2024 BEATS Magazine

BEST ARTIST OF 2024
KIM
SCOTT
ELEGANCE & GRACE
Keiko Matsui reflects on
her journey to Euphoria
VANESSA WILLIAMS
On releasing a new album just
before her West End debut
40 YEARS
Paul Hardcastle on Rainforest
& his new memoir
PLUS: RANDY SCOTT WINS BREAKOUT ARTIST OF 2024
& THE TOP 30 AND TOP 100 CHARTS FOR THE YEAR
December 2024

CONTENTS
16
ARTIST INTERVIEWS+
3 Best Artist of 2024: Kim Scott
14 Producing & Recording: Chris
‘Big Dog’ Davis
20 Belton Mouras Jr. On Screen
36
22 Breakout Artist of 2024:
Randy Scott
28 Byron Miller / Psycho Bass
32 40 Years in Smooth Jazz: Allen
Kepler Looks Back
35 Station of the Year: KUNV
CHART TOPPERS
38 #1 Song of the Year: Carol
Albert - Sunshine Yellow
40 Top 30 Songs of 2024
42 Top 100 Songs of 2024
26
10
Beats 2024 Edition
1

KIM
Welcome to our 5th annual issue of BEATS!
2024 has been a year like no other, with more
new releases than ever before and a truly tight
competitive race for the top spots on the yearend
TOP 100 chart.
Our “Best Artist” winner, Kim Scott, landed two
tunes in the top 100 including the #12 song of
the year, “Like Butter”. Father and daughter, Kim
and Kayla Waters are both in our top 10. Our
highest charting vocal track this year comes from
Lindsey Webster. And Breakout Artist Randy
Scott also achieved a TOP 20 year-end hit!
As we move into 2025, I will personally celebrate
my 40th year working in Smooth Jazz and I have
never been more excited about the coming year.
SCOTT
BEST ARTIST
OF 2024
From an extremely talented group
of select nominees, our listeners
voted Kim Scott as smooth jazz’s
Best Artist of 2024. We spoke with
her prior to this announcement.
I had my debut in London at Pizza Express, headlined
several festivals and jazz venues, returned to Blues
Alley for two jam-packed nights of performing my
music, and I’ve been added to the lineup for the Dave
Koz Cruise to Iceland, Norway, and the Netherlands. I
can’t wait to see what’s next!
Thank you to our sponsors and all of the artists
for giving us another year of fantastic tunes!
Special thanks to our BEATS editor, my daughter
Shelbi Gerritsen for her amazing work and for
interviewing me for this year’s edition!
We are grateful for all of your effort and talent,
Allen Kepler
Publisher, BEATS Magazine
Founder, Smooth Jazz Network
Left to Right: Allen Kepler (Founder), Shelbi Gerritsen (BEATS Editor), Neth Espiritu (Finance), Pam Meredith
Allen Kepler: Kim, you were the “Breakout Artist” of
2021. Now being a finalist for Best Artist of 2024,
how would you describe your journey as an artist
over the past three years?
Kim Scott: It has been an incredible journey as an
artist since being named “Breakout Artist” of 2021.
First and foremost, it was such an honor to not only
be nominated in 2021, but to obtain the votes from
so many faithful fans and listeners. I am grateful
to them and I am so thankful that my music has
touched their hearts. I feel that God gave me the
gift of music and performing so that I could share it
with the world to bring joy, hope, and inspiration. To
be nominated now as “Best Artist” of 2024 brings
me so much happiness, and it lets me know that I
am fulfilling my purpose.
The past three years I’ve traveled the world and
played some of the biggest stages of my career.
AK: Your single “Like Butter” was one of the top
singles of the year. Tell us about how this one came
about.
KS: I once heard an infectious groove on the radio
by Cindy Bradley that was so funky and so brilliantly
composed that I had to look up the credits to see
who’d written it. It turned out to be pianist, composer,
and producer Michael Broening who wrote the tune.
After finding this out, I researched him and learned
that he’d composed several tunes I’d fallen in love with
over the years. His writing and style are so appealing
to me and I knew that I had to work with him. I
reached out to him with the ask of co-writing with
him and he willingly agreed. I also knew before even
writing the song that I wanted to feature saxophonist,
Jeff Ryan. I’d had the pleasure of performing with him
last year and I really loved his playing! Michael sent me
several grooves to consider writing to.
Beats 2024 Edition
3

“You never know how the world will
receive your music; you just put it out
there because it was in your spirit and
you hope it will touch someone.”
I was immediately drawn to the groove of what was to
become “Like Butter.” I was so captivated by the groove
that I wrote the hook with ease and the verses soon
flowed from that. Upon sending my ideas to Michael,
which he absolutely loved, I was trying to find a title
that conveyed my thoughts about the hook, verses, and
groove that complimented each other so well. I was
having a hard time naming the song. In trying to describe
the song to my son one day, I said “the song is smooth
and rich, you know…like butter!” We chuckled and the
name stuck.
AK: You are also a member of the
group “Jazz In Pink.” Tell us about your
involvement with these other talented
artists.
KS: What a pleasure and an honor it has
been to be a member of the all-female
jazz supergroup, “Jazz in Pink!” There is
something so special about that group
of women and it’s electrifying to be on
the stage with them performing. They
are all so incredibly talented, while also
being kind-hearted, sisterly, wise, and
protecting of everyone in the group.
Our fearless leader, Gail Jhonson, is
committed to the charge of creating a
platform and space for women musicians
to thrive and gain visibility. I’m so
honored and grateful that she took a
chance on me years ago when she didn’t
have to, because it really opened some
doors for me.
AK: Did the tune exceed your expectations?
KS: Yes, “Like Butter” exceed my expectations. You never
know how the world will receive your music; you just put
it out there because it was in your spirit and you hope
it will touch someone. The fact that so many people
have fallen in love with “Like Butter” is amazing to me
and I’m so grateful. I’m grateful to Michael Broening and
Jeff Ryan for working me. I’m grateful for my husband
Stephen, my record label, Innervision Records, and my
team for believing in me and supporting everything I do.
I’m also super thankful for the radio programmers and
stations for spinning the song and all of my music.
AK: Plans do you have for 2025?
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KS: 2025 should be quite exciting as I have a
new album, “Livin’ It Up,” that will come out at
the end of February. I also have so many exciting
performances in 2025 - the Dave Koz Cruise, the
Aloha Jazz Festival in Honolulu, Hawaii, a return to
Pizza Express in London, and a host of jazz venue
and festival performances! I absolutely love taking
the stage and sharing my music with the world, and
I look forward to the many musical experiences
that will come. I hope to meet lots of new fans and
friends in the coming year as well!
Beats 2024 Edition
5

BEST ARTIST
NOMINEES
2
8
4
1
9
7
6
5
10
11
TALENTED FINALISTS
Before opening up the Best Artist of 2024 to the voting public, we had
to narrow the candidate pool down to just 12 finalists.
Thousands of fans turned out to show these talented finalists their
support. We’d like to congratulate all of the remaining finalists for an
amazing year of music.
1. Chris ‘Big Dog’ Davis
2. Lisa Addeo
3. Norman Brown
4. Carol Albert
5. Kayla Waters
6. Nils
7. Adam Hawley
8. Kim Waters
9. Paula Atherton
10. Lindsey Webster
11. David Benoit
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Beats 2024 Edition 7
3

BAJA/TSR RECORDS thanks
Smooth Jazz Network and all the stations
& fans for making 2024 another great year!
NILS
New Single
“It Can Happen”
from his album
Feelin’ Good
TONY SAUNDERS
New Single
“Lovin’ You Is Easy”
from his album
The Romance Continues
New albums coming in early 2025:
MICHAEL MANI: Triangles
and the long-awaited new 3RD FORCE album!

