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Dave Koz

In a recording career that spans nearly three decades, saxophonist Dave Koz has racked up an astoundingly impressive array of honors and achievements: nine GRAMMY® nominations, 11 No. 1 albums on Billboard’s Current Contemporary Jazz Albums chart, numerous world tours, 13 sold-out Dave Koz & Friends At Sea cruises, performances for multiple U.S. presidents, a Star on the Hollywood Walk of Fame and appearances on a multitude of television shows, including “Good Morning America,” “The View,” “The Tonight Show,” “Entertainment Tonight” and more. A Platinum-selling artist, Koz is also known as a humanitarian, entrepreneur, radio host and instrumental music advocate.

Five years after recording their initial tribute to the great horn sections of soul, jazz and pop,
Dave Koz and Friends reprised the all-star, crowd-pleasing format of that smash hit outing with 2018’s Summer Horns II From A To Z. The album features Koz on soprano, alto, tenor and baritone saxes—along with alto saxophonist Gerald Albright, tenor saxophonist Richard Elliot, Rick Braun (trumpet) and Aubrey Logan (trombone and vocals), plus guest vocalists Jonathan Butler, Kenny Lattimore and Sheléa—putting their own spin on classics by Stevie Wonder, Paul Simon, Michael Jackson, Natalie Cole, Earth, Wind & Fire and more. Plus a guest spot from Gloria Estefan on an inspired recreation of her classic “Conga.”

Summer Horns II From A To Z—Koz’s 11th album to top Billboard’s Current Contemporary Jazz Albums chart—takes the original concept further by changing up the lineup and tossing in some unexpected surprises, including a medley that miraculously blends a Duke Ellington swing classic with a more contemporary hit by hip-hop star Jay-Z. The album includes arrangements by Greg Adams (Tower of Power), Tom Scott (Michael Jackson, Steely Dan) and Gordon Goodwin. “We looked at this as a completely new project because it was different personnel,” says Koz. “We said, if we want to do another version of Summer Horns, we can absolutely change the concept and get a little more adventurous—the music deserves it.”

Since the beginning of his career, Dave Koz has been all about shaking things up, dodging expectations and traditions. Summer Horns II From A To Z follows another milestone anniversary recording, 2017’s Dave Koz and Friends 20th Anniversary Christmas, which celebrated the saxophonist’s annual holiday tours and reunited him with pianist David Benoit, Braun and acoustic guitarist Peter White. Also on hand were a cadre of talented vocalists and the Portugal-based West European Symphony Orchestra.

The lineup on Summer Horns II From A To Z and the 2017 Christmas project marked just the latest in a long list of artists with whom Koz has collaborated over the years, including Burt Bacharach, Ray Charles, Natalie Cole, Celine Dion, Stevie Wonder, Barry Manilow, Valerie Simpson, Gloria Estefan, Luther Vandross, Shelby Lynne, Kenny Loggins, U2, Michael McDonald, Rod Stewart and The Foo Fighters.

Koz has also recently begun digging into the hidden corners of his catalog, treating his fans to a series he calls “Lost Koz”: previously unreleased gems recorded over the years that, for one reason or another, never made it to his albums. “The music business has changed so much over the years,” Koz says. “There’s really nothing holding you back from doing whatever you want to do.”

Late in 2017 Koz also appeared as himself in a Hallmark movie called Sharing Christmas, which also used some of the music from the 20th Anniversary Christmas album.

Then, of course, there is the Dave Koz & Friends at Sea Cruise. What began as a single cruise to Alaska in 2011 has become an annual international phenomenon, with demand so strong that Dave Koz & Friends began offering two back-to-back voyages a year in 2017, when the cruise to Venice, Italy sold out immediately, followed by two voyages for the 2018 cruise to Scandinavia and the Baltic

“This year we had sold-out back-to-back cruises for Australia, and next year we’ve already sold out back-to-back for two weeks in Amsterdam and the British Isles,” says Koz.

Koz also has not one, but two radio programs: The Dave Koz Radio Show, on the air uninterrupted for 25 years, and The Dave Koz Lounge which can be heard on SiriusXM.

