Although he’s lived many more years away from New Orleans than he’s lived there, Wynton Marsalis will always be associated with that storied and very musical city. Partially because his father, Ellis Marsalis, was a lifelong patriarch for jazz in the area, both as a pianist and educator. Partially because he received his first trumpet at the age of four from the local legend Al Hirt. Partially because he was the first of several younger jazz musicians to be signed by Columbia Records in the late ’70s and early ’80s – including his brother Branford, Terence Blanchard, Donald Harrison and Harry Connick, Jr. Partially because Wynton would later become a champion of both Louis Armstrong and New Orleans jazz. But that came later.

In fact, despite being raised in a jazz household and surrounded by live jazz in the neighborhoods, Wynton initially resisted the lure of that music. He and Branford preferred playing in a funk band called the Creators around town. In an interview Wynton did with Marcus Miller on one of our cruises a few years ago, he explained that jazz came later. “My father wanted me to take lessons from a trumpeter named Teddy Riley who we called Buck,” Wynton explained. “He played Louis Armstrong’s cornet when Louis Armstrong passed away. But New Orleans music didn’t interest us then. We thought we were the Crusaders. My father said, ‘Have you called Buck yet?’ I said to him, ‘No, I didn’t call Buck.” And later, ‘Did you call Buck?’ Finally, he said, ‘Man, you need to call Buck so you can learn how to play.’ I said, ‘Man, Buck can’t even read.’ My father said, ‘Son, people can either play or they can’t play. Look at you. You can read.’”

Wynton was soon listening to artists like Clifford Brown, Dizzy Gillespie and Miles Davis. “I started to wonder if I could learn how to play jazz,” he said. “Then I got a gig with some college kids playing at a club. When I was 15, they called the house and one guy, a bass player named Alvin Young, called the house and asked me, ‘Are you Ellis’s son?’ I said, “Well, yea, there are five of us.’ He said, ‘No, are you the one who plays trumpet?’ I said, ‘Yes.” He said, ‘Can you play a gig with us at this place called Tyler’s Bear Gardens?” I said, ‘What are y’all playing?’ He said, ‘You know, tunes like Chick Corea, Herbie Hancock.’ I couldn’t really play on changes at that time and I told him that I’m gonna be real sad. He said, ‘It’s all right. We’re all sad to start. You’ll get better.’” Indeed, Wynton did get better.

Ironically, it was classical music that brought him to New York City and put him on a path to international acclaim. Wynton was barely a teenager when an older musician introduced him to the virtuoso playing of classical trumpet Maurice Andre. “I said to myself, I wonder if I could learn how to play like him,” Wynton explained. “So I start practicing to play classical music off the record.” He was just 14 years old when he won a competition and performed Haydn‘s trumpet concerto with the New Orleans Philharmonic. Wynton has not forgotten his first rehearsal with that group. “When they played that first chord of the Haydn concerto, and that unbelievable big E flat chord filled the room, I got goosebumps,” he recalled. “The sound of it with 60 or so people playing it was so deep and full. All the times I’ve played concertos and played with orchestras, I always would go back to that first sound I heard.”

For Wynton, classical music offered him the opportunity to leave New Orleans. He had seen his father struggle economically as a local musician and he had also experienced racism in that city. After being admitted to the prestigious summer program at Tanglewood Music Center, Wynton applied and got into the Juilliard School. But like Miles Davis before him and Christian McBride after him, he left Juilliard to play jazz with his heroes, in Wynton’s case with Art Blakey and the Jazz Messengers. 

