KIRK WHALUM Archives - Signature Cruise Experiences https://dev.scecruises.com/tag/kirk-whalum/ The Gold Standard for Charter Theme Cruises Since 2001 Tue, 10 Dec 2024 18:45:36 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://dev.scecruises.com/wp-content/uploads/2025/05/cropped-web-app-manifest-512x512-1-32x32.png KIRK WHALUM Archives - Signature Cruise Experiences https://dev.scecruises.com/tag/kirk-whalum/ 32 32 OUR TAKE: Commander Kirk – Going Where We Have Gone Before https://dev.scecruises.com/2024/07/27/our-take-our-take-commander-kirk-going-where-we-have-gone-before/ Sat, 27 Jul 2024 08:15:00 +0000 https://jcllcold.efficion.net/?p=6481 In a recent interview, Kirk Whalum bemoaned the fact that too often the music played under the “smooth jazz” umbrella suffers from a lack of individualism as compositions are dictated by the parameters of the format and less expressions of the musicians. Kirk, of course, is one of the most talented, respected and beloved musicians […]

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]]> In a recent interview, Kirk Whalum bemoaned the fact that too often the music played under the “smooth jazz” umbrella suffers from a lack of individualism as compositions are dictated by the parameters of the format and less expressions of the musicians. Kirk, of course, is one of the most talented, respected and beloved musicians in this genre or any genre for that matter. After all, his riff in Whitney Houston’s “I Will Always Love You” is purported to be the most well-known saxophone solo in music history.

Taking one comment out of context can be a dangerous thing to do and I have not been able to listen to the entire interview, so there is no judgement being offered here when I both applaud what Kirk Whalum said and offer a spin on his point in favor of virtually every musician who performs on The Smooth Jazz Cruise. Trying not to bury the lead, I agree that, though some of the “smooth jazz” music you hear streaming on the radio reflects a sameness, the real stars who are regarded as “smooth jazz” artists are individual, unique and authentic.

Part of the angst is the title of the genre. In college, a professor of mine ranted about the term “Holy Roman Empire,” claiming that it was neither “holy,” “roman” nor much of an “empire.” As we have discussed on several occasions, “smooth jazz” suffers from the same criticism. The good stuff is hardly “smooth” and if “jazz” is shorthand for instrumental music, then perhaps that works. In my mind, “jazz” is improvisational music. In the broadest of explanations, you either take a known song and “jazz it up” or you have an original composition which includes solos and improvised parts of the song. True songwriters are likely cringing at that explanation, but for those of us who are more fans than fanatics, this interpretation may suffice.

Back to the world of music. In every genre, there are songwriters and musicians who present in a formulaic manner. Unless you are knee deep in that genre, you have a difficult time differentiating the performers. I am not familiar with Country Music. To me, most of it sounds the same or at least similar to other tunes. Yet, when I hear Garth Brooks or Vince Gill, I know that I am listening to something different, something special. In no way does this condemn or lessen the quality of other Country Music, as true aficionados of the music will be able to differentiate among the multitude of vocalists in cowboy hats and boots. Please excuse my snarky comment here. Sometimes you need to vent.

In speaking with our guests, I applaud those who seek out the deeper cuts and the lesser-known performers and work hard to differentiate them. I am often criticized for not inviting more of the lesser known “smooth jazz” performers onto The Smooth Jazz Cruise. Unfortunately, here is where basic math rules the day. The cruise is seven days and seven nights long. There is a set number of performances that we can jam into that timeframe. To utilize a slot for someone other than the most well-known performers makes sense only if that performer appears to be on the road to being special. As I have said many times before, making The Smooth Jazz Cruise different is easy. Making it better requires a great deal of thought.

This conversation is particularly pertinent as we are putting the final touches on the lineup for The Smooth Jazz Cruise ’26.1 & ’26.2. We will be announcing the details on 8.14.24 and rebooking for current guests and pre-sale reservations for all others will begin the following day (see below for more information). You will see a lot of names that have defined the cruise for years. You will see some well-known names that are new or long overdue for the cruise. What you will not see are any musicians who are indistinguishable from the pack.

