Bobby Lyle presented a powerful presence on the keys during his set with Ndugu Chancler, Alphonso Johnson, and Craig T. Cooper at the 30th Annual Long Beach Jazz Festival on Saturday, August 12, 2017. One could see the joy and passion on Lyle’s face during performance. He tickled the ivory of the electric keyboard, then switched over to the acoustic piano and maintaining a masterful technique on both.
A veteran of the music industry for 40 years, Bobby Lyle has amassed a prolific discography of jazz music. He has traveled all over the world performing musical directing for legends Bette Midler, Al Jarreau, Anita Baker, and more. He now heads his own ensembles and plans to head up his own jazz series in Houston titled Bobby Lyle Presents.
I caught up with Bobby Lyle backstage of the Long Beach Jazz Festival just after his performance.
On Saturday, August 12, 2017, Emmy-nominated keyboardist Bobby Lyle will be performing at 2:30 pm at the Long Beach Jazz Festival, along with Ndugu Chancler on drums, Alphonso Johnson on bass, Craig T. Cooper on guitar, and vocals by Bridgette Bryant.
“We have a great show in store you. See ya there!” -Bobby Lyle
For over 2 decades, the #LBJazzFest has been a trailblazer consistently refining the essence of a premier jazz festival beyond celebrated artists and mellow ambience. The Long Beach Jazz Festival experience is more than music, mingling, munching and marveling at merchandise. Attendees will enjoy marina breezes and a beautiful lagoon and park setting. The Vendor Pavilion offers a variety of freshly prepared foods and beverages plus unique clothing, art and accessories. A 2nd stage in the Pavilion features experts sharing knowledge about health and well-being—valuable information for creating healthy awareness of body, mind and soul. When the health speakers are not on stage, diverse musical groups provide listening entertainment.
SATURDAY, AUGUST 12, 2017
Boney James
Will Downing
Nathan East
Eric Darius 30 Years of Long Beach Jazz Featuring: Ndugu Chancler, Bobby Lyle, Craig T. Cooper, Alphonso Johnson, Bridgette Bryant
Jazz In P!nk
The idea was born quite a while back when Stanley and Italked about it some time ago. Because of busy schedules, it took us a very long time to finish – It took us five years, with getting all the different musicians to participate. A lot of overdubs were made possible thanks to the internet. Steve Bailey and Victor Wooten recorded their parts at their own studios and uploaded the tracks that I included in the mix. Others like Armand Sabal-Lecco recorded at my studio (Gigi’s Studio) where most of the album was recorded, but we also used Stanley’sstudio for most of his parts, as well as Billy Sheehan’s. Recording at those different studios also helped contribute to the extra time spent finishing up the project.
Bunny Brunel is featured in the June 2017 Issue.
Besides Josquin Des Prés and Hadrien Feraud, who reside in California, I guess that for all the French musicians involved everything was done through the internet?
That’s right! I wanted to have Marc Berteaux; he is a fantastic bass player that never got the attention that he deserves. He plays a long solo at the end of “Freedom Jazz Dance.”
I wanted to do something special for the city of my birth place “Nice” with the title “Bay of the Angels” that is the name of the the bay in the front of Nice. For this title, I asked some musicians from Nice to play, including Alex Perdigon (trombone), Eric Giausserand (trumpet), and the bassists Tony Bonfils, Fifi Chayeb, and Dominique Bertram; as well as the drummer Steve Ferrone, who used to live in Nice. We went to the classical conservatory together.
Why two versions for that title?
Stanley wanted to have a shorter version for radio air play.
You co-wrote a title with Victor Wooten and Stanley. How did you do that?
If we take the first title “Nothing But The Bass,” which is a play on words on “Nothing but the best,” Stanley came up with some chords on the piano that I took and made the title using each of the different parts and solos sections. My daughter Gigi helped me with the melody of the bridge, that is why her name is mentioned in the credits.
On “Bass Ball” we also found a new version of “For You To Play” that was originally record on the album of the same title back in 1994.
That’s right, this tune was composed by my ex-wife Nicol Mecerova, an opera singer that made the melody of “For Me to Play.” Because I composed it on the Piccolo Bass Synth, I thought that it would be great to record it again with Stanley on the piccolo [bass] as well. He overdubbed the melody on the upright bass with the arco, and played a great solo with it.
My piccolo bass is a 5 string tuned E-A-D-G-C, it’s great to play chords.
Aren’t you afraid that people will say: It’s a bass player album for bass Players?
No, on the contrary; this ISa Bass player album for bass players! That is why we called it “Bass Ball.” There are going to be a Bass Ball 2 and 3 because there are more bass players that need to be presented to the public.