That apprenticeship would lead to a storied career as a bandleader and composer and eventually the founding of Jazz at Lincoln Center, which has become the premier jazz organization in the world. More on that in a later edition of Jazz Notes. But despite being exposed to the music of Louis Armstrong, Wynton would only come to appreciate his genius later. “I was 17 and had a tape of Armstrong’s music,” Wynton said. “My father said I had to learn (Armstrong’s 1938 classic) ‘Jubilee.’ At the time I was learning solos by Freddie Hubbard, complicated things. ‘Jubilee’ was simple — and I couldn’t play it. Learning to play it made me understand I really had to study his songs. So, I started learning Armstrong’s music and his style. Being from New Orleans, I was aware of his style when I was young, from marching band and all the experiences he had, but I certainly didn’t know this was something you needed to study. We didn’t know the history well enough so we felt like Lous Armstrong was old-fashioned. We had a preconceived notion of him that kept us from appreciating how significant he was then and is now.”

During the last few decades Wynton has become one of the most foremost champions not only of Armstrong but of New Orleans jazz. That’s why it’s exciting for us to present Wynton and his group in performances in his hometown during Journey of Jazz ’27.

Lee Mergner
Jazz Consultant

The post Wynton Marsalis: The Return of New Orleans’ Native Son appeared first on Signature Cruise Experiences.

In a few days, it will be Summer, as per the calendar. Depending upon where you live, the hot days may have already taken hold. But, even if your mailing address is the North Pole, Summer means jazz festivals and enjoying the great world of jazz!

At Signature Cruise Experiences, our events are heating up as well, as we close out our manifests and finalize the programming for Journey of Jazz ’25 and our ’26 programs, while assembling lineups and determining itineraries for our ’27 programs.

In this edition of Jazz Notes, our jazz consultant, Lee Mergner, will be sharing insights on the amazing lineup of vocalists on Christian McBride’s World at Sea, the return of Monty Alexander to The Jazz Cruise and an insider’s look at Kenny G, poised to perform for the first time on The Smooth Jazz Cruise ‘ 26.1 & ‘26.2..

Michael Lazaroff will bring you up to date with the lineup for Botti at Sea ’26 and will share his view as to why Take 6 may be the Band for All Seasons on our programs.

Those stories and more, including a quick update on the upcoming cruises.

Journey of Jazz ’25

Never Sailed With Us? Check This Out!

In just over 80 days, Journey of Jazz ’25 will begin its inaugural sailing. A few staterooms are available even now.

That does not mean that the cruise is not sold out. You see, the staterooms left are available only because a guest has had to cancel their reservation due to illness or other circumstances.

In fact, every stateroom has been reserved at some point in the process, some more than once. Rather than continue to promote those few staterooms, we would like to use them to invite folks who have never sailed with us to do so.

What remains available are a few Veranda and Inside Staterooms. The online Cruise Prices are intended for new guests and those prices have been lowered dramatically. Check it out at https://journeyofjazz.com/pricing/.

Everyone should sail on an SCE Cruise at least once. This is your chance.

Botti at Sea ’26

Full Lineup Coming Soon

While several headliners, Elvis Costello, Boz Scaggs, Melody Gardot, Peabo Bryson and Regina Belle have been announced, since Botti at Sea III does not sail for 15 months, Chris and Signature Cruise Experiences have been very deliberate in completing the lineup for the cruise. We have waited long enough. Sometime between July 9 and July 16, the full (and final) lineup will be announced. You will love it.

The Smooth Jazz Cruise

‘26.1 & ‘26.2 Fully Reserved; ‘26.3 Staterooms Available
Update on ’27

Both The Smooth Jazz Cruise ’26.1 & ’26.2 are fully reserved. Cancellations will continue to occur, but they are filled immediately from the vast Waitlist. Staterooms are available for The Smooth Jazz Cruise ’26.3, which sails in 450 days.

In response to questions from our guests, we will be announcing the lineup for The Smooth Jazz Cruise ’27.1 & ’27.2 (Caribbean Itinerary) no later than August 15, 2025. The Smooth Jazz Cruise ’27.3, which will have a “first time ever” itinerary, will be presented at the same time, though the lineup will not be confirmed until later.