Remember, there are only so many slots on the cruise. For every name we add, another must be subtracted. When you see the lineup, and you feel that a certain musician should have been included, ask yourself which of the named musicians would you remove? As Shakespeare wrote, “ay, there’s the rub.”

Back to the comments from Kirk Whalum. He is 100% correct that being authentic and creative beats being formulaic and a genre clone. Again, part of the problem is the name itself. If I thought it would not upset folks, I would change the name of The Smooth Jazz Cruise. To what? I have no idea. Plus, that name, I believe, does not conjure up an image of a particular music form, but, rather, is shorthand for seven days and seven nights of great entertainment, camaraderie and fun.

As a closing argument, does anyone think that the music of Marcus Miller, Boney James, Brian Culbertson, Candy Dulfer and Jonathan Butler are the same? Or formulaic? Or contrived to fit a genre? Of course not. The point Kirk Whalum makes is is well taken which is why The Smooth Jazz Cruise will always be looking for those musicians whose sounds and compositions stand out.

By Michael Lazaroff, Executive Director of The Jazz Cruise, The Smooth Jazz Cruise, Chris Botti at Sea and Journey of Jazz. Feel free to express your views or pose questions to him at michael@scecruises.com


Peter Cincotti to Join Us for Botti at Sea ’25

PETER CINCOTTI

The greatest lineup of stars has a new member, the amazing singer/songwriter Peter Cincotti. Though we can announce his participation on the cruise now, he has been part of the plan almost from the beginning. The terms and conditions of his other commitments required us to keep his involvement under wraps.

Peter is one of those young phenoms who has transitioned brilliantly through adulthood. Under the guidance of the legendary music producer, Phil Ramone, Peter is the youngest performer (20 years old) to have their debut album rise to No. 1 on the Billboard Jazz Chart. But his career began before that. This singer songwriter began playing piano at three years old, was gigging in high school, performing at the White House (Bill Clinton) at that time and, at 17, won an award at the Montreux Jazz Festival for his rendition of A Night in Tunisia (Dizzy Gillespie).

His career has been a whirlwind of success fueled by immense talent, engaging personality and leading man good looks. He and his wonderful band will join us for the final few days of Botti at Sea ’25 and will perform numerous times, both in The Theatre and in other venues. We are excited and honored to add Peter Cincotti to the amazing lineup of stars for the cruise.


The Smooth Jazz Cruise ‘26.1 & ‘26.2
Will Be Announced on 8.14.24

THE SMOOTH JAZZ CRUISE 26

It has become a tradition to start the reservation process for the next set of sailings (’26) right before Labor Day of the year immediately before (’24) of the upcoming sailings (’25). This may not be the easiest plan to follow, but it does provide fairness for those wishing to secure reservations for future sailings and reduces the stress of having the reservation process on a cruise thereby diverting our guests from their primary goal – enjoying the music!

With more than 4,000 people on the Waitlist for the ’25 Cruises, the pressure to secure a reservation for one of the ’26 Cruises runs high. Initiating this process now provides everyone with ample time to complete whichever procedure they may elect to follow


How to Reserve a Stateroom for The Smooth Jazz Cruise ‘26.1 or ‘26.2

Your reservation path depends upon your status for the ’25 Sailings.

Group 1: Guests Sailing on either The Smooth Jazz Cruise ‘25.1 or ‘25.2
Guests sailing on either The Smooth Jazz Cruise ’25.1 or ’25.2 have the exclusive right to rebook their current stateroom on their respective sailing at the rate consistent with their cruise status at any time between 08.15.24 through 09.15.24. A modest deposit is due at that time with no further payments required until after the ’25 Sailings.

