HOWARD HEWETT & MICHAEL LINGTON

Howard Hewett is one of the most gifted vocalists in the Post-Marvin Gaye era of pop R&B.

He started singing as a child, fronting his older sisters in The Hewett Singers. The group toured the gospel circuit. As a teen, Hewett sharpened his crooner skills in a funk band called Lyfe. In 1976, Hewett moved to Los Angeles and formed a group put together by the owners of the historic Maverick’s Flat, called Beverly Hills.

​Hewett got his mainstream break as the male vocal lead in Shalamar, a centerpiece of Dick Griffey’s SOLAR (Sound of Los Angeles Records) label. His tenor voice mixed beautifully with the bright vocals of Jody Watley, the dancing skills of Jeffery Daniels and the writing and production of Leon Sylvers III. The group gave the world feel-good dance favorites The Second Time Around and A Night to Remember, the baby-making classic For the Lover in You, as well as a number of beautiful B-side ballads like You Can Count On Me and Somewhere There’s a Love. When Watley and Daniels left the group in 1983, Hewett continued to lead Mickey Free and Delisa Davis in the reconstituted Shalamar. This version of the group was best known for soundtrack contributions on Footloose and Beverly Hills Cop with Dancing in the Sheets and the Grammy-winning Don’t Get Stopped in Beverly Hills, respectively.

​In the mid-eighties, Howard sets out on his solo career, releasing I Commit to Love in 1986 on Elektra and from the first single Hewett made magic, giving his amorous voice and whimsical lyrics to Stay, I’m For Real and the title track. Most beloved track on this freshman release would be his spiritually grounded Say Amen. This single soared on the Inspirational charts and has enjoyed the status of a modern gospel classic.

​Subsequent projects have solidified Hewett’s place in the high ranks of R&B balladeers by writing and collaborating and lending his voice within an intimate group of crooners, including George Duke, Quincy Jones, James Ingram, Anita Baker, Prince and Stanley Clarke. With Elektra, he released Forever and Ever (1988- Once, Twice, Three Times), Howard Hewett (1990- Show Me) and Allegiance (1992- Can We Try Again).

​Later work shows increasing authenticity as Hewett rips song lyrics straight from his soul. It’s Time (1994- This Love is Forever), written and produced almost exclusively with long time friend and collaborator Monte Seward, displays all the vulnerability involved in falling and staying in love. In 2001, Hewett released the all inspirational album The Journey, where he shows us that his faith can’t be separated from his heart and soul.

​Hewett continues to seduce audiences and eardrums as he is constantly touring and intermittently releasing new music.

​“Of all the fine vocalists working today, Howard Hewett is one of the finest.” – Babyface

Michael Lington is an award winning saxophonist, songwriter, producer, recording artist and a purveyor of soul and contemporary jazz.

Powering full steam ahead into the next phase of his dynamic 25 year solo career, saxophonist Michael Lington captures all the freewheeling magic, energy and optimism we’re feeling post-pandemic with his latest perfectly titled Billboard single “Play” – a funked out, fun-spirited, perfect for summertime jam that marks his first time co-writing and co-producing with longtime friend and fellow horn master and hit maker Darren Rahn. The groove-intensive track also features Paul Jackson Jr.’s blistering guitar fire and the non-stop grooves of bassist Mel Brown and drummer Tarell Martin. While creating a forward minded way to keep joy and hope flowing in turbulent times, “Play” – from Lington’s upcoming EP and first set of original tunes since 2018’s Silver Lining – also reflects the multi-talented artist’s ever-bustling role as a first time dad to his son Landon and the passion he’s bringing to his latest endeavor, hosting his own Friday radio show on Smooth Jazz 247.

He has released 12 solo albums and has 27 singles that have charted on the Billboard and Radio & Records (R&R) contemporary jazz radio charts.

Over the course of his career, Lington has collaborated with Michael Bolton, Barry Manilow, Randy Crawford, Bobby Caldwell, Kenny Lattimore, Booker T. Jones, Ray Parker, Jr., Taylor Dayne, Brian Culbertson, William Bell, Dave Stewart, Vince Gill and many others.

He has toured regularly his entire career, averaging 60-80 shows per year. In recent years, Lington joined Michael Bolton on tour as his opening act & special guest. Lington and Bolton performed over 350 shows together in more than 40 countries.

Barry Manilow invited Lington to join his “One Last Time” arena tour. Michael opened the show and joined Manilow on the song “Brooklyn Blues” during the headliner’s main set.

In Nov. 2016, Lington performed for the Memphis Music Hall Of Fame ceremony, honoring 2016 inductee Charles Lloyd. Stax Records soul singer William Bell and Snoop Dogg also performed at the induction ceremony.

In September 2019 it was announced that Michael would join the Dave Koz and Friends; Gifts Of The Season Christmas tour alongside Koz, Jonathan Butler, Melissa Manchester and Chris Walker. The 22-date concert tour traveled across the U.S. between November 29 and December 23, 2019.

In 2020 during the pandemic, Michael become one of the leading music artists producing hi-quality virtual shows, which earned him a most innovative artist award by Stageit!

Lington is signed to the The Reliant Talent agency for worldwide representation and has a publishing administration deal with Kobalt Music Publishing. He is an ASCAP songwriter/publisher and a 25-year voting member of the Recording Academy.

Parking: $30.00 advanced purchase | $35.00 day of

Valet: $40.00 advanced purchase | $45.00 day of (if not sold out)

More Posts: ,,,,,,,,

Daily Dose Of Jazz…

Lou Gare was born Leslie Arthur Gare on June 16, 1939 in Rugby, Warwickshire, England. He is best known for his works with the improvised music ensemble AMM and recorded six albums with the group and another two as a soloist.

