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Thursday, August 29, 2013

Hot jazz and soul in the desert - Arizona #Jazz Festival - October 25-27, 2013

 Robin Thicke, Maxwell, Charlie Wilson, Erykah Badu, Keyshia Cole and jazz headliners
will heat up the Arizona Jazz Festival on October 25-27, 2013.
 
The endless Arizona sky will be filled with a galaxy of stars day and night during the Arizona Jazz Festival slated for October 25-27, 2013 at the Arizona Grand Resort & Spa in Phoenix, Arizona. More than 13,000 contemporary jazz and soul fans from across the nation are expected to flock to the lavish desert resort to enjoy performances by a stellar slate of Grammy-winners and chart-toppers along with a weekend of revelry. Tickets are on sale now for the three-day festival or as a single-day event and are available online at www.arizonajazzfestival.com and by calling 602.244.8444.  
 
The Arizona Jazz Festival opens with an evening of seduction starting with the tantalizing pairing of saxophonist Eric Darius and R&B vocalist-producer Lyfe Jennings, who will set the mood for marquee-topper Maxwell, a Grammy-winning soul balladeer. Stick around for the official after-party at the resort.
 
Live music begins Saturday when nattily-attired guitarist Nick Colionne and new jazz swagger sax player J. White hit the stage followed by a trio set by saxophonists Warren Hill and Tom Braxton with blues-based guitar slinger Jeff Golub. Powerhouse tenors Gerald Albright, Richard Elliot and Euge Groove will blow a fierce sax storm in the desert before ten-time Grammy winner Chaka Khan belts out a song list filled with her massive crossover hits. The Queen of Neo Soul Erykah Badu will reign over majestic grooves and Baduizms preceding a set by “Uncle” Charlie Wilson, a 2013 BET lifetime achievement award winner, crooning cuts from his Grammy-nominated R&B songbook. After the concert, a number of the festival artists will head into the Arizona Grand Resort & Spa for an all-star jam.
 
It’s going to be a great-looking Sunday when saxophonists Jessy J and Michael Lington link with keyboardist Jonathan Fritzen to open the final day followed by a neo soul session from vocalist Eric Benet. Emerging saxmen Elan Trotman and Dominic Amato will accompany R&B chanteuse Melanie Fiona for an outing. Captivating multi-instrumentalist Brian Culbertson will inject a potent dose of funk-jazz into the mix during a high-octane performance before fellow blue-eyed soul man Robin Thicke blurs the lines during a set list certain to include the #1 summer smash “Blurred Lines.” Closing the festival is edgy multiplatinum R&B personality and reality television star Keyshia Cole.       
              
“We pulled out all the stops for the Arizona Jazz Festival, which is perhaps the most spectacular lineup we have ever presented. While every festival that BTWconcerts.com produces and promotes is special, this is our hometown festival. We look forward to hosting guests from all over the U.S. that are passionate about jazz and R&B. It’s going to be an unforgettable weekend of live music and partying,” said Brad Laughlin of BTWconcerts.com, which also produces the Las Vegas Jazz Festival and the San Diego Jazz Festival.  
 
The Arizona Jazz Festival offers reserved seating with ticket prices starting at $240.00 for the entire weekend or $65.00 for a single-day seat. For the enthusiast, tickets can be upgraded to include the Rock Star Experience that provides VIP tent access, a complimentary meal and drinks, artist meet & greets, Arizona Jazz Festival commemorative bag, t-shirt, poster and laminate, and entry to the Friday night after-party and Saturday night all-star jam.  
 
 
About BTWconcerts.com
 
Phoenix, Arizona-based BTWconcerts.com is one of the premiere concert producers in the Southwest. Among the star-studded jazz and R&B concerts and multiday music and lifestyle festivals that the company promotes are the Arizona Jazz Festival (http://arizonajazzfestival.com), Las Vegas Jazz Festival (http://www.lvjazzfestival.com) and San Diego Jazz Festival (http://www.sandiegojazzfest.com).

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Wednesday, August 28, 2013

This Christmas will be a very special Christmas for Jonathan Butler #jazz

 Singer-songwriter-guitarist will release “Merry Christmas To You” on October 1
and embark upon the Dave Koz & Friends Christmas Tour this holiday season.
 
Santa Claus has a special treat to stuff in the stockings of all the good Jonathan Butler fans this Christmas: the first Christmas album by the two-time Grammy-nominated singer-songwriter-guitarist. Butler produced and arranged “Merry Christmas To You,” which will be released October 1 by Artistry Music. Two singles will be shipped to multiple radio formats this holiday season: an instrumental take on “Sleigh Ride” decorated with hallmarks from the South African native’s homeland, and the album’s title track, which is a retro-flavored R&B/adult contemporary ballad penned by Butler.     
 
 
Order Jonathan Butler's Merry Christmas to You from amazon.com Butler recorded eight Christmas chestnuts for the collection and penned a pair of new songs, including “Happy Holidays,” an ardent urban groove ornamented with riffs of cool jazz guitar. High-profile hornmen Dave Koz, Rick Braun and Paul “Shilts” Weimer contribute to the festivities on a couple of tracks as does Butler’s daughter, vocalist Jodie Butler, and bassist Dan Lutz, who plays upright on a tune, but the heart of the intimate recording is Butler solo pouring his impassioned voice and acoustic guitar into the seasonal songs. His arresting performances and sparse production captivates, fostering an air of freshness to the evergreen material.
 
“These songs are beautiful on their own so I felt they didn't need a lot of instrumentation. Plus I wanted my fans to have a personal Christmas message from me. That is why the CD has very little production and plenty of voice and guitar. It’s a very proud moment for me to finally have a Christmas record, which has been a long time coming. I hope fans feel blessed and uplifted when they play it at home or in their car or wherever they may be. I truly thank God for giving me the strength and the opportunity to make this album,” said Butler, who lives in California’s San Fernando Valley with his family.
 
The “Merry Christmas To You” album opens with an energizing version of the Donny Hathaway soul classic “This Christmas.” Butler applies South African vocalization, chanting and rhythmic percussion to “Little Drummer Boy.” “I’ll Be Home For Christmas,” “Have Yourself A Merry Little Christmas,” “The First Noel,” “O Holy Night” and the lesser known “Sweet Little Jesus Boy” are presented starkly featuring show-stopping performances by the devoutly inspired man with his guitar.
 
Beginning November 30, Butler will venture out on a three-week U.S. concert swing performing on the Dave Koz & Friends Christmas Tour during which he will share the stage with the charismatic sax star as well as keyboardist Keiko Matsui and vocalist Oleta Adams.       
 
