ijazzglobal | artists

Lynn Olson Smooth Music Cruise Account Part 5
January 31 - February 4, 2009

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Sidemen Interview Session

Question from Mark: “How many artists have CDs?”

Answer: Jay Rowe said, “It depends on marketing and timing. Music Choice is a good outlet, they are very fair. They use no spoken advertisement.”

Question from Steve: “Record companies vehicles are disappearing. They have a confined format. They make decisions for listeners.”

Question from Mike. “A lot has to do with the consultant. Global suggestions are made. Scared corporate people are all about the money. They are all going to satellite and internet.”

Question from Bernita (Gail Jhonson’s sister): “It is all about artists helping one another and reaching back. Introductions come from other artists.”

Question, Greg from Las Vegas: “From conception to the finished project, how developed, how much spontaneity is involved?”

Chad Wright answered: “That is a two-part question. They are charted in home studios. Finished and mixed in bedroom or living room aka home studios.”

Question: “How is a gig like this charted? Questions/notes/re-charted/artist arrives and fills in the blanks. “The studio thing doesn’t exist anymore. Things are mixed in a box.

Answer JV Collier: He talked about the barter system. JV said, “Live finished products take months and tons of time. It is amazing the amount of work sacrificed and time involved. They give it up for you.”

Randy of N. Carolina: “Listening to you guys is the best part of the cruise.”

Answer

Chad

: He commended about the charts saying he reads what other band members are playing. He shared that he makes his own drum notations. JV and his wife make drum notations. He said people don’t do that much anymore.

Question from a Nick Colionne fan club member: “Are we all gonna come back next year?”

Answer Mark: He alluded to the probability saying that they are figuring out logistics of ship.

Chris from the

: “I’m a big Brian Price fan is he going to come on the second cruise?”

Answer: Comments were made about Brian being a great guitar player. There was an article written about the Jazz Crusaders in a

newspaper.

Question: Rick from Raleigh, N. Carolina: “This is a business question. How do you get people to play on your CD?”

Answers: The following answers from Steve and Alan were given as follows: “It is a combination of paying them, barter, friendship.” Steve Madaio said, “Sometimes we play for free. Sometimes we suggest they use the money toward the mixing. When you can you give back.”

Mary and Bonnie from smoothviews.com introduced themselves and said they interview all the sidemen. They informed guests that their interviews can be found on the Internet.

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Headliner Interview sessions (Part I)

Norman Brown opened the Headliner Interview Session

Artists present: Nick Colionne, Michael Lington, Jim Peterik, Chieli Minucci, Alan Hewitt, Althea René, Norman Brown, Greg Carmichael, Miles Gilderdale.

Michael Tozzi from iJazzGlobal.com and Lynn Briggs the Oasis in Las Vegas assisted with the questions-and-answer session.

Question, Mark from Orlando: “Are you surprised by the songs that make it to the top?”

Comment from Chieli Minucci. He addressed the question and elaborated about Special EFX. He went on to talk about remaking older songs when a song they thought would make didn’t do as well as expected.

Comment from Norman Brown: He talked the lack of a hook in, ‘Celebration’, and how he analyzed the music to see why it didn’t do well.

Comment from Jim Peterik: He said it seems like the quickest and easiest songs always make it big.

Question, Jim in New Orleans: “Why is Smooth Jazz so big on the west coast but not in the south?”

Comment: Norman Brown’s teacher said, “You gotta learn how to play the truth.” Brown also said, “Simplicity has strength in connecting people.”

Question, Len from Indianapolis: “Why are Smooth Jazz radio stations going away?

Comment from Michael Tozzi (iJazzGlobal.com): He talked about strong program directors sometimes risking loose their jobs. He also mentioned the financial aspects of radio stations being bought at a high price.

Comment from an x-broadcaster in the audience: Pointing out that we need to start being more vocal to the broadcasters.

Comment from Chieli Minucci: He stated he is always delighted when he gets airtime.

Open comments: A variety of subjects were covered including budgets, money, changing times, internet radio. Alan Hewitt and Lynn Briggs mentioned their new project. They talked about the term psychographic meaning older that feel young.

Question, Lauren from Orlando: “Do you guys want to try to reach a younger audience?”

Comments came from Michael, Norman and others: Michael agreed we need to market to a younger audience. Norman commented that we need to expand so we can reach a bigger audience and discussed teaching in a music school for twelve years.

Additional comments: Greg Carmichael talked about kids dipping into their parents’ collection. Miles suggested that there might be low attendance with the younger crowd (i.e. high school crowd).

Question/comment, Deborah from Las Vegas: She talked about spending eight years in Las Vegas and suggested going there to market music.

Comments from group: Some of the same problems exist there that we have here. Jakarta was mentioned also by Alan, Chieli and Lington. They talked about videos and the difficulties associated with releases after the fact.

Question from a man introducing himself as a radio guy: He commented he was struck by a conversation he had with Chieli on the beach. He asked, “How important is the internet to the future of music?”

Answers/comments: Norman Brown talked of the state of transition. Althea René commented how thrilled she was that someone said to her, “You were wonderful.” She said it was the first time they didn’t commented without prefacing it by saying, ‘for a woman’.