LOOKING BACK WHILE
MOVING FORWARD
Vanessa Williams is an incredibly
talented artist - both as a musician
and actor. As she is busily preparing
for her West End debut, she sat
down to talk with us about her new
album, “Survivor.”
Allen Kepler: There are so many
different styles on your new album,
“Survivor.” Can you tell us more?
Vanessa Williams: My first idea
of an album was a retrospective.
I’ve been in the business for 40
years, and let me take you through
my journey. So, for instance, you
know, “Come Dance With Me,” was
a song that I actually danced in at
my 1st show that I did at Syracuse
University as a musical theater
major. The name of the show was
“Swinging On a Star,” and it was
Jimmy Van Heusen and Aaron
Sorkin, who was a musical theater
major, he was in it. So that was
kind of like a tribute back to the
beginnings of my career.
“On The Other Side of the Tracks”
was our audition number. So
everybody who went through the
Syracuse program had to learn it,
so that was the up-tempo song that
you’d sing for an audition.
“Being Good Isn’t Good Enough” I
sang in performance class, and just
loved not only how beautiful the
Julie Stein melody was, but how
the parallels that I feel resonate
within my life and with my journey.
I literally just sang it for a Kamala
Harris fundraiser. I said, you know,
when is being ‘good’ good enough?
And I went into the song because
it’s about, you know, “I must fly
extra high. I have to be the best
or nothing at all,” and as a woman,
particularly a woman of color, you
constantly have to prove yourself
over and over again just to be seen,
just to be in the game, just to be
considered equal. So that was one
that was very personal to me.
“Zaz Zuh Zaz” was again another
Broadway thing I had done in “After
Midnight” in 2014 on Broadway.
That was just one that I loved
everything about it. I loved the fact
that my band, who plays with me
all the time, was part of it - singing
back and forth. I just love that kind
of feel. I also feel as a dancer you’re
always looking for tunes to dance
with. I said, you know I’ve done one
up tempo tune, I need to get back
in the game in terms of my dance
tunes. So, we got “Legs,” we’ve
got “BOP!” That was kind of the
impetus of doing the dance stuff.
AK: Tell us a little bit about “La
Costa” and how that tune came
about.
VW: Well, I used to sing “La Costa”
when I was in high school in the
Westchester youth jazz ensemble.
Jim Harwood was our director, and
it was a Natalie Cole hit back in the
day in the seventies. I always loved
it and always wanted to do it and
cover it one day. I actually recorded
it pre-Covid. I love stuff that’s
Brazilian and tropical, and kind of
takes you to another place. Being
by the sea is one of my favorite
places, so it was easy.
AK: This album, “Survivor,” was
produced by your label.
VW: Yeah, I started out trying to
do it myself and then got signed to
BMG. Then, of course, you know,
the pandemic hit, and I was trying
to figure out how to do it at the
same time. And then when the
actor strike happened and I go, “I
just got to finish this. I’ve got tracks
that are waiting. I’ve got tracks that
I know I can do. Let me call the
team and do it.” So, I self-funded a
lot of it because BMG didn’t even
know I was signed to them. I finally
finish it, present it to them, they
get excited, and then the guy who’s
responsible for my music gets let
go and again I’m back to square
one. So yeah, I did it independently,
with the help of friends. That’s how
we’re doing it.
AK: Music isn’t your only passion.
You’ve had a successful acting
career as well.
VW: Well, in retrospect, I’ve been
highly successful. Starting out,
everyone was like “Pick a lane. You
can only do this or that.” I was very
frustrated that I was being told that
because the previous generation,
Sammy Davis, Jr. Frank Sinatra,
everybody did a ton of things.
Tap dance was in major motion
pictures. I didn’t understand why
people were so insular in terms
of ‘you can only do one, pick it.’
Luckily I’ve been able to kind of
ride that wave and now you see
everybody doing it.
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AK: Tell us about The Devil Wears Prada.
VW: The goal is to bring it to Broadway but I’m so
happy to be making my West End premiere, which is
their debut, which is going to be amazing.
I was supposed to do City of Angels in 2020. I was at
the Garrick, we were in our preview week, and that’s
when Covid hit. I was, you know, just heartbroken
that I didn’t get a chance to make my debut then. So,
this is definitely past due, but I’m really happy to be
able to do it. Elton John wrote the music. We did a
2-week workshop in January and he was so happy
with where the future of the show is going to be.
And then he saw us right before and he was again
really happy.
It’s an iconic role but it’s also for me to be able to
create a new role that’s never been done in the
theater. That has always been one of my bucket list
items.
AK: You’ve got some television projects coming up as
well?
VW: I’m a special guest on Elsbeth, on CBS. I’m
also working on a documentary, so we’re getting
that in order. We’ve got a pitch deck for a reality
series while I’m in London, following the making of a
musical. We’re in the process of that. So, you know,
we’ve got a lot of plates spinning in the air.
AK: You are incredibly hardworking - do you have
any spare time? What do you like to do to relax?
VW: I like to stay home when I can. I have a
grandson who I adore, so I love to spend time with
him when he comes up for the weekends from the
city. That’s definitely my most satisfying time, for
sure. He’ll be 3 in December.
I just like being home now. I think, after the
pandemic, I enjoy my house. I enjoy, you know, the
quiet, the reading, putting on music and doing my
crossword puzzles. I do the New York Times’ Daily
Crossword, the Mini, Strands, Wordle, of course, and
then Connections, Letter Boxed, and Tiles. That’s
how I start my day.
I love kickboxing, which I have probably been doing
the last 15 years. I love the fact that there’s music
and you’re actually hitting and learning a skill. And
it’s always different. Doing the same thing over and
over again is a bore. I do physiotherapy weekly when
working in the theater just because you’re wearing
high heels, you’re dancing, you’re moving. I would
say, that’s a necessity but I certainly enjoy it.
AK: What advice would you give to a young artist?
VW: I would say stay open to experiences and
people that come into your life that might have the
wisdom to make you take a chance on stuff and try
stuff that you might not even think would work for
you. Follow your skill set. What are you good at?
Start there. You never know where that’s going to
take you.
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Beats 2024 Edition 13