Such guests will receive information about the ’26 Cruises and instructions as to how to rebook their current stateroom by email in advance of 08.15.24.

If a guest wishes to reserve a different stateroom, they must complete the reservation for their current stateroom and contact us with their preference(s) for a different stateroom. They will not be obligated to reserve their current stateroom if their preferred stateroom is not available.

Group 2: Guests on The Smooth Jazz Cruise ’25 Waitlist
If you are on the Waitlist for a ’25 sailing of The Smooth Jazz Cruise AND are booked on another Jazz Cruises’ sailing in ’25, you will receive Priority Booking upon completing your Pre-Sale reservation for The Smooth Jazz Cruise ’26. More information on the Special Program for Guests on The Smooth Jazz Cruise Waitlist can be found here. Guests on the Waitlist for the ’25 Sailings who complete the Pre-Sales Reservation will also be provided preferences for the ’26 Cruises. Here, too, a modest deposit, fully-refundable if no stateroom is reserved, will be required as part of the process.

Group 3: Guests Not Sailing on The Smooth Jazz Cruise in ’25
If you are not a guest on a ’25 sailing of The Smooth Jazz Cruise, you are urged to complete a Pre-Sale Reservation at your earliest convenience. Your priority in the system is dependent upon your cruise status and the date upon which you completed your Pre-Sale Reservation. Again, a modest deposit, fully-refundable if no stateroom is reserved, will be required as part of the process.

Schedule for Reserving a Stateroom for The Smooth Jazz Cruise ‘26.1 & ‘26.2

08.14.24
• Details of The Smooth Jazz Cruise ’26.1 & ’26.2 are announced
• Instructions for Guests on a ’25 Cruise to Rebook their Current Stateroom are delivered by email
• Instructions for all other guests wishing to complete a Pre-Sales Reservation are delivered by email and posted on The Smooth Jazz Cruise website

08.15.24 – 09.15.24
• Guests on a ’25 Cruise may Rebook their Current Stateroom for a ’26 Cruise
• Guests on the Waitlist for a ’25 Cruise and all other guests may complete a Pre-Sale Reservation

09.19.24 – Completion
• All Guests on the Waitlist for a ’26 Cruise will be contacted in order of priority to select a stateroom for one of the ’26 Cruises.


DownBeat Critics Poll Winners

DOWNBEAT MAGAZINE

Congratulations to so many artists associated with Jazz Cruises programs—past, present and future—for taking first place in the prestigious DownBeat Magazine Critics Poll. Among the winners in this year’s survey of more than 100 jazz journalists were:
 
Cecile McLorin Salvant: Female Vocalist
Kurt Elling: Male Vocalist
Kenny Barron: Piano
Christian McBride: Acoustic Bass
Gary Smulyan: Baritone Saxophone
Anat Cohen: Clarinet
Charles Lloyd: Hall of Fame, Artist of the Year, Album of the Year, Tenor Saxophone
Immanuel Wilkins: Jazz Group, Alto Saxophone
Emmet Cohen Trio: Rising Star Jazz Group
Taylor Eigsti: Rising Star Piano
Jennifer Wharton: Rising Star Trombone
Alexa Tarantino: Rising Star Clarinet
Cory Henry: Rising Star Keyboards
Benny Benack III: Rising Star Male Vocalist
 
Among the numerous runner-ups in the various categories were a host of notable artists who have sailed with us multiple times over the years, including Marcus Miller, John Clayton, Gregory Porter, Samara Joy, Dee Dee Bridgewater, Catherine Russell, Dianne Reeves, Ingrid Jensen, Wycliffe Gordon, Ken Peplowski, Paquito D’Rivera, Allison Miller, Billy Hart, Johnathan Blake, Matt Wilson, John Pizzarelli, Jose James, Sullivan Fortner, Bill Charlap, Randy Brecker, Charles McPherson and so many more.