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Headliner Interview sessions (Part II)

Norman Brown opened the Headliner Interview Session

Artists present were: Heather Headley, Mindi Abair (“I’m late”), Greg Adams, Steve Cole (“I’m drinking already,” he commented pointing to his bloody Mary), Alan Hewitt, Boney James, Larry Carlton, Steve Oliver, Marion Meadows (late arrival).

Michael Tozzi from iJazzGlobal.com and Lynn Briggs the Oasis in Las Vegas assisted with the questions-and-answer session.

Question, Len from Indianapolis: “Why are Smooth Jazz radio stations going away?”

Comment from Michael Tozzi (iJazzGlobal.com): He talked about strong program directors loosing their jobs and elaborating about the financial aspects of radio stations being bought at a high price.

Question, Rick from Raleigh: “If you had to make a career choice would you pick studio or performance?”

Answer from Steve Oliver: “Both.” He said he favored the connection of the performing and connecting with the live audience.

Answer from Greg Adams: He explained that when he left Tower of Power he thought he would do studio work.

Question, Karen from Washington D.C.: “How can you make your music appeal to the younger group?”

Answer from Greg Adams: “It has to be allowed to grow. We need to open up. I’m fifty-seven years old and have been on stage since I was seventeen. He elaborated on his studio work.

Comments from Michael Tozzi: “It depends upon where you are in your career.” He also talked about iJazzGlobal.com and the possibility of pigeon-holing the music by using the term Smooth Jazz.

Comments from Mindi Abair: She talked about bringing a younger crowd, looking at deregulation. She added comments about evolving and creating another wave of artist and fans. She said, “Go play and make it your own.” Alan Hewitt mentioned his project with Lynn Briggs. They discussed ideas and creating new programming.

Additional comments: There was a brief discussion about Heather being signed to RCA. Someone mentioned Larry Carlton’s work on the blues.

Question, lady in the audience: She mentioned she has two grown daughters and asked how hard it has been being a woman in a man’s world.

Comment from Mindi Abair: She said she never thought it odd even after going through phases of wearing men’s suits adapted for a woman in her struggle to fit in. She finally learned to be herself. “Be excellent at what you do”, she urged. “You have to go in and prove yourself.”

Comment from Alan Hewitt: Alan told of a heartwarming story about him and his wife walking the Santa Monica Pier one day. They heard music playing and soon realized it was the then-undiscovered Mindi Abair. She used to play for the money she could earn from a tip jar. Abair elaborated and the story was awesome. She believed in herself from day one. A crowd member asked Mindi how much she made on her best day. She said $200.

Question, Bob from Las Vegas: Bob told a story about a how his volunteer dog sitting job turned into coming on the cruise. He was thrilled to be a fifty-five year old man who never heard jazz or any of the artists before but fell in love with the music and walked out with a huge stack of CDs. “This is hands-on and face-to-face,” he shared. He said for the rest of his life and as long as there is room on his credit card he will be here. His closing comment was, “What you’re doing here works!” A comical moment surfaced when Bob Jamison asked, “Where’s the dog?”

Comment, Susan, Houston, TX: She commented, “We have to make sure music isn’t one of the cuts.”

Comment, Pam from Bonita Springs, FL: Pam is the President of the Mindi Abair fan club. She thanked everyone for making the music and her husband for staying up past midnight.

Question, Chris from Minneapolis: Asked who paid for Boney James music lessons.

Answer from Boney James: Boney said his parents paid for the lessons and they are happy. He delivered pizza for a while. He said his parents could see how happy music made him. They bought the sax, paid for the lessons. He said, “I am grateful.”

Question, an audience member from D.C.: “Do the cruises and festivals hurt your careers?”

Comment from Shilts: He talked about the amazing experience and how great it is to spend more time with the artists.

Anonymous comments: The question was asked about the talent being a gift vs. hard work.

Comment from Larry Carlton: He said he didn’t know and had no answer.

Miscellaneous comments (anonymous):
1. “Aptitude and hard work equals professionalism.”
2. ”It takes someone believing in you.”

Question, Leslie from Houston: “How do you reconcile getting famous for one thing (artist vs. sound in music)?”

Comment from Steve Cole: Steve talked about how it is in our consciousness all the time, how an artist feels. Steve went into a long discussion about music and philosophies.

Comment/joke from Michael Tozzi: He reminded the audience that Cole had a before-noon cocktail and then mentioned Steve has a new album coming out soon.

Comment from Mindy Abair: Mindi discussed briefly entrepreneur capacity. She went on to further discuss the artist/advertiser relationship elaborating about people being tired of the homogenized music of radio.

Comment from Alan Hewitt: Alan joked, “That was Professor Steve Cole.”

Comment, Nancy from New Jersey: She explained her husband introduced her to jazz then elaborating on the idea of taking kids and grandkids.

Comment from Bob Jamison: Bob talked about the music business and how lucky he is to be in it. “This is music,” he said. “Artists are talented in more than jazz and we have to take off the labels. It’s music. More than that, we can touch people with music.” When an anonymous audience member called out a question about whether there would be another cruise, Bob said they are regrouping about the best way to do it. He says he will be in touch and suggested the year 2010. He thanked everyone and promised to stay in touch.