We are happy to hear that. You are doing a great job producing this. Nobody will complain!
This type of album helps connect the new generation of talent with the already established talent. I think that this is very important. I remember when I discovered Eddie Gomez on the live recording of Bill Evans at the Montreaux Jazz Festival, he showed me that I was in the right direction and that it was possible to do what I wanted to do. After that, there were many more for example such as Stanley Clarke who was with the original band Return To Forever; and also . . . it was Jaco Pastorius that offered me the challenge of playing melodies.
It looks like you play a lot of fretless on this album?
I do play fretless most of the time. If I don’t slide it sounds like a fretted bass but I do play my 4-string fretted on Gigi, for example.
Yes, lets talk about equipment. You left Carvin to play ESP now?
Carvin makes fantastic instruments but the problem is that they only sell in the US, they do not really distribute around the world; and they never copied my original design that I made for Gibson in 1986. By the way, my longtime student Kyle Eastwood has 3 or 4 of those Bunny Brunel Gibsons.
ESP, on contrary, agreed to make my basses exactly the way I designed them. They are making a 5-string fretted, a 5-string Fretless, and a 4-string Fretted. All the ESP basses I designed have Aguilar pickups and electronics. I do not have any 6-string basses. I don’t like the sound of the hi C. I’d rather go up on the G string to play the high notes; the sound is better.
And for the amplification?
In the studio I use the ART preamp for my mixing board; and on stage I use an EDEN Amp system. I used to have a lot of effects a long time ago, but now I only use Digitech pedals such as PB 200 and for intimate venues PB80.
Bunny Brunel Featured In the French Magazine “Bassiste” June 2017 Issue #72
Did you plan to tour to advertise the album?
We are giving some concerts this summer. But we are thinking of getting to different place with a rhythm section, and inviting some bass players who are in the area to join us.
Interesting. Do you have any plans with the group CAB with Tony MacAlpine and Dennis Chambers?
Not right now, but I started recording an album with Patrick Moraz and Virgil Donati for a new group called “INOW.”I am very excited about the project. Patrick’s music is complicated, but very beautiful.
It’s reminiscent of when it all started for me. Remember . . . it is because of Patrick Moraz that I ended up with Chick Corea in 1978 when I was playing at the Ronnie Scott Club in London with Tania Maria and André Ceccarelli.
You’ve been really involved in writing a lot of books and videos, teaching the bass. What are you doing now?
I always give lessons, and because of the internet I can give lessons to anybody anywhere in the world now, using Skype. I am in the process of developing an app [for bass lessons] for smart phones and tablets
On July 18th, at Vitello’s Night Club in Studio City, Clifford Bell presented the musical show “Revolution,” which was hosted by Pop Culture Hero Coalition Founder, Chase Masterson.The monies collected for this evening’s entertainment would go toward the organization, Pop Culture Hero Coalition.The vocalists performing for the event were: Chase Masterson, Kirsten Holly Smith, Keith Borden, Mandy Kemp, Justin Charles Cowden, Kaylene Peoples, Patricia Whitman, Mary Pat Bowe, and Clifford Bell.
The musical performances from the singers and the band peppered the audience with inspirational songs that lifted one’s spirit.Chase Masterson looked stunning in a twilight blue gown as she interweaved herself from announcing acts, sharing encouraging stories of people overcoming bullying, to singing a few numbers as well.Doing a campy version of “The Swinger,” Chase projected the aura of a torch singer from old.Her golden voice pierced the hearts of us all when she crooned the tune, “Pure Imagination.”Using her dramatic flair, Chase enchanted the entire room.
Chase Masterson (Photo by: Sheryl Aronson)
Founded in 2013, they are a 501(c)(3) non-profit that takes a stand against bullying, racism, misogyny, cyber-bullying, LGBT-bullying, and other forms of hate-using with the phenomenal popularity of media to bring justice and healing.
The Coalition’s work features global experts and advocates, including representatives from the United Nations, the Anti-Defamation League, the NOH8 Campaign, Justice League New York, and other major organizations; we also work with clinical psychologists who specialize in using pop culture stories in restorative justice and in therapy for victims of bullying and injustice.
“REVOLUTION: A Benefit for the POP CULTURE HERO COALITION”
Musical Director DAVID SCOTT COHEN on piano, AL GARCIA on bass and TOM BOWE on drums
SUNDAY, JULY 16 at 8pm at UPSTAIRS AT VITELLO’S (Formerly “The E Spot Lounge”)
REVOLUTION: A BENEFIT FOR THE POP CULTURE HERO COALITION
Hosted by CHASE MASTERSON
Featuring KEITH BORDEN, JUSTIN CHARLES COWDEN & LEXI MARMAN COWDEN, KAYLENE PEOPLES, PATRICIA WHITEMAN, and new additions KIRSTEN HOLLY SMITH (from the hit show Forever Dusty), MANDY KEMP, and MARY PAT BOWE. (Unfortunately Dion Khan is unavailable for this performance.)