A former child star, Butler was the first black artist played on radio stations in South Africa. The hint of grit in his expressive voice reflects the pain he endured growing up under Apartheid, the youngest of 17 children. A true artist who refuses to segregate his music, Butler’s recordings consist of vocal and instrumental hits and enduring fan favorites spanning R&B, contemporary jazz, gospel, adult contemporary, pop and world beat stylings. The natural-born performer’s radiant spirit shines brightly through his beaming smile and twinkling eyes. Additional information is available at www.JonathanButler.com.     
 
The songs comprising Butler’s “Merry Christmas To You” are:
 
“This Christmas”
“Sleigh Ride”
“Merry Christmas To You”
“Happy Holidays”
“Little Drummer Boy”
“I’ll Be Home For Christmas”
“Have Yourself A Merry Little Christmas”
“Sweet Little Jesus Boy”
“The First Noel”
“O Holy Night”

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Monday, August 26, 2013

Smooth Jazz Chart - Weekly Top 20 - August 26th, 2013 #jazz


TW - LW - Artist - Album - (Label)
1 - 1 - Boney James - "The Beat" - (Concord Jazz)
2 - 2 - Dave Koz & Friends - "Summer Horns" - (Concord/CMG)
3 - 3 - Paul Hardcastle - "Hardcastle VII" - (Trippin 'N' Rhythm)
4 - 5 - George Benson - "Inspiration: A Tribute To Nat King Cole" - (Concord)
5 - 11 - George Duke - "DreamWeaver" - (Heads Up)
6 - 6 - Keiko Matsui "Soul Quest" - (Shanachie)
7 - 13 - Jeff Golub - "Trains Keep A Rolling" - (eOne)
8 - 5 - BWB - "Human Nature" - (Heads Up)
9 - 8 - Brian Simpson - "Just What You Need" - (Shanachie)
10 - 16 - Chuck Loeb - "Silhouette" - (Shanachie)
11 - 12 - Chieli Minucci & Special EFX - "Genesis" - (Shanachie)
12 - 10 - Bob James & David Sanborn - "Quartet Humaine" - (OKeh)
13 - 9 - Tim Bowman - "Seaside Drive"-Single- (Trippin 'N' Rhythm)
14 - 7 - Paul Brown - "The Funky Joint" - (Woodward Ave.)
15 - 14 - Althea Rene - "In The Flow" - (Trippin 'N' Rhythm)
16 - 15 - Vincent Ingala - "Can't Stop Now" - (vicentingala.com)
17 - 17 - Brian Bromberg - "Compared To That" - (Artistry/Mack Avenue)
18 - 19 - Kim Waters - "My Loves" - (Red River)
19 - 21 - Maysa - "Blue Velvet Soul" - (Shanachie)
20 - 31 - Jeff Lorber Fusion - "Hacienda" (Heads Up)

Our thanks to smoothjazz.comVisit smoothjazz.com to view the latest complete top 50 chart. Visit smoothjazz.com to view the latest weekly chart recap.
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Jessy J - "Second Chances" - Release on Shanachie September 10, 2013 #jazz

JESSY J Inspires With SECOND CHANCES Featuring JEFF LORBER, NORMAN BROWN, JIMMY HASLIP & JOHNNY BRITT

Album Includes Renditions Of Classics by Roberta Flack & Sérgio Mendes

Label Debut For Shanachie Entertainment Due September 10, 2013


Jessy J burst onto the contemporary jazz scene in 2008, blending her love for Latin rhythms and jazz on her chart-topping, award-winning debut album Tequila Moon. Jessy earned the Radio & Records’ ‘Debut Artist of The Year’ Award and Contemporary Jazz ‘Song of the Year’ by both R&R and Billboard for the title track, which held the #1 spot on the chart for eight weeks. The talented saxophonist, pianist, singer and songwriter who has worked with everyone from The Temptations to Michael Bublé, has been developing her musical voice since she was very young, when she could be found practicing the saxophone, instead of heading out to play with friends.

Words like dedicated, focused and hard-working all describe her drive and motivation to succeed and make music a life-long career. With her fourth release, Second Chances, due out on Shanachie Entertainment on September 10, 2013, Jessy reaches a major milestone as she takes over the reigns as the producer of the new album. The set features collaborations with Grammy Award-nominated keyboardist-producer Jeff Lorber, Grammy Award-winning guitarist Norman Brown, renowned bassist Jimmy Haslip (formerly with The Yellowjackets) and legendary pianist Joe Sample.  

Second Chances represents a new direction for Jessy as she purposely set out to meld her love for jazz and Latin rhythms with R&B grooves. The album title, Second Chances, developed out of the theme that it's never too late to try again and “getting a second chance to do something that you messed up on the first time.” She shares, “In this case, for me it was with something that happened the previous year. I realized that this year I had a second chance and every day is new, is fresh. The title track is really an inspirational song about doing something you really want to do.” Not coincidentally, several of the songs on the album include "two" in the title including the first single "Listen 2 The Groove," co-written by Lorber, "Tango for Two," "Dos," "Twice" and "Double Trouble." The ten song set features eight originals and two beautiful covers including the Roberta Flack hit “Feel Like Makin’ Love” and the Sérgio Mendes classic “Magalenha.” 

Jessy shares, “I like to play music that people will recognize and connect to and be familiar with and also play music that’s original, that really inspires them and creates new memories.” She teamed with the talented trumpeter, singer, songwriter Johnny Britt (Josh Groban, The Temptations, Impromp2) to write “Second Chances” and the final track on the album “Twice.” She credits her manager, Stewart Coxhead, with the idea to include the ‘two’ theme throughout the album and is thankful for his encouragement as she turned over this new leaf in her career saying, “he really encouraged me to be myself.”

Second Chances opens with the single “Listen 2 The Groove” featuring Jeff Lorber on keyboards and Jimmy Haslip on the bass. Jessy states, “Jeff Lorber and I first worked together in 2008 for the Guitars and Saxes Tour. I really enjoy his musical style. He’s such a legend in the business and has his own sound. To me he’s a genius. So, when I had the opportunity to produce my own album, I really wanted to work with him. I remembered we wrote and co-produced “Listen 2 The Groove” and I just asked him if he wanted to work together. I was so excited he said yes!” The sultry groove sets the tone for the album with its catchy hook and unique song structure.  

