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Warren Wolf's History of the Vibraphone pays tribute to 11 legendary vibe players, including Lionel Hampton, Gary Burton, and Dave Samuels, presenting a deep dive into the vibraphone's jazz legacy. Starting in classical music under his vibraphonist father's guidance, Wolf trained on vibraphone, marimba, xylophone, drums, and piano from a young age in Baltimore. Influenced by his dad's extensive jazz record collection and the local organ trio jazz scene, he eventually studied under Dave Samuels at Berklee, where he later taught. Wolf's rich blend of early classical rigor and exposure to jazz and R&B shaped his style, which now spans swing to fusion. In History of the Vibraphone, Wolf performs each track as an homage to original artists, joined by saxophonist Tim Green, pianist Alex Brown, bassist Vicente Archer, and drummer Carroll “CV” Dashiell III. Standout selections like Gary Burton's “Captain Señor Mouse” and Samuels's “Spring High” reflect Wolf's influences and his mission to celebrate lesser-known vibes players. Currently a professor at Peabody Conservatory, Wolf remains dedicated to jazz education. Baltimore's thriving scene is central to his work, with venues like Keystone Korner and An Die Musik hosting vibrant jam sessions. Wolf's upcoming tour hints at a possible sequel to this record, potentially honoring Red Norvo, Tito Puente, and Mike Mainieri. https://njjs.org/ https://www.warrenwolf.com/ History of the Vibraphone https://open.spotify.com/album/0raNJZzMHYyOr9R398NJ3E?si=CkIRJL2-Rm2iFwruCESL-Q
The Grammy-nominated vocal ensemble Sweet Honey in the Rock celebrated their 50-year anniversary in November. Their current roster includes vocalists Carol Maillard, Louise Robinson, Aisha Kahlil, Nitanju Bolade Casel, and Navasha Daya, with Romeir Mendez on upright acoustic/electric bass, and American Sign Language interpreter, Barbara Hunt. Carol Maillard, a founding member of Sweet Honey in the Rock, joins Midday to look ahead to weekend performance Saturday and Sunday at the Keystone Korner Jazz Club in Baltimore.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.
Navasha Daya is a Baltimore-based performing artist, songwriter and activist who has earned international acclaim. She has performed internationally, sharing stages with the likes of Erykah Badu, Joan Baez and Common. She is also an activist and organizer. She cofounded the Healing & Performing Arts of the Youth Resiliency Institute, and she is also the co-director of the Cherry Hill Arts & Music Waterfront Festival in South Baltimore. Navasha Daya is set to appear Sunday, May 19, at Baltimore's Keystone Korner, celebrating the birthdays of Ella Fitzgerald and Duke Ellington. (Photo Courtesy of Daya World, LLC photographed by Jazzystudios)Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.
Hace 60 años que se publicó el disco 'Getz/Gilberto' aunque se había grabado un año antes. El 18 de marzo de 1963, en Nueva York, el saxofonista de jazz Stan Getz y el brasileño João Gilberto entraban en un estudio para grabar 'The girl from Ipanema', 'Doralice', 'Para machucar meu coração', 'Desafinado', 'Corcovado', 'Só danço samba', 'O grande amor' y 'Vivo sonhando'. Getz y João se volverían a encontrar, en mayo de 1976 en el Keystone Korner de San Francisco, para unos pases de los que escuchamos 'Águas de março', 'Retrato em branco e preto', 'Eu vim da Bahia' y 'É preciso perdoar'.Escuchar audio
A special encore edition of Midday. Live at WTMD, The Swingles. One of the most acclaimed virtuosic vocal ensembles in the world. They are currently touring the US and making a stop at Baltimore's Keystone Korner. On today's show hear some of their amazing arrangements of folk, pop, jazz, musical theater tunes, and learn more about their musical history.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.
Midday goes live at WTMD with The Swingles, one of the most acclaimed virtuosic vocal ensembles in the world. They are currently touring the US and making a stop at Baltimore's Keystone Korner. On today's show hear some of their amazing arrangements of folk, pop, jazz, musical theater tunes, and learn more about their musical history.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.
"Tedeschi Trucks Band: Rocking the Garden Party with Warren Haynes and Trey Anastasio"Larry Mishkin discusses various topics related to marijuana law, culture, and music. He mentions updates on Tedeschi Trucks Band shows, including performances with Warren Haynes and Trey Anastasio. Larry also delves into the history of the song "It Takes a Lot to Laugh, It Takes a Train to Cry," originally written by Bob Dylan, and how it marked a pivotal moment in the transition to electric music. He discusses the Dead's cover of the song and its significance, along with other Dylan covers. Additionally, Larry touches on the Jerry Garcia and Merle Saunders performance from 50 years ago, featuring songs like "Finders Keepers" and "The Harder They Come." He highlights the guest musicians and the significance of these performances within the context of rock and roll history. Finally, he shares insights on Jerry Garcia's cover of "That's All Right, Mama" and its historical significance in the development of rock and roll music..Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast Going with a Garcia/Saunders show:October 2, 1973 (50 years ago)Winterland, S.F.Garcia & Saunders 1973 Winterland SF KSAN : KSAN : Free Download, Borrow, and Streaming : Internet ArchiveBand members:Jerry – guitar and vocalsMerle – KeyboardJohn Kahn – bassBill Vitt – drumsGuests:Sara Fulcher – vocalsMatt Kelly – harmonicaRoger “Jellyroll” Troy – bass, vocalsMartin Fierro – saxBill Atwood - trumpet INTRO: It Takes A Lot To Laugh It Takes A Train To Cry (this one is really from 10.12.1973 at Keystone because the Archive.org show is missing this song as the opener and this is the one closes in date I could find) Jerry Garcia/Merl Saunders • It Takes A Lot To Laugh, It Takes A Train To Cry 10/12/73 Fixed SBD - YouTube 7:35 – 9:09 "It Takes a Lot to Laugh, It Takes a Train to Cry" is a song written by Bob Dylan, that was originally released on his album Highway 61 Revisited released Aug. 30, 1965. It was recorded barely a month earlier on July 29, 1965. The song was also included on an early, European Dylan compilation album entitled Bob Dylan's Greatest Hits 2.An earlier, alternate version of the song has been released, in different takes, beginning with the appearance of one take on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991.Covered by Steven Stills, Leon Russell, Marianne Faithful, Taj Mahal, Paul Westerberg, Robyn Hitchcock and Lucinda Williams Dylan's live debut of the song came as part of Dylan's controversial electric set, backed by members of The Paul Butterfield Blues Band and Al Kooper, at the Newport Folk Festival on July 25, 1965, after "Maggie's Farm".[2][4][5][7] After being heckled during the electric set, and especially during "It Takes a Lot to Laugh, It Takes a Train to Cry", by fans who wanted Dylan to play acoustic folk music, Dylan returned to play acoustic versions of "Mr. Tambourine Man" and "It's All Over Now, Baby Blue".