“I love hospitality and giving to people,” Koz says. “As a cruise host and when you’re coming to see a show or on the radio, it’s all about an inviting environment for people to come hang out in. I’ve also done a lot of work with the Starlight Children’s Foundation, which is my family’s favorite charity, which helps kids who are hospitalized for long periods of time and their families. We’ve also made a wine for close to 10 years called KOZ Wine that raises money specifically for Starlight and with our silent auctions that we do on the cruises every year, through the generosity of our fans, we’ve raised over a million dollars for Starlight.” KOZ Wines recently introduced a new KOZ Rosé, available now at Whole Foods Markets in Southern California, Arizona, Hawaii and Nevada.

If that all sounds like the work of ten people rather than one, it’s just business as usual for Dave Koz. Since his emergence as a young rising star in the ’80s, he’s always looked to try new things, both in his music and in his other pursuits.

Born and raised in Los Angeles’ San Fernando Valley, Koz initially saw the saxophone as a way to gain entry into his big brother’s band. What began as a ploy became a lifelong obsession. After graduating from UCLA with a degree in mass communications, Koz decided to become a professional musician. Within weeks of that decision, he was recruited as a touring member of singer Bobby Caldwell’s (“What You Won’t Do For Love”) band. It was during this time that Koz befriended keyboardist Jeff Lorber, who invited Koz to play on one of his tours. That stint was followed by a 14-month tour with pop singer Richard Marx.

Signed to Capitol Records by Bruce Lundvall in 1987, Koz released his self-titled solo debut album in the fall of 1990. This was the first installment in a large 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 two GRAMMY® nominations in two consecutive years.

In 2007, Koz released two chart-topping collections of standards. At the Movies, his lush, romantic celebration of timeless melodies from cinema, spent 12 weeks atop Billboard’s Top Contemporary Jazz chart. Produced by the legendary Phil Ramone, it was nominated for a GRAMMY® in the Best Pop Instrumental Album category. Memories of a Winter’s Night, a festive collection of holiday standards, hit No. 1 on Billboard’s Top Contemporary Jazz chart in December 2007. Dave Koz at the Movies Double Feature CD + DVD followed in early 2008, which featured the At the Movies CD with two previously unreleased bonus audio tracks, a new DVD and a track-by-track commentary. Along the way, his numerous television appearances led to stints as band member on “The Arsenio Hall Show,” as band leader on “Emeril Live” and as host of PBS’s “Frequency.”

Capitol Records released Dave Koz: Greatest Hits, his first-ever retrospective album, in the fall of 2008 and it debuted at No. 1 on both Billboard’s Top Contemporary Jazz Albums chart and iTunes’ Jazz Album chart. The collection featured many of Koz’s smash singles, including “Castle of Dreams,” “Can’t Let You Go” (featuring Luther Vandross), “Together Again,” “Honey-Dipped” and “All I See Is You,” plus four brand new songs. The lead single, “Life in the Fast Lane,” which Koz co-wrote with writer/producer Darren Rahn, spent seven weeks at No. 1 on the R&R Monitored Smooth Jazz chart. It was followed by the Top 5 single, “Bada Bing.”

Hello Tomorrow, Dave’s first album for Concord Records, debuted at No. 1 on both Billboard’s Top Contemporary Jazz Albums chart and iTunes’ Jazz Album chart, and was named Best Smooth Jazz Album of 2010 by iTunes. The CD was nominated for a GRAMMY® Award for Best Pop Instrumental Album. Hailed as “an event record” by The New York Times, its lead single, ‘Put the Top Down,” spent 18 weeks at No. 1 on the Mediabase Smooth A/C chart—the longest stint at No. 1 of any of Koz’s chart-topping hits. Ultimate Christmas, featuring 18 perennial holiday classics performed by Koz, bowed in 2011 on Capitol/EMI. Live at the Blue Note Tokyo, Koz’s first live CD, was released by Concord Records in 2012 and received a GRAMMY® nomination for Best Pop Instrumental Album.

Koz and his friends Gerald Albright, Richard Elliot and Mindi Abair turned to producer Paul Brown (Al Jarreau, George Benson, Boney James) to help them realize the vision for 2013’s first outing of Summer Horns (Concord Records), which paid tribute to the high-octane, richly arranged horn sections that fueled so many hits in the ‘60s and ‘70s. The album also features trumpeter/flugelhornist Rick Braun, trombonist Brian Culbertson, vocalists Michael McDonald, Jeffrey Osborne and Jonathan Butler, plus arrangements by Greg Adams (Tower of Power) and Tom Scott (Michael Jackson, Steely Dan). Topping it off is a sax-only rendition of “Take Five” with Gordon Goodwin offering his arrangement to the quartet and a new original composition, “Summer Horns.” The album was honored with a GRAMMY® nomination for Best Pop Instrumental Album and an NAACP Image Awards nomination for Outstanding Jazz Album.