LEARN MORE


Signature Jazz Cruises’ ’25 Programs

The Jazz Cruise ’25
Celebrating its 25th Anniversary
The Last 36 Staterooms…Act Now! 

The plans for the 25th Anniversary sailing of The Jazz Cruise ’25 are spectacular. The cruise is over 96% reserved and is currently in Open Booking, which means that anyone may reserve any available stateroom. The remaining inventory, totaling just over 36 staterooms, includes Veranda, Ocean View and Inside Staterooms.

BOOK NOW

The Smooth Jazz Cruise ‘25.1 & ‘25.2
Starting its 3rd Decade
Both Sailings Fully Reserved

With both sailings being fully reserved, guests wishing to sail on a ’25 sailing of The Smooth Jazz Cruise should JOIN WAITLIST now. Cancellations will be filled exclusively from the WAITLIST. WAITLIST guests qualify for special terms when reserving a stateroom on The Jazz Cruise ’25 or Botti at Sea ’25.

JOIN WAITLIST

Botti at Sea ’25
Every Night is a Night on the Town
New Performer – Diana Krall! 

Botti at Sea ’25 is over 70% reserved. Anyone may reserve an available stateroom by calling the office during regular business hours or doing so online. It was this time last year that there was a “run” on staterooms, so act now! Diana
Krall and Peter Cincotti have recently been added to the lineup! 

BOOK NOW

Journey of Jazz ’25
Jazz Life at Sea & On Land 
Reserve Now – Land Events Menu Soon

Jazz Cruises’ newest program, Journey of Jazz, hosted by Marcus Miller & Gregory Porter, is in Open Booking. Though not sailing for 14 months, the cruise is more than 65% reserved. Menu of land-based events in Victoria and San Francisco to be announced in late July! Reserve your stateroom now to be eligible for events at that time.

BOOK NOW

1-Day Tickets to STL Jazz Fest
Are On Sale Now!

1-Day tickets for STL Jazz Fest are now on sale! Also, a few of the “Hi-Top Tables” remain available for both shows. There are 60 tables on the main floor which are in the center directly behind the floor seats and before the bars. Each table has four seats and they are a wonderful option for those wishing to share the evening with others. Jazz Cruises usually takes a table or two for its staff. The cost for the table is $90/seat for a total of $360. In our view, this is the best “secret” in the venue.

For details about the festival and information on how to purchase tickets, see below:

STL JAZZ FEST
Produced by Signature Cruise Experiences Jazz Cruises
The Factory – Chesterfield (St. Louis) Missouri

Friday, August 23, 2024
Eric Marienthal Quintet, featuring Niki Haris
The Comedy of Alonzo Bodden
GREGORY PORTER

Saturday, August 24, 2024
Mindi Abair with Eric Marienthal & Friends
The Comedy of Alonzo Bodden
BRIAN CULBERTSON

Doors 6 PM / Showtime 7 PM

FRIDAY TICKETS
SATURDAY TICKETS
LIMITED 2-DAY TICKETS AVAILABLE

Mug Shots of the Week

SIGNATURE JAZZ CRUISES MUG SHOTS
Donna (with Eric Marienthal) – Florida
SIGNATURE JAZZ CRUISES MUG SHOTS
Tuana V. – Ohio

Guests on the ’24 jazz cruises received The Weekender mug, which we hope you will use with your Saturday morning coffee while you read the latest edition. Please share a picture of yourself & your mug with us so that we can include it for the 100,000+ folks who receive The Weekender each Saturday.

Tag us @thejazzcruise @bottiatsea @thesmoothjazzcruise #jazzcruises and #theweekender. Email your photo to MugShot@scecruises.com.

