Northlight Theater

,Skokie,Il

by Maja Rios

Northlight Theatre, Skokie, IL – July 17 – In the annals of rhythm and blues, few stories resonate with as much heartbreaking poignancy as that of Donny Hathaway. A voice that could melt glaciers, a songwriter of unparalleled depth, his flame burned fiercely but far too briefly. Now, at Northlight Theatre, Kelvin Roston Jr. steps into those impossibly large shoes for ‘Twisted Melodies,’ a one-man tour de force that’s less a play and more a channeling of a troubled genius.

From the moment Kelvin Roston Jr. takes the stage, he doesn’t just portray Hathaway; he becomes him. For nearly two hours, we’re locked inside Hathaway’s final, desperate hours in a New York hotel room, the twinkling city lights outside the window serving as both a beautiful distraction and a cruel reminder of a world spinning on without him. This isn’t just acting; it’s an exorcism, as Roston Jr. navigates the depths of Hathaway’s spiraling mental health with a raw, unflinching honesty that’s almost unbearable to witness. He sings, he speaks, he laughs, he weeps, he screams – every emotion laid bare, every fractured piece of Hathaway’s psyche exposed.

It’s an astonishing feat for any artist to carry a show solo, let alone embody a legend with such vocal prowess and emotional gravitas. Kelvin Roston Jr. not only performs, but he also wrote the monologue and masterfully accompanies himself on keyboards, a testament to his staggering talent. His voice, a sensitive instrument, captures Hathaway’s distinctive timbre and emotional range, moving effortlessly from the soaring heights of “A Song for You” to the gritty urgency of “The Ghetto.” We’re treated to soul-stirring renditions of classics like “I Love You More Than You’ll Ever Know,” “Someday We’ll All Be Free,” and “You Are My Heaven,” each interwoven with dialogue that illuminates Hathaway’s struggles and moments of profound clarity. Even a few gospel numbers, harking back to Hathaway’s church roots, find their way in, adding another layer to the complex tapestry of his life.

Under the seasoned direction of Chicago theater veteran Ron O. J. Parson, the production never misses a beat. The pacing is relentless, the transitions seamless, pulling the audience deeper into Hathaway’s internal chaos. Roston Jr.’s facial expressions and nuanced vocal inflections are mesmerizing, painting a vivid picture of a mind succumbing to the darkness of schizophrenia.

This isn’t just a tribute; it’s an immersive experience that reclaims Donny Hathaway from the tragic footnotes of music history and places him back in the spotlight, where his genius can be truly appreciated. The two hours fly by, leaving you breathless and profoundly moved. ‘Twisted Melodies’ isn’t just the best monologue this reviewer has ever seen; it’s an essential journey into the soul of a musical titan. Go see it. Seriously.

,CITY WINERY,CHICAGO,

APRIL 24

BY MAJA RIOS

Lady Blackbird, the stage name of Marley Monroe—a vocalist and songwriter—performed on April 24, 2025, at Chicago’s City Winery, marking her first performance in the city. She hails from the West Coast, and I had been looking forward to the show. She performed with her music partner, guitarist, and songwriter Chris Seefried, who is also based on the West Coast, as a vocal-and-guitar duo. Together, they created magic. Though they usually record and perform as a quintet—with piano, bass, and drums—the intimate nature of a duo served the songs well. A mixture of folk, blues, soul, pop, gospel, and a touch of jazz is the hallmark of Lady Blackbird’s sound. The crowd was just as diverse in age and ethnicity.

They started the set with a brief riff on Summertime before launching into a blues number by Sam Cooke called Lost and Looking. Lady Blackbird has a rich, powerful, soulful voice that easily handles these kinds of songs. Her album, Black Acid Soul, is full of such retro-soul numbers. Chris Seefried, her music partner, added reverb and looping effects to his guitar, making the duo sound much larger.

Next, they performed one of my favorite songs that Chris wrote, Woman. It sounded incredible as a duo—an uptempo, minor-blues piece. Their road manager, who also served as a guest vocalist, known as “Peaches,” joined them on the next number, Sweethearts No More. This song and other originals were performed from Lady Blackbird’s second album, Slang Spirituals, which has a more folksy feel compared to her debut, Black Acid Soul. The Slang Spirituals cuts they performed included Man on a Boat, Like a Woman, and a few others.

Toward the end of the approximately hour-and-a-half set, she performed my favorite song—a cover of a Tim Hardin piece called It Will Never Happen Again, a jazzy, slow, melancholic ballad that I love. In closing, she sang I Am What I Am from a Broadway musical—a song of self-discovery and self-acceptance that felt perfect for an artist as unique as Lady Blackbird, with her incredible voice. A great time was had by all

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directed by Manny Buckley

City Lit Theater,

Chicago,IL

Nov.16,2024 

by Maja Rios

Seven Guitars, a play by August Wilson, was outstanding. It was one of the most memorable plays i have seen. All the cast members were great. The second-floor theater in Edgewater Church, was a very intimate setting for play.

