Jacques Lesure
Jacques Lesure , a native Detroiter and a recent Los Angeles resident was recognized early in life as a gifted musician. His musical career began at the age of ten years old, as a featured trumpet player in a spirited Pentecostal church band. He quickly acquired a passion for the guitar and used his incredible talent to become a founding member of the popular gospel group, "Commission". Also during his youth, Mr. Lesure traveled the world with the Clark Sisters and various other gospel groups.

After a successful period of touring the world, an intense desire to enhance his improvisational skill coupled with an eagerness to explore the unique qualities of the guitar led Mr. Lesure to the Berklee College of Music in Boston, Massachusetts. While there he developed his unique style which can be described as a soulful blend of the syncopation of gospel and the soulful licks of jazz. Jacques has played with many of jazz's greatest artists; Oscar Brown Jr., George Benson, Freddy Cole, Russell Malone, Wynton Marsalis, George Bohannon, and many others.

Roy Meriwether
Born in Dayton, Ohio, Roy Meriwether started playing piano at age three and had composed two pieces before he was four. Shortly thereafter, he began playing in his fathers church, accompanying the family choir, and performing with gospel singers throughout the Midwest.

Roy turned professional with his own group at age 18 and has devoted himself to both composing and performing ever since. Reviewers are frequently impressed by his power. Critic Arnold Shaw once described him as a 'two-fisted pianist who in this day of right handed wizards has the sound of a champion, with thunder in his left hand and lightning in his right."

Living in New York City since 1976, Roy continually elicits standing ovations from his audiences. He has received numerous awards including Jamaica Queens New York Jazz Community Award, the New York Manhattan Association of Cabaret Award (MAC Award) and was nominated for a Grammy. In March of 1999, Mr. Meriwether received a Lifetime Achievement Music Award.

Roy Meriwether
January 25, 2007
8:00 pm
Rialto Center

Eric Alexander
Boasting a warm, finely burnished tone and a robust melodic and harmonic imagination, tenor saxophonist Eric Alexander brings to the stage a seasoned veteran's proficiency and poise. The young colossus-on-the-rise approaches his arrangements with an assured and mature musical vision, gracefully sidestepping the novelties and trends that have come to the fore in so much contemporary jazz.

To date he has played as a sideman on over 70 recording besides those he has recorded as band leader. A student of Harold Mabern, Joe Lovano, Rufus Reid, and others, Eric says, "The people I listened to in college are still the cats that are influencing me today. Monk, Dizzy, Sonny Stitt, Clifford Brown, Sonny Rollins, Jackie McLean, Joe Henderson--the legacy left by Bird and all the bebop pioneers, that language and that feel, that's the bread and butter of everything I do.”

Norman Brown’s Summer Storm
Guitarist Norman Brown splashed into the soul-jazz scene in 1992 as a recording artist for MoJazz and quickly went on to win substantial acclaim, beginning with his award-winning second album, After the Storm. Both Gavin and Soul Train named it Jazz Album of the Year, and After the Storm remained on the charts for over two years. Suddenly critics drew comparisons to other astonishing jazz guitarists from the past such as George Benson and Wes Montgomery, and Brown became the toast of the soul-jazz crowd. Following the remarkable success of After the Storm, Brown continued to wow jazz listeners. His highly awaited follow-up, Better Days Ahead, didn't quite measure up to the brilliance of After the Storm, but it nonetheless won the 1997 American Jazz Award for contemporary guitar and the album's title track became the most-added single in NAC history until that point. Following his flurry of successes at MoJazz, Brown moved to Warner Bros. in 1999, where he began focusing on the evolution of his still-evolving career.
Born in Kansas City, Brown first became interested in the guitar at age eight, when he grew fond of his brother's acoustic six-string. He initially took much influence from such guitar-based acts as Jimi Hendrix and the Isley Brothers, but once he discovered one of his father's favorite guitarists, Wes Montgomery, everything changed. Rather than play, for instance, material by Earth, Wind & Fire in local bands, Brown began playing contemporary jazz tunes and standards. His increasing interest in jazz guitar led him to Los Angeles in the mid-'80s, where he studied formally at the Musician's Institute in Hollywood. Following his graduation, he taught briefly and signed to Motown's MoJazz label, where he recorded his first three albums, including the much-championed After the Storm album.
www.normanbrown.com

Vocalist Peabo Bryson was among the premier silky-voiced soul artists who emerged as the softer, more sophisticated urban contemporary sound became dominant in the '70s and '80s. Bryson, who was born in Greenville, SC, sang with Al Freeman & the Upsetters in 1965, and was in the group Moses Dillard & the Tex-Town Display from 1968 to 1973. He was a producer and composer for Atlanta's Bang Records in the early '70s, and sang in Michael Zager's Moon Band. His self-titled, debut LP and several singles were recorded for Bang's subsidiary company Bullet, among them "Do It With Feeling," "Underground Music," "It's Just a Matter of Time," "Just Another Day," and "I Can Make It Better." All were moderate R&B hits. Bryson moved to Capitol in 1978, where his first album, Reaching for the Sky, went gold, and the title track was a number six R&B hit. He remained in the Moon Band until 1979, departing after "I'm So Into You" spent two weeks as the nation's number-two R&B hit in 1978.