Koz’s 2014 holiday recording, The 25th of December (Concord Records), was his eighth album to top Billboard’s Current Contemporary Jazz Albums chart. Produced by Rickey Minor, it featured collaborations with India.Arie, Eric Benet, Jonathan Butler, Gloria Estefan, Fantasia, Kenny G, Heather Headley, Richard Marx, Johnny Mathis, Trombone Shorty, BeBe Winans and Stevie Wonder. The first single, an all-star rendition of The Beatles’ “All You Need Is Love,” beautifully captured the spirit of the season and was a Top 5 hit on Billboard’s Smooth Jazz Songs chart. Collaborations: 25th Anniversary Collection debuted at No. 1 on Billboard’s Current Contemporary Jazz Albums chart in August 2015 while the lead single, “(Your Love Keeps Lifting Me) Higher and Higher” with Kenny Lattimore and Rick Braun, entered the Top 5 at Smooth A/C and Jazz Radio.

Koz is constantly touring, with annual summer and holiday tours. Another Summer Horns tour kicks off in July 2019. He completed a four-year term on the GRAMMY® Foundation Artists Committee and has served as National Trustee for the National Academy of Recording Arts & Sciences (NARAS).

“Always front and center is the music. It’s humbling, this many years in such a fickle business, to still have a career, still be able to go out and tour and make records,” he says. “Music has been such a blessing to me, and we need it more than ever today.”

Gerald Albright

Gerald Albright is currently putting the finishing touches on the forthcoming CD project, “30”.  This pivotal number represents 30 years since the release of his debut CD, Just Between Us.

This self-produced anniversary project is a reflection of some of Albright’s favorite music that he has written over the past three decades!  All of the songs are action-packed with new and unique arrangements, spear-headed by Albright, Chris “Big Dog” Davis, and James “JRob” Roberson.  This CD will prove to be one of Gerald Albright’s finest efforts to date.

It will be released later in 2018.

If you thought the mixture of deep funk and simmering sensuality of Slam Dunk (which Albright released in 2014) was on fire, he wowed us with the high-octane sequel, G.  gives you that in-your-face horn-section-magic, of classic bands like Earth, Wind & Fire and Tower of Power.

What makes G and the upcoming project “30” so special is that these two projects are stemmed from Albright’s own record label – Bright Music Records.  Early in his career, the versatile saxophonist was often told by his labels to “be funky, but not too funky” – but after 30 years at the top of his game as one of contemporary urban jazz’s core artists and sonic innovators, the eight-time Grammy nominee is letting loose like never before.

When Albright titled his 2006 album New Beginnings, he was referring to the move he and his family made to Colorado after a lifetime in Southern California. Ten years later, he’s in a similar mode, blazing into the next phase of his storied career releasing his own projects as an indie artist, after decades on major and major affiliated labels. Like a lot of his peers in the genre, he realized that the business models of those big companies don’t fit into the current economic structures of urban jazz. Inspired by a loyal fan base of thousands throughout the world, he knew it was time to leverage his hard won success, step out on faith, and create a company that could not only release his music but also serve as a legacy for his family. Choosing the name Bright Music Records is reflective of his great optimism in embarking on an endeavor that uniquely defines who he is.

What we got from is nothing less than Genuine Gerald.  “30” and all projects to follow will place a stamp on the Albright name as one to deliver nothing but the best.

Albright gets right down to business, celebrating his fresh start of “30” with a new rendition of “Sooki Sooki”.  He creates all the horn sections himself, texturing alto, tenor and baritone saxophones, with the funkiness of an up and coming hit maker, James “JRob” Roberson on keyboards.  Roberson’s off-the-chain talent on keyboards will also keep you jumping on “Chips and Salsa” and “4 On the Floor”.

With Chris “Big Dog” Davis (one of urban jazz’s top hit makers, who has worked with everyone from Najee to Maysa, Phil Perry, and Kim Waters) creating an array of keyboard sounds on “Bermuda Nights”, “Road to Peace”, “New Beginnings”, “Come Back to Me”, “Boss of Nova” and “Just Between Us”, Albright infuses a mixture of horns and other instruments.

