Capital Jazz Fest SUNDAY – Tickets – Merriweather Post Pavilion – Columbia, Maryland – June 9th, 2019

Capital Jazz Fest SUNDAY

Capital Jazz Fest SUNDAY

Kem, Patti Austin, Black Violin, Phil Perry, Norman Brown with special guest Lindsey Webster, The Baylor Project, Isaiah Sharkey, Angela Stribling, George Clinton: The Farewell Tour featuring Parliament/Funkadelic, Joe, Stephanie Mills, Chrisette Michele, Raheem DeVaughn, Tweet, Cayman Kelly

Sun, June 9, 2019

Doors: 10:00 am / Show: 12:00 pm

Merriweather Post Pavilion

Columbia, Maryland

$89.50 - $225.00 (prices increase on day of show)

It has been said that music feeds the soul, but KEM's journey is equally, if not more inspirational. R&B Singer/Songwriter/Producer KEM's love of music began as a child. Music saw him through the darkest moments in his life, took him to the top of the industry's record charts, and earned him a record deal with Universal Motown Records.
A self-taught musician, KEM was born in Nashville and raised in Detroit, the birthplace of Motown Records. "I wanted to make music all of my life. I started playing piano when I was five," he recalls.
Several years after high school, his life took a downward turn and he eventually found himself in and out of drug rehab and homeless shelters. He dove into his music during those times, and he remembers, "They would have to kick me off the piano every night in one shelter." He hit rock bottom when he awoke one night sleeping outside after breaking shelter rules, and he became determined to clean up his act.

While waiting tables, singing at weddings and at any gig in town, he continued to write and record his music. In March of 2002, KEM independently released his first CD, KEMISTRY (Album I) and sold more than 10,000 CD's before piquingthe interest of Universal Motown.

"I want to be a vehicle to let people know that they can have anything they want," he says. KEM's faith is a testament that you can achieve your dreams. Kemistry is a testament that soul has found new life in his music. The buzz behind Kemistry positioned KEM as a fan-driven phenomenon. His first album grabbed the attention of a multi-generational/multi-ethnic/cross-gender audience - to the tune of over 500,000 CD's sold.

The first single on Kemistry, "Love Calls," garnered over 50,000 spins on Urban Adult Radio stations (UAC) which positioned it as the 2nd most played record in 2003 and the most played record of 2004.
KEM previewed KEM ALBUM II before audiences during his 20-city Underground Tour for fan feedback. Fans anxiously awaited the first hit single "I Can't Stop Loving You." The CD was certified gold after only two weeks of release in May 2005.

KEM's popularity continued as he debuted at #5 on the Pop Albums charts. His consecutive four week #1 at Urban AC streak at urban radio made him one of the highest charted artists of the year. The hit single, "I Can't Stop Loving You" was designated as Radio & Records' and Billboard's #1 Adult R&B Record of 2005. He was also named Radio & Records' #2 R&B Artist for 2005. Motown re-released the CD as a dual disc with a DVD featuring KEM's video and second hit single, "Find Your Way (Back in My Life)." He also received two NAACP Image Award nominations for Outstanding Male Artist and Outstanding Song, "I Can't Stop Loving You."

In addition to headlining national and international tours, KEM has shared the stage with: Fantasia; Rahsaan Patterson; Ruben Studdard; Vivian Green; Goapele; Rachelle Farrell; Chaka Khan; and Kindred Family Soul. He participated heavily and performed during Super Bowl XL sponsor events in Detroit. He has also performed on the Tom Joyner Fantastic Voyage Cruise, Stevie Wonder's Room Full of Toys, Essence Music Festival in New Orleans, and Black Music Month at the White House.

KEM's musical talent has been solicited by many artists and filmmakers. He wrote and performed "Tonight," which is included on the soundtrack of the Tyler Perry movie, "Madea's Family Reunion," and KEM's remake of Nat King Cole's song, "Fascination" is featured in the Antonio Banderas movie, "Take the Lead."
Today, KEM takes the opportunity to minister through music, sharing his life's journey with his audience at every concert. He testifies openly about overcoming alcohol addiction and drug use and touts his sobriety since 1990. He never neglects to give honor and glory to God for his achievements.
His third studio album, INTIMACY, was released on August 17, 2010 to critical acclaim. INTIMACY debuted on Billboard's Top 200 list at #2 in the country, only behind Eminem's "Recovery" album. The first single from INTIMACY, "Why Would You Stay" climbed to the #1 position on Urban AC Radio Charts, where it stayed for two straight weeks.

