual fashion FASHION just in time to kick-off the Smooth Rose and Lula EJazz spring festivals season. Hosted by Karmel Graham of Aartscape Magazine the exhibit “Free Styles” featured some of Los Angeles’ newest and brightest designers. An array of formal evening gowns for the inti- mate supper club night on the town to spring m a g a z i n e attire for those breezy lazy days when com- presents... fort is a priority. The evening affair was held at the Infusion Gallery in downtown Los An- geles where the enthusiastic audience could view the décor of abstract paintings which lined the corridors while enjoying the tasty pasta salad and fruit served in Chinese take- out boxes during intermission. The night sizzled into flames as a female fire performer intricately danced to the beat of a live drum- mer to end Aartscape’s first production.

For more information about Aartscape magazine, go to: www.aartscapemagazine.com

A | “The Braided Dress” - Light blue made of fine rayon jersey- it has braided straps with copper, gold and firepolished beades sewn A B on.

B | “Tye Dress” Teal made of silk charmeuse it has a semi padded effect in the bust area and a lace up effect towards the back. E C | “Gala Dress” - Blush color-made of silk charmeuse, pleated bust area, criss-crosses in the back. It has a gradual flowing tail.

D | “Flirt Dress” - It is made out of a crinkle chiffon and is shown in a citrus flower print. It is a tube top dress with a smocked waist and semi ruffled skirt.

E | “Fiji Dress” - Ivory color made of fine rayon jersey- it has somewhat of a hanker- chief hem. It is embellished with copper and C D gold beads around the straps.

 SmoothJazz Magazine Let the music take you... LIFESTYLES FREESTYLE Alan Spicer Dalia

Pin strips denim, 2 button Super 100, brown with burnt One piece stunning red ball blazer with matching denim orange window pane, sleeve- gown with beaded bust, sheer pants. less suit with a 2 inch cuff on mesh waist and layered tulle the full cut pants. ball gown skirt.

A symmetrical silk print Beaded silk gown with or- Two tone beaded silk gown beaded gown with sexy criss- ganza leaf treatment. with layered ruffle hi/low cross back. hem.

Let the music take you... SmoothJazz Magazine  CHRIS BOTTI PBS Selects Chris for TV Sweeps By: Amy Rogin

t was a Thursday night in Los Angeles, as I approached the Wilshire Theatre for the Chris Botti Iconcert, I passed rows of lit “Christmas palms” – a sure sign that the holidays were around the corner…as was the theatre. I grabbed my gear and walked…no, ran, toward the theatre. This event was the launch of Chris’ U.S. tour in conjunction with the release of his latest CD, “To Love Again.” For those who have not heard it, this new CD covers jazz standards in a gor- geous fashion. A wide array of artists appear on the CD, most of whom performed at this event. The im- pressive line-up consisted of , Paula Cole, Burt Bacharach, Paul Buchanan, Renee Olstead, Billy Childs, Jill Scott, and (drum fanatics, unite) Billy Kilson.

This event was filmed for DVD release, as well as a PBS special to be aired in March. There were TV cameras, sound booths and jibs ev- erywhere. As a photographer, I felt honored to be there, as there were only two other still photographers in house. As a fan, my excite- ment blended with the crowd’s vibe, for we knew the magnitude of what we were about to witness.

There are many highlights worth mention- ing. The opening number, “Someone to Watch Over Me,” was played brilliantly. It oscillated between rich, loud tones and open, lower tones. It imbued an essence that only Botti could provide. He per- formed three instrumental pieces before he introduced Sting as his first guest. I was beaming in anticipation. Judging by my actions, the guy next to me must have thought I was 12 years old. Sting opened with a somber, “What Are You Doing the Rest of Your Life?” Billy Kilson’s brush-

10 SmoothJazz Magazine Let the music take you... strokes and Childs’ playing added subtle texture that blended perfectly with Botti’s .

Sting came out later to perform “My Funny Valentine.” Now, no Chris Botti concert would be complete without his entrance into the audience to serenade some lucky fan, which, in this particular instance, hap- pened to be Sting’s wife, Trudy Styler. Sting and Botti went through their usual onstage banter. The prior taunting and tormenting that took place during the Brand New Day Photo credits Randall Michaelson tour looked tame by comparison. Sting’s lyric darted at Botti as a comical twist, “Your looks are laughable, unphotograph- able….” We all know that this tongue- in-cheek phrasing contradicted his own opinion of Chris, for he once stated that “he looks like an angel and plays like the devil.”

Another great highlight was Paula Cole’s rendition of “My One and Only Love.” Her vocal range was a perfect mirror for Botti’s rich tones. Cole also accompanied Burt Bacharach in a beautiful version of “The Look of Love.” Burt’s piano playing was superb and the strings of the violins really brought this piece together.

Fifteen-year-old Renee Olstead has been compared to Sarah Vaughn and to contem- Photo credits Amy Rogin porary, Jane Monheit. I wasn’t sure if her voice would be as impressive live as it was on the CD track. Onstage her voice was astounding. She performed a hard-swing- ing version of “Pennies from Heaven.” This tune had all the elements of real big-band sound.

Enter Jill Scott. Her performance of “Good Morning, Heartache” was intoxicating. She added a humor and a warmth to this piece as she channeled Billie Holiday. The steady backbeat of Kilson’s drums and the heavy

Photo credits Randall Michaelson

Let the music take you... SmoothJazz Magazine 11 LIFESTYLES bass line added a surprising but fresh component – and hearing it live pulled me into a hypnotic trance.

When lead singer of The Blue Nile, Paul Buchanan, arrived onstage, his unpreten- tious style was embraced by the audience. I had forgotten how great a singer he is. As he performed “Are You Lonesome Tonight?,” his voice had a raspy and haunting quality. It seemed heartfelt and I loved hearing the live version.

Botti had an unbelievable stage pres- ence. He was self-deprecating in one moment and heartfelt in others. As he introduced each piece, he told a backstory relating to each art- ist and song. He received a great laugh when recounting the inspira- tion behind the title, “A Thousand Kisses Deep,” to which he claimed in hindsight should have been titled, “To the Bitch Who Ruined My Life.” Finally, the “golden boy” of smooth jazz had something naughty to say. Nonetheless, the crowd liked it.

Overall, Botti executed his virtuosity in every piece. Each song was threaded beautifully by his awesome trumpet playing. It is a combination of his talent, stage presence and his kindness that has made him such a big star. He graciously ap- proached the closing of the show and reintroduced Sting, saying, “Sting, can you take us out?” Sting obliged and began an acoustic version of “Message in a Bottle.” I’m afraid that this was the defining moment when the opinion of my seat-mate was validated. At the sound of the first few chords, my inner 12-year-old jumped out of her seat and situated herself right at the edge of the stage as Sting sang to me. Subsequently, a rush of people followed my lead, proving that a combination of such great performers can bring out the inner child in all of us.

Photo credits Randall Michaelson

12 SmoothJazz Magazine Let the music take you... LIFESTYLES Travel Planner

STATE CITY STATION CA Palm Springs KJJz 102.3 FM TX Dallas KOAI 107.5 FM

Photo credits Randall Michaelson BRENDA RUSSELL STRIKES GOLD WITH he phenomenon that swept the nation in the 70’s as found new life Ton the stage, in the new millenni- um. With sold out performances nightly the stage is now set with music that gives a fresh new perspective to what is sure to become a classic in its own right.

Adapted from the television series made fa- mous by Alex Haley from the classic novel of that made household names of By: Art Jackson Whoopi Goldberg and .

The Color Purple the Musical set out to tell the story of the American South during the 40 year period (1909 - 1949) through song. The producers set up auditions for famous and accomplished pop and theater writers which was a long 2 year process that finally came to an end when the producers auditioned Bren- da Russell, and for the role of composers and lyricists. The team had to submit demos of material that they would write for certain scenes in the musical depicting the times of the era. The produc- ers loved what the team did and chose them to do the score after hearing “Shug Avery’s Comin’ To Town” and a ballad for the main character, Celie.

With Oprah now on board and part of the financial backing team along with Quincy Jones the play which opened in on December 1st 2005 has been getting rave re- views.

Due to be released with 29 songs, The Color Purple A New Musical CD, is poised to en- hance the visual that had T.V. audiences cap- tivated to their television sets for days. This CD is sure to bring in a fresh new perspective on the times of an era that has long gone by.

In the mist of writing the music for the play, being on tour and promoting her own CD, we caught up with Brenda to talk about her lat- est CD “Between The Sun And The Moon.”

Photo credit Paul Schefz

14 SmoothJazz Magazine Let the music take you... SJM: How did you get such a deep love for music? For me it’s always been about creating the best music pos- sible and not trying to sing or write something to fit into Brenda: I grew up in a musical household. My father is a a radio format or a specific genre. Because of that, I think singer and replaced one of the original members of the Ink it’s opened me up to many writing and performing op- Spots, a popular singing group in the 1940s. He was also portunities that have allowed me work with brilliant art- in the Bill Johnson Trio. My mother is a singer and song- ists and writers around the world and to be involved in writer as well. When I was little she used to wake me up to projects for film, television and, now, Broadway. sing a harmony when she was writing a new song so she could hear how the parts would sound. They didn’t have The music industry always tries to put artists in a box to the ability to overdub in those days. I was surrounded by market them. For better or worse, I’ve resisted that and music in my house and in my neighborhood in Brooklyn always tried to do what I felt in my heart, not what would where I lived until I was twelve. Not only were my par- necessarily be the trendy thing or the thing that would ents musical, but there were also doo-wop groups on every make me the most money. corner singing at night. I was captivated watching them and listening to them. It was just riveting to see how music SJM: Does your musical talent extend to other members could travel so far and touch people. of your family?

SJM: How long have you been performing professionally? Brenda: My parents are very musical as I mentioned, and my daughter Lindsay is also extremely talented. She’s an Brenda: My family moved to Canada when I was twelve, actress and a singer. Recently, she toured with Smokey and I’ve been performing professionally ever since I grad- Robinson as a background vocalist. uated from high school there. I was a cast member of the Toronto production of “” in the early 70’s and was a SJM: When we met backstage during your Summer Storm member of a musical group called Dr. Music. We had our tour, I showed you a copy of Smooth Jazz Magazine with own weekly musical variety TV show on the CBC (Cana- Luther Vandross on the cover and it almost brought you to da’s National Network) and a weekly gospel radio show. tears before going onstage. Do you have a favorite mem- The radio show was where I started to hone my craft as ory of Luther? a when I was asked to write two gospel songs every week to perform on the show. In the mid 70’s I Brenda: In 1984, I had just returned from Sweden where moved to Los Angeles, with my ex-husband Brian Russell. I was recording my “” album. I’ll call it a record- Brian and I were a duo called Brian & Brenda. We got our ing adventure because I was making a record in a foreign first American record deal in 1976 with ’s label, country with very little money. When I returned home Rocket Records. We made two albums for Rocket. to Los Angeles that December, I really needed some en- couraging words because things in my career at that time SJM: What is the secret of your longevity? weren’t flowing smoothly. A few days after I was back my publisher called to say that Luther had just recorded “If Brenda: I think it starts with my love of music—not the Only for One Night.” I realize now that that was prob- music business. I love to write songs and I love to per- ably my best Christmas present ever. What a thrill to have form. Even as a girl, I knew wanted to be a singer and someone with a voice like Luther’s, someone I respected never wanted to have a “day job.” I made it my mission and admired a great deal, record one of my songs. to put my heart and soul into doing whatever I could to achieve that goal. SJM: What is it like working along side , Peabo Bryson and Everett Harp on the Summer Storm 2005 tour?

Let the music take you... SmoothJazz Magazine 15 LIFESTYLES

Brenda: It is a blast! They are all such talented perform- which I wrote back in the 80s. In that song, the game was ers and great people. We have such a good time on and trying to come up with creative ways that you could get to off stage, and I really think that joy comes through in our someone you love. shows. The audiences have been having so much fun right along with us. SJM: “The Message” a beautiful piece, is this a reflection of your quiet moments with God that you are sharing with SJM: What do you do to prepare yourself mentally before us? going onstage? Brenda: Absolutely. Brenda: Before going onstage, I try to remember not to think so much about what I’m going to sing, and try to SJM: was featured on “Track Of My Tears,” a stay in the headspace of having a good time. When you’re classic from Smokey Robinson. Was this your first time in having a good time, the audience instinctively picks up on working with Lee in the studio? that. Brenda: Yes. It was fun working with Lee and I brought in SJM: “” is a favorite on smooth jazz ra- the fabulous Perri Sisters to sing the background vocals. dio around the country. Is this your favorite song? Or do you have a favorite recording of yours? SJM: “Between The Sun and The Moon” goes without say- ing as one of ’s most memorable vocal perfor- Brenda: When you’re a songwriter, all your songs are your mances. How was the experience in singing this duet with babies. As any mother knows, you can’t play favorites with her? your children! Piano In the Dark certainly brought me a lot of love from all around the world. It’s my biggest inter- Brenda: First of all, thank you for the compliment. national hit as a solo artist and it opened up a lot of doors Patti is one of my dearest friends and an incredible art- for me and changed my life. I would say Get Here also falls ist. What a voice! She’s also one of the funniest people into the category of a life changing song, but when I think on the planet, so writing this song with her was such a of a song that exemplifies my writing talent. It’s a song kick. There happened to be a lunar eclipse the night she that really wasn’t exposed to the public. It’s called Night came over to write with me. We decided to go look at the Train to Leningrad” from my Love Life album. I had taken eclipse before we started writing and I said “Patti, we’re a trip to Moscow and Leningrad and was so inspired by between the sun and the moon!” We just looked at each the history. So many of the creative people were banished other and said “let’s write that!” It’s very much a primal by Stalin and had to escape their homeland. I decided to female empowerment piece. write about it. I’m very proud of those lyrics.

SJM: On your current CD “Between The Sun And Moon,” I noticed that on “It’s A Jazz Day” you arranged the rhythm and horn section and played keyboards, what was the in- spiration behind it song?

