The title of “living legend” is never assigned lightly, but icon Wayne Shorter is certainly worthy of the highest praise within the Jazz community and beyond.

THE JAZZ ROOM, Jazz Arts Initiative’s monthly performance series, seeks to do just that the weekend of February 17, 2018.

Known for his success within groups, like Art Blakey and his “Jazz Messengers” and Miles Davis’ “Second Great Quintet”, Wayne Shorter has carved his place into music history with his own group “Weather Report”, and his own solo recordings.

Wayne Shorter’s efforts have earned him 10 Grammy awards, the most recent being presented in 2014. Shorter is the latest recipient of the Polar Music Prize, a Swedish international award founded in 1989 that has been awarded to the likes of Paul McCartney, Dizzy Gillespie, and B.B. King.

The Stig Anderson Music Award Foundation, the presenters of the Polar, had the following to say about Wayne Shorter:

“Wayne Shorter has written a number of the most enduring compositions in the history of jazz. Without the musical explorations of Wayne Shorter, modern music would not have drilled so deep."

Derek Douget, the featured artists in the Wayne Shorter Jazz Room performances, couldn’t agree more.

“Wayne played with ‘older cats’ and that had to have influenced his writing and playing, and that is the same for me. Every performance of his tunes is like a history lesson,” said Douget.

A two-time graduate of the University of New Orleans, Douget plays regularly with the famed Ellis Marsalis Quintet, and has been featured on Grammy winning albums with the New Orleans Jazz Orchestra. His continued time with that group has sent him to communities far and wide in efforts to present Jazz to diverse audiences.

Douget is passionate about the role that Jazz plays in defining himself, and the country.

“The fact that Jazz exists and is America’s music is fascinating to me… It is like the motto for all tings American. It’s simply a miracle,” he said.

Douget says the performances, on February 16 and 17, will include several classic Wayne Shorter tunes, in conjunction with some tucked away gems. He also notes that he will deliver pieces on both soprano and tenor saxophone.

“Wayne doesn’t have the same ideas and voices for soprano sax as he does tenor, and I am going to try to do the same… I just hope that audience members will feel the music is heartfelt and real, and an honest interpretation of (Shorter’s) music,” Douget said.

These performances will wrap up the tenth season of The Jazz Room.

Friday’s show times are 6:00 and 8:15 PM
Saturday’s show times are 7:00 and 9:15 PM

For tickets, visit carolinatix.org


Charlotte-based pianist Chad Lawson seeks to pay tribute to the great American composer George Gershwin in his unique style as we usher in 2018.

Jazz Arts Initiative welcomes the arrival of the New Year with the first show of its highly acclaimed monthly live music series – The Jazz Room @ The Stage Door Theater. Renowned composer, performer and JAZZ ROOM favorite Chad Lawson returns to the Stage Door Theater to create an evening of classics by Gershwin, with a special ode to the jazz giant.

A Steinway performing artists and an educator that has served as a faculty member of the JazzArts Academy, Lawson was the first performer in The Jazz Room program back in 2013. This will be his third visit to the popular concert series

“He is a pillar of jazz… he bridged together works across several genres,” said Lawson of George Gershwin. “His simple melodies created dynamic works.”

Lawson, who’s some first piano transcriptions came from George Gershwin’s repertoire, seeks to combine Gershwin’s minimalist ideas with his own refined aesthetics.

“I try to be judicious in what I play, both in technique and in song. The space between the notes is like a garden where seeds are planted,” said Lawson.

George Gershwin’s composing methods have allowed his music to span across decades of performance, lasting from their original premieres in the early twentieth century onward into today.

“His music has stood the test of time because he wrote tunes that musicians loved… the music gave them a lot to improvise with,” said Jazz historian and emcee of The Jazz Room Curtis Davenport. “Gershwin was daring, melding classical forms to jazz styles such as ragtime, Cuban clave and the Charleston dance.”

No stranger to dipping into several different genres, Chad Lawson has experienced success at the top of classical and jazz charts.

Gershwin set the path for Leonard Bernstein and others who would come after him and be successful with the marriage of classical and jazz. Lawson is another artist strongly influenced by Gershwin’s timeless music, and hopes that audience members will share this joy with him.

“I hope everyone leaves more curious about Gershwin, wanting more of his music,” he said.