Bunny Brunel Featured In the French Magazine “Bassiste” June 2017 Issue #72
Bunny Brunel has been making news his whole life, but lately, has been featured in several bass magazines for his brilliant CD Bass Ball, which he co-produced with friend and fellow bass player Stanley Clarke. Brunel was recently featured in Bass Player Magazine June 2017 and Bassiste Magazine in France. The album Bass Ballwas released earlier this year and has made a huge impression on the bass player community by being the first of its kind. Never before has a CD featured so many celebrated bass players both here in the US and abroad (Bunny’s home country France). Check out the issue available in print and digitally: http://bassistemagazine.com/produit/numero-72/
“C’est aussi plutôt relevé du côté français, à commencer par le nouveau coup d’éclat de l’étonnant Bunny Brunel. En effet, associé avec rien moins que l’immense Stanley Clarke, le Niçois exilé à Los Angeles, vient de faire paraître Bass Ball, un album exceptionnel sur lequel on retrouve le gratin de la basse internationale dont un bon paquet de Français.”
Bunny Brunel Featured In the French Magazine “Bassiste” June 2017 Issue #72
Get a dose of electric, jazz fusion with legendary performers Bunny Brunel (Bass), Virgil Donati (Drums), Mitch Forman (Keyboards), and Julian Coryell (Guitar) With Guest Performers.
Like any aspiring bass player, I went through a “fusion phase” (otherwise known as college). I spent countless hours infatuated with complicated harmony, the wild and masterful displays of technical ability, and the jammiest of jams. It wasn’t long before I discovered the CAB albums featuring Tony MacAlpine, Dennis Chambers, Brian Auger, and bass player Bunny Brunel. This quickly sent me down a rabbit hole of fast paced licks, chord extensions, and the world of instrumental music. Years later, I’ve had an opportunity to revisit some of the CAB records and dig a bit deeper into Brunel’s catalogue of work with artists including Chick Corea, Mike Stern, Herbie Hancock, Stanley Clarke, and countless others. Between his signature basses, educational books and DVDs, and extensive career as a composer and producer, Brunel is an obvious choice for a Bass Player To Know.
So Who Is Bunny Brunel?
Brunel grew up in France and began playing bass as a teenager. While he was mostly self-taught, he did attend a music conservatory to focus on upright technique and later ventured into fretless bass. Heavily influenced by jazz and Brazilian music, he spent most of his twenties working with various artists and touring through Europe. While performing in London at Ronnie Scott’s, he was introduced to Chick Corea who invited him to come to the United States. Brunel joined Corea’s band and recorded the albums Secret Agent, Tap Step, and Summer Jam, 1979: Live Under the Sky; this quickly solidified him as a force to be reckoned with in the jazz community.
By Sean McKenzie | The Indie Hotspot | April 11, 2017
“I wanted to let people know more about some of these well-known songs, many of which have evolved into jazz standards. Every song has a backstory. I also thought it would be a good way to introduce real jazz to a young audience, too. I really think that was accomplished with this recent private concert,” states Kaylene Peoples
Kaylene Peoples performs at “Kaylene Peoples – Standards & Stories from the Great American Songbook,” April 2, 2017 (Photo: Robert Fisher)
Kaylene Peoples does a lot of things. She has been called a renaissance woman more than once in the press and her musical disciplines are varied. These disciplines range from jazz, classical, and even pop. Since her release of her first jazz album All Jazzed Up!, Kaylene has embraced “real” jazz with a bear hug. Kaylene released her second jazz masterpiece titled My Man, and with that she invited legends Hubert Laws, Bunny Brunel, and Bobby Lyle to guest perform, seeming to further make her point . . . “It’s all about the ‘real’ jazz.” Between these two albums, the performances and new arrangements of songs from the Great American Songbook have been the theme with the exception of “Run Away with Me,” “My only Crime,” and the song that charted independently back in 2005 “Do You Remember?” . . . her three originals that could easily be mistaken for standards off of All Jazzed Up!
Host Chase Masterson performs at “Kaylene Peoples – Standards & Stories from the Great American Songbook,” April 2, 2017 (Photo: Robert Fisher)
Ultimately, Kaylene started a private Facebook group just for real jazz lovers.Back in 2012, she created the Indie Hotspot Jazz Series to bring more ‘real’ jazz to Los Angeles on a regular basis. And it’s not so hard to understand why her live performances consist of only ‘real’ jazz. What is real jazz? The term defines when the medium became popular in the United States. Many songs that were featured in classic Old Hollywood films by a well-known group of composers and performed by popular singers of the time. This practice continued for almost a century now, but has broken up into many different styles of jazz.