[4][7] The Newport performance of "It Takes a Lot to Laugh, It Takes a Train to Cry" features jamming by guitarist Bloomfield and organist Al Kooper.[4] Dylan played it live as part of his set in the August 1971 Concert for Bangladesh. This version was included in the concert film and Grammy Award-winning album of the same title.[2]A. Dead played it 7 times:first time on June 10, 1973 at RFK Stadium (D.C.) with Allman Brothersfive times in 1991 and once on March 16, 1992 at the Spectrum, Philly Released on Dead album: Postcards of the Hanging (March, 2002) B. Jerry's various bands played it about 60 times,first time on January 15, 1972 at Keystone Korner in S.F. w/Merle SaundersLast time by JGB: March 4, 1995 at the Warfield in S.F. SHOW #1: Finders Keepers Track No. 1 3:00 – 4:13 Finders Keepers was performed over 20 times by Jerry Garcia with the Garcia/Saunders band, Legion of Mary and Reconstruction between 1973 and 1979.On the 1973 Garcia/Saunders Keystone double album the song is called Finders Keepers and is correctly credited to Johnston and Bowen. The song was written by General Johnson, a member of the group Chairmen Of The Board, and Jeffrey Bowen, the producer of the Chairmen Of The Board recording. The song was originally released by the Chairmen Of The Board as a single with a vocal version of the song on the A side and an instrumental version on the B-side. Chairmen of the Board is an American-Canadian, Detroit, Michigan-based soul musicgroup, who saw their greatest commercial success in the 1970s. SHOW #2: The Harder They Come Track No. 2 1:05 – 2:18 "The Harder They Come" is a reggae song by the Jamaican singer Jimmy Cliff. It was first recorded for the soundtrack of the 1972 movie of the same name, in which it is supposed to have been written by the film's main character, Ivanhoe Martin. In 1969, singer Jimmy Cliff met film director Perry Henzell, who was intending to make a film about a musician who turned to crime. Cliff agreed to take the lead role, and the film was shot over the next two years. During filming, Cliff came up with the line "the harder they come". Henzell thought it would make a good title for the film, and asked Cliff to write and record a theme song for it.[2]The actual recording of the track, at Dynamic Sounds (Muscle Shoals, 1971), was filmed for inclusion in the movie. Cliff wrote the melody, and improvised the lyrics. The musicians were Gladstone Anderson (piano), Winston Wright (organ), Winston Grennan (drums), Linford "Hux" Brown (lead guitar), Ranford "Ranny Bop" Williams (rhythm guitar), and Clifton "Jackie" Jackson (bass).[2]Reggae track recorded in Jamaica in 1972 Covered by: JGB (Kean College 2.2.80), Cher, Keith Richards (b-side to his single, Run Rudolph Run 1978), Rancid, Joe Strummer, Wayne Kramer, moe., Willie Nelson, Guster, Widespread Panic and many others The Harder They Come was performed over 350 times by Jerry Garcia/Merl Saunders groups and by the Jerry Garcia Band between 1973 and 1995. The lyrics and music for the song are included in the Jerry Garcia Songbook. Also played by Phil Lesh & Friends, Billy & The Kids, Voodoo Dead and Bob Weir with Soul Ska. SHOW #3: That's All Right Mama Track No. 3 2:20 – 3:59 Featuring: Bill Atwood on Trumpet and Sara Fulcher on vocals The song was written by Arthur "Big Boy" Crudup, and originally recorded by him in Chicago on September 6, 1946, as "That's All Right". Some of the lyrics are traditional blues verses first recorded by Blind Lemon Jefferson in 1926.[5][6] Crudup's recording was released as a single in 1947 on RCA Victor 20–2205, but was less successful than some of his previous recordings. One of the experts who consider the Crudup recording to be the "first rock and roll song" is Southeastern Louisiana University rock historian Joseph Burns, who adds that "this song could contain the first ever guitar solo break". Elvis Presley's version was recorded in July 1954.[10] While recording an album as part of a trio called The Blue Moon Boys, the band played "That's All Right" in between takes, and the uptempo style characteristic of rockabilly caught the attention of studio executive Sam Phillips, who asked for a refinement of the interpretation that was later recorded.[11] Its catalogue number was Sun 209.[12] The song was released under its original title, "That's All Right", and names the performers as Elvis Presley, Scotty, and Bill.[13] The Presley version was not identical to Crudup's since it was "at least twice as fast as the original".[2] His version is considered by some music critics as one of the records that was the first in the rock n'roll genre. A 2004 article in The Guardian argues that rather than Presley's version being one of the first records of rock and roll, it was simply one of "the first white artists' interpretations of a sound already well-established by black musicians almost a decade before [...] a raucous, driving, unnamed variant of rhythm and blues". Covered by the Grateful Dead once with allman Brothers on June 10, 1973 (RFK great version with Jerry and Dickey Betts trading off lead licks) and once om April 18, 1986 at Berkeley Community TheaterPlayed regularly by JGB and other versions from the ‘70's until the end in 1995. SHOW #4: Second That Emotion Track No. 5 7:00 – 8:29 "I Second That Emotion" is a 1967 song written by Smokey Robinson and Al Cleveland. First charting as a hit for Smokey Robinson and the Miracles on the Tamla/Motown label in 1967, "I Second That Emotion" was later a hit single for the group duet Diana Ross & the Supremes and The Temptations, also on the Motown label. One morning in 1967, Robinson and Cleveland were shopping at Hudson's, a Detroit department store. Robinson found a set of pearls for his wife, Claudette. "They're beautiful." he said to the salesperson. "I sure hope she likes them." Cleveland then added "I second that emotion." Both songwriters laughed at Cleveland's malapropism; he had meant to say "I second that motion." The two were immediately inspired to write a song using the incorrect phrase. Was performed a handful of times (7) by the Grateful Dead in April, 1971First: April 8, 1971 at The Music Hall, BostonLast: April 29, 1971 at Fillmore East NYC Part of Jerry's bands repertoire between 1973 and 1994 (played almost 200 times) OUTRO: Sweet Little Angel Track #7 2:20 – 3:59 Written by BB King and Jules Taub in September, 1956 Some say it is an adaption of Black Angel Blues written by Lucille Bogan in December, 1930 In 1956, B.B. King recorded "Sweet Little Angel" (RPM Records 468). According to King, "I got the idea for 'Sweet Little Angel' from Robert Nighthawk's 'Sweet Black Angel', though I later discovered that the song had been recorded by someone before Nighthawk. At the time 'black' was not a popular word, as it is now. Instead of using the old title, I changed it to 'Sweet Little Angel'—and that was a pretty big record for me".[6] King's version, which included a horn section, was a stylistic shift for the song and it became a hit, reaching number eight on the Billboard R&B chart.[7] In 1957, he re-recorded "Sweet Little Angel" for his first album Singin' the Blues. Both versions prominently feature B.B. King's guitar work, with his note-bends "sounding almost like a lap steel in places.”
