 Aloha and welcome to the Hawaii Smooth Jazz Connection. I am your host, Gwendolyn Harris. This show every week will showcase some of our amazing local artists and there are many. There will be from time to time a special guest, so make sure you stay tuned. Now, as a lover of music and growing up playing music all the way through college, I am very happy to have this special guest on the show today. This gentleman is one of the most and amazing versatile saxophonists in pop, soul, and contemporary jazz. He grew up in a well-known musical family here in Hawaii and has played with Algero, James Ingram, Rick Braun, Peter White, Oleda Adams, Kenny Loggins, Jeffrey Osborn, Bobby Caldwell, Johnny Mathis, and Herbie Hancock, just to name a few. He has played in many jazz festivals around the world, including the largest one in the world, the Jakarta International Java Jazz Festival in Indonesia. Let's welcome Mr. Michael Paolo to the show. Hello, so far. Aloha, Michael, how are you? I am so glad to have you on the show. Well, thank you for letting me be your inaugural guest. Well, you know, you're the one that really started all this with me here with the smooth jazz here in Hawaii, so I thank you. Now, let's get straight down to business, okay? Let's get straight down to business. Oh, thank you, business. Now, as we know, you grew up here in Hawaii and you came and you come from a very musical family with your dad, Renee Paolo. So how was that growing up in that household? I can just imagine. Well, basically, you know, the music everywhere, right? When we have parties, the whole family would entertain, so we never lack entertainment. And, you know, my dad would give channel lessons. We have students come in and out, and so I grew up with music everywhere, you know? And early on, you know, my siblings, I mean, they would play the Beatles and all those old rock bands and Sinatra and everything. So I heard it all and a lot of people surprised that I didn't really play music. I didn't start till I was 15 years old in high school. But growing up in that environment really helped out a lot. Wow. So what made you pick the saxophone to play? Just by chance, really. I went to, like I said, I didn't start till I was 15. I went to St. Louis High School there and I decided to play, join the band on a whim, because it was an elective course, you know, and in high school you could choose physical education or band, right? So the first semester I chose PE and I got tired of running, because that's all they did was run. So I thought, let's forget this. So a lot of my friends, I mean, you should take band because it's an easy aid. You know, the teacher was very lenient, so I said, okay, so I signed up for band. And fortunately, I didn't start on the saxophone. He put me on the oboe. Oh, wow. It was a big charmer instrument and it was terrible, right? But I had to play it in Symphony Band. I learned how to play it. And finally, I got so fed up, I said, look, if you don't let me play something else, I'm going to quit. Oh, wow. So anyway, he said, well, you know, we're kind of showing the instruments. If you can borrow an instrument from somebody, you know, I'll let you play, right? So my uncle had a saxophone and my dad's younger brother. So I called him up. I said, hey, can I borrow your saxophone? I want to, you know, chowder and play in a band. And he said, yes. And so that's how I got started. So I got the saxophone. I played it and I fell in love. And that was the second half of my freshman year. And I practiced all summer long. I was so enamored with the saxophone, right? And every day I drove my siblings nuts, you know. They were pounding on the walls and every day. But I literally practiced every day. I couldn't let the horn down. So by the time I went back from my sophomore year, my sophomore year, I mean, first year in all the band. And that was, you know, from all that hard work over the summer. Now, what other instruments do you play? I know you play more than just the saxophone. Well, I play the flute and of course I play a little piano, you know. I tried to learn the ukulele, but I gave up. See, that's what I played. I started out playing the clarinet. And I played the flute as well. I played the flute all the way through college. Yeah. My mom loved the clarinet. She said, someone should play the clarinet. And I had a really good clarinet. But I just couldn't get used to the octave changes. I mean, you know, it's different. When you go to lower register, the fingering for G is actually a C. And so I just forget that. Now, now from 1975 to 1979, you played with the Hawaii Pop Rock band Kalapana. How did you get started and connected with them? Well, I was playing after I graduated from high school, I was playing different bands and shows and Waikiki. And of course, I made a reputation really quickly. And I was playing with everybody. So when Kalapana, they made that historic first record. And it's a big hit record. And they had a session saxophonist when they made the record from LA. It was great, Jackie Kelso. And so when they came back to Hawaii to do their big premier concert at the Becky T. Shelton, I think it was like that record. 