The title track “Second Chances” features Grammy-Award winning guitarist Norman Brown. “Norman Brown and I worked together for the Summer Storm tour 2010...  I really love his style of playing. He’s very unique in his guitar and I think he plays the guitar so fluidly. Johnny Britt and I were working on “Second Chances” and I really wanted Norman to play on it. His guitar sounds beautiful on the track.” Jessy chose to include the Roberta Flack hit “Feel Like Makin’ Love” because, “I’m a big fan of 60s and 70s music. Roberta is a gorgeous singer. We felt that we could redo it in a way that would make it special again and also make it more current. I always thought of it kind of in a Robin Thicke mode with the recurring guitar theme. It also has a Brazilian vibe, the vocals are laid back and almost in a hushed tone. And it’s completely re-harmonized. I like arranging music and harmonizing it.” Jessy’s longtime friend and bandmate Tim Stewart (who also tours and plays with Lady Gaga) offers a beautiful guitar accompaniment on the track.

Her passion for Latin music shines through on the Sérgio Mendes classic “Magalenha,” one of her all-time favorite Brazilian tunes. Jessy says it was real a “jam session vibe” in the studio with Jeff and Jimmy helping to re-create the song as a “funk samba” and their joy in recording it shines through.  In addition to her excellent work on the baritone saxophone and her sweet vocals on the tune, Jessy adds some tasty flute flourishes. She explains, “The World Cup is coming up next year in Brazil and it’s an homage to that and to my Latin heritage. Football is so popular in the Latin community.” The set takes a sophisticated, jazzy turn with the third song she wrote with Jeff and Jimmy, called “Tango For Two.” Jessy describes it as “a romantic type of tango not an exact tango.” The dance beat features her sax intertwining and twirling with the piano, as if someone is dancing, reaching a climactic point and then it fizzles down again. Jessy was pleased to have Jimmy work with her on the album as he brought a “very interesting knowledge of Latin rhythms and a world music view. He recommended different beats, rhythm and percussion” elements for the project.

On “Dos” a lovely guitar intro gives way to Jessy on both flute and soprano saxophone. She shares, “That song is a really sexy song. It’s about two things: the good and the bad. Sections of the music had a reflective feeling that were dark and then other parts of the music were light. We wanted to have the alter ego - two things. One of my heroes is Grover Washington, Jr. He’s my favorite soprano saxophonist and I always think of him when I’m playing that instrument.”

“La Luna Feliz” features Jessy on tenor sax and flute while singing in Spanish. It opens with a funky bass line from Bryant Siono to get you into the groove right way. “I like to say that this is the prequel to “Tequila Moon,” explains Jessy.

“Tequila Moon” was my first radio single and also my first CD in 2008. I like to look at the moon at night, I don’t know why. It’s a thing I would do with my dad when I was little. I was looking at the moon and it had a smiley face on it and it made me laugh. I said ‘that’s a happy moon, it’s la luna feliz.’ And then the melody popped into my head. It’s really the only Latin song, with no percussion, on the album.”

Jessy says for this project she was “really open to the idea of doing something different” and on “Double Trouble” she definitely lets her hair down and jams! “I really got into the whole Jeff vibe on this track and so the melody came out on my tenor saxophone and he doubled it on the mini-moog, which made it sound really deep and thick. The melody really flows and being the producer I could interpret the music however I wanted to,” she shares. She originally wanted to name the song “Doppelgänger” in honor of her German Shepard, Mini. When the two of them go for walks together they often see another German Shepard on the block that looks just like Mini and Jessy likes to joke it’s Mini’s doppelgänger! They settled on “Double Trouble” (which Jessy co-produced with Lorber and Jimmy Haslip) since Jeff and Jimmy are such good friends and bring their own version of double trouble to the studio and this song.

Legendary keyboardist Joe Sample is a friend and mentor to Jessy. The two first worked together on her last album Hot Sauce. Joe helped her write the funky tune “Mambo Gumbo,” her ode to New Orleans featuring Johnny Britt on vocals and trumpet. She shares, “I love Joe Sample! I’ve been listening to him my whole life... I told him about this song about New Orleans. We wrote parts of the song together at the NAMM convention earlier this year. It’s a great track about people and how they’re different but also the same.” “Twice” is a bright, upbeat tune to close out the set, co-written with Johnny Britt. It features Jessy on Tenor sax along with her touring bandmates Frank Abraham on bass, Michael Angel on guitar and Richie “Gajate” Garcia on percussion. The song is about how when you have the chance to do something the second time – twice – it’s so much more beautiful. “It’s a positive feeling about reaching your goal and doing it the way you wanted to.” The tune offers a great backbeat, sweet percussion elements and backing vocals from Johnny.

Jessy’s connection to her Latin heritage runs deep, as her father is originally from Mexico and her mom hails from Texas. Born in Oregon and raised in southern California, Jessy grew up in a home full of big family get-togethers, Mexican feasts and lots of Latin, jazz and pop music. Her musical influences include Cannonball Adderley, John Coltrane, Charlie Parker, Grover Washington, Jr., Sergio Mendes, Ricky Martin, Gloria Estefan and she admires current artists Norah Jones, Diana Krall and Alicia Keys. She credits her parents as her biggest influences as she watched them “work so hard to come to the U.S., have careers and enjoy the beautiful things this country has to offer. I knew I was going to work hard from the beginning,” she shares.

While she was studying at USC, she set her sights on becoming a studio musician, recording music for movies, commercials and television shows but quickly learned she needed to spend time getting more experience. She spent two years touring with the off-Broadway, EMMY Award winning show Blast! While on that tour she started focusing on performing with her own band, so she began writing her own music.

She returned to Los Angeles and put together her first group featuring Bryant Siono on bass and Norman Jackson on keyboards. In addition, she toured with Jessica Simpson, did studio work with Michael Bublé and The Temptations, and was invited to tour with Michael Bolton.

Jessy’s diligence paid off when she met Grammy Award-winning smooth jazz producer Paul Brown at the Newport Jazz Festival and he agreed to work on her debut album, Tequila Moon in 2008. She followed that CD with True Love in 2009 and Hot Sauce in 2011. Last year Jessy was able to achieve her dream of becoming a studio musician in Los Angeles, working on the hit television shows American Idol and The Voice. Her work on American Idol impressed Steven Tyler, who invited Jessy to record on the latest Aerosmith album.

Second Chances may be all about getting the chance to do something over again, but for Jessy this album is a celebration of firsts as well. She marks a major milestone in her career taking on the role of producer of the album, plus she was able to work with two new artists on her “wish list” via her collaborations with Jeff Lorber and Norman Brown. Jessy has a lot to look forward to as she continues to enjoy the success of her hard work and dedication. As she says, “It’s a great life and I’m grateful for it. It’s going to be a good year!”