 The play centers around a Pittsburgh blues guitarist who wants to travel to Chicago to make a hit record, that his manager has promised him and ultimately betrays. He is a dreamer, womanizer, hustler and focal point of the play. The other supporting characters are friends and foes, both women and men, who are doubting of his ability to be successful.  The character of Vera (Maureena Azzun) is the main female who agrees to be with him and support him. My favorite character is the Jamaican- American, Hedley, (Robert Howard) who is the most volatile, preachy, person quoting from the bible in his rich patois, and most outspoken of, the Black man in Americas’ status, past enslavement, and thus frequently proclaiming ” the Black man is the King” The Ethiopian King.”

Other supporting characters are three other women and two other men all who give advice to each other and comment on the blues guitarist’s hopes for a better life as they sing,dance,argue etc,,and offer advice, both good and bad.

     Seven Guitars is probably the most in depth slice of Black American life I have ever seen depicted in a play. Food,Music,Religion,Politics and History of Black American Culture is displayed through slang, dialogue and word play. Details  of Black life, such as Bid Whist,Greens,,Buddy Bolden, Sweet Potato Pie, Plantation, are frequently mentioned by the characters, that are all mainstays and still are today, of Black Culture, even though play is set in 1940s Pittsburgh, complete with great costumes from that era. 

     Although the play centers on Black life, it is at the same time the total experience of the human condition, of jealousy,despair,hope,belief,anger, death, marriage typical August Wilson style. All the actors were wonderful. I highly recommend this play. One of the best plays and acting I have ever seen.

June 10, 2023

Keystone Korner

Baltimore, Maryland

by Maja Rios

Todd Barkan’s Keystone Korner jazz club, Baltimore MD, is celebrating 50 years in business, with many great artists, including Samara Joy,  a young jazz vocalist, in her twenties, who I feel is an ” old soul” jazz vocalist (from Bronx , NYC),a vocalist, who sings the essence of ” old school” jazz vocals, that are elegant, traditional, yet all her own. She also has a ” girl- next- door” vibe and patter.

     Samara and her seven young band mates: piano, bass, drums, trombone, tenor sax, trumpet, and alto sax, were  all great accompanists, who never overpowered the vocals.

Many styles of jazz were represented, including, Jazz Standards( You Stepped Out If A Dream and Guess Who I Saw Today) Bossa Nova( Chega De Saudade and Nica’s Dream) Ballads( Guess Who I Saw Today/ Lately( Stevie Wonder) and Barry Harris, Now or Never,  Some band originals, including my favorite, by her trombonist, “A Fool In Love Is  Called A Clown”.and Be-bop( Tight by Betty Carter and Nostalgia by Fats Waller( with nice lyrics by Samara).

     Samara delivers lyrics with a clarity and wisdom that defy her age, as well as her improvisations of melody, that go from low to high notes with ease, much like a horn player in phrasing. She twists and turns a melody in unexpected ways that seem to be her own way of improvising. She seems pretty humble as well and focused on the music itself, which I love. I think she and her musicians will keep jazz alive in the future! I really enjoyed her!

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Music Institute of Chicago

Evanston, IL

October 29, 2022

By Maja Rios

Vocalist/ teacher Tammy McCann did a splendid job of inhabiting the spirit of the late great singer, Mahalia Jackson, in her jazz meets gospel show, Yes, Mahalia. Her idea for the show was ” gospel meets big band jazz; new arrangements of gospel favorites

The band she assembled for this show, was excellent. It featured, Tammy on vocals, Tom Vaitsas, piano, John Sutton, bass, Samuel Jewell, drums. Other instruments were one trumpet, three saxes, and two trombones with four background singers.

She included gospel favorites “Wade In The Water”,  “Elijah Rock”, “I’m On My Way, Down” by the Riverside, “How I Got Over,Whole World In His Hand”s, and “Precious Lord”. Also on the program were “Come Sunday” by Duke Ellington an jazz standard that Mahalia sung back in the day, “I Want Jesus To Walk With Me”, and “Total Praise”.

Arrangements and conducting of big band, was led by trumpet master, Marques Carroll, who did a fine job. The new arrangements of old favorites included many rhythms: ballads, bossa, New Orleans shuffle, swing, and funk. Tammy spoke freely of her influences to create this combo of jazz and gospel. All musicians and singers were great. A few standouts were: Lynna Mckinney, Baritone sax, Tom Vaitsas, piano, Marqueal Jordan, tenor sax, Samuel Jewell, drums. All were very soulful and “foot- pattin” grooves.