Brenda: The inspiration was my love and respect for all of the fabulous artists I name-check in the song. When I began writing, it became a game to see how many differ- ent ways I could mention these special artists’ names in a double entendre context. It was similar to “Get Here,” Photo credit Ambrose

16 SmoothJazz Magazine Let the music take you... Wave ad 8x10.5 12/6/05 8:40 AM Page 1

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Sponsored by your Southern California Cadillac Dealers Let the music take you... SmoothJazz Magazine 17 Coastal Getaway. HIGHWAY 1 By: Art Jackson

Highway #1 is arguably the most beautiful stretch of road on any coast and feeling the need to get away from the hustle and bustle of the big city life in Los Angeles, I decided on a weekend getaway to take a relaxing drive along the California coast deciding on Monterey as my final destination and 94.7 The Wave as my listening companion sounds like the beginning of a perfect plan on a Friday night.

Photo credit Mann

Oxnard Santa Monica As I pass that landmark the visual Hitting the famous scenic Pacific Coast Highway (PCH) gets even better and you can see in Santa Monica as you drive you see miles and miles of the morning sun glistening off beaches. As I drive along the stretch of beach the pier is the water while noticing the cliff alive as the Ferris wheels entertains riders, there are teams off the ocean as the coastline and of people playing volleyball, and numerous of bikini clad highway curve endlessly. About a roller bladders along the boardwalk as couples carry blan- hour drive from our starting point kets and picnics to watch the sun set in a few hours. is another of one of my favorite places to stop during the spring Malibu and summer months. Oxnard, CA which attracts the NFL for its training camps location most notable the Oakland Within minutes I hit the first of several communities that Raiders and Dallas Cowboys and as much as a fan I am of has their own distinction and notoriety. Malibu known football, nothing compares the bountiful acres of straw- for its small city life with big Hollywood stars and their berries. The city hosts one of the state largest Strawberry big multi-million dollar homes on the beach and a famous Festival annually in May and if you do drive thru during person on every corner. As I passed the sign directing me strawberry season just get off at one of the exits that adver- to turn left into one of my favorite little hideaway spots tise strawberry stands and buy a case and get back on the known as Paradise Cove. There you can relax and day road enjoying those naturally sweet treats as the scenery dream as you walk along the beach, just don’t let dusk and will change from panoramic views of the ocean to farm- tide hit while you are enjoying yourself too much and loose land. Ultimately, the coastline comes back to greet the track of time, for when the tide hits it will wash away any highway and the next major community is Santa Barbara resemblance of a beach and you will have to start swim- as I changed my radio dial to Magic 106.3 The Sound of ming for land. Santa Barbara.

18 SmoothJazz Magazine Let the music take you... as I ate this afternoon peer- Santa Barbara ing out into the panoramic view of the ocean, while the Situated beautifully between the ocean & the mountains, buzz at the tables was that with breathtaking scenery Santa Barbara offers renowned we could see Whales swim- hospitality resort accommodations to spas to shopping. ming by. Pismo Beach pro- With excursions from tandem biking to tours of the Chan- vides a wonderful tourist nel Islands, Botanical Gardens to the Museum of Art, In- atmosphere and Steamers ternational Film Festival to wine tasting. You will also find of Pismo provides courte- some of the most beautiful sunsets and scenic images here ous service to go along with the wonderful dishes. There where a lagoon meets the Pacific Ocean situated on the is a full bar that has a great happy hour and you can enjoy campus of University of California Santa Barbara. This live jazz Wednesday through Saturday night. quaint city is rich in Spanish heritage but also offers cul- ture diversity. A prime example of this is the charming Monterey Moroccan restaurant Zaytoons with the ambience that embraced all the senses. The sounds of live soft guitar Home to author John Steinbeck, Monterey has a lot to playing while you play backgammon on the patio, to the offer so be sure to wear some comfortable shoes. Once site of the fireplace roaring in the night, The smell of fresh known as the Lettuce Bowl of America, Monterey could incense burning, and the taste of the Eggplant Hummus, now be called the Central Coast Winery Capital with over in which I couldn’t get enough of, and to think I didn’t 40,000 acres of hillside grapes. After finding lodging for like Eggplant. Needless to say everything else ordered on the evening I sat out to explore downtown Monterey. the menu from Chicken to the Lamb was exquisite. With Downtown on a Saturday night is packed with number of wonderful desserts and coffee to top off the meal, if I was options for entertainment. This evening on the theatre a food critic I would give it 4 saxes out of 4. marquee smooth jazz pianist Jim Brickman was in town while strolling by a open jazz club door you could hear the Pismo Beach local talent sings a jazzy tune.

Waking up to the California sunshine it was time to con- A Sunday morning breakfast buffet was in order since I tinue the journey, with only a Starbucks beverage in hand planned on having a long day of excursions with my first and taking a deep breathe of the ocean breeze while hear- stop being The Monterey Bay Aquarium which is argu- ing on the radio it was easy to get focus on the road able one of the finest aquarium in the world, with exhibits again. By midday it was time for brunch and I decided to showcasing jellyfish, sea otters, penguins, sharks and other stop in Pismo Beach. I recall finding this lovely city one creatures of the deep. Located next door to the aquari- year when needing a rest stop and was ready for a early um is the landmark of Cannery Row which of days long diner at dusk. What a wonderful jewel it was, deciding ago was the tourist lifeblood of the region fishing indus- to try something that I had never eaten before I ordered try, but now seaside restaurants such as The Chart House the Thresher Shark, and I couldn’t stop talking about that and Bubba Gump’s as the hang out spot for seafood, with dinner for years to come. shrimp fried and cooked in several ways I would highly Just don’t pass up on the recommend their bucket of trash at Bubba Gump’s and Clam Chowder, its top get plenty of napkins. on my list. Stopping this time brought back fond Further south on the scenic highway 1 is a stretch of fa- memories and I was for- mous road called the 17-mile drive, which takes visitors tunate to create new ones in and around the famous golf course of Pebble Beach.

Let the music take you... SmoothJazz Magazine 19 As I begin the drive to my amazement a deer was on the greens people watching. Continuing on the winding road you begin to see the beauty of the seaside and the man- sions which are located on the renowned golf course that leaves you with breath-taking panoramic views that are post card worthy. After spending a day of seeing beauti- ful sight, you can take in some beautiful music at a num- ber of locations from Carmel to Monterey. The nightlife’s entertainment leans towards DJ’s, jazz groups and cover bands. Big-name acts will occasionally tour through, es- pecially during the . Cypress Lounge at Embassy Suites 1441 Canyon Del Ray Blvd. Monterey

The sounds of great jazz featuring Grammy-nomi- nated Dennis Murphy every Friday, following the buffet in the Pacifica Café restaurant.

Viva Monterey 414 Alvarado St. Monterey

Music every night with popular bands from and Los Angeles appearing Friday and Sat- urday nights. Full bar and appetizers available.

Mission Ranch 26270 Dolores St. Carmel The historic Mission Ranch, purchased and restored by Clint Eastwood, is a popular meeting place for older singles. Three fireplaces and panoramic views give it a special ambiance. The piano bar provides nightly entertainment.

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Let the music take you... SmoothJazz Magazine 21 FEATURE CHRISTIAN McBRIDE IN DEMAND By: Amy Rogin

assist, Christian McBride, is known as one of the most versatile jazz musicians to date. Both Ba composer and sideman, he has worked with such names as Ray Brown, Sting, Diana Krall and Pat Methany. His style, ever adaptable, is characterized as genuine and boundless. It is his reputation and pas- sion for music that awarded him the prestigious position, Creative Chair for Jazz Programming, with the L.A. Philharmonic Association. Mc- Bride is dedicated to keeping the jazz pro- gramming as interesting and eclectic as the venues themselves. He also plans to add his many talents to the lineup, expressing an interest in playing with such musicians as , , and Russ Malone. For true jazz fans, this is something to look forward to.

It seems as though Christian’s schedule is always busy. Since he was appointed the Creative Chair position at the LA Philharmonic, he has managed to balance a multitude of projects. He serves as Creative Di- rector of the Jazz Museum in Harlem, and is the Artistic Director for Jazz As- pen, yet he still has time to compose, tour, and dedicate energy to his own band. How does juggle so many things? I have made it my mission to discuss his life, his relationship to the jazz world, and the many musical proj- ects in which he is involved.

Christian McBride has been touring with Pat Metheny for months now, and is finishing the last leg of their tour.

22 SmoothJazz Magazine Let the music take you... FEATURE

SJM: First of all, let me congratulate you on receiving CM: Yeah, the Jazz Museum in Harlem was started five the Creative Chair position with the L.A. Philharmonic. years ago by a man named Leonard Garment. He’s a very Did you suspect that you were being groomed for this all important man in the world of politics, actually. He was along? an advisor to President Nixon, and he has a book called “Fascinating Rhythm,” in which he tells his life story. It CM: No, I had no idea that something like that existed. touches on how he was a Democrat under Nixon’s admin- I knew Dianne Reeves and John Clayton had been previ- istration. He had this vision of introducing the world to ously associated with the Bowl, but I didn’t fully realize this music. At this point, we’re still trying to build the Mu- the extent until Darlene Chan called me up. At first I was seum because there isn’t an actual location, per se, to build taken aback, I have to admit. I wasn’t sure if I wanted to it. We hold free programming in the city to get grants, etc. take this on – “how in the world can I take this job with all It’s a work in progress, but it’s been great so far. the stuff I have going on?” I thought, “Okay, this is a two- year program, not a lifetime commitment. I think I can SJM: This program focuses on exposing kids to jazz mu- do this, and do it well, simultaneously with all the other sic and teaching them about jazz history, right? things I’m involved in.” CM: Exactly. If you look throughout the country, fund- SJM: Let’s talk about the new programming for this sea- ing for the arts is at an all-time low – and appreciation is at son. You’re known for being so versatile and experimental an all-time low. What is so scary is that some of the people with musical styles. Do you plan on mixing it up a bit, who DO have an appreciation for the arts (and this is the stylistically? Catch 22)…a lot of the people who do support the arts only support the form that they like, so there’s this elitist CM: Absolutely. From what I’ve seen of the past pro- thing going on. It’s difficult to keep that diversity going on gramming, I think Dianne Reeves did a great job at mak- in the arts. This is why what’s going on at the LA Phil is ing it eclectic. I think I will just carry on the tradition of so important. We support so many forms of music in the shaking it up, so to speak. We have a lot in the works for arts; we keep things interesting, you know. next year – some I can talk about; actually, most of it I can’t…. SJM: How do you find the time to compose, play and be involved in so many projects? SJM: I read as a hypothetical that you were consider- ing pairing Sting with the LA Phil. In terms of the typical CM: Believe me, it gets a little testy every now and then LA Phil audience, how do you think they would react to – because I am involved in so many things. And, on top Sting’s musical interpretations? of that, I’m trying to be a good husband and keep my own band together. (laughs) It can be a challenge, but it’s fun CM: Well, they’ll love him. Sting, at this point in his keeping it all together. You know, I’ll be very honest about career, has every age range fan, and I think people expect something, Amy. I’m…I’m not going to keep it up at this Sting to try something like this. His fans, no matter what pace…I don’t believe forever, because I think there comes age bracket, know it will be good. And LA Phil fans know a time when you want to focus on SOMETHING, be it that he’s not coming out here with The Police. your own music, or one particular group. Because I think if you do everything well, that’s good. You know, I look at SJM: You’re involved in so many projects. You’re Co- somebody like Pat Metheny…Pat has spent his whole life Director of the Jazz Museum in Harlem, for instance. Can working on the Pat Metheny Group PERIOD! That’s what you tell me a little more about that? he does and the Pat Metheny Group is one of the most in- fluential bands in the history of music – and that’s because he has devoted all of his time to try to figure out how to

Let the music take you... SmoothJazz Magazine 23 FEATURE

for the release of my new CD.

SJM: Very cool. Let’s talk about that. What can we ex- pect to hear on your new CD? Any new textures? It’s a live album, right?

CM: One thing that was a lot of fun on the new CD is that we had some awesome special guests. I had my regu- lar band, of course, with Ron Blake and Geoff Keezer and Terreon Gully, along with DJ Logic and Scratch from The Roots, Jenny Scheinman (the wonderful violinist from ’s band) and who else? Eric Krasno from Soullive, Charlie Hunter and a whole lot of people. It was an ex- perimental jam session kind of thing, so it’s going to be a three-CD package. On the first CD, it’s just my band set playing on the first night – stuff we usually play, some stuff by Keezer…actually, everybody in the band contributed. And the second CD will be some of the stuff from the night that Charlie Hunter, and Jenny Schein- man sat in with us. The third CD will be from the second night we played with Scratch and Eric Krasno…now, that was a BIG party! People hollering and screaming…a lot of fun. Yeah, the second and third CDs are pretty much all improvisational. We just got up there and partied.

SJM: Let’s touch on a comment you made about jazz music. You had expressed some frustration that so many make this group sound like no other band. And, uh…I people think that behind jazz music, there has to be some admire that in someone who can do that. I haven’t made historical message…some lesson. Can you elaborate on the choice to do that because I haven’t really wanted to do this? that before. But I’m seeing the beauty of focusing on one thing and doing it well. I am pretty sure that at one point CM: Yeah, I mean I think when I made that comment I in my life I’m going to start cutting it down so I can really was referring to that elitist mentality that I spoke of earlier, focus on what Christian McBride really likes to do. this subconscious THING that a lot of jazz musicians and listeners have. We, as jazz listeners and jazz musicians, kind SJM: Can you tell me more about the Philadelphia Ex- of pride ourselves on knowing so much about an art form periment and some of the other musical projects you are that is not as universally appreciated as some other types involved in?- Touring, gigging? of music. What I mean is that, domestically speaking, jazz is not as appreciated as some other American art forms. CM: I’m working on a book, actually. I’m getting ready So, for the few who DO know about it, we could get on our to complete my first bass method book. It’s an instruc- high horses, as sub-conscious or conscious as it may be. I tional book and it looks like it will be out on the market think almost every time there’s a jazz concert, they judge some time in early ’06. Then also in ’06 I’m going to be us musicians against the jazz master that we’ve immortal- focusing on the programming at the Bowl and preparing ized. I…I can’t play one jazz concert to this day without

24 SmoothJazz Magazine Let the music take you... FEATURE

having some guy approach me to say, “You remind me of to speak. My friends were like, “Why are you listening to Ray Brown.” Now, I don’t mind that because Ray Brown James Brown? He’s, like, old.” He had so much passion is my hero, but this compliment will come after playing and that music was so raw and primal. That’s what I love material that doesn’t sound remotely like Ray Brown. It’s about James Brown. this thing jazzophiles get…like I know who this guy is so I’m going to drop the name. It’s like they’re saying, “Roy SJM: How old were you when you started playing? Hargrove is great, but he’s no Clifford Brown.” Of course he’s no Clifford Brown. He’s Roy Hargrove! He’s not pos- CM: I was nine. I got my first electric bass when I was ing to be Clifford Brown. (laughs) nine years old, and I got my first acoustic bass when I was 11. I went to Junior High and began formal music les- SJM: Do you feel that this attitude we jazz fans have lim- sons. its your ability to be…and just create your own sound? SJM: You have such an impressive discography. What is CM: Absolutely. It gets so frustrating ‘cause I’m just try- your favorite music compilation? ing to do my thing, man – love it or hate it, but it’s mine. And sometimes those pre-fixed ideas those jazzophiles CM: I don’t really listen to them much any more. Once have limits the ability to improvise. a CD comes out, I’ve got to tell you, I’m done. Out of the CDs I’ve played on, a few CDs stand out. One I did with SJM: Who are your biggest musical influences? called Double Rainbow, which was a trib- ute to Carlos Jobim…matter of fact, Jobim died I guess CM: As far as the bass in concerned, you know, Ray maybe a month before the album’s release, so we didn’t Brown, and Ron Carter…they were the know HOW MUCH of a tribute it would be. But on the first players that I was drawn to. record was Joe, of course, Herbie Hancock and Jack De- Jonette. And I remember being in the studio kind of being SJM: And electric bass? so completely overwhelmed, like, man, I’m recording with THESE guys. And I remember coming so close to walking CM: Yeah, electric bass players such as James Jameson, out of the studio ‘cause I couldn’t handle it. (laughs) Bootsie Collins and …actually, his work with Luther Vandross, not so much his work with Miles SJM: Wow. To play with them all at once must have been Davis…’cause I didn’t get into that until much later. totally overwhelming!