For those wishing to mark their calendars now, here is the ’27 schedule for The Smooth Jazz Cruise:

The Smooth Jazz Cruise ‘27.1: 1.31.27 – 2.7.27
The Smooth Jazz Cruise ‘27.2:  2.7.27 – 2.14.27
The Smooth Jazz Cruise ‘27.3: 10.13.27 – 10.20.27

The Smooth Jazz Cruise ‘26.1 & ‘26.2

It’s Not Just an OG…This is Kenny G

My interview with the iconic smooth jazz saxophonist who talked about his music (and his golf)

Kenny G loves to practice. Although his distinctive saxophone sound seems almost effortless, in fact it’s the result of hours upon hours of picking up that horn every day. “To me practicing is two parts,” he explained. “One part is that you’ve got to get that saxophone and mouthpiece in your mouth. You have to. Otherwise, you lose the muscle control. It’s a physical thing. It’s hours of practicing. I’ll turn on a golf tournament and watch while I’m playing my saxophone. That way I’m going to play longer and stronger.”

The second part is all about the technique. “It’s like a gym,” he said. “You’re exercising. I play every one of my exercises in every key and I play them slow or I play them fast. I try to circular-breathe them. Sometimes I go like 15 minutes without taking my mouthpiece out of my mouth because I’m circular-breathing a bunch of exercises. When I’m done with that, it’s like I take a 5-minute break now. That’s how you work it. So that when I play live, nothing is holding me back from what I want to do with the saxophone.”

The saxophonist sees an analogy with his aforementioned favorite sport. “Jack Nicklaus always said at the driving range, you practice the shots you’re going to use when you play,” said Kenny. “You’re not just going to hit a ball a certain way because you’re at a driving range. My practice sessions are so that when I’m out playing my game, figuratively speaking, then I’m going to be able to recall all these things that are in my muscle memory and they’re going to be licks that are going to be awesome.”

Those references to golf are not the idle comments of a fan or even a weekend hacker. Kenny G is apparently a kick-ass golfer with a scratch handicap, which—for those unfamiliar with the sport’s terminology—means he generally can make par on any course. Most of us mere mortals are happy to break 100, whereas the G-force on an average day is scoring in the ’70s. Perhaps one of the reasons that his playing in both music and golf seems to be related is that he started both at nearly the same age. He was 10 when he picked up both a saxophone and a golf club. The two pursuits have been symbiotically intertwined ever since. “I played in high school on the golf team. When I went to college, I stopped playing. Then when I went on the road, I did play more. Over the years, it’s been in and out of my life a lot.”

It wasn’t until the early ’00s that he got as serious about the sport as he did about the music. “Back in 2005 or so, I decided I wanted to get good and I said, ‘I’m just going to approach it like playing the saxophone, so I need to practice.’ But how do I practice? I have to practice the right things. I have to practice correctly. I sought out teachers. Fortunately, when you have a name that people know, you can make a phone call to people that wouldn’t normally take your call. You can go get a lesson from Tiger Woods’ teacher. I got the information I needed and then I just practiced.”

He takes his clubs with him when he goes on the road and does his best to fit in a round of nine or eighteen holes between all the rigors of touring. And, when he’s home, he practices the golf almost as much as the music. 

Make no mistake, whether on the course or on stage, Kenny G is fully prepared to give it his best. We’re looking forward to welcoming him for his debut sailing on The Smooth Jazz Cruise ‘26.1 and ‘26.2.

– Lee Mergner

Christian McBride’s World at Sea

Songs of Singing

It should come as no surprise that McBride’s World at Sea is top-loaded with great vocalists, including Ledisi, Angélique Kidjo, Samara Joy, Cécile McLorin Salvant, José James and Melissa Walker. After all, our host has performed and recorded with numerous pop stars like Queen Latifah, Billie Eilish and James Brown, as well as veritable who’s who of jazz singers.