BIG DOG
ARTIST & PRODUCER
Chris ‘Big Dog’ Davis is
one of the most successful
producers in smooth jazz,
with Grammy nods and 20
#1 hits to his credit.
In recent years Chris has
refocused his efforts on
some fantastic solo projects.
We got a few moments with
one of this year’s Best Artist
nominees.
Allen Kepler: Your tune “Low Down” was
one of the biggest hits of 2024. Tell us
about the tune and working with Ryan
LaValette.
Chris ‘Big Dog’ Davis: After signing with
Trippin ‘N’ Rhythm Records, my first
single “Low Down” was chosen. It has an
infectious groove, which is why I selected
my colleague Ryan LaValette as the
saxophonist to put the icing on the cake.
AK: You’re still producing as well. Tell us
about that passion of yours.
CD: My true passion lies in producing.
Producing other artists is my favorite thing
to do. Producing is its own art - taking
their vision and making it come true
through music.
My first big break into the industry was
playing keys for Brian McKnight at which
time I became the Musical Director for
Will Downing, Gerald Albright, Phil Perry
and Vesta Williams (Rhythm of Love tour)
At that point I knew I wanted to be a
producer and that transitioned me into the
smooth jazz genre.
Phil Perry was the first big artist I had
the chance to produce on Peak Records.
Following him, I had the opportunity to
work with Will Downing, Gerald Albright,
and Vesta Williams.
From there, I branched out into the
smooth jazz community producing artists
such as: Rick Braun, Dave Koz, Maysa,
Kim Waters, Najee, Kim Burrell, George
Clinton, and Nick Colionne to name a few.
A couple of songs that have really stood
out in my producing career are Maysa’s
“Quiet Fire.” This song was a Nancy Wilson
classic and was nominated for a Grammy.
Another was “Mathematics of Love” which
I produced with George Clinton and Kim
Burrell. That version was just incredible. It
was a highlight of my producing career.
AK: You have worked on several projects
for the Trippin ‘N’ Rhythm Records label.
Tell us about your relationship with the
label and the talented lists of artists on
their roster.
CD: Being signed to this record label gives
me the privilege to work with incredible
musicians. I have produced upcoming
records for Lemek, Lin Rountree, and
Adrian Crutchfield.
AK: Any artist on your current wish list to
work with in the future?
CD: My wish list would be Lalah Hathaway,
Ledisi, Christ Botti, and Robert Glasper,
and many more.
14 Beats 2024 Edition

COMPOSITION
and compassion
Keiko Matsui has been one of the most iconic
artists in smooth jazz since the early days. It has
been a pleasure to play her music on the radio and
we thought it a great time to sit down with her
and reflect on her success, longevity and current
projects.
Allen Kepler: You take a very personal approach to
composing music. Please tell our readers about that
process.
Keiko Matsui: When it comes to composing, I
dedicate a special time for each album. I always
believe that there are melodies meant to be born
specifically for that album, so I don’t include any
pieces that were left unrecorded from previous
works. Instead, I write entirely new music.
This process doesn’t happen while I’m on tour.
It happens during the quiet days when I’m not
traveling, sitting alone at the piano. I don’t even
play—I just sit and wait for the music to come to me.
Inspiration often flows from the beauty of nature
or the emotions I’m experiencing in the moment.
There are even times when a melody visits me in a
dream.
When I hear these sounds, I write them down on
manuscript paper. This way, I collect more than 100
musical motifs each album. From there, I narrow
them down to the best 12 pieces. Sometimes, I
hear only the motif, while at other times, an entire
melody reveals itself to me.
This is the process I go through for each album—it’s
a mystic time, like a quest to find my inner self and
receiving motifs from silence.
AK: Your latest album, “Euphoria” is a beautiful
piece of artistry. Please tell us about your
inspiration for this project.
KM: I began creating this album during a time of
great trial for humanity—the pandemic.
It was a period that made me reflect deeply on
many things: what is happening on this planet, the
mistakes we as humans continue to repeat, history,
memories from my tours, as well as hope and
determination.
From those reflections, the inspiration for these 12
tracks was born.
After two years of the pandemic, we were finally
able to record in the studio, face-to-face, listening
to and responding to each other’s notes in real time.
Because of this, the album is filled with our joy and
love.
The title track “EUPHORIA” reflects my heartfelt
thoughts. I feel that we are now entering a new
era. Moving forward, it’s important for each of
us to focus on our own happiness while also
remembering to be considerate and compassionate
toward others. If we all move forward with love
and courage, I truly believe that things will move
in a positive direction. This track captures those
emotions and aspirations.
AK: The first song we played on the radio from you
was “Mediterranean Sand” back in 1987. The tune
stands up so well today as one of the tunes that
helped to shape the ‘smooth jazz’ or contemporary
jazz sound. Reflecting on that tune, how does it feel
to you today?
KM: I’ll never forget the moment I first heard my
music on the radio—it was a fantastic experience.
I’m also grateful to know that many songs from my
older albums still get airplay.
For me, melody is very important when creating
music. In addition to the acoustic piano, the
saxophone and acoustic guitar have always been my
favorite instruments to express my melodies.
Over time, somehow, this instrumentation and
melodious instrumental music became popular
as smooth jazz. I’m amazed to see so many
saxophonists and guitarists thriving in this genre,
especially in recent years.
In the ’80s and early ’90s, there was no category
called “smooth jazz.” My album charted on the
Billboard Contemporary Jazz chart, alongside artists
like Sting, Sade, Patti Austin, Earth, Wind & Fire,
Chaka Khan, Miles Davis, Santana, Kenny G etc.
Looking back, I truly feel it was an extraordinary
time, showing that music has no borders.
Photos: Raj Naik
From my experience, music truly connects us
beyond differences—nationality, religion, culture,
language. I believe musicians have an important role
in creating more harmony on this planet.
I hope new artists can focus on this purpose,
beyond just the entertainment business. Also, in
this era of advancing technology, where anyone can
create music at home and even AI can compose, it’s
more important than ever for creators to express
their individuality, human emotions, and soul—
something that resonates deeply with people’s
hearts.
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Beats 2024 Edition 17

“When I think about how
I can contribute, I always
return to music as my way
to make a difference.”
AK: Going back through the years, you have had the
opportunity to work with some iconic artists.
KM: One of my most cherished moments was at
the Hollywood Bowl where I shared the stage with
Fourplay and Grover Washington Jr. It was also the
first time I met Bob James in person. When I visited
him backstage, the first thing he said was, “I love
your music.” That was such a happy and unexpected
moment for me because Bob had been one of my
heroes during my student days. Shortly after, when I
returned to Japan, I found a FedEx package waiting
for me. Inside were sheet music for a four-hand
piano original composition and a demo CD. Bob was
inviting me to collaborate on his album! ( Another
guest on that album was Joe Sample, I admire also.)
We later recorded together in New York and
embarked on a special acoustic piano tour in
Japan, with a few performances in the U.S. as well.
During that time, Joe [Sample] gave me invaluable
encouragement. He told me,“You are like having
bulletproof strength because instead of relying on
common jazz phrases, you compose every moment.
That’s why you are so strong! Anything is possible!”
His words gave me so much courage and helped me
discover my own individuality as an artist.
AK: I have read about your many humanitarian
efforts. Can you please share some highlights and
the importance of this work in your life?
KM: Throughout my career, I have been honored
to engage in several meaningful charity projects
[breast cancer awareness; bone marrow donation;
African Relief Project].
More recently, I have begun focusing on charity
work for children. In 2014, I visited Peru for the
first time as part of this initiative. The organizer
who facilitated my visit believed my music carried
a message of hope and light. They felt that
bringing such hope to underprivileged children and
communities through music could help prevent
them from turning to negative paths and inspire
positive change. With support from the Japanese
Embassy and others, I held charity concerts,
collaborated with local music groups, and spent
time with mothers and children in community
spaces, sharing music and conversations.
The second phase of this project took place last
year in Paraguay, where I performed with an
orchestra. I also visited a music school that creates
instruments from recycled materials for children
living in poverty, and I spent time learning about the
challenges faced by these communities.
I hope to continue this work for children and plan
to visit Brazil in 2025. I believe this is important
because I am a woman, a mother, and someone
fortunate enough to travel the world through
my music. I feel a deep sense of gratitude and a
responsibility to give back.
When I think about how I can contribute, I always
return to music as my way to make a difference.
Whenever I am invited to participate in such
causes, I carefully consider the purpose and impact.
If I can directly connect through music to make a
meaningful difference, I commit myself to the work
wholeheartedly.
Beats 2024 Edition
19