JESSY J
Tour Dates

09/01 - Albuquerque, NM @ Crowne Plaza
09/07 - Austin, TX @ Riverbend Centre*
09/14 - Kuala Lumpur, Malaysia @ KL Jazz Fest
09/22 - Temecula, CA @ Thorton Winery**
09/28 - Las Vegas, NV @ Las Vegas Jazz Fest
10/05 - San Jacinto, CA @ Esplanade Arts Center
10/26 - Riverside, CA @ Fox Perf Arts Center***
10/27 - Phoenix, AZ @ Arizona Jazz Fest
11/06 - Seal Beach, CA @ Spaghettini
11/30 - Seal Beach, CA @ Spaghettini
12/06 - Bari, Italy @ Italian Jazz Fest
01/04 - Chicago, IL @ The Montrose Room

* w/ Marion Meadows & Paul Taylor (Sax and the City)
** w/ George Benson
*** w/ Sheila E

JESSY J
Second Chances

1. Listen 2 The Groove (ft. Jeff Lorber)
2. Second Chances (ft. Norman Brown)
3. Feel Like Makin' Love
4. Magalenha
5. Tango For Two
6. Dos
7. La Luna Feliz
8. Double Trouble (ft. Jeff Lorber & Jimmy Haslip)
9. Mambo Gumbo (ft. Johnny Britt)
10. Twice
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Thursday, August 22, 2013

Steve Cole - "Pulse" Release on Artistry Music September 17th - #jazz

Big hooks and big horns power saxman Steve Cole’s (www.stevecole.net) “Pulse.” In the 15 years since the release of his debut album, Cole has traveled full-circle creatively and arrived back home on the 10-song set mixing R&B, contemporary jazz, gospel, blues and pop that he produced with fellow saxophonist David Mann. The new collection, which will be released September 17th, showcases the artist’s affinity for infectious melodies, a wall of horns, and soulful grooves.
 
Cole’s inspired sax play throughout “Pulse” is poured with passion and precision. There is feverish urgency and muscle along with harnessed control, grace and gentility. Cole and Mann co-wrote the tunes for the album, which we recently sent you. The record is teeming with potential radio favorites and crowd pleasers crafted by a confident, self-assured artist who, after exploring an array of sounds and styles, has reclaimed his roots. The music on the album is the music that rhythmically throbs within Cole’s spirit. Long-time fans and those about to discover the works of this accomplished musician-songwriter-producer will find a bounty to feast upon.
 
The title track gets the beat going from the gun with plenty of horns and a funky mid-tempo groove. Cole composed the cut with whiz kid Nicholas Cole. Soaring brightly over a monsoon of melody, the hook on “Do Your Thing” packs a punch from the opening notes and fondly recalls the late 1960s and ‘70s. The album’s first radio single, “With You All The Way” provides a warm, empowering hook that embraces as Cole’s sax pledges devotion. The single is the #1 most added and earned #1 most increased plays honors on the smooth jazz charts this week. Cole covers Mann’s “Slinky” that uncoils amongst complex beats and an edgy funk groove armed with old school guitar riffs from Bernd Schoenhart while Ricky Peterson dispenses gusts of rousing organ. Cole always wanted to record the soul classic “Going In Circles,” which he used to play in his native Chicago clubs. Backing vocals from Nicki Richards add heavenly touches while plush horn section swatches provide the ideal backdrop for Cole’s impassioned, show-stopping sax that seemingly pleads for mercy. Sunny, optimistic and brimful of hope, “Looking Up” is another big and buoyant hook that connects instantly. Peterson’s gospel-like Hammond B3 organ paves the way for a triumphant, throw your arms in the air in praise sax solo. Head-bobbing hip hop rhythms introduce an entirely different dimension on “Maximum Cool.” The chill groove with slamming beats reeks of the streets. With a title inspired by R&B band Mint Condition, Cole’s lively sax sparks the flavor on “Minty Fresh.” The almighty horn section provides a combustive burst while surfing a skin tight rhythm. On “Ain’t No Love,” gritty lead vocals from guitarist Rico McFarland add ambience and street cred to the track packed with horns and a choir of background voices. McFarland’s guitar shreds before Cole’s tenor counters with a wall-shaking guttural growl. The retro riff on “Believe” is familiar and friendly offering a gospel jazz confirmation reminiscent of the ‘70s. Peterson’s organ blasts testifies and sanctifies the album closer.

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Wednesday, August 21, 2013

Marian McPartland, Jazz Pianist and NPR Radio Staple, Dies at 95 #jazz

Marian McPartland, the genteel Englishwoman who became a fixture of the American jazz scene as a pianist and, later in life, hosted the internationally syndicated and immensely popular public radio show “Marian McPartland’s Piano Jazz,” died on Tuesday at her home in Port Washington, N.Y. She was 95.

Her death was announced by NPR.

Ms. McPartland was a gifted musician but an unlikely candidate for jazz stardom. She recalled in a 1998 interview for National Public Radiothat shortly after she arrived in the United States in 1946, the influential jazz critic Leonard Feather, who himself was born in England and who began his career as a pianist, said, “Oh, she’ll never make it: she’s English, white and a woman.”

Mr. Feather, she added, “always used to tell me it was a joke, but I don’t think he meant it as a joke

The odds against any woman finding success as a jazz musician in the late 1940s and early ’50s were formidable, but Ms. McPartland overcame them with grace. Listeners were charmed by her Old World stage presence and captivated by her elegant, harmonically lush improvisations, which reflected both her classical training and her fascination with modern jazz.

By 1958, she was well enough known to be included in Art Kane’s famous Esquire magazine group photograph of jazz musicians, the subject of Jean Bach’s acclaimed 1994 documentary, “A Great Day in Harlem.” One of the few women in the picture, she stood next to her friend and fellow pianist Mary Lou Williams.