Bryson continued a prolific career as both lead act and duet participant. He made hit duets with Natalie Cole, Roberta Flack, Melissa Manchester, and Regina Belle. Bryson recorded for Capitol until 1984, when he switched to Elektra, and enjoyed more success with "If Ever You're in My Arms Again." He moved to Columbia in 1991, issuing Can You Stop the Rain; subsequent efforts include 1994's Through the Fire and 1999's Unconditional Love. He also enjoyed more acclaim making duets with Belle.

Born in West Virginia, saxophonist Marion Meadows — whose ethnic mix is Native American, African American and Caucasian — grew up in Stamford, Connecticut, where he began playing clarinet and studying classical music at eight years old. His passion for different types of music led him to appreciate numerous jazz musicians, including Stanley Turrentine, Sidney Bichet, Johnny Hodges, Duke Ellington and Coleman Hawkins, and he naturally gravitated to the soprano sax in his high school years. Fortunately for the smooth jazz fans who have embraced his sweet and funky soprano sound over the last decade, Meadows decided to take a few very important trips to Europe during his junior and senior years. He had dreamed of being either a veterinarian or zoologist, and assumed he would enroll in college as a pre-med major. Playing the sax was just a hobby until he saw the way audiences reacted to him and his student cohorts in Holland, Italy and Austria.

“The first trip was with my high school band and the second was a graduation gift to me and a few other guys playing over there in a big band setting,” he says. “It was exciting seeing positive newspaper articles about my playing in Italy, receiving all sorts of accolades and feeling the excitement of interaction with the crowd. It was a tremendous rush, and lit the fire.”

After studying jazz with Anthony Truglia, Meadows attended Berklee College of Music, where he majored in arranging and composition. He later went to the SUNY Purchase School for the Arts, where he studied under Ron Herder. “I got a lot of sideman jobs in college, and I have always said I got a graduate degree playing clubs,” adds Meadows, who perfected his craft studying with Joe Henderson, Dave Liebman and Eddie Daniels. “Not long after I finished school, (well-known jazz drummer) Norman Connors recorded my song ‘Invitation’ and then asked me to join his band. I later produced his Passion album with him. Things just fell into place.”

Meadows first hit the airwaves in 1991 with For Lovers Only, but his career really began one day in the late ‘80s at New York’s Grand Central Station. He had been a sideman with Connors for three years with only vague notions of eventually going solo. Then one day, as the oft-told story goes, he was waiting for a train, pulled out his horn and began playing under the huge dome. His sweet sound caught the attention of fellow traveler, TV composer Jay Chattaway, who was so impressed that he hooked Meadows up with legendary keyboardist Bob James. James signed Meadows to a deal with his TappanZee label, and though Meadows’ first recording went unreleased, the experience put him on the road to his eventual success.

Meadows hooked up with numerous artists and musicians and became a well known sideman in his own right, recording or performing over the years with Brook Benton, Eartha Kitt, Phyllis Hyman, Jean Carne, The Temptations, Michael Bolton, Angela Bofill, Will Downing and Native American flute player Douglas Spotted Eagle, among many others. In the late ‘80s, Meadows stretched his usual pop/jazz boundaries as a member of a New York avant-garde band called the Aboriginal Music Society. He was performing in Japan when he got the call that RCA Records was interested in signing him to a solo deal, based on his first album which he had recorded and financed himself. Meadows became a staple of the smooth jazz format with his subsequent recordings, which include Keep It Right Here (1993), Forbidden Fruit (1994) and Body Rhythm (1996).

After moving from his home in Connecticut to Phoenix, Arizona, Meadows signed with Heads Up International and released Another Side of Midnight (1999). A contemporary tribute to city life, his label debut was considered by critics to be his strongest work to date. His follow-up, Next To You (2000), featured a mix of R&B-influenced jazz coupled with sensual Latin rhythms, and In Deep (2002), a neo-soul blend of jazz, R&B and hip-hop, brimmed with sophisticated arrangements and impressive tenor/soprano playing. All three discs have been well received by his ever-growing, always loyal fans. Player’s Club, his fourth recording for the label, is slated for April 27, 2004.

Meadows says, “I’ve been involved in a lot of projects, both my own and group efforts, and my main objective is to keep growing as an artist and engage the fans who have invested so much emotion in my music and my career. Aside from that wonderful sense of live communication, the real magic for me happens in the studio when I put on those headphones and begin to play. That’s where the ideas just start to flow. Everything else in my musical life comes out of that moment.” 
www.marionmeadows.com

With a unique instrumental sound bringing together elements of funk, R&B, rock and electric jazz, legendary keyboardist Jeff Lorber helped pioneer the music genre now formatted under such names as NAC and smooth jazz. 