For Christian, his first experience working with singers came with one of his earliest gigs as a teenager in his hometown of Philadelphia.. He was just 15 years old when he was hired by saxophonist Joe Sudler and his Swing Machine big band that worked at just about every sort of function around town—from weddings to bar mitzvahs to private parties—albeit with a who’s who of local Philly jazz and soul cats including pianist Uri Caine, trumpeter John Swana, drummer David Gibson and saxophonist Zach Zachary.

For the young Christian, it was a crash course as part of the rhythm section for a band that featured vocalist Michelle Beckham, who could sing material from any genre. “I had to be ready for just about any tune that would be called,” he recalled. “The band’s book was huge. I had to learn so many songs and also learn how to think on my feet.”

In the ensuing years, Christian would go on to play with many great singers, and not just jazz stars like Abbey Lincoln, Betty Carter and Diana Krall, but also vocalists in R&B, soul, funk, blues and pop. So when it came to curate McBride’s World at Sea, he knew who he wanted as headliners alongside his various groups—singular vocalists who transcend category. He first met the Afro-pop legend Angélique Kidjo at the grand opening of the Muhammad Ali Center in Louisville in 2005. “She basically put her finger in my chest and said, ‘We’re going to play together,’” he laughs.“ Later we recorded one of her hit anthems – ‘Afirika.’ She’s just a force of nature.”

As one of the judges for the Sarah Vaughan International Jazz Vocal Competition, Christian got an early look at Samara Joy who took the first-place prize in 2019 and who would then go on to become one of the music’s most popular vocalists, with multiple GRAMMY® awards and sold-out tours. “What most impressed me about Samara from the beginning was her diligence in wanting to learn,” Christian explained. “That’s what you want to see in a young musician. But she’s really an old soul.”

Speaking of old souls, Cécile McLorin Salvant seems to have channeled so many jazz greats into her creative DNA, yet has emerged as one of the most important jazz singers of her generation with a voice all her own. Often paired with the gifted pianist Sullivan Fortner, Cécile creates musical tapestries that draw on so many artistic colors. Quick, name the jazz singers who have received the famous MacArthur Fellowship, familiarly known as the Genius Grant? Yep, she’s the only one.

Christian was introduced to Ledisi by Peter Williams, a noted Bay area presenter, who told him, “You have to hear this singer.”  He indeed heard her and was knocked out by her facility to sing across many genres – jazz, R&B, soul, blues, etc. – but still retains her own unique voice. “Ledisi is everything – 50% jazz, 50% R&B, 100% soul.” 

José James has been a longtime favorite of Christian’s and is yet another vocalist who can sing jazz, as well as R&B, soul and funk. From his acclaimed tribute albums to Billie Holiday and Bill Withers to his own recordings of original music, José has carved out his own path as a once-in-a-generation singer and songwriter. “Way back in 2008, Terri Pontremoli, who was then artistic director of the Detroit Jazz Festival, introduced me to José,” Christian said. “We’ve been close collaborators ever since. It’s his jazz knowledge and understanding of tradition that makes his contemporary sound so amazing.”

Before Melissa Walker was Christian’s wife, he took note of her powerful presence on the ’90s jazz scene, fueled by the Young Lions movement, with a lot of machismo and notes. “It was a time when it was all about the instrumentalists,” Christian said. “But Melissa stood out as a jazz singer who broke through all that instrumental young lion energy.”

Christian’s deep-seated love of vocalists will be on display not only on McBride’s World at Sea, but also on his next two Big Band albums on Mack Avenue, which will feature several of the aforementioned vocalists. More on that later.

– Lee Mergner

The Jazz Cruise ’26

Monty Alexander: His Big Mistake

In recent years, Monty Alexander has performed a retrospective concert spotlighting his long and esteemed career that spans both decades and eras. Coming from Jamaica, Monty might surprise you with some of his early influences that include more than jazz, such as the reggae and ska of his native country as well as calypso and even cowboy music.  