MUSIC
AND MOVIES
Belton Mouras Jr. released several
smooth jazz tunes in 2024 and a short
film, with big plans on the horizon.
Allen Kepler: The title sounds hilarious: “Fingers:
The World’s First Vegan Zombie.” Tell us, how did
that come about, and how has the release been
going?
Belton Mouras Jr: The idea for Fingers came about
a few years ago when I was co-writing a feature
film script with a good friend. At the time, I was
vegetarian, and I jokingly asked, “What would a
world look like if a zombie or zombies became
vegetarian?” We laughed so hard at the concept
that we decided to take a detour and write a short
treatment for it.
A couple of years went by and last year, I picked it
up again, reread it, and laughed all over again.
I knew I’d kick myself if I didn’t take the opportunity
to produce this and share those laughs with the
world. It premiered at the Sacramento IMAX in
October and is now available on our YouTube
channel, Belton Mouras Entertainment.
AK: It looks like you spun off a really cool music
video from the movie—a zombie dancing video?
BM: Yes, Step Step Step is a wildly fun music video
featuring 22 zombies dancing up a storm. When
I first wrote the song—a pop-hop genre with a
dynamic dance beat—I thought it might close the
movie during the credits as a fun, blooper-style
ending with some of the cast and crew.
But the song took on a life of its own, generating
excitement everywhere. I brought in a
choreographer, who assembled an amazing group of
talented dancers. We rehearsed a full routine, and
soon, it became clear the dance and song deserved
their own music video.
We released the video six weeks before the film
to generate buzz, and it worked out exceptionally
well. By early November, the video had surpassed a
million views—and it’s still going strong!
AK: I see you wrote and directed the film, but you
also played the lead zombie, Fingers. What was that
like, balancing both roles? Any big takeaways?
BM: It was an absolute blast! Initially, I was
auditioning actors for the role of Fingers, but my
wife encouraged me to audition myself, saying, “You
created Fingers, and you’re a great actor!” (No bias,
of course!)
My crew loved the idea and my audition-tapes,
and the decision was finalized. Playing the lead
while directing had its challenges—I have a
new appreciation for what Clint Eastwood goes
through—but I had an excellent team to help with
directing duties when I was focused on acting.
AK: What’s next in the film world?
AK: How about new music outside of the movie for
2025?
BM: I’m thrilled to announce a new Smooth Jazz
single titled Get It! It is set for release in mid-
January. It features the incredible Tony Saunders
(appears courtesy of Baja/TSR Records) on bass and
Steve Roach on trumpet, with some vibrant keys
from me. The track is sassy, energetic, and has a
touch of Latin flair.
I also have another exciting jazz single nearly
finished, set to release in early spring. Staying
connected to my jazz roots is so important to
me, and I feel blessed to create music both
independently and for films.
I’m always creating—whether it’s music or story
ideas. One project I’m particularly excited about is
a beautiful adventure story partially set in Costa
Rica. I just finished the feature film script for it, and
I can’t wait to put it into development after Fingers.
Of course, it will include lots of fun music!
BM: Big news—Fingers is officially headed for a
full feature film! And here’s the exciting twist:
with the growing enthusiasm around the project,
we’re actively considering transforming it into a
full-scale musical. It’s a perfect reflection of what
Belton Mouras Entertainment stands for: passionate
storytelling through the harmonious blend of film
and music.
The future is all about storytelling and music for
me—no matter what. I’m incredibly grateful for
these opportunities and look forward to what’s
ahead.
20 Beats 2024 Edition
Beats 2024 Edition 21

COLLABORATION IS KEY
Our “Breakout” category is one that recognizes a successful year, whether you’re a new artist or well
established. Randy Scott earned this title in 2020 and after a brief time away from new releases, Randy
released “Oasis,” which has produced two top charting singles: “Twilight” and “Embrace.” We sat down with
this talented artist for this year’s BEATS.
BREAKOUT ARTIST OF 2024
RANDY SCOTT
Allen Kepler: You really made an impact in 2020
with your album “Elevation,” winning our Breakout
Artist of the year. How has 2024 compared?
Randy Scott: Although I’ve been playing
professionally since 1992, I never had a truly
successful solo album until 2020. There were times
prior to then that I felt like giving up after trying
so hard for so long. My latest release marks album
#8, but real success for me didn’t happen until
album #7 (the “Elevation” album) in 2020. So, being
recognized as the 2020 Breakout Artist of the Year
was so very special. It truly felt like a “Breakout”
year for me with three singles from that album
reaching the number one position on the charts.
When I fast forward to 2024, the thrill of being
nominated for the 2024 Breakout Artist of the
Year award is still a great surprise and honor. I
truly feel that 2024 was another breakout year
for me because of my evolution as a musician. I’ve
worked very hard on my playing, song writing,
music production, and sensitivity to the music (since
2020). As a result, each of those facets of my music
have evolved and I’m hoping that listeners can hear
that in my 2024 release, “Oasis.”
There are so many phenomenal artists who I admire
in this genre. So, to even be considered is a true
blessing.
AK: You’ve been recording and performing since
the 90’s. How has the process of being a recording
artist evolved for you?
RS: I think that the biggest evolution of being a
recording artist since the 90’s coincides with the
forever changing advancements in technology. Back
in the 90’s, there was a lot of traveling to various
recording studios to record. So, if I wanted to record
with a musician in a different city, one of us would
have to travel to the other to do the recording.
Now, I can collaborate with anyone in the world,
simply by emailing tracks.
We can now make quality recordings in the
comfort of our homes, which is truly amazing.
AK: There was some collaborating on “Embrace.”
Tell us about that tune.
RS: “Embrace” is a collaboration with super
producer Michael Broening who is a phenomenal
musician, composer, and producer. Michael wrote
the hook, I wrote the verses and the bridge,
and out came this emotional/sexy song called,
“Embrace.”
Once the song was near completion, Michael
told me that he brought in this fabulous guitarist
to play on it named Bill Moio. I had never met
Bill prior to him doing the recording, but when I
heard him on the track, I initially thought it was
George Benson! (Lol!) He blazed the recording,
and I instantly became a true fan of his. In
addition to being an amazing guitarist, Bill is also
one of the nicest guys you’ll ever meet.
AK: You’ve been with Trippin ‘N’ Rhythm for
several years now. Tell us about that relationship
and collaboration.
RS: I’ve been with TNR since 2011, and I’m truly
grateful for their belief in me. They stuck with me
even during the times when I didn’t have success.
Label executive Jeff Lunt was very instrumental
in giving me guidance after the first couple of
records, and I listened intently to his suggestions.
I think that sometimes as artists, we get set in
our ways and aren’t as open as we should be to
critique. However, I am constantly trying to learn
and improve as an artist and producer. So, I really
believe that the collaboration I’ve had with TNR
has led to a great formula for success on these
last couple of albums.
Beats 2024 Edition
23

BREAKOUT ARTIST
NOMINEES
11
5
8
3
2
10
2024 FINALISTS
1
9
All of this year’s finalists had excellent ‘breakout’ years, truly showcasing
their talent as musicians.
We opened this contest up to the fans and thousands voted, showing an
outpouring of support. Congratulations on this nomination!
1. Shaun LaBelle
2. Greg Chambers
3. Kandace Springs
4. Architects of Sound
5. Jimmy B
6. The TNR Collective
7. Erin Stevenson
8. Streetwize
9. Gregory Goodloe
10. Big Mike Hart
11. Nicholas Cole
7
24 Beats 2024 Edition
Beats 2024 Edition 25
6
4