Featured on NPR’S “All Things Considered” as well as their “Performance Today”, Lawson holds certain sentiments for the piano in different and unique senses according to its particular musical purpose.

“The piano is like a symphony in a box,” he once said. “The jazz trio, however, is like one body…”  Lawson will perform with his trio for the upcoming show, but when asked of any other musicians, Lawson opted to keep those surprises under lock and key.

Showtimes for Chad Lawson’s Jazz Room tribute to George Gershwin are 6:00 PM and 8:15 PM on Friday, January 12, and 7:00 PM and 9:15 PM on Saturday, January 13.

Tickets can be purchased online at www.carolinatix.org  or by phone at 704-372-1000.

More information on Chad Lawson can be found on his website at www.chadlawson.com.

Gregory Agid

We had the unique privilege to be able interview Gregory Agid for his upcoming Jazz Room performance.  Greg, originally from Hawaii, moved to New Orleans at a young age for his father’s work. Although Greg had always loved music it grew once his uncle introduced him to the clarinet.

“Once playing the clarinet for a few years I went to New Orleans Center for Creative Arts. After graduating High School I went to Loyola University to receive my BA in Music/Classical Clarinet.” Immediately after I graduated I went on to be a 5th-7th grade band director for a year after which I took a leap of faith to start a professional career as a clarinetist.  

His love for Jazz started at a young age, when he attended the Louis Armstrong Jazz Camp.

“This is where I fell in love with Jazz. It was amazing to go from being a student to an intern to a mentor over the past 15 years.  This is where I met Alvin Batiste who later became a wonderful mentor and teacher to me. The camp has grown substantially, and it has been amazing to be a part of it.” At camp Alvin Batiste provided him with one of the best pieces of advice, “You’re going to figure it out.” Even though he no idea what that meant at the time, and did not understand how that could be good advice…..he has always referred back to the quote from his former mentor.

Alvin Batiste and Delfeayo Marsalis have had a significant impact on Greg’s musical career. “Alvin Batiste was my clarinet mentor for 7 years. I could type a book about my experiences with him. I met Mr. Bat at the Louis Armstrong Jazz Camp in 2000. He was also the chair of the Jazz Department at NOCCA while I was a student in High School. He is the reason I play music, he is my musical father, and he showed me everything! All of my interactions with Mr. Bat were absolutely surreal.” 

“Delfeayo Marsalis has been a mentor for the last several years. I have worked with him in his quintet and Uptown Jazz Orchestra. [He] also supervised my first CD, Mystery Blues. “

It is clear that Agid is looking forward to revisiting Charlotte. “December was the first time I had been to Charlotte, and I loved it. I am looking forward to being back in the city and spending some more time with Jazz Arts Initiative and playing with the some great musicians again. The caliber of musicians that is provided for these shows is top-notch, and I cannot wait to be able to work with all of them again.”

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In 2013, Harvard President Drew Faust and Wynton Marsalis authored an op-ed entitled “Faust/Marsalis: The Art of Learning”. In it they campaigned for arts education, specifically music education, and the advantages it provides our nations youth.


We need education that nurtures judgment as well as mastery, ethics and values as well as analysis. We need learning that will enable students to interpret complexity, to adapt, and to make sense of lives they never anticipated. We need a way of teaching that encourages them to develop understanding of those different from themselves, enabling constructive collaborations across national and cultural origins and identities.


In other words, we need learning that incorporates what the arts teach us.


Since the summer of 2011, Jazz Arts Initiative has been presenting the JazzArts Music Camp to a diversity of students from across the Charlotte area and beyond.  The week long camp provides students the opportunity to perform together in combos, work closely with world-renowned musicians and clinicians like Delfeayo Marsalis, Christian Scott, or Jamey Aebersold, and experience exactly the type of learning Faust and Marsalis are championing.


Jazz music teaches us the respect, patience, and attentiveness that is required to participate in today's worldwide conversation. It enables us to understand and enjoy the individuality of every person and encourages us to listen to one another with empathy.

-Wynton Marsalis


This summer JazzArts Music Camp will be June 15th-19th at UNC Charlotte Center City, a centrally located, modern and spacious facility, an ideal environment for learning.  There students will receive instruction from Jazz Arts Initiative faculty that includes professors from UNCC, Davidson College, and CMS. In addition, camp attendees will enjoy instruction from this years guest clinician, John Ellis.  Mr Ellis is widely recognized as one of Jazz music’s premiere tenor saxophone voices. He has performed extensively around the world for the last 20 years, and has been a sideman to artists as diverse as bass icon John Patitucci, organ legend Dr. Lonnie Smith, and Sting.