“My heroes when I was younger were Roy Rogers and Gene Autry,” Monty explained. “I was a stubborn guy, so when somebody would say, ‘You should do this, you should do that,’ I did the opposite. I never took a lesson. I had a piano teacher who would rap me on the knuckles at seven years old. And I said, ‘The hell with this.’ I went home and I had fun playing boogie-woogie songs and that’s how my career started.”

In his teen years in Kingston, Jamaica, Monty played in a band called Monty & the Cyclones.  He was just 18 years old when he came to Miami to play in what he says were bars for gangsters. “Them guys carried guns,” he says. “That’s right, that was my Juilliard.” It was there that Frank Sinatra saw him perform and brought him to New York to play at Jilly’s Saloon, a club on 49^th Street owned by Sinatra’s longtime friend and aide Jilly Rizzo. As the house pianist there in the early ‘60s, Alexander met and befriended many of his heroes, including Duke Ellington, Milt Jackson, Ray Brown and Miles Davis.

Monty would become friends with Davis, who amongst other things shared his interest in a particular sport. “It was a hell of a time,” he recalls. “I would stop at Miles’s apartment and he had signs that said, ‘Go away.’ I’d knock on the door and he’d say, ‘Who’s there?’ I’d say, ‘Monty.’ He’d say, ‘Monty, come on in.’ And I’d hang out with him. I got to know Miles really well. We both loved boxing and me and Miles went to the Garden for boxing matches.”  Davis also shared with Monty a deep appreciation for Ahmad Jamal.

Ellington in particular looms large for Monty, not just because of his musical influence, but also because he wrote a letter on Monty’s behalf to the Department of Immigration so that the pianist could remain in the U.S. Milt Jackson and Ray Brown took a young Monty under their wings and Monty would pay it forward with our friends John Clayton and Jeff Hamilton, who were both barely out of college when he took them on tour and recorded the seminal album Montreux Alexander in 1976.

“They all impacted me in such a personal way because I never went to any music school,” Monty says. “I don’t read music. If you want to look at it in a sort of silly way, I’m just one big mistake.” We’re thrilled to have that “big mistake” return to wow our guests again on The Jazz Cruise ’26. 

– Lee Mergner

David Foster: The Hitman Cruise

Take 6: The Band for All Reasons

I can name five different cruise programs of ours that have featured Take 6, one of the world’s most beloved and talented acapella singing groups/bands. Their music can fit into virtually every cruise program we produce, which is why you will see them on our cruise roster time and time again.

First of all, they are great performers. 10 GRAMMY® Awards, 10 GMA Doves and three Gold Albums confirm that tout. Second, they are so much fun to be around and they enjoy our cruises and our guests. Third, as I said above, their music makes everyone happy, regardless of the main theme genre of the program.

Last, but certainly not least, they are true professionals. Case in point was last year’s McDonald LaBelle Cruise. When Take 6 learned that Michael McDonald was performing, they jumped at the chance to be his background vocal team. Mind you, this offer was made on the ship!  

No notice. No rehearsal. No hesitation. No doubt, one of the coolest performances on our cruise stage ever. Michael McDonald, a band led by Marcus Miller and Take 6 providing additional vocals. Really? It is moments like that which make me love what we do.

Take 6 will be a featured performer on David Foster: The Hitman Cruise. Now, let me see, who else is on that cruise? Michael McDonald. Can anyone spell “reprise”?

One final confession. Take 6 is my favorite performing group of all time. If it were up to me, they would be on every cruise. Yeah, it may be up to me after all, but you get my point. The only thing better than Dave Brubeck’s “Take 5” is our Take 6!


Michael Lazaroff
Executive Director
Signature Cruise Experiences

The post Jazz Notes: 6.18.25 appeared first on Signature Cruise Experiences.