SJM: What about classical bass? CM: (laughs) Yeah, right? I mean, I’d played with Her- bie once before and Joe Henderson once before and Jack CM: Classical like Gary Carr, a man who was as well, but all independent of each other – not as a group. to become my teacher at Julliard and Homer Vinch. You That freaked me out! I remember making an album with know, every great bass player I’ve ever heard have influ- the great once, at the time I’d just turned 20 enced me greatly. and Benny was 84, 85. was on keys; Doc Chea- tum was on the album. I was thinking, man, I’m play- SJM: What about non-bass players? ing with the guy who influenced ! I felt so honored to work with these legends…I’d better listen to CM: A lot of non-bass players have influenced me, too. what they say so I can pass this stuff on, ‘cause in the last James Brown has been my main man since before I even ten years we have lost an incredible number of the great began playing bass, which at that point was a little strange masters. because James Brown had already gone out of fashion, so

Let the music take you... SmoothJazz Magazine 25 FEATURE

SJM: If you had a theme song to sum up your life or personality, what would it be?

CM: (laughs wickedly…for three minutes) Jeez, I dun- no. I’ll tell you what my wife will tell you, and I feel bad that I have to agree with her. It would be the theme song from Sanford and Son. She’s always telling me that I’m the perfect combination of George Jefferson and Fred San- ford. I don’t know what that means, but…wow…is that a GOOD thing? My wife tells me it is.

SJM: Thank you so much for your time, you are such a delightful person and an amazing musician. I wish you some rest, and the best!

CM: (laughs,) Thank you, it’s been fun.

For information on Christian’s tour dates, discography and any other general information, log on to: www.christianmcbride.com

Photo credit Amy Rogin

26 SmoothJazz Magazine Let the music take you... Najee His life, His Style, “His Point of View” By Cheryl Boone

n a recent brisk January night, with a chill from Othe Elizabeth River in the Olde Town District of Portsmouth, , the beautiful waterfront Renaissance Portsmouth Hotel was transformed into the spot to be. A sell out crowd stood in lines eagerly waiting to get a seat to see none other than Grammy Nominated and Platinum Artist Najee. Smooth Jazz Magazine caught up with him a couple of days later by phone and we discussed his past, his present which includes his current CD “My Point Of View” and his future.

Photo credit Mr. Zac/Zac’s Photography

SJM: You are a pioneer of Smooth Jazz as it’s known today. , George Howard and of course. How do you feel it’s progressed since the mid 80s? SJM: Your tone of music back then seemed more up-tem- Najee: Honestly I can’t really take total credit for that alone. po, funky, and progressive compared to a more laid back, I think in the 80’s, the mid 80’s when my career began to light jazz sound that you have today. Has your inspiration take on a personality of it’s own, I was a part of a move- for writing and composing songs changed any since that ment of a wave of people that it seems the industry was time? devoting money to and thereby supporting. As a result of that, people were beginning to buy records in that arena. Najee: It depends on what I’m doing…but some things Again, in the 70’s you got Grover (Washington), Ronnie are still R&B based. On my current album “My Point of Laws, and . And I was probably View”, I think there are a few tracks that are still R&B and in that next wave in the mid 80’s with along with Sade, lend itself to R&B more than what we call Smooth Jazz.

Let the music take you... SmoothJazz Magazine 27 FEATURE

For example, the second track that features Najee: Yeah you know it’s a funny story; when I was like on background vocals called “3 A.M”. I think it definitely nine years old, I used to bend up these curtain rods and lends itself more to R&B, and this past weekend, as you when music played I would pretend I was playing the sax- saw there was a singer with me named Lomon Andrews ophone. (Laugher by both). And I imagined that I would who sang a song called “Falling in Love with You” which one day be doing that. But my opportunity to really leans more to the R&B Pop side. I’m really one of play didn’t come until my first year of junior high those artist that don’t enjoy putting myself in a school, but yeah the appetite was there. corner by saying, “oh I’m going to do R&B, I’m going to do Jazz.” I just do the music that I think SJM: How did you incorporate the flute into people will like and let the critics categorize it. that as well? I’m a musician that does many things even though my living has been made in Najee: I had a teacher by the name of what we call Smooth Jazz, and Mr. David Vetter who was a great I’ve been fortunate to play in saxophone player. One day I saw sets with many great artists him pick up the flute and I was from R&B and the Jazz amazed at how well he could play world as well. both the flute and the saxophone. I asked him a question and he gave SJM: Can we take it me the flute and showed me how back and talk about your to blow. From that point on it early days? Who gave you your just stuck with me. I went to High first introduction and taste of School in , and lat- jazz? er I was fortunate, along with my friends to attend a weekend pro- Najee: My mother did. As far back as I can gram called , which remember, and she just recently passed away, was a federally funded program (God took her peacefully), she was a woman in New York City that allowed who just loved jazz and all kinds of music students, like me, to study with and she would play it around the house, and some of the great masters like I think we as her children just took a liking to and . what her taste were. I can remember her play- So at the age of 15 under the ing records by , Duke Ellington tutelage of the Pro- and Charlie Parker; and since she was a West gram, Jazzmobile, I started my Indian woman she would play Calypso music training in music. too. She definitely was probably the main person who lit a spark for me and created an interest in SJM: Since you’re talking about Jazz. I remember listening to Mongo Santamaria your school days, I recently read records and hearing some great saxophone play- where a student said he became ers; he always had great bands so my interest was interested in playing the flute sparked from that. because of you

SJM: Is that how you decided to make the sax your Najee: Oh, of me? Because instrument of choice? of me? Well you know I feel very honored and I hope and

28 SmoothJazz Magazine Let the music take you... FEATURE

wish that the people who are doing this and are success- times since then and it’s one of my favorite places in the ful at it, have helped defined students who are interested world to go. in progressing forward. To me it makes me feel good that there are kids out there who want to take up the challenge SJM: Did you get to play anything with since of really learning music in depth. You know, rap music he plays the sax too (laughs)? has what it does and that’s a good thing. I mean I can hear the creativity in it but there’s a different angle. To learn an Najee: (laughing) you know I played at one of his inaugu- instrument is a real craft in a sense, and I’m not saying rap rations and the press tried to get me to give him the horn music isn’t, but to really sit and learn an instrument and be to play and he wouldn’t do it (laughing). I don’t think he forced to learn music and learn how to read and play that’s took the horn that serious, (lol) an art and a gift you know that I think can really help kids, honestly. SJM: Well since you’ve played large events like the White House, how is it playing for fans in a smaller more intimate SJM: Is there anyone that you haven’t played with yet that setting like when you were here in Portsmouth, Virginia? you’d like the opportunity to play and/or work with? Najee: You know I didn’t think Portsmouth was that small Najee: I think I would like to work with some of the more actually. I thought it was a pretty big Hall, with a great contemporary artist like India Arie or Jill Scott. I would turn out. And for me I respect my audience. It doesn’t love to work with people like that. Ah, I’ve been fortunate matter whether they’re in the White House or in a local to work with some great folks but you always want to get club. To me, if people are spending their disposable in- to do something that is new and fresh. come to come out and see me I take that very seriously and I try to be sure that they walk away with an experience SJM: You’ve played at some really impressive places dur- in which they felt they were satisfied. ing your career such as in for former Presi- dent ’s Birthday celebration and at the SJM: Lets talk some about you latest CD, “My Point Of White House during President Clinton’s term in office for View”. What were you trying to express with this CD? the President of . How did you feel being asked to play at such prestigious events? Najee: Well I’ve been blessed with a core audience during the years and some of the comments I’ve heard over the Najee: Well I think that it was perhaps one of the hallmark years of albums were that they wanted something that was experiences of my life to actually be invited by those folks closer to the identity I had in my earlier records; I think and to attend something that they were giving truly was a my first four records. Prior to “My Point of View” I hadn’t great honor, not only for myself but for my family as well. recorded anything in two years. Before that I recorded an I think my brother and I were the first people to ever visit album “Embrace” but prior to that I hadn’t recorded in the White House in our family. So we were very honored five. Not to many knew about the “Embrace” album so to that ex-President Clinton and Mrs. Clinton asked us to be many it was my return after seven years. a part of that event and asked to perform. The same thing with ex-President Nelson Mandela. I had the privilege and SJM: Will Downing does a great job with you on 3AM and the honor of joining him at his home in Johannesburg for you guys have worked together before. Do you find a great lunch at a private setting along with , Chaka balance between your playing and Will’s voice? Kahn and Kenny Lattimore, and it was really, really a great honor to be next to this great man and to just have a great Najee: Well I think Will is one of those artists that anyone time with him. He jokes and he enjoys joking and he’s just who plays with him will find that balance. Will loves to do a warm spirited person. I’ve been to South Africa many collaborations and he’s done many. The first time he and

Let the music take you... SmoothJazz Magazine 29 FEATURE

I collaborated on something was on an album I did called Najee: Well for a Jazz artist to sell Platinum and Gold Re- “Just an Illusion” and I featured him on one song and then cords means a lot, but now that the market has changed we’ve toured together over the years as a package. You we don’t sell those types of records anymore because we know, Will Downing/Najee and sometimes there would be don’t have the video outlets. Back when I was doing my a third artist like Rachelle Ferrell or . records in the mid 80’s and early 90’s we had VH1 playing my videos and BET playing my videos you know. Now SJM: The title track “My Point Of View” is kind of easy it’s not even profitable to make a video because there is no and laid back and gets you to reflect where to let it out. So there is a shift obviously in sales and all that and it has a tremendous impact. Najee: “My Point of View” is just about simplicity. As a player sometimes you just have to know when not to talk SJM: What artists inspired you? to much. It’s almost like you can say everything with si- lence sometimes, so it was one of those songs that I didn’t Najee: Well from a music standpoint as a saxophone player feel needed a lot, and I focused on the beauty of the melo- I’ve had many. Of course you know all the common ones dy. By the way, Sidewayz” was totally improvisational, and like on . Contemporary happens to be the only song that I just played one time and sound, probably on Soprano with Grover and to some de- never went back and changed it at all. gree . On flute I’d say and James Galway. SJM: How are things working for you at Heads Up, your new label? SJM: What keeps you grounded and down to earth?

Najee: Very well. The thing I like about Heads Up is that Najee: What keeps me down to earth and grounded is they are a small company but they have major impact. the reality of knowing that none of this is the goal or the And for me, because they are hard working people and end all. I’m nothing without the people supporting what they love what they do it makes a huge difference. I’m for- I do and I feel very blessed to have been able to build a tunate; I came from the big machines. I came from Capi- career and that people have embraced me. Because there tal/EMI, and I’ve enjoyed big records so I know what it are many people who do what I do, I feel very fortunate to is to do that. But my career has shifted over the years, as have been able to have been successful. If anything keeps every artist does, and now I find that, or people are telling me grounded it’s knowing the real truth that I’m just a me anyway, that I’m moving into what we call the legend- guy that grew up in Queens who was prepared when the ary stage of my career. And a label like Heads Up is more opportunity came and I was just blessed to have been suc- than qualified to meet those needs. cessful with it.

SJM: So how does it feel to be told that you are becoming SJM: What would you like to tell your fans that they haven’t a legend? read or heard? What is it about you that you would like to just put out there? Najee: Well remember that‘s what people are saying, not me. But when you look at the shift of careers of every art- Najee: Well if anything, I’d like to be known as someone ist they have their peak seasons where they sell whatever who is grateful for their support honestly. And I enjoy it if they sell, then they make a name for themselves. And I’ve I can help people who are probably doing the things I did enjoyed that. when I was young, which is trying to figure out how to be successful. If people like me can be of any help in helping SJM: How do you feel the Jazz market is doing today? people figure that out, that’s great. That’s what I would like them to know; that I’m there for that. I get emails all

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the time from people asking for help in terms of materials at the moment and just be grateful. The next day I wake or directions on what to do or whatever. I make myself up; I thank God that I woke up that day and do the same available for those types of things. That’s the way it was thing again. Just be grateful and start from where I am. for me. Now that doesn’t mean I don’t plan for the future because I do. But I’ve learned not to put my anxieties and hopes on SJM: How do you feel about some of the newer and young- something I have no control over, which is the future. All er artists that are coming on the scene like Eric Darius and you have control over is where you are right now. Mike Phillips, that caliber of artist? How do you feel about passing the baton?

Najee: I think that they are the next generation of where I’ve been. I think that they represent a great hope for the industry if the industry will give them the attention and the time that they are due. I think they’re great musicians and they hold a great promise of bringing something fresh to the industry.

SJM: So what does the future hold for Najee?