My next guest is the iconic singer, actress and television star Freda Payne. She is appearing this weekend at Keystone Korner, the terrific jazz club in the Harbor East neighborhood of Baltimore. Freda Payne had her first gold record hit in 1970 with Band of Gold. She has appeared on stage, in films, and as a host on a TV show. And she has worked with a who's who of performers including Duke Ellington, Bob Hope, Frank Sinatra, Sammy Davis Jr., Pearl Bailey, Omar Sharif, Quincy Jones, Liza Minnelli, and Sarah Vaughn, to name just a few.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.
Legendary promoter of classic jazz and the current curator at Baltimore's Keystone Korner talks about the genius and unpredictability of Stan Getz
The great jazz guitarist and vocalist John Pizzarelli released his first album 40 years ago. It was called I'm Hip (Please Don't Tell My Father). His father, by the way, was the great jazz guitarist Bucky Pizzarelli, who passed away in 2020. Since the release of that album, John has toured the world and established himself as one of the great interpreters of the Great American Songbook. He's appearing at Keystone Korner here in Baltimore this weekend, and his sets will feature music from his latest release: Stage and Screen, which celebrates great music from Broadway and Hollywood.See omnystudio.com/listener for privacy information.
It's Midday on the Arts today, and we open the hour with the great jazz vocalist, Tierney Sutton, singing Diamonds are a Girl's Best Friend from her ambitious 19-track CD, Screenplay, a 2019 collection of great songs written for movies. Sutton has been nominated for a Grammy for Best Jazz Vocal Album 8 times, and a 9th time for arranging — that's one for every CD she has released over the last 10 years. And for more than two decades, she's been touring and recording with the Tierney Sutton Band, currently featuring Christian Jacob on piano, Trey Henry on bass and CV Dashiell on drums. Tierney Sutton and her band will be appearing this Saturday, March 25 and Sunday, March 26 at Baltimore's wonderful jazz club, Keystone Korner in Harbor East. But she joins us now, right here in Studio A... Tierney Sutton's performances at Keystone Korner are slated for 7 and 9:30pm Saturday night and again on Sunday at 5 and 7pm. Click the club link for more information.See omnystudio.com/listener for privacy information.
Los días 18 y 19 de marzo de 1963 Stan Getz y João Gilberto grabaron en Nueva York el célebre 'Getz/Gilberto' acompañados por Astrud Gilberto y Antonio Carlos Jobim y con las canciones 'The girl from Ipanema', 'Doralice', 'Pra machucar meu coração', 'Desafinado', 'Corcovado', 'Só danço samba', 'O grande amor' y 'Vivo sonhando'. Y en mayo de 1976, Getz y João volvieron a encontrarse en el club Keystone Korner de San Francisco para unas actuaciones de las que escuchamos 'É preciso perdoar', 'Águas de março', 'Retrato em branco e preto' y 'Chega de saudade'. Escuchar audio
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Tom's next guest is a young singer from Los Angeles who is taking the jazz world by storm. Her name is Tawanda Suessbrich-Joaquim, who performs as Tawanda. Tawanda is the co-winner of the 2021 Sarah Vaughan International Jazz Vocal Competition. She's singing a set here in Baltimore at Keystone Korner on Wednesday night, and she joins us here on Midday today on Zoom, from Los Angeles… Tawanda's new album is called Smile. She will be performing one set only on Wednesday night at 7:30 at Keystone Korner. Click here for ticketing info.See omnystudio.com/listener for privacy information.
Mike talks about his recent trip to Keystone Korner to see organist Joey DeFrancesco, who sadly passed away shortly after his performance.
Joining Tom now is the great singer, Maria Muldaur. Her career spans more than 56 years, 43 solo albums, six Grammy nominations and countless world tours. It was in 1974, when she cemented her place in music history with this mega-hit, "Midnight at the Oasis. "Maria Muldaur will be appearing tonight at Keystone Korner in Baltimore, and she joins us now on the phone…See omnystudio.com/listener for privacy information.
In an overdue dispatch from the Fortress of Proopitude, Greg and Jennifer converse on Ketanji Brown Jackson, Kelsie Whitmore and The Keystone Korner. See omnystudio.com/listener for privacy information.
"Remember that our music is the most exciting and complex, and it puts you to dance, not to sleep!", Mr. Palmieri declared! Last week I had the greatest honor of meeting the incredible Maestro, musical genius and cultural icon, Eddie Palmieri, ahead of his performance at Keystone Korner. Words cannot describe how incredibly honored I was to have the privilege of meeting him. Not only did he share so many precious stories and memories, Mr. Palmieri spoke of how Aristotle influenced his work, the importance of socially conscious music and his studies with Bob Bianco. More than anything, I was truly honored by his kind words of encouragement. This was a truly unforgettable experience for me! Listen to this incredible conversation with a true musical genius! Special words of thanks to Aurora Flores and Eddie Palmieri II for making this happen! Mi Congo Te Llama Medley Lucumi Macumba Voodoo 1978 Yo Soy Mulato Mi Luz Mayor 2018 Colombia Te Canto Lucumi Macumba Voodoo 1978 Justicia Justicia 1969 Idle Hands Harlem River Drive Mi Mambo Conga (Mozambique) Mambo con Conga is Mozambique 1964 --- Send in a voice message: https://anchor.fm/anani-kaike/message
Jessica Williams was a unique artist with an evocative touch at the piano. She passed away March 12 at the age of 73. She was a restless person who was born in Baltimore, studied classical piano, and built her career as house pianist at Keystone Korner in San Francisco where she backed many different international soloists including Dexter Gordon and Stan Getz.