11,000 people. They needed a saxophone player because of the work on the album. So I guess they heard about me. The manager gave me a call saying, hey, look, you know, you want to play sax with this concert. And, you know, of course, everybody knew who they were because it was such a big hit. I said, yeah, you know, and it was kind of baptism by choir because I met the band. I never met them before. The band, they flew in that week at the concert. And I met them. And I don't even remember if I rehearsed. They just gave me the music here. I learned to stop, you know. And then I had to play in front of 11,000 people. It's just like cold. Wow. And it was an experience. And I had never done that before. Of course, I was just playing in Waikiki show band and all that. So, you know, that was a great experience. And that kind of launched me. And from that point, I moved to the main hall with them. I actually gave up a scholarship to go to college in North Texas. And decided to just hit the road with them. And, you know, I learned everything. We were in the studio making records. We were writing songs, you know, traveling, touring, everything. So I kind of, you know, learned on the road, you know. So that was a great experience. And, you know, over the years, I've always kept in contact with the people watching the new Malani lead singers. That's the way, recently. But I learned that it was Malani that actually got me in the band. Yeah, I actually seen you play at the local club that they used to play at. On jazz, jams on Sunday. Right. I used to go play. And I used to do a thing with two saxophones. Like, got some rolling foot and stuff. And when it came time to get saxophone, Malani said, hey, how about that guy that goes to the jam sessions and he plays two saxophones. He's pretty cool. And so that's how I got the gig. You know, it's funny to go deeper. When I moved to LA in 1981, and I was playing around different clubs. And I was actually playing with the members from the band Rupus. Bobby Watson, Andrew Fisher, Maxine Lewis, and Tony Maiden. So I was question that they found me and they asked me to play with this band. And we were playing at Josephine's club in New York City. And I was just talking about this with my wife because it was Al Jirol's birthday, by the way. You know, my mentor. And so Al used to come into Josephine and we were playing in the band there. And I remember when he would walk in and everybody would go, wow, who Al Jirol's in the corner over there. It was like a big deal, right? So this is what I know. He was actually checking me out. So when it came time, you know, a few months later, when it came time, he needed a full-time saxophoneist. I mean, my name had gotten around and stuff. But when they finally said, hey, we know this guy from Hawaii and stuff. And he already knew who I was. So when I met him at the first rehearsal, he looked at me smile and he said, hey man, I've been checking you out. Wow. It's amazing how you can see, you know, like that jam session on Sunday. I got to get with Kalapana because the lead singer saw me there and playing at a little club in Studio City, Josephine. And Al Jirol saw me play there and that's how it got discovered by him. You never know who's watching you. You never know. No, no, you never know. You never know. Now, in 1988, you recorded your first major solo release, One Passion, on MCA Records, which you are critically acclaimed as one of the most influential recording contemporary jazz artists. Now, for people, when we talk about jazz and we talk about smooth jazz, some people don't really know the difference. So when we talk about contemporary jazz, smooth jazz and our alternative jazz, what is the difference and how did you get into playing smooth jazz and contemporary jazz? Well, jazz is such a broad, broad idiom, you know, I mean. And it's not to the point where basically if you improvise over a music base, you can call that jazz because jazz is all about improvising, right? So in musical styles today, I mean, you can use the old style, you had swing, you had bebop, you know, you had fusion, and then you had hip hop, and then you had R&B, and then all these different idioms and contemporary jazz, you know, in the stages, people, they have to come up with some kind of name just to mark it that way, right? So we went from new adult contemporary jazz to smooth jazz, to some quiet storm. I mean, all the formats, they try to identify, you know, what the instrumental music of the day was. So basically just a label that they can mark it. So today, smooth jazz has become a melding of really pop, R&B, and jazz, you know. So basically you take popular songs and R&B songs, and then you cover them, right? And then you make it an instrumental, and then you solo it. So that's basically what smooth jazz is, and it tends to be more groove-oriented, right? So as far as widespread appeal, that's why it got really popular, is because a lot of the artists were recording songs that the baby boomers, you know, that loved the format, they recognized the songs, you know. You know, Junior Walker, and then, you know, I mean, Geoffrey Oz's point of song, whatever, all these standards, so they would record instrumentally, rearrange it, and then it would become popular, and that's what really smooth jazz is. Wow. Now I learned the lesson, and I love smooth jazz. I really didn't start listening to it until when I was deployed, is when I really started listening to it back in 2005. And then, of course, 2007 when I came here, and you started me with this, Michael Paolo, with this smooth jazz here in Hawaii, starting listening to it. 12 years ago, you know, I started doing shows in the Waikiki Nisho Room. Yeah, and how that got started, actually, there was a smooth jazz station, in Hawaii, and I was riding in the car with my uncle, who's also a smooth jazz fan, right? And all of a sudden, I'm riding in his car, and Boney James is playing, right? So I'm like, I looked him