Najee: I have no idea my dear. You know I try to take one day at a time because I’ve learned that in life that all you have is where you are at the moment. Nothing is guar- anteed So I just try to make the most out of where I am

After speaking with Najee, it’s more and more of Najee. easy to see and understand Smooth Jazz Magazine would Not only a friend of God, but why he owned the audience like to offer its condolences to family as well, brother Fareed in Portsmouth, Virginia at his Najee and his family on the re- who plays guitar has been on recent concert there. From his cent passing of his Mother. We tour, produced and manages a emerging entrance into the are all thankful for the won- lot of Najee’s business. Other crowd of enthusiastic jazz lov- derful gift and love of music talented members of the fam- ers to his dynamic presence on she instilled in Najee, Fareed, ily consist of a sister and his son stage, he gave his fans nothing Superb and the whole family. Superb who wrote the last track less than an outstanding per- She left a great legacy to the “Miyuki.” on this current CD. formance. Giving his listeners world in Najee. I asked Najee From working with artists such a taste of his earlier days with the meaning of his name and as , , Stanley “Najee’s Theme”, “Sweet Love” his response was that it means Clark, Patti LaBelle, over the and “Knocks Me Off My Feet” “A Friend Of God”. He also years his past and present suc- to “his latest with “My Point said that it has other meanings cess is linked with friendships of View”, “Fallin’ In Love With depending of what region you that will continue to reach new You”, “Charm” and “Miyuki” are from, but Friend of God is heights in the future. no one was disappointed, but something that he strives to be left wanting and anticipating and aspire to.

Let the music take you... SmoothJazz Magazine 31 All Aboard with

unky, musically progressive and monstrously talented, Warren WarrenHill continues to redefine the boundaries Hill of Smooth Jazz. Re- Fcently released, Pop Jazz, is an album that combines a rich collection of musical influences. Healthy doses of , jazz, R&B, pop, chill and world music delightfully meld together. Featuring guest stars like , Norman Brown and Jeff Golub, Pop Jazz is enticing from start to finish.

Most impressive is how Hill featured his regular touring band on the tracks and co-produced the album with bass- ist Andre Berry. The comfort level of each musician is evi- dent throughout. As a result, Hill’s talents as a bandleader are highlighted. (I have a lot of respect for a guy that is confident enough to let the supporting cast shine as well.)

This attitude of creating a unified presence on the jazz scene is also a common denominator in the birth of the PopJazz . Partnering with his wife, Tamara, Hill has created the label as both a traditional record company and a multi- media online destination, PopJazz.com.

Once officially released, PopJazz.com will give artists the chance to have control of their own online content. In turn, a sub- scription based service will allow fans ac- cess to a variety of technological mediums. Not only will MP3 downloads of recorded songs be available, but members will also be able to download live audio and film cuts. By utilizing this dynamically broad range of services, artists and fans will be given a chance to be vested in the music they love.

32 SmoothJazz Magazine Let the music take you... “What we are trying to create is a home base for jazz lovers. It’s a place where lovers of that music can con- gregate,” said Hill

Musicians can record their shows and post songs on- line. “People can go online and relive what they got to experience at the live show…a wealth of content can be offered,” said Hill.

The artists “will actually have membership on the on- Creates New Label ... line content. It puts them in the business aspect of their music as well.” Hill believes that this infrastructure and new business model will allow “artist to express them- selves more.”

“PopJazz is really a creative way of keeping the music alive and utilizing the advantages that we have over the internet,” he said.

Of special interest, PopJazz.com will not limit the online content to just Smooth Jazz artists. Hill foresees welcoming performers from a wide range of musical genres that will include pop, jazz and more.

As of the January 2006 interview, the full features of PopJazz.com were not up on the web. According to Hill, the release date of this innovative program has not been set. Fans can only wait in eager anticipation for the good things to come.

POP Jazz In the mind of this writer, the proposed business model for PopJazz.com could very well set the precedent of re- cord labels of the future. PopJazz Records and PopJazz. com are both about access. Giving control to the artists that create the music is a very good thing.

It appears that Hill’s business model is all about find- ing new ways to share the music he loves with his fans. On January 21, 2006, a full ship charter with Holland America’s MS Zuiderdam set sail from Ft. Lauderdale, Florida. Guests aboard the third annual Warren Hill Smooth Jazz Cruise were pampered with top-notch service staff, carefully prepared rooms, gourmet food and plentiful relaxation. Exotic destinations included stops at San Juan, Nevis, St. Barths and Half Moon Cay. A generous selection of off-shore excursions was also

Let the music take you... SmoothJazz Magazine 33 available for those wishing to add a bit of adventure to What is the recipe of success for the Hill cruises? their holiday. “Jazz Cruises, LLC is our partner and they are terrific. However, romantic nights and tantalizing day trips It has been a great marriage. The success of the cruise is were only part of the equation. Imagine setting sail really about the lineup and the vacation experience. I for seven days and having the chance to catch live jazz want fans to have the time of their life,” said Hill. As- music each night with some of the biggest names in suring that fans have “a very wonderful vacation experi- Smooth Jazz today. Artists on-board the ship included ence” is indeed first and foremost for each cruise. Acoustic Alchemy, Richard Elliot, Kim Waters, Bobby Lyle, Jeff Golub, Wayman Tisdale, Euge Groove, Paul Many fans return to the cruise year after year. Accord- Jackson, Jr. and more. ing to Hill, the overwhelming response was that 2006 was the best cruise yet. “It keeps get better every year,” “The passengers that come on the cruise love this music said Hill.

and in particular, they love this music live. This cruise For guests that want to relive the 2006 cruise or for is probably one of the best showcases fans will have for those of you that missed it, Hill recorded several live this music,” said Hill. songs from the cruise and has made them available to purchase via MP3 downloads at www.popjazz.com. The cruise allows fans to meet their artists at specially Click on the audio section and scroll down to see the designed meet and greets. Impromptu jam sessions and clips. other fun activities also give fans the ability to get to know many of their favorite entertainers. What will the next cruise have in store for Smooth Jazz fans? Knowing Hill’s reputation for great music and This cruise environment is also fun for the artists, as fun times, the 2007 cruise will be an action-packed Hill strives to provide a vacation atmosphere for them adventure of a lifetime. To find out more information as well. “You get to see these artists in a light you’ve about the next Warren Hill Smooth Jazz Cruise, never seen them before,” said Hill. “The musicians have fans can visit: such a blast,” he added. www.warrenhillcruise.com or call 1-877-330-JAZZ.

34 SmoothJazz Magazine Let the music take you... AngieKeeping Good MusicStone Alive By Ahli Love orn in Columbia, S.C., Angie Stone taught herself to play keyboard at the tender age Bof…OK, that’s how every Angie Stone biography I’ve read starts out. And I’ve read many. Before this interview I researched Ms. Stone mainly by speaking with people who have worked with her. Since the information we’re seeking goes a bit deeper than the basics I felt it necessary to devise a way to get into the heart and soul of this artist. Let’s find out what moves such an earthy talent to share herself so intimately with through song?

SJM: Please explain the transition from Hip Hop to R&B music. When did it occur and what moti- vated the change?

ANGIE: Well, if you listen to Sequence you can see the elements of the group were Funk and R&B even in our Hip Hop music. The song “Funk you up” had (singing the verse starting with) “Hey you sittin’ over there”; all that was a part of R&B and it was always there. We did that because when we got discovered we a singing group first and we interjected Rap and hence- forth became known as a Hip Hop group. Be- cause of that the industry embraced the singing and the rapping together and now that’s all they do. Back in the day they had those 8 to 10 minute long Rap records where they just had never end- ing rap. We broke up the monotony by singing. Now you can’t have a rap record without a song in it and we never get the credit for that.

ANGIE: Your current music compliments so many moods that we go through particularly as women; for example, “Brother”, “Pissed Off”, “Wish I Didn’t Miss You” and “No More Rain in This Cloud”. When you take a song from paper to the studio do you feel it’s more of a release for yourself or a message of empowerment for your listeners?

Photo credit Ambrose Let the music take you... SmoothJazz Magazine 35 FEATURE

ANGIE: It’s both, it’s all of that. It relives me. The release ANGIE: I’d like for them to take integrity away from the from me is passed on to Spirit and whatever comes from music. And to know that any cheap way out; because me is passed on to the listener. anytime you have to sell sex it’s a cheap antidote or get rich quick scheme that has no real intent or purpose for SJM: Since the Industry always seems to label an artist your spiritual growth or well being. I’d like for people to in order to have an idea of how to market and promote take away that Angie Stone keeps it real and maintains the them; tell me how you would describe Angie Stone. integrity of what real music and the listener’s ear is about. Everything shouldn’t be about what you see. If that were ANGIE: I’m just a traditional R&B artist trying to keep the case, as black people we would still be slaves. Believe the legacy of real music alive. I think my music tran- me a lot of people see us and they don’t see how much scends time, age, boundaries and all that other stuff they we bling; they don’t care about it. You have to equate one categorize. As long as Alicia Keyes and all of these other situation to the next. They can see something and judge. people call Angie Stone to help them; there’s some valu- If one person is just a tad bit prettier than the next does able information that they need to keep it moving and to that make that person any better? And when I looked at stay in the respect zone. myself as an artist, what makes me any less than the next artist out here. It doesn’t matter. As long I keep my integ- SJM: Your career has really blossomed with new projects rity in place I’ll have a regime of grounded music listen- like the stage play “Why Good Girls like Bad Boys, the ers who love and respect what I do. cameo on “Girlfriends” and some film work. Creatively speaking what’s next? SJM: Is it my imagination or does it seem like folks who grew up with a foundation in the church, even though ANGIE: I’m currently doing some script writing. Hope- they may perform secular music, seem to have longer and fully I’ll do some more television and more film. There’s stronger careers in this business? no limit to what I’m going to be doing in the future but I’m really excited about the television show. ANGIE: Well it’s because they know when it becomes trifling out here and seems too much to bear God has al- SJM: When you do have that rare minute known as down ways said we can come to Him. We always have an outlet time who are some of the artist you enjoy listening to? because we know from where our help cometh first. Just to keep our bearings straight. We can’t get too caught up ANGIE: Right now it’s Charlie Wilson, I’m feeling him and twisted in what’s really going on in the world. You a whole lot. I like Musiq Soul Child, Marvin Gaye, Earth got to be in it but not of it. Wind & Fire… you know, the traditionals. I love Joe and India Arie. There are quite a few people that I’m feeling SJM: Based on your experience in this wild world of right now. entertainment, is this field one that you would let your children get involved in before adulthood? SJM: During most interviews the question is always asked about what advice you would give to young aspiring ANGIE: No! Not before adulthood. I wouldn’t encourage artists trying to get into the business. However, based on it unless I was there to encourage it. part of a quote I read where you state, “Eye candy for this generation has been a gyrating bed on stage; the whole SJM: After watching your “Stone Hits Live” DVD it’s ob- simulated sex thing”. My question to you is with so many vious that you enjoy live performance. What are some of mixed messages in music and videos; what do you want your favorite venues to perform in and why? young impressionable listeners to take away from your music?

36 SmoothJazz Magazine Let the music take you... CD RELEASE 2006

ANGIE: I really like outside venues and I like intimate settings. I like outside because it reaches a broader mass of people. People that walk out of their project homes or their penthouse; all of us come on to the same grass. I like Maysa Pieces of A Dream intimate settings because it allows me to really be up close Sweet Classic Soul Pillow Talk and personal.

SJM: What’s the one question you’re always asked that drives you absolutely nuts?

ANGIE: What’s up with D’Angelo?

Footnote: D’Angelo is considered one of the founding Fathers of the Neo-Soul movement of the mid to late 90’s. His debut album, “Brown Sugar” sold over 2 million copies. After almost two years of virtually no activity, a split from John Pedersen Etta James his management team and his record label going out of business, D’Angelo Paradise All The Way re-emerged on the scene with his Grammy award winning album “Voodoo” on Virgin Records. So what’s the connection? He and Angie Stone were in a pretty serious relationship.

Larry Carlton Soesja Citroen Firewire Don’t Cry Baby

Donald Fagen Enrico Pieranunzi Morph The Cat Live in Paris

http://www.angiestoneonline.com

Orleans Bleu Kim Waters - DVD Bleu 2 In The Groove Let the music take you... SmoothJazz Magazine 37 CD REVIEW

By: Amy Rogin With 28 albums under their belt, Gyra has given their fans something to look forward to.

Each musician in Spyro Gyra is brilliant and accomplished. It is apparent that as one listens to their music, each band member has room to contribute solos and articulate their chops as musicians. There is also plenty of creative breath- ing room for each musician, as they are able to write and produce their own pieces on each CD. Wrapped in a Dream is a delightful mix of textures. This compilation blends all of the elements a Spyro fan can expect and more. One thing I love is their willingness to mix things up mu- sically. There are so many fabulous arrangements on this CD, I would be writing all day just to articulate it. The first track on the CD, Spyro Time, introduces itself with highly syncopated drum lines. Julio Fernandez, who also wrote this composition, executes amazing guitar playing as ’s sax bops back and forth throughout the piece. Eventually, the bridge transitions into a steady jazz groove. The B3 keyboard, bass line and sax are the ver the past 30 years, Spyro Gyra has brought main focal point of the piece. Overall, this piece has a very their musical vision to life. They have true pio- retro feeling about it; I like it – it’s fun and unique. Oneers in creating the “movement” that we now know as contemporary or smooth jazz. The amazing The Voodooyoudo is a composition written by Scott Am- thing about Spyro Gyra, even after all this time, they con- bush who demonstrates his bass work beautifully. The tinue to create music that is unique and always refreshing.

Photo credit Amy Rogin

38 SmoothJazz Magazine Let the music take you... Photo credit Amy Rogin percussion and addition of the marimba (played by ) gives this song a Latin flair. Beckenstein’s tenor sax segues the introduction of Cyro Baptista’s amazing trumpet, which transitions into a dominant thread in this piece. Julio Fernandez plays a fabulous guitar solo to give it some extra depth. This tune marries the styles of Carlos Santana, Grover Washington, Jr. and Herb Alpert. The song is quirky and sultry at the same time.

This compilation has all the textures and sounds from lands far away. Take Impressions of Madrid, for instance, which takes the listener to a village in Spain. The open- ing is introduced by combining flute notes, hand clapping and Spanish vocalese (all provided by Jay Beckenstein). makes his presence known by threading his bass line in a Latin groove. Julio Fernandez demonstrates his Latin roots beautifully as he plays the guitar. Becken- stein’s soprano sax is sensual and robust in this piece, and the percussion in this piece is fabulous. The marimba, percussion and flute close this tune. Then the bass line and percussion segue to the next track, Impressions of Toledo. I love the juxtaposition of titles. The combination of ’s keyboard playing and Beckenstein’s solo work create the sound that has all the elements of earlier Spyro Gyra music. The hard bass line is a great force behind it all, and the drum lines provided by Josh Dion give this piece tremendous depth.