The emotional up-tempo ballad “Come Back to Me” features the saxophonist on alto, tenor and bari, in addition to C flutes, alto flutes and bass guitar. It also features his daughter Selina – a solo artist in her own right – on background vocals.

Another highlight of “30” would be a bonus track, “4 On the Floor” featuring the dynamic Ricky Watford on guitar.

Albright says that the big, multi-faceted sound of the album, particularly his use of multiple flutes, is a throwback to the way he came up in music. “I’ve been implementing them over the past few projects, using flute seasonings strategically with certain songs, and it was exciting to take those sounds to the next level,” he adds. “I come from that orchestral big band sound that defined my high school years playing in the 70s, and had great teachers who believed that musicians should never take shortcuts. In those jazz band days, I doubled on other instruments besides sax, and coming from that world, it’s always been hard to neglect those instincts. I like having a lot of sonic options.  I use everything as a facility to bring my music to another level. When I think of those EWF and TOP horns, they were so ‘in your face, present and clear’.

Born and raised in Los Angeles, Albright was already an accomplished saxophonist by the time he enrolled at the University of Redlands, but he switched to bass after he saw Louis Johnson in concert. A few months after graduating from college, he joined jazz pianist/R&B singer Patrice Rushen, who was in the process of forming her own band. Later, when the bassist left in the middle of a tour, Albright replaced him and finished the tour on bass guitar. Playing both sax and bass, he became the consummate session and touring musician in the 80s, working with everyone from Anita Baker, Ray Parker, Jr., Atlantic Starr, The Temptations and Maurice White to Les McCann, Teena Marie, the Winans and Whitney Houston.

He launched his solo career in the infancy of what became the smooth jazz format, with Just Between Us in 1987 and has been a core part of the genre with chart-topping albums, countless radio hits and as a member of many all star tours, including Guitars & Saxes and Groovin’ For Grover. In the late 90s, he fronted a big band for and toured with pop star Phil Collins and did a dual recording with vocal great Will Downing called Pleasures of the Night. Between his last two Grammy-nominated solo albums Pushing The Envelope (2010) and Slam Dunk (2014), he enjoyed hit collaborations with two huge hits – 24/7 with guitarist Norman Brown and Summer Horns by Dave Koz and Friends (including Mindi Abair and Richard Elliot), which were also Grammy-nominated for Best Pop Instrumental Albums. He toured with Brown and Summer Horns, and most recently has been on the road with South Africa gospel/jazz singer and guitarist Jonathan Butler. Albright’s other albums whose titles perfectly reflect their flow include Smooth (1994), Groovology(2002), Kickin’ It Up (2004) and Sax for Stax (2008).

Because Albright’s musical muse has taken him to so many fascinating locales along the contemporary R&B/urban jazz spectrum, he’s joyfully defied easy categorizations.

“Top to bottom,” Albright says, “Whether in concert, listening to my music over the radio or CD player, I always want my listeners to be taken on a musical journey with different textures, rhythms, chord progressions and moods. I want people to know where I’ve been and where I’m going, and to let them hear that I’m in a really good place in my life.”

Rick Braun

New CD Features Special Guests Peter White, Till Brönner, Lindsey Webster & John Stoddart & Draws Inspiration from Unexpected Sources including Africa, Brazil, Alicia Keyes, Coldplay, Charlie Puth & Selena Gomez

“I just want to continue to explore the boundaries of what I am capable of as a musician,” declares acclaimed chart-topping trumpeter, composer and producer Rick Braun. Known for his impeccable technical chops, melodic wizardry and keen compositional prowess, the consummate Los Angeles based musician has been thrilling audiences for decades. Braun has made a mark staying true to his own musical voice and eclectic influences that have allowed him to collaborate across genre with some of the biggest names in music including Rod Stewart, Tom Petty, Sade, Natalie Cole and REO Speedwagon. Having clenched over 20 #1 Smooth Jazz hits, Braun has collaborated with all of the brightest stars in contemporary jazz from Kirk Whalum, Norman Brown and Peter White, to Dave Koz, Boney James and Brian Culbertson. February 24, 2017 Shanachie Entertainment will release Rick Braun’s 17th recording as a leader, Around The Horn. The dynamic trumpeter’s label debut is an adventurous mix of originals as well as exhilarating reinventions of hits by Coldplay, Alicia Keys and Charlie Puth and Selena Gomez. Shanachie VP of A&R, Danny Weiss states, “Rick’s tone, chops and phrasing link him to the jazz giants of the past. He can hold his own in any setting. Yet he communicates to a vast audience far beyond the jazz aficionado.  His warmth, wit and musical spirit make him a great communicator – a hit maker!”

