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

Live Stream April 15, 2023

Review by Maja Rios

Photos by Mike Grittani

The first time heard Jacksonville, Florida native, Marcus Roberts, jazz pianist. He was superb! His trio was also great, Jason Marsalis, drums (brother of Wynton)  and newcomer, Martin Jaffe, Bass. Marcus, called it ” three generations” of jazz”, Marcus being the oldest. Jason though younger, has been with him 30 years.

The trio played mostly jazz standards, reworked in new ways by Marcus and the band. The band started with jazz standard, “Where or When”, as up tempo straight ahead, with brushes by Jason. Best brush work I ever heard! Jason played brushes on most selections, which was different and great! I never heard brushes swing so hard! Marcus even quoted ” Love Supreme” riff, in his solo!

Next song was “Jitterbug Waltz” by Fats Waller done as a fast Bossa Nova!  with brushes by Jason! Fabulous!

Other selections included Martin Jaffe, bassist, featured in Charles Mingus, Haitian Fight Song, with many tempo changes. Jason Marsalis was featured on a snare drum solo, which he played alone. I never heard so many rhythms on just a snare.

A favorite of mine was original piece, “Do not Suffer Alone” by, Marcus, who is blind since age 5,and it was soulful ballad. Also a favorite was samba version of “Mack the Knife”, done again by Jason on brushes! Superb! Other selections included New Orleans Blues, “What is This Thing called Love”, and another original piece by Marcus, Cole “After Midnight”, dedicated to Nat King Cole. Marcus never let his great technique, make his gospel and blues influence stray!  He kept it real throughout! It was one the best shows ever for me!

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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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Keystone Korner

Baltimore, MD

September 10, 2022

By Maja Rios

The Concert celebrated 50th year anniversary of beloved Jazz club, Keystone Korner originally located in San Francisco, California in 1972, where these artists performed back then. New Starship Orchestra included members Duke Jones, trumpet, Ed Bacchus, Tenor Sax, Gregg Rich, piano, Jean Carn vocals,

Norman Connors, vocals, producer, arranger. My favorite song of the night was the opening instrumental, World is a Ghetto, a more funky and jazzy version ,than the original by War.The band was tight and soulful.

     A walk down memory lane, for songs of 70s and 80s sung by Jean and Norman, followed on songs such as Valentine Love, You Are My Starship, 

Closer Than Close, Creator Has a Matter Plan, sung by Norman, and others. Jean proved herself a great entertainer/ storyteller throughout much of the set, even though her vocal ” chops” were not quite what they were, she still sounded very soulful.

I absolutely enjoyed this lineup, and as Todd Barkan, owner and host of this great establishment says,” Take care of the music, and the music will take care of you!”

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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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On-Line Event 3/ 13/22 Evanston, Il.

by Maja Rios

MIC presented a guitar- centered tribute to late guitarist and innovator, Les Paul, by New York based guitarist, Russ Malone, one of my favorite jazz guitarists. The understated rhythm section included, Tom Vaitsis, piano, Eric Hochberg, bass, and Samuel Jewell, drums. Tammy McCann, vocalist, was added to the mix as well. All did a fine job on standard jazz compositions.

    Russ Malone chose songs he said were favorites of Les Paul, as well as some of his own favorites. The first song was jazz standard, “Avalon,” done as a breezy bossa- nova, that featured Malone’s skills as a guitarist and bandleader. A heavy Grant Green influence, is felt throughout. Tom Vaitsis solo on this tune, reminded me of pianist Vince Guiraldi, which was truly, in the bossa pocket! Second song was “Moonglow, “done as a slow relaxed swing. The rhythm section never overpowered the guitar, which was, great. Next Tammy McCann did a nice bluesy feel, on “That Old Feeling”.

     Next came famous standard, “Somewhere Over The Rainbow”, super relaxed feel by Russ, on this slow swing version. This song was followed by” Savoy”, one of my favorites on guitar, done as a medium swing.

    Tammy McCann, sang old standard “After You’ve Gone”, done as up-tempo swing that grooved along. Russ was featured next in W C Handy St. Louis Blues. Russ did a duet next, with drummer, Samuel Jewell on Latin tune Caravan, that really grooved. After that number, Tammy McCann sung a soulful rendition of ” Am I Blue”. Variety is the spice, as the evening concluded with Every time, We Say Goodbye”, featuring Russ and Tammy, as a duet. The whole evening was a treat! I Hope Russ comes back to Chicago soon!

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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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Nov13, 2021,

By Maja Rios for Unrated Magazine

Evanston, IL. Live stream The concert at MIC, 10th Anniversary, featured jazz faculty. Players included faculty members, Jeremy Kahn, piano, Audrey Morrison, trombone, Victor Garcia, trumpet, Ernie Adams, drums, Victor Goines, saxophone, Eric Hochberg, bass.   The faculty members performed all original compositions, that were not named in the live stream, except for ones by Victor Goines.     They performed compositions of many styles of jazz including, Bebop, Samba, jazz waltz, swing, Latin, and Ballads. My favorite song of the night was, a Latin funk number that had a New Orleans flavor.     In between the two sets former students sung praises for the jazz programs at MIC, and how they improved their playing and understanding of jazz.     The entire concert was very smooth and relaxed with minimal talking between numbers. This very relaxed show, with all great technicians, was great promotion for their jazz program.   

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Review of Afro-Futurism CD, Michael Wimberly Producer, drummer, percussionist, Michael Wimberly from Cleveland, Ohio, makes a “cross-genre” CD that mixes R&B, Funk, African, spoken word, and HipHop. Featured on CD is Gambian griot and kora player/ singer, Foday Musa Suso, who lived for many years in Chicago, and now resides in Atlanta. Suso is featured on many of the 13 tracks, doing traditional West African songs on the beautiful African harp, the kora. The CD is a kind if ” Afro- Stew” of styles. 

   However, I don’t feel ” Afro-Futurism, as conceived by jazz pioneer, Sun- Ra, in the 1950s, is represented at all. Nowhere is there any jazz on the album. It does however fit the dictionary definition of Afro-Futurism, which is ” a cultural movement that uses science fiction and history of African diaspora to invoke a vision of technical advancement and hopeful future where Black people thrive”. To that end, griot, Suso, does not disappoint. Also in CD are a few tracks that include, English vocalist, Joss Stone, and African vocalist, Missa Saran Dioubate.. A spoken word song called Mack Daddy’s Woman, features, guitar, and spoken word. Song Afro-Futurism is mostly a Rap song.    

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