Comment from Michael Tozzi: Michael mentioned how much time the artists donate. He also commented on the fact that we need to beware because music is the first thing to get cut in our schools.

Comment, Estelle from New York: She commented about a clinic Marion Meadows had in a local high school in New York. She asked what the artists do in their spare time and added that her sister works with students at her college. She commented often times kids decide to major in other areas.

Comment from Marion Meadows: He mentioned being a camera buff and spending lots of time with photo shop. He is also enjoys biking and was lucky to have fallen into the music as a kid. He said it is a wonderful dream and wonderful pursuit. He commented, “You don’t know how much that spiritual bond with fans means.” He talked about the cruises being important and the closeness it brings.

Comment, Tony from Santa Monica: Thanked Boney for all his time spent.

Michael Tozzi: Mentioned Boney James new CD, Send One Your Love.

Comment, Letty from Chicago: She said this is her fourth cruise and commented she brought all her cousins. She said they are trying to do their part for jazz.

Anonymous question: Someone wanted to know Heather Headley’s background.

Comment from Heather Headley: She said she’s from Trinidad in the Caribbean and joked that the natural place to go was Indiana from a tropical island. She shared her father was a pastor further elaborating about listening to Ella Fitzgerald and Sara Vaughn further. “There were great teachers with much music on the island,” she said. “Being exposed to all kinds of music,” she commented was a positive influence. She mentioned singing performances with ragtime on Broadway, the Lion King, Aida, Elton John and more Broadway saying she always wanted to make a record. After meeting Bob Jamison he asked her to record and she did some R&B. She mentioned she doesn’t like to be pigeon-holed. She joked this was the short version and urged us to call her mom for the long version!

Question, Michael from New Jersey for Alan Hewitt: “Will you put the theme from Shaft as how you started the cruise?”

Answer from Alan Hewitt: Alan shared a funny story about mowing the lawn when a phone call came wanting him to do work for a tribute to Isaac Hayes. He mentioned he was trying to keep it a secret but there is a February 20 release date pending.

Question, Jody from CA: “How do success and accomplishments affect who you are?”

Answer from Alan Hewitt: “All the guys/girls are humble and giving. All are down to earth. Maybe they have learned things about themselves from. There’s a lot of rejection making us better people.”

Answer from Larry Carlton: “When Larry is not playing the guitar he is a guy like you and I.”

Question, Suzy from San Antonio: “Steve Oliver, when did you know what you want to do?”

Answer from Steve Oliver: “My first thought was when I was five or six years old in nursery school. I brought a forty-five record to school. I brought it to class and I liked how it made me feel. That’s my goal. I love to feel good. I’m an explorer. I have four iPods full!”

Question from an anonymous guy in the audience to Heather Headley: “I’m impressed with intonation, do you have perfect pitch?”

Comments and answer from Heather Headley: She said while listening to other music she is too critical and finds listening difficult. I just have to compete with me. I have to get better than me. I have to make sure it is perfect for you. It scares me to see a roster of things people expect. This is what I do. This is how I communicate. This is so humbling. Why should I not give you the best of me?”

Anonymous comment: Heather Headley sang at the Obama Inauguration.

Comments from Marion Meadows: “Our generation nurtured our audience. You have supported us as we have grown as artists. We could not develop as artists without you.” He then asked for a round of applause for Bob Jamison. Everyone clapped for Michael Tozzi and Lynn Briggs.

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Laurie Wheeler, Rendezvous Lounge

Laurie Wheeler received the Drumbeat Readers Award and has four CDs. She played with her husband and also Dave ‘Hollywood’ Hiltebrand in the Rendezvous Lounge. Before she began, she chatted about her last CD being on Larry Carlton’s label.

“Here’s a little, ‘Utah Moon’, off my first CD. “Is that guitar is workin’ for you?” she asked her husband (Rick Wheeler) who was playing Nick’s guitar. He quipped, “It almost plays itself.” Laurie asked, “Can I get a little more bass?”

“This next song is, ‘Easy to be Happy’. Jimmy wrote this for me. I gotta get my groove. This is only my second cruise. I’m a whimp,” she shared.

“I love Sarah Vaughn. Here’s a standard. I grew up with a lot of music. I played the bassoon. Rick took me to see Betty Carter. It changed my life when I saw her. For this one I’m inspired by Sarah Vaughn.” She sang like an angel on, ‘I’ve Got the World on a String’.

“Wooh, Mr. Rick Wheeler my husband. I never get to play with my husband.” He does technical work for Larry Carlton. Her beautiful voice next visited her Twilight CD.

Larry Carlton joined her on stage and they did ‘Since I Fell for You’ (unrecorded).

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Passenger All Star Show

Nick asked, “Just tell us a little bit about yourself, name, and address so we can break into your house.” As always, Nick was cutting up. Colionne is a laugh a minute!