I want them to come away with discovering the music inside them. And not thinking about themselves as jazz musicians, but thinking about themselves as good human beings, striving to be a great person and maybe they'll become a great musician.

-Charlie Haden


Lonnie Davis, President and CEO of Jazz Arts Initiative, states “After the week long experience students walk away with new friends, greater motivation to be their best as a musician,  and a new appreciation for America's original art form: Jazz.”  To date, close to 200 students have been served by JazzArts Music Camp.   Strong corporate support from both regional and national sponsors including Belk, PNC Bank, Ella Fitzgerald Charitable Foundation and Coca Cola help grow the program. But participation of Charlotte’s young musicians is the key.


What are your young musicians doing this summer?  Enroll them in The JazzArts Music Camp, and engage with Charlotte’s cultural community.  Further details including costs, audition requirements, and financial aid forms can be found on Jazz Arts Iniitative’s website.


Enroll online today.  See you at Camp!

Jazz Arts Initiative’s November edition of The Jazz Room @ The Stage Door Theater will feature renowned drummer Kobie Watkins performing a tribute to drumming legend Philly Joe Jones.

A jazz drummer, educator, and conductor, Kobie Watkins leads the Triangle Youth Jazz Band in Durham between his teaching duties. Watkins has always admired the work played out before him from jazz pioneers like Philly Joe Jones.

“The drum is my voice. It was his voice…It was always about the music for Jones.”

Watkins has been manning drum sets since he was 8-years-old when he began playing the drums at his church. Further exposure to different kinds of music broadened his horizons.

“Whatever genre of music I could listen to or play, I did,"  said Watkins.

A resident of Durham, Watkins has had a remarkable career as a jazz drummer and educator across the Midwest and the Carolinas. After receiving multiple music degrees in Illinois, Kobie and his wife spent time in Idaho before moving south.

Kobie Watkins has always held Philly Joe Jones in high regard, from both a pedagogical standpoint as well as a humble fan.

“Jones’ rudimentary practices introduced me to methodical techniques that I had never heard,” he said. They just took me over.”

Philly Joe Jones’ incorporation of these rudiments into his playing, basic fundamentals behind most percussive music, has captured and inspired audience members and performers alike since his first appearances onstage.

Jones is perhaps most famous for playing with greats like Miles Davis, who employed the drummer full-time in his quintet and was known as Davis’ favorite drummer.

In the 1970’s, Philly Joe Joes led a fusion group, Le Grand Prix, toured with Bill Evans, recorded for Galaxy, and worked with Red Garland. In 1981, he led the group Dameronia.

Watkins is no stranger to performing with legends, as he has appeared alongside musicians such as Arturo Sandoval, Ira Sullivan, and Sonny Rollins.

The Jazz Room @ The Stage Door Theatre will include the hits that featured Philly Joe Jones, such as classics from the aforementioned artists.

Watkins hopes that audience members will gain an insight into the life of Jones, including his work as a civil rights activist, as well Jones’ R&B side that has influenced countless Jazz performers.

For more information about The Jazz Room shows on Friday, November 17 at 6 pm and 8:20 pm and Saturday, November 18 at 7 pm and 9:15 pm visit www.thejazzroom.org. 

For more information visit www.thejazzarts.org.


“When I went to school I had no idea you could persue a professional career in performing. I was going as a Music Ed major and I was going to be a band teacher.”

Trombonist Mitch Butler, a native of Raleigh NC, has been balancing professional performance and music education at a very high level for 20 years.   He received his Bachelors and Masters degrees in Music Performance from East Carolina University.


“That’s where I got serious about music partly because I had very good teachers, partly because a lot of my peers were really serious about music and there was a really good environment at that time to get serious about music, and the music I got serious about was Jazz….I’ve been fortunate to be around good people and good teachers and then as I got older, to be around other great musicians... It’s a very good community to be a part of, especially in North Carolina, it’s very nurturing…”


Later, Mitch earned his Doctor of Music Arts degree in Music Performance from the University of Texas at Austin. He is currently the Director of Jazz Studies and Assistant Professor of Music at California State University – East Bay in Hayward, California.  He balances his work in higher education with regular perfomances in the Bay Area during the school year.  His regular gigs include weekly sessions with organist Wil Blades, and performing with Marcus Shelby’s Big Band.