40
YEARS OF
PAUL HARDCASTLE
Allen Kepler: Paul, thanks for taking some time with
us mate! Tell us about how “Rainforest” came about.
Paul Hardcastle: It was a strange one, really, because
I was asked by a small label in London called Bluebird
Records if I could write four, sort of, danceable
hip-hop type tunes for a body popping video. And I
said, yeah, I’ll give it a go. So, I just went in my little
studio at the time and I came up with four tracks.
I think one was King Tut, but everyone seemed to
like this Rainforest track. It didn’t even have a title
at the start - the guy from the label said, what about
“Rainforest?” And I went, yeah, sure, put anything you
want on it. You know, I just thought it was going to be
just on a little video and that’s going to be the end of
it. But, wow, little did I know what was actually about
to happen with it.
It started getting play in the UK and we managed to
get it to 41 in the national charts, which is very, very
good, considering we didn’t have proper distribution
and stuff like that. I just didn’t realize how big it
actually was in America until profile started sending
me sort of cassette tapes of it being on all the radio
stations and then they said look you’re number one
on the dance chart in Billboard and I was like wow
and I think that’s when I took it really really seriously
because I just thought it was a nice little tune.
It went to number one on the 12-inch sales charts,
which relieved Madonna of being at the top of the
sales chart. It became my first big hit. I think it sold
over 450,000 singles. And then from that, we made
the album.
AK: Then “19” came out and got a lot of attention
and recognition. How did that song come about?
PH: I was just sitting down reading the newspaper
and I saw on the TV that later on was a program
called Vietnam Requiem, which was going to tell
you the story about the kids that went to Vietnam,
that their average age was 19. I thought that would
be very interesting just to find out about that.
And I was I think...22, 23 at the time. I was having
the time of my life going out to clubs and all that
sort of stuff. And I just thought these poor guys
are being sent off all this way. I understand there
was a war going on and I didn’t take any sides. I just
basically said what was said in the program, which
was researched properly by the guys and stuff. And
so it was a musical documentary, really. It went to
number one in 13 different countries in the world.
The only reason it didn’t go to number one on pop
charts in America is because I think it must have
been about 10 stations took it wrong. [Simon Fuller
invited me in to show it] and the people from the
record company were just all looking at each other
and shrugging their shoulders. And, you know,
“What the hell is this? It’s about people dying in
war.” Then Simon says to me, “What would you say
if I left this job? Would you let me become your
manager?” And I said, “Oh, what does a manager
do?” He said, “I take all the crap for you, I suppose.”
And two young guys just set out in the world and
about three months later we was number one in 13
different countries.
AK: How did your life change after that?
PH: Well my life changed in a massive way really...
really massive way because, one minute, I’m Paul and I
was doing pretty good in the clubs at the time because
of Rainforest and you know other tracks that I did on
the club sort of scene. Then, the day that “19” really
smashed into the charts at number four, my next-door
neighbor actually came and asked for my autograph
and I’d known him about six years. That felt really
strange. I went out and every single person was looking
at me. It was very very strange.
But the one thing I did do was I didn’t let it go to my
head and that’s one of the biggest things I’m proud
of. All my friends and all my fans, they always say that
I’m probably the most down-to-earth person that’s
achieved quite a bit and that’s a nice thing to have said
about you.
AK: Here we are, 40 years since Rainforest, many
Jazzmasters and Paul Hardcastle albums later.
PH: I remember sending you the first Jazzmasters
album. I said to you, does it remind you of like
Rainforest, but, you know, a bit more sort of
meticulously put together and stuff? I remember you
saying, yeah. So that’s what happened. I went back
to the Rainforest style of music but changed it all
with adding sax and stuff like that. So that’s how the
Jazzmasters was born.
Jazzmasters and Paul Hardcastle projects are slightly
different. You know with Hardcastle I go out on a limb a
little bit more.
Jazzmasters has kept sort of more into the smooth
jazz type of things. With Hardcastle I take it sort of
out the box a bit, but my fans seem to love that.
And it’s feedback from my fans that gives me the
buzz to do the next record. If I just sat here on my
own then I wouldn’t be inspired at all.
AK: Tell us about your memoir, “The Hard Way.”
PH: “The Hard Way” is out now. It took I think about
nine months to do but I really did enjoy doing it. I’ve
had some feedback from America and they’re like,
‘I didn’t realize you wanted to be a motorbike racer;
didn’t realize you wanted to be a football player; I
didn’t realize you were in hospital for four months;
didn’t realize that you was shot at in Dallas.’ I’ve
had a few scares in my life. They’re all documented
and there’s pictures in there. So yeah, it just tells
my story honestly and openly and it tells of how I
conned my way into the first band (I got in but I’d
only been messing around on a synthesizer for three
months).
When you open the back cover, you’ll see that it’s
actually dedicated to all my fans, not one person,
because they’re the people that basically have kept
me in inspiration.
I never got into music with the thought of money
or touring or anything like that. I got into it because
I really enjoyed it and if I stopped making money
tomorrow, I’d still be doing it. So, it’s just lucky that,
you know, you do get paid for albums and things. I
couldn’t have asked for more.
26 Beats 2024 Edition
Beats 2024 Edition 27

BYRON MILLER
PSYCHO BASS
“
This alias reflects his
passionate and sometimes
“crazy” love for the bass
guitar, aligning with my
identity as Byron Miller.
Byron Miller is a veteran artist and
musician in various genres of music.
Byron has a new single titled, “Jam
on Ten Mile,” which came out on
fire as the most added tune last
month!
Allen Kepler: Tell us about the new
single “Jam on Ten Mile.”
Byron Miller: The track was given
to me by Chris ‘Big Dog’ Davis,
maybe a year and a half ago when I
started looking for music for a new
single. Then I wrote the melody and
I married the track to the name of
the CD that’s coming out, “Motor
City Love.” 10 Mile Road is in
Detroit, my hometown. The track
is funky and straight to the point
like Detroiters, and like the Detroit
Lions who will be in the Super Bowl
this year.
AK: It’s a fun tune! You always have
a lot of energy in your releases.
Tell us about your process in
performing live vs working on tunes
in the recording studio.
BM: I find live performances
exhilarating, with the energy from
the audience fueling creativity and
spontaneity. Conversely, studio
recordings offer a chance to refine
and perfect each piece.
AK: Tell our readers about ‘Psycho
Bass’ and how it came about.
BM: The name “Psycho Bass” was
chosen to distinguish me amidst
other renowned bassists.
This alias reflects his passionate
and sometimes “crazy” love for
the bass guitar, aligning with my
identity as Byron Miller.
AK: Prior to launching your career
as a solo artist in the 90’s, you
played with some music legends.
BM: With a career starting in high
school, my path led from playing
in Santana to collaborations with
George Duke and legendary
drummer Ndugu, contributing
to many hit tracks. I also played
alongside Marvin Gaye, Luther
Vandross, and other legends.
AK: How did you get started with
music?
BM: My entry into music was
serendipitous, spurred by a sports
injury. My mother gifted me a bass,
and by listening to Motown’s James
Jamerson, I taught myself to play,
igniting my passion for music.
My music is shaped by a diverse
array of artists, including George
Duke, James Brown, and Count
Basie, which informs his unique
jazz-funk fusion style.
AK: Any advice you would like to
share with young musicians who
would like to pursue a career in
music.
BM: I emphasize the importance
of humility, constant practice,
and readiness for opportunities.
Keeping a positive mindset is as
crucial as honing technical skills.
Beats 2024 Edition
29