Patreon: https://www.patreon.com/somethingcame... Watch Ebban and Ephraim Dorsey on Youtube: "The Harbor Suite" by Carl Grubbs with Ebban & Ephraim Dorsey at Keystone Korner Baltimore - YouTube Black Narcissist - Ebban and Ephraim Dorsey Quintet Live at Keystone Korner - YouTube I pulled the 2 solos off of the Clarence Ward 3rd & Dat Feel Good Show at the Keystone Korner - the full show is listed below Clarence Ward III & Dat Feel Good w/ Ephraim & Ebban Dorsey - YouTube Subscribe to SOMETHING came from Baltimore (It's a music interview podcast about Jazz/Blue s/R&B and not really about Baltimore) Also, Subscribe to The Beatles Come To America (limited-run with Brooke Halpin, we review all the Beatles US Albums) To Subscribe go to: Youtube, Itunes, Anchor, Spotify, Amazon Podcasts, Google Podcast, Overcast, Breaker, Castbox, Radio Public, Podbay, Stitcher....and more! Contacts: Email: somethingcamefrombaltimore@gmail.com Twitter: something came from baltimore (@tom_gouker) / Twitter Instagram: Something Came From Baltimore (@something.came.from.baltimore) TheBocX.com - SOMETHING came from Baltimore THE SHOW INFO: Something came from Baltimore is a Podcast and a 30-minute radio show and can be heard weekly (Thursday's at 7pm EST) it's called, SOMETHING came from Baltimore THE SHOW. Check out the Station: Jazz Music Radio - The BocX Streaming Jazzy Music Spotify Playlist: Spotify Playlist: Here is a list of my favorite shows from 2021....Best Songs of 2021! https://open.spotify.com/playlist/16C... Support Info: THE LISTENER SUPPORT BUTTON IN THE SHOW NOTES IS ACTIVE. Thank you so much. It's a lot of work! Patreon: https://www.patreon.com/somethingcame... --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support
It's the 85th episode of the Truth About Vintage Amps featuring special guest, Calvin McCormick (Hiwatt, @ampfreek)! This week's episode is sponsored by Jupiter Condenser Co., Amplified Parts and Grez Guitars. Support us on Patreon.com for added content and the occasional surprise. Download the 2021 TAVA Cookbook here. Some of the topics discussed this week: 1:59 El Pato hot sauce in a bottle 3:13 Nothing but cans: Skip's recent meal 9:58 Update on the amp that lost the majority of its volume during shipping (ep. 84) 11:24 You think this gig is easy, part 7: A Fender Reverb unit with nearly every part replaced 17:42 The tone of the Fender Twins in the Beatles' 'Get Back' documentary 23:41 Special guest: Calvin McCormick (McCormick Analog / Hiwatt / @ampfreek): Meeting Hy Bloom, founder of Soundmaster; Hiwatt today; a new Hiwatt fuzz pedal announcement, Grand Funk Railroad, Garnet Herzog, MTI tube stompboxes and lots more. 1:03:23 Laurens Hammond, inventor of the Hammond organ 1:08:02 Fender 5F2 vs 5F2A fuse specification 1:11:37 The input pre-amp on tube PAs, 12AX7 versus 12AT7 1:14:58 What makes a good steel amp; Steelin' Home by Noel Boggs (YouTube link) 1:22:12 Reforming NOS capacitor cans: Trash or Treasure? 1:24:39 Fitting a reverb tank with space constraints, cooked salsa 1:27:53 Skip needs an Ampeg Gemini II trem module (TM-1), running an old rotary phone into a computer 1:29:45 Skip's new name 1:30:38 Adding a cut control to a single-ended Vox style amp; cheese dip; Pat Martino's 'Live at Keystone Korner' 1:39:47 Replacing the V1 on a two 12AX7, two 6V6 amp to a 12AU7 Hosted by amp tech Skip Simmons. Co-hosted and produced by the Fretboard Journal's Jason Verlinde. Email or send us a voice memo to: podcast@fretboardjournal.com or leave us a voicemail or text at 509-557-0848. And don't forget to share the show with friends.
Late reed player talks about the venerable Berkeley jazz club which has since resurfaced in Baltimore.
I had a wonderful conversation with Italian-born, Baltimore-based jazz vocalistIrene Jalenti. I witnessed her LIVE in concert at Keystone Korner in Baltimore, MD. on October 21, 2021, and she is a dynamic, soulful, and passionate performer and composer who brought the art of storytelling on stage with her performance. Her naturally deep tone and an impressively wide range is just incredible!
Mike talks about seeing Monty Alexander perform at Keystone Korner in Baltimore.
Tom's next guest is the internationally acclaimed jazz singer, Dee Dee Bridgewater. She's won three Grammy Awards, and a Tony Award. She hosted a show called JazzSet for 23 years on NPR. She is a UN Goodwill Ambassador, and in 2017 was named an NEA Jazz Master. She's just released a new CD called Memphis: Yes, I'm Ready. And she's appearing now in Baltimore at Todd Barkan's Keystone Kornerjazz club in Harbor East, with the legendary jazz pianist Bill Charlap. You can catch them at 7:30 and 10:00 tonight, tomorrow night and Saturday night, live at the club or streaming online. For more info and tickets, follow the Keystone link. Dee Dee Bridgewater joins Tom on the line from Baltimore. In the open and close today, we hear a bit of Ms. Bridgewater singing, respectively, Lullaby of Birdland, and Hound Dog, from the new Memphis, Yes I'm Ready CD. See omnystudio.com/listener for privacy information.
