Just weeks after the release of his second CD Can’t Stop Now, Smoothviews sat down with the young sax sensation from the northeast who has been delighting audiences all summer with his fresh new sound. At only nineteen years old, he has the feel of a true veteran while playing every instrument on most of the songs. The interview was a lot of fun since he’s both a musician as well as a fellow fan of smooth jazz. I think this is a name you’ll be hearing for a long time to come. Check out one of the next generation players on the scene today.

Smoothviews (SV): How has your summer been?
Vincent Ingala (VI): Summer has been excellent. I’m very excited that this album is finally out. It’s been at least two years in the making, so I’m glad it’s finally out and people are receiving it well and you can’t ask for more than that.

SV: Well let’s talk a little bit about the new album, it’s called Can’t Stop Now and came out about the middle of June with nine new songs. You start it out with the title track. Tell us a little bit about that one since it’s beginning to get a lot of air play.
VI: I just actually found out that it got number seven on the Billboard charts so I’m really happy about that. It’s very exciting. “Can’t Stop Now” is the title track off the album, and was one of the first songs that I finished off the new album. Out of all the songs, I’d have to say that I’m most proud of that one because I can’t explain it, it’s just a sound that I wanted to end up getting that I could never achieve before. I always wanted to record a song that sounded like that. It just has all the elements to it that I can’t explain. So I’m very, very happy with the way it came out. There’s something in that song that has a special place in my heart.

SV: I can understand why. It’s very snappy and very up tempo; it’s very positive and just a great way to start the album off. Tell us a little bit about some of the artists on that song. That’s a trick question! (laughing)
VI: I did all the instruments throughout the entire album and did the same for my first album. But I had to break it up this time and was very excited to get some guest artists on there. I met Jonathan Fritzen about a year ago and we have been fans of each others music through the Internet. We ended up doing a show together in Massachusetts around Thanksgiving time. We got together soon after over the Internet and wrote that song. JT co-produced it with me and played on it with me. I was always a huge fan of his. When his Diamond’s album came out I was blown away. The funny thing about that is that we both contributed musical parts to it, (different instruments) and we were never ever face to face with each other recording it. He was in Sweden and I was in Conn.

SV: Of course we are talking about “Kimi Trick.” So you did the writing and you guys just played back and forth over the net.
VI: Yeah it was about a 50/50 write. We both contributed equally and everything on that song.

SV: Wow, it’s amazing how far technology has come these days. Another one that you feature Greg Karukus on is called “Groovin’ You.” That’s one of my favorites. Tell us a little bit about that one.
VI: “Groovin’ You” was actually a song that I had for many, many years, at least two or three. It was like one of the first things I had recorded, even when I had North End Soul. It never made it on to North End Souland I really didn’t have the hook established yet. I kind of had the chords and the groove. When I was working with Greg, I told him I had sort of this demo of a little tune I had. So I filmed the track and he came back and with this whole different melody around what I gave him. I had some background horns on there, but he constructed a whole different melody over what I had. He gave it back to me and I was just blown away. It was unbelievable. That’s the beauty of working with other artists because you have a pre-meditated idea for so long of a song you may have. You really can’t imagine hearing it another way. But when you give it to someone and they take it on with fresh ears, it really opens everything up. I don’t regret that at all. I love working with artists and hope to work with more in the future.

SV: Hard question for you, do you have a favorite on the new album so far?
VI: “Can’t Stop Now” with out a doubt. Like I said before, I’ve always wanted to have a sound or a song that sounded like that. All the elements are there, so that’s why.

SV: I understand you play a lot of guitar on the album like on “Wish You Were There.” Is that you in the background playing?
VI: Yes, that was one of my first instruments. I started when I was five or six. I really didn’t get to put much guitar on North End Soul, my first album, so I was glad to feature a little guitar work on that track.

SV: You do a great job on that one. How is this album different from the first one?
VI: Well I think they are a lot alike in respect to the songs, they have a deep groove and they’re funky. I think over all Can’t Stop Now the over all sound has matured a lot. I think that’s from another four years of me practicing trying to record and playing the sax and writing. That’s what you look for I think, is self improvement. That’s what you want to see over the years as you continue writing and playing. You can always learn more from other people and get better at your craft. So I think that’s what the album shows.

SV: Well how do you approach a song? I know you say you’re playing all the instruments there. Do you arrange your sax first and layer that or do you hear that with all of the horns at one time? How do you approach that over all?
VI: You know it’s funny I know a lot of artists have their own kind of way of working, but it’s just very random for me. There’s no formula I have. Generally speaking though I will start off with a drum track I fool around with. These computer programs have tons of drum sounds and I just start fooling around and make the beats. Usually if a beat starts sounding good, that will inspire me to add a bass line or guitar part and I will layer that down. Then usually when I have all the music elements there, that’s when I bring in the sax and try to create a hook over the groove I’ve created.

SV: Well the final product really sounds great.  I see that you have toured with Dave Koz, and Peter White. What’s it been like touring with those guys?
VI: It’s just amazing, Harvey, because a lot of them grew listening to jazz greats like John Coletrane and Miles Davis. But I, only being nineteen years old, I grew up listening to them. My parents were always listening to smooth jazz in the kitchen on Sunday mornings and little by little I would pick it up. I didn’t like it at first to be honest. It kind of grew on me over the years. I eventually picked up the sax and said great and moved on to what is called smooth jazz now and fell in love with it and made the music that sounds like that. Playing with them is like dream because I grew up listening to them. Now getting to know them not as musicians, but as people, they are incredibly kind human beings and great mentors because they share all their experiences with you and knowledge, and that only makes you that much smarter.