Ms. McPartland’s contributions to jazz were not limited to her piano playing. An enthusiastic and articulate spokeswoman for the music, she lectured at schools and colleges and wrote for Down Beat, Melody Maker and other publications. (A collection of her essays, “All in Good Time,” was published in 1987 and reissued in 2003.) Most notably, for more than 30 years her “Piano Jazz” was one of the most popular jazz showsever heard on the radio.
The show, produced by South Carolina Public Radio (now ETV Radio), made its debut on NPR in 1978. The format was simple: an informal interview interspersed with extemporaneous duets.
“I didn’t have any idea I’d be good at something like this,” Ms. McPartland told The Associated Press in 2000. “I certainly never thought people would know me because of my voice.” But she proved a natural.
As its title suggests, “Marian McPartland’s Piano Jazz” was originally a show about piano players. But the guest list came to include vocalists, among them Mel Tormé, Tony Bennett and even Willie Nelson and Elvis Costello, as well as trumpeters, saxophonists and other instrumentalists.
Jazz pianists remained the focus, however, and over the years Ms. McPartland played host to some of the most famous, from the ragtime pioneer Eubie Blake to the uncompromising avant-gardist Cecil Taylor. She gamely played duets with all of them, even Mr. Taylor, whose aggressively dissonant approach was far removed from Ms. McPartland’s refined melodicism.
“I just did the kind of thing he does,” she said. “Or else I went in the opposite direction, and that sounded fairly interesting too.”
“Piano Jazz” was heard on more than 200 radio stations all over the world. It received a Peabody Award in 1983.
Ms. McPartland recorded her last show in September 2010, although she did not officially step down as host until November 2011; “Piano Jazz” has continued with reruns and guest hosts.
Marian McPartland was born Margaret Marian Turner in Windsor, England, on March 20, 1918. She began picking out melodies on the family piano when she was 3, and at 17 she entered the Guildhall School of Music in London.
In 1938, over her parents’ strong objections, she left school to go on tour with a four-piano vaudeville act. “My mother said, ‘Oh, you’ll come to no good, you’ll marry a musician and live in an attic,’ ” she recalled in 1998. “Of course, that did happen.”
While on a U.S.O. tour in 1944 she met the American jazz cornetist Jimmy McPartland in Belgium; they married in early 1946, and she moved with him to Chicago later that year.
Ms. McPartland worked for a while in her husband’s group, but he was a tradition-loving Dixieland musician and she was more interested in the harmonically sophisticated new sounds coming from New York City, where the McPartlands moved in 1949.
Encouraged by her husband, she formed a trio and found work at the Embers, an East Side nightclub, in 1950. Two years later she began what was supposed to be a brief engagement at the Hickory House, one of the last surviving jazz rooms on the city’s once-thriving 52nd Street nightclub row. That booking turned into an eight-year residency.
The McPartlands’ marriage ended after two decades, but they remained close friends and continued to work together occasionally. The divorce, she was fond of saying, did not take. She helped take care of him when he was found to have lung cancer, and they remarried shortly before he died in 1991.
Her survivors include two grandchildren.
Ms. McPartland recorded for Savoy, Capitol and other labels in the 1950s and ’60s, but in 1969, disenchanted with the business, she formed her own record company, Halcyon. “It was quite a job,” she told one interviewer. “I used to actually go to a record store like Sam Goody and tell them, ‘I need that money you owe me.’ ”
Halcyon released 18 albums in 10 years and had a roster that included her fellow pianists Teddy Wilson and Earl Hines as well as Ms. McPartland herself, but her career as an executive ended when she signed with Concord Jazz in 1979. She remained a Concord artist until she stopped recording, just a few years before her death.
The bare-bones accompaniment of bass and drums was always Ms. McPartland’s preferred format, but she also appeared in concert with symphony orchestras, and in 1996 she recorded an album of her own compositions, “Silent Pool,” on which she was accompanied by a string orchestra.
That album provided a rare showcase for an underappreciated aspect of her talent: although she told The New York Times in 1998 that she “never had all that much faith in myself as a composer,” she was a prolific songwriter whose work was recorded by Peggy Lee, Tony Bennett, Sarah Vaughan and others. She performed her symphonic work “A Portrait of Rachel Carson” with the University of South Carolina Symphony Orchestra in 2007.
In her last years, Ms. McPartland received numerous honors. She was named a National Endowment for the Arts Jazz Master in 2000, given a lifetime achievement Grammy Award in 2004, inducted into the National Radio Hall of Fame in 2007 and named a member of the Order of the British Empire in 2010.
And she continued playing almost to the end. Reviewing her appearance at Dizzy’s Club Coca-Cola in Manhattan the night before her 90th birthday in 2008, Nate Chinen wrote in The Times, “Ms. McPartland still has her pellucid touch and her careful yet comfortable style.”
Unlike some jazz musicians of her generation, Ms. McPartland never became set in her ways; her playing grew denser and more complex with time, and even late in life she was experimenting with new harmonic ideas. “I’ve become a bit more — reckless, maybe,” she said in 1998. “I’m getting to the point where I can smash down a chord and not know what it’s going to be, and make it work.”


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Tuesday, August 20, 2013

Smooth Jazz Chart - Weekly Top 20 - August 19th, 2013 #jazz


TW - LW - Artist - Album - (Label)
1 - 2 - Boney James - "The Beat" - (Concord Jazz)
2 - 1 - Dave Koz & Friends - "Summer Horns" - (Concord/CMG)
3 - 4 - Paul Hardcastle - "Hardcastle VII" - (Trippin 'N' Rhythm)
4 - 3 - George Benson - "Inspiration: A Tribute To Nat King Cole" - (Concord)
5 - 5 - BWB - "Human Nature" - (Heads Up)
6 - 7 - Keiko Matsui "Soul Quest" - (Shanachie)
7 - 9 - Paul Brown - "The Funky Joint" - (Woodward Ave.)
8 - 6 - Brian Simpson - "Just What You Need" - (Shanachie)
9 - 10 - Tim Bowman - "Seaside Drive"-Single- (Trippin 'N' Rhythm)
10 - 12 - Bob James & David Sanborn - "Quartet Humaine" - (OKeh)
11 - 16 - George Duke - "DreamWeaver" - (Heads Up)
12 - 8 - Chieli Minucci & Special EFX - "Genesis" - (Shanachie)
13 - 13 - Jeff Golub - "Trains Keep A Rolling" - (eOne)
14 - 11 - Althea Rene - "In The Flow" - (Trippin 'N' Rhythm)
15 - 15 - Vincent Ingala - "Can't Stop Now" - (vicentingala.com)
16 - 14 - Chuck Loeb - "Silhouette" - (Shanachie)
17 - 20 - Brian Bromberg - "Compared To That" - (Artistry/Mack Avenue)
18 - 17 - Fourplay - "Espirit de Four" - (Heads Up)
19 - 19 - Kim Waters - "My Loves" - (Red River)
20 - 24 - Lebron - "Shades" - (Cutmore)

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Thursday, August 15, 2013

Steve Cole - "Pulse" Release on Artistry Music September 17th - #jazz

In the 15 years since the release of his debut record, saxophonist Steve Cole has traveled full-circle creatively and arrived back home on Pulse, the 10-song set mixing R&B, contemporary jazz, gospel, blues and pop that he produced with fellow saxman David Mann. The new collection surveying Cole’s musical passions showcases the artist’s affinity for infectious melodies, a wall of horns and soulful grooves. It also displays a musician comfortable in his own artistic skin.