Hit singles from both of his first two albums also continue to receive regular airplay, proving that KEM is truly an artist for the ages.
Patti Austin
Patti Austin
Patti Austin (born August 10, 1950, in Harlem, New York) is an American Grammy-winning R&B and jazz music singer.

She made her debut at the Apollo Theater at age four and had a contract with RCA Records when she was only five. Quincy Jones and Dinah Washington have proclaimed themselves as her godparents.

By the late 1960s Austin was a prolific session musician and commercial jingle singer. During the 1980s, signed to Jones's Qwest Records, she began her most prolific hitmaking period. She charted twenty R&B songs between 1969 and 1991 and had success on the Hot Dance Music/Club Play chart, where she hit number one in 1981 with "Do You Love Me?" / "The Genie".

The album containing that hit, Every Home Should Have One, also produced her biggest mainstream hit. "Baby, Come To Me," a duet with James Ingram, initially peaked at number 73 on the Hot 100 in early 1982. After being featured as the love theme in a prominent storyline on the soap opera General Hospital, the song re-entered the pop chart in October and went to number one in February 1983. The single was certified Gold by the RIAA. She would later team up again with Ingram for "How Do You Keep The Music Playing".
Black Violin
Black Violin
American hip hop duo from Florida - Kevin Sylvester and Wilner Baptiste
Phil Perry
Phil Perry
Vocalist and songwriter Phil Perry’s rise to the top has been a long and fruitful journey. The East St. Louis native got his first break in the music business as the lead vocalist of the 1970’s soul group The Montclairs. After the group disbanded both he and former member Kevin Sanlin formed the duo Perry and Sanlin. The two recorded a pair of records on Capitol that received positive press and some airplay during the early 1980’s.

During the 80’s Perry became a highly demanded back-up vocalist singing with the likes of Johnny Mathis, Chaka Khan, Anita Baker, Boz Scaggs, and Rod Stewart. He is also a successful songwriter.

Phil’s breakout hit “Call Me,” a remake of Aretha Franklin’s 1970 hit, sky-rocked to the number # spot on the R & B charts from his debut album “The Heart of The Man” in 1991. His unique falsetto voice mixed with his soul stylings from the 1970’s made him a bone-fide vocalist among soul fans. During the 1990’s he recorded with GRP Records and Private Music in what would become part of the smooth jazz genre that dominated both urban and adult contemporary stations here in the states. Perry didn’t sell out, but vowed to take more of a direct approach when it came to producing and writing his own material.

Phil has been one of the most underrated and talented soul singers in the business. Unlike his contemporaries Will Downing, Jeffery Osborne, and Freddy Jackson, as radio continues to play younger R & B oriented vocalists and groups, he continues to carry out the romantic and classy stylings of soul music. Even his live performances features music and songs from artists as diverse as Blue Magic, War, and The Spinners.

Throughout the last decade he’s released two critically acclaimed discs “A Mighty Love” and “Ready for Love.” In addition to that, recorded a disc with Tony Award Winner Melba Moore paying tribute to the soul greats titled “The Gift of Love.”
Angela Stribling
Angela Stribling
American jazz singer
When Joe surveyed the landscape of modern R&B, the award-winning artist didn’t necessarily like much of what he saw. So with DoubleBack: The Evolution of R&B, the accomplished singer-songwriter-producer brings the music he loves back to its roots.
“I’m going back to that old school feel, back to the elegance and class of what R&B represented back in the day,” Joe explains of his tenth studio album. “You look at the pictures from that era and they represent something very stoic. They’re beautiful photos, beautiful moments, beautiful memories. I want to get back to the beginnings of it, the humbleness of it, the way it was before with real stars, real celebrities, real entertainers who actually wrote a lot of their music and performed it with great intensity and passion. That’s what the essence of The Evolution of R&B is all about.”
Stephanie Mills
Stephanie Mills
Before The Color Purple: The Musical broke attendance records; before Jennifer Holiday starred in the Broadway production of Dream Girls, paving the way for Jennifer Hudson’s Academy Award winning performance in the film version a generation later; before Phyllis Hyman, Gregory Hines and Judith Jamison all graced the stage in the Tony Award winning musical Sophisticated Ladies, there was a little musical, that starred a little girl with a real big voice.

