Capital Jazz Fest SATURDAY
Diana Krall, Boney James, Smokey Robinson, Fantasia, Rachelle Ferrell, Snarky Puppy, Keith Sweat, After 7, "Lean On Me": A Tribute to Bill Withers featuring José James, Keiko Matsui, Jeff Bradshaw & Friends, Dave Hollister, Liv Warfield & The NPG Hornz
Sat, June 2, 2018
Doors: 10:00 am / Show: 12:00 pm
Merriweather Post Pavilion
$96.50 - $245.00
This event is all ages
The Capital Jazz Fest is held rain or shine. Talent lineup and schedule are subject to change without notice. All ticket sales are final. No refunds, exchanges, or cancellations are permitted.
ATTN: Parking at MPP has Changed! Everyone MUST pre-select parking (or decline parking) once tickets have been bought. Once you’ve completed your ticket transaction, you’ll receive a link to select your FREE parking. Please do so in advance before arriving at the show.
Note to ridesharers, walkers, bussers & cyclists: If you have made other transportation arrangements, you don't have to select parking.
Click HERE to view parking for this showhttps://www.impconcerts.com/event/1661259/
Of course, this statement may serve as a source of confusion for the musician’s legion of fans that have scooped up over 3 million copies of his twelve albums (with eight of them going to No. 1 on the Billboard Contemporary Jazz Chart). It also may seem contradictory to the respected opinions of music critics who consider him one of the most influential jazz artists of his generation. In 2010 Billboard Magazine named him “The No. 3 Top Contemporary Jazz Artist of the Decade.”
Even so, Boney James, who has four Gold albums, three Grammy® nominations, a Soul Train Award and an NAACP Award nomination to his credit, says, “I am just a saxophone player whose music has several different influences. Jazz is only one of them.”
His newest CD Contact — completely produced, arranged and co-written by James — is driven by the signature soulful grooves the world has come to expect from him, but with an added intensity. “I felt really inspired putting together the arrangements and producing the record,” he says. “There are a lot of things happening right now in modern music. The title, in one sense, refers to me reaching across genres and creating music that I believe is relevant and fresh.”
This incredibly accomplished artist — who broke into music in the mid-80s touring with acts such as The Isley Brothers, Morris Day (The Time), Randy Crawford and Teena Marie, and emerged as a solo force in 1992 with his breakthrough debut, Trust — has long been influenced by contemporary R&B.
Contact boasts high-profile vocal guest appearances from Grammy® and Tony® Award winner Heather Headley; platinum-selling singer and former member of Destiny’s Child, LeToya Luckett; and R&B superstars Mario and Donnell Jones.
“The title, ‘Contact’, initially reminded me of an electrical contact,“ says James. “But, once I started getting deeper into the record and writing the lyrics for the vocal songs, it seemed to me to also be about love, the connection between people and the frequent regret people experience as a result of missed opportunities. ‘Why did I not do this or that?’ People ask themselves that all the time. The word has so many layers.”
Contact also speaks to his personal life. Last spring, while in traffic on a Los Angeles highway, Boney’s car was totaled when he was rear-ended by a drunk driver. He instantly thought of the future of his career. “One moment, I was on my way home thinking about what I was going to have for dinner and the next moment I was in an ambulance with a fractured jaw and two missing front teeth thinking I may never play my sax again. Looking at the car, I knew I could have been killed. Months later, after healing, I was so grateful to be back on stage and back to work on the CD. The experience has actually had a positive effect on my shows and it was a great influence on the new CD, Contact.”
“When I Had The Chance,” featuring Letoya Luckett, is a beautiful ballad with a theme of regret. She sings along with James’ moody sax and together they deliver one of the most poignant moments on the album. “When I have a vocal song and I am looking for a singer, it’s almost like casting for me. I think, ‘Who can bring this song to life?’ I have been a huge fan of LeToya’s for years. In fact, when I first heard her song ‘Torn’ on the radio, I actually pulled over and called the radio station and asked who it was. She was the first one on my list to reach out to record this song.”
Boney says he has also been a fan of Heather Headley and was honored to work with her on the dancehall-tinged track “I’m Waiting,” despite the less-than-ideal recording conditions. “The night before our session, I was in the U.S. Virgin Islands, in St. Thomas, doing a show and she was in Chicago. So I traveled from an awesome 90 degrees to a 5-degree snow storm!” he laughs. “She is such a talent and I believe her acting experience was really helpful in her expression of the lyrics. It’s a song about a woman finding herself waiting and wishing for her boyfriend to get it together. On the sax, I am playing the role of the bad boyfriend. It’s an interesting duet.”
Also exciting are his collaborations with Mario on the club-influenced track “That Look On Your Face,” and Donell Jones on “Close To You,” a smooth but unexpectedly lively trip-hop-esque track. “I’ve admired Mario since his mega-hit ‘Let Me Love You’ and it was great working with him. I loved Donell’s early records in the late ‘90s and his current successful album, Lyrics. I thought he was the perfect voice for the track and he made the verses on the song really mean what I intended when I wrote them. It’s about a guy missing his opportunity and wanting to make contact with the woman he loves.”
Boney cites legendary producer Quincy Jones as a major inspiration. “I admire him and his ability to make great vocal tunes as well as instrumentals. His genius in combining both inspired me while making this record. I hoped to accomplish a true ‘hybrid’ of sounds.”