Since the advent of the New Adult Contemporary format in the late 80’s, Jeff Lorber has been filling a unique dual role. Having played a significant role in developing the late 70's, early 80’s R&B-jazz hybrid sound, the keyboardist has managed the difficult task of inspiring a new generation of instrumental artists, while remaining a vital and cutting edge creative force himself. Last years The Definitive Collection, gathered the best material from six recordings (from 1979 through '85) by his hugely influential band Jeff Lorber Fusion. Lorber has also been a huge factor behind the scenes, writing and producing projects for Michael Franks, Dave Koz, Eric Marienthal and the late Art Porter. Since revitalizing his solo career with 1993's Worth Waiting For, Lorber also been a cutting edge genre artist in his own right.

Philly raised and Berklee educated, Jeff Lorber had no specific design in mind when he recorded his first album in 1977. In those days artist experimentation was encouraged, and Lorber set no limits on his own freewheeling expressions. He simply drew elements from every artist or group he admired-- from Earth, Wind & Fire and Tower of Power to Miles Davis, and The Paul Butterfield Blues Band-- threw them all into a pot, simmered slowly and somehow discovered a sound that remains fresh even all these years later.
Lorber fondly refers to the wealth of music he created on his six albums from 1979-1985 (which led to his first Grammy nomination for Best R&B instrumental for Pacific Coast Highway in 1985) as "second generation fusion." He explains, "The early fusion of the 70’s, the sounds I was influenced by like Return to Forever and Weather Report, tended to feature awesome, hard rocking grooves behind the jazz improvisations. Guys like me, Grover Washington, Jr. and Spyro Gyra crafted more of a synthesis of jazz, R&B and instrumental pop where melody was as, if not more important than wailing solos and hardcore chops. The composing took on a shape closer to pop songwriting. I see it as the bridge between that hardcore movement and today's friendly but still grooving smooth jazz."

After the heyday of Jeff Lorber Fusion (a band which featured a then little-known sax player named Kenny G.  whose first album Lorber produced)  Jeff Lorber produced R&B artists like Karyn White (including her Top Ten hit Facts of Love) and entered his remixing phase. Getting back into the instrumental groove in the 90’s, he produced tracks on Dave Koz's first two albums (and later, 1999's The Dance) and other projects for Eric Marienthal, Art Porter, Michael Franks, and Herb Alpert.
www.lorber.com

With the release of his previous CD, The Bottom Line, Michael Manson joined the ranks of today’s premiere jazz artists.

His first single “Outer Drive” reached the top 10 on the R&R Smooth Jazz. Bass-master Michael Manson moved from sideman to center-stage on his solo debut The Bottom Line.

His passion and precision are displayed with both unrelenting power and laid-back grace on the album that, he says, “reflects the deepest expression of all I have felt making music for the last twenty years.”

On Michael Manson’s new CD Just Feelin’ It, he is credited for writing and production. For this album Michael has collected the who's who of Smooth Jazz: Rick Braun, Kirk Whalum, Jeff Lorber, Brian Culbertson, Nelson Range, Norman Brown, Paul Jackson Jr., the legendary George Duke and many more great jazz musicians. This album is a great mix of contemporary jazz, R&B and even a little gospel.

For Michael Manson the bottom line has always been great music. Since he first picked up a guitar (not a bass), he has moved persistently from strength to strength, one association leading inevitably to another in a career that has brought him front and center with the most esteemed names in jazz, gospel, R&B, rock and pop.
Manson's uniquely lyrical voice has its roots in Chicago, Illinois. He recalls, "My grandmother and mother played piano, but no one else in the family was really involved in music. My dad had an old beat-up folk guitar that he never picked up and so my older brother and I got interested in music about the same time-I was fourteen-and started playing it. After that, we bugged my mom to buy us some instruments. She finally bought my brother a guitar and me a $25.00 bass and a $25.00 amp that we shared".

Returning to Chicago State University, he joined the Chicago State Gospel Choir and, in Manson's words, "things started snowballing." One gig or association would lead to another, with Manson playing with one Gospel great after another: Tramaine Hawkins, Vanessa Bell Armstrong, Jessy Dixon and James Cleveland. He even played on the Winan's album All Out, only the first of many times he would perform with childhood musical heroes.

After his graduation from Chicago State University with a Bachelor of Arts in Music, he went on to complete a Masters in Music Performance at Northwestern University. In 1995 Manson met Steve Finkle (now Steve Cole) who was playing with Brian Culbertson. Soon Manson was playing the Chicago club circuit and touring in support of Culbertson's City Lights. Manson went on to record selections on Brian’s After Hours in '97. That same year, one of his gospel connections put him together with Kirk Whalum, and he ended up playing on the Dove and Stellar-Award nominated "The Gospel According To Jazz." Recorded live at the Roy Acuff theatre, it featured Whalum, George Duke and Paul Jackson Jr. "That's how I met George Duke in '97," quips Manson.