This musical theatre icon, and Grammy Award winning song stylist, took a bow to embrace motherhood and found a way to reconnect back to again share her incredible vocal talent. With full artistic control, and not having to concern herself with keeping up with trends, Mills recorded her new album, BREATHLESS on her own record label, CJ Entertainment. She was able to schedule the much anticipated release date, predicated on caring for her 9-year-old son, Farad. She adds that “I’m doing my own thing.”

“Being a mother is the most important role I’ve ever had. My son takes priority over everything in my life. I’m glad I made the choice to take time out to be available to him during his formative years,” Mills happily expresses. “For so long I didn’t think like an entertainer, I thought like a mom. Now I’m back to my other joy – singing for my fans!”

“I’m so excited about the new album” is how Stephanie Mills describes BREATHLESS.” I wrote eight of the ten songs that are on my album.” BREATHLESS is Mills’ first new recording since 2004’s Born for This! With more than a dozen albums on her resume, including a holiday recording and a gospel disc, Mills has little to prove at this point, but with the new album, she wanted “to continue to grow with my audience.”

BREATHLESS is a reflection of Mills signature sound, full of soulful R&B songs that describes both the beauty and sadness in relationships. The title track, is about a woman who sees a man she just has to have because he’s hot. The up-tempo “I Love That” portrays the sweet aroma of a man (his walk, his talk, his kiss…) and how these characteristics can make a woman weak. “Stop Playing With My Heart” depicts a woman who is madly in love with a man that whispers all the things she wants to hear, but he doesn’t show it; she is faced with the choice of remaining in the relationship or simply walking away.

On BREATHLESS, Mills worked with producer Josiah Martin (Dave Hollister, PJ Morton). Mills says of Martin, “he’s extremely talented and he’s a great producer. Where many contemporary producers got their start as beat makers, not enough are adept with getting the best out of vocalists. Josiah could give me the 2010 sound and combine my signature sound…he knew how to bridge the gap of both and make it work.”

On BREATHLESS, the song that Mills holds dear to her heart is the version of the Lennon and McCartney standard “Yesterday,” which she recorded in memory of her old friend Michael Jackson, and for others like Gerald Levert, Teddy Pendergrass, Luther Vandross and Robert Brookins. Mills and Jackson shared a bond earlier in their careers because they could relate to each other as child stars; the duo in fact dated for awhile in the mid-1970s. She admits that she was “madly in love” with Jackson and signed with Motown records at the time, in part, because she felt like she was “getting closer and closer to being Mrs. Jackson, because every little black girl in America wanted to marry one of the Jackson Five.”

Her decision to record the Beatles classic recalls a similar decision to record the song “Home” in the late 1980s. The song was the closing number of the seven-time Tony Award winning musical “The Wiz” (1975). The play was an adaptation of The Wizard of Oz and featured an all black cast. The Brooklyn-born actress and singer was only seventeen-years-old when she was cast in the lead role as Dorothy. With her version of “Home” Mills had come full circle, paying tribute to several members of the cast that performed with her in the musical, but who had since passed away. Specifically, to playwright Charlie Smalls who wrote the majority of the “The Wiz” and its music. Smalls died in 1987. The loss of so many of her dear friends prompted her to record the song on her album (‘my friends are looking down on me, saying, Stephanie please sing that song…’). According to Mills, “it was so important to me that people remember the show, remember how talented Charlie was, and just the beauty of what “The Wiz” was all about.” Years later Mills recalls the period being such a wonderful springboard for her stellar career as a performer.

Though Mills had been performing on stage since the age of nine and made her first Broadway appearance in the 1968 musical Mary Flynn, it was her big voice that was her claim to fame. She was cast in her first Broadway play after winning the legendary Amateur Night contest at the world famous Apollo Theater six times. In its heyday, the Apollo’s Amateur Night had all the star-making power of American Idol.

Mills made her first album of show tunes, Movin’ in the Right Direction in 1974 and then signed with Motown. Her breakthrough occurred though in 1979 on the 20th Century label with the production duo of James Mtume and Reggie Lucas. The lead single and title track of “What Cha Gonna Do With My Lovin’” became Mills’ first certified hit and remains a club classic today. “Isn’t it a perfect piece of black pop?” asks the songstress, “and it’s so interesting that it did not cross over and I felt it should have.” The crossover success would have to wait a year until Mills’ second project with the duo “Sweet Sensation” which produced the top-ten pop ballad “Never Knew Love Like This” which earned the singer a Grammy Award.