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]]> OUR TAKE: Sanborn https://dev.scecruises.com/2024/05/18/our-take-sanborn/ Sat, 18 May 2024 17:05:00 +0000 https://www.jazzcruisesllc.com/?p=5857 My aim for this note was to talk about seeing Jonathan Butler in St. Louis last weekend and Kamasi Washington in Dallas the other night. For any other week, those stories would have been fun to write and could have provided interesting reading for followers of The Weekender. But, the passing of David Sanborn, just […]

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]]>

My aim for this note was to talk about seeing Jonathan Butler in St. Louis last weekend and Kamasi Washington in Dallas the other night. For any other week, those stories would have been fun to write and could have provided interesting reading for followers of The Weekender. But, the passing of David Sanborn, just like his music and recordings, remains #1 on the charts of our lives and in our hearts. Very little of what I am about to share is new. I have recalled these episodes in past notes, but I feel the need to share them with you one last time.

My father played saxophone. His horn was a Selmer Mark VI. For most of his life, Sanborn played the same make of horn. Dave experimented with other horns and various mouthpieces, but the Selmer Mark VI was the mainstay. His horn was so old that finding parts and artisans who could keep the horn in good shape was difficult. Most of the work was done by Dave himself.

For those familiar with the Selmer Mark VI community of players, your place in that world is dictated by the serial number of the horn. I can recall my father and Dave sharing each other’s serial numbers. Freud would have needed about 5 seconds to analyze what was going on there, but we will not go further on that subject in honor of the memories of both men. By the way, my father’s serial number was deemed the more impressive one, a fact that he cherished.

My father introduced me to two musicians, David Sanborn and Bobby Short. While in college, I met up with my father at The Carlyle (NYC) to hear Bobby Short perform. Nattily dressed in a sport coat, tie and slacks, Bobby Short played familiar tunes on his piano and sang. Whether you could say he was a great vocalist or not, he had a style, for sure. He was the man at the bar that you wanted to chat with. Only later in life did I realize that Bobby Short was my father’s model for his own persona as he roamed the restaurants and bars of St. Louis waiting to be asked to play his saxophone and sing with his longtime buddies in the band.

But Dad was particularly mesmerized by David Sanborn. Coming from St. Louis, playing alto saxophone, hanging around Gaslight Square (former section of St. Louis that featured great music) and the “East Side” (the Illinois section of St. Louis that brought us Miles Davis, Clark Terry, Tina Turner….and Redd Foxx), the overlaps were amazing. Now the talent gap between the two was gaping, but the love of the music metric was a dead heat.

In the short tribute I wrote about David earlier this week, I alluded to David’s uncontrollable and boundless insecurity about his talent and performances. A glaring example was when David, Bob James and Marcus Miller were to perform their landmark album, Double Vision, on The Smooth Jazz Cruise. Miraculously, the songs from that album had never been performed live until that cruise, nearly 20 years after its release. In presenting this show on the cruise, we knew that it could only be done once and we feared that the crowd would overwhelm the theater, so we scheduled the show for midnight, using the late hour as “crowd control.”

Of course, David assumed that the late hour was due to our belief that the show was no big deal. Nothing could have been further from the truth. With his fear of no one showing up in full bloom, David was in constant contact with us the entire day of the show wondering why we were not promoting the show more. Again, he assumed that we were not interested in the show, rather than our goal of maintaining some semblance of order.

Showtime came. I was backstage. No reason to be there, but I was there, nonetheless. David asked me if the theater was crowded. Having just peeked out and seeing guests sitting in the aisles and standing wherever they could, with a twinkle in my eye, I whispered to David “about half full.” A despondent look ensued as he walked onto the stage head down and shuffling his feet. When he made eye contact with the bulging-at-the-seams venue, he turned to me, as I was standing just off stage, and uttered his two favorite words of excitement…”F— You!”

The most talented and beloved saxophonist of the genre was about to perform one of the most successful albums ever produced, live for the first time, in front of guests who were rabid fans, each of whom had paid thousands of dollars to be on the ship…and his only worry was whether folks would show up! Really? Thankfully, for him, we closed the midnight buffet early, otherwise no one would have attended. Right!