Rick Braun arrived at the title Around The Horn as a way to convey his ambition to fully explore his diverse influences. “It is kind of a play on words using the saying ‘around the horn.’ In the old days before the Panama Canal people had to travel around Cape Horn in South America to get from New York to California and it was a very dangerous journey. This record is all about the trumpet. I wanted to push myself to explore the horn more deeply.” On the album’s title track Braun invites fellow trumpeter Till Brönner from Germany for a splendid trumpet expedition as the two challenge one another to reach new heights. Around The Horn opens with the intoxicating and alluring “So Strong.” Braun’s warm trumpet and valve trombone soar above a hypnotic and exotic groove that is underscored by pulsating global rhythms and sultry voices. “To me ‘So Strong’ has a real Brazilian feel and the rhythmic guitar part is very South African,” explains Braun. “On this record, I wanted to take you on a musical journey and around the world.” Braun transports us to Portugal with his scintillating composition “Vila Vita” featuring acoustic guitarist Peter White. “I love Peter White!” exclaims Braun. The duo has scored several hits through the years including “Club Harlem” and “Missing In Venice.” “Vila Vita” was inspired by a trip Braun spent with his family at a jazz festival in Portugal. “It was one of the most amazing experiences,” recalls Braun. “I was working on the record and played some of the songs on a rooftop balcony that we had. I felt like there needed to be a song for the beautiful experience that I had in Portugal and ‘Vila Vita’ is it.”

Braun shows off his versatility on Around The Horn with a few surprising and imaginative re-workings of notable pop tunes. He explains, “This album is a bit different for me in that it reflects some of what is going on in R&B and pop music now. I really tried to pull from those influences and sounds as opposed to making a retro inspired record. I am hoping the music will bring some of my fans into this new generation of music as well.” Braun takes on Charlie Puth’s Top 10 Billboard Hot 100 duet with Selena Gomez, “We Don’t Talk Anymore.” This is a song that Braun was introduced to by his 16-year-old daughter Emma. “Everyday my daughter goes outside in back of the house and listens to and dances to all of this wonderful pop music and the music just takes over her,” explains Braun. “This is not my music or the music of my generation but I was listening and started hearing some incredible tunes and so I decided to use some for inspiration. It’s a new journey into the realm of contemporary pop music both sonically and content wise. I use a lot of sequenced sounds and samples that hopefully will sound fresh and interesting to my fans.” Braun’s tender trumpet and flugelhorn lines along with Peter White’s sailing guitar transform this number into a delightful rhapsodic version. Around The Horn also showcases Alicia Keys’ “In Common,” which Braun turns into a haunting trip-hoppy, tropical house inspired elixir that promises to have you dancing. Braun also draws inspiration from British alt-rock sensation Coldplay and their first true American hit, “Yellow.” Braun enlists help from multi-instrumentalist and vocalist John Stoddart, who also co-wrote a number of the songs on Around The Horn.

“John Stoddart is an amazingly talented singer, songwriter, pianist, arranger and producer. He is just an awesome human being. We toured together with BWB (a group that included Kirk Whalum and Norman Brown), and we were label mates way back in the day on Warner Brothers. I have been a fan of his for the past 20 years,” shares Braun.”

John actually suggested we record ‘In Common’ and he came up with the beautiful re-harmonization and incredible arrangement on ‘Yellow.’ This record would not be what it is without John’s help. I am grateful for his contribution and I love him.” Braun and Stoddart let loose and have some fun with a funky and bluesy original they penned together “Everything Is Alright.” “This song is another example of the genius of John. It has a Ramsey Lewis or Eddie Harris ‘Cold Duck Time’ feel. At the same time sonically, I wanted to pull from Bruno Mars in terms of the sonic palette with the horn section sound and the big kick drum that you hear.” The snappy and electrifying “Pool Dancer,” opens the door to Braun’s creative fancy as he stretches out and gets down to the nitty-gritty and concocts soulful flights of fancy trading off with himself on trumpet and flugelhorn. The dazzling “Love Take Me” features the chart-topping soul jazz diva and Shanachie label-mate, Lindsey Webster. “Working with Lindsey was absolutely fantastic” shares Braun. “I have to thank my dear friend and co-manager Bud Harner for his input on this one because it was initially an instrumental cut. There aren’t a lot of people in the world that can write lyrics and sing like Lindsey Webster does. She is an amazing talent and I have nothing but great things to say about her.” Also included on Around The Horn are two more songs that John Stoddart and Rick Braun co-wrote; the vibey, R&B flavored ballad “I Love You More” and the free-flowing cool swing of “One South Beach Night.”