up, and I said, wow, there's Boney James, and he goes, yeah, that's the jazz station here, right? So I said, whoa, there's a jazz station, there's Boney James, and he said, yeah! And so the light went off, I said, wow, they got radio here, and you gotta bring the artist in, right? And so that's how it started. So I started bringing them in, and for a long time, I had a great opportunity, and I did so many jazz concerts over the years, which many of them you attended. Of course. But then, of course, we all know the Blue Note came in, which is a great big jazz club and iconic, and so they started actually booking a lot of artists that I was working with. So unfortunately, that made it more difficult for me to do my shows in Hawaii, which is okay, because for the fans there, now they have some place that can go on a regular basis, and they can see how great it is. So I'm glad I started the trend, and now it's something that is a regular situation, and it's great for the fans over there. Well, we miss you, but we have to go on a quick break. So everybody, just stand by, and we'll be right back. Aloha, and welcome to At the Crossroads. I'm your host, Keisha King. I'm live at five every Wednesday, where we have entertaining and educational conversations that are real and relevant, both here in Hawaii and across the globe. I'll see you at the Crossroads. Aloha. My name is Amy Ortega Anderson, inviting you to join us every Tuesday here on Pinoy Power Hawaii. With Think Tech Hawaii, we come to your home at 12 noon every Tuesday. We invite you to listen, watch for our mission of empowerment. We aim to enrich, enlighten, educate, entertain, and we hope to empower. Again, maraming, salamat po, mabuhay, and aloha. Aloha, and welcome back to the Hawaii Smooth Jazz Connection with my special guest, Michael Paolo, Hawaii's own Michael Paolo. Welcome back to the show, Michael. Thank you for being here. I'm the first one. Yes, you are the first one. You are the first one. You are the first one. So prior to going on break, we were talking about the contemporary jazz, smooth jazz, but this question, next question that I have for you, is you just completed your 11th album, Beautiful Day. What can we expect to hear from this album versus your other albums? Well, when you get older, you tend to get simpler. And like I said, I went through all the idioms of jazz, and at one point fusion jazz was a big thing, like Jeff Warbur, those kind of groups, and the yellow jackets, and all that. So when you're young, you want to do all this stuff in riffs, and then lines, and then get complicated, and everything. But then at the older you get, basically, you just want a group, as a melody. So this record is that. It's really, it's a reflection of all my different influences. And I did a bunch of cover songs, I did actually songs by Sting, and then your song Elton John, El Tirol arrangement. So Europa, that's a Bombardian song. So I have the record of cover songs that basically I was playing, and then I also composed different songs. And most of them are just really a simple group with a melody. So it's a very accessible record. But like my mom said, it's not crazy. So I guess we're going to have a special treat from you today, or are you going to play for us today? Yeah, you know, Grover Washington was one of my influences, and I just came back from Java Jazz, and hung out with my good friend Harvey Mason, great world-class drummer. So one of the great things is that Harvey actually played on the original hit of Fogogo, Mr. Magic, which is a song I'm going to play. And that's one of my materials that I've enjoyed in my career is moving up to LA and actually getting to meet, become friends, and play with all these superstar musicians that I only looked at the name on the record when I was growing up and stuff. So that's pretty cool. And I actually met Grover once. Oh, wow. Yeah, and so that was a thrill for me because that guy was such a soulful player. And like I said, one of my influences growing up. So I want to play for you, Mr. Magic. Okay. And that's one of my favorites. Awesome. Awesome. Awesome. Awesome. See, now you have to come back to Hawaii and put on another concert. So for everybody that just saw him play, if you see Michael in concert, he is off the chain. He'll jump up on tables, chairs. So what you see is just very, it's very mellow, but you need to see Michael in concert. He is amazing. That was just a sneak peek, a sneak peek of him. Yeah, you just had back in the chair. Yeah, so you really need to put on another show, Michael. Thank you so much for that. And that kind of leads me into my next question. Your company, Apollo Productions, is involved in producing many jazz concerts in California and Hawaii, including the Temecula Wine Festival in California. You also produced the Pacific Rim Jazz Festival here in Hawaii and the Asian Heritage Jazz Festival. What are your future plans to make sure jazz does not die on the island? Well, I mean, like I said, I'm going to keep trying to bring back my favorite artists. I mean, and of course, with the blue note there, it's not going to die. I mean, you have all these great artists I'm circulating to now. And what I love about what they're doing is they're mixing it up. They're bringing, you know, straight ahead people, different kind of jazz. I mean, you've touched on Boots, Gordie. And so they really have different kind of genres coming in. You know, once in a while, they have a pop act and all that and R&B and stuff. But it's really cool that, you know, every week they have something you can