     This was one of my favorite concerts ever!

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Dingo is a wonderful independent Australian movie from early 90s, with great acting, photography and music.     The story is about a man in small town of Poona Flat, Australia, who is mesmerized as a boy, when a group of jazz musicians lands in his town to play. Miles Davis plays the trumpet player, and mentor, eventually to John “Dingo” Anderson (Colin Friels) who ambition is to become a jazz trumpeter in Europe.      Dingo, at first, has to play in a local country music band, which he dislikes. His small-town wife (Helen Buday) seems not to share his ambitions and is distracted by his old friend (Joe Petruzzi) who seems in love with her.     Mostly film is impressionistic with beautiful scenery and jazz soundtrack by Miles Davis.     Dingo eventually gets his wish, an opportunity to visit Paris and jam with a real jazz band, and ” Miles “Character, as mentor. He gains new confidence and is accepted by American and Parisian musicians as a great player. Enjoyful, fun, movie!

At Keystone Korner-Baltimore’s Premiere Jazz & Dinner Club. Managed by NEA Jazz Master, Todd Barkan, w/cuisine by Master Chef Robert Wiedmaier

March 18 thru 20, 2022

Baltimore, MD

By Maja Rios

I spent my entire weekend of March 18- 20 via live-stream, at the legendary jazz club, Keystone Korner, now located in Baltimore, MD., after 50 years in San Francisco, CA. The now three-year-old club, in its new location, is headed by its original, legendary impresario and producer, Todd Barkan.

The Spring series began with one of my favorite pianists and composers, the great Kenny Barron, who has played at Keystone for five decades!

 Kenny was joined by wonderful rhythm section of Kiyoshi Kitagawa, bass and Jonathan Blake, drums.

 Kenny is a pianist who exemplifies the statement, my late jazz guitarist/ bandleader/ husband Bebop Sam, called jazz “painting on the canvas of sound”. Kenny put every nuance of color into each song he played, changing, mood, tone, harmony, and rhythm, with great skill and ease.

I was fortunate to be able to listen to several sets over the Friday through Sunday weekend. Keystone features national acts on weekends and lesser-known ones on weekdays. I will just mention some of the highlights for me he played.” How Deep Is The Ocean” a standard, began as a ballad but switched up to a soulful medium swing. The song, “Surrey With The Fringe On Top”, from old musical Oklahoma, was transformed by Kenny, into a fast, swinging, modern piece, that in no way sounded like the ” corny ditty” from the old musical.

Another favorite of mine was a Charlie Haden composition, called ” Nightfall”. A soulful, moody piece, that was magic in Kenny’s hands. It’s darkness at times became hopeful and bright as Kenny changed the musical landscape through the piece.

 Another favorite was the breezy island- tinged, original, by Kenny, called, ” Cooks Bay”. Inspired by his family trip to Tahiti. This song was reminiscent of ” Poinciana” and Shirley Horn version of ” Return to Paradise”. Kenny also played another original, ” Calypso”, that was inspired by NYC West Indian neighborhood where Kenny first moved to at beginning of his career.

Friday night set included beautiful medley of Ellington/Strayhorn ballads, Star crossed Lovers, and Flower is a Lonesome Thing, and Lotus Blossom and Melancolia.

Outstanding original piece, by Kenny was ” Bud- Like” for Bud Powell, one of Kenny’s favorite pianists and mine too!

Nice drum and bass solos throughout, the three nights, as Kenny let them stretch-out on most numbers.

 A totally satisfying jazz journey from a pianist that has complete command of both technique and heart.

 All shows at Keystone can be viewed in person and by live stream, and as Host and Impresario, Todd Barkan says, ” Take Care of the music, and the music will take care of you”

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Joe Bataan Interview

Phone interview

December 14, 2021

By Maja Rios

Worked at “Millions” of Discotheques + www.djsportal.com – No 1 disco & deejay history website worldwide

 The following is from a Phone interview, I did with one of my musical heroes, King of “Latin Soul”, Joe Bataan, who since the 1960’s has performed and recorded many original songs along with some covers, which reflect his Harlem roots: salsa, soul, boogaloo, disco, doo-wop, R&B and more.

Maja Rios:  How did you get started as a vocalist and songwriter?

JB: On the streets of New York Barrio.  Also I listened to the radio, especially “Anglo” popular musicians like Perry Como, Judy Garland, Frank Sinatra, Sammy Davis, I would imitate all vocalists. I would listen to all styles.  My style grew to blend them all together.