JIM RASFELD
GRAPHIC DESIGN
Album Cover &
Music Packaging
Specialist
Websites u Ads u Books
CLIENTS INCLUDE:
Glen Campbell u Gerry Rafferty
George Carlin u Steve Lawrence
Santana u Baja/TSR Records
Paul Anka u and hundreds more
Quick Turnaround u Reasonable Rates
jrasfeld@gmail.com u 323-918-8579 u www.jimrasfeld.com
7 Top-30 Tracks on:
*Smooth Jazz Network Year End
Chart*
*Billboard Year End Chart*
*Mediabase Year End Chart*
www.NewWorldnJazz.com
415.895.5527

Shelbi Gerritsen: You’re celebrating 40 years in
Smooth Jazz radio and music. When did it all start?
Allen Kepler: My introduction to what would later
be called “Smooth Jazz” came in high school band
in 1979. I played French Horn in Concert band and
Orchestra but wanted to join the jazz band with my
friend and future Grammy-winning guitarist Norman
Brown. I had to learn trombone over the summer
to join. We played everything from Dixieland to
contemporary jazz covers of Steely Dan tunes.
SG: How did you get into radio?
AK: During college winter break in late 1984, I went
to visit my sister Pam Meredith and her husband
Greg in San Diego. I was majoring in Radio, TV, Film
and bowling haha. I was on the varsity bowling team
at the time. My brother-in-law Greg picked me up
at the airport and when he started his car Grover
Washington Jr’s “Winelight” was playing. I asked him
where he got the tape and he said, “It’s the radio!
98.1 KIFM.” I was shocked to hear this music on
a radio station. I listened throughout my visit and
asked Pam and Greg, if I could stay with them when
I moved to San Diego. They said “Sure!” probably not
taking me seriously. I returned to the University of
Kansas and told all of my buddies, “I’m moving to San
Diego and I’m gonna work for this radio station.” They
kind of laughed it off, but I was determined. After
only a few short months in San Diego, I landed a parttime
position at KIFM!
Fast forward to December of 1987 and I was working
..and the rest is
history.
Allen Kepler, Smooth Jazz Network Founder, is celebrating 40 years in smooth jazz. We sat down
to talk about how he got started, the ups and downs of the format, and what it looks like today.
Pictured: Allen Kepler, Sade, Kenny G, Dave Koz, Neth Espiritu
overnight at WNUA in Chicago. The radio station was
so eclectic back then. The playlist was nearly 2500
songs. I programmed the evening music and station
MD Mike Fischer programmed the daytime music.
The station garnered a lot of buzz and excitement,
but the ratings were not very good. The audience was
loyal, but very small for such a large market station.
The radio station was owned by Pyramid
Broadcasting which also owned a research firm
Broadcast Architecture (BA). They were introducing
a new type of research for radio where listeners
would turn a dial up or down while listening to the
familiar hook portions of songs and rating them. We
tested over 600 titles on this initial study and it was
revealing. I learned a lot about what listeners thought
of our music over the course of the following year
and it wasn’t the same as what you might hear from
callers to the air studio.
In late 1989, we did a study with BA to find a name
for this format of music. While we had discussed
names like “Jazz”, “Light Jazz”, “Smooth Jazz”,
“Relaxing Music” etc. we all felt it best to play some
of the music for listeners and let them describe it in
their own words. Many said, “It’s jazz, but…” One of
the women we spoke with said, “It’s Jazz…yes it’s…
Smooth Jazz”. Although in retrospect this was a
breakthrough moment, the management team at that
time felt that “Smooth Jazz” was too limiting, so they
adopted the moniker “Smooth Rock, Smooth Jazz”.
Ratings continued to drop. John Gehron came in as
the new General Manager. At that time, I was also the
Marketing Director.
In my first meeting with John I strongly recommended
changing our moniker to “Smooth Jazz.” John said,
“That is exactly what I was thinking. But don’t we
have some billboards and marketing up? We don’t
have budget to change until next year.” I told him,
we only have three painted wallboards up - we could
paint over the ‘smooth rock’ portion. That’s what we
did and the rest is ‘smooth jazz’ history!
SG: And how did you start with Broadcast
Architecture?
AK: Literally within weeks of John Gehron taking
over WNUA, Frank Cody and Owen Leach were in
town. They had an opening at their firm to program
this style of music for shows on a radio station in
Tokyo called J-WAVE. Programming and music were
more my thing, so it was a perfect fit. That was one
of the most creative and fun parts of my time in the
format. The programming team in Tokyo was amazing
to work with and this was really a launch pad for our
consulting division, The Smooth Jazz Network (SJN).
SG: How did the Smooth Jazz Network start?
AK: While I was programming for J-WAVE, I
continued to work on WNUA’s research. At some
point in 1991, Owen and Frank came down the hall
to my studio and told me that WQCD in New York
was struggling in the ratings and asked if I could help.
So, I set up basic categories, clocks and helped them
to create a blend of music that would show variety
from song to song, while also giving the audience
something familiar to grab onto throughout the hour.
This would keep people listening longer and also
open the door for more new listeners. WQCD saw a
slight increase which fueled budgets for research the
following year. Within a year, WQCD had dramatically
increased their market share to TOP 5 among adult
listeners.
With the success at WNUA and WQCD Frank Cody
and I felt it would be a perfect time to start assisting
other stations. I suggested we call it The Smooth
Jazz Network. Not in the sense of a standard radio
network, but a group of stations networking with
their local audiences and together through our
consultancy. It was a success - in most cases we
helped moves stations from the bottom of the ratings
list to the TOP 5 with adults (several to #1). Around
the country we launched new smooth jazz stations in
Detroit, Washington DC, Kansas City, and Honolulu
and many others. Over the years, I personally worked
with over 50 smooth jazz stations.
We kept the format on much longer and in a much
more successful way than it would have experienced
otherwise.
SG: And there have been some challenging times.
AK: Yes, for sure. Just as the music business had
to make major adjustments due to record stores
disappearing, mega mergers with the labels and
streaming / downloading – we too had to deal with
large radio group mergers, cutbacks to sales teams
and the advent of the new ratings system PPM.
Like the music business, over the course of several
years, we worked to reinvent how we get the music to
listeners and thank goodness we stuck with it. From
labels to independent artists, locally owned radio
stations and streamers, we found many ways to keep
the music alive.
SG: So how is it in the current day?
AK: My focus for the past 15 years has really been
on fostering new music and new artists. The playing
field has changed so much in both radio and the
music industry. We’re now really focused on the
enthusiastic, core listeners, while gaining new younger
listeners all the time. For example, several of the key
artists in smooth jazz are in their 30’s or younger.
Jazmin Ghent, Adam Hawley, Vincent Ingala, Lindsey
Webster, Justin Lee Schultz and many others are part
of this new generation of artists.
One of my yearly highlights is being one of the
hosts on the Dave Koz Cruise. It is so cool to see
the enthusiasm of thousands of listeners on board
the ship. They love the veteran artists Rick Braun,
Peter White, Richard Elliot, Candy Dulfer, Jonathan
Butler and of course Dave. Meanwhile I see new
connections with younger artists like Vincent Ingala,
Justin Lee Schultz, Casey Abrams, Adrian Crutchfield,
Eric Darius, Kayla Waters and so many others. The
annual cruise is a real connection with my smooth jazz
family and I treasure every journey.
The bottom line is the music is getting out to fans in
many more ways than it did back in the day. Smooth
Jazz is not only on the radio, but thousands of
streaming channels, including our own Smooth Jazz
Network, SiriusXM, Spotify and countless live events
and tours annually. It is truly an exciting time to be
involved with this special genre of music and artistry.
Beats 2024 Edition
33