Bill Frye from St. Louis was the first contestant. Passenger, Clydene Jackson, was on Keyboard (current member of Gravity 180 band and sang in the Lion King). Jay Hess from Tallahassee, Florida was on drums. An audience member was slated to play trumpet.

Nick said, “We’re just waiting for a little sound to get this thing started. We need to stick to the three-minutes. We don’t want the Barry White version. No playin’ a half an album,” he warned. While waiting for the next contestant he asked, “Did he disappear?” Nick had the audience in stitches again.

Bill didn’t just sing, ‘Stormy Monday’, he belted it out! The trumpet player cut in and hit it hard too! The audience loved his version of the blues. It was vocals to trumpet and back again for these two. When the song ended Nick said, “That was great man. That was a surprise. Bill’s a great blues man. You gotta have an affliction Billy, like Blind Boy Billy,” Nick continued to cajole.

Toby Cravitz was up next on keyboards. “See, she’s not doin’ the blues,” quipped Nick. Toby shared, “I’m dedicating my wedding song. Last year I saw Anita Baker and I want to play, ‘Sweet Love’. She did a lovely solo. “That was great, one more time for Toby,” Nick said. “Thanks for fixing the pedal John.”

Jay Hess did his drum solo next and said he wanted to accompany somebody with, ‘I Feel Good’. Nick sang and danced a bit. The audience clapped and sang. Jay lent his talent to the other performers.

Emma Lee Allison was going to perform but needed a keyboard player. Nick started kidding again and said, “Do you want a black one or a white one? One can play the black keys and one can play the white keys.” John ‘The Wolverine’ Erickson (keyboard, Nick’s band) volunteered to play keyboards. Chris ‘The Wildman’ Miskel (drummer, Nick’s band) offered to be the black keyboard accompanist.

Nineteen year-old Lauren Gallent sang ‘White Horse’ solo. “You are a princess, you are,” said Nick. “You don’t have to sign up for American Idol we have it right here,” he added.

Tony Rankin did a keyboard solo. Nick said to David on drums, “You can take a break on this one. He continued to cut up saying, “We’re gonna have a water skiing contest at the back of the boat. Ladies and gentlemen, here’s Tony Rankin. Tony, come on back front and center.” He kept it short and sweet. “That’s what I’m talkin’ about.” Tim ‘The Rock’ Gant kidded, “He’s on a real short leash.”

Emma Lee Allison was back on stage for a second attempt. She said, “The lights are hot.” Nick answered, “Welcome to my world. You don’t think I’m feelin’ it do you?” Nick joked. She began to sing, when the appropriately-timed trumpet guy slipped in. We had a wow moment when we realized girl could really sing. Nick said, “Thank you Emma Lee Allison. Come back and take a bow. Wooh, that was pretty warm, James Bond or Maxwell Smart,” he continued to kid.

One last solo on Congas and drums fired up as I headed to the Shilts event.

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Shilts Event
Saxophone: Paul Shilts Wiemar
Keyboard/Synthesizer: Kevin Flournoy
Bass: Jervonni Collier aka JV (Bruce Hornsby)
Guitar: Brian Price (Jazz Crusaders)
Drums: Chad Wright (Keiko Matsui)

“Hello, hello,” repeated the always-smiling Lynn Briggs from the Oasis in Las Vegas. “We have former member of Down to the Bone. If you don’t have his new CD you need to pick it up and have him sign it. He is so personable, I love him. Give him a nice Smooth Music Cruise welcome ladies and gentlemen, Shilts.”

Shilts hit the stage with, ‘Piece by Piece’ (Jigsaw Life CD). He wrestled it to the ground holding the song and the audience captive with his powerful vibe. He said to his audience, “It’s movin’ around a little, come on, let’ clap our hands.”

‘Look What’s Happened’, (Headboppin’ CD), was the next ingredient in his recipe for jazz heaven. Brian Price took spotlight position and laid out some great licks on a his solo. With his captivating London accent he said, “Thanks very much.” After taking a few swigs off his beer gave a hearty, “That’s better. It’s very dry up here.” He prompted the audience, “I need you to make as much noise as possible.”

A ballad was up next featuring the amazing Brian Price on guitar. He admitted, “I don’t do ballads very often. This is a song I wrote for my dear old dad. It is called, ‘Good Evans’ (Headboppin’ CD).” Kevin Flournoy’s opener was phenomenal. The tune had a combination of sway coupled with just enough bop to let you know it was Shilts. His signature style and dynamic stage energy are indescribable. In the heart of the song he his closed eyes as he got in touch with his groove. JV was on bass boppin’ like crazy. This song swelled with fatherly love. “Thank you very much,” he said in conclusion.

He said, “I don’t usually do covers. This is the only one. It’s a Stevie Wonder tune called, ‘Tuesday Heartbreak’ (Headboppin CD).” Shilts had everyone clapping when he started playing. Kevin Flournoy took over clapping with his eyes closed. These two had the house rocking. The ending was a little side-to-side sexy. Ah, what a finale Shilts gave up with a mini growl of his sax. “Thanks so much,” he said. “Kevin Flournoy again make some noise for him!”

