Review - Niagara's Best Smooth Jazz Concert
June 21, 2005 - For the first time, a large Smooth Jazz Festival was organized in the Wine Region: an ambitious project with major headliners. Despite the blistering heat, organizers, performers and audience members carried on with gusto. People sensed a momentous occasion, the birth of something important. All could appreciate the magnitude of the vision and the ensuing risks.

Congratulations to the E.D. Smith Foundation, the organizer Adam Oldfied, sponsors, Wave 94.7 and all who believed in the project and worked hard to make it happen.

Alexander Zonjic with Jeff Lorber and Kevin Whalum
Alexander Zonjic has enjoyed tremendous success with his latest release Seldom Blues. The support of his label, Cleveland-based Heads Up International, is evident in the production quality, the major talent involved (Jeff Lorber, Peter White and Bob James, to mention a few) and the increased media buzz (Zonjic was recently featured on the Dave Koz radio show and the cover of Abyss Jazz magazine, among others). Zonjic has always been an exceptionally talented performer; he now has the back-up of a smart, strategic label whose president, Dave Love, was in attendance at the Festival.

Zonjic's spirited flute playing and comfortable rapport with the audience create enjoyable performances. Never at a loss for words, he banters, jokes, and makes quick-witted repartees to the crowd's delight, a gift he amply demonstrated as the host of the first Canadian Smooth Jazz Awards held in April in Oakville.

The concert was a testimonial to the strength and diversity of Seldom Blues: solid material delivered with aplomb and virtuosity. For maximum effect, Zonjic had invited project contributors.

Jeff Lorber, of course, needs no introduction: he has been instrumental to many Smooth Jazz artists' success, including Richard Elliott, Gerald Albright, Chris Botti, Paul Taylor and Dave Koz. He is the man with the Midas touch, the guy with a real knack for grooves, who captures the essence of every performer and creates soundscpapes to match. Jeff, the producer, doesn't wield the cookie cutter. No sir. Like a god photographer, he gives you a window into their soul.

On stage, his presence is low key, gentle and kind; but make no mistake, behind it, lie superb mastery and leadership. His fingers fly on the keyboard, finding the right tone, beat, touch to convey the message and complete the effect.

Kevin Whalum comes from a famous musical family. His brother, saxophonist Kirk, is a legend: not easy shoes to walk in... However, Kevin delights; an interesting mixture of story teller, sound effect creator and singer, he startles and enchants. Sometimes disorienting, sometimes right on the money, he maintains the public in a state of excited anticipation: what will he do next?

He seems at ease in his own skin: what you see is what you get. A sensitive singer, he delivers each piece like a mini stage play, acting all the parts with equal conviction. The result is often hilarious and always convincing. He is an original, and as such, will go far.

This performance was a real crowd pleaser. Much success to Alexander and his cohorts…

Kenny G
There is a reason why Kenny G is the most successful instrumentalist of all times: he simply is in league of his own. His trademark sound appears wired for healing body and soul.

When he plays, audiences enter into a state of rapture and the bliss is palpable. Adults reconnect with magic; all of a sudden, dreams become possible and the universe, a place of wonder. For a while, reality disappears you float in suspension, restored, renewed, and reconciled with the best of yourself and with the world.

Like a caring parent, Kenny keeps watch over the audience. He plays and we escape in a world of possibilities where tension falls, judgment collapses and wholeness returns. The ego takes a back seat, barriers tumble and faces radiate with beauty.

In each performer, the artist and the master of artifice cohabit. Talent and inspiration reside in the artist, discipline and showmanship in the other. Exceptional performers integrate both, appearing neither contrived nor constrained. Kenny is such a maestro: totally present, he delivers with brilliance and abandon within a rigorous structure. The result is consummate artistry.

When he communicates, he comes across as sincere and kind: acknowledging the previous act, expressing his pleasure at being in Canada, speaking French, turning the sweltering humidity into an asset for better sound. He also radiates the physical energy of an athlete who excels at many sports and the agility of a musician who practices several hours a day.

Many band and crew members have been with Kenny for decades: a testimonial to the strength of his team. The show exudes superb professionalism; each musician shines in his own way, while complementing the others. I was even more impressed than the last time I saw him 20 years ago, and it was a tough act to follow.

He ended the show with a gentle ballad which felt like a lullaby, softly easing us into the night. We walked to our cars, grateful for this glimpse of heaven, hearts full of hope and dreams… - by Francoise Morissette

Niagara Smooth Jazz A Hot Ticket!
June 16, 2005 - Southern Ontario has been experiencing a heat wave, and the weekend was no exception! Mother Nature joined popular Smooth Jazz artists in really turning up the heat, down on the farm in Winona, Ontario for Niagara's Best Smooth Jazz Festival.

