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

Writer’s Theater, Glencoe, Il, USA

by maja Rios

A play written by Lydia Diamond and Directed by Ron OJ Parson Performed at Writer’s Theater, Glencoe, Ill Stick-Fly, performed at Writer’s Theater was very enjoyable. The play opens with the character of Cheryl dancing to and R&B jam with a basket of laundry and you know you are in for a treat. The play revolves around an affluent Black American family that has a summer home in affluent Martha’s Vineyard. A family gets together, is the setting that will eventually expose underlying feelings of inferiority, jealousy, classism, prejudice, and human frailty. The characters gather at the home of a black neurosurgeon, patriarch, Joe LeVay (father), his two sons and their girlfriends and black “maid” Cheryl. The intimate stage set consists of three separate rooms of kitchen, living room and patio, which made for a very realistic setting.

The only problem was due to the large and steep room size, at times dialogue was hard to hear from high up(where I was seated). The actors did a great job of bringing their characters to life. Each character was totally different, as people are in real life, Taylor, college entomology major, girlfriend, Kimber, White girlfriend, social worker, Kent, successful son, Flip, writer/artist, son, struggling to make a living and Cheryl, family maid and illegitimate daughter of Joe Le Vay, whose true identity is revealed at end of play. The play functions as a vehicle of the human condition, made more complex by being a Black American family, with the same aspirations as any person for success, acceptance, love, within and without the family structure. Human frailties are revealed as characters feelings emerge of jealousy, lust, anger, prejudice (against White girlfriend by Taylor toward Kimber that she is White but also Taylor was former girlfriend of the same guy!)These and other issues come to a head toward end of play and make for a great build-up as play progresses. Great jazz and R&B jams connect scenes together .

The final outcome has a happy ending of great character development. A well written and acted play that should be seen! Stick-Fly plays at Writer’s Theater through March 15th.

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Jazz Showcase,Chicago, IL USA, Sun.Nov 10, 2019

by Maja Rios

Jazz vocalist, Vanessa Rubin, from Cleveland, Ohio, has represented modern jazz vocals for the last 30 plus years. I have followed her career since she started and have always enjoyed her interpretations of jazz and modern jazz pieces. I especially liked her early CDs of lesser-known modern jazz pieces.

At this gig, she featured a trio that included Perry Hughes, guitar(Detroit), Duncan Macmillan, Organ,(Detroit), and Winard Harper(New York), drummer. The band opened with instrumental of jazz standard, Speak Low, played as an uptempo samba by the trio, with a long, well-done solo by Perry Hughes on guitar.

Vanessa came up after the one instrumental with approx. one hour set that was mostly blues/jazz standards of Moonglow, All Blues, Now Baby or Never, Are You Ready For Me, and a few others that were also standards, Dindi and Ballad, You’ve Changed. Most of the material was good but predictable. The trio did a good job of following her lead but it was obvious they hadn’t played together as a band for very long.

My main disappointment was that Vanessa did no major songs from any of her cd’s and none from her latest album, which she was selling, of all Tadd Dameron compositions. She did none of my favorites from her past albums, such as “Black Nile”, “Simone” “Soul Eyes” or other modern jazz compositions, which put her on the map. I hope if she lands in Chicago, again in near future she will include some of her straight-ahead more interesting jazz pieces Loved her leopard dress though!

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at Steppenwolf Theater, Chicago, Nov 17, 2019,

by Maja Rios

I attended the opening night of play “Lindiwe” by Eric Simonson, with live music by South African acapella group, Ladysmith Black Mambazo. All the musicians were great, especially Ladysmith Black Mambazo, who I had never heard live until this production.

The play was basically about a South African singer(Lindiwe) and a Chicago Blues musician(Adam) who meet in a Chicago blues club, and fall in love, and how their two music styles and cultures have much in common.What could have been a nice “cross-cultural” story of trying to bridge two cultures through music, in my opinion, became a confusing mix of fantasy with the (“devil” like character of the Keeper, who kept showing up during the entire production as an evil presence with smoke, long robe and evil mask, to “take away voice from the singer”, silly comedic lines throughout the narration which made no sense, and “realistic” drama/love story of a serious subject of cross-cultural romance and immigration. It seems the play couldn’t decide which style to be.

All of a sudden Lindiwe is in a hospital bed from a car accident following a jam session of South African musicians and Blues musicians in a club. Nothing leading up to that scene was shown.

The music could have stood alone as a concert, with Nondumiso singing both the blues and South African Acapella singing, Ladysmith, acapella singing and dancing and the Chicago Blues band playing, as they all did throughout the play. The play seemed more like a distraction from the great music since the storyline went nowhere and was at best a story that never went too deep.

However, I’m glad I went, for the music alone was worth the trip and the theater itself is always a great setting for plays.

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