“What Cha Gonna Do with My Lovin’” and “Sweet Sensation” were very much coming-of-age productions for the twenty-something Mills, who was trying to break from her image as a child star. It was during this period that Mills made one of her most sensuous recordings, doing a version of Peabo Bryson’s “Feel the Fire.” Most people though, remember her stirring duet of the song with Teddy Pendergrass on the late singer’s TP album. The performance was so powerful, that it fueled speculation about the relationship between the two. Mills is quick to dispel the rumors (she was married to Shalimar’s Jeffrey Daniels at the time). “Teddy was like my big brother. I really loved him and he really loved me and was very, very protective of me on the road with him. And I was just like his little sister, I was bratty.” Years later the duo appeared in a stage production Your Arms Too Short to Box with God.

Mills moved to Casablanca Records in 1983, in a period that she recalls as a mixed bag. With disco on the wane and new pressures for black artists to crossover like Michael Jackson, Diana Ross and Lionel Richie, Mills says “I don’t think they understood me. It wasn’t until I signed with MCA Records that I got back into my thing and my realm of who I was.” Mills’ subsequent move to MCA in 1985 began what was her most successful period in the music industry, beginning with her recording of “I Have Learned to Respect the Power of Love” which remains a fan favorite.

Mills topped the R&B charts with tracks like “I Feel Good All Over” and “(You’re Puttin) A Rush On Me” (both from 1987’s If I Were Your Women) and “Something in the Way (You Make Me Feel)” which appeared on Home (1988). Like many of her peers at the time—the Anita Bakers, Deniece Williams’ and Regina Belles of the world—Mills was a victim of the youth movement in the industry and on black radio. Mills moved on to other things. “I wanted to start to do other things, that’s why I recorded a Christmas album and I recorded the Gospel album. I just wanted to branch out and really kind of spread my wings,” Mills asserts.

To say Stephanie Mills is back is an understatement. When you have a voice that powerful, passionate and strong and then you add great songs and a contemporary producer, you have a recipe for success. This album will do exactly what the title will leave you BREATHLESS.
Chrisette Michele
Chrisette Michele
Everything and everyone grows. Chrisette Michele is no exception. A veteran at the grizzled age of 27, and on the cusp of her third album, Chrisette has found that middle ground. In 2007 she released the critically lauded I Am, which fetched Chrisette her first Grammy for the song “Be OK” written by Chrisette herself and produced by 2009 brought the commercial success of Epiphany, which debuted at #1 on Soundscan and the Billboard charts.

Now, come November 30th, 2010, Chrisette is prepared to Let Freedom Reign. First single “I’m a Star,” written by Ne-Yo and produced by Chuck Harmony, has already landed impactfully at urban mainstream and urban adult contemporary stations nationwide.

“When I got the call that Ne-Yo wrote a song called ‘I’m a Star’ I was like, ‘Nope, I ain’t singing that!’” Chrisette chuckles. “Then I heard it and it was about everything I’ve been through the last couple years. I realized I have willpower beyond what I recognized. That song is about going through a really tough time and coming out on top. And that you can have peace no matter what you’re going through, despite how fragile you’re feeling at the moment.” Indeed, Chrisette turns fragility into frivolity with her uplifting vocals.

Speaking of vocals, Chrisette’s have been blanketing the radio dial alongside Rick Ross and Drake on the massive “Aston Martin Music,” from the Bawse’s current mega-album Teflon Don. Chrisette has been enjoying that ride as well: “When I’m in the studio, the last words you’ll ever hear me say is ‘hit’ or ‘top of the charts.’ I don’t think that way; I just think about what feels really good. I didn’t fathom the success of ‘Aston Martin Music.’ I was just excited to be in the studio with Rick.” Studio time with Rick likewise birthed the track entitled “So In Love,” which Chrisette is proud to claim as part of Let Freedom Reign. Also, look online for her highly-touted mixtape with her new artist Lem Payne (her brother), aptly called Love Thy Brother. Additionally in the past year, Michele joined Maxwell, Musiq Soulchild and Anthony Hamilton on four tours, then headlined a tour with Solange Knowles.