Manson's association with George Duke ultimately led to the gig of a lifetime. George, who was the musical director and a featured artist on the Montreux Jazz tour (summer of 2000), invited Manson onboard, where he shared the stage with his greatest childhood hero, Al Jarreau, along with David Sanborn, Roberta Flack and Joe Sample. Pal Kirk Whalum said with typical good humor, "After that tour you could have retired." But Manson is just getting started. Through Kirk, he met Larry Carlton and toured with him before and after his chart-topping Fingerprints album. Kirk also included him on his "Hymns In The Garden" album that garnered a nomination for Best Pop Instrumental Album at this years Grammys. Manson has shared the stage with Warner Bros. Records artists Larry Carlton, Kirk Whalum, Boney James, Rick Braun, Kenny Garret, George Duke and Kevin Mahogany. Other Warner artists featured on the album included Fourplay (with bassist Nathan East), Bob James and Gabriel Anders. Released in October of 2000 to critical acclaim, it is being followed by a DVD release in 2001.


For Michael Manson, love of musical communication, exploration, collaboration and celebration is clearly what it’s all about. This sophomore release reflects Manson’s unabating passion with joy and inspired artistry, “There are musical conversations that are intriguing and I hope the audience shares in that. But it is just great for musicians to communicate in thai way. That’s the joy of music. To make great music like that every night, that’s what it’s all about.”
www.mikemanson.com

Norman Brown’s Summer Storm starring Peabo Bryson, Marion Meadows, & Jeff Lorber with special guest Michael Manson
July 20th, 2007
8:00 pm
The Atlanta Civic Center

Wayman Tisdale
It’s no surprise that Wayman Tisdale emerged as one of the most consistent and most-admired basketball players during his 12 years in the NBA. His towering frame, exceptional strength and relentless work ethic made him one of the game’s most dominating power forwards. It’s that same single-minded drive that propels the bassist toward the top of his musical game. He recently made his debut on Rendezvous Entertainment, the label co-founded by saxophone star Dave Koz and earned a slot on the high-profile Dave Koz and Friends concert tour.

Tisdale was born and raised in Tulsa, Oklahoma, where he still lives with his wife Regina and their four children. His new home includes a pond stocked with fish so he can indulge in his passion: fishing. Tisdale’s proud of his Bible Belt roots, and his life is strongly faith-based. He fell in love with his chosen instrument while watching the bass players in his hometown church, where his father, the late Rev. Louis Tisdale, was a minister. “I though they were the coolest cats,” Tisdale says. “They got to stand and do their thing in the back. I’d watch their fingering and how they played.” One day, his father bought young Wayman and his two brothers a Mickey Mouse guitar each. Although his brothers quickly turned them into paddles and baseball bats, Wayman began teaching himself how to play and hasn’t stopped since. “It’s the greatest gift my dad ever gave me,” Tisdale says.
A natural athlete, Tisdale was on the basketball court when not making music. He played for the University of Oklahoma Sooners from 1983 to 1985 and became the first basketball player to have his jersey, number 23, retired. Wayman still has ties to the school, as he provides commentary for the men’s team during the basketball season. All three years at Oklahoma, Tisdale was a member of the John Wooden Award All-American Team and in 1984 he played on the U.S. Olympic team who brought home the Gold. After college, in 1986, the Indiana Pacers selected Tisdale as the No. 2 pick in the draft, behind Patrick Ewing. For the next 12 years, Tisdale left his mark on the NBAwith the Pacers, Sacramento Kings and Phoenix Suns as the All-Star scored more than 12,800 points and pulled down more than 5,000 rebounds in his 12-year career.

Before he retired after the 1997 season, Tisdale had already made the transition toward a career in music. In 1995, he released his debut CD, appropriately titled Power Forward which went to No. 4 on Billboard’s contemporary jazz charts and, like all of his music, crossed over into the R&B charts. Tisdale’s follow-ups to his debut, In the Zone, Decisions and Face to Face all landed in Billboard’s Top 10, with 2001’s “Face to Face” going all the way to No. 1.

In addition to his solo career, Wayman has played on CDs by some of the most popular musicians in contemporary jazz, including solo artists Brian Culbertson, David Sanborn and Everette Harp and the jazz supergroup Maximum Grooves. Wayman also finds time to develop future musical stars through his Tisway Productions. In 2002, he was inducted into the Oklahoma Jazz Hall of Fame with the Legacy Tribute Award for up-and-coming musicians. The NAACP nominated Wayman as “Outstanding Jazz Artist” for the 2004 Image Awards.

“I was born to entertain,” Tisdale says. “I just love people and I feel like entertainment goes right in line with my personality. Whether it’s on the stage or playing basketball, it’s just what I’ve been called to do on this earth.”

Wayman Tisdale
Canceled – date to be rescheduled based on Wayman’s health.

The Rippingtons
The Rippingtons, founded in 1986 by Grammy-nominated guitarist Russ Freeman, are celebrating their 20th anniversary.

The band has enjoyed tremendous success from the beginning, with their groundbreaking album “Moonlighting”, which Jazziz magazine voted to be the #1 Most Influential Contemporary Jazz Album of all time.