And although Boney’s music has in the past been categorized by some as “smooth jazz,” with his masterful new CD Contact he refuses to accept any type of labeling. “I always try to make sure my records possess integrity. I make Boney James music. I’m just trying to break down the barriers and make CONTACT.”
Inducted into Rock And Roll Hall of Fame in 1987 (Performer).
Inducted into Songwriters Hall of Fame 1990.
For credits to "William Robinson" and other variations that include anywhere in the name "William", "Bill", "W" or anything that stands for "William", please use William Robinson, Jr. plus ANV when necessary. For "Robinson", and other names that do not include either "William" or "Smokey", please use William Robinson, Jr.
At first listen, Side Effects of You might sound like an album about heartbreak and the process of piecing oneself back together. That’s true, in part, but if you have her tell it, there’s much more there. While the Grammy-winning singer has certainly enjoyed chart-topping, triple-platinum and multi-platform success since winning season three of American Idol, she, like everybody, has made some mistakes, too. Though she has never shied away from being transparent in her music, she wasn’t necessarily thinking about putting her words into song when she picked up a pen and her blank notebook two years ago.
“When I started writing in my book, I had a bittersweet taste in my mouth,” Fantasia says of how she was feeling – professionally, personally, emotionally – after putting in a decade’s worth of hard work.
“I’d been doing one-off shows and not really recording, but when my doctor put me on bed rest, I decided to use that time to start writing down some of the things that were on my mind. If I was able to get to the grocery store, people would stop me in my Hoveround chair and tell me what they were going through, so I wrote about that, too.” It was only after she met (and vibed with) London-bred producer, Harmony Samuels, that she realized it might be time to get back in the studio. With her trusted notebook by her side, she would eventually co-write seven of the 13 songs that comprise Side Effects of You. “I’ve always wanted to collaborate with someone the way Michael Jackson did with Quincy Jones,” she says of joining forces with Harmony, who serves as album producer. “As soon as I heard the song, ‘Supernatural Love,’ I knew he was the one.”
Ferrell's debut, 'First Instrument', was released in 1990 in Japan only.
Recorded with bassist Tyrone Brown, pianist Eddie Green and drummer Doug Nally, an all-star cast of accompanists also leave their mark on her record. They include trumpeter Terrence Blanchard, pianists Gil Goldstein and Michel Petrucciani, bassists Kenny Davis and Stanley Clarke, tenor saxophonist Wayne Shorter and keyboardist Pete Levin. Her unique take on now-standards like Sam Cooke's 'You Send Me,' Cole Porter's 'What Is This Thing Called Love,' and Rodgers & Hart's 'My Funny Valentine,' captured the hearts and souls of the Japanese jazz-buying public. In 1995, Blue Note / Capitol released her Japanese debut for U.S. audiences, and the response was similarly positive. Her 1992 self-titled U.S. debut, a more urban pop/contemporary album, was released on Capitol Records.
Ferrell was signed to a unique two-label contract, recording pop and urban contemporary for Capitol Records and jazz music for Blue Note Records. For four consecutive years in the early '90's, Ferrell put in festival stopping performances at the Montreaux Jazz Festival.
Although Ferrell has captured the jazz public's attention as a vocalist, she continues to compose and write songs on piano and violin.
Ferrell's work ethic has paid off, and Gillespie's predictions about her becoming a 'major force' in the jazz industry came true.
Her prolific songwriting abilities and ability to accompany herself on piano seem only to further her natural talent as a vocalist. 'Some people sing songs like they wear clothing, they put it on and take it off,' she explains in the biographical notes accompanying 'First Instrument'. 'But when one performs four sets a night, six nights a week, that experience affords you the opportunity to present the song from the inside out, to express its essence. In this way, a singer expresses the song in the spirit in which it was written, the songwriter then translates emotion into words, the singer's job is to translate the words back into emotion.'
Rachelle Ferrell has made her mark not as a straightahead jazz singer and pianist, but as a crossover artist who's equally at home with urban contemporary pop, gospel, classical music and jazz.
In the year 2000, Rachelle returned with the excellent, 'more street' orientated, 'Individuality (Can I Be Me?)
Formed in 1987 in Indianapolis, Indiana, U.S.A.
Their members were Keith Mitchell (5) who was marketed as the cousin of producer L.A. Reid (he is not - just a college friend of the two brothers) and the brothers of Babyface, Kevon Edmonds and Melvin Edmonds. They released three albums between 1989 - 1995. Their biggest hits were the L.A. & Babyface produced "Ready Or Not", " Heat Of The Moment" and "Can't Stop". In 1992 they included in their second album and released it as a medley single the double cover of "Baby I'm For Real / Natural High" (hits for Originals in 1969 and Bloodstone in 1973 respectively). They have contributed to the soundtracks of "The Five Heartbeats" with "Nights Like This" (1991), "Sugar Hill" with "Gonna Love You Right" (1994) and "Beverly Hills, 90210 - The College Years" with Diane Warren-penned "Not Enough Hours In The Night" (1994). In 1997 they covered Daryl Hall & John Oates' "Sara Smile" to include it in their Virgin compilation "The Very Best Of After 7". In 1989 - 1993 they contributed backing vocals in recordings of Bobby Brown, Johnny Gill, Mary Davis and Pebbles.
Merriweather Post Pavilion
10475 Little Patuxent Parkway
Columbia, Maryland, 21044