By Dee Dee McNeil – May 10, 2026
The May 10th concert, (Mother’s Day) celebrating Maurice White and George Duke with the Symphonic Jazz Orchestra, was a treat! It featured an alto saxophone player, by the name of Lakecia Benjamin and singer Chanté Moore. Chanté had personally worked with Maurice and also George Duke, recording her first album with Duke and spending time with both master musicians and producers in the recording studio.
Chanté recorded her first hit album with George Duke. On that album, Chanté’s production sounded a lot like Charles Stepney had arranged it. However, the great Chicago-based arranger had died in 1976, so that was impossible.
I remember when Stepney and Maurice were close musical friends and collaborators, but although White met Chanté when he came to California, he didn’t produce her debut album that was released in 1972, by George Duke. It was a favorite of mine titled, “Precious.”
Twenty years later, Maurice White produced El Debarge’s 1992 album, In the Storm, which was co‑produced with El DeBarge and Keith Crouch. It featured a duet with Chante Moore called “You Know What I Like.”
Maurice White’s 2003 orchestral composition sat in a drawer somewhere for years. The orchestral chart had the SJO in mind when Maurice was first scoring it. Passages is a 10‑minute orchestral composition that White created 23 years ago. Initially, it was commissioned by this very Symphonic Jazz Orchestra (SJO). Back then, the music directors were George Duke (who was Co-Music Director of the SJO from 2002 until his passing in 2013), and Mitch Glickman. Both were working with White and his writing partner Bill Meyers. The piece was intended to be performed with the 68‑member SJO, but the project was never completed, and the original score, sketches, and recordings were shelved.
George Duke courtesy SJO & the Carpenter Center
Bill Meyers was at the concert and played piano during this arrangement. He and Maurice White wrote over 40 songs together and produced The Emotions, a gold record girl’s group. The talented Meyers orchestrated, arranged, and co-composed the Broadway musical “Hot Feet,” a show that ran from April to July of 2006 and featured music and lyrics by Maurice White of Earth, Wind & Fire.
Upon my arrival at the Carpenter Center, I saw John Clayton enter the auditorium and take his seat. He is on the SJO Music Advisory Board. Seated right in front of me was the legendary Hubert Laws. In the front row, I waved at bassist, Kevin O’Neill.
Mitch Glickman, who is the current Conductor and SJO Music Director, was our host for the evening. He welcomed the audience and told everyone the Symphonic Jazz Orchestra would be joined by some jazz band members as part of the program. Glickman brought Lakecia to the stage.
Lakecia Benjamin brought East Coast energy to this production. I’ve reviewed her albums in the past and was quite familiar with her musicianship. She came on stage with form-fitting silver slacks and a gold glitter top that caught the spotlights with reflections that danced out into the audience like sparks or fireworks. They opened with the George Duke composition, “Festival.”
Photo © by Dee Dee McNeil May 10, 2026 – Lakecia Benjamin with SJO
The first half of the show featured the Symphonic Jazz Orchestra with Lakecia Benjamin. Right away, I noticed the bass player in the orchestra was fire, playing both electric and upright bass with the same ease and dynamic energy. When I looked to see if I knew the bassist, I recognized the talented Edwin Livingston. He was further energized by drummer Christian Euman. The first half of the show ended with the reason this show was arranged, that song “Passages” scored by White back in 2003. His co-writer, Bill Meyers, took a seat at the grand piano, once occupied by Alexis Lombre, the orchestra pianist.
After intermission, Chanté Moore was featured. She took the stage in a full-length warm, brown gown with the sparkle of zircons flashing in the spotlight from the bodice of her dress. Moore is a Soul Train Music Award winning singer, songwriter and author. She performed “In the Stone” with the symphony, followed by, “Be Ever Wonderful.” Then, they presented the classic tune “That’s the Way of the World” (written by Maurice White, Charles Stepney and Verdine White). In between songs, Chanté sipped on what she told us was hot water and honey from a jeweled red thermos. She was friendly with the audience, comfortable like she was talking to her Bestie.
The concert ended with “September.” She had the audience joining in to sing-along. The trumpet solo was awesome during this arrangement. They also brought back Lakecia Benjamin on saxophone to close the evening out.
I have reviewed a couple of Lakecia’s albums including “Phoenix Reimagined (Live)” released in 2024 and “Phoenix,” recorded in 2023.
It was a lovely way to spend my Mother’s Day. The Symphony Jazz Orchestra was fantastic, along with the personal stories that Mitch Glickman shared. A taped portion of Maurice White’s voice was interjected into the concert and Bill Meyers, White’s writing partner, took to the stage and played the piano during their “Passage” presentation, also sharing personal thoughts about his time collaborating with White. All in all, it was an evening to remember.