The next tune was a Latin funk cut called, ‘2 Pesos for Bud’ (Headboppin’ CD). Shilts shared, “It was named after a good drummer and great guy. Let me know if you know who it is.” My guess is the subject of his dedication was Bud Harner, his long-time friend. His Latin-laced-with-funk was well received by the audience. He has a fluid beat consistent with his groove. He played center, front across the bow of the stage. He paired up with JV on bass for a duet. Then back to off-the-hook Shilts. I tasted a bit of Brazilian as is energy overflowed. Kevin had a few musical tricks up his sleeve while groovin’ with us. He jazzed it up Flournoy-style. From there it was Shilts to

Chad

on drums and back again repeatedly. It was just, plain fun! He ripped this one up from beginning to end.

He suggested changing the set list a little with his latest Jigsaw Life CD. “I was playing in a bucket at the time,” he explained. He said he tried this song out and it worked well on the Spirit Cruise in New York. He wanted to do a tune with Culbertson so he wrote it. Shilts said, “So this is, ‘Back on the Hudson’ (Jigsaw Life CD). It was written after a man brilliantly landed a plane on the Hudson. “If you’d get up and dance I’d love it,” he gently coerced. Taking the front-stage corner pocket by storm and he offered a Lynn & Lynn mini serenade for us. He moved to center stage from there and did yet another dazzling the audience.

“Thanks very much. How about this incredible band behind us, JV,

Chad

, Brian and Kevin? We all appreciate their hard work. I used to have a band, Bad to the Bone. We kept playing until finally I was playing myself. I developed the Shilts thing and it is so far, so good. I’d like to play two tunes. This is the time you need to get off your bleep. It’s called, ‘Shake Your Thang’ (unrecorded). Let’s see if you recognize them. This one is called, ‘Stanton Island Groove’ (unrecorded). Let’s go!” he screamed pointing to the audience. Everyone was standing, clapping and dancing. The energy was unplugged. Brian Price did a solo that was off-the-chain. It was back to Shilts from the there. He took hold of his fans as he catapulted into the audience. Buzzing across the seating and around both aisles, he left no musical stone unturned. The venue was on fire. He did a serenade for a little girl at the top of the incline. JV had his groove on and the venue was rocking and rolling more than our topsy-turvy ship amidst turbulent seas.

“Remember this? What’s it called, ‘Earth on Ice’ (unrecorded)? Make a lot of noise. Somebody scream for me.” Brian Price delivered another marvelous solo. He had the center stage spotlight and loved it as much as we did. Shits put it all out there on this one as the crowd continued to go nuts. The lovely Lynn Briggs returned to the stage asking, “Give it up for Shilts. He played our favorite tune. There are photo opportunities for you with him outside the door.”

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Norman Brown Finale Event
Guitar: Norman Brown
Keyboard/Synthesizer: Kevin Flournoy
Keyboard: Gail Jhonson
Vocals 1: Rochelle Brown (daughter)
Vocals 2: Yaheh
Trumpet: Cisco (Celebrity Cruise Lines)
Trombone: Carlos
Saxophone: Lamont Webb
Bass: Jervonni Collier aka JV (Bruce Hornsby)
Guitar: Brian Price (Jazz Crusaders)
Drums: Chad Wright (Keiko Matsui)

The always-beautiful Lynn Briggs from the Oasis hit the stage saying, “Ladies and gentlemen this is the last night of the cruise. He’s the host. He’s been jammin’ a little here and a little there. He’s been throwing the love ball back and forth. Put your hands together for Grammy winner and recording artist ‘Stormin’ Norman Brown.”

“Are you ready to have fun? Here’s something from my first CD called ‘BWB’ (recorded by Braun, Walum and Brown: Stay with Me CD).” Norman was lit up and energized. He was more-than-ready to give it up and he did just that! The horn trio of Cisco on trumpet, Carlos on Trombone and Lamont Webb on saxophone were fantastic. The song was goin’ on strong when he hollered, “Are you groovin’ to that?” He got the entire audience clapping while he was tearin’ it up like crazy. His long-awaited concert had the audience on high. He said, “Thank-you, thank-you, thank-you, thank-you, thank-you! Oh my goodness, how much fun are we havin’ now? We’re gonna throw the love ball now. How much fun are we having?”

His effervescent smile was a glowin’ as he invited us to join him on a journey. His electricity was heading to the west coast to do some chillin’ and the appropriately-titled song was, ‘West Coast’ (title track, West Coast Coolin’ CD). There was a plethora of photo moments, classic photo moments to be had as he leaned into the crowd repeatedly. He was all over the stage hovering near the strings until Lamont switched to flute. He was here, there and everywhere. This musical butterfly flitted all over the stage. He lit near Gail on keyboards just long enough to snag a few of her chops. Brown caught his breath just long enough to ask, “So, you like that do ya?” He continued to jam until the place was on its ear.

“Thank you, thank you very much. I love you. Several years ago I made a record called, ‘After the Storm’ (After the Storm CD, The Very Best of Norman Brown CD). I put together a medley of songs from that CD. We will call the After the Storm Medley.” Norman was off-the-chain and soon arrived at door of guitar insanity. The crowd was deep into him. Our ride with Norman Brown and the love ball was wildly fun.