That was David Sanborn. Call it humility. Call it insecurity. Those of us who had the great fortune of spending a lot of time with David simply smile and call it “David Sanborn.”

David never embraced, even fought off, his association with the term “smooth jazz.” I believe that he loved the music that he made under that title, as Maputo (written, of course, by Marcus Miller) found its way onto his playlist almost every night. As he grew older, he opted for a highly stylized version, but, as he would share with the audience when introducing the tune, “if you listen closely enough, you can hear Maputo.” His concern was the label. David was too authentic, too committed to the music to attach his name to a term that he thought, rightfully, was a commercial gimmick. That degree of “selling out” was not acceptable to him.

David’s devotion to his craft and his fear of being branded something other than a great musician made it difficult sometimes to properly present and compensate him. A victim of his own success, most of the higher paying gigs for him were built around his “smooth jazz” tunes and popularity. For example, I wanted to hold a David Sanborn Jazz Festival in St. Louis with David as the host, etc. I was thinking about large outdoor crowds reveling in his music as he presented the various stars he had performed with over the years.

He was thinking about an acoustic show in a theatre where he could do a tribute to Hank Crawford. Which brings me to the moment in my life with David Sanborn that I will never forget. With David’s aversion to his smooth jazz connection, ever wonder how he became a star and co-host of The Smooth Jazz Cruise? Here is the story.

My involvement in securing David Sanborn for The Smooth Jazz Cruise was tangential at best. After making my interest in doing so known clearly to Pat Rains, David’s highly skilled manager, I sat on the sidelines and watched Pat, along with then cruise co-host Marcus Miller do their thing. They did the work. As it turned out, the issue was less about the “smooth jazz” label and more about David’s fear that the fans who were sailing on the cruise would not remember him, would not care to hear him, and would believe that his day had come and gone.

Upon hearing those concerns from Pat and Marcus, I did chime in a bit. One of my planning tools is to create a cruise that I would like to attend and then hope that another 1,999 people feel the same way. I shared with Pat and Marcus that I would move heaven and earth to see David Sanborn on the cruise, particularly if he were performing with Marcus and a few select others. Evidently, my “vote” was one of many that they were hearing and they were able to convince David to sail.

Once on the ship, the result was inevitable. The fans were in awe. They adored him. The response to his shows was unlike the more reserved responses that David was experiencing in the immediate years before the cruises. Always beloved and always at the top of the food chain, people like David, who need outward signs of support and appreciation to realize their success, can wither in the world of “straight ahead” jazz audiences whose self-imposed more formal demeanor can mistakenly be seen as tepid adulation.

Put David Sanborn on the stage of The Smooth Jazz Cruise and all hell breaks loose…in a great way!! From David’s mouth and confirmed by Pat, those experiences on our cruises were instrumental in lifting his spirits, energizing him to do more music and recreating his love of performing live. The immediate and positive reactions by the guests of The Smooth Jazz Cruise did more for the spirit of David Sanborn than any other event in his life!

The awestruck response to David Sanborn was not limited to smooth jazz audiences. There is no more skeptical crowd regarding the place of “smooth jazz” in the world of music than the musicians of The Jazz Cruise. Yet, when David Sanborn quietly took his seat in the Queen’s Lounge of our Holland America Line ship for the pre-cruise Musician’s meeting of a sailing of The Jazz Cruise, a murmur shot through the entire venue confirming “that’s David Sanborn.” Having been around those guys for 25 years, I know what an “awe” sounds like. This was the recognition of respect and admiration

Privately, he has shared with me that doing the cruises reunited him with Marcus, built relationships with Alonzo Bodden, Jonathan Butler, Eric Marienthal, and Candy Dulfer and dusted off many other connections that would be part of his life. David wound up touring with Dave Koz and later with Brian Culbertson, two direct relationships from our cruises. The team of Double Vision took to the road after the successful live show on the cruise.