THE SYMPHONIC JAZZ ORCHESTRA: CONDUCTOR: Mitch Glickman. RHYTHM: Edwin Livingston, electric & upright bass; Christian Euman, drums; Alexis Lombre, piano. WOODWINDS: Sarah Andon, flute/piccolo; Sal Lozano, alto & soprano saxophone/flute; Greg Huckins, alto saxophone/flute; Jonathon Davis, oboe; Phil Feather, oboe/English horn; Marty Krystall, clarinet; Brian Scanlon, clarinet/tenor sax; Jay Mason, clarinet/bass clarinet/baritone sax; Harvey Saltzman, bassoon; John Mitchell, bassoon/tenor saxophone. BRASS: Dan Fornero, Robert Schaer & Michael Stever, trumpets. Steve Becknell, Sarah Bach, Danielle Ondarza & Jon Titmus, French horn; Alan Kaplan, Dave Ryan, Abdullah Ebrahim, trombone; Ross de Roche, tuba/bass trombone. PERCUSSION: Mark Converse, Bruce Carver, Petri Korpela (Latin Percussion). CONCERT MASTER: Sara Parkins. 1st VIOLINS: Carolyn Osborn (principal), Chris Woods, Johana Krejci, Julie Rogers, Mark Cargill, Sharon Jackson, Kathleen Robertson, Nina Evtuhov & Lily Honigberg. 2ND VIOLINS: Tamara Hatwan (principal), Erika Walczak, Susan Chatman, Ron Clark, Eun-Mee Ahn, Stephanie Matthews, Jacqueline Suzuki & Pamela Gates. VIOLA: Andrew Picken (principal), Sharon Ray, John Wang, Neel Hammond, Rocio Marron, Karolina Naziemiec, Jorge Moraga & Karen Elaine. CELLO: Evgeny Tonkha (principal), Caleb Vaughn-Jones, Hope Easton, Miguel Martinez, Martha Lippi, Mary Anne Steinberger, Paula Hochhalter, Stephanie Fife; STRING BASS: Karl Vincent (principal), Nicolas Philippon, Adrian Rosen, & Richard Shaw. HARP: Amy Wailkins.
By Dee Dee McNeil
May 1, 2026
CYGER & BUTTERWORTH – “PLAID PANTS” – Outrageous8 Records
Ron Cyger, saxophones/flute/composer; Brent Butterworth, double bass/guitar/ukulele/ percussion/composer; Dimitris Terpizis & Leo Oliveira, drums; Larry Salzman, bongos.
Ron Cyger has been busy on the Los Angeles jazz scene for years and Brent Butterworth has also performed with several L.A. music groups and in the Seattle area. Their album, “Plaid Pants” documents a true compositional partnership, combining two distinct writing voices, each contributing four original tunes. This is a unique duo production.
The two friends and talented musicians invite three percussionists to join them. The first tune composed by Ron Cyger is titled “Pequeña Diabla” that translates to “Little Devil” and on this Latin arrangement, Brent Butterworth is playing percussion and also adding bass, rhythm guitar and ukulele. Cyger’s smooth saxophone delivers the beautiful melody and the party begins.
Their next tune is based in the blues with a shuffle-feel pushing the melody forward. This tune is also penned by Cyger, but has a totally different direction than the first track. Butterworth takes a long bass solo, and this time Dimitris Terzplis adds drum licks to the arrangement. His rhythmic perspective is there, but the main thrust of this tune is presented by the duo headliners themselves.
An original song called “Clunky” was composed by Butterworth. It has a totally different approach than the first two songs. This time Cyger picks up his flute and reminds me just a little bit of the Herbie Mann days in jazz. The sensitivity between these two multi-instrumentalists is obvious. They merge together on this project, a tight consolidation of emotional and musical connection. This album defines them not only as jazz musicians but as collaborators presenting a compositional unit. Their ensemble interplay and sound design is always spotlighting the duo aspect of this music.
Their title tune, “Plaid Pants” reminds me of New Orleans, spicy gumbo and a parade of jazz musicians locked into a celebratory arrangement. This song production features tempo and mood changes, written into an interesting arrangement.
On ”Bye Bye Blue Whale” written by Butterworth who shows off his guitar skills and also accompanies himself on bass. I wonder, in person, how this duo would present their unique sound? Do they pre-record certain instrumentation? About midway through the tune Cyger enters on his soulful saxophone and explores the melody.
Their album ends with a moderate tempo shuffle tune called “LP” and features Larry Salzman on bongos. The melody is infectious and just might have you whistling along.
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JOE HENDERSON – “CONSONANCE” – Resonance Records
Joe Henderson, tenor saxophone/composer; Joanne Brackeen, piano; Steve Rodby, bass; Danny Spencer, drums.
In February of 1978, at Joe Segal’s famed Jazz Showcase in Chicago, saxophone titan, Joe Henderson and his quartet packed the place. Five decades later, this music remains relevant and inspirational. It is still exciting, alive and fierce.
Joe hired Joanne Brackeen as his pianist of choice. She is always a dream to hear and I listen to her in amazement. Joanne Brackeen was a maverick in the jazz world, where few women were gifted enough to accompany someone like Joe Henderson.