Episode 13: HEY BALTIMORE! SUPPORT LOCAL ARTISTS AND LOCAL MUSIC VENUES! SAY "NO" TO TICKETMASTER! This episode was recorded at the Keystone Korner. Website: https://www.keystonekornerbaltimore.com/ Facebook: https://www.facebook.com/keystonekornerbaltimore Hire Rufus Roundtree & Da Bmore Brass Factory Facebook: https://www.facebook.com/RufusBmore410 Band Members Rufus Roundtree - Horns Clarence Ward III - Multi-Instrumentalist Teddy Grant - Drums Zenia McPherson - Vocals Dwayne Heard II - Bass Gordy Groove - Electric Guitar Carmen Cameron - Vocals --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support
Mike discusses his recent trip to Keystone Korner in Baltimore to see jazz legend Kenny Garrett.
We open this segment with the music of jazz pianist Bill Charlap, recorded live at Keystone Korner, one of the great jazz clubs in the country, which is right here in Baltimore's Harbor East neighborhood. The proprietor of Keystone Korner is Todd Barkan. He was the 2018 recipient of the distinguished NEA Jazz Master award, and for decades, he's been revered as one of the great jazz impresarios in the country. Todd has a saying: “If you take care of the music, the music will take care of you.” Taking care of the music, and taking care of his club has been tough during the pandemic. But Keystone is back with live performances, and Todd Barkan is back here on Midday… We close out with the music of the Kenny Barron Trio, who are performing live at Keystone Korner this weekend. More info here. See omnystudio.com/listener for privacy information.
Hoy os dejaremos en un bonito y soleado rincón de este tejado el primer directo del saxofonista cubano, Paquito D'Rivera, nada menos que Live at the Keystone Korner del año 1983. TRACKS 1-Havana/New York (D'Rivera) 2-Song for Maura (D'Rivera) 3-Red on Red (Roditi) 4-Deja Vú (Franzetti) 5-Zanaith (Chucho Valdés) 6-Estamos Ahí (Einhorn, Ferreira) CREDITS Paquito D'Rivera (Alto Sax) Claudio Roditi (Trumpet, Valve Trombone) Calos Franzetti (Keyboards) Steve Bailey (Acoustic and electric bass) Ignacio Berroa (Drums) Daniel Ponce (Percussion, congas) Puedes escuchar el disco completo aquí https://open.spotify.com/album/3pKgTivW88n2VyJK6NwQ9X?si=-55zhhKxQeOj8i1jDf1-Ig
El 18 de marzo de 1963, Stan Getz y João Gilberto entraron en un estudio de Nueva York para grabar su disco 'Getz/Gilberto'. Lo escuchamos entero: 'The girl from Ipanema', 'Doralice', 'Pra machucar meu coração', 'Desafinado', 'Corcovado', 'Só danço samba', 'O grande amor' y 'Vivo sonhando'. En mayo de 1976, los dos volvieron a encontrarse para unas actuaciones en el club Keystone Korner de San Francisco: 'É preciso perdoar', 'Águas de março', 'Samba da minha terra', 'Chega de saudade' y 'Retrato em branco e preto'. Escuchar audio
It's Keystone Korner time on the show as Van, Brian, and Ron take a deep and disgusting look right into the bowels of second base. They'll analyze the players via ADP and give you their booms, busts, and other b-word rankings as well! And if you thought you were going to escape another Van rant about Trevor Bauer, you thought wrong! They talk Bauer, Marcell Ozuna, and MLBs ball shenanigans on this jam-packed episode.
Tom's guest is singer Freda Payne. Some might know Ms. Payne for the 1970 Holland-Dozier-Holland song she recorded called Band of Gold. It was a huge, international top-40 hit single for the then-28 year-old singer. Payne had a solid run in the R&B genre, with another gold-record hit two years later, an anti-Vietnam War song called Bring the Boys Home. Despite her success in the 1970s with R&B, the Detroit-born singer’s first love, and the abiding thread in her diverse career, has always been jazz. She grew up listening to Ella Fitzgerald and Billie Holiday. In the early 60s, well before her pop hits, she began working in New York with artists like Quincy Jones. At the age of 22, her debut album – After the Lights Go Down Low and Much More! (a jazz recording including songs by Duke Ellington and other standards) -- was released on the prestigious Impulse label. She has since recorded numerous jazz albums and toured the international jazz circuit. Her most recent release was the 2014 CD, Come Back to Me Love. She says another CD is in the works. Freda Payne’s career has taken her from the concert stage to Broadway, to movies and TV, and this weekend, it is taking her to Baltimore’s Keystone Korner for a three-night gig, starting tonight at 7:30. For ticketing and streaming information, click here. Freda Payne joins us on Zoom…
My guest today is a torch bearer of melodic improvisation. A master of melodies, chromatic modal patterns of improvisation that open space for drummers like Eddie Marshall and Joe Chambers who say "Hello to the Wind." My guest came of age under the iron man sweetheart Eric Dolphy when he went by the more formal Robert. But his endearing nature, positive path of constant creation created love amongst his bandmates so soon he was known as Bobby. His impact on the east coast jazz scene was heavy. He showed up and Rudy Van Gelders studio with Bob Cranshaw and Al Harewood playing solos on Grant Green records that my generation perseveration over. The crisp Angular feeling of the music from hard bop to post bop with a mix of avant garde more rhythm based solos. More rooted in the blues. The music was evolving organically and my guest was a Sage and spirit to many young jazz fanatics like Jack Fulks and session drummer Jim Keltner who would sit in the front row of some swampy bar to watch my guest and Charles Lloyd give literal interpretations of themselves with a little Milt Jackson and Jimmy Lunceford mixed in. My show is about lineage. Tracing the roots of music on this continent to its origins. The birthplace of modern jazz is The Americas and it spread out to the west coast to clubs like The Keystone Korner where my other guest found a home for himself nestled in between a police station and the Inflated Tear of "Change" sung so poignantly by Eugene McDaniels in the opening clip. My guests humbleness and groundedness is what makes him a transcendent figure much like my other guest who played keyboards for awhile and than became an impresario running the most elastic, flexible, swinging jazz club in the Bay Area. It was the greatest because he diversified the music, it felt like a home with the cornbread and the continual appearances from my guest and Harold Land, Sonship Woody Theus Woody Shaw and thousands of other Eulipian characters. Both my guests have a deep affection for one another and it runs decades deep as they have taken the roller coaster of life which they are still on. Keeping the world safe for bebop, re-bop and all other contiguous orbital love Bobby Hutcherson and Todd Barkan, welcome to the JFS. --- Support this podcast: https://anchor.fm/jake-feinberg/support