SV: Both of those gentlemen are very good people. I’ve known them for quite a few years, so yes, you’re in great company there. I understand you were at Spaghettini’s in California, Dave’s Alaskan Cruise and at Seabreeze this year as well. How were those events for you?
VI: Well each one of those was more incredible for me because I had dreamed of playing those, and can’t believe I made it there, especially playing in California because I’m from the east coast. For years it seemed like the other side of the world which it really is. But to be away from my home and on the other side of the country at a beautiful club like Spaghettini just passionate, passionate people who are really into the music and very supportive and really just go to bat for you. It’s just an incredible feeling. Seabreeze is another major jazz festival. There are just people coming from all over the country. It’s just amazing to see them in one place because they’re saying smooth jazz is dead, and the genera. You would never know it by the amount of people at these festivals. It’s really great to see that they are keeping the music alive. Concert ticket sales are up, and CD sales, so I don’t think it’s dying at all.

SV: That’s great, three awesome places there. Are there any tour date you’re looking forward to this year?
VI: Yes, I’ll be touring with Peter White here in Connecticut actually at a place called Infinity Hall on July 19th, and looking forward to going back to San Antonio Texas September 1st. I played there last year and there’s a big smooth jazz audience down there. They were extremely, extremely supportive. I’ve always noticed a lot of Facebook fans that belong to my page are from that area. So I recognized a lot of faces from Facebook when I met them down there. It’s just amazing, I never thought of meeting those people in person. It just becomes a small world the more you travel the more you realize we’re all connected in some way.

SV: The world continues to get smaller and smaller every day. Where did you get your training?  You’ve just shot out of the blue here in the past couple of years and you’re only nineteen years old but you’re playing like a true veteran. Where did you get all of your training for this?
VI: Well I think the music is the best training. I never took any formal lessons except for guitar for two years.  I think the best training for me comes from listening to tons and tons of music. My father was a DJ back in the disco and dance era. So I’ve been listening to all kinds of R&B, disco and funk and 50’s too. I’m a huge, huge Elvis Presley fan. I love the Beatles. So I think listening to all different types of music was the best thing because as the years pass on and you start developing as a player, you may not know it, but little by little those influences start coming out in your playing. You don’t know where they’re from but they’re there somehow.

SV: Well tell us some of your history. Did you grow up through band or music degrees? How did all of that come about?
VI: I got a baby drum kit when I was about three or four years old. My mother got tired of me banging on the pots and pans. (laughing) So they got me a little baby kit, and my grandmother got me a little starter guitar when I was around five or six. I stole my cousin’s keyboard one day when I was seven or eight years old. I just kept getting all these instruments. I couldn’t get enough of it, and still can’t. I love trying to play a new instrument. So it wasn’t until fourth or fifth grade we took serious instrumental music, which was required. In middle school I joined the chorus and the concert band. We had to obviously pick a wood wind instrument. I had always loved the sound of the saxophone. My earlier influences were listening to Sam Butera that played with Louie Prima that real, good ole rock and roll sax. I was really into that at the time. So that’s why I picked the sax. It kind of went from there. I just kept playing and had a horn in my mouth, emulating players and just working towards trying to get a sound, and I’ve never stopped since. That’s how that came to be.

SV: Well are you still in school?
VI: I graduated high school last year. I took this year off because I’ve been traveling a lot with music. I’m going to be doing some classes this year at the local community college.

SV: Well good. Continue on with your education. Well let me ask you, what has been your biggest surprise since you’ve been touring, recording and in this whole smooth jazz genre?  
VI: Going on the Dave Koz cruise to Alaska was like a dream come true. First of all it was my first cruise let alone my first music cruise. My parents were really into the genre before I was ever born. So they always wanted to try the cruise. We were on there, but it was also a music cruise. We were there with all our favorite artists. Two thousand die hard jazz fans. I got to play with Peter White, Keiko Matsui, Kirk Whalum (another idol). It was just amazing. We went to Alaska and it’s beautiful. But as far as surprises, I would say this happened recently back at Spaghettini’s, Peter White and I were talking and we decided to surprise everybody and we decided to do a surprise at my show. It’s funny because I gave him an introduction. I tricked the audience and said “Hey everybody, I just want to tell you this little story. I met this guy on the street today and said he played for many years but no one wanted to give him a chance.” But then I said “ I normally don’t usually do this but I felt very compelled to go up to this man and tell him I’m playing in a club tonight and why don’ you come out? His name is Peter.” And when I said that, he came right out on stage and the audience just went crazy. So I’m glad we were able to pull that off. It’s actually a Youtube. We were able to film it.

SV: That’s really great! Is there someone you would like to tour with that you haven’t yet?
VI: I love piano players. There’s nothing like someone playing a bare essential piano. I’d love to tour with Jonathan Fritzen. We did a few shows together. But to do an actual tour would be great. Because we’re both up and coming in the business and we’re young. We have a lot of energy to bring to the stage. I think it would be a cool, dynamic duo, something different. We need something fresh to spice up the stage. That would be great. Hopefully we can make that happen in the future.

SV: That would be a great combo. Hopefully that can happen soon. Well, in closing, is there anything you want to say to your fans out there this evening?
VI: I am very grateful and happy that everyone loves the music. I thank God every day that he’s gotten me to where I am. There are just so many great people and radio personalities. I just don’t take anything for granted. I’m just very blessed and appreciative. I’ll keep going as long as I can and making people happy with my music. That’s the ultimate thing you can do in my life.

SV: Well it sounds like you are off to a great start. You have our support here from Smoothviews and we wish you the best in the future.
VI: Harvey man, its people like you that keep us going. We wouldn’t be able to make music and find people like you, and really want to thank you for being a part of this. Thank you for giving young artists a chance because not too many people want to. You guys are able to see through that and realize that world’s got to go on and we need some new people and we’re honored to fill that roll. So again, thank you.