“Sometimes he would take a twenty or twenty-five minute solo. To make sure I got equal time, he would leave the stage and walk outside,” Joanne Brackeen recalled the respect and admiration Joe Henderson showed for her talent. “We never talked about the music. What you heard is the way we talked.”
“A lot of club owners would never hire music like ours. I think it was fantastic that Joe Segal had the nerve to hire us,” Joanne Brackeen affirmed.
Joe Segal’s son, Wayne, continues to keep his beloved Jazz Showcase alive and well.
Brackeen was born in California and greatly influenced by Charlie Parker during her early days in Los Angeles. She attended Los Angeles Conservatory of Music. She cut her teeth playing with Dexter Gordon, Art Farmer, Charlie Haden, Billy Higgins, Teddy Edwards, and Bobby Hutcherson. In 1965, she moved to New York City.
Joanne Brackeen (Born Joanne Grogan, July 26, 1938)
Also, I am in awe of the speed and excitement Joanne Brackeen puts into every solo. She goes on and on, powerful as a spaceship taking off from Cape Canaveral. She speeds into space without a parachute and takes us with her. How can she play that fast and with such accuracy, I wonder? This album will stop you in your tracks and nail you in place!
Inside this double CD set, there is a wonderful 28-page booklet that tells you private stories of these marvelous musicians, who were at the height of their careers. The first song, “Mr. PC, says it all. It’s a John Coltrane composition and it swings so hard, I could hardly catch my breath. Steve Rodby’s bass is flying right along side of Joe Henderson’s saxophone. I usually refer to a “walking” bass, but in this case, Rodby is definitely flying top speed, prodded by Danny Spencer on drums. Wow! You have just got to hear the speed and dexterity of this music to truly appreciate my description.
This is the music I have loved from teenaged years and beyond. The energy and creativity is spontaneous and unregulated. The moments, like the music, are improvised and fly free. Joe Henderson is playing “live” and he’s doing it his way. There are no studio producers telling him his solo is too long or too short. There is no club owner monitoring his spontaneity. He is a bird flying above the norm, giving praise to Coltrane and all the other inspired musicians who encouraged him to just be himself.
The first disc ends with Charlie Parker’s composition, “Relaxin’ at Camarillo.” This album shows that Joe Henderson had the rare ability to be of his time without being trapped by time. His artistic value is reflected in every song, every arrangement, every second of this recording. I am spellbound!!!
Joanne Brakeen shared that Joe Henderson had a photographic memory. In the accompanying CD booklet she wrote, “Once, when the band went to Europe, I had bought some little Berlitz books for learning different languages. Every time Joe saw me with one of those books, he’d grab it out my hand. But the time we’d finished the tour, he’d learned basic conversation in these various languages”.
“Joe would go right up to the promoters we had to deal with for tour business and talk to them all in the appropriate language and with perfect pronunciation. On one of our tours, I counted 17 different languages. Each promoter was astounded at hearing Joe speak their language with them with no accent,” Brackeen recalled, still in awe of Joe Henderson’s abilities.
The California born and bred pianist recalled, “Joe was also a pianist. He knew exactly what he wanted to hear. … When we were in Istanbul, some musicians told us where a local jazz club was. One afternoon, we decided to check it out and upon arriving there, we found Joe Henderson seated at the piano playing wi6th local musicians,” Joanne Brackeen recalled.
On this album, his band is as innovative and timeless as the music they play. This double-set album continues to remind the world of Joe Henderson’s energy, excellence and jazz musicality.
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FAYE CAROL – “FOREVER DYNAMIC” – Getdown Records
Faye Carol, vocals; Joe Warner, piano/musical director; Tarus Mateen, upright bass; Dennis Chambers & Dante Roberson, drums.
Faye Carol has been beloved in the San Francisco Bay Area for decades. Her liner notes display highly respected names in the music business singing her praises. Folks like Ledisi, Patti Cathcart of Tuck & Patti, bassist Buster Williams, drummer, Billy Hart and the legendary Benny Green. These artists all speak highly of this vocalist and trend-setter. Within a 20-song collection, captured on a double cd release package, Faye Carol showcases her unique interpretation of fusion, funk, jazz, blues and gospel-infused classics.
This dynamic vocalist arrived in the Bay Area from Mississippi in her early teens. She recorded her debut release in 1967 when 45rpm records were still spinning on turn tables. It was an R&B record called “Good Man” that was steeped in the blues.
Faye Carol’s repertoire on this album is a conglomeration of songs from jazz to soul, from pop to blues. However, she avoids labels like ‘jazz singer’ or ‘blues singer,’ insisting that music is in the ear of the beholder.
“These songs have been with me for so long, I just wanted to record them so people could hear them. Joe (Warner) and I share the same musical mind, so capturing this material felt natural,” Faye Carol wrote in her press package, referring to her pianist and musical director.
She and her ‘hot’ band open with a reinvented “Hello Young Lovers” that begins with a funky, soulful arrangement, then transforms to ‘swings.’ I love her rendition of “Can’t Take My Eyes Off You” as a low-down blues. When Faye Carol sings that pop tune, it becomes a soulful declaration, spurred on by the bluesy piano of pianist and ‘MD,’ Joe Warner.