Though his focus for the last 7 years has been teaching and administration at the college level, next year Mitch plans to focus on performing full time and looks forward to teaching younger kids on an individual level.  For those young musicians he stresses patience.



“Learning Jazz, there is no easy button at all, whatsoever.. Just be patient, listen to the advice of those that are around you, those that have been doing this….forget about the easy fix.”


On what audiiences should take away about JJ Johnson’s music:


"There’s a great biography on JJ Johnson called The Musical World of JJ Johnson...It talks about his organizational sense and you can here it in his recordings, in his composition, you see it in the life that he led in music...JJ Inc is a great record for hearing how he puts things together, how he trades solos with drums...and then the Jay and Kai recordings with he and Kai Winding…"


Mitch Butler will be paying tribute to JJ Johnson, Friday August 21st at The Jazz Room @ The Stage Door Theater.  Tickets available here for two shows at 6pm and 8:15pm.


Connect with Mitch through his website , and on Facebook.

Lastly,look forward to an album Mitch will be cutting next year.





Though it’s easy to assume all jazz greats come from America, Oscar Peterson was a native Canadian.  He was born and raised in Montreal by his parents who emmigrated from the British West Indies and Virgin Islands.  His first instrument was the trumpet, but Peterson eventually took on piano and classical training. The classical study soon turned to a passion for learning jazz. Peterson was known to play 12-14 hours a day during this period.  He speaks about that time in this 2002 interview with Allan Gould.


“...the piano became part of my everyday life. It was part of me. I'd get up in the morning singing things that I wanted to play that day.”


As a teenager seeking out Jazz, Peterson would sneak in time with the radio to listen to the legends of the era.  He also played along with records, a method he later recommended to his students.


When I was teaching at York University, whenever the students,would ask, "How can I play jazz piano?" I used to tell them: "Go downstairs, go to the library and get a Nat Cole album or a Lester Young album. Play along with it, and keep playing along with it until you can play with them normally." That's what I did.


Peterson lists Art Tatum, Dizzie Gillespie, Lester Young, and Roy Eldridge as early influences. Listen to Peterson speak about sneaking in radio time to listen to Jazz greats and his early influences including Art Tatum in this NPR interview from 2012.


In a 1962 interview with Les Tomkins, Peterson says of Tatum:


“I’m an Art Tatum-ite. If you speak of pianists, the most complete pianist that we have known and possibly will know, from what I’ve heard to date, is Art Tatum. I’m not classing myself in that calibre of talent, but Art Tatum was accused of the same thing that I’m being accused of today - that he played so much in so few bars. Yet in the same reviews or opinions where they say “Oh, he plays too much, everything is a run,” they turn round and say “But he’s a genius.” So there’s no way of satisfying them.”


Oscar Peterson was eventually discovered by producer Norman Granz, with whom he would work for most of his career.  Granz produced  “Jazz at the Philharmonic”, a series of concerts, tours, and recordings featuring the preeminent Jazz musicians of the day.  Ganz introduced Peterson in 1949 at a Carnegie Hall performance of Jazz at the Philharmonic.


By the late 1950’s, Peterson had attained worldwide recognition as a jazz pianist.  His well documented career would send him around the world with touchstones in the areas of civil rights and higher education, achieving awards and recognitions along the way.  Oscar Peterson continued to perform through 2007, the year of his death.


Each month, Jazz Arts Initiative presents The Jazz Room at The Stage Door Theater, a showcase of local and regional talent paying tribute to the greatest musicians of Classic Jazz.  This month, to cap of it’s 4th Season, The Jazz Room features pianist Charles Craig and his tribute to Oscar Peterson. Tickets are available for 6pm and 8:15pm showings of The Jazz Room.

Victor "Red" Atkins on his upcoming JAZZ ROOM playing Horace Silver!

Victor “Red” Atkins is known for being a “powerful and unconventional” piano player. Victor is a native of Selma, Alabama and currently lives in New Orleans, Louisiana. Atkins had an early start with Jazz as his father loved Charlie Parker. At home he learned how to appreciate music and develop an ear for more complex music.