The band has had several number one Billboard charting albums, and also won several Oasis Awards, including awarded Group Of The Year by the Oasis Awards, both in 2001 and 2002, as well as Achievement In Video, 1999.

Early personnel included David Benoit, Kenny G, Brandon Fields, and Gregg Karukas. Special guest stars have included Arturo Sandoval, Abita, Willy Chirino, Dave Grusin, Joe Sample, Dave Koz, Bob James, Ozomatli, Kirk Whalum, Chante Moore, and the list goes on.

Their respected group has gained a worldwide fan base. Their latest CD “20th Anniversary”, has reached #1 on the Billboard Contemporary Jazz Chart.

The Rippingtons
April 13, 2007
8:00 pm
The Tabernacle

Joe Gransden
Born January 7, 1971, Joe Gransden is from just north of Manhattan, in Yonkers, New York.  Coming from a family full of musicians, Joe’s introduction to music came early on through his father, a gifted singer and pianist.  His grandfather was a trumpeter of merit, playing professionally his whole life throughout New York.  On his mother’s side of the family was the piano virtuoso Carmen Cavallero.

"Music has been a part of my life as far back as I can remember,” says the unassuming Joe Gransden.  “I can remember practicing with my father, and eventually him taking me along to sit in at jam sessions.  Early on I developed a respect for individuals like my father whose lives revolved around music.  While still in high school, I knew that music was the life I would choose.”     

Not long after high school, Joe was on the road as a sideman with the big bands of Tommy Dorsey and Glenn Miller.  A number of A.F.M. contracted sideman gigs include Barry White, The Moody Blues, Kenny Rogers, The Temptations, Aretha Franklin, The Whispers, etc.  Eventually moving to New York City, he performed with numerous groups, including sub work with Toshiko Akiyoshi and Chico O’Farrill.  Meanwhile, Joe formed his own group, which performed in Brooklyn each week and included the venerable guitarist Joe Cohn and ex-Betty Carter bassist, Matt Hughes.  “Having my own group and being fortunate enough to travel, play, and record has been a dream come true,” says Joe.

“Exploring the music with a steady group of great players has enabled me to continually grow.”  The Joe Gransden Trio’s growing legion of fans in both New York, and recently in Atlanta have obviously taken note.  In Atlanta, where Joe’s trio plays steadily four nights a week in as many venues, his loyal following includes an array of people from blue-collar workers to upper crust businessmen who all share a love of good music. 

“I’ve always felt that a musician’s responsibility is to be true to the music,” says Joe. “I think it’s also important to maintain and nourish a sense of beauty--those positive feelings and emotions that can come through song.” 

Like many developing jazzmen, Gransden’s early influences, which include Kenny Dorham and Miles Davis, were easily recognizable in his playing throughout his formative years.  "Emulating the jazz greats is always the very first step," says the historically-rooted Gransden.  "But obviously, in order to be true to myself—who I am, what I believe in, my family background—I need to have a sound that’s my own.  It’s taken me until recently to hone in on that voice and explore its potential.  One of the truly enjoyable things about my career has been finding that my audience appreciates my individual talents."

A widening schedule has found Joe performing at The Jazz Corner in Hilton Head, South Carolina, The Museum of Art and Design in midtown Manhattan, Spivey Hall in Atlanta, Ga and Tehema Golf Club in Carmel, California (where Joe recently played a party for Clint Eastwood). Joe is also working with Kenny G on a smooth jazz cd which should hit stores in the near future.

Fellow musicians across the country hear a talented trumpet player whose ace in the hole is a well-developed voice.  But around Atlanta and New York Joe is also a well-respected human being, a nice guy who treats people fairly.  He has always managed to keep every aspect of his career and life in balance.  In this tempestuous decade, Joe’s lyricism is like a breath of fresh air.

Jimmy McGriff & Joe Gransden
May 11, 2007
8:00pm
Rialto Center

Dave Koz

In a career spanning nearly two decades, Dave Koz has established himself as a platinum-selling artist, humanitarian, entrepreneur, radio host, and instrumental music advocate. As the recipient of four Grammy ® nominations, the list of artists who Koz has played with bears testament to his talent and includes such musical luminaries as Burt Bacharach, Ray Charles, Natalie Cole, Celine Dion, Kenny Loggins, U2, Michael McDonald, Luther Vandross, and Rod Stewart.

Born and raised in L.A.'s San Fernando Valley, Koz initially picked up the saxophone to gain entry into his big brother's band. What began as a ploy became a lifelong obsession. Years later, after earning his degree in mass communications from UCLA, Koz decided to become a professional musician. Within weeks of that decision, he was recruited as a touring member of Bobby Caldwell’s band. It was during this time that Koz befriended keyboardist Jeff Lorber, who invited Koz to come play on one of his tours. That stint was followed by a fourteen-month tour with pop singer Richard Marx.