Eventually settling in the West Country, he still played in relative obscurity. Then Lou joined a big band that became The Uncommon Orchestra. He remained with them until health problems limited his participation.

Throughout his career he played with musicians such as Eddie Prévost, Mike Westbrook, Cornelius Cardew, Keith Rowe and Sam Richards

Free-jazz tenor saxophonist Lou Gare transitioned on October 6, 2017.

More Posts: ,,,,

Three Wishes

Joe Henderson and the Baroness was having a conversation when she inquired what his three wishes would be if granting them was possible and he replied:

  1. “I wish there would be one that would cover all three. I mean, something very crazy and earthy. I’ve got it! That love would be paramount to everything – possibly except food. That’s it! That’s the only way I can get it together, Nica: love, love, love!”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

SUITE TABU 200

More Posts: ,,,,,,,,

Daily Dose Of Jazz…

Don Barrigo was born on June 12, 1906 in London, England. A competent tenor saxophonist, he was active in his hometown and New York City, New York in the 1920s and 30s.

Among the artists with whom Don played and sometimes recorded were Joe Venuti and Eddie Lang. In the UK he played with Nat Gonella, Harry and Sid Roy, Billy Mayerl, Al Bowlly, Percival Mackey, Bert Bowen, Howard Jacobs and the Freddy Schweitzer Band. In the States he played with Don Parker and Louis Armstrong, and in France with Serge Glykson.

By 1940 he was a member of Maurice Winnick’s dance band alongside fellow sideman Ted Heath. Tenor saxophonist Don Barrigo transitioned on May 4, 1977.

More Posts: ,,,,

Requisites

Steppin’ Out ~ Harold Vick | By Eddie Carter

One of the joys of jazz collecting is seeing favorite LPs surface again in the wild and as audiophile albums. This morning’s discussion is a welcome reissue by Harold Vick. Steppin’ Out (Blue Note BLP 4138/BST 84138) was the tenor saxophonist’s debut album and the only one he made for the label as a leader. It was recorded in 1963 and released the same year. For his first effort, Harold’s joined by Blue Mitchell on trumpet, John Patton on organ, Grant Green on guitar, and Ben Dixon on drums. I first heard him on Oh Baby! Patton’s 1965 release with the same lineup. My copy is the 2022 Blue Note Tone Poet Series Stereo audiophile reissue sharing the original catalog number.

Our Miss Brooks is the first of five originals by the leader. It starts with the quintet’s finger-snapping, toe-tapping melody. Harold serves up the first slice of this soulful song; next, the group makes a short bridge into Grant’s tasteful reading. The second bridge leads to John mining a vein of bluesy riches in the finale ahead of the ensemble’s close. Trimmed In Blue steps up the pace for the quintet’s theme. Vick starts the solos with a spirited interpretation, then Mitchell comes behind him to give an exuberant reading. Green replies with a sparkling statement, followed by Patton’s zesty bounce leading to the theme’s reprise.

Laura, by David Raskin and Johnny Mercer, became a jazz standard as the title tune of the 1944 film noir. Blue sits out for the quartet’s hauntingly dreamlike melody. Harold makes a profound impression in the song’s only solo with nostalgic romanticism over the rhythm section’s subtle support into a gorgeous ending. Dotty’s Dream opens Side Two with the quintet in a swinging groove from the opening chorus. Vick gets down to business first, then Mitchell enters for a lively romp. Green responds with a vibrant reading, and Patton’s closing remarks are fueled with comments from both horns into the climax.

The quintet takes a relaxing trip to Vicksville next. The ensemble’s easy-swinging theme starts this comfortable ride into Blue’s smooth-sailing opening statement. Grant builds a perfect solo from simple ideas next. Harold strolls into an exquisite interpretation; then, John concludes with a carefree comment before the closing chorus fades out. The title tune, Steppin’ Out, moves the beat upward for the ensemble’s invigorating melody. Vick lets the listener know they’re in for a treat on the opening statement; then Green follows with an excellent solo. Mitchell comes in for a cheerful reading next, and Patton winds up the session in a festive finale preceding the theme’s return.

Alfred Lion produced the initial session of Steppin’ Out. Rudy Van Gelder was the recording engineer behind the dials. Joe Harley supervised the audiophile reissue, and Kevin Gray mastered it at Cohearent Audio. The front and rear covers are high gloss and gorgeous, with session gatefold photos worthy of hanging in your listening room. The record is pressed on 180-gram audiophile vinyl. The sound quality is quite good despite a bit of harmonic distortion from John Patton’s organ microphone placement as he’s supporting the other musicians. It’s particularly noticeable on Vicksville and Steppin’ Out.

Don’t let that dissuade you from checking out this album on your next vinyl treasure hunt. Steppin’ Out is a solid debut and a great introduction to this underrated, talented tenor saxophonist with wonderful performances by Grant Green, Blue Mitchell, John Patton, and Ben Dixon, keeping the beat efficiently! If you enjoy soulful jazz from the tenor sax with a double dose of the Blues and Hard-Bop, I offer for your consideration, Steppin’ Out by Harold Vick. It’s just right for an evening listening session with your favorite drink in hand!

~ Oh Baby! (Blue Note BLP 4192/BST 84192) – Source: Discogs.com ~ Laura – Source: JazzStandards.com © 2023 by Edward Thomas Carter

More Posts: ,,,,,,,,

« Older Posts       Newer Posts »
© Notorious Jazz 2026