Indeed, Let Freedom Reign is charged throughout, a blissful marriage of fiery spirit and artful musicality. There’s no inert filler. Listeners will find everything from the quirky, funky headsnapper “I’m Your Life” to the high-octave, high-octane sheared metal thunder of “Goodbye Game” and “I Know Nothing,” on which she pleads “Who knows all there is to know?” Producer Chuck Harmony, responsible for the entire album, flashes a repertoire ranging from sugary R&B to dancefloor 4/4 to the raw snarl of Nine Inch Nails. On “Unsaid,” he taps the epic sentiment of Coldplay, Chrisette’s favorite band, on what is fittingly her favorite song. “Unsaid” features a faster, military-cadenced beat with Michele’s giant, ethereal vocals overlaid like a tapestry. Poetic, beautiful, visceral.

Elsewhere, John Legend provides the sweetly satisfying ballad “Don’t Know Why But I Do.” Then there’s the club thumper “So Cool,” with its big, sweeping buildup giving way to 4-on-the-floor mayhem. “So Cool” smacks of the Chemical Brothers’ dancefloor anthem “Star Guitar,” an intoxicating brew of pop and rock and house and all-around spicy goodness. The album ratchets up with the crucial and insightful “If Nobody Sang Along,” what Chrisette deems “the most honest song on the record.” In a melancholy bed of strings and piano, Chrisette plants seeds of discontent, grappling what it is to be a recording artist. Pushing her voice to the verge of breaking, she asks: “What if there were no record labels, no MTV/would I still take the time to write it, would I say what’s on my mind?” and posits “I feel judged, like I’m on trial.”

Chrisette Michele is leaving no stone unturned, artistically or emotionally. Better still, vocally. In fact, she raps on the titular track –the album’s most dynamic– alongside talented lyricists Talib Kweli and Black Thought of the Legendary Roots Crew. Grand, rollicking R&B/hip-hop fusion underpins Chrisette’s call-to-arms: “That record is my heart. It’s about what I feel is this current spirit of murmuring in America, where everyone is complaining about every last thing. Everyone’s upset with politics and the government and health care and education and taxes—anything we can possibly complain about. I wanted to take a moment to celebrate the freedom and liberty that we do have, the option of education, the option to work hard and get what you want out of life, the possibilities.”

Let Freedom Reign is a full plate, an unusually whole sonic spectrum. In an age of disposable tracks and thoughtless compositions, this album is the poignant counterpoint. That applies even to its name. “I spent time with the naming of Let Freedom Reign,” Chrisette states. “Let is a verb meaning to allow, to make room for. Freedom, we know what that is. And Reign means to be supreme. And freedom can’t reign unless you allow it to. This moment I’m in the midst of is about doing whatever it is to bring freedom into your life, to make freedom your reality. Let Freedom Reign is a mandate to the people who are listening, a challenge to the people who are listening to create freedom and truth in their lives.”
Raheem DeVaughn
Raheem DeVaughn
Three-time Grammy-nominated singer/songwriter Raheem DeVaughn, son of renowned
jazz musician Abdul Wadud, grew up in Maryland and cut his teeth performing in clubs
throughout the Washington, D.C. area. Originally signed to Jive Records, Raheem’s first
three albums—The Love Experience (2005), Love Behind the Melody (2008) which
reached #1 on the Top 10 R&B Hip-Hop Albums Chart and earned him two Grammy
nominations (Best Male R&B Vocal Performance "Woman" and Best R&B Song:
"Customer"), one BET Award, two BET J Virtual Awards for “Male Artist of the Year”
and “Album of the Year.” The Love & War MasterPeace (2010) which has been
deemed his most ambitious album to date and earned Raheem another Grammy
Nomination in 2011 for his entire body of work for Best R&B Album of the Year, and
resulted in chart-topping singles like “You,” “Customer” and the female-empowerment
anthem “Woman.”
Stepping out as an independent artist for his 2013 release, A Place Called Love Land,
Raheem remained consistent in his artistry and the same holds true with his last album
Love, Sex & Passion (2015), having reached Billboard’s Top R&B/Hip-Hop Albums at
#4, Billboard’s Independent Albums at #2 and Billboard 200 at #31.
Gearing up for his 6

th Studio album release this summer, Decade of a Love King (2018)
promises to take listeners to new heights and celebrate the sound that the last 10 years
have brought him to, creatively and sonically.
American R&B/Soul singer, songwriter, guitarist and actress born in Rochester, New York on January 21, 1971.

Sometimes credited as Charlene 'Tweet' Keys.
Venue Information:
Merriweather Post Pavilion
10475 Little Patuxent Parkway
Columbia, Maryland, 21044