Over years, Faye Carol has become an esteemed matriarch on the San Francisco Bay Area jazz and blues scene. As a young woman, she sang in the youth choir at Solomon Temple Missionary Baptist Church. She also toured with the gospel aggregation, The Angelaires. As a competent pianist, at one point in her career she accompanied Martha Young (the niece of jazz icon, Lester Young) and was also mentored by her future husband, musician and educator Jim Gamble.
After Faye Carol won a talent contest at the Oakland Auditorium, she was swept up by Johnny Talbot & De Thangs who, at that time, were Oakland, California’s funk pioneers. In 1968, she won the Top Star Award for Best Singer. Her repertoire was always diverse. She could easily switch from gospel, to R&B, and then to jazz. Locally, she was hired to open for acts like the late, great Otis Redding, for soul man, James Brown, and for Motown stars, Martha and the Vandellas.
Ms. Carol was also an activist during the revolutionary sixties and seventies. She sang at political rallies for Angela Davis and for the Black Panther Party. She took over the San Francisco jazz and cabaret scene. In recognition of her musical talents, Faye Carol has won four Cabaret Gold Awards, the 2014 Bay Area Jazz Hero Award, and was honored with a star on the Oakland Blues Walk of Fame.
With a passion to ‘give back,’ in the 1990s, she founded Music in the Community (MITC) at Berkeley’s Black Repertory Theatre. It remains alive and active to this day. Ms. Carole is also founder and Executive Director of “School of the Getdown” that continues to celebrate Black art traditions through performance and education. I always say, working with young people keeps you young.
With a career that spans over six decades, her recent album release celebrates an ability to move forward with ‘the times.’ She may no longer have that powerhouse vocal control that was celebrated years ago, but she can still groove, still bebop. On “Forever Dynamic” Faye Carol adds her gospel and blues roots to the project with fearless, timeless talent and she offers listeners a style that is uniquely her own.
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ANTHONY BRANKER & OTHER WAYS OF KNOWING – “MANIFESTATIONS OF A DIASPORIC GROOVE & SPIRIT” – Origin Records
Anthony Branker, composer/musical director; Simona Premazzi, piano; Pete McCann, electric & acoustic guitars; John Hébert, double bass; Rudy Royston, drums; Steve Wilson, alto & soprano saxophones/flute; Aimee Allen, vocals.
Composer and musical director, Dr. Anthony Branker, writes in his liner notes: “Music is a reflection of culture and can be central to our understanding of otherness as it relates to social, racial and ethnic identity.”
Branker’s music is meant to tell historic stories. His opening song, “The Children of Lyles Station” was composed as a reflection of the tragic events that unfolded in 1927, when ten African American children from the Lyles Consolidated School in southern Indiana were misled. They were told, along with their parents, that they would receive treatment for Ringworm. Instead, they were subjected to high doses of radiation without parental consent. These unsuspecting children, used as guinea pigs, were horribly damaged, disfigured and scarred. All of this, so scientists could see what would happen to young, healthy humans who received exposure to radiation. This was similar to the revolting Tuskegee Syphilis Study; another sneaky test used on African American men to see what the effects would be of letting syphilis eat away at your body without treatment. Branker did not want “The Children of Lyles Station” to be forgotten.
“Song for Marielle Franco” pays tribute to the Brazilian politician, sociologist, feminist and human rights advocate who was assassinated in March of 2018. This time, Branker employs the warm vocal tones of Aimee Allen and the saxophone of Steve Wilson to deliver his song.
His composition, “Stolen Sisters” is dedicated to indigenous women of color who have been murdered or reported missing in our society and beyond. Aimee Allen sings these lyrics:
“Time cannot erase your faces. No matter how hard it tries, you are always just before our eyes, in our hearts, on our minds forever … never forgotten.”
Anthony Branker’s newly formed ensemble, “Other Ways of Knowing” becomes a powerful, new chapter in his ongoing exploration of using music as a cultural and social narrative. His deep personal storytelling combines musical beauty with intellectual, historic depth. The stories behind this music are as shocking as the compositions themselves and are described in depth, inside the liner notes.
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STELLA HEATH – “FOR BILLIE” – Matterhorn Records
Stella Heath, vocals; Neil Fontano, piano/arranger/tambourine; Daniel Fabricant, bass/ arranger; Victor Wong, guitar; Riley Baker, drums/trombone; Robert Elfman, clarinet/tenor sax/flute; arranger; Johnny Bones, soprano, alto & tenor saxophones; Clint Baker, trumpet/ trombone.
The past few years, Stella Heath had been working on a historical tribute show to celebrate Billie Holiday in collaboration with her pianist, arranger, Neil Fontano. That project developed into this recording.
“My objective, from the beginning, was never to imitate Billie, but to honor her. It is important to me to stay true to myself and how I sing,” explains Stella Heath.