Wrapped in a Dream is my favorite track on this CD. One can’t help envision lounging in a basement jazz club. Scott Ambush’s impressive upright bass playing threads beauti- ful brush work and cymbals of Josh Dion. Beckenstein’s sax is seamless as he intermittently oscillates notes famil- iar to Kind of Blue. With its deep, rich tones and unique flavor, this tune is straight-ahead jazz. Martini anyone?

After the Storm has a bluesy, scratchy feel to it. Julio Fer- nandez wrote this composition and his playing is a con- stant in this piece. Schuman’s keys add that extra push. As always, the sax sounds great and creates a total cohe- siveness. The drums are hard-swinging and are executed well by the talent of Josh Dion.

Overall, this CD has all the richness and vibrancy that we all expect from Spyro’s music. Even with its ethnic in- fluences, funky groove, and ballad, their music is always stripped down to that one quintessential sound that only Spyro Gyra can create. Truly a delight, this CD is a great addition to any jazz lover’s collection. Let the music take you... SmoothJazz Magazine 39 & Restaurant Jazz Venue Guide 220 East Ballyhoo Grill Tampa Carrabba’s Italian Grill Tampa,Fleming’s Prime FL Steak- 220 E Davis Blvd 7604 Ehrlich Rd 700 N Dale Mabry Hwy house & Wine Bar (813) 259-1220 (813) 926-2149 (813) 875-4411 4322 Boy Scout Blvd. (813) 874-9463

42nd Street Bistro Bar Louie The Castaway Restaurant Four Green Fields 516 S Howard Ave 2223 N West Shore Blvd 7720 W Courtney Campbell Cswy 205 W Platt St (813) 253-0042 (813)874-1919 (813) 281-0770 (813) 254-4444

ABC Pizza House Bella’s Italian Cafe Ceviche Tapas Bar & Restaurant Goody Goody 609 W. Kennedy Blvd. 1413 S Howard Ave Ste 101 2109 Bayshore Blvd 1119 N Florida Ave (813) 251-8804 (813) 254-3355 (813) 250-0203 (813) 223-4230

Al Bacio Gourmet Pizzeria Bern’s Steak House Charley’s Steakhouse Guadalajara Mexican 3211 Bay to Bay Blvd. 1208 S Howard Ave 4444 W Cypress St Restaurant (813) 839-8486 (813) 251-2421 (813) 353-9706 4502 W Hillsborough Ave (813) 879-4096

Aldo’s Restaurant Blue Gardenia Charlie’s Wine Cellar & Wine Bar Hops Grill & Bar 3671 S West Shore Blvd 1809 W Platt St 533 S Howard Ave 327 N Dale Mabry Hwy (813) 831-0694 (813) 250-1595 (813) 250-1967 (813) 871-3600

Alessi Bakery Blue Martini Delimania Howl at the Moon 2909 W Cypress St 2223 N West Shore Blvd 3636 Henderson Blvd 615 Channelside Dr 8138794544 (813) 873-2583 (813) 969-3354 (813) 226-2261

Alex’s Southern Big John’s Alabama BBQ Don Pan International Bakery Hyde Park Cafe Style Bar-b-q 5707 N 40TH St 202 N Dale Mabry Hwy 1806 W Platt St 5362 W Village Dr (813) 626-9800 (813) 350-0500 (813) 254-2233 (813) 269-0050

Alfresco The Brunchery Estela’s Mexican Restaurant Iavarone’s 501 5TH Ave NE 3611 W. Hillsborough Ave. 209 E Davis Blvd 3617 W Humphrey St (727) 894-1000 (813) 873-7745 (813) 251-0558 (813) 932-5241

Armani’s C’est La Vie Evos’ Il Terrazzo 2900 Bayport Dr 200 E Madison St 609 S Howard Ave 700 S Florida Ave (813) 207-6800 (813) 221-4748 (813) 258-3867 (813) 221-4900

Bahama Breeze Cafe European First Watch Restaurant Indigo Coffee 3045 N Rocky Pt Dr E 113 S Hyde Park Ave 520 N Tampa St 3908 N Marguerite St (813) 289-7922 (813) 254-9458 (813) 307-9006 (813) 224-0315

40 SmoothJazz Magazine Let the music take you... J Alexander’s Restaurant Maggiano’s Little Italy Rattle Fish Raw BarTampa, and TuscaBella GrillFL & Patio 913 N Dale Mabry Hwy 203 Westshore Plz Grill Bar (813) 354-9006 (813) 288-9000 5210 W Tyson Ave 9212 Anderson Rd (813)902-1071 (813) 290-7744

Jackson’s Bistro-bar-sushi Mangroves Remington Steak House Udipi Cafe 601 S Harbour Island Blvd #100 208 S Howard Ave 2836 E Bearss Ave 14422 N Dale Mabry Hwy (813) 277-0112 (813) 258-3302 (813) 972-1646 (813) 962-7300

Jasmine Thai Restaurant Matoi Sushi Ricks on the River Valencia Garden 13248 N Dale Mabry Hwy 602 N Dale Mabry Hwy 2305 N Willow Ave 811 W Kennedy Blvd (813) 968-1501 (813) 871-3233 (813) 251-0369 (813) 253-3773

Kahunaville Nature’s Harvest Market & Rosemary Cottage Tea Vallarta’s Restaurante 2223 N West Shore Blvd Deli Room 13731 N Dale Mabry Hwy (813) 348-2011 1021 N Macdill Ave 4006 S Macdill Ave (813) 264-7691 (813) 873-7428 (813) 805-6601

Kojak’s House of Ribs Nicki’s Omlette & Grill Roy’s Water, Unique Sushi 2808 W Gandy Blvd 6805 W Hillsborough Ave 4342 West Boy Scout Blvd 1015 1/2 S Howard Ave (813) 837-3774 (813) 888-9365 (813) 873-7697 (813) 251-8406

La Teresita New World Brewery Royal Palace Thai Restau- The Wine Exchange 3246 W Columbus Dr 1313 E Eighth Ave rant 1611 W. Swann Ave. (813) 879-4909 (813) 248-4969 811 S Howard Ave (813) 254-9463 (813) 258-5893

La Terrazza Restaurant O’Brien’s Irish Pub Sacred Grounds Winners Sports Grill 1727 E 7th Ave 11744 N Dale Mabry Hwy 4819 E Busch Blvd 12060 Anderson Road (813) 248-1326 (813) 961-4092 (813) 983-0837 (813) 963-3200

Landry’s Seafood House Oystercatchers Skipper’s Smokehouse Wright’s Gourmet House 7616 W Courtney Campbell Cswy 2900 Bayport Dr 910 Skipper Rd 1200 S Dale Mabry Hwy (813) 289-7773 (813) 207-6815 (813) 977-6474 (813) 251-5242

Latam Pane Rustica Taj Indian Cuisine Zaeem Palace 1913 N Nebraska Ave 3225 S Macdill Ave 2734 E Fowler Ave 3333 S. Westshore Blvd. (813) 223-7338 (813) 902-8828 (813) 971-8483 (813) 832-1188

The Laughing Cat The Rare Olive Tampa Palm Restaurant 1820 N 15th St 1601 E Seventh Ave 205 Westshore Plz (813) 241-2998 (813) 248-2333 (813) 849-7256

Let the music take you... SmoothJazz Magazine 41 & RestaurantBARBECUE JazzSEAFOOD Venue GuideMEXICAN Houston,STEAKHOUSE TX The Armadillo Palace Baroque Berryhill Baja Grill & Can- The Capital Grille 5015 Kirby Drive 1700 Sunset Blvd tina 5365 Westheimer Road 713-526-9700 713-523-8881 3407 Montrose Blvd 713-623-4600 713-523-8226

Baker’s Ribs Benjy’s Restaurant Canyon Cafe Churrascos 2223 S Voss Road 2424 Dunstan Road 5000 Westheimer Road 9705 Westheimer Road 713-977-8725 713-522-7602 713-629-5565 713-952-1988

Barbecue Inn Denis Seafood Restaurant El Patio Mexican Restaurant Fogo de Chao Churrascaria 116 W Crosstimbers 12109 Westheimer Road 6444 Westheimer 8250 Westheimer Road 713-695-8112 281-497-1110 713-780-0410 713-978-6500

Demeris Barbecue D’Wine Restaurant & Bar Hugo’s Pappas Brothers Steak- 2911 S Shepherd Drive 4304 Westheimer Rd at Mid- 1602 Westheimer Road house 713-529-7326 lane 713-524-7744 5839 Westheimer Road 713-626-9463 713-780-7352

Goode Company Barbeque Little Pappas Seafood Kitchen La Mexicana Restaurant Perry’s Grille & Steakhouse 5109 Kirby Drive 3001 S Shepherd Drive 1018 Fairview Street 1051 Pineloch Drive 713-522-2530 713-522-4595 713-521-0963 281-286-8800

Houston Barbecue Company Mardi Gras Grill Last Concert Cafe Saltgrass Steak House 1127 Eldridge Pkwy, South of 1200 Durham Drive 1403 Nance Street 14909 North Fwy Memorial 713-864-5600 713-226-8563 281-872-4545 281-531-6800

Lyndon’s Pit Bar-B-Q Pappadeaux Seafood Kitchen Lopez Mexican Restaurant Strip House 13165 Northwest Fwy 2410 Richmond Ave 11606 S Wilcrest Drive 1200 Mckinney Street 713-690-2112 713-527-9137 281-495-2436 713-659-6000

Luling City Market Real Pesce Mission Burritos Taste of Texas Restaurant Bar-B-Que 3029 Kirby Drive 2245 W Alabama Street 10505 Katy Fwy 4726 Richmond Ave 713-522-4858 713-529-0535 713-932-6901 713- 871-1903

Pappas Bar-B-Q Tony Mandola’s Gulf Coast Pico’s Mex-Mex Restaurant Truluck’s Steak & Stone 1217 Pierce Kitchen 5941 Bellaire Blvd Crab 713-659-1245 1962 W Gray Street 713-662-8383 5919 Westheimer Road 713-528-3474 713-783-7270

Williams Smoke House Willie G’s Seafood & Steak Teala’s Mexican Restaurant Vic & Anthony’s 5903 Wheatley Street House & Bar 1510 Texas Street 713-680-8409 1605 Post Oak Blvd 3210 W Dallas Street 713-228-1111 713-840-7190 713-520-9292

42 SmoothJazz Magazine Let the music take you... ITALIAN OTHER ASIAN Houston, TX Damian’s Cucina Italiana Brennan’s of Houston Azuma Sushi & Robata Bar- 3011 Smith Street 3300 Smith Street Rice Village 713-522-0439 713-522-9711 5600 Kirby Drive Cajun & Creole 713-432-9649

Farrago Daily Review Cafe Benjy’s Restaurant 318 Gray Street 3412 West Lamar 2424 Dunstan Road 713-523-6404 713-520-9217 713-522-7602 American

La Mora Flying Saucer Pie C ompany China Garden Restaurant 912 Lovett Blvd 436 W Crosstimbers Street 1602 Leeland 713-522-7412 713-694-1141 713-652-0745 Desserts

Palazzo’s Italian Cafe Hickory Hollow Ginza Japanese Restaurant 2620 Briar Ridge Drive 8038 Fallbrook Drive 5868 San Felipe Street 713-784-8110 281-469-5323 713-785-0332 American

Quattro Les Givral’s Kahve Grand Lux Cafe 1300 Lamar Street 801 Congress Street 5000 Westheimer Road 713-276-4700 713-547-0444 713-626-1700 Vegetarian

Kim Son Restaurant 2001 Jefferson Street 713-222-2404

Kubo’s Sushi Bar & Grill 2414 University Blvd 713.528.7878

Mai Thai 3819 Kirby Drive 713-522-6707

Shanghai River Restaurant 2407 Westheimer Road 713- 528-5528

Three Dragons Cafe 1910 Wilcrest Drive 713-789-8288

Let the music take you... SmoothJazz Magazine 43 CONCERT LISTINGS

B.B. King 03/09 Milwaukee, WI Potawatomi Casino Chris Botti 03/09 Colorado Springs, Pikes Peak Center CO Michael McDonald 03/09 Fayetteville, AR Walton Arts Center Santana 03/09 Santiago, CHL Estadio Nacional B.B. King 03/10 Dubuque, IA Five Flags Center

Boney James 03/10 Cerritos, CA Cerritos Center Chick Corea 03/10 Boulder, CO Boulder Theater Chris Botti 03/10 Sioux Falls, SD Washington Pavilion Dianne Reeves 03/10 Saint George, UT Cox Performance Arts Center Gato Barbieri 03/10 Philadelphia, PA Zanzibar Blue Michael McDonald 03/10 Little Rock, AR Robinson Center Hall Earl Klugh 03/10 Colorado Springs, The Broadmoor Hotel Photo credit Fullmoon CO Pieces of A 03/11 Englewood, NJ Bergen PAC Ladysmith Black 03/01 Platteville, WI Platteville Center for the Arts Dream Mambazo B.B. King 03/11 Bowler, WI Mohican North Star Casino Chick Corea 03/02/ Charlottesville, VA Paramount Theatre Boney James 03/11 Cerritos, CA Cerritos Center Chris Botti 03/02/ Decatur, AL Princess Theatre Chris Botti 03/11 Minneapolis, MN State Theatre Poncho Sanchez 03/02/ New York, NY Blue Note Gato Barbieri 03/11 Philadelphia, PA Zanzibar Blue Santana 03/02/ Universal City, CA Gibson Amphitheatre (Universal) George Winston 03/11 Crossville, TN Cumberland Playhouse Chris Botti 03/03 Saint Louis, MO Touhill Perf. Arts Ctr. 03/11 St Lucia Bay Gardens Hotel George Winston 03/03 Fort Lauderdale, Broward Center 03/11 St Lucia Bay Gardens Hotel FL Michael McDonald 03/11 Little Rock, AR Robinson Center Hall 03/03 Washington, DC Kennedy Center Santana 03/11 Buenos Aires, River Plate Stadium Michael McDonald 03/03 Atlantic City, NJ Resorts International ARG Poncho Sanchez 03/03 New York, NY Blue Note Chick Corea 03/12 Mesa, AZ Arts Center Yellowjackets 03/03 Philadelphia, PA Zanzibar Blue Dave Brubeck 03/12 Seattle, WA Paramount Theatre Chick Corea 03/04 Knoxville, TN Tennessee Theatre 03/12 Seattle, WA Paramount Theatre Chris Botti 03/04 Springfield, MO Juanita K. Hammons Hall Trio Kenny Garrett 03/04 Washington, DC Kennedy Center B.B. King 03/13 Green Bay, WI Oneida Casino Michael McDonald 03/04 Atlantic City, NJ Resorts International George Winston 03/13 Nashville, TN Tennessee Performing Arts Poncho Sanchez 03/04 New York, NY Blue Note Center Yellowjackets 03/04 Philadelphia, PA Zanzibar Blue Chick Corea 03/14 Davis, CA University Of California Chris Botti 03/05 Columbia, MO Jesse Auditorium B.B. King 03/15 Madison, WI Overture Center For The Arts Poncho Sanchez 03/05 New York, NY Blue Note Bela Fleck & The 03/15 Lexington, KY Kentucky Theatre Flecktones Brian Culbertson 03/08 Palm Desert, CA McCallum Theatre Dave Brubeck 03/15 Berkeley, CA Zellerbach Hall Chick Corea 03/08 Roanoke, VA Jefferson Center Ramsey Lewis 03/15 Berkeley, CA Zellerbach Hall Chris Botti 03/08 Beaver Creek, CO Vilar Center For The Arts Trio Dianne Reeves 03/08 Salt Lake City, UT Kingsbury Hall @ University Of 03/15 Porto Alegre, BRA Olympic Stadium Utah Santana