With that issue behind us, let’s examine how Marcus Miller and Gregory Porter became the co-hosts of Journey of Jazz ’25. The selection of Marcus is simple. First, Marcus has hosted many, many of the 100 or so cruises we have presented since 2001. Starting with North Sea Jazz Cruise, Marcus has hosted Playboy Jazz Cruise, Signature Jazz Cruise, Blue Note at Sea Cruise and The Smooth Jazz Cruise. I would say that he has worn a lot of hats over the years, but, in truth, some version of his porkpie hat has been more than adequate for the tasks at hand.

The addition of Gregory Porter was simple. The man embodies what is great about jazz. His warmth. His originality. His spirit. Those are the traits that make a great host. We are very fortunate to have him as part of our team.

Before we go to the three cruise name hosts, let’s talk about Emmet Cohen. Though far from a rags to riches story, Emmet began as a student performer on The Jazz Cruise, moved up to significant sideman, then on the ship as a leader which led to him co-hosting and now being the host of The Jazz Cruise and a key player on other programs. His progression was fueled by talent, dedication, and a true love and respect for jazz fans.

Chris Botti, Christian McBride and David Foster are hosts of cruise programs that bear their name. In part, this is a nod to their popularity and stature, but, more importantly, the identity and tone of their cruises is automatically conveyed when their name is mentioned. A Chris Botti cruise will have a broad range of topflight talent melded together, somewhat eclectically, to provide a week of talent that surprises and delights you every night.

Christian McBride’s cruise will be a testament to his amazing array of ensembles, each presenting jazz in their own special way. From his Big Band to Remembering Ray Brown. From Ursa Major to Inside Straight. Christian’s imprint is indelibly apparent in each of these highly successful programs. 

And David Foster’s cruise has no boundaries other than excellence at every level. When his name is mentioned, you think of GRAMMY®s, the very best vocalists in the world and more. There is no doubt that the five days of cruising with David Foster will be spectacular.

While thinking about our hosts, I do notice that they share a trait that sets them apart from others. Yes, there are others who have this trait and are not hosts of our cruises, but the inverse is also true. Not one of our hosts is void of this rare and significant aspect in their persona. There is likely no term for this ability, but I can describe it in a few words.

I have noticed over the years that it is easy to differentiate the “artists” from the “performers.” The artists seem to play for their personal artistic goals and measure their success by reviews and peer acceptance. The performers rely upon guest/audience response as their metric for success. Often the artists compromise audience satisfaction in pursuit of artistic accolades. Similarly, there are the musicians who are content with their audience profile and do less to continue their artistic growth.

Our hosts do both! First, and perhaps foremost, they are players, excellent players, and that judgment is universally shared among audiences, colleagues, and professional critics. Though confirmation of their talent from other musicians is appreciated, these musicians make sure that they use their talent to provide their guests with an amazing experience. They know that they are performing for the pleasure of others and that providing a meaningful level of entertainment, education and elation is important at all times. 

Being entertaining and accessible without diminishing one’s dedication to excellence is an incredibly difficult gauntlet to assume. The hosts of the Signature Cruise Experiences’ programs are more than up to the challenge proudly pick up that challenge every day.

By Michael Lazaroff, Executive Director of The Jazz Cruise, The Smooth Jazz Cruise, Chris Botti at Sea, Christian McBride’s World at Sea, Journey of Jazz, David Foster: The Hitman Cruise and Top Shelf Country Cruise. Feel free to express your views or pose questions to him at michael@scecruises.com

New Albums

Over the years, we’ve been fortunate to present many young musicians who at that time were largely unknown to the wider jazz audience, but whom we knew our guests would love. We’re proud that nearly all have gone on to successful careers. Two of those artists emerging as stars in the jazz world released albums this week.

Tyreek McDole’s Open Up Your Senses

There are not a lot of male jazz singers out there, so we were thrilled to have Tyreek McDole show his unique vocal gifts during The Jazz Cruise in ’24, when he performed with the Jazz House All-Stars and impressed our guests. Tyreek, who won the prestigious Sarah Vaughan International Jazz Vocal Competition in 2023, has just released his debut album, Open Up Your Senses.