“Every time I sit down to play my horn, I realize the shortcomings and the amount of information that I do not have. It is a humbling experience,” says Rick Braun. “For me it is important that I continue to keep my horizons open and keep looking forward and try to improve on what I do.” Braun was blessed to discover music at an early age. “When I started playing as an eight year old boy, I loved it right away. I loved the smell of the horn, the sound that it made and everything about it and I continue to love it.” There was a time when Braun was contemplating pursuing medical school but luckily for us music won out. Still a student of the music, of late Braun has been intently listening to Freddie Hubbard, Clifford Brown and Chet Baker. In fact he is working on a tribute concert featuring Chet Baker’s music. Compositionally Braun says, “My influences are all over the map. But a few of my favorites are Earth, Wind and Fire, The Brecker Brothers, Quincy Jones, The Crusaders and Ramsey Lewis.” Coming of age in Allentown, PA (about an hour outside of Philadelphia), Braun was acutely aware of the volume of jazz musicians who developed in his area. “The Brecker Brothers were a huge influence. My dear friend Jeff Lorber is also from Philadelphia and Keith Jarrett is from Allentown. There is a rumor in my family that Jarrett is actually my third cousin! “ Rick Braun has enjoyed a career longevity that is rare in this business. He has crafted his own distinctive sound and become a staple on contemporary jazz radio. He has produced No. 1 hits for David Benoit, Marc Antoine and former Rod Stewart band sidekick Jeff Golub. Braun achieved collaborative success on massive hits with Boney James, as a member of RnR with saxophonist Richard Elliot and with BWB, a powerhouse trio completed by Grammy® winners Kirk Whalum and Norman Brown.

Braun has hosted an annual New Year’s Eve event for almost a decade that benefits autism. His daughter is autistic and Braun has made it a mission to bring awareness to autism. “One of my passions is just trying to help people who are affected by autism. It is really important for me to just reach out and help wherever I can,” shares the inspiring musician. Around The Horn follows Braun’s 2014 CD Can You Feel It and further ensconces the trumpeter as among one of the greatest of his generation. Braun concludes, “For me music is not just about going out touring and making a living. Music has always been a source of joy, almost a therapy. When things are not going right or when I am not feeling right about myself, if I can get into my studio and make some music and dig into that world, it always makes me feel better. It is an absolute pleasure seeing the joy that it brings to others. I love every moment of it!”

Kenny Lattimore

BACKGROUND

Hailed by the New York Times as a “modern soul man,” Grammy Award nominated singer songwriter Kenny Lattimore is in a groove with two back-to-back Top 10 songs “Stay On Your Mind” and “Love Me Back” — both lead singles from his independent label SincereSoul Records.

“I want to authentically perform music that covers all the genres and emotions that I have lived and loved throughout the years. From breakup and makeup songs, to the highs and lows, from gospel to jazz to R&B — I want to make sure each album reveals more about me.”

EARLY CAREER

Growing up in Washington, D.C., Lattimore was raised on gospel music and R&B/pop icons such as Chaka Khan, Marvin Gaye, Donny Hathaway and Stevie Wonder. His freshman year at Howard University gave way to Lattimore becoming the lead singer for R&B group Maniquin. Signed to Epic, the group released the single “I Wanna Ride,” produced by the Gap Band’s Charlie Wilson.

SOLO MUSIC CAREER

Lattimore relocated to New York City as a solo act and was signed to Columbia in 1995. Ushering in an R&B resurgence that counted D’Angelo and Maxwell in its ranks, Lattimore released his debut solo album a year later. The self-titled, gold-certified set spun off two Top 20

hits: “Never Too Busy” and the wedding staple “For You,” which peaked at #6 on the R&B charts, reigned at #1 on the UAC charts for 10 weeks and earned a Grammy nomination.

Lattimore continued working, releasing his critically acclaimed sophomore album From the Soul of a Man. In 2001, legendary music industry executive Clive Davis signed Lattimore to join Arista, resulting in Lattimore’s third solo album Weekend. Lattimore followed up with two Top 10 charting duet albums with singer Chanté Moore: Things That Lovers Do and the gospel/R&B double-CD Uncovered/Covered. Lattimore returned to his solo career in 2008, releasing his covers album Timeless on Verve Records.