“Pulse is about finding an audience and really honoring them. I have a voice and an instrument, but my job is to entertain. It's simple in a way: if you focus on those people right in front of you and what excites them, you win every time. My work is about moving people. If you can figure out how to do that, the rest falls into place,” explains Cole, who has consistently delivered chart-topping hits and won fans via entertaining live performances.

2011’s elegant Moonlight placed the classically trained tenor saxophonist in an orchestral setting. “The last album was transformative and it is certainly one of the highlights of my career. It was a massive undertaking and I am incredibly proud of the record and the live show where I presented the album backed by a full orchestra and incredible musicians like Steve Rodby [Pat Metheny Group]. As an artist, sometimes I take left turns and it helps me find out who I am creatively. We, as people and as artists, tend to circle back to where we really live and I found my way home 15 years later on Pulse.”

As a player, Cole describes his sound with one emphatic word: “BIG! My sound is warm and I strive to communicate effectively through my horn. I’ve heard it said that my sound is like a big warm blanket. I kind of like that description,” he chuckles.

His inspired sax play throughout Pulse is poured with passion and precision, enriched with genuine soul power. There is feverish urgency and muscle along with harnessed control, grace and gentility.

The Chicago native exploded onto the scene in 1998 with the album Stay Awhile that was produced by fellow Chicagoan Brian Culbertson. The disc scored two #1 hits and earned Cole the Oasis Smooth Jazz Award for best new artist shortly before his sophomore set, Between Us, was released in 2000. His catchy singles made him an instant radio favorite and he cranked them out with regularity on subsequent albums NY LA (2003), Spin (2005) and True (2006).

In between leading his own band on the road, Cole utilized high-profile sideman gigs with Culbertson, Boz Scaggs, Peter White, Jeff Lorber and Rick Braun as a platform to build a national fan base. Today, he tours as a headline performer, and for the past 10 years as a member of Sax Pack, a stellar sax trio completed by Marcus Anderson and Jeff Kashiwa.

As a young musician, Cole’s first pivotal gig came at the side of Richard Patterson, who was the bass player in Miles Davis’ band. “Playing with Richard Patterson, who had just come from playing with Miles Davis, taught me to push myself—to reach far beyond what I thought possible.”

Touring in Scaggs’ band also proved to be a valuable learning opportunity. “Performing with Boz Scaggs was an incredible experience. I learned so much about listening to the band and how dramatic dynamics can be. It was a bit intimidating to be honest, but it was a thrill to perform with such an amazing artist.”

Cole and Mann co-wrote the tunes for Pulse. “I enjoy the [songwriting] process although I am constantly amazed and baffled by it. It’s always a great surprise writing music.”

He’s been collaborating with Mann since Between Us. “It’s very natural working with David and we make a great team. He is great at writing and arranging horn section parts and there’s a lot of that on Pulse. We both respect each other so much. David creates lovely textures, colors and countermelodies. He weaves these beautiful fabrics throughout the track and has a unique ability to get inside the song,” says Cole of Mann, who plays horn section saxes, keyboards, flute, synth bass and programming on Pulse.

The title track gets the beat going from the gun with plenty of horns and a funky mid-tempo groove. Cole composed the cut with whiz kid Nicholas Cole (no relation). “(Nicholas) is one of the new artists that I’d actually pay to see. His talent is incredible. He’s 19 and already so mature as a producer, writer and musician.”

Soaring brightly over a monsoon of melody, the hook on “Do Your Thing” packs a punch from the opening notes and fondly recalls the late 1960s and ‘70s. “I’m a big Curtis Mayfield fan and this is another wall of horns track that is fun from the start. I could play it for hours and hours,” says Cole about the invigorating number.

The album’s first radio single, “With You All The Way,” provides a warm, empowering hook that embraces as Cole’s sax pledges devotion. “If I have a style, this one sounds like a ‘Steve Cole’ tune, whatever that is,” he says.

Cole covers Mann’s “Slinky,” which uncoils amongst complex beats and an edgy funk groove armed with old-school guitar riffs from Bernd Schoenhart, while Ricky Peterson dispenses gusts of roof-raising organ. “The tune is timeless. I’m fortunate to have worked with Ricky for years. It’s great to have the support of a musician of his magnitude.”

Cole always wanted to record the soul classic “Going In Circles,” which he used to play in Chicago clubs. Backing vocals from Nicki Richards add heavenly touches while plush horn section swatches provide the ideal backdrop for Cole’s impassioned, show-stopping sax that seemingly pleads for mercy.

Sunny, optimistic and brimful of hope, “Looking Up” is another big and buoyant hook that connects instantly. Peterson’s gospel-like Hammond B3 organ paves the way for a triumphant, throw-your-arms-in-the-air-in-praise sax solo. Cole says, “It’s slightly different and is a blast to play.”

Head-bobbing hip-hop rhythms introduce an entirely different dimension on “Maximum Cool.” The chill groove with slamming beats reeks of the streets. “I love the vibe of it. Recording it was an interesting challenge because there are so many different ways to go with the harmony.”

With a title inspired by R&B band Mint Condition, Cole’s lively sax sparks the flavor on “Minty Fresh.” The mighty horn section provides a combustive burst while surfing a skintight rhythm.

On “Ain’t No Love In The Heart Of The City,” gritty lead vocals from guitarist Rico McFarland add ambience and street cred to a track packed with horns and a choir of background voices; McFarland’s guitar shreds before Cole’s tenor counters with a wall-shaking guttural growl. “I’m a Bobby ‘Blue’ Bland fan and I had been dying to record it,” says Cole about covering the soul anthem.

The retro riff on “Believe” is familiar and friendly offering a gospel jazz confirmation reminiscent of the ‘70s. Peterson’s organ blasts testifies and sanctifies the album closer. “I love gospel music and had the opportunity to perform with some great gospel musicians over the years. Gospel just comes naturally to me,” shares Cole.

Authenticity is important to Cole. Pulse represents what he calls a “return to the basics.” Long-time fans and those about to discover the works of this accomplished musician/songwriter/producer will find a bounty to feast upon. The record is teeming with potential radio favorites and crowd pleasers crafted by a confident, self-assured artist who, after exploring an array of sounds and styles, has reclaimed his roots. The music on the album is the music that rhythmically throbs within Cole’s spirit. There’s nothing contrived about it. It’s honest, natural, and all heart and soul. Can you feel its pulse?