David would go on to perform on many of our other programs and cruises. But, to all guests who sailed with us on the first cruise that featured David Sanborn, take a bow. It may be hyperbole to say that you saved his life, an honor that Pat legitimately holds, but you certainly made a great, great musician and man feel good about himself.

What will I miss about David Sanborn? 

  • Our Phone Calls. Each call gave me an hour to check emails while he spoke about the history of jazz, the universe, and why he wanted to perform acoustically.
  • The Pre-Cruise “Talk”. David’s annual explanation of his diet, his needs for rehearsals, and assurances that his stateroom would allow him to open a window for fresh air.
  • The Post-Show Critique. After every performance, David would share with us how dreadful he sounded, how sorry he was for letting us down, and his promise to do better the next time. Seriously, that is the truth.

But, without a doubt, what I will miss more than anything is listening and watching him play. My first thought when I heard of his passing was the recognition that I will never hear or see that again. Selfish of me, of course, but for most of my life, I could count on “Sanborn on Sax” to lift my spirits and make me feel something special. 

In the past few days, I have listened to The Dream at least 10 times, perhaps hoping that the title was real and that our loss was just a bad dream. Another interpretation is more apt. David Sanborn was The Dream that came true. 

He was a man of enormous talents and heart, challenged from birth, challenged in life and, too often, haunted by self-doubt. These very human traits are what made him so endearing. He led an entire generation of music fans by being authentic and real. His legacy however will be that “sound,” the haunting, loving, and brilliant sound that he could produce.

Even the most novice jazz fan knows who is playing when listening to a David Sanborn tune. The only other possibility is that the player is someone trying to sound like David Sanborn. Failing to do so, of course.

When someone passes, you cannot avoid assessing where you were with that person at their death. Were there words unsaid? Regrets? As for David Sanborn, I can lay my head on the pillow every night knowing that I did everything that I could to show this man how much we care about him, love him and his music, and, most of all, respect who he was, what he did, and how he did it.

Now, and only now, it is time to say farewell. 

By Michael Lazaroff, Executive Director of The Jazz Cruise, The Smooth Jazz Cruise, Chris Botti at Sea, and Journey of Jazz. Feel free to express your views or pose questions to him at michael@scecruises.com.

Kenny Barron’s Beyond This Place

KENNY BARRON

In his 80th year, Kenny Barron — NEA Jazz Master, 13-time Grammy nominee, and veteran of The Jazz Cruise — is one of the greatest jazz pianists currently at work and a still-thriving link to jazz’s midcentury golden age. His latest album, Beyond This Place, features his longtime working trio of bassist Kiyoshi Kitagawa and drummer Johnathan Blake, along with vibraphonist Steve Nelson and saxophonist Immanuel Wilkins. The program includes original works from throughout Kenny’s storied career, plus Monk and more.

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Kirk Whalum’s Epic Cool

Kirk Whalum, who has sailed on The Smooth Jazz Cruise numerous times, as well as turns on The Jazz Cruise and other programs, has just released Epic Cool, his 28th album as a leader. Teaming up with producer Greg Manning, Whalum focuses on his songwriting to craft an album that’s passionate and spirited, but with his trademark soul. The album is very much a family affair, thanks to the presence of son Kyle on bass and nephews Kameron on trombone and Kenneth III on tenor. “I’m still on this path trying to do something important,” Whalum said. “At 65, I still feel very young. I feel like I have a mandate to be the very best version of myself and to push down some more doors.”

“Few musicians have had a greater positive impact on our programs than Kirk Whalum,” offers Jazz Cruises’ Executive Director Michael Lazaroff. “He is that rare talent that can be a major contributor to any of our themes and cruises. And, he is respected by musicians from every pocket of the jazz world.”

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KIRK WHALUM

Butler, Whalum and Bodden at the 2nd Annual Desert Jazz Festival!

DESERT JAZZ FESTIVAL

Enjoy 4 days and 3 nights of relaxation at the Westin Rancho Mirage Golf Resort & Spa in the beautiful Coachella Valley October 3-6.