His daughters Rochelle and Yaheh were on vocals along with Gail Jhonson on, ‘I Still Believe’ (Just Chillin’ CD, collaboration with Michael McDonald on the album). The Brown-Johnson vocals floated our way leaving the words, “I still believe,” suspended in midair. “You guys said it was a number one hit.” Their harmony was lovely.

“This is for all the cool pops in the house. Don’t let ‘em break your cool. I get a lot of requests for, ‘Pops Cool’ (Pops Cool Groove CD). Are there any cool pops in the house?” Lemont was back on sax and playin’ just fine.

“Ladies and gentlemen please welcome to the stage Ms. Mindi Abair. It was no surprise when Mindi blew it out the second she hit the stage. It is unclear what sizzled more, the sax or her short, black dress. Her black knee-length boots were hot-hot-hot. She was as stunning as her sparkling sax sparkling. The volley between Abair and Brown was awesome. What incredible energy these two share! Her close yielded a priceless kiss to her saxophone. Norman announced, “Yeah, she can play and she is beautiful too. How you doin’ smooth cruisers?”

“I had the pleasure of recording a couple of great Earth, Wind and Fire tunes. Are you good with that?” Norman’s daughters Rochelle and Yaheh joined him on vocals again with, ‘After the Love is Gone’ (Better Days Ahead CD, The Very Best of Norman Brown CD, After the Storm CD). Gail Jhonson created a beautiful sway on this one. “Thank-you, thank-you, thank-you, thank-you, thank-you everyone. I gotta tell you it’s hot up here. The notes are flowin’ and the love is flowin’. I need to come out of this jacket first of all.”

Brown shared, “Growing up is interesting in Kansas City. In the basement we all had to practice. Norman had his guitar screamin’ and hollering. It was so interesting I had to learn how to do it.” He then invited Jimi Hendrix to our party and went on to justify the afro he once sported. Norman said, “Man, I had my big afro and my dad said I got this record I want to play for you. It was Wes Montgomery in the house.” Brown, of course, couldn’t resist playing a little taste. He shared, “Wes started scarin’ cats playing with his thumb. Interestingly he started playing that way because his wife wanted him to turn it down. Mr. Wes Montgomery, I have a sister who loves the guitar and would follow me around. She would say, “You’re not practicing or Norman wow you are practicing.” His sis would sit him down and say, “You gotta hear this.”

Norman then broke out in song. Wow, this cat was singing. Holy cow, I think George Benson was in the house with, ‘This Masquerade’ (unrecorded). Brown was scattin, singin’ and playin’ and surely would have made Benson proud. What a fantastic idea to invite him to our hang! After all, a party wouldn’t be a party without George Benson. “Yes!” he remarked in the middle of his tune. He elaborated explaining that he calls that guitar Wes George Benson. He said he shares his idols.

Brown said, “I got a call the other day before we left.” He fondly reminisced about the call from George Benson asking him to sing on his new album. George said, “Would you come play on my record?” Norman shared that he jumped in the car quickly morphing into Johnny on the spot! Norman said, “It ain’t nothin’ but a party. Look for that one on new George Benson CD. That’s something I’m very proud of.”

“I’m very proud of my two daughters. I’m very proud. Come out here. I’m proud of my daughters y’all. I recorded ‘Feeling That Way’, with Chante Moore.” It was a beautiful thing when Norman sang this particular tune with his daughters. At first he went to join them on their mics but sound levels brought them up front to share his mic. Norman shared, “Rochelle is at Berkeley School of Music.” He exclaimed, “Yeah!” He proudly spoke of his married daughter, Yaheh, who has given him two grandbabies. Both daughters are gorgeous and have voices like songbirds.

The priceless moments were plentiful! At songs end Gail stood back in corner pocket in awe along with everyone there. They enjoyed a much-deserved standing ovation. Norman said, “Alright one more time for Rochelle and Yaheh.” Norman said, “We will get on with these technical difficulties. He chatted a bit more about his girls talking about how they always encouraged him to sing.

“This next song was written by Eric Bonet and it’s gonna feature Gail Jhonson. So fellas when you get a beautiful woman and you don’t know what to say.” Here’s what you say to her, “I want to get to know you, I just call ya over, spend some time, baby do you feel me.” Gail shined on vocals with this tune. She was glowin’ in the dark with her gorgeous voice and keyboards. Brown said, “Can I have a nice round of applause for Gail Jhonson? She will be with us on the Summer Storm Tour.”

Norman told a story about one lady who wanted her money back because he hadn’t played, ‘I might’ (single track, West Coast Coolin’ CD). “Now you got it!” he stated redeeming himself. “I got a lot of e-mail requests for this one. I need some help on this one. Please give a hand to the great soprano sax of Marion Meadows.” The team of Brown and Meadows was superb. There was so much sex appeal the stage there was barely room for the song! When Marion did his solo he coiled and recoiled like a cobra. Brown was still playing while the tantalizing Mr. Marion Meadows snaked across the arch of the stage front. Everyone was awestruck with their talent. The standing ovation came as no surprise. The song oozed deep passion from both. They high fived each other and Norman asked, “One more time for Mr. Marion Meadows.”