He began his professional career on Delfeayo Marsalis’ “Pontius Pilate’s Decision” record. After recording he moved on to be a professional pianist alongside many notable musicians such as Elvin Jones, Mark Whitfield, Nnenna Freelon, Joshua Redman, Wynton Marsalis, and Leroy Jones. Subsequently he returned to school to finish his Masters at the Manhattan school of Music. He was inducted into the Alabama Jazz Hall of Fame in 1998. Atkins is well-known for his work with Grammy-winning, New Orleans-based Los Hombres Calientes as well as his re-working of Duke Ellington's "Such Sweet Thunder," a tribute to William Shakespeare.

Not only is Victor Atkins a professional musician but also a tenured professor at the University of New Orleans, where he teaches theory, composition, jazz keyboard, and applied piano. He also works with the New Orleans Jazz Orchestra on compositions, and has played with them numerous times. Victor Atkins credits Donald Brown as his mentor. His studies with him had the largest impact, and it is when he developed a sincere appreciation for Jazz.

He currently says that Horace Silver is his favorite professional pianist. Victor Atkins says that he is looking forward to the JAZZ ROOM and playing Horace Silver. “He’s a recognized musician and arranger. Horace covered a lot of ground and came along at an important time in history and music. His writing was impeccable and his playing is recognizable; both of which draw from a very sincere place. He had a unique way of combining hard bop and soul…most people wouldn’t marry the two well... Horace Silver is an essential piece of American music history.”   While he is here he will concentrate on quintet arrangements, and says “it will be party.” Victor is looking forward to the JAZZ ROOM audience experiencing music he calls “accessible, but so incredibly melodic, sophisticated, and complex.”



“He’s on an international level. Everybody on the scene, they know who he is...we’re just super lucky to be able to pick up the phone and call him for a performance.”

-Lonnie Davis on Charles Craig Sr


Charles Craig Sr, the son of a preacher, was born in Norfolk, Virginia and raised in Chicago. His early training was classical music, which he played exclusively from age 6 to 17.  Though concentrating on piano, he also played trumpet, trombone, cornet, and other brass instruments. He speaks on his discovery of Jazz music at age 17:


My father had a very large, expensive record collection, all different genres of music.  So I was in the basement practicing one time and, I wrote a lot, I did a lot of writing for piano and other instruments.  I just happened to thumb through the record collection and I saw an Oscar Peterson album, “Exclusively for my Friends”, I saw a Ramsey Lewis album, “The in Crowd”, and I saw a Dexter Gordon album that featured Herbie Hancock…and I started listening to those and I really liked how they expressed themselves...how they improvised. I loved writing, so I thought “Wow, I can do that”, mix it in with the classical, you know, make something kinda new and different.  That’s how I got into Jazz.


At age 20, Charles would attend the Berklee College of Music in Boston, MA:


I met Roy Hargrove at Berklee...he was there at the same time I was...he had to leave, but he always said to me that, you know, we’d play again. So basically once I got to New York and he heard me play and he asked me to join his band.


Recently, Charles came back from NYC where he played two nights at Jazz at Lincoln Center’s Appel Room with Sherman Irby’s Journey Through Swing. “It’s all types of Jazz music from the 1890’s to today...it was an awesome time...and man, the view from the piano, if you look to the right you got the crowd, but if you look to the left you got Manhattan, Columbus Circle, it’s just so beautiful at night.”, he said.  Charles was called upon to join the ensemble, many of whom are core members of the Jazz at Lincoln Center Orchestra or JALC All-Stars.



On Oscar Peterson, his style, and technical excellence:


Take “Boogie Etude”,  if you listen to what he does he takes it all the way back from Meade “Lux” Lewis, he comes through Willie “The Lion” Smith, he comes through James P Johnson, you can hear all of these styles in what he does, but then he ends up with this bass line that’s just absolutely ridiculous to play...he’s playing all of these notes in the right hand, the contrapuntal nature of it is very difficult to execute, even if you sit down to try and practice it, or lift it off the cd.  No one was really doing anything like that outside of Art Tatum. Art Tatum was his idol.


Even when Oscar Peterson played minor music it sounded bright.  For instance, when he played Django, it’s minor and it goes into a minor blues, but the way he played it, it’s bright, it’s uplifting, it’s like, “wow this is the blues?” You know, you’re like happy.