At 9 years old, I began singing in the glee club in school, but a teacher told me “You sing like a frog, try something else”.  Even with his hurting my feelings’ that did not deter me.  I had no formal training, but began composing and singing by ear.  I wrote songs using only a few chords on piano, which I would change the order around to write different songs.  I learned by trial and error.  “Mine is a Cinderella Story”.

M.R.: Did you invent the term “Latin Boogaloo” for your style of music?

J.B._ No.  It was already a term used by Joe Cuba and Ray Baretto.  I prefer the term “Latin Soul”, because people can relate to that better.

MR:  Why do you think “Latin Soul” style was not as popular in the Midwest as New York?

JB: The style was basically “Underground New York” (played mostly by Blacks and Latinos).  We had no good distribution for our music.  Later on the style caught on with Chicanos (Mexicans) in the Los Angeles area, where it still is popular today.

My 1980 hit “Rap-O-Clap-O” was an early rap/hip-hop style which caught on in Europe, but not in the U.S. so much.

Even today my music is more popular in other areas of the world; Europe, Asia, South America.

MR: Do you have a favorite song you have written?

JB: Yes, “Ordinary Guy”.

MR: That was the first song I heard by you.  “I love it.”, It was my introduction to Joe Bataan! 

It reflects Joe’s Afro- Filipino heritages.  “I am just a ordinary guy”, Afro- Filipino average sort of guy, you left behind.”

MR: What do you think of todays popular music?

JB: Well the songs were more fresh back in the day.  Bands competed at shows; more originality were shown.  The history of music is not embraced today.  Radio stations are mostly “Anglo-owned, so radio doesn’t reflect all the styles of music in many areas of the U.S.

MR:  Is the music (Latin Soul) marginalized you think?

JB:  Yes

MR: I agree.  I think it still is.  You don’t hear much jazz, Latin, soul, doo-wap on mainstream media (radio or tv).  Mostly country, rap or rock or watered down pop songs.

MR: Who are your favorite contemporary artists?

JB: Bruno Mars.  I love Bruno. Also Joey Quinones, Esmeralda Spaulding, and H.E.R.

MR: Yes Bruno, is very multi-cultural like yourself. 

Any comments on closing?

JB: “Nothing is possible without the Big Boss.  And I’m not finished yet.   I have a new CD in the works and a book about my life, I’m working on.

MR: I would love to see your band “live”.  It has been nice chatting with you and I hope to see you playing soon in Chicago, when the pandemic dies down.

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sun Jan 17 virtual concert

by Maja Rios

The virtual concert at the Music Institute of Chicago was one of my favorite concerts. Diverse in  genre, age, and ethnicity, performers truly represented what MLK day stands for. Jazz, classical, gospel, Blues, African chants and chorus music were all part of the program. The program opened with ” Incantation” by Wm Grant Still for oboe and piano. 

Beautiful, oboe playing by Zach Allen. Next violinist Hannah White. performed Between Worlds by Carlos Simon;  beautiful gifted tone. Northwestern Univ jazz professor, Victor Goines, performed 3 jazz pieces that were smooth and stately, which were originals I believe.  Violinist Rachel Barton Pine did an outstanding solo of two Black composers. Coleridge-Taylor Perkinson, which blended classical and gospel together “Louisiana strut blues” and a piece by modern violinist, a piece by Daniel Bernard Roumain called Hip-Hop Prayer No. (2017). Both were great.  Vocalist Tammy McCann did a fine job on two gospel classics, Precious Lord and How I Got Over. Finally, the program ended with Brotherhood Chorale of the Apostolic Church of God, directed by Brother Brian Rice, with African percussionists and chanting by the choir;  Martin Luther King’s dream realized in music. A dream of a better society. 

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CD Review

by Maja Rios

Dee Dee Bridgewater CD, Afro Blue is a reissue from 1974 when Dee Dee was 23 years old. Blessed with a mature, supple voice at that age, Mezzo – Soprano, Dee Dee was already ahead of her peers. She still is great today but I loved her more fluid delivery at that age. My Favorite selection in CD is title track, Afro Blue, jazz standard by Mongo Santamaria. Starting out with thumb piano, and percussion intro, Dee Dee does not disappoint. My other favorites are Love From The Sun, a pretty ballad with a contemporary message, that is timely and People Make the World Go Round, that is jazzed up by Dee Dee, what a true jazz vocalist does, make it all jazz! Great pianist Roland Hanna does some beautiful solos and accompaniment. Also, in CD are George Mraz, bass, Ex hubby, Cecil Bridgewater, trumpet, Ron Bridgewater, Tenor Sax, Motohino Nino, drums, percussion. Worth a new listen!  Maja Rios, Unrated Magazine June 10, 2020