One of the 4Ls of the JFS is Lineage. The idea of a family tree, where unique sounds originated from and where the sound spectrum lives in today's electronica world. The father of Bluegrass was Bill Monroe, John Lee Hooker Champion Jack Dupree, Howlin Wolf and Muddy Waters, Michael Bloomfield, Nick Gravenites were fathers and sons somewhere in that mix. Sam Cooke and Ray Charles slow cooked soul music was real rhythm and blues along with Chuck Berry who could play in 7/4 it didn't bother him. My guest today is someone who continues the legacy left by Jerry Garcia, Lowell George, Duane Allman and Jimi Hendrix. In unique sound yes, a sound he procured from hours of practice and understanding the rudiments. Once you do that you can play music where you can leave your physical body and feel that love. A love that Wayne Shorter describes as going to the store to get your grandma some milk. My guest came out of the deluge of psychedelia and improvisational live music. From the Both And to the Keystone Korner to modern day Terrapin Crossroads my guest marinates in a sea of live improvisation. It is all the more impressive that he is able to continue to tour in a climate such as this. There are no Bill Graham's or Ralph Gleasons today. How to keep a band together and hone your sound? How to trust and get that feeling that Wayne's talking about when your Grandma asks you to go to the store to get you some milk. My guest will be performing shows at Sweetwater Dec 5th-8th. Both electric and acoustic. --- Support this podcast: https://anchor.fm/jake-feinberg/support
Occasionally on the Journey I wonder why I pay homage to those players who I never met, or saw play. To know authenticity when you never experienced it. I have interviewed Ira Gitler, Herb Wong and Nat Hentoff on this journey. Guys who produced records, wrote linear notes and filled in the human with the being. I interviewed Fred Taylor who among other things ran the Jazz Workshop and Paul's Mall which was a duel musical outlet for psychedelia and jazz. And now we get to North Beach circa '72. A gentlemen by the name of Todd Barkan takes over a club next to the police station called it the Keystone Korner. 750 villeo street... He creates a club that provided accessibility to great leaders for anyone who appreciated authenticity and love. He was a musical match maker who cared about the musicians idiosyncrasies and how to fit personalities and make them work. He charged $3.00 during the week to see Cannonball Adderley $3.25 on the weekends. The entire club permeated with the warm home cooking of Ora Harris. For those who wanted to roast a joint there were ionizers on the ceiling that sucked the smoke right up so that it would not bother the people around them. Now, this establishment was already stepped in psychedelic blues like Bloomfield and Nick Gravenites Jerry Garcia and Merl Saunders. And now the wheels turn again. Merl's cousin was Eddie Moore who played in organ trios with Merl in the Fillmore District where Calvin Keys would sometimes play the breakfast set. Calvin Keys said "if you weren't playing the Keystone when you were in San Francisco then you weren't playin." And Eddie Marshall came out because of the 4th way and started wearing his dashiki's with James Leary and Herbie Lewis guys who made up a rhythm section with vibist Bobby Hutcherson. Carl Burnett would come in and smell Ora's banana bread when he played with George Cables and Freddie Hubbard. Rasaan Roland Kirk (a boyhood friend of Barkan's) and Grover Washington Jr. Played benefit concerts in Oakland to raise money so the Keystone could obtain a liquor license. Understanding true freedom of expression, a player in his own right and Someone who validates what this radio host so desires Todd Barkan welcome to the JFS. --- Support this podcast: https://anchor.fm/jake-feinberg/support
I sit here today in BBS totally humbled. Humbled by the fact that my searching for authenticity has led me to an iconic figure. I really am awed by the fact that my guest was submerged in one of the greatest regional music scenes in our countries history. The Bay Area - the intermeshing of the ethnic fabric that is/should be this country. This is something I have covered relentlessly on this program but to hear someone speak of it so eloquently is a treat. Sonic Wizardry was abound with the likes of Herbie Hancock, George Duke and my guest. A cat who went from a Rhodes to a Moog back to the isotopic fender with Bobby Hutchersons vibes providing the Sun for the World. He has become a change agent, knowing that by activating your true nature will lead to unforeseen highs of enlightenment. He knows that if the water sits things don't grow, you have to turn the water because its easy going downstream but harder heading up. My guest is a transcending spirit who like Sonship will be forever creating. Be it with Michael Shrieve or Harold Land or Hadley Caliman. The re-release of Worlds Around The Sun again affirms my beliefs in art advocacy, having the creative ability in conjunction with others of like mind to push the boundaries of mortality. Beginning to fuse the line with immortal but being humbled time and again when they flub a note in the late set at the Keystone Korner or can't keep their ego in check and realizing they have been on this path and they have put their dreams into action and they reinforce that dreams do come true. --- Support this podcast: https://anchor.fm/jake-feinberg/support
Theaters, concert halls and live performance venues were the first to close when the pandemic arrived, and many will be among the last to re-open. Tom talks with jazz impresario Todd Barkan Co-owner of Baltimore jazz club Keystone Korner and Audrey Fix Schaefer communications director of the National Independent Venue Association on what’s needed to keep independent music venues alive. Then Ken Skrzesz, executive director of the Maryland State Arts Council, joins Tom to discuss how Maryland artists and arts organizations are coping with COVID 19.
Lisa Fischer (heard in our segment open performing one of her iconic Gimme Shelter duets with Mick Jagger in a live Rolling Stones show in 1995) is one of the musicians featured in the Academy Award-winning movie 20 Feet from Stardom, for which Ms. Fischer won her second Grammy Award. In addition to her celebrated career as a backup singer for the Stones - touring with the band from 1989 to 2015 --she's collaborated with Luther Vandross, Sting, Tina Turner, and many more huge pop and rock music stars, as well as classical music giants like Yo Yo Ma and Lang Lang. And she has enjoyed success, too, as a solo vocalist, earning her first Grammy in 1991 for her Number 1 R&B hit, How Can I Ease the Pain? and in recent years, touring with the band, Grand Baton. Lisa Fischer is in Baltimore tonight and Saturday, playing with Grand Baton at the Keystone Korner music and dinner club in Harbor East. For ticket info and location, click here. This program was livestreamed on WYPR's Facebook page. Watch the video here, from 20:45 - 42:45 of the feed.