On what the audience should take away from his tribute to Oscar Peterson:


Listening to good music and actually being happy, feeling good.  That’s one of the things his music was about….Oscar, every time he would play, he lit up the room, and that’s what I hope to do in this tribute concert is to light the room up. Fun. Bright. Atmosphere. Very vibrant music, and that’s what [Oscar] was about.


Charles Craig Sr is a down to earth and humble man.  When asked about what he would like to promote, what he would like to call attention to in this article, he spoke of his family. Charles met his wife, Annette, while attending Berklee.  After much touring, they would eventually settle in South Carolina, where Anette’s parents lived. He has two daughters Catrina and Charlene, and a son, Charles Craig Jr.  “And please mention this” said Charles, “my son got accepted to NYU. It’s important. I know this isn’t what you’re trying to talk about but you know, hey, I’m so proud, man.”  No worries, Charles.


Charles Craig plays a tribute to Oscar Peterson, two shows this Friday 3/20 at The Jazz Room.  Tickets available here.


Connect with Charles on Twitter @PianistCCraig


Watch Charles perform with JALCO’s Sherman Irby and see the beautiful view he spoke of (the music ain’t so bad either).

Charlotte Classic Jazz Festival 2014

October 4 in Knight Theater at Levine Center for the Arts

All of the daytime activities are free to the public and people of all ages are encouraged to come celebrate Charlotte’s jazz heritage. Festivities begin at 11am and are sure to entertain until late into the evening, as a wide variety of activities are on the agenda.

Complete with a New Orleans-style second line jazz parade from the intersection of Trade and Tryon in Uptown down to the Knight Theater, CCJF 2014 is a cultural jazzfeast for the whole family. From “Jazz for Tots” to a “Jazz from the Carolinas” panel, there’s something for everyone. A jazz showcase will take place at 7pm. Tickets to the performance are $5 each. (To view the complete schedule for the festival, visit BlumenthalArts.org.)


We had the chance to catch up with renowned jazz vocalist, Ms. Eileina Dennis last week as she prepares to grace the JAZZ ROOM with a tribute to the legendary, “divine” Sarah Vaughn (with strings).

Here is what we learned about the talented internationally renowned vocalist…..

When did you start singing? How have you learned to be a vocalist?

Eileina has a strong gospel music background, with much of her earlier experiences singing in church as a child. Several family members are musicians, including her father and siblings. Amazingly, Eileina is a self-taught professional artist. “The stage is my teacher” says Dennis, and “I learn on a daily basis” from being on the stage and performing. As a musician, she says her learning will never end.

Who are some of your most favorite musicians, and musical influences?

Eileina had a large list of those who influenced her music. Some of those notable musicians are “Jelly Roll Morton, Buddy Bolden, Louis Armstrong, Stanley Turrentine, Lester Young, Charlie Parker, Miles Davis, Wynton Kelly, Roy Haynes, Count Basie, Duke Ellington, Bessie Smith, Josephine Baker, Leontyne Price, Maria Callas, Billy Eckstine, Johnny Hartman, Ella Fitzgerald, Sarah Vaughan, Carmen McRae, and Betty Carter .... There’s an endless list.  Each adds and brings a high level of creativity, excellence and depth to the art form of Jazz which I strongly admire and believe in.” From her own experience, she does not know who she is truly influenced by until performing on the stage.

What musical genres do you study? Are there any particular ways that you practice?

Eileina studies different musical genres, all while doing other daily tasks. (This would be considered her “practice regiment”.)  Dennis says, “this ranges from Brazilian, classical and of course Jazz.  At best, I go over tunes in my head so it’s more of a mental session, which can be done anywhere.   For example I do not walk around my place singing when I am not on stage. I do not know of any exercises, but I've heard some singers do this but I have no idea what that would entail.” Currently, Dennis does not coach or teach other vocalists, but has been parts of seminars world-wide, including workshops in Brazil, Italy and France.


What can we expect from you at the upcoming JAZZ ROOM show?

“I've had the pleasure of sharing the stage with drummer Ocie Davis (which is how we met) and we discussed many times of doing a show together and now the opportunity has finally presented itself in the guise of this tribute.   All I can share is that I am an admirer of Sarah Vaughan... there will always and only ever be ONE Sarah.... I'm not in the business of emulating or trying to be ‘Sassy’ ... All I can do is to perform well, and to try to reach the bar of excellence which has been set.  You may or may not be able to pick out a few inflections but I'm looking forward to honoring this amazing American Jazz icon and hope to do justice to the performance.”