“I’m fortunate enough to have won a Grammy. It is sitting on the mantel. I won it for, ‘Just Chillin’ (title track, Just Chillin’ CD). So, I’m gonna give you some ‘Just Chillin’ right now.” He brought out his daughters, the horn section and Gail to assist him. “Once again, thanks for coming out and spending time on the cruise.”

Next he kicked it up with, ‘That’s The Way Love Goes’ (After The Storm CD, The Very Best of Norman Brown CD). Everyone including his daughters and Gail sang on this one. The entire audience was singing and clapping. Norman and everyone there was having a blast. What a hang this was! He had that guitar twangin’, screamin’, bumping and thumpin’ simultaneously. Gail did an awesome solo and handed it to Kevin who did the same. From there it was JV who gave us a huge dose of his bass madness.

“We got any funkatiers in the house?” he asked. Norman transformed via his own prodding into a funk master. The next thing I knew, ‘What’s Going On’ (West Coast Coolin’ CD), was echoing through the house. Wow, it was so funky if I didn’t know better I would swear George Clinton funkin’ in the house. The horns came unglued one-by-one as the spirit of Marvin Gaye arrived. Norman was scattin’ with eyes closed and everyone in the place was standing. “A little, ‘Breezin’ (unrecorded), anyone?” This was the biggest Benson party I’ve ever seen. The clapping and dancing took the lid off the place. Norman called out, “A big round of applause for all the artists.”

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Steve Madaio, Rendezvous Lounge

Time was running out as I raced to the Nick at Night Finale, but I managed to grab Steve Madaio’s version of the Cool and the Gang’s, ‘Too Hot’. He talked of his father and how he still plays trumpet at age eighty-six. His rendition of Anita Baker song, ‘Rapture’, was stellar.

Day Five, Wednesday, February 4, 2009 (Caribbean Night)
Nick at Night Jam Session (Finale)
Guitar: Nick Colionne
Keyboard/Synthesizer: Tim ‘the Rock’ Gant
Keyboard: John ‘The Wolverine’ Erickson
Keyboard: Will Brock
Guitar: Buddy Fambro
Bass: Dave ‘Hollywood’ Hiltebrand
Drums: Chris ‘The Wildman’ Miskel

Michael Tozzi from iJazzglobal.com said, “Everyone take in all the music. Tonight all the headliners will be performing.” He introduced Koch recording style and our fearless leader, Mr. Nick Colionne.

The kick-off was great. It was lights, camera and a whole lotta action. Nick hit it dressed in blue for the Nick at Night Finale. He, of course, was sporting a white hat with blue trim to match. Accompanied by five go-go dancin’ pseudo-guitar playing girls he exploded onto the stage. The girls were reminiscent of the late sixties with their bouncy, colored hair, neon guitars, short skirts and go-go boots. Their hair and boots even matched their guitars. From canary yellow-to-orange-orange and hot pink-to-glow-in-the-dark green they were fluorescent balls of rockin’ energy. One of the girls even had purple hair! The jazz pandemonium was far out man! It was all so silly and crazy, well-suited for the Colionne affair.

Steve Cole hit the stage funked it up, ‘bluesed’ it up and just generally socked it to us Cole-style. The vibe was oh-so-groovy when they added the Cole-Colionne duo. Everyone was having a blast. It was like an excerpt straight out of Happy Days. The girls were still in a go-go dancin’ frenzy and rocking it home when Nick called out, “Miles,” and they did a solo together that was off-the-chain.

“Give it up for the ladies. They’re so beautiful. I didn’t know nothin’ about that. We’re gonna bring a couple of people back up. How about Steve Cole? How about Ms. Mindi Abair?”
Mindi asked, “How are you guys doing? You can sleep when you’re dead. This is when you gotta bring it,” she added.
Nick said, “We’re also gonna get Boney up here. We’re gonna get this started as soon as we get the bone man up here. We’re gonna wait ‘til later for him. This tune is called, ‘Sugar’ (unrecorded). Mindi and Steve teamed up. What a dynamic duo they were. Cole branched off with a solo while the Nick-Mindi team hovered in the shadows poised and ready for more action. Abair gave up a New York night club-style solo that was off-the-hook. “Mindi Abair!” Nick exclaimed as he led into a solo of his own. The bad boy side of Colionne surfaced and he offered another flawless solo. “I need a trumpet, come on Steve,” asked Nick. “Let’s take it from the top. Let’s get this one done y’all. They’re not leaving the boat yet. Nick announced, “The boat isn’t that close yet and they can’t swim.” Mindi Abair, Steve Madaio and Colionne did it up right.

“How about Larry Carlton, Boney James and Greg Adams. We’re also gonna have Althea René.” It was a solo from each followed. The four collaborated on a stellar jam. The scrap metal from their jazzy bomb was everywhere. Notes were flyin’ high. Greg Adams was blowin’ it up and Althea’s dramatic dancing covered the stage with a whole lotta soul. Boney James took center stage and the crowd went wild. Larry Carlton got down with the blues on a solo that played jacks with genius. Larry and Boney gave us each a piece of their souls. The fabulous four where all over the stage. Greg was hard at it again until Althea stepped in. Boney took it from there and then it was the hand off to the Carlton-René pair. The jazz squad of Greg, Althea, Boney and Larry were still playing when Nick said, “Alright.”