This vocalist is a Sonoma County native. Heath grew up living in Petaluma, a Northern California community renowned for its agricultural scene and well-preserved Victorian architecture. She opens this album with a swing number “Now Baby, or Never” and a production that recalls the music of the 1940s.
Heath follows with a two-step groove on “If You Were Mine,” a moderate tempo ballad. Victor Wong takes a warm guitar solo, sharing bars with Neil Fontano’s piano, then they focus the spotlight on the saxophonist. Heath’s session features the crème de la crème of the Bay area swing scene. On “What a Little Moonlight Can Do” the clarinet is king. A solo by Riley Baker sounds like a tap dancer moving across the skins of his drums.
Stella Heath is a stylist. Sometimes I hear shades of Esther Phillips in her tone and vibrato. Heath has her own sound and sings with purpose and sincerity.
On “Crazy He Calls Me” the song becomes a perfect vehicle for her to show off her vocal prowess. Her attention to melody and selling the song lyrics is consistent. On a tune called “You Let Me Down” Clint Baker carefully and creatively adds his trumpet to the arrangement, tastily filling in between Heath’s melodic delivery, then taking an impressive, improvised solo.
One song written for Holiday by Vilray Blair Bolles titled “These Tears” is up tempo and shuffles along beneath Heath’s poignant delivery. Heath attended Interlochen Arts Academy and Syracuse University, graduating with degrees in acting and cultural geography. In 2009, she relocated to New York City, where she found her path back to jazz. She began performing around town and developed thematic shows including tributes to Ella Fitzgerald, Edith Piaf and early Nat King Cole. In 2022, Stella Heath took a position back in California, bringing jazz education to low-income schools around Sonoma County.
“I whole-heartedly believe that jazz, a uniquely American art form, should be held up and celebrated in our society and should be a vital educational component in our school system here, in the United States,” Heath says in her press package.
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TOMAS JANZON – “JAZZ DIARY” – Changes Music
Tomas Janzon, guitars/composer; Nedra Wheeler, bass; Tony Austin & Church McPherson, drums.
Born in Stockholm, Tomas Janzon studied classical and jazz traditions before relocating to Los Angeles, California. He enrolled in the Musicians Institute, where he was named Outstanding Player of the Year. Following personal study with Joe Diorio, he gained his master’s degree with honors in classical guitar from the USC Thornton School of Music. His debut recording featured the late, great Billy Higgins on drums and Nedra Wheeler on bass. His camaraderie with Nedra continues on this album.
Janzon’s trio opens with “Spirit Secret.” I find the piece quite melodic, but I’m missing the groove. The guitar sounds like a waltz, but the drums are not playing anything near a waltz. Written in February of 2025, this song was a short entry in Janzon’s diary and became the starting point for this album. “May Six” comes next. It too has melodic integrity.
“Early Sunday” grew from another daily entry in his diary. It features a solo by bassist Nedra Wheeler and this song has a memorable ‘hook’ and quickly becomes one of my favorites on this album.
According to Tomas Janzon, Wheeler is the center of this record and in part, this album is a dedication to her. Their connection goes back to his years in Los Angeles, working around Leimert Park and the World Stage with musicians like Billy Higgins and Sherman Ferguson.
His tune “She’s Listening” was inspired by walking into a room where his wife was sitting, she listening to the quiet, to the moment, to nature. On tunes 8 through 11, a new drummer comes onboard and the groove is distinct. Once Chuck McPherson holds the drumsticks in hand, the groove is dominant and accentuates Janzon’s original music. This is what I was looking for all the time. “Muddy Shoes” becomes another favorite tune, rooted in the blues and propelled by McPherson’s drum licks. This one should get lots of airplay. The groove created by Wheeler and McPherson gives Tomas Janzon the freedom and rhythm section security to stretch out on his guitar solo to explore his creative improvisation and imagination. This could be a single pulled from his album.
I think if an arranger had written scores for some of Janzon’s songs, it would have enhanced this production. After all, Janzon’s “Jazz Diary” developed from scribbled ideas in a notebook. They reflect how the act of composing is quite inseparable from his playing. This album exemplifies the guitarist’s talents on his instrument and his love of composing music. He incorporates his Swedish heritage into the tune, “To summer” drawn from his memory of a Sweed folksong. It is the only piece not drawn from his diary.
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STEVEN HUSTED AND FRIENDS – “TWO NIGHTS LIVE” – Independent Label
Steven Husted, double bass/composer; Israel Yanez, drums; Milo Hehmsoth, piano; Matt Berger, guitar; Grant Teeple, saxophone.
Before moving to the East Coast, Husted packed up at fifteen years old and moved to San Francisco. That’s where his deep commitment to jazz took shape. By the time he turned twenty-one, he had established himself as a top bassist in the Bay Area. He taught for six years at the Stanford Jazz Workshop, while playing gigs with legends like Kenny Burrell, Billy Higgins and Vince Wallace.
Steven Husted’s band opens with the familiar jazz standard by Hank Mobley, “This I Dig of You.” The quintet comes out swinging hard. It’s a great way to begin this album, showing off the skills of each member of Husted’s ensemble during showcased solos.