go check out. Right? And then, of course, they're giving a forum for a lot of the local jazz artists to play there. Yes. You know? So it is pretty cool. So, you know, I think that's why it's a great environment for them, you know, to keep doing that. And, you know, who knows? Maybe, you know, they've been wanting me to come out there and maybe do something with them. So we'll see what happens for the future. Well, I think you should, because like I tell everyone. I might do a smooth jazz festival. Well, see, that's what you need to do. Because I get the question all the time. It's, yes, we need a smooth jazz festival, Michael. We need to talk. It's in the works. We need to talk. We need to talk. Because we need one. Talk about that. So our people that are, we have some people that are traveling to that. I have some friends that are actually going to that festival. So talk about that. So it's, you know, it's my 15th annual. I started 15 years ago. And basically, you know, I kind of, it was an offshoot from another festival I was involved with on the Big Island of Hawaii, the Dolphin Days Festival. So I did that for about 14 years. And I brought so many great artists there and stuff. Unfortunately, that ended. But when that ended, I kind of started my own event in California. So this is our 15th year. And, you know, I've made it about, part of it's about great music, of course. I've had a lot of great artists over the years. But also, since Temecula's a hotbed for wineries, we also make it into a unique wine case in its fair. So we have what they call wine we roll. You can just kind of go from each booth and sample wines from all over the world. You know, and of course we all know that wine and jazz will go well together, right? Yes, it does. So the whole concept is really great. And then, you know, we have some local vendors and everything. But like I said, we always raise money for local charities. So we raise money for different organizations like the Shriners Hospital for Children, All from the Heart, Wounded Warriors. And currently, we're benefiting, we're helping out the Boys and Girls Club. So because it's important for kids to have somewhere to go after school, you know, in these days, parents are so busy working, both mom and dad working. When they come out of school, you know, sometimes they get into trouble and everything. So the Boys and Girls Club is a great organization because it gives kids somewhere to go and do activities and hang out and not getting trouble. Awesome. I'm all for that. So if we have some people from Hawaii, if we have some people, which I have some friends that are going, but if we have some people from Hawaii that want to come to the Temecula Wine and Jazz Festival, where would they go to get tickets? Just go to TemeculaWineandMusicFestival.com, or else are afraid to place T-I-X.com. Okay. That's my ticket. Yeah, same like the shows in Hawaii. Okay. T-I-X and just key in my name or whatever the festival and then, you know, it'll come up. And yeah, tickets just went on sale this week. Okay. Awesome. Awesome. So I'm excited. Actually, you know, along with the jazz people that we have, I got actually a special guest who Oachma is going to play. Oh, wow. Yeah. Oh, Patrice Russian. Forgive me not and everything. And I'm working on a legendary blues singer, jazz singer, Barbara Morrison. So I have many different artists appearing. But this year, one of our headlines is the band Pablo Cruz. So, you know, from the 70s and 80s and kind of like in the vein of Kalopana, you know, we should tour it. And they were always on the same circuit. You know, we were hitting the same venues and stuff. So I always love their music. And so I called up the band named Corey Lysaroff and nice guy. He said, oh yeah, we'll come down and help you out and then play. So it's going to be a fun, fun day. Yeah. Oh, wow. I wish I could make it. I wish I was trying to make it this year. I'm putting it on my list for next year. But I know you also have, I know you also do a lot of concerts with the Weston. Yeah. We moved at the Weston. Uh-huh. And we actually, we just had guitars, great Chiquiso. And they partied that. I had my good friend Peter White. We had a bunch of people. But this next show coming up April 6th, I got GW3. I mean, they're the biggest R&B party bands. They're on the Dave Coscoos, they're everywhere right now. They're really getting popular and stuff. So they're going to be playing along with Gail Johnson from Jazz and Tink. Uh-huh. And I love this girl. Her name's Grace Kelly. And I've seen her. Uh-huh. Yeah. I've seen her. And she's a great girl, sexfulness, and she's amazing. You know? And then, so now she's singing, she sings, and she plays and everything. So, yeah, I have fun putting together these combinations of artists that nobody thinks about. And so, so I got GW3 playing with Gail Johnson and Grace Kelly. And they're all going to jam together. Oh, wow. Wow. Yeah. That's coming up. Yeah. Michael, I thank you so much for being on my inaugural show. Thank you, thank you, thank you. I hope there will be much more. Oh, yes. I'm sure there will. And for everybody, all the viewers that are watching, Michael Paolo is the one that really inspired me in this smooth jazz and what I do and trying to keep it alive and to know about artists here on the island and elsewhere. So again, I thank you, Michael, for being on this show. Thank you. Great job, Gwen. Thank you. Say hi to your beautiful wife for me and kiss the grandbaby who I have never met, but I always see. I know. Okay. Aloha. Aloha. Thank you.