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Tuesday, August 13, 2013

Guitarist Jeff Golub returns triumphantly with “Train Keeps A Rolling,” a soul-jazz album with keyboardist Brian Auger. #jazz

Undaunted after mysteriously losing his vision two years ago and less than a year after tumbling onto the New York City train tracks and getting clipped and dragged by a train, guitarist Jeff Golub released his 12th solo collection, “Train Keeps A Rolling,” today on Entertainment One Music, a collaborative recording with jazz-rock pioneer keyboardist Brian Auger. Board the train uptown and one will be touched and inspired by the triumphant spirit of the chart-topping guitar slinger who has adapted to his new life without sight with grace and humility. Hop on the crosstown route and it’s all about the strength of the music Golub produced with Grammy-nominated producer Bud Harner.
 
In just three weeks, the soul-jazz album’s first single, an edgy version of Curtis Mayfield’s gritty street tale “Pusherman,” has shot up to #13 on the Billboard BDS Smooth Jazz Songs chart while additional tracks from the disc are garnering airplay at jazz, blues and triple A radio stations. In fact, “Train Keeps A Rolling” debuted this week on the Roots Music Report’s blues chart at #47.   
 
To support the record release, Golub and Auger will play concerts together this month in five U.S. metropolises from coast to coast: Boston (August 22 at Scullers Jazz Club), New York City (August 24 at Lucille’s Grill at BB King Blues Club), Washington, DC (August 25 at The Hamilton), Los Angeles-Orange County (August 27 at Spaghettini) and San Francisco (August 29 at Yoshi’s). The duo will be in Philadelphia on August 23 to perform on radio station WXPN’s World Café Live “Free at Noon” concert series, which will air and stream live.  
 
Pairing Golub with Auger to make a guitar-Hammond B3 album was Harner’s idea, which turned out to be a divine union resulting in a retro-sounding collection featuring torrid guitar and keyboard soloing. Auger’s earlier work with Brian Auger’s Oblivion Express inspired Golub’s formative years by demonstrating to the then-teenager that rockers could play jazz. The original drummer from that band, Steve Ferrone, keeps the beat on “Train Keeps A Rolling” with bassist Derek Frank and percussionist Luis Conte completing the taut rhythm section. A mighty four-person horn section (Mindi Abair, Nick Lane, Dave Woodford and Steve Madaio) adds muscle to the tracks. In addition to the smoking instrumentals are several vocal numbers featuring the uniquely expressive voices of Christopher Cross (a cover of Paul Carrack’s “How Long”), Ambrosia’s David Pack (a spacy take on The Police’s “Walking On The Moon”) and The Oblivion Express’ Alex Ligertwood on a pair of tunes originally recorded by the British outfit (“Happiness Is Just Around The Bend” and “Whenever You’re Ready”). Golub penned the title track and the boisterous “J&B” for the set while Auger also contributed a couple of originals (“Isola Natale” and “Shepherds Bush Market”) that fit alongside rollicking renditions of Lalo Schifrin’s “The Cat” and Willie Dixon’s “I Love The Life I Live.”
 
Below are excerpts from some of the initial reviews:
 
“Golub has that rare passionate wheelhouse that allows him to pull from some place far deeper than the heart and as a result makes him one of the most recognizable contemporary jazz talents on the global stage…a personal hybrid of soul, jazz and blues…he has never played better. A stroke of pure musical genius finds Golub teamed up with British keyboard great Brian Auger for a smoldering set of tunes reinforced with Auger's signature Hammond B-3 organ.” – Critical Jazz
 
 
“Golub’s fiery blues and rock licks are unforgettable as Auger’s driving style and power fully complement the guitarist. These two should have done this a long while ago. It’s full of phat grooves, gutsy blues, and energy off the charts…This collaboration was a stroke of genius.” – The Smooth Jazz Ride
 
 
“’Train Keeps A Rolling’ signals to the world that despite some recent personal setbacks his (Golub’s) musical career will, thankfully, keep rolling right along.” - Something Else! Reviews
 
 
“’Train Keeps A Rolling’ is certainly an interesting and diverse collaboration between Brian Auger and Jeff Golub, and although the guitarist steps into the ‘soul-jazz’ genre, his blues roots are still apparent in the album's arrangements and his playing.” - Teen Jazz
 
 
To hear Golub, Auger and Harner discuss the making of “Train Keeps A Rolling,” please view the EPK at http://www.youtube.com/watch?v=wI2DPhEXGFU (Preview) . Additional information about Golub is available at www.JeffGolub.com.

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Monday, August 12, 2013

Smooth Jazz Chart - Weekly Top 20 - August 12th, 2013 #jazz


TW - LW - Artist - Album - (Label)
1 - 2 - Dave Koz & Friends - "Summer Horns" - (Concord/CMG)
2 - 1 - Boney James - "The Beat" - (Concord Jazz)
3 - 3 - George Benson - "Inspiration: A Tribute To Nat King Cole" - (Concord)
4 - 4 - Paul Hardcastle - "Hardcastle VII" - (Trippin 'N' Rhythm)
5 - 6 - BWB - "Human Nature" - (Heads Up)
6 - 5 - Brian Simpson - "Just What You Need" - (Shanachie)
7 - 8 - Keiko Matsui "Soul Quest" - (Shanachie)
8 - 7 - Chieli Minucci & Special EFX - "Genesis" - (Shanachie)
9 - 10 - Paul Brown - "The Funky Joint" - (Woodward Ave.)
10 - 12 - Tim Bowman - "Seaside Drive"-Single- (Trippin 'N' Rhythm)
11 - 9 - Althea Rene - "In The Flow" - (Trippin 'N' Rhythm)
12 - 13 - Bob James & David Sanborn - "Quartet Humaine" - (OKeh)
13 - 19 - Jeff Golub - "Trains Keep A Rolling" - (eOne)
14 - 17 - Chuck Loeb - "Silhouette" - (Shanachie)
15 - 11 - Vincent Ingala - "Can't Stop Now" - (vicentingala.com)
16 - 27 - George Duke - "DreamWeaver" - (Heads Up)
17 - 15 - Fourplay - "Espirit de Four" - (Heads Up)
18 - 18 - Maysa - "Blue Velvet Soul" - (Shanachie)
19 - 20 - Kim Waters - "My Loves" - (Red River)
20 - 16 - Brian Bromberg - "Compared To That" - (Artistry/Mack Avenue)

Our thanks to smoothjazz.comVisit smoothjazz.com to view the latest complete top 50 chart. Visit smoothjazz.com to view the latest weekly chart recap.
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Friday, August 09, 2013

Jeff Golub - "Trains Keep A Rolling" - Release on Entertainment One - August 13th #jazz

There are a couple of ways to approach guitarist Jeff Golub’s (www.jeffgolub.com) forthcoming “Train Keeps A Rolling,” on which he teams with jazz-rock pioneer Brian Auger. There’s the triumphant human interest story about the man who will release his first new album on Tuesday (August 13) since going blind 2 years ago. The other angle is all about the music. Critical Jazz says “He (Golub) has never played better” about the soul-jazz set that Golub produced with Grammy-nominated producer Bud Harner. The first single, an edgy version of Curtis Mayfield’s gritty street chronicle “Pusherman,” has earned most added and most increased plays honors at radio two weeks in a row.
 