In 2012, Lattimore launched his independent label SincereSoul Records, allowing him to experiment and collaborate with major record distributors like E1, Motown Gospel and Liger Enterprises.

Lattimore has since proudly released three successful records through SincereSoul: Anatomy of a Love Song, A Kenny Lattimore Christmas, and Vulnerable. His Christmas standards set landed him a #3 album position on the Billboard Gospel charts and his R&B albums together produced two Top 10 singles.

AWARDS AND COLLABORATIONS

The singer has garnered Grammy, Soul Train and Stellar Awards nominations as well as the NAACP Image Award for Best New Artist. His nuanced vocals have graced projects by a diverse array of artists from Musiq Soulchild and Rachelle Ferrell to Nancy Wilson and Brian Culbertson. This prestigious list also includes Kanye West, who sampled Lattimore’s “Lately” for the track “I’m in It” from West’s #1 album Yeezus. Lattimore also created musical magic on iconic movie soundtracks like Love Jones, Best Man and Disney’s Lion King II Simba’s Pride.

Aubrey Logan

The media refer to #1 selling artist, Aubrey Logan as “The Queen of Sass,”  and it’s easy to see why. Her concerts are a mix of excellent musicality, jaw-dropping vocals, expert trombone-playing, a breathtaking array of originals and original takes on cover songs and, well…fun! Her heart wrenching musical stories has audiences in tears just before her comedic relief has them in stitches.

The Seattle native, trained in trombone performance at Berklee College of Music, Logan soon after made her way to Los Angeles, with dreams of becoming L.A.’s “most cerebral musician with a personality”. Once there she created her own path, lining up professional work with acts as disparate as the Boston Pops, Pharrell, Josh Groban, Seth McFarlane, and Meghan Trainor, and at the same time amassing a huge online following thanks to her performances with the YouTube phenomenon PostModern Jukebox.

Her debut, Impossible, was a top 10 album on the iTunes, Billboard and Amazon charts. Her appearance on  Summer Horns II, from A to Z, as a special guest of Dave Koz and Concord Records, became the No. 1 selling Contemporary Jazz Album. Aubrey’s features on Jimmy Kimmel, The Grammy Awards, a PBS special and London Live have kept her in the public eye and millions of fans have watched her head-spinning videos on YouTube and Facebook.

Aubrey is a transplanted Angeleno, with a love for all things on the sunny side of Southern California and a sharp wit about all its pitfalls. On her second studio album, Where the Sunshine Is Expensive, Logan pays homage to her adopted hometown, as only the Queen of Sass could: with a twinkle in her eye and a newfound confidence in her mind.

Aubrey Logan has performed more than 250 shows since 2016. Written in airports around the country (and in LAX, of course), Where the Sunshine Is Expensive came together as Logan accepted that love it or hate it (but mostly love it), L.A. has her heart.

The trick to making the city work for her, she found, was brutal honesty and vulnerability in her art.  “I wrote these songs as a love letter to L.A. and I want people to see that through the darkness, the grit, the grime, there is hope,” Logan says.

Recording Where the Sunshine Is Expensive was a roll of the dice — because it was all done live at the legendary East West Studios in Hollywood with world-class musicians including guest appearances by jazz legend Dave Koz and vocalist Casey Abrams. Logan’s live studio audience included passionate fans who flew in from around the country to watch the recording.

“Understand,” the album’s lead single, is a ‘70s R&B slow jam that asks for something we all want: a bit of appreciation (and, of course, Logan playing a trombone solo).  “I wrote ‘Understand’ at a time when I was feeling particularly angry at the music industry, but I wanted to work through it in song,” Logan says with a laugh.

“L.A.,” the album’s second single, is a song that speaks for itself. It’s loaded with clichés about the city that are also truths based in Logan’s observations, eavesdropping in a coffee shop and driving down the I-5. Her stark, and hilarious honesty about the city is captured in this song’s opening lines, “I have a tan in January, I make six figures and I’m broke / Oh the smog, it ain’t so scary. And the sunset, well it sure puts on a show.”

She’s now preparing for a US Tour, a European Tour, an Australian Jazz Cruise and releasing her new album. So no need to worry….there’s no shortage of “sass” in our immediate future.