Signed to Capitol Records by Bruce Lundvall, Koz released his self-titled solo debut album in 1990. This was the first in a body of best-selling work, which includes the gold-certified Lucky Man (1993), Off The Beaten Path (1996), and the holiday-themed albums December Makes Me Feel This Way (1997) and Dave Koz & Friends - A Smooth Jazz Christmas (2001). His gold-certified fifth album, The Dance (1999), spawned no less than five Top 5 contemporary jazz hits. Saxophonic (2003) produced another four Top 5 singles and garnered Koz two Grammy nominations spanning two consecutive years.

In 2007, Koz released two collections of standards. At The Movies is a lush, romantic collection of timeless melodies from cinema that has been at the top of the charts since its release in January of 2007. Eleven of the twelve movies featured on the album garnered Academy Award® wins or nominations. Produced by the legendary Phil Ramone, and accompanied by a full orchestra, it features special guest performances by India.Arie, Anita Baker, Chris Botti, Barry Manilow, Johnny Mathis, Donna Summer, and Vanessa Williams. The album also includes several stunning instrumentals showcasing Koz’s interpretations of some of his favorite movie themes celebrating the most wondrous time of the year. Memories Of A Winter’s Nightis a festive collection of 12 holiday standards celebrating the wonders of the season. Released in September 2007, the album includes Dave’s duets with Kelly Sweet, Kimberley Locke, and Brenda Russell and also features Rick Braun, Peter White, and David Benoit.

Dave serves as a radio personality in two different outlets: on weekdays, as the host of an afternoon radio show that airs in fifteen markets across the nation, including Chicago, Philadelphia and San Francisco; and on weekends, as the host of the syndicated Dave Koz Radio Show, now in its tenth year, in approximately 120 markets.

As an entrepreneur, Koz is co-founder of the independent record label, Rendezvous Entertainment. As a philanthropist, he serves as Global Ambassador for the Starlight Children’s Foundation, recently completed a four-year term on the Grammy Foundation Artists Committee, has served as National Trustee for the National Academy of Recording Arts & Sciences (NARAS) and is an ongoing member of the Board Of Governors for the Grammy® Foundation.

Koz is constantly touring, summer and winter, on land and by sea, with a summer tour, holiday tour, and Dave Koz-branded cruise via the Holland America Cruise Line.
With a triumphant career as an artist and radio personality, his independent record company, and the well-earned respect of the recording industry, Dave Koz’s artistry, commitment and influence continue to grow.

WJZZ New Year's Eve Celebration featuring Dave Koz
December 31, 2007
8:30pm
Cobb Energy Centre

Brian Simpson

A longtime studio musician, musical director, and touring keyboardist to stars as diverse as Janet Jackson and Dave Koz, Brian Simpson’s breakthrough as a solo artist with his Rendezvous Entertainment debut It’s All Good was the genre’s major story of 2006. Focusing once again on compelling acoustic piano melodies, bright jazz improvisations and spirited funk grooves, Simpson keeps the extraordinary momentum hopping--and, true to the moniker he chose for the new album, soaring--with Above The Clouds.

The title track of It’s All Good proved instantly and joyfully prophetic, as it hit #1 on the Radio & Records Smooth Jazz Airplay chart and remained in the Top 5 for four months; his follow-up single “Saturday Cool” went Top 15. The sessions for Above The Clouds brought out some of the best from his hefty Rolodex: guitarists Tony Maiden, Darrell Crooks and Ray Fuller; bassists Alex Al, Smitty Smith, Larry Kimpel and Melvin Davis; drummer Michael White and percussionist Lenny Castro.

A jazzman from an early age, he grew up in Gurnee, Illinois, a small town north of Chicago, picking up piano at the age of 10. “My father was a jazz aficionado so I grew up listening to lots of great music. My first and greatest influence on piano was Oscar Peterson, though initially I was much more drawn to the sound of jazz guitar, so Joe Pass, Wes Montgomery, and Kenny Burrell were equally influential,” he explains. Brian went on to study at Northern Illinois University where he majored in piano and starred in the school’s big band, an ensemble that won numerous Downbeat awards and offered Brian the chance to perform all over the world.

Upon graduating with a BA in music he moved to Los Angeles, quickly immersing himself in the local jazz scene. He soon found himself jamming after-hours with the likes of future stars Everette Harp, Boney James, and Norman Brown. Brian’s story takes an interesting twist shortly there after. He found himself taking a temporary leave of absence from the jazz scene, touring the world with pop divas Teena Marie, Sheena Easton, and Janet Jackson. His foray into the pop world didn’t end there; in January 1991 he co-wrote the #1 Pop hit “The First Time” by Surface, which conquered both the R&B and Adult Contemporary charts.

Placing his success in pop aside, Brian Simpson has always been a working jazz musician. He has toured with some of the greats of recent jazz history, including George Duke, Stanley Clarke, Larry Carlton, George Howard, Billy Cobham, and Gerald Albright. Along with Mr. Duke, Brian has had another major influence, both on and off the stage. Brian has been the musical director for jazz saxophonist Dave Koz for the past 10 years, and most recently, musical director for the "Dave Koz and Friends Cuise" as well as the "Smooth Jazz Cruise" hosted by Wayman Tisdale.