44 SmoothJazz Magazine Let the music take you... CONCERT LISTINGS

Ramsey Lewis 03/15 Berkeley, CA Zellerbach Hall Mindi Abair 03/23 Seattle, WA Dimitriou’s Jazz Alley Trio Chieli Minnuci 03/23 Reading, PA The Berks Jazz Festival B.B. King 03/16 East Lansing, MI Michigan St. University B.B. King 03/24 Niagara Falls, ON Niagara Fallsview Casino Bela Fleck & The 03/16 Lexington, KY Kentucky Theatre Bela Fleck & The 03/24 Lake Buena Vista, House Of Blues Flecktones Flecktones FL Chick Corea 03/16 Aspen, CO Belly Up Chris Botti 03/24 San Francisco, CA Nob Hill Masonic Auditorium Dianne Reeves 03/17 Reading, PA Sovereign Center For Perf. Arts David Sanborn 03/24 San Francisco, CA Nob Hill Masonic Auditorium Paul Brown 03/17 Newark, DE Unitarian Universalist Fellowship George Benson 03/24 Englewood, NJ Bergen PAC Santana 03/17 Sao Paulo, BRA Pacaembu Stadium Mindi Abair 03/24 Seattle, WA Dimitriou’s Jazz Alley B.B. King 03/18 Toledo, OH Stranahan Theatre Spyro Gyra 03/24 Austin, TX One World Theatre Bela Fleck & The 03/18 Savannah, GA Trustees Theatre 03/24 Clearwater, FL Ruth Eckerd Hall Flecktones B.B. King 03/25 Brest, FRA Parc de Expositions de Penfeld Chick Corea 03/18 San Antonio, TX Trinity University Auditorium Bela Fleck & The 03/25 Live Oak, FL Spirit Of Suwannee Music Park Dianne Reeves 03/18 Rockford, IL Maddox Theatre Flecktones George Winston 03/18 Greenville, OH Darke County Center Brian Culbertson 03/25 Wyomissing, PA Sheraton Jeff Golub 03/18 Huntington Beach, Huntington Beach Library Chick Corea 03/25 Omaha, NE Holland Performing Arts Center CA Chris Botti 03/25 Fresno, CA William Saroyan Theatre Poncho Sanchez 03/18 Saratoga, CA Montalvo Arts Center David Sanborn 03/25 Fresno, CA William Saroyan Theatre Santana 03/18 Rio De Janeiro, Apoteose George Benson 03/25 Niagara Falls, NY Seneca Niagara Casino Hotel BRA Mindi Abair 03/25 Seattle, WA Dimitriou’s Jazz Alley Warrren Hill 03/18 Huntington Beach, Huntington Beach Library Natalie Cole 03/25 Sunrise, FL BankAtlantic Center CA Ken Navarro 03/25 Miami, FL The Miami Jazz Festival Santana 03/18 Rio De Janeiro, Apoteose Bela Fleck & The 03/26 Birmingham, AL Alabama Theatre BRA Flecktones B.B. King 03/19 Wilkes-Barre, PA F.M. Kirby Center Chris Botti 03/26 San Diego, CA Spreckels Theatre Poncho Sanchez 03/19 Miramar, CA Bach Dancing & Dynamite David Sanborn 03/26 San Diego, CA Spreckels Theatre Chick Corea 03/20 Edmond, OK University of Central Oklahoma George Benson 03/26 Dayton, OH Schuster PAC 03/21 Grand Rapids, MI Royce Auditorium Mindi Abair 03/26 Seattle, WA Dimitriou’s Jazz Alley Joe McBride 03/22 Reading, PA Peanut Bar Natalie Cole 03/26 Fort Myers, FL Barbara B. Mann Hall B.B. King 03/22 Toms River, NJ Ritacco Center Bela Fleck & The 03/28 Fort Worth, TX Bass Performance Hall Bela Fleck & The 03/22 Tampa, FL Tampa Theatre Flecktones Flecktones Chris Botti 03/28 Tucson, AZ Desert Diamond Casino Chris Botti 03/22 Redding, CA Redding Convention Ctr. Natalie Cole 03/28 Sarasota, FL Van Wezel Perf. Arts Hall David Sanborn 03/22 Redding, CA Redding Convention Ctr. B.B. King 03/29 Sheffield, UK Hallam FM Arena Bela Fleck & The 03/23 Pompano Beach, Pompano Beach Amphitheatre Bela Fleck & The 03/29 Austin, TX Stubb’s Barbeque Flecktones FL Flecktones Chick Corea 03/23 West Lafayette, Purdue University 03/29 Palm Desert, CA McCallum Theatre IN Chris Botti 03/29 West Palm Beach, Raymond F. Kravis Center Chris Botti 03/23 Sacramento, CA Radisson Hotel Natalie Cole FL David Sanborn 03/23 Sacramento, CA Radisson Hotel Bela Fleck & The 03/30 Tulsa, OK Brady Theatre George Benson 03/23 Milwaukee, WI Potawatomi Bingo Casino Flecktones

Let the music take you... SmoothJazz Magazine 45 CONCERT LISTINGS

Chris Botti 03/30 Las Vegas, NV Orleans Casino Michael McDonald 04/08 Coarsegold, CA Half Dome Th.@ Chukchansi Gato Barbieri 03/30 Washington, DC Casino B.B. King 03/31 Manchester, UK Manchester Evening News Arena Poncho Sanchez 04/08 Boise, ID Gene Harris Jazz Festival Bela Fleck & The 03/31 Kansas City, MO Uptown Theatre Chris Botti 04/09 Seattle, WA Dimitriou’s Jazz Alley Flecktones Chick Corea 04/09 Sarasota, FL Van Wezel Perf. Arts Hall Chris Botti 03/31 Las Vegas, NV Orleans Casino Keiko Matsui 04/09 Alexandria, VA The Birchmere Michael McDonald 03/31 Cerritos, CA Cerritos Center Michael McDonald 04/09 Jackson, CA Jackson Rancheria Casino Yellowjackets 03/31 Houghton, MI Michigan Tech. Univ. Chick Corea 04/11 New York, NY Blue Note Yellowjackets 03/31 Houghton, MI Michigan Tech. Univ. George Winston 04/11 Stevens Point, WI Univ. Of Wisconsin Bela Fleck & The 04/01 Saint Louis, MO The Pageant Chick Corea 04/12 New York, NY Blue Note Flecktones B.B. King 04/13 Indianapolis, IN Murat Theatre B.B. King 04/01 Birmingham, UK NEC Arena Chick Corea 04/13 New York, NY Blue Note Larry Carlton 04/01 New York, NY Blue Note George Winston 04/13 La Crosse, WI University Of Wisconsin Chick Corea 04/01 Kansas City, MO Folly Theatre Hugh Masekela 04/13 Albany, NY Empire State Plaza 04/01 Washington, DC Kennedy Center Terrace Theatre B.B. King 04/14 Elizabeth, IN Caesars Indiana Casino Down to the Bone 04/01 Huntington, NY Inter-Media Arts Center (IMAC) Chick Corea 04/14 New York, NY Blue Note B.B. King 04/02 Bournemouth, UK International Centre Hugh Masekela 04/14 Somerville, MA Somerville Theatre Larry Carlton 04/02 New York, NY Blue Note B.B. King 04/15 Evansville, IN The Centre Diane Schuur 04/02 Purchase, NY Performing Arts Center Chick Corea 04/15 New York, NY Blue Note B.B. King 04/04 London, UK Wembley Arena Dianne Reeves 04/15 Istanbul, TUR Is Sanat Istanbul Hall Chris Botti 04/05 Seattle, WA Dimitriou’s Jazz Alley George Winston 04/15 River Falls, WI University Of Wisconsin Michael McDonald 04/05 Pala, CA Pala Casino Ramsey Lewis 04/15 Fort Pierce, FL Sunrise Theatre Chris Botti 04/06 Seattle, WA Dimitriou’s Jazz Alley Trio Dianne Reeves 04/06 Denver, CO Ellie Caulkins Opera House Hugh Masekela 04/15 Chicago, IL Hot House Poncho Sanchez 04/06 Chico, CA California State University Chick Corea 04/16 New York, NY Blue Note Ronny Jordan 04/06 Annapolis, MD Rams Head On Stage Dianne Reeves 04/16 Casablanca, MOR Megarama Chris Botti 04/07 Seattle, WA Dimitriou’s Jazz Alley B.B. King 04/17 New York, NY B.B. King’s Blues Club Larry Carlton 04/07 Allston, MA Sculler’s George Winston 04/17 Oshkosh, WI Oshkosh Opera House Patti Austin 04/07 Newport News, Christopher Newport University Hugh Masekela 04/17 Cleveland, OH Nighttown VA Bela Fleck & The 04/18 Albany, NY Kitty C. Hart Theatre @The Egg Michael McDonald 04/07 Kelseyville, CA Konocti Harbor Resort & Spa Flecktones Poncho Sanchez 04/07 Stockton, CA Univ. Of The Pacific B.B. King 04/18 New York, NY B.B. King’s Blues Club Ramsey Lewis 04/07 Sarasota, FL Van Wezel Perf. Arts Hall Dianne Reeves 04/18 Carthage, TUN Salle Carthage Trio Joshua Redman 04/18 Los Angeles, CA Univ. Of Southern California Chris Botti 04/08 Seattle, WA Dimitriou’s Jazz Alley Bela Fleck & The 04/19 Verona, NY Turning Stone Casino Larry Carlton 04/08 Allston, MA Sculler’s Flecktones Diane Schuur 04/08 Palm Desert, CA McCallum Theatre B.B. King 04/19 New York, NY B.B. King’s Blues Club George Winston 04/08 Park Forest, IL Freedom Hall Hugh Masekela 04/19 Austin, TX One World Theatre Yolanda Adams 04/08 New York, NY B.B. King’s Blues Club Bela Fleck & The 04/20 New York, NY Madison Square Garden

Keiko Matsui 04/08 Annapolis, MD Rams Head On Stage Flecktones B.B. King 04/20 Providence, RI Providence Perf. Arts Ctr.

46 SmoothJazz Magazine Let the music take you... CONCERT LISTINGS

Dianne Reeves 04/20 Amsterdam, NET Concertgebouw Bela Fleck & The 04/26 Milwaukee, WI Pabst Theater George Winston 04/20 Madison, WI Overture Center For The Arts Flecktones Poncho Sanchez 04/20 Seattle, WA Dimitriou’s Jazz Alley Chris Botti 04/26 Salt Lake City, UT Kingsbury Hall @ University Of Bela Fleck & The 04/21 New York, NY B.B. King’s Blues Club Utah Flecktones B.B. King 04/26 Clearwater, FL Ruth Eckerd Hall Chris Botti 04/21 Bremerton, WA Admiral Theatre Diane Schuur 04/26 Toronto, ON Glenn Gould Studio Jeff Kashiwa 04/21 Atlanta, GA Robert Ferst Center For The Dianne Reeves 04/26 Moscow, RUS International Performing Arts Arts Centr Spyro Gyra 04/21 Annapolis, MD Rams Head On Stage Yellowjackets 04/27 Alexandria, VA The Birchmere Larry Carlton 04/21 Allston, MA Sculler’s Dianne Reeves 04/27 Tallinn, EST Concert Hall Poncho Sanchez 04/21 Seattle, WA Dimitriou’s Jazz Alley Joshua Redman 04/27 Austin, TX Continental Club Hugh Masekela 04/21 Miami, FL African Heritage Celebration George Winston 04/27 Interlochen, MI Interlochen Center Bela Fleck & The 04/22 New York, NY Irving Plaza Yellowjackets 04/27 Alexandria, VA The Birchmere Flecktones Bela Fleck & The 04/28 Grand Rapids, MI DeVos Hall @ Grand Center Brian Culbertson 04/22 Destin, FL Morgan Park Flecktones Chris Botti 04/22 Portland, OR Arlene Schnitzer Hall Bob James 04/28 Philadelphia, PA Zanzibar Blue B.B. King 04/22 Atlantic City, NJ House Of Blues Chris Botti 04/28 Santa Ana, CA Pacific Symphony Jeff Kashiwa 04/22 Melbourne, FL Maxwell C. King Center B.B. King 04/28 Lake Buena Vista, House Of Blues Spyro Gyra 04/22 Altantic City, NJ Shell Showroom FL Yellowjackets 04/28 Cleveland, OH Tri-C Jazz Festival Larry Carlton 04/22 Allston, MA Sculler’s Chick Corea 04/28 , MA Berklee Performance Ctr. Chick Corea 04/22 Saint Petersburg, Palladium Theater FL Diane Schuur 04/28 Cleveland, OH State Theatre Dianne Reeves 04/22 Dublin, IRE National Concert Hall Dianne Reeves 04/28 Espoo, FIN Cultural Centre Joshua Redman 04/22 Champaign, IL University Of Illinois Joshua Redman 04/28 Denton, TX Denton Art & Jazz Festival Poncho Sanchez 04/22 Seattle, WA Dimitriou’s Jazz Alley Nils 04/28 New York, NY B.B. King’s Blues Club Hugh Masekela 04/22 Cape May, NJ Cape May Jazz Festival Yellowjackets 04/28 Cleveland, OH Tri-C Jazz Festival Chris Botti 04/23 Portland, OR Arlene Schnitzer Hall Craig Chaquico 04/23 Lancaster, CA Lancaster Park Chick Corea 04/23 Orlando, FL TBA Diane Schuur 04/23 Ames, IA Stephens Auditorium 04/23 Lancaster, CA Poppy Festival Poncho Sanchez 04/23 Seattle, WA Dimitriou’s Jazz Alley Hugh Masekela 04/23 Silk Hope, NC Shakori Hills GrassRoots Festival Chris Botti 04/24 Portland, OR Arlene Schnitzer Hall Chick Corea 04/24 Tampa, FL Tampa Theatre Photo credit Fullmoon Dianne Reeves 04/24 Warsaw, POL Kongresowa Hall George Winston 04/24 Coopersville, MI Centerstage Hugh Masekela 04/28 Washington, DC Zanzibar Chris Botti 04/25 Salem, OR Smith Auditorium Bela Fleck & The 04/29 Cleveland, OH State Theatre B.B. King 04/25 Jacksonville, FL Florida Theatre Flecktones George Winston 04/25 East Lansing, MI Wharton Center Bob James 04/29 Philadelphia, PA Zanzibar Blue Hugh Masekela 04/25 New York, NY S.O.B.’S Chris Botti 04/29 Santa Ana, CA Pacific Symphony