They continue with Clifford Brown’s popular tune, “Sandu.” Grant Teeple delightfully presents the melody on his tenor saxophone, stepping into the slow swing groove with all the power and excellence necessary to deliver this favorite jazz standard. Then comes Milo Hehmsoth on piano. He offers his own improvised solo. Beneath Milo’s creativity, Steven Husted walks his bass and locks into the rhythm with Israel Yanez, steady on the drums. Then comes Husted’s solo on the double bass, surprising me by playing a great deal of it in the upper register of his instrument. It’s an innovative solo excursion, followed by the trap drums, trading fours with the other band members, and displaying Yanez’s talents on his instrument.
After relocating and living more than a decade in New York City, Husted has returned to his roots in Connecticut. Today, he resides in Newington, where he is respected for his depth of musical talent, his dedication to the jazz tradition, and his local gigs as a bandleader.
On this album, he includes several original compositions including “Existential Changes,” a slow shuffle tune called “Bop Top,” and a song he titles “Against the Grain.” The last song features Matt Berger on guitar playing the melody line unison with Husted’s bass at the tune’s introduction. Each of those three tunes are deliciously different, establishing their own grooves, but always swinging. On “Against the Grain” the guitarist and drummer share a musical conversation, at first trading fours, then two bars each. They show off their individual talents, while lending their formidable talents to introduce us to Steven Husted’s original song.
This album was just plain fun to listen to, entertaining me not only with their individual talents, but also there is nothing I like more than music that ‘swings!’ Steven Husted and his group of jazz musicians are masters at presenting Straight ahead jazz with swinging tempos that encourage finger snaps and head-bopping. Eight out of eleven songs feature Husted’s original music. They are inspired compositions, with some of the pieces sounding like jazz standards.
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ROY HARGROVE – “BERN” – Time Traveler Recordings
Roy Hargrove, trumpet/flugelhorn/composer; Larry Willis, piano; Gerald Cannon, bass; Willie Jones III, drums; Sherman Irby, alto saxophone.
When Roy Hargrove burst onto the New York jazz scene, he made an assertive impression on his fellow musicians and the jazz community as a whole. He was a young lion with a big, beautiful roar.
Meet Roy Hargrove! This previously unreleased material, played by a 30-year-old trumpet master just ten years into his blossoming career, was recorded during an appearance at the International Jazz Festival in Bern, Switzerland on May 4, 2000.
The tune “Stranded” opens this performance with a big bang! This is Straight Ahead jazz at its very best. Energy spits from my CD player like electrical sparks. This music sets my listening room aflame. Willie Jones III pushes the group with power sticks and shows off his drum skills during a crazy, exciting solo. Sherman Irby’s alto saxophone steps up after Roy Hargroves exceptional trumpet solo and blows my mind. The audience applause says it all! Larry Willis is amazing at the piano, with his solo spontaneous and combustible. Gerald Cannon’s bass holds the excitement together, sticking like glue to the Jones rhythms and the Hargrove energy.
During his brief, but illustrious career, Roy Hargrove embraced many genres, reigning supreme in each dynamic adventure from post-bop recordings as a leader, to his pioneering Latin Jazz/Afro Cuban ensembles. He approached his venture into neo-soul and hip-hop with the same bright energy, recording with fellow Texan, poet, vocalist and songwriter, Erykah Badu, as well as working with the very popular R&B and hip-hop artist, D’Angelo on his recording “Voodoo.”
In the late 1960s, Hargrove recorded with D’Angelo some rather Avant-garde funk music that tickled the edge of hip-hop and was infused with jazz licks. Hargrove always was a jazz musician first and foremost.
Hargrove’s original composition “Depth” is melodic and once again, swings steady like a pendulum. That strong, no-nonsense bass line that Gerald Cannon walks beneath the excitement is purposeful. A third of the way into the song, they switch up the mood and change the tempo, following Irby’s saxophone solo. When Hargrove steps back onto center stage, they are back to the ‘swing’ and the excitement he always insists upon.
“We played basically six nights a week for a year,” recalls Irby.
This is an album full of imagination and genius. The quintet members are comfortable with each other. You can feel that camaraderie. The tenderness that I hear on “Never Let Me Go” takes my breath away as Hargrove puts every drop of emotion into his presentation. You can be assured, be it a ballad, a swing number, or a straight-ahead, up-tempo arrangement, the trumpeter will give us one-hundred percent. I also loved the Willis piano solo, soaked in the blues one moment, then tinkling the upper register keys the next in a flurry of emotion. When Cannon sings the melody on his double bass, it’s pure, unadulterated magic.
“To this day, it was the best musical situation I’ve ever been a part of,” says Willie Jones III in the eight-page booklet that’s included in the compact disc package. “…It’s not about being cocky. It’s just that we played every night. We knew what we had. We knew what we were bringing. We also knew that there are hardly any other bands playing in that style, bringing that type of fire.”