Nick took a breath and added, “Alright, so next we have Steve Olive, Chieli Minucci and Michael Lington. Looks like there are more people out there,” Nick said as the crowd thickened. He talked about Chieli Minucci’s five chords saying, “We gotta get this guy into the 21^st century before he kills somebody. How about a big hand for Henry? He’s working his butt off. I looked and it’s real flat back there,” Nick joked. “Lay one on me,” he added. Steve Oliver and Chieli Minucci were center stage when they started playing the Santana tune, ‘Europa’ (unrecorded). Lington slipped up side stage taking the tune beyond amazing. Chieli and Oliver side tracked the song to hot and spicy. Michael’s vision grabbed Oliver and they twisted sultry reinventing the tune. Chieli and Steve took the jazz meter to crazy with Lington’s charm upping it a few notches. All three were incredible. The bunny-hop ending spoke a hug wow!

“So, we’re gonna do a band switch. It was time for Gary Grainger, Greg Grainger, Mindi Abair, Marion Meadows, Alan Hewitt, Will Brock, Miles Gilderdale, Cisco, Steve Madaio, Greg Adams, Norman Brown and more gathered on the stage prompting Nick to say, “It’s startin’ to look like a family reunion up here. Alright I guess we got everybody up there. Fellas and ladies y’all ready? Let’s do this.”

Mindi chimed in saying, “Were gonna liven up this party a little bit. We’re gonna do a song called, ‘Feelin’. Steve Madaio started things out on a perfect note. Mindi announced, “That’s Steve.” It was time for Marion Meadows to give it up and he sure did! The audience went nuts for his sultry, sexy aura.

Alan Hewitt pounced on the xylophone and the fun began. Everyone started doing the side-to-side shuffle. Nick said, “That’ll do it.” Mindi was on fire and her center-stage solo prompted Nick to scream, “Mindi Abair!” Greg Adams arrived with, ‘Poppa Was a Rollin’ Stone’, laced with a bit of the Shack theme on trumpet. We all enjoyed the Miles and Nick, Miles duet. Miles solo took scatting to a new plateau. Nick proudly announced, “That’s Miles!” Miles, Nick and Norman combined their stage energy in a furious ping pong tournament with the love ball. Nick joined the guys as Cisco came forward to solo with his mini back-up band. What a moment! Will Brock was on the synthesizer going bananas. This is the first time our beret-lovin’ keyboard player ever was hatless! Clydene Jackson (current member of Gravity 180 band and sang in the Lion King) was on other keyboard tearing it up.

“So, we’re gonna do something we don’t normally do. Whether they are playin’ or not they’re coming up.” The talent was an unbelievable sight. Nick said, “What a stage full of type ‘A’! How about this for a crew! Everybody here has jammed this week.” Alan Hewitt added, “How about it for Nick Colionne.” The crowd understandably paid a well-deserved tribute to our tireless MC with an enormous round of applause and cat calls.

Nick stirred another pot of jazz by asking, “Michael Lington, play something for us. Come on Marion, Steve Cole and Greg Adams.” The heat of the stage presence was infectious. Everyone was clapping, cheering and dancing. Nick looked at Adams as he started playing ‘Smooth Operator’ and said, “Now he wanna dance.” One-by-one Nick called out, “Cisco, Steve Madaio, Mindi Abair and Chieli Minucci.” Jim Peterik laid out a rockin’ solo. Each performance that surfaced dug deeper and deeper in our collective awe. Nick’s jazzy roll call went something like this: “Jay Rowe, I’ll give you Gail Jhonson. I’ll give you John Erickson.” He added, “Break it down now.” Chocolate Chip was the leader of the pack to the biggest Smooth Jazz dance party ever. Hollywood, John Erickson, Will Brock prompted him to say, “Now I want you to break it away. I want to feel ya. I don’t want to hear ya. It’s gonna get funky. I’m gonna bring up some real funkatiers. Norman’s done a great job. He’s remembering everyone’s name he brought up on stage.”

Norman announced, “We’re gonna bring some funk for you. We used to call this chicken scratchin’!” Norman lassoed the wildly-kicking guitars and basses huddling them center stage. Horns encircled the strings while keyboard mania took hold of the side pockets. Gail and Clydene were getting their grooves on while Jay Rowe, Will Brock, Alan and more were knockin’ it out. Grainger and company owned the drum beat rounding out the entire event. In closing Michael Tozzi said, “Thanks, let’s hear it for Nick and the crew.”

© February, 2009. All rights reserved. All information presented is copyrighted by Haven Entertainment Inc. and author (Lynn M. Olson) except where otherwise noted. No portion of this work may be reproduced, displayed or sold without the express written consent of the both Haven Entertainment Inc. and the author. Unauthorized use is strictly prohibited.