OUR TAKE: Commander Kirk – Going Where We Have Gone Before

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 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 08.14.24 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 Kirk’s comments. 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. Kirk’s point 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 [email protected]

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Peter Cincotti to Join Us for Botti at Sea ’25

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.

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

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.

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DownBeat Critics Poll Winners

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.

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Jazz Cruises’ ’25 Programs

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

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Mug Shots of the Week

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 [email protected].