Jazz scholar Will Friedwald, who also contributed liner notes to the project, referred to Tyreek as “the leading jazz voice of his generation.” And acclaimed DJ Gilles Peterson said “it is refreshing to hear a new voice that is so clearly connected to the tradition but also pushing it forward with such strong energy. This is a brilliant opening statement from someone I reckon will be around for some time.”

Isaiah J. Thompson’s
The Book of Isaiah: Modern Jazz Ministry

The pianist Isaiah J. Thompson has sailed on The Jazz Cruise a few times as a member of John Pizzarelli’s trio with whom he’s continued to tour, but his nascent career has ascended in the last year or two. For one, he was the recipient of the 2023 American Piano Awards, a prize previously won by Emmet Cohen, Sullivan Fortner and Aaron Diehl. And, in recent months, Isaiah has been touring with the renowned Jazz at Lincoln Center Orchestra, led by Wynton Marsalis.

For The Book of Isaiah: Modern Jazz Ministry, his debut on Mack Avenue, Isaiah enlisted veteran pianist Cyrus Chestnut to produce his eight-song autobiographical musical statement exploring faith, musicianship, race and humanity. 

Stateroom Availability

Cruise Programs – 2025

Cruise Programs – 2026

Signature Cruise Experiences’ Programs

Journey of Jazz ’25
Limited Time Promotional Pricing

Journey of Jazz is more than 95% reserved! The remaining staterooms consist mainly of Veranda and Inside Staterooms.

These remaining staterooms are favorably priced through June 15, 2025. Please use the Promo Code: NOW. There is no obligation to complete a reservation once you learn the prices.

*New reservations only

BOOK NOW

David Foster: The Hitman Cruise
5 Days, 5 Nights, 5 Star Experience

David Foster: The Hitman Cruise will deliver five incredible days and nights of five-star entertainment, all centered around the music and career of 16-time GRAMMY® winner David Foster. Michael McDonald, Babyface, Katharine McPhee and other preeminent talents will join us aboard. 

Open Booking started last week and staterooms are already moving fast! Act soon to reserve your stateroom of choice. 

BOOK NOW

Christian McBride’s World at Sea
Limited Time Promotional Pricing

Open Booking has begun! Special pricing available for a limited time on Ocean View & Inside Staterooms. Use Promo Code CMW when you make your reservation! *New reservations only

BOOK NOW

The Jazz Cruise ’26
is in Open booking

The Jazz Cruise ’26 is in Open Booking!
 
Anyone may now reserve any available stateroom. This program always hits “fully reserved.” The only question is when! 

BOOK NOW

The Smooth Jazz Cruise ‘26.1 & 26.2 are Fully Reserved

Of course, you may join the Waitlist. Or, if you’d prefer to sail the West Coast this fall (two novel concepts for this program), consider joining us on The Smooth Jazz Cruise ‘26.3. 

JOIN WAITLIST

Top Shelf Country Cruise
is now in Open Booking

With premium talent like Keith Urban, Lee Brice, Scotty McCreery, Parmalee, LeAnn Rimes, Thelma & James and Kassi Ashton, Top Shelf Country Cruise earns its title as the First-Class Country Music Cruise!

Reserve your stateroom today!

BOOK NOW

The Smooth Jazz Cruise ‘26.3
is in Open Booking

For the first time in many years, The Smooth Jazz Cruise will sail on the West Coast! 

The Smooth Jazz Cruise ‘26.3 is in Open Booking and staterooms are more than 78% reserved.

Reserve your stateroom today!

BOOK NOW

Botti at Sea ’26
is in Open Booking

We’re thrilled to be able to announce that Boz Scaggs, Elvis Costello, Melody Gardot and Peabo Bryson will be onboard Botti at Sea ’26 in Fall 2026. 

Reserve your stateroom today! 

BOOK NOW

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