Saturday's lineup featured a standout performance by Philadelphia band Pieces of a Dream. Founding member of the band, keyboardist James Lloyd, wowed the crowd and demonstrated his mastery of his instrument. While playing, he walked around his keyboard and without missing a beat, playing with as much panache from behind the instrument as he had from in front of it. In case this was not sufficiently impressive, he upped the stakes by playing the instrument from behind while blindfolded. Even his knees and feet got in on the act in a solo that brought forth rounds of appreciative applause from the audience. The band's breezy cover of the Stevie Wonder classic "Do I Do" was a personal favorite of mine, and featured the 6 string bass mastery of bass player Gerald Veasley. Saxophonist Eddie Baccus Jr. demonstrated his circular breathing abilities (thanks Kenny) on a horn solo that featured a long, long blow. The band, founded in 1975 when its original principal members were still in their teens, was mentored by the late great Grover Washington Jr., who personally produced their first three albums between 1981 and 1983. It seemed fitting then, that their set ended with the band delivering a steaming tribute to Washington as an encore.

Just as the sun began its descent Dave Koz took the stage to crank up the heat in a performance that did not disappoint. After a stellar opening number (you had me at hello) he wooed the crowd with the revelation that his parents are Canadian, and were born and bred right here on Canadian soil in Winnipeg, Manitoba. Dave's friends for the evening were Jeffrey Osborne, Marc Antoine, and Praful. Both Antoine and Osborne seamlessly melded their skills with Dave's much to the delight of the crowd on hand. Performances of the hits "Let it Free" and "Love Changes Everything" from Dave's latest outing (Saxophonic) had the crowd moving and grooving, and the "Woo Woo" competition (Jeffrey Osborne ventured out into the crowd, picking audience members to compete for the honour of best "Woo Woo" by singing lyrics from the hit "You Should be Mine-The Woo Woo Song") had surprising results when audience member Paul wowed us with his "Woo Woo's". European smooth jazz/world artist Praful was given the floor on a few numbers including his hit "Sigh", and was enjoyable if not impressive, in his delivery. Brightly colored ticker tape was released on the adoring crowd during the final encore number, ending the evening on a high note, and leaving the crowd wanting more. And more was in store for those who held two day tickets to the event.

Sunday morning's rain provided a well needed drink for trees in the orchard, but did not put a damper on the day for festival goers. The sun chased the rain away in time for the first act, and managed to peek from behind the clouds periodically throughout the afternoon. Canadian guitarist Robert Michaels won the crowd early in the day, and smooth jazz favorites Alexander Zonjic and Jeff Lorber carried the torch into the evening with a set that was thoroughly enjoyed by those in attendance. Jeff maintained his cool despite the heat (this man is unflappable...the epitome of "cool"). It was a rare treat to watch him coax the sound from his instrument with an ease that is completely devoid of excess, and yet arrives, as if by magic, at unparalleled heights. Zonjic's artistry as a flautist was in evidence throughout, as this pied piper of smooth jazz captivated the crowd and worked up quite a sweat. Kevin Whallum's standout vocal stylings on the classic "Spill That Wine" added nicely to the spell that was cast, and "Ooh La La" from Lorber's new CD "Flipside", was a personal favorite of mine.

Following Zonjic and Friends, Kenny G wowed the crowd with a long and satisfying set that featured his signature forays in amongst the crowd. More Canadian connections were revealed...Kenny's mother was Canadian and he has spent half his life in Canada...I'm thinking these ties are Quebec based since he also revealed quite a command of the French language. Billed simply as "Kenny G", Mr. Gorelick would be the first to admit that the whole is only as good as the sum of its parts. He surrounds himself with extraordinarily talented individuals, and does not hesitate to step back and let them take the floor during the performance. Percussionist Ron Powell uses acrobatics, juggling, and every percussion instrument known to man to give a performance that has to be seen to be believed, and Swedish Bassist Vail Johnson gives funky grooves a rock attitude, creating a difficult to duplicate signature style. John Raymond plays great guitar, and has played with Kenny since he first became a bandleader. Kenny's high school friend Robert Damper does a fine fine job on the piano, as does Jonathan Moffat on drums. There is no shortage of talent evident here.

Midway through the set Kenny reveals the "secret" behind his ability to blow his horn continuously, as demonstrated in an impressive extended note held at the end of his first number, as he meanders his way from the midst of the crowd up onto the stage. He is able to breathe in through his nose, while simultaneously blowing out through his mouth, a fact that is no less impressive after the revelation (go ahead and try it). My favorite part of the evening though, is what Kenny called their "Unplugged" segment, which saw the band seated front and center for a number that was both intimate and stirring. The performance ended with a rousing rendition of the Average White Band classic "Pick up the Pieces".

As the smooth jazz format gains momentum here in Canada, this promises to be the first of many more festivals to come. The brainchild of Adam Oldfield, president of FPM Events, who launched the project and nurtured it to fruition, the event was a great success in terms of the performances, the execution of the weekend festivities, and the sheer enjoyment of the crowd, but somewhat disappointing in terms of numbers in attendance (where were you all?!). Chris Mei and Bob Farrow (The Wave FM) did a fantastic job hosting, and keeping the crowd informed and involved in ways that added to our enjoyment of the event.

For me, and I am certain for anyone who came out to support this event, Niagara's Best definitely passed the test! - by Cheryl Philips