2024’S LOCAL RADIO
STATION OF THE YEAR
WEEKENDS @2PM EST
Allen Kepler: KUNV was our first ever “Station of
the Year” winner in 2022, and I must say, your fans
really get out and participate in our voting. Tell us
about your listeners in Las Vegas.
Kim Linzy, Music Director: Allen, it was an honor
to be named for the first ever “Station of the Year”
by Beats Magazine. Now, to be even in the running
for 2024 is amazing.
Our listeners/fans are the lifeblood of our station
& they are passionate about the smooth jazz genre
and the station. We are committed to introducing
our listeners to veteran & new independent artists,
whose airplay is represented on the Billboard/
MediaBase charts. Our listeners are like family.
Dr. Ashton Ridley, General Manager KUNV:
Being named the 2024 Smooth Jazz Station of
the Year is an incredible honor and a testament to
the dedication of our entire team at KUNV. We
strive to bring our listeners not only the best in
smooth jazz but also a connection to the live music
heartbeat of Las Vegas. This recognition fuels
our passion to continue delivering exceptional
programming and continuing our mission to
inspire, entertain and educate.
WEEKENDS @10AM EST
WEEKENDS @12PM EST
ON THE AIR
Listen to the Smooth Jazz Network’s
special weekend programming on your
local smooth jazz station, our website,
or via our free app!
Jason Beatty, Operations Manager: Rebels Make It
Happen! We put the UNLV Student Radio Hosts to
work and they rallied the votes for us. Congrats to
the class of 2024. This is a win for you!
Thanks to my guys Adam, Jeff, Neal, Sean LaBelle
and most importantly my wife Anji.
Let’s keep it smoooooth 2025!
Congratulations to all of our 2024 Nominees:
WEEKENDS @2PM EST
Just search “Smooth Jazz Network” in
the Apple App Store or Google Play
Store to download the app today!
34 Beats 2024 Edition
Beats 2024 Edition 35

Dave Koz
on tour
Dave Koz is truly the hardest working guy
in smooth jazz… and I know he enjoys
every minute of it. As Dave wraps up his
27th Christmas Tour, he took some time to
chat with us.
Allen Kepler: When this interview is
published, you’ll be about halfway through
your massive Christmas tour. How do you
keep the shows and holiday tour fresh after
all these years?
Dave Koz: Allen, no one is more surprised
than me that this tour has been around so
long—27 years now, for a nice Jewish boy
no less!
I think it all starts with the music. Holiday
repertoire is so nostalgic, and the songs are
SO good, written by some of the greatest
songwriters of all time. So the songs are
more than just notes on a page. I’ve been
so humbled by their power over all these
years to remain strong emotional reminders
of special people in our lives, of memorable
moments, of family who’ve come and gone.
AK: Adam Hawley is one of your guest
performers and you released a collaboration
with him this year.
DK: Adam is truly one of the brightest lights
in the contemporary jazz landscape if you
ask me—he can do it all, and I think is really
the future of instrumental guitar.
Adam and I got together, wrote the song in
a day, recorded it the following week—and
now, thankfully it’s out and people seem
to love it! We are also performing it in the
show, which has been a blast night after
night.
AK: 2025 is looking to be another busy year with
the annual Dave Koz Cruise heading to Iceland in
June.
DK: Yes, we are super excited to be hosting our
cruise on a spectacular, brand-new ship--Holland
America’s flagship, ms Rotterdam! My team and I
never like to rest on our laurels too much, so we
are constantly trying new things, new destinations
and new artists--and 2025 will be in one of most
absolutely gorgeous spots on the globe.
AK: Hosting on your cruise is truly the highlight of
my year! One thing I find so enjoyable about the
cruise is the variety in music styles and artists on
board. How do you come up with such a diverse
and interesting week of music?
DK: Thank you for being such a wonderful host,
AK, we love having you! And we are beyond
grateful to our guests for choosing to vacation
with us on these cruises, it means the world to all
of us performers—and the best way to show our
appreciation is through music—and TONS of it!
Of course, people come to hear the big stars of our
world like Rick Braun, Richard Elliot, Peter White,
Keiko, Candy…the list goes on and on. But when
guests leave the ship after 7 days of non-stop
music, they’re usually talking about the artist or
two they had never heard before.
AK: Can you give us a teaser for the 2026 cruise?
DK: I am proud to say our cruise mantra of “seeing
the world together through music” will continue in
an area of the world we’ve never sailed in before.
While I can’t give you the exact locale, I can tell
you it’s exciting, beautiful, exotic, warm and will
take place in 3 iconic countries. I’ve been waiting
to do this one for a while, and we’re finally making
it happen!
AK: This year you embarked on your first upscale
Somma cruise. How was it?
DK: Our first Somma (Italia) was really amazing! As
it was our first stab at doing this kind of experience
on a luxury boat (the 600 passenger Seabourn
Ovation), we wanted to give guests something
completely new. A different line up of artists,
a health and wellness component, an exciting
personal development speaker series…all the while
sailing the Italian coastline, eating the BEST food,
delicious pastas and gelatos every day, the finest
wines and of course, the Italian culture providing
the daily inspiration as only it can!
We will be on the same ship next year for The
French Riviera in September 2025. Somma is quite
a different experience from our other cruises--a
smaller, more intimate, deeper dive into what it
means to be human, and I am super excited about
continuing the next chapter.
AK: You are on the road a good amount. Your dog
Buddy must miss you when you are on the road?
DK: Well, last year Buddy came out with us for the
first time on our Christmas Tour and he did so great,
we invited him back this year. (And thankfully he
accepted…hah!) It’s so much fun to have him--he
makes everyone so happy on the road and reminds
us daily not to take things too seriously. He’s for
SURE an emotional support dog to the entire band
and crew. And he LOVES the tour bus!
Beats 2024 Edition
37