Paul Taylor

Expanding upon the sensuous and romantic smooth jazz vibe that has made him one of the genre’s most dynamic saxophonists, Paul Taylor makes his fourth Peak Records release a true Ladies’ Choice; creating his most soulful instrumental tracks ever and keeping company with three of today’s most acclaimed female R&B vocalists—Regina Belle, La Toya London and Terry Dexter.

Capturing all of the soulful grooves, dazzling melodies and seductive magic that have become his trademark, Ladies’ Choice perfectly reflects the incredible synergy the charismatic Taylor has had for over a decade with his devoted audience, and takes his music to a whole new urban adult contemporary dimension. The collection is also the sax man’s third in a row—after 2003’s Steppin’ Out and 2005’s Nightlife--to feature tracks helmed by veteran R&B/jazz producers Barry Eastmond (Al Jarreau, Regina Belle, Jonathan Butler, Anita Baker) and Rex Rideout (Richard Elliot, Gerald Albright, Boney James, Najee). The title was inspired by a special moment that happened every night at clubs throughout the country in the 70s. The DJ would stop the music, take the mike and declare the next song to be “Ladies’ Choice”—an invitation for the ladies to pick the guys they want to dance with.

“When I first got into the studio with Barry at his place in New York, we started completely from scratch and had no idea that the exciting Ladies’ Choice idea would emerge,” says Taylor. “Generally, he’ll have some tracks worked up and I’ll start with some melodic ideas and take it from there. When we listened back to the first song we wrote, its cool thumping old school vibe just reminded me of those 70s disco nights and the title ‘Ladies’ Night’ just hit me as the right title to convey the blend of retro-soul, romantic music and contemporary edges we were going for. Once we had established this concept, we expanded on it by including songs sung by some of my favorite female artists. I’ve included vocal tracks before on my recordings, but these ladies are taking my music to a whole new level.”

Eastmond (who produced seven tracks), Rideout (four) and Taylor are all good friends, and Taylor’s two producers have a friendly competition going each time the sax man asks them to come on board. “They want to know who’s going to do the most tracks,” Taylor laughs, “and who’s going to win out—Barry, whom Rex calls ‘the king of urban AC,’ or Rex, whose trademark is creating subtle accompaniment that lets me grow and do my thing. I have a dynamic chemistry with both, and each in their own way brings out the essence of what I do with my melodies.

I know their tracks and soundscapes are going to be amazing, and I look forward to what we’re going to come up with together.” The first five Eastmond-produced cuts on Ladies’ Choice include the title track, “Here We Go” and “Streamline,” three co-writes by Eastmond and Taylor that blend old school soul atmospheres, bouncing bass grooves and the saxophonist’s dashing flair for horn texturing. Taylor’s powerful alto coloring and solo complement London’s passionate voice on the dreamy late night ballad “I Want To Be Loved By You”; his alto also sways behind Belle’s playful and sassy vocals on the crisp, sparsely arranged romance “How Did You Know” (which she co-wrote with Eastmond).

Eastmond’s other tracks include another lush Belle penned ballad, “Open Your Eyes,” which features a searing vocal/sax duet energy; and the sweet and breezy, old school-vibin’ “Summer’s End.” Rideout produced the other two incredible vocals on Ladies’ Choice, the sensuous, almost mystical “Long Distance Relationship,” which features beautiful voice texturing behind the lead of Terry Dexter, and the mid-tempo and brassy, classic blues and soul flavored “A Love Of Your Own” (a cover of an Average White Band classic) with vocalist Lauren Evans; Evans also co-wrote “Long Distance Relationship” with Rideout and guitarist Darrell Crooks. Rideout also helmed the sizzling, hard-edged disco-fied “Overdrive” and the funky; horn inflected closer “Point Of View.”

A native of Denver, Taylor has lived and worked in the thriving musical environment of Las Vegas since graduating as a music performance major from UNLV. He began playing sax at age seven and discovered his true calling while playing in a local high school garage band called Mixed Company, which played Top 40, funk and Crusader-styled fusion. Aiming to build his resume beyond the many dues-paying Vegas lounge gigs that marked his early professional life, he commuted often to Los Angeles and hooked up in the late 80s with (his later producer) Dino Esposito. Taylor did one of Esposito’s sessions at Jeff Lorber's home studio; a few years later, in 1994, the popular keyboardist remembered Taylor and asked him to play with him at the Catalina Island Jazz Trax Festival. Popular keyboardist Keiko Matsui and her producer/husband Kazu liked Taylor’s charismatic performance and soon offered him an audition with their band. He recorded and toured with the Matsuis for two years (appearing on Sapphire and Dream Walk), and Kazu Matsui eventually produced the sax man’s debut On The Horn, which spawned the #1 radio hit “Till We Meet Again.” Taylor quickly found his own niche in the smooth jazz world, and his quick but well deserved popularity led Pleasure Seeker to the top of the radio charts. The #1 title track was one of Radio & Records most played genre cuts of the year.
Although Taylor has since been one of the genre's most popular live attractions as a solo artist, he eagerly accepted Russ Freeman’s invitation to tour with The Rippingtons as a special guest artist in 2000—the year he released his third album Undercover--after Jeff Kashiwa left the group. After making his Peak debut with 2001’s Hypnotic, Taylor’s career reached a fever pitch in 2004 when “Steppin’ Out,” the title track from his 2003 Top Ten Billboard Contemporary Jazz album, became Radio & Records’ third biggest genre airplay cut of the year. He also toured as a featured performer with the all-star “Groovin’ For Grover” lineup (including Jeff Lorber, Richard Elliot and Gerald Albright) and performed and made his acting debut on the legendary ABC soap opera One Life To Live. The incredible momentum continued with his 2005 release Nightlife, Taylor’s latest to hit the Top Five of Billboard’s Contemporary Jazz Chart. After participating in Norman Brown’s Summer Storm II tour in 2006, the saxophonist began 2007 aboard the Brian Culbertson All-Star Smooth Jazz Cruise as a featured headlining performer.