Today, acclaimed French-Dominican jazz vocalist Cyrille Aimee joins Tom live in Studio A, for a preview of her 5-show engagement this weekend at Baltimore's Keystone Korner jazz club. The popular cabaret and recording star, who makes her home today in New Orleans, is renowned for her graceful improvisations, a gypsy-jazz vocal styling she says she learned as a young girl singing at Roma encampments in her native France. Aimée has gone from singing on street corners in Europe to headlining at some of the world’s most prestigious jazz festivals. Hailed by The Wall Street Journal as "one of the most promising jazz singers of her generation" and called a “rising star in the galaxy of jazz singers” by the New York Times, Aimee's latest CD is called Move On: a Sondheim Adventure. This Valentine's Day weekend (Feb. 14-16), Cyrille Aimee will perform five shows, Friday night through Sunday, at Keystone Korner jazz club in Harbor East. For more information, go to the club's website.
The great jazz singer Tierney Sutton joined Tom today. She has been nominated for a Grammy for Best Jazz Vocal Album eight times – that’s a Grammy nomination for every CD she has released in the last 10 years.She’s been touring and recording with her band for the past 20 years. Her latest CD, Screenplay, is a collection of great songs from movies. Tierney Sutton will be appearing this Saturday and Sunday at Baltimore’s newest, wonderful jazz club, Keystone Korner in Baltimore’s Harbor East.
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From 1972 until its closing in 1983, Todd Barkan’s Keystone Korner in San Francisco was widely considered to be one of the world’s top jazz venues. The club played host to a slew of live performances from such legends as Stan Getz, Sonny Rollins, Miles Davis and Betty Carter. Todd is a renowned jazz producer and impresario, earning a prized NEA Jazz Masters fellowship in 2018. Chef Robert Wiedmaier was born in Germany and trained in Belgium and the Netherlands. He landed in the D.C. area in the 1980’s, and over the last three decades has earned the reputation as one of the country’s most respected chefs. His RW Restaurant Group operates some of the Capitol’s top eateries, including the acclaimed Marcel’s. In April 2019, these two powerhouses teamed up to revive the Keystone Korner in Baltimore. Acclaimed jazz bassist Ron Carter christened the club’s reopening with three nights of performances. We keep things jazzy with a 2014 performance by the Scott Colberg Trio from our archives. Snacky Tunes is powered by Simplecast.
We begin today's Midday on the Arts program with the legendary jazz impresario and NEA Jazz Master, Todd Barkan. With Chef Robert Weidmaier, he is the proprietor of the Keystone Korner nightclub in Harbor East, at the corner of Eden and Lancaster. Tonight, tomorrow and Sunday: the great Vibraphone virtuoso Warren Wolf appears with the Wolfpack. And next weekend, Christian McBride, the host of NPR’s Jazz Night in America will be there with his band, the New Jawn. Keystone has music every night of the week, too, and Sundays, they offer a brunch. This month, for at least the next three Sundays, members of the Baltimore Symphony Orchestra will perform chamber music from 11-2. BSO players are in the 12th week of a lockout stemming from a contract dispute with BSO management, so if you’ve missed them at the Meyerhoff this summer, you can catch small groups of them at Keystone Korner on Sundays. Check the links above for a complete listing of all the acts appearing at Keystone.This program was livestreamed on WYPR's Facebook Page, and you can watch the video here, beginning at 0:00 and running through 20:30.
Tribute: Around 1974 Celebrating the re-release of Paul Motian's 2nd ECM album, "Tribute". Set List: https://jazzcloset.blogspot.com/2019/06/set-list-061719.html Photo: Keith Jarrett from concert flier Keystone Korner, San Francisco 1974
This is a special edition of Art Blakey's Jazz Messengers as it is the only recording of the two most famous Marsalis Brothers playing together in the great drummer's band. This was recorded live at the legendary Keystone Korner in San Francisco in January 1982. Bobby Watson. who was Blakey's alto saxophonist had just left and Blakey was looking for a replacement and Wynton suggested his brother Branford and the rest is history. The Marsalis Brothers are working with tenor saxophonist Bill Pierce on the front line. Donald Brown is on piano, Charles Fambrough is on bass and of course Art Blakey on drums. This is an inspired band and Blakey was proud to have all these "young lions" in the group. The first in this month's series spotlighting drummer/leaders. Art Blakey and His Jazz Messengers.
2018 NEA Jazz Master Todd Barkan is a man of many talents: impresario, club owner, producer, artistic programmer. But he would count chief among them his deep and abiding love for jazz and the musicians who create. Owner of the legendary Keystone Korner, Todd created a club where musicians ruled and audiences felt at home. In this music-filled podcast, he talks about that great San Francisco club and shares stories about his many friend-- jazz greats like Miles Davis, Rahsaan Roland Kirk, Bobby Hutcherson and Sonny Rollins.
2018 NEA Jazz Master Todd Barkan is a man of many talents: impresario, club owner, producer, artistic programmer. But he would count chief among them his deep and abiding love for jazz and the musicians who create. Owner of the legendary Keystone Korner, Todd created a club where musicians ruled and audiences felt at home. In this music-filled podcast, he talks about that great San Francisco club and shares stories about his many friend-- jazz greats like Miles Davis, Rahsaan Roland Kirk, Bobby Hutcherson and Sonny Rollins.
2018 NEA Jazz Master Todd Barkan is a man of many talents: impresario, club owner, producer, artistic programmer. But he would count chief among them his deep and abiding love for jazz and the musicians who create. Owner of the legendary Keystone Korner, Todd created a club where musicians ruled and audiences felt at home. In this music-filled podcast, he talks about that great San Francisco club and shares stories about his many friend-- jazz greats like Miles Davis, Rahsaan Roland Kirk, Bobby Hutcherson and Sonny Rollins.
Resonance Records has just issued a pair of archival releases from legendary saxophonist Stan Getz, recorded at the Keystone Korner in San Francisco. The first, Getz/Gilberto ’76, captures a rare performance between two giants of bossa nova, Getz and vocalist Joao Gilberto. The second, Moments in Time, features Getz with a phenomenal trio of musicians. We chat with label Vice President Zev Feldman, who also produced these two sets, on how he tracked down these hallowed recordings. Plus, he discussed the recent Wes Montgomery treasures that the label issued.