CAROL
ALBERT
#1 SONG OF 2024
Over the past seven years, Carol Albert, with
numerous #1 hit singles and millions of streams,
has established herself as a major artist in smooth
jazz. We caught up with Carol to talk about
“Sunshine Yellow,” this year’s #1 song. The song
spent a lot of time on our Top 20 chart this year
including two back-to-back weeks at the top of the
chart.
Allen Kepler: Tell us about your amazing tune,
“Sunshine Yellow.”
Carol Albert: I wrote Sunshine Yellow with the
vision of a romantic, passionate, flamenco-ish
dancing couple on the beach on a sunny day,
just having fun and being joyful and free. I
wanted a fun song starting with piano with lots
of percussion with modern Latin rhythms. It took
shape with the ever so intuitive Lil John Roberts
on drums and the amazingly versatile Roberto Vally
on bass. I also co-produced the song with Roberto,
creating a cool vibrant tune.
I wanted a guitar solo as well as my piano solo and
Euge Groove suggested the brilliant Peter White to
play on it. Peter was about to go on his Christmas
Tour the very next day and he recorded it that night
before he left for his tour. It was serendipitous how
it happened and the way he played the guitar was
perfect for the track.
The song came together with Euge Groove’s
meticulous mixing and mastering and his attention
to detail really just brought the whole song
together. I was thrilled with the finished track and
so happy it was received so well and hitting #1 on
Smooth Jazz Network, Billboard Smooth Jazz Airplay
and MediaBase AC Charts creating my first trifecta.
AK: Tell us about your process for composing new
music.
CA: When I write I either have a melody I’m hearing
in my head or a rhythmic vibe I’m hearing that I
start with. Sometimes I just sit at the piano and
play randomly for a while recording to my iPhone
and go back later and pull pieces from the different
recordings and make a new piece. Other times I
start and play an entire piece from start to finish
in about 10 minutes, such as “Stronger Now” and
“Seaside Story,” and others I’ve written. I transfer
the raw ideas to my computer and start working
on an arrangement. My songs usually convey
something I’m thinking or feeling about at the time
I’m writing them.
AK: Tell us how your approach has evolved since
your debut.
CA: As an Independent Artist it has been great
to write and record my compositions. I started
recording again in 2015 after taking a long break
after recording 5 albums previously, 3 with a record
label.
I tried a fresh approach to my music with “Mas Que
Nada” in 2017, which was my 1st internationally
recognized track that I recorded.
Shortly after, I completed my album “Fly Away
Butterfly” which saw my 1st Billboard Top 5 Hit with
the album’s namesake song “Fly Away Butterfly.”
Since then, I’ve kept composing and collaborating
with other creative artists and producers. The
collaboration is what I have most enjoyed: it is
incredibly fulfilling to hear how our various talents
create synergies that result in unique tracks I am
really proud of. I have to say, it’s been a great
journey performing and meeting so many new artists
and fans.
AK: Plans for 2025?
CA: I am planning on releasing a new Album in
the first of quarter 2025. I’m really excited to be
working with musicians I’ve never worked with
before, and enjoying the music we create. I think
there is some pretty cool music in the pipeline, and
I can’t wait to share it with you soon. And most
importantly, I’m enjoying my life and experiences
and looking forward to a great year in 2025.
Beats 2024 Edition
39

TWO NUMBER ONES
Walter Beasley, Michael Broening,
and Blake Aaron had not one, but two
singles hit #1 on the Top 20 countdown
in 2024!
WELL-DESERVED
All of this years “Best Artist”
nominees have tunes on the
Top 30 chart.
TOP 30
SONGS OF 2024
Congratulations to all of the artists
who made the TOP 30 this year!
2024 was the most competitive year
for radio airplay and it was a true
testament to the high quality of new
releases.
nt.
KING OF THE HILL
Norman Brown held the #1 spot longer than
anyone else this year. “Anything” spent six
consecutive weeks on top!
NEW TALENT
Three new names graced our
Top 30 chart this year:
Streetwize
The TNR Collective
Big Mike Hart
40 Beats 2024 Edition
Beats 2024 Edition 41

TOP
100
SONGS OF 2024
With over 600 new releases this
year, making the Top 100 is a
major win! Congratulations to
everyone who made the list of the
best of the best!
The Smooth Jazz Top 100 chart is based
on Mediabase Reporting data and
Smooth Jazz Network affiliate airplay and
weighs chart position achievements, the
number of weeks on the charts, and total
spins during 2024.
Claudia Hayden
NEW ON THE SCENE
These artists made it to the Top 100 of the year
for the first time since the magazine’s inception
and we’re happy to have them!
Architects of Sound
Tom Browne
Citrus Sun
Chris ‘Big Dog’ Davis
Big Mike Hart
Claudia Hayden
Tim Hutson
Shaun LaBelle
Jason Peterson DeLaire & Chris Camozzi
Doc Powell
Streetwize
The TNR Collective
Darryl Williams
Vanessa Williams
SEEING DOUBLE (& TRIPLE)
Adam Hawley has three songs in the Top 100
this year while the following artists had two!
Adam Hawley
Norman Brown
Lindsey Webster
Paula Atherton
Michael Broening
Blake Aaron
Jonathan Butler
Walter Beasley
Marcus Anderson
Boney James
Euge Groove
Euge Groove
Please Mr. Groove
Comfort Zone
Beats 2024 Edition
43

listen daily
The Smooth Jazz Network is streaming daily, with special programming
on the weekends. Find your local affiliate below, stream on our free app,
our website, or via iHeart Radio or Live365.
WJZA-FM
ATLANTA
JAZZY-FM
107.5 FM
HONOLULU
WVLY-FM
SUNDBURY
KIND-HD2
OKLAHOMA CITY
KLOU-HD2
ST LOUIS
KQXT-HD2
SAN ANTONIO
WCXT-FM
SOUTHWEST, MI
KMJY-FM
SOLOMON
WAEG - FM
AUGUSTA
WJTI - FM
MILWAUKEE
WCLZ-FM
PORTLAND, MAINE
WKSJ-HD2
MOBILE
AND STREAMING
SMOOTH JAZZ FLORIDA
SMOOTH JAZZ FLORIDA PLUS
SMOOTH JAZZ TAMPA BAY
SMOOTH JAZZ WAVE SARASOTA
SMOOTH JAZZ WNUA CHICAGO
SMOOTH JAZZ CD 101.9 NEW YORK
THIS YEAR’S BEATS WAS MADE POSSIBLE BY:
THE SMOOTH JAZZ NETWORK TEAM
SJN PRESIDENT ALLEN KEPLER
BEATS MANAGING EDITOR SHELBI GERRITSEN
SHOW/SPOT EDITOR/PRODUCER SYDNEY GERRITSEN
THE ‘VOICE’ BILL COCHRAN
CONTROLLER CAROLE GILLIGAN
FINANCE NETH ESPIRITU
HOST SANDY KOVACH
HOST MIRANDA WILSON
HOST MARIA LOPEZ
HOST MELANIE BENZ
WMGF-HD2
ORLANDO
WNOZ-FM
NEW ORLEANS
WBAZ-FM
LONG ISLAND, NY
WGMC-FM
ROCHESTER
WRGV-HD2
PENSACOLA
WRIP-FM
NEW YORK
SOUTH FLORIDA SMOOTHJAZZ
KHIH-DB
LOVE RADIO 93.9
SMOOTH JAZZ BOX
JAZZ 90.1 SMOOTH GROOVES RADIO
PACIFIC COAST FM
PUBLISHER ALLEN KEPLER
MANAGING / DESIGN EDITOR SHELBI GERRITSEN
SPECIAL THANKS TO
DAVIS BROADCASTING
PERRY BRAODCASTING
HHAWAI MEDIA HONOLULU
IHEART RADIO
MEDIABASE
BILLBOARD MAGAZINE
DAVE KOZ & FRIENDS AT SEA
WJZA-FM ATLANTA
WAEG-FM AUGUSTA
LIVE365
WSBZ-FM
FT WALTON BEACH
WSRW-HD2
GRAND RAPIDS
WUMR-HD2
PHILADELPHIA
KINB-HD2
OKLAHOMA CITY
WXVU-FM
VILLANOVA
KBRZ-DB
MARIPOSA
A SPECIAL THANKS TO OUR SJN RADIO & STREAMING AFFILIATES, OUR ADVERTISERS, SUPPORTERS,
AND LISTENERS.
SHANACHIE ENTERTAINMENT
IS PROUD TO PRESENT THE
FINEST ARTISTS IN JAZZ
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Ann Hampton Callaway
BPM
(Brian Bromberg, Paul Brown,
Michael Paulo)
Brian Simpson
Euge Groove
Jazz Funk Soul
Jazz In Pink
Kayla Waters
Keiko Matsui
Kim Waters
Kombo
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www.shanachie.com