You will hear Roy Hargrove and his magnificent group of musicians at their very best on this live recording from Bern, Switzerland. It’s a moment in time, never to be forgotten!
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By Dee Dee McNeil
On March 16th, a warm California Sunday evening, I attended the concert of KEM. What a riveting and exciting experience.
Kim Lamont Owens is a soulful singer, an artist simply known as “KEM.” His voice and music cross borders and genres. He’s often classified as an R&B soul singer, but his style and songwriting could easily be interpreted as smooth jazz.
KEM’s roots are planted deeply in today’s USA music capital of Nashville, Tennessee. He was born there. However, KEM moved to Detroit, Michigan (another music capital of the world) at five years old. There, he was raised in both Southfield, Michigan and in the city of Pontiac, just outside of Detroit.
KEM’s first gold record was his debut album as an artist, called “Kemistry.” He sponsored the recording himself by working as a wedding band singer, waiting tables, and using his American Express card.
As an independent artist, KEM’s music was so unique and infectious, it received plenty of attention and airplay. People loved his sound. Consequently, the resulting popularity teased Motown Records. Here was an independent artist who could make the ladies swoon like Marvin Gaye, but also had a jazzy edge, a tone similar to Al Jarreau. Motown wanted him on their label.
When Motown re-released his debut album, it sold more than 500,000 copies and was quickly certified Gold by the RIAA. But that was just the beginning.
His next release hit the airwaves in May of 2005. It was certified Platinum. You may remember his hit single, “I Can’t Stop Loving You” that rose up the adult contemporary radio charts. It was so popular, he won the Billboard Music Award for “Top Adult R&B Single of the Year.”
This unique artist has continued to write and record music, while gaining international notoriety. In 2026, he continues his legacy with a brand-new album titled “Alkemy.” When I heard that KEM would be performing at the Los Angeles Blue Note Club, I was excited to see him “live” in a small club venue. I find these intimate settings to be much more conducive to experiencing an artist than the large arenas, especially when it comes to jazz.
Photo © by Maricea Muhammad
The BlueNote Los Angeles holds 200 people. It was sold out. We arrived half an hour early and almost all the seats were full. A deep, navy blue hue hung over the excitement in the room. Because of the intimacy of the club, there were no bad seats. KEM’s quartet took to the stage. Then, the artist appeared. He looked amazing in a three-button dress suit, (a single button in the middle and two beneath it on either side of the jacket). The vocalist looked stylish and cool when he entered the room from a backstage door. His butter-smooth voice melted over the expectant crowd as he opened his show with, “You’re On My Mind.” KEM immediately captivated the crowd.
On stage, the silky-smooth vocalist made his audience feel comfortable. He spoke to us as though we were old friends or family. The singer and composer shared a story about meeting his mentor, Al Jarreau. He told us the KEMestry LP had just been recorded. To make ends meet, he was waiting tables at the Ritz Carlton hotel in Detroit, Michigan. That’s when he heard that George Duke, Roberta Flack and the artist he admired, none other than Al Jarreau, would be performing at that hotel. He had a couple of copies of his still unreleased (but pressed up) independent album with him. His plan was to meet and greet George Duke and Al Jarreau, and to give each one a copy of his newly recorded music.
As fate would have it, KEM spotted Al Jarreau standing in a quiet part of the hotel, smoking a cigarette. Hesitant but determined, he approached Jarreau. They shared a conversation. Al was warm and receptive. Before KEM could tell Al that he was a singer and had a debut project that would soon be released, Al began to tell him a story about how a tune he had recorded called “Blue in Green” developed from a relationship between the iconic pianist and composer, Bill Evans and jazz legend Miles Davis. The stories that Al Jarreau shared captivated the younger artist. KEM was stunned and happy about meeting his inspiration and impressed with how laid-back and cool the superstar had been. He even forgot all about giving Jarreau a copy of his new album.
The next time KEM ran into Al Jarreau was when he opened for Jarreau at the Long Beach Jazz Festival. It was like reuniting with an old friend. Al Jarreau embraced KEM and remembered him. They shared another conversation. This time Al Jarreau suggested that he and KEM record an album together. He said they should call it “AlKEMy,” a combination of their names, their original music, and a blend of their voices. Sadly, the world lost Al Jarreau on February 12, 2017. But the dream KEM had of recording with his vocal mentor lived on.
Nearly a decade later, this dream album is coming to fruition. When KEM met with Robert Glasper, a Grammy winner, an in-demand record producer, pianist, songwriter and musical arranger, Glasper suggested they re-arrange KEM’s trademark hit records “Love Calls” and “I Can’t Stop Loving You.”
KEM gave Glasper free range as his producer for this Motown project. He performed it for us during his BlueNote performance. Another beautiful song from this new album was “In My Dreams.” It had a rich, lovely melody.
KEM performing at BlueNote with bassist, Al Turner and Ron Otis on drums. Photo © by Maricea Muhammad
All those wonderful background voices you hear on record were played on the synthesizer by Demetrius Nabors, KEM’s talented pianist and keyboard master A sweet saxophone solo opened the next tune “I Think About Us” played by Jamal Mitchell.