Let the music take you... SmoothJazz Magazine 47 CONCERT LISTINGS

B.B. King 04/29 Valdosta, GA Wild Adventures Theme Park Chick Corea 05/06 Washington, DC Blues Alley Chick Corea 04/29 Danbury, CT W. Connecticut State University Dianne Reeves 05/06 Cologne, GER Cologne Philharmonic Diane Schuur 04/29 Dayton, OH Gilly’s Bob James 05/07 Pittsburgh, PA Manchester Craftsmen’s Guild Dianne Reeves 04/29 Kaunas, LIT VDU Grand Hall 05/07 Seattle, WA Dimitriou’s Jazz Alley George Winston 04/29 Detroit, MI Symphony Hall Chris Botti 05/07 Indianapolis, IN Indianapolis Symphony Bela Fleck & The 04/30 Wilkesboro, NC Wilkes Community College Chick Corea 05/07 Washington, DC Blues Alley Flecktones Dianne Reeves 05/08 Luxembourg, LUX Conservatoire de Musique B.B. King 04/30 Boca Raton, FL Mizner Park Amphitheatre Santana 05/08 Rotterdam, NET Ahoy Yellowjackets 04/30 East Greenwich, Greenwich Odeum Hugh Masekela 05/08 Seattle, WA The Triple Door RI Dianne Reeves 05/09 Saint Michel dur Espace Marcel Carne Santana 04/30 Helsinki, FIN Hartwall Arena Onge, FRA Yellowjackets 04/30 East Greenwich, Greenwich Odeum Santana 05/09 Antwerp, BEL Sportpaleis Antwerpen RI Chris Botti 05/10 Uncasville, CT Mohegan Sun Casino B.B. King 05/01 Naples, FL Philharmonic Center For The Bela Fleck & The 05/11 Columbus, OH Southern Theatre Arts Flecktones Diane Schuur 05/01 Minneapolis, MN Dakota Jazz Club Chris Botti 05/11 Uncasville, CT Mohegan Sun Casino Dianne Reeves 05/01 Cheltenham, UK Jazz Festival Dianne Reeves 05/11 Barcelona, SPA Petit Palau Chick Corea 05/02 Washington, DC Blues Alley Santana 05/11 Manchester, UK Manchester Evening News Arena Diane Schuur 05/02 Minneapolis, MN Dakota Jazz Club Hugh Masekela 05/11 Oakland, CA Yoshi’s Dianne Reeves 05/02 Manchester, UK Royal Northern College Of Music Chris Botti 05/12 Uncasville, CT Mohegan Sun Casino Santana 05/02 Stockholm, SWE Stockholm Globe Arena Dianne Reeves 05/12 Las Palmas, SPA Auditorio Alfredo Kraus B.B. King 05/03 Birmingham, AL Alabama Theatre Santana 05/12 London, UK Wembley Arena Chick Corea 05/03 Washington, DC Blues Alley Hugh Masekela 05/12 Oakland, CA Yoshi’s Bob James 05/04 Pittsburgh, PA Manchester Craftsmen’s Guild Brian Culbertson 05/13 Elkhart Lake, WI Jazz On The Vine David Benoit 05/04 Seattle, WA Dimitriou’s Jazz Alley Chris Botti 05/13 Uncasville, CT Mohegan Sun Casino Chick Corea 05/04 Washington, DC Blues Alley Dianne Reeves 05/13 Las Palmas, SPA Auditorio Alfredo Kraus Dianne Reeves 05/04 Nurnberg, GER Karstadt Ag Joshua Redman 05/13 Appleton, WI Lawrence University Santana 05/04 Horsens, DEN Forum Horsens Stadium Santana 05/13 London, UK Wembley Arena Bob James 05/05 Pittsburgh, PA Manchester Craftsmen’s Guild Hugh Masekela 05/13 Oakland, CA Yoshi’s David Benoit 05/05 Seattle, WA Dimitriou’s Jazz Alley Chris Botti 05/14 Uncasville, CT Mohegan Sun Casino Chris Botti 05/05 Indianapolis, IN Indianapolis Symphony Dianne Reeves 05/14 Lisboa, POR Centro Cultural De Belem Chick Corea 05/05 Washington, DC Blues Alley Joshua Redman 05/14 Minneapolis, MN Dakota Jazz Club Dianne Reeves 05/05 Darmstadt, GER Central Station Poncho Sanchez 05/14 Saint Lucia, ISL St. Lucia Jazz Festival Mindi Abair 05/05 New Haven, CT John Lyman Arts Ctr Seal 05/14 Saint Lucia, ISL Pigeon Island National Landmark Poncho Sanchez 05/05 Washington, DC TBA Hugh Masekela 05/14 Oakland, CA Yoshi’s Santana 05/05 Hamburg, GER Color Line Arena Joshua Redman 05/15 Minneapolis, MN Dakota Jazz Club Bob James 05/06 Pittsburgh, PA Manchester Craftsmen’s Guild Santana 05/15 Paris, FRA Palais Omnisports David Benoit 05/06 Seattle, WA Dimitriou’s Jazz Alley Chris Botti 05/06 Indianapolis, IN Indianapolis Symphony B.B. King 05/06 Tulsa, OK Brady Arts District Spyro Gyra 05/06 Ridgefield, CT Ridgefield Playhouse

48 SmoothJazz Magazine Let the music take you... Let the music take you... SmoothJazz Magazine 49 Michael Schivo The Jazz Promoters… Promoter John Lennon By: Chris Walker

ccording The timing was right when one day someone said ‘You know to Roger there’s just no jazz here’ on the contemporary level.” Schivo ACowan’s reacted quickly to the person’s lament, first starting with Larry well-known busi- Coryell and later Spyra Gyra. ness primer, there are “Rules for Suc- Notably, he didn’t initially go into this new venture without cess.” But often many some advice. That came from someone that Schivo considers entrepreneurs find a pivotal influence—Monk Montgomery, the older brother of that the rules are cre- the legendary guitarist Wes Montgomery. He is regarded as ated as their business being the first electric in jazz, and was well known in develops. The only guide many often have is their gut Las Vegas as a jazz entrepreneur and founder of its Jazz Society. feelings and common sense. That clearly was the case for He however, was strictly mainstream and promoted late-night smooth jazz concert promoter Michael Schivo, who splits shows that catered mostly to other musicians and showgirls time between Seattle and Las Vegas. Back when he started getting off work. Schivo, however used to dealing with large doing jazz oriented events in 1980, the smooth jazz cat- audiences, sought to do the same with contemporary jazz au- egory didn’t exist. Then, the music was classified under diences. the banners of either contemporary or fusion. “We started by booking clubs and some hotel show rooms on Nonetheless, the audience was there and Schivo recognized it off-nights, much like Monk was doing,” the promoter recalls. immediately. However, it wasn’t just a chance opportunity for “So in terms of that we moved [the shows] into a legitimate him. He had a clear advantage over others who were consider- performing arts center and wow—it worked. We sold four- ing going in that direct then—he was already a seasoned pro- teen hundred out of two thousand the first time at Artemus moter. Actually, he was a bit more than that; he was an estab- Ham Hall at UNLV—that was incredible. Especially consider- lished veteran with about thirteen years of experience doing ing some of these artists weren’t working that large a venue rock concerts. “My first shows were Steppenwolf and Three- in Los Angeles. The situation was good and we followed with Dog Night when they were arena acts,” he stated in a matter- others such as Michael Franks, Pat Metheney, David Benoit, of-fact manner by telephone from his Seattle office. and Larry Carlton. It was still in the ‘80s, about ‘83-’84, we flip- flopped between there (Artemus Ham Hall) and moving back “I come from a gaming family in Las Vegas,” he continued. “We into hotels. I remember how satisfied we were when I looked owned at one time, five casinos and I had a real cool upbring- up at the Sands huge electronic marquee. It said we were pre- ing. My baby-sitters were virtually Spike Jones, , senting George Howard for one night and Tito Puente the next and Duke Ellington, so I was absolutely born into [entertain- night. That was a lot further than Monk ever took it (he died ment]. As a five year-old five-year-old in Vegas, I was able to go in 1982), nevertheless he was a consummate mentor.” into all the showrooms and see all kinds of acts. That included Victor Borge, the Mills Brothers, and a lot of dancing groups. While his contemporary jazz shows were developing, Schivo I even saw the ‘Rat Pack’ with Sinatra, Joey Bishop, Sammy continued doing rock shows and other things. He was ex- Davis, and Dean Martin. By the time I was sixteen, I knew ev- tremely busy then and remembers a typical weekend. David erything about them. Sanborn played at Ham Hall Friday night, Saturday was a truck and tractor pull at the Thomas & Mack Center, and the “So in terms of entering into the rock concert promotions Moody Blues performed there on Sunday. For the promoter it business in the ‘60s, everything was just coming down the pipe. was part of his regular routine and he was just as attentive to I was lucky enough to be in the right place at the right time. the jazz shows as he was with his other events. He thinks that’s While I moved in circles of the rock business and doing Las a point that other contemporary jazz promoters overlook and Vegas’ and Reno’s first rock shows, I also had this love of jazz. credits his rock background for instilling that caveat in his business philosophy.

50 SmoothJazz Magazine Let the music take you... Wilton Felder Wayne Henderson Chick Corea Diana Krall Boney James Four Play

The promoter explained, “The fire in the belly as a rock pro- “We like one-ops and will do them,” the promoter affirms. moter is something that if you can outlast the lifestyle and use “We’ve done them for Dianna Krall when she was breaking. I your common sense, will give you great amounts of enthusi- think I was the only promoter in the US lucky enough to have asm and energy for what you do. Consequently, you learn to six independent cities under the ‘When I Look into Your Eyes” pile it on. Rock n’ roll compared to jazz, has a way of shouting CD tour. I sold all the houses out in advance. So we’ll do things at you. Jazz speaks to you softly. So if you can stay calm as a like that when it makes sense. But our thrust right now is that jazz promoter, keep that fire and enthusiasm from rock, and we’re on our way to owning six jazz festivals. I’ve done main- approach your business with passion, you’re going to have an stream and smooth jazz ones, and like them both. Our festival edge over a lot of other promoters.” in Las Vegas (City of Lights Jazz) is in its tenth year. I own and founded that one, also Schivo’s candor almost equals his ambitious nature and he I produced the San Dia pulls few punches when talking about the current state of mu- Festival (Albuquerque) sic, especially pertaining to live shows. Complacency as far as and last year I produced he’s concerned, is the basis for all the woes the industry cur- a two-day event in Phoe- rently faces. His mantra, contrary to “safe no risk taking” at- nix (KYOT Smooth Jazz titudes that he believes presently prevail, is to be “aggressively Festival on the Green). right.” The biggest challenge for him is, “staying on top of the This year we’re holding fire.” “When I hear something on the radio and go ‘Wow’,” he dates in St. Louis and emphasizes, “I get on the cell. I want to know who that was. Kansas City. We’ve kind Because I felt that musician, whomever he or she is, and even- of invented the festival tually they’re going to be somebody. Unfortunately, I don’t in Seattle at the San Mi- hear that many artists like that anymore because not many chele Winery.” people are breaking through.” Schivo truly does seem to However, when the multi-city promoter, currently covering have the festival bug and about fifteen markets, hears something that gets his attention, thinks that they present better opportunity for promoters due he starts making deals. Usually he’s one of the first to book to the current woes of the economy. Also tours are more limit- emerging talent and gladly accepts the risks. “You create some- ed and record companies aren’t always able to support acts on thing cutting-edge,” Schivo declares, “and that’s the name of the roads like they once were able to. The promoter intimates, the game, instead of going to the Internet to see what R&R has “I guess I got really interested in festivals after founding the to offer. Now that I’m fifty-six and not on the street as much, I ‘Las Vegas City of Lights’ one and then I put together the first network. I know most of the record executives, producers and jazz festival in The Republic of China in ’93. We were there DJs out there. So I reach out to them.” with Lee Ritenour, Phil Perry and . It was very well received and ended up doing a show in Koala Limpur, Singa- Schivo believes that his biggest competition is the Casinos, but pore, Tai Wan and Tai Pai.” Naturally, from a business aspect, thinks he’s about two years ahead of most of them. Just the the question has to be asked if the festivals are more lucrative same, he won’t let himself become stagnant and is starting to than doing single concerts and club dates. Schivo responds, “It concentrate on doing festivals and special one-op projects. At can be…but remember the more it’s calculated—the greater his peak he estimates that he was producing forty to fifty jazz risk, the greater the gain. I’ve been rained on, and hailed on shows per year. Some of cities he works out of besides Seattle out of the blue,” he laughs. and Las Vegas are St. Louis, Kansas City, Dallas, Salt Lake City, Denver, Phoenix, Spokane, Portland, Sacramento, Fresno, and Laguna Beach.