Two members of Odinwa Performance Ensemble, Sister Marysa Kenyatta and Sister Bisola Marignay, Ph.D., join us to talk about their concert this afternoon in Oakland, CA, at Coffee with a Beat on Perkins Street across from Lake Merritt Park. The Performance Ritual is from 3-5 p.m. It is free, but donations are appreciated. The segment is rebroadcast from August 18, 2015. Bisola Marignay, Ph.D., Singer/Performer, Activist/Writer, Facilitator/Educator, draws from her experience in transformative studies, anthropology, linguistics, social activism, performance studies, and spiritual practice to organize thematic formats for Odinma's music performances, and to write the stories, spoken word, poems, and songs that center in the group's performance rituals. Marysa Kenyatta, Julliard trained jazz pianist, has played a clubs all over the San Francisco Bay Area, including the Keystone Korner and other in San Francisco, Mr. Majors, Dillards, La Pena Cultural Center, 57th Street Gallery and many others in Oakland. She is one of the founders of the Women in Jazz jam sessions at Dillards and hs participated in many women's jazz ensembles during the past 20 years. She still continues to perform in various venues all over the Bay Area. Currently, she is with Father Amde Hamilton, a band of the Watts Prophets. Their recording, "Technical Difficulties," has just been released. She is the pianist for Odinwa Performance Ensemble, playing all styles of Afrikan classical music.
Kathy Sloane‘s Keystone Korner: Portrait of a Jazz Club (Indiana UP, 2011) captures a time and place in San Francisco in the 70s and early 80s that we may never see again. Owner/impresario/musician Todd Barkan ran the club on a frayed financial shoestring, but the club’s unique ambience in San Francisco’s North Beach beckoned the greatest jazz players, where jazz aficionados and neophytes alike could appreciate America’s great cultural art form. Sloane’s fabulous black and white photographs of jazz players such as Art Blakey, Dexter Gordon, Rahsaan Roland Kirk, Betty Carter, Elvin Jones, Mary Lou Williams, Bobby Hutcherson, McCoy Tyner, and countless others range from the contemplative to the kinetic – and they all tell a story. Sloane arranges chapters thematically with titles familiar to jazz lovers like Bright Moments, Bobby and Bags and Teach Me Tonight. In each chapter, the Keystone family of employees, patrons and the players tell stories and reminisce as to what made the club special. And there was something special about the club, from the cramped confines to the smells of Ora Harris’s home cooking to the down-home good feeling – and it was next to the police precinct in North Beach to boot! Sloane includes a discography compiled by Stuart Kremsky and a CD of some of the great live performances at the Korner with liner notes by Sascha Feinstein. Like the Keystone Korner itself, Sloane’s book is a labor of love and a testament to a memorable time and place. If you were lucky enough to have been there, you can relive it; if you missed it, you can go back in time and live in the heart, art and soul of a San Francisco institution that epitomized the music and feeling of jazz. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kathy Sloane‘s Keystone Korner: Portrait of a Jazz Club (Indiana UP, 2011) captures a time and place in San Francisco in the 70s and early 80s that we may never see again. Owner/impresario/musician Todd Barkan ran the club on a frayed financial shoestring, but the club’s unique ambience in San Francisco’s North Beach beckoned the greatest jazz players, where jazz aficionados and neophytes alike could appreciate America’s great cultural art form. Sloane’s fabulous black and white photographs of jazz players such as Art Blakey, Dexter Gordon, Rahsaan Roland Kirk, Betty Carter, Elvin Jones, Mary Lou Williams, Bobby Hutcherson, McCoy Tyner, and countless others range from the contemplative to the kinetic – and they all tell a story. Sloane arranges chapters thematically with titles familiar to jazz lovers like Bright Moments, Bobby and Bags and Teach Me Tonight. In each chapter, the Keystone family of employees, patrons and the players tell stories and reminisce as to what made the club special. And there was something special about the club, from the cramped confines to the smells of Ora Harris’s home cooking to the down-home good feeling – and it was next to the police precinct in North Beach to boot! Sloane includes a discography compiled by Stuart Kremsky and a CD of some of the great live performances at the Korner with liner notes by Sascha Feinstein. Like the Keystone Korner itself, Sloane’s book is a labor of love and a testament to a memorable time and place. If you were lucky enough to have been there, you can relive it; if you missed it, you can go back in time and live in the heart, art and soul of a San Francisco institution that epitomized the music and feeling of jazz. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kathy Sloane‘s Keystone Korner: Portrait of a Jazz Club (Indiana UP, 2011) captures a time and place in San Francisco in the 70s and early 80s that we may never see again. Owner/impresario/musician Todd Barkan ran the club on a frayed financial shoestring, but the club’s unique ambience in San Francisco’s North Beach beckoned the greatest jazz players, where jazz aficionados and neophytes alike could appreciate America’s great cultural art form. Sloane’s fabulous black and white photographs of jazz players such as Art Blakey, Dexter Gordon, Rahsaan Roland Kirk, Betty Carter, Elvin Jones, Mary Lou Williams, Bobby Hutcherson, McCoy Tyner, and countless others range from the contemplative to the kinetic – and they all tell a story. Sloane arranges chapters thematically with titles familiar to jazz lovers like Bright Moments, Bobby and Bags and Teach Me Tonight. In each chapter, the Keystone family of employees, patrons and the players tell stories and reminisce as to what made the club special. And there was something special about the club, from the cramped confines to the smells of Ora Harris’s home cooking to the down-home good feeling – and it was next to the police precinct in North Beach to boot! Sloane includes a discography compiled by Stuart Kremsky and a CD of some of the great live performances at the Korner with liner notes by Sascha Feinstein. Like the Keystone Korner itself, Sloane’s book is a labor of love and a testament to a memorable time and place. If you were lucky enough to have been there, you can relive it; if you missed it, you can go back in time and live in the heart, art and soul of a San Francisco institution that epitomized the music and feeling of jazz. Learn more about your ad choices. Visit megaphone.fm/adchoices
Toshiko Akiyoshi(pianist/composer) and her then husband, alto saxophone master Charlie Mariano co-led this fine quartet which featured the recording debuts of bassist Gene Cherico, who worked with everybody from Paul Desmond and Stan Getz to Peggy Lee and Frank Sinatra and drummer Eddie Marshall who also has worked with John Handy,Bobby Hutcherson and everybody who played at San Francisco's legendary "Keystone Korner".Mariano is one of the most passionate voices of the alto saxophone and plays beautifully on this, their only recording as a band.
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