The crowd reacted to each and every song, shouting encouragement and pleasure from the audience. Their voices raised in appreciation when he began singing “How Did You Find Your Way Back Into My Life.” During the instrumental break, KEM left the stage and walked comfortably through the audience, finding couples and challenging various men to sing the line “…back in my life…” The audience loved it and so did the spouses who were being sung to.
KEM talked about feeling gratitude and empathy. Those emotions thread their way through his musical productions. He chuckles when he tells the attentive crowd that he had wanted a record deal for years. Finally, at age thirty-five, he was offered one. It came after paying years of dues. But he admits, it was the perfect time. By then, he was at an age when he could really appreciate success.
The other thing that completed his circle of life was love. He met and married his current wife. Together, he told us, they completed their family with eight children.
In tribute to Al Jarreau and the project they had talked about doing, KEM includes some of Al’s original music during his ‘set.’ One of Jarreau’s huge hit records was “We’re In This Love Together.” It was a crowd-pleaser. Everyone started singing along with KEM.
Ron Otis was dynamic on drums all night, punching the rhythm and instigating the funky grooves. Randy Bowen was super talented on guitar, adding strength to the tight rhythm section. Al Turner added his magic, locking hands with the drummer, playing both electric and double bass, with Demetrius Nabors on keyboards. KEM’s band was fire!
This talented artist offered us his whole heart and soul during the performance. KEM will be touring worldwide to promote this new album. When he comes to your city, try to catch him ‘live.’ It’s a wonderful experience.
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Dee Dee McNeil CDs, “STORYTELLER” and “WHERE CAN OUR LEADERS BE?” are Online at CDBaby.com or Amazon.com. As a journalist, Dee Dee is available to write liner notes, biographies and feature articles on jazz musicians and singers. Contact her at ddmcneil@aol.com or leave your message and phone number at 248-262-6877.
DEE DEE McNEIL
Dee Dee McNeil is An Educator/Singer/Songwriter/Poet/Journalist/Producer & Playwright. Originally from Detroit, Michigan, her poetry was published in the first edition of Dudley Randall’s poetry anthology, “The Broadside Annual.” Several other anthologies followed. As a contract songwriter for Motown Records, several iconic artists have recorded her music including Diana Ross & the Supremes, Gladys Knight & the Pips, David Ruffin, Edwin Star, The Four Tops, Nancy Wilson, Rita Marley, Kiki Dee, Jonah Jones, Side Effect, Rapper ‘Styles’, LL Cool J, Gip Noble, The Marvelettes, Robert McCarther, Peggy Duquesnel and the historic Rap group, The Watts Prophets, of which Ms. McNeil was a member. She moved to Los Angeles in 1970 and became an alumnus of Budd Schulberg’s Watts Writers Workshop. She was one of the first women to Rap in the late ‘60s and early 70’s, speaking up for women’s rights. She recorded as a member of the Watts Prophets in 1970, reciting her original poetry, playing piano, singing and adding original music to their premiere release entitled, “Rappin’ Black In A White World,” named from a song McNeil penned with co-writer, Marthea Hicks.
Her articles and Cd reviews have appeared in Cadence Magazine, All About Jazz Newspaper and she had a jazz blog at www.lajazz.com for five years. As a freelance journalist, her articles have appeared in Good Old Boat Magazine, Pathfinders Travel Magazine, Ambassador National Italian-American Foundation magazine and many more. she was a music journalist for the AOL.com owned Patch Online newspapers. Her Column was called “Music Matters.” She once had a Jazz column in the Michigan Chronicle Newspaper. Another of her syndicated entertainment columns appeared in several newspapers across the country and in Canada. In 2009 her book “Haiku In My Neighborhood” was published, featuring the photography of Roland Charles.
In 2010, she presented her “Haiku In My Neighborhood” literary enrichment program as part of the City of Inglewood Parks, Recreation and Community Services, teaching haiku to children aged five to eleven as part of an after-school program. In 2011, she successfully presented the same program for older children at the Horace Mann Junior High School in Los Angeles. In 2012, one of her short stories was chosen and featured by the Sally Shore “New Short Fiction Series” read and presented by actress Angela Gibbs at the Watts Towers under the banner of “From the Ashes Revisited” to tribute the Watts Writers Workshop alumni. In 2014, her short story entitled “Singing My Way Through Adversity” was published in “Chicken Soup for the Soul: Recovering from Traumatic Brain Injuries – 101 Stories of hope, Healing, and Hard Work.” In 2016, her essays were published in three separate “Chicken Soup for the Soul” books: “The Spirit of America”, “My Very Good, Very Bad Dog,” and “The Joy of Less.” Currently, she has a jazz blog where she previews CDs and writes feature articles about jazz artists at www.musicalmemoirs.wordpress.com and she contributes to LA Jazz Scene.buzz with a column called “Dee Dee’s Jazz Diary.”