Let the music take you... SmoothJazz Magazine 51 RADIO LISTINGS eep the smoo K th jazz rolling...

Listen LIVE!

ALASKA San Francisco Orlando KKSF 103.7 FM WLOQ 103.1 FM Anchorage www.kksf.com www.wloq.com KNIK 105.7 FM Santa Barbara www.knik.com/ Tallahassee KMGQ 106.3 FM WJZT 97.9 FM ARIZONA www.kmgq1063.com www.wjztfm.com/index.php

Santa Rosa Phoenix GEORGIA KJZY 93.7 FM KYOT 95.5 FM www.kjzy.com www.kyot.com Atlanta WJZZ 107.5 COLORADO CALIFORNIA www.1075wjzz.com/home.asp

Colorado Springs Berkeley ILLINOIS KSKX 105.5 FM KBLX 102.9 FM www.sax1055.com www.kblx.com Peoria WDMJ 94.3 FM Los Angeles DISTRICT OF COLUMBIA www.magic943.com KTWV 94.7 FM www.947wave.com Washington INDIANA WJZW 105.9 Mission Viejo www.smoothjazz1059.com KSBR 88.5 FM Indianapolis www.ksbr.net WYJZ 100.9 FM FLORIDA www.wyjzradio.com Modesto KRVR 105.5 Destin LOUISIANA www.krvr.com WSBZ 106.3 FM www.wsbz.com Baton Rouge Palm Springs WBRH 90.3 FM KJJZ 102 FM Ft. Lauderdale / www.102kjjz.com Miami WLVE 93.9 FM www.love94.com Sacramento Baltimore KSSJ 947. FM Fort Meyers WSMJ 104.3 FM www.kssj.com WZJZ 107.1 www.smoothjazz1043.com/main.html www.smoothjazz1071.com/main.html San Diego Ocean Pines KIFM 98.1 FM Gainesville WQJZ 97.1 FM www.kifm.com WXJZ 104.9 FM www.wqjz.com www.wxjz.fm

52 SmoothJazz Magazine Let the music take you... RADIO LISTINGS RADIO LISTINGS et the mu L sic take you...

Listen LIVE! Listen LIVE!

MASSACHUSSETTS NEW YORK TENNESSEE

Northampton New York City Nashville WEIB 106.3 FM WQCD 101.9 WFSK 88.1 www.weibfm.com www.cd1019.com/ www.fisk.edu/wfsk/

MICHIGAN OHIO TEXAS

Caddilac Cleveland Dallas WJZQ 92.9 FM WNWV 107.3 FM KOAI 107.5 www.929thebreeze.com www.wnwv.com www.smoothjazz1075.com

Detroit Daytona Houston WVMV 98.7 FM WDSJ 106.5 KHJZ 95.7 FM www.wvmv.com www.daytonjazz.com/main.html www.khjz.com

MISSOURI OREGON UTAH

St. Louis Coos Bay Salt Lake City www.smooth1065.com KYSJ 105.9 FM KBZN 97.9 FM www.lighthouseradio.com/kysj/ www.kbzn.com NEVADA Portland WISCONSIN Las Vegas KIJZ 105.9 KOAS FM 105.7 www.smoothjazzportland.com/main.html Berlin www.1057theoasis.com WBJZ 104.7 FM PENNSYLVANIA www.wbjzfm.com Philadelphia Milwaukee Florence WJJZ 106.1 FM WJZI 93.3 FM WNJL www.wjjz.com www.wjzi.com www.wnjl.com Starview NEW MEXICO WSJW 92.7 www.smoothjazz927.com Santa Fe KSFQ 101.1 www.101thecat.com

Let the music take you... SmoothJazz Magazine 53 Photo credit Craig C. Miller

Ella Fitzgerald and Billy Holiday, to name a few. It is also Hollywood Bowl to a great place to catch Broadway performances. Nestled in the Walt Disney Hall: The the mountains of Hollywood, its wooded surroundings and starlit sky make perfect accompaniments to wonder- L.A. Philharmonic has ful music. It is a perfect excuse to relax with a picnic and take in some of the best sights and sounds of L.A. Acousti- you covered. cally, the amazing sound system propels the music which echoes through the wooded setting. Jumbo screens give By Amy Rogin plenty of visual footage of the activities on stage, so no worries if you’re seated in the back. The Bowl seats 18,000, assist, Christian McBride, is known as one of so seating is rarely an issue. Annual highlights of the Hol- the most versatile jazz musicians to date. Both a lywood Bowl not to miss include the Playboy Jazz Festival, composer and a sideman, he has worked with such B annual Fourth of July Fireworks Show, and for those more names as Ray Brown, Sting, Diana Krall and Pat Metheny. family-inclined, the Sound of Music Sing-Along. Some of His style, ever adaptable, is characterized as genuine and the highlights of this past summer’s jazz programming in- boundless. It is his reputation and his passion for music cluded & Friends, & Friends and that awarded him the prestigious position, Creative Chair Pink Martini. for Jazz Programming, with the L.A. Philharmonic Association. Radio host and smooth jazz favorite, Dave Koz, enlisted the musical stylings of Praful, Jean Luc Ponty, Bela Fleck, McBride is dedicated to keeping the jazz programming as and Jeffrey Osborne. Praful, with his blend interesting and eclectic as the venues themselves. He also of chill and world-based music, provided a hypnotic at- plans to add his many talents to the line-up, expressing an mosphere to the venue. His addition of a belly-dancing interest in playing with such musicians as Joshua Redman, vocalist created unique textures and the richness of other Roy Hargrove and Russ Malone. For true jazz fans, this is cultures. something to look forward to. Electric violin pioneer, Jean Luc Ponty, bassist Stanley The Hollywood Bowl has been an iconic venue in which Clarke and Bela Fleck added a unique juxtaposition to to view some of the best performances in history. Built the program. Jean Luc’s violin, Bela’s banjo and Stan- in 1922, the Bowl has housed such names as the Beatles,

54 SmoothJazz Magazine Let the music take you... Photo credit Amy Rogin ley Clarke’s baseline brought a playful, yet sophisticated, George Duke & Friends opened their set with a five-min- sound that kept the audience smiling. ute improvisational number as each musician was incor- porated into the mix. The next piece, Little B’s Poem, Jeffrey Osborne, a legendary vocalist, added some beauti- followed in a samba-induced duet performed by vibra- ful renditions of his own music, his tonal quality blended phonist, Bobby Hutcherson and George Duke. exquisitely with every timbre. Sax man, Kenny Garrett and trumpeter, Roy Hargrove, Dave Koz performed energetically and seamlessly. The took over. They executed virtuosity and improvisational playful dynamic between him and the other musicians was skills in their version of Two Down and One Across. Over- a delight to experience. He performed material ranging all, every piece was threaded seamlessly by Christian Mc- from The Dance to Saxophonic. He was truly gifted in cre- Bride’s baseline and the drumlines of and ating great moments in which musical guests could shine. Airto Moreira.

Another great opportunity to experience the gifts of the 2005 Jazz Series the Bowl offered was the last performance of the Summer Season. The impressive lineup consisted of George Duke, Bobby Hutcherson, Christian McBride, , Roy Hargrove, drummers Billy Cobham and Airto Moreira, Kenny Jarrett and the vocals of Dianne Reeves.

Dianne Reeves opened the show by weaving her sultry vocals with the music of George Duke. Such favorites as Morning Has Broken and I Remember performed beauti- fully as the steady baseline of Christian McBride was intro- duced. Several tunes from her latest works were added to the venue. She was graceful and genuine as she performed her last concert under the title of Creative Chair for Jazz Programming at the L.A. Phil. Photo credit Mann

Let the music take you... SmoothJazz Magazine 55 event this Fall was the Pat Metheny Trio / Quartet, which consisted of drummer,Antonio Sanchez, sax man, David Sanchez, and bassist, Christian McBride. Musically speak- ing, this was a great combination. Christian McBride’s meaty baseline threaded every piece, which changed fever- ishly and often. Pat Metheny, ever innovative, played a lot of his classics that pioneered him through this smooth jazz world. Favorites such as Last Train Home were stripped down. Other pieces, such as Song for the Boys and May Secretly Begin, were revamped slightly and seemed to be more electrically charged. Metheny played a plethora of custom-made instruments which make his sound so identifiable. Enter the Pikasso 42-string guitar! For true Photo credit Tom Bonner Metheny fans, this was a real treat. The harp-like guitar al- lowed him to play seamlessly, adding plucks, tapping and George Duke’s gifted ability to blend the tasks of bandlead- one-hand structures simultaneously. Most impressive was er and musician were demonstrated throughout, and his his version of Into the Dream which was played freehand. duet with Joe Sample was gorgeous. Every piece was ex- ecuted in a balanced proportion, adding space for winning David Sanchez’ improvisational sax playing was dead-on cadenzas for each artist. This was straight-ahead jazz. To in every piece, ranging from dizzy to quiet tones. The experience the aural combination of textures and colors drumming of Antonio Sanchez was syncopated perfectly provided by such prolific jazz musicians was awe-inspir- as McBride’s baseline provided a steady backbone. This ing. The highlight of the evening culminated appropri- concert offered everything for the true jazz fan. The two ately with a moving induction ceremony in which Dianne most touching components of this performance were a Reeves dedicated an emotional version of I Wish You Love Ballad for Katrina and a heartfelt rendition of Timeline to Christian McBride. Passing the torch never sounded dedicated to Michael Brecker, who is suffering from my- so sweet. This was an appropriate segue to an improvisa- elodysplastic syndrome. As somber as this piece was, it tional five-minute piece performed by the whole ensemble was an inspirational homage to his fellow musician and as they closed the show. The perfect ending to the perfect friend. Season. For any schedule information regarding the Hollywood Jazz programming at the Walt Disney Concert Hall is un- Bowl and the Walt Disney Concert Hall, please log on to precedented. Concerts in varying musical styles make ev- www.laphil.org. Tour information can be found as well. ery minute of fighting traffic worth the wait. One such

56 SmoothJazz Magazine Let the music take you... Let the music take you... SmoothJazz Magazine 57 Remembering... Lou Rawls By Teresa Fowler December 1, 1933 - January 6, 2006 songs spanning musical genres from gospel to disco. His ability to transcend musical trends is a major factor in his success and longevity. There is NO mistaking who’s sing- ing when you hear a Lou Rawls song.

With several film and television credits under his belt, in- cluding voice-overs for such cartoons as the Rugrats (Ru- grats: The Movie), and Garfield (Here Comes Garfield – musical voice), and Hey Arnold (Nickelodeon), not only is his music versatile, so is his acting background.

His humanitarian efforts, including his work for the United Negro College Fund (UNCF) in raising millions of dollars to help students at historically black colleges and universi- ties (HBCUs), have brought him several merits, including honorary doctorates. All this from a man who never went to college.

My older siblings often tell me, “You don’t know nothin’ ‘bout that…” when it comes to music I like that was re- leased when they were teenagers (70s), and long before I was old enough to even recite the words. But as a lover of Disco and House (Chicago) music, Lou Rawls is definitely someone I know something about. As a fellow Chicago na- tive and alumnus of Dunbar High School (Chicago, IL), it gives me great pleasure to pay homage to Lou Rawls, and the untouchable impression he made in music, film, tele- vision, and the community. He is undoubtedly a legend who will be truly missed.

As the song goes, “You’ll never find...” That lyric rings true in regard to the loss of music legend Lou Rawls. There will Discography Suggestions for your Collection: never be another voice like the one for which he was so Album Title Year Record Label well known. With over 40 years in music, 60-plus albums Stormy Monday 1962 Blue Note and three Grammies, his four-octave range voice is one of the smoothest in the business. After a battle with lung and Soulin’ 1966 Capitol brain cancer for over a year, Lou succumbed on January 6, You’ve Made Me So Very Happy 1970 Capitol 2005 at the age of 72. Natural Man 1971 MGM Unmistakably Lou 1977 Philadelphia International Born Louis Allen Rawls on December 1, 1933 in Chicago, Sit Down and Talk To Me 1980 Philadelphia International IL, he began singing in church at the age of seven. He is a Chicago legend with a street named in his honor, and Visit Lou’s website: http://www.lourawls.com/

58 SmoothJazz Magazine Let the music take you... Jockey Shabalala of Ladysmith Black Mambazo Dies

As the song goes, “You’ll never find...” That lyric rings true in regard to the loss of music legend Lou Rawls. There will never be another voice like the one for which he was so well known. With over 40 years in music, 60- plus albums and three Grammies, his four-octave range voice is one of the smoothest in the business. After a battle with lung and brain cancer for over a year, Lou succumbed on January 6, 2005 at the age of 72.

Born Louis Allen Rawls on December 1, 1933 in Chi- cago, IL, he began singing in church at the age of seven. He is a Chicago legend with a street named in his hon- or, and songs spanning musical genres from gospel to disco. His ability to transcend musical trends is a major factor in his success and longevity. There is NO mistak- ing who’s singing when you hear a Lou Rawls song.

With several film and television credits under his belt, including voice-overs for such cartoons as the Rugrats (Rugrats: The Movie), and Garfield (Here Comes Gar- field – musical voice), and Hey Arnold (Nickelodeon), not only is his music versatile, so is his acting back- ground.

His humanitarian efforts, including his work for the United Negro College Fund (UNCF) in raising millions of dollars to help students at historically black colleges and universities (HBCUs), have brought him several merits, including honorary doctorates. All this from a man who never went to college.

My older siblings often tell me, “You don’t know nothin’ ‘bout that…” when it comes to music I like that was released when they were teenagers (70s), and long be- fore I was old enough to even recite the words. But as a lover of Disco and House (Chicago) music, Lou Rawls is definitely someone I know something about. As a fellow Chicago native and alumnus of Dunbar High School (Chicago, IL), it gives me great pleasure to pay homage to Lou Rawls, and the untouchable impression he made in music, film, television, and the community. He is un- doubtedly a legend who will be truly missed.

Let the music take you... SmoothJazz Magazine 59 Join host Cameron Smith for Cadillac’s Smooth Jazz TV now available anytime, anywhere with Smooth Jazz TV On Demand Just log onto www.smoothjazzTV.com click the On Demand icon and get your Cadillac Smooth Jazz TV! REAL. SMOOTH. JAZZ.

60 SmoothJazz Magazine Let the music take you...