The album artwork shows Golub toting his guitar on the cover with his new guide dog, Luke, at the junction of train tracks. The image and the name of the album was spawned by Golub’s near death experience last September when he tumbled onto the New York City subway tracks and was clipped and dragged by a train as Luke and bystanders stood by. Miraculously the chart-topping guitarist and former sideman for Rod Stewart, Billy Squier and numerous other stars escaped the encounter with only minor scrapes and bruises. Undeterred by the setbacks which started when the optic nerves in both eyes mysteriously collapsed, Golub picked up his guitar and went back to doing what he loves. He wrote the album’s title track, “Train Keeps A Rolling,” mirroring his undaunted spirit.
 
While the blues remain in evidence in the guitar slinger’s arsenal, Golub wanted to make a jazz record possessing a lot of soul. Teaming with Auger to make a guitar-Hammond B3 album was Harner’s idea, which turned out to be a divine union resulting in a retro-sounding collection featuring torrid guitar and keyboard soloing. Auger’s earlier work with Brian Auger’s Oblivion Express inspired Golub’s formative years by demonstrating to the then teenager that rockers could play jazz. The original drummer from that band, Steve Ferrone, keeps the beat on “Train Keeps A Rolling,” with bassist Derek Frank and percussionist Luis Conte completing the taut rhythm section. A mighty 4-person horn section (Mindi Abair, Nick Lane, Dave Woodford and Steve Madaio) adds muscle to help power the tracks. In addition to the smoking instrumentals are several vocal numbers featuring the unique voices of Christopher Cross (a cover of Paul Carrack’s “How Long”), Ambrosia’s David Pack (a spacy take on The Police’s “Walking On The Moon”) and The Oblivion Express’ vocalist Alex Ligertwood on a pair of tunes originally recorded by the British outfit (“Happiness Is Just Around The Bend” and “Whenever You’re Ready”). Golub penned the boisterous “J&B” for the set and Auger contributed a couple originals (“Isola Natale” and “Shepherds Bush Market”) that fit alongside rollicking renditions of Lalo Schifrin’s “The Cat” and Willie Dixon’s “I Love The Life I Live.”
 
Golub and Auger will be performing together in August to help launch the album in five major U.S. markets (New York City, Boston, Washington, Los Angeles and San Francisco). Please listen to the “Train Keeps A Rolling” CD that we sent you and consider Golub for a feature, interview, performance and/or review. I’ll follow-up soon. Thanks for your consideration.    

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Thursday, August 08, 2013

Jazz jackpot: Jazz and soul stars to light up the City of Lights #jazz

Las Vegas Jazz Festival slated for September 27-29, 2013 headlines Charlie Wilson, India.Arie, Jeffrey Osborne, Euge Groove, Kem and Anthony Hamilton

More than 24 contemporary jazz and R&B high rollers promise to make the Las Vegas Jazz Festival a winning bet. Tickets are now on sale for the 3-day music and lifestyle event to be held at the JW Marriott Las Vegas Resort & Spa on September 27-29, 2013 showcasing Grammy-winning and nominated soul singers and chart-topping instrumentalists.  
 
The opening night of the Las Vegas Jazz Festival boasts a funky Friday lineup headlined by 2013 BET Lifetime Achievement Award winner Charlie Wilson, a 6-time Grammy-nominated vocalist who won a Soul Train Icon Award in 2009. A soulful pairing comprised of saxophonist Eric Darius and platinum-selling R&B singer-songwriter-multi-instrumentalist Lyfe Jennings will take the stage first.
 
Grammy-winning singer-songwriter India.Arie, veteran R&B crooner Jeffrey Osborne and saxman Euge Groove top the marquee on Saturday. Grammy-winning guitarist Norman Brown and sax powerhouse Richard Elliot join forces for a session filled with R&B grooves. Emerging sax player Dominic Amato will perform a mid-afternoon show following a trio segment featuring saxophonists Michael Lington and Jessy J with keyboardist Jonathan Fritzen. The day will begin with a hit-filled performance by saxophonist Paul Taylor, a Las Vegas native.
 
The closing program of the Las Vegas Jazz Festival presents two-time Grammy-nominated soul vocalist Kem followed by Grammy-winning soul singer Anthony Hamilton. Soul-jazz guitarist Jeff Golub unites with saxmen Warren Hill and Tom Braxton for what bodes to be a blues-singed set. Guitarist Nick Colionne brings Chicago-style fire and flamboyant fashion to his shows. Sax Pack Steve Cole, Jeff Kashiwa and Jackiem Joyner – always delivers a high-octane performance. The final day gets underway with Jazz in Pink, a trio of talented women consisting of keyboardist Gail Jhonson, violinist Karen Briggs and saxophonist Paula Atherton.
 
Tickets can be purchased for the entire Las Vegas Jazz Festival or as single-day events, but BTWconcerts.com’s Brad Laughlin, the producer and promoter of the festival, encourages guests to come for the weekend.
 
“Part of the magic of our jazz festivals is when guests come and totally immerse themselves in the music and lifestyle experience for the entire weekend. One of the reasons we produce our events at first-class resorts like the JW Marriott Las Vegas Resort & Spa is to foster that feeling of community that takes place when concert goers spend the weekend enjoying the live music along with the plush accommodations and top-notch facilities. In addition to the extraordinary shows we go to great length to produce, our festivals are an opportunity for people to getaway, relax, socialize, network and form relationships. These aren’t just concerts; they are fun mini-vacations and our guests fly in from all over the country to join the party,” said Laughlin, whose company also produces the Arizona Jazz Festival and the San Diego Jazz Festival
 
Starting at $65.00 for single-day ticket and $285.00 for a 3-day seat, tickets for the Las Vegas Jazz Festival are available online at www.lvjazzfestival.com and by phone at 602.244.8444.
 
Additional information about the Las Vegas Jazz Festival is available at www.lvjazzfestival.com.
  
 
About BTWconcerts.com
 
Phoenix, Arizona-based BTWconcerts.com is one of the premiere concert producers in the Southwest. Among the star-studded jazz and R&B concerts and multiday music and lifestyle festivals that the company promotes are the Arizona Jazz Festival (http://arizonajazzfestival.com), Las Vegas Jazz Festival (http://www.lvjazzfestival.com) and San Diego Jazz Festival (http://www.sandiegojazzfest.com).


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