Dive into a realm where you’re not just a guest; you’re a VIP. With no more than 400 other jazz music lovers, it’s one of the most intimate settings to enjoy music, comedy, food, and friends.
  
Arrive early or extend your stay using our Smooth Jazz Cruise exclusive code SJCDJF100 to receive a $100 discount per person by providing proof of your 2024 sailing or your current booking for 2025.

The star-studded lineup includes Ray Parker Jr., Jonathan Butler, Kirk Whalum, Gerald Albright, Jessy J, Lindsey Webster, Marcus Anderson and the comedic talents of Alonzo Bodden

Reserve your space now by going to www.desertjazzfestival.com or by calling 800.248.7471. 

TICKETS AVAILABLE NOW

STL Jazz Fest Two-Day Tickets Available! Individual Tickets Go On Sale 5.31!

STL JAZZ FEST

2-Day Tickets are now available on Ticketmaster for STL JAZZ FEST. 1-Day Tickets will go on sale Friday, May 31. For details about the festival and how to purchase tickets, see below:

STL JAZZ FEST
Produced by Jazz Cruises
The Factory – Chesterfield (St. Louis) Missouri

FRIDAY AUGUST 23, 2024
Eric Marienthal Quintet, featuring Niki Haris
The Comedy of Alonzo Bodden
GREGORY PORTER

SATURDAY AUGUST 24, 2024
Mindi Abair with Eric Marienthal & Friends
The Comedy of Alonzo Bodden
BRIAN CULBERTSON
  Doors 6 pm / Showtime 7 pm

TICKETS AVAILABLE NOW

Jazz Cruises’ ’25 Programs

THE JAZZ CRUISE SIGNATURE CRUISE EXPERIENCES
The Jazz Cruise ’25
Celebrating its 25th Anniversary

The plans for the 25th Anniversary sailing of The Jazz Cruise ’25 are spectacular. The cruise is over 87% reserved and is currently in Open Booking, which means that now anyone may reserve any available stateroom. Staterooms with Verandas remain in inventory along with Ocean View and Inside Staterooms.

BOOK NOW
THE SMOOTH JAZZ CRUISE SIGNATURE CRUISE EXPERIENCES
The Smooth Jazz Cruise ‘25.1 & ‘25.2
Starting its 3rd Decade

With both sailings being fully reserved, guests wishing to sail on a ’25 sailing of The Smooth Jazz Cruise should JOIN WAITLIST now. Cancellations will be filled exclusively from the WAITLIST. WAITLIST guests qualify for special terms when reserving a stateroom on The Jazz Cruise ’25 or Botti at Sea II.

JOIN WAITLIST
Botti at Sea ’25
Every Night is a Night on the Town

Botti at Sea ’25 is in the Open Booking stage and is over 60% reserved. Anyone may reserve any available stateroom either by calling the office during regular business hours or doing so online. It was this time last year that there was a “run” on staterooms, so act now! 

BOOK NOW
Journey of Jazz ’25
Jazz Life at Sea & On Land 
West Coast Style 

Jazz Cruises’ newest program, Journey of Jazz ’25, hosted by Marcus Miller & Gregory Porter, has completed the Pre-Sale process and began Open Booking on April 30, 2024. Like a race care, this program as gone from 0 – 60(%) sold in the blink of an eye. 

BOOK NOW

Mug Shots of the Week

Yvette and Daniel – St. Louis
Caron and Timothy – Colorado

Guests on the ’24 jazz cruises received The Weekender mug, which we hope you will use with your Saturday morning coffee while you read the latest edition. Please share a picture of yourself & your mug with us so that we can include it for the 100,000+ folks who receive The Weekender each Saturday.

Tag us @thejazzcruise @bottiatsea @thesmoothjazzcruise #jazzcruises and #theweekender. Email your photo to MugShot@scecruises.com.

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