Bunny Brunel performs at “Kaylene Peoples – Standards & Stories from the Great American Songbook,” April 2, 2017 (Photo: Robert Fisher)
Jazz is defined as an improvisational discipline, where the instrumentalists use modal jazz changes as their guide. Classic vocal jazz consisted of jazz chords with subtle to extreme vocal improvisation, sometimes incorporating scatting. Standards & Stories from the Great American Songbook was a concept Kaylene Peoples had to marry standards with real jazz. [Footnote: Today we have a genre called smooth jazz, which is often confused with real jazz. The theory of the two genres are very different, yet they both have their own unique appeal. And sometimes these two genres cross over into the other genre’s style.]
Larry Dunn and Luisa Dunn attend “Kaylene Peoples – Standards & Stories from the Great American Songbook” April 2, 2017 (Photo: Robert Fisher)
Kaylene Peoples Standards and Stories from the Great American Songbook premiered April 2nd, 2017 at the Mouse House Studio in Altadena, the third private concert put on by The Indie Hotspot. It was an intimate setting with an impressive lineup: Kaylene Peoples (vocals/flute), Bunny Brunel (acoustic bass), Mahesh Balasooriya (grand piano), and Bryan Cabrera (drums). Chase Masterson narrated and sang three Peggy Lee standards. Using a traditional trio and old-fashion storytelling, the audience was captivated by the stories and performances by this mega-talented ensemble.
By Kaylene Peoples | Agenda Magazine (www.agendamag.com) | April 10, 2017
The Blue Whale in Downtown L.A. is known for organic music, featuring a variety of styles such as fusion, contemporary jazz, new age, and those that thrive in a cozy, ambient atmosphere. Saturday, March 25, 2017 from 9:00 PM to 11:45 PM was filled with the essence of Larry Coryell, and I had never seen this intimate venue so packed. The tribute concert was spearheaded by Larry’s surviving son Julian, who proved to his father’s fans, the apple does not fall far from the tree. Following the memorial of Larry Coryell (which occurred earlier that day) the concert was to be a celebration of the man and his music. The original lineup was to include Julian Coryell on guitars, Bunny Brunel on bass, Brian Auger on Piano and B3 organ (he took ill that night and was replaced by keyboardist/organist Matt Rohde); and drummers Gerry Brown the first set, and Andy Sanesi the second set.
The song list was filled with some of Larry Coryell’s greatest compositions. Julian played flawlessly those songs, which included the following: “Spaces Revisited,” “Sink or Swim,” “Treats Style,” “First Things First,” “Low Lee Tah, “After Later,” “Bird Fingers,” and “Good Citizen Swallow.” As spirited as those performances were, the show was further commemorative of the fusion style with two tunes by the late, great fusion/soul drummer Alphonse Mouzon, who passed away earlier this year. The ensemble performed Mouzon’s “The Cover Girl ” and “Poobli”; and early in the second set, Julian Coryell and Bunny Brunel did a duet by René Thomas called “Renée’s Theme.” This was famous duet originally performed by Larry Coryell and John McLaughlin from the album Spaces..
For over 2 decades, the #LBJazzFest has been a trailblazer consistently refining the essence of a premier jazz festival beyond celebrated artists and mellow ambience. The Long Beach Jazz Festival experience is more than music, mingling, munching and marveling at merchandise. Attendees will enjoy marina breezes and a beautiful lagoon and park setting. The Vendor Pavilion offers a variety of freshly prepared foods and beverages plus unique clothing, art and accessories. A 2nd stage in the Pavilion features experts sharing knowledge about health and well-being—valuable information for creating healthy awareness of body, mind and soul. When the health speakers are not on stage, diverse musical groups provide listening entertainment.
Like any aspiring bass player, I went through a “fusion phase” (otherwise known as college). I spent countless hours infatuated with complicated harmony, the wild and masterful displays of technical ability, and the jammiest of jams. It wasn’t long before I discovered the CAB albums featuring Tony MacAlpine, Dennis Chambers, Brian Auger, and bass player Bunny Brunel. This quickly sent me down a rabbit hole of fast paced licks, chord extensions, and the world of instrumental music. Years later, I’ve had an opportunity to revisit some of the CAB records and dig a bit deeper into Brunel’s catalogue of work with artists including Chick Corea, Mike Stern, Herbie Hancock, Stanley Clarke, and countless others. Between his signature basses, educational books and DVDs, and extensive career as a composer and producer, Brunel is an obvious choice for a Bass Player To Know.
