FEBRUARY/MARCH 2026 | 17 musical excellence. “I think they have been so successful because they are so inviting and warm. It’s just special when you are hanging out there. “ at’s the secret to what they do and their success. I just keep going back. I can’t stop,” he laughed. “It’s a little more broad of a jazz festival, meaning that there’s not just one style of jazz. “ ere’s a little bit of everything for di erent tastes, and that’s unique in today’s landscape of festivals. Usually, festivals tilt towards one style of jazz, but Berks features smooth jazz, more traditional jazz and beyond. It’s unique in the broad array of styles and musicians they program.” Culbertson knows more than a little bit about festival programming now, thanks to his own successful, annual Napa Valley Jazz Getaway in Napa, California, and its o shoots. e multiday, jazz, food and wine festivals have become favorite destinations for smooth jazz fans and a cionados of the ner things in life. is year, Culbertson is hosting Jazz Getaways in New Orleans (March 12-14), Napa Valley (June 10-13) and Hawaii (Oct. 8-11). Hawaii has entered the rotation of cities, replacing Chicago. It’s all part of the saxophonist’s expansion and diversification of the Getaway franchise. “Essentially, my idea is to do Napa every year as the agship event, and then move around a secondary event to di erent cities,” Culbertson explained. “We’ve done Chicago, which we are not doing now because we are doing New Orleans. e Hawaii Getaway will be a one-o , and a er that, we will announce a di erent city. “ e goal is to keep moving around. We did six years in Chicago, and I realized that was too many years there. We’ve done three in New Orleans, and that’s probably too many. We will be moving around, so everyone can have a chance. Not everyone can get out to Napa, especially East Coast people. continued on page 18 e a able 52-year-old musician, who is remarkably articulate when explaining music theory and the nuances of the music industry, quali ed his comments to eliminate any ambiguity. “I’m not saying anything bad about smooth or mainstream jazz, but I think for a while there was a desire, or even a need, to get on smooth jazz radio. For me, I was trying to create moods and vibes, so you don’t need to go crazy with chord changes or technical playing to do that. With Day Trip, I wanted something that re ected the music I’ve always admired and in uenced me—there was a unique complexity to that.” He brought in a diverse array of musicians to work on the record, including superstar percussionist Sheila E. and jazz royalty Branford Marsalis, who makes a memorable appearance on the spirited “U-Turn.” Kirk Whalum, Eric Marienthal, Marcus Miller, Mike Stern and Randy Brecker all contribute to the potent, all-star record. “I wanted to approach things a bit di erently, and everyone helped me achieve the sound I was hearing in my head. Obviously, these are some of the best musicians anywhere,” Culbertson said. “I knew Branford from jazz festivals and jammed with him before. He comes from the more traditional jazz world, and he’s a master musician and a really cool guy. We connected in New Orleans and knocked out the song in 45 minutes. It was one of those great musical experiences that translates into the song.” Culbertson toured behind the record in the second half of last year and will continue to emphasize the new material during his gigs and festival dates this year. He believes they work especially well live because of the way they were recorded. “ ese songs are easier to perform live and translate to shows because they were recorded live, as opposed to say, myTrilogy albums (2021’s Red, 2021’s Blue, 2022’s White), where there was so much programming and e ects and atmospheric sounds, so playing that music live was extremely di cult.” As one of contemporary jazz’s marquee performers, Culbertson will headline the opening celebration of the 35th Annual Boscov’s Berks Jazz Fest in March. It’s a venue he’s very familiar with, as he has been one of the festival’s featured artists throughout this century. “I don’t remember how many times we have played at Berks,” he mused. “I would say almost every one. At least 28 years. Early on, the vibe of the festival was so special and unique in terms of the all-volunteer feel, and John Ernesto being so integral in making that whole thing happen. Everyone is always so nice there. Over the years, it has been my favorite overall festival by far.” Culbertson believes the long-running success of the festival has a lot to do with the ambiance, eclectic programming and consistent I wanted to go back to my roots … that music was really challenging, and the level of musicianship was just off the charts. Photo: Daniel Ray
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