This year, he is looking forward to sharing numerous tour dates with Regina Belle. “For me, the whole music making process begins with me in a room with the sax, writing melodies from the heart,” says Taylor. “In addition to working with Barry and Rex again, it’s been a great experience to work with these incredible ladies. The best part of this project was just being able to get in the studio and do it. It’s easy to take this journey for granted, but I’m grateful to be alive to share the music that’s in my heart with the fans. I feel very lucky that I’ve been able to make it happen for so long.”

Nick Colionne

Nick grew up in a household full of music - and at age 9 he began to learn guitar from his stepfather, Edward. By the age of 15 he turned pro, touring all over the world with famous artists and bands. Because he was usually the youngest band member, he would sometimes paint a mascara moustache on his upper lip to make himself look older - so imagine his embarrassment when his grandmother attended one of his concerts and promptly wiped said moustache off with her ever-present handkerchief!

Nick's mother Juanita made sure he knew the rules - he could have his professional career if he stayed in school and graduated. Now the recipient of the 1996 Malcolm X College Alumnus of the Year Award, Nick has been a mentor at St. Laurence K-8 School in Elgin, IL since 1994 where, in between performing and recording dates, he counsels, teaches music, computer music skills, guitar and assists with the talent shows for successive classes of eager students.

“Jazz was my upbringing, but initially pursuing a career as a sideman meant I had to become well versed in R&B, blues and heavy metal. When I play live, I incorporate all kinds of music and have a lot of fun. All of these styles have contributed to defining my own sound as an artist.” Nick Colionne’s charismatic stage presence, combined with his guitar virtuosity, are evidence he’s succeeded; audiences love the excitement and energy he brings to every performance.

Nick Colionne's latest CD Keepin' It Cool on Narada Jazz found the first single "Always Thinking of You" propelling him to the top of the charts once again. This single was #9 for the year 2006 on Radio and Records, and Nick was the #9 Artist of the Year. On the charts for 45 weeks, and Top 10 for an amazing 19 weeks, this single was also # 1 for 2006 on Radio Waves Monitor Chart (Internet Airplay) and #1 on the World Jazz Top 20 Chart. In fact, Nick is on every major top 10 list for 2006! The second single, "If You Ask Me", went top 20 and his newest single, the title track "Keepin' It Cool" is currently climbing the charts. The CD has received rave reviews around the world.

With the release of his previous CD Just Come On In, Nick Colionne joined the ranks of today's premiere jazz artists. His first single "High Flyin'" was Top 10 for 2004, reached #2 on the R&R Smooth Jazz, #1 on the radio streaming internet airplay charts per RadioWaves.com, and #1 on the World Jazz Top 20 Singles charts compiled by Top-40 Charts.com. Just Come On In's second single "It's Been Too Long" quickly climbed the R&R chart, was selected as one of the top 5 songs for summer by R&R, and reached #2 on the World Jazz Top 20 Singles chart as well as #16 on R&R. Both are among the most played in Recurrent.

The Chicago born, bred and still residing guitarist turned pro at 15, touring all over the world with rock bands and some of the greatest legends of R&B, from The Staples Singers to Curtis Mayfield.

Nick Colionne launched his solo career in 1994 with "It's My Turn” which reached #13 on the national charts, and he hasn't looked back since. Nick is an endorsee for Epiphone Guitars (a division of Gibson USA), Gibson Strings and Accessories, AKG Acoustics and Stacy Adams clothing.

Nick Colionne's sustained chart-topping Radio history combined with his incredible live performances have propelled him to the upper echelons of smooth jazz stardom. Most recently, he won the International Instrumental Artist of the Year Award by the Canadian Smooth Jazz Awards; the 2006 winner was Trumpeter Chris Botti.

The most exciting part of all of this for me is that I am actually living my dream, getting a chance to play guitar for people in so many places", says Colionne. "The greatest moments come when I look at their faces in the audience when I play, and I realize that I'm making them feel what I'm feeling. That's a fascinating level of communication".