CTI RECORDS FOUNDER SUCCUMBS


CREED TAYLOR: CTI RECORDS the Next Wave

By Robert J. Carmack

Recently we lost a monumental figure of an era in music, Jazz in particular, Creed Taylor. Taylor pronounced dead in his home in Nuremburg, Germany. It appeared that he was unable to recover from a severe stroke just prior to his death. Beginning in 1950s Taylor excelled in productions and talent scouting. This led to the early creation of the “house that TRANE” built, Impulse Records, circa 1960. Also during the early years at Impulse, he again struck gold by signing saxophonist, Stan Getz. That alliance spawned several hit albums and a “Bossa Nova ,USA movement. In addition to Getz, he also introduced the world to Joao Gilberto. He penned several Bossa Nova hits, none bigger than the Girl from Ipanema, sung in both English and Portuguese by his beautiful and sultry wife, Astrud, a  multi-Grammy-winner for the Getz/Gilberto Album.

One of Creed’s inspiring heroes in music was the creator of Jazz at the Philharmonic, Norman Granz. He made monumental concerts and tours in Europe with some of the biggest and brightest Jazz stars out of USA.Taylor easily slipped into that Granz role of A&R/ Producer for Verve Records in Jazz division.

One of his top collaborations in music was with the great conductor and arranger, Don Sabesky. Who’s fingerprints were all over the best of Verve artists on the roster. The other great collaboration and “Gold Strike” discovery was the quite different guitarist, Wes Montgomery. He had a smooth delivery with more of a “thumbing” approach as oppose to strumming with pick. Also, he added a technique which some called a double-stop chording effect. This allowed Montgomery to play clean and still swing hard as required by jazz idioms. This writer was first faced with that sound in early/mid-60s album cuts from album Moving Wes, Bumpin, Tequila, Going Out of my Head, & who could forget the very soulful “Bumpin” on Sunset a multi-award winner cut and composition. It was the “Darling” of the Pop & jazz Radio audiences. Again, Taylor brings in Don Sebesky and his orchestra on the Montgomery sound and popularity. Claus Ogerman was prominent on the Tequila album. Taylor being the talent scout he was, found out “He” was being recruited by a new label in pop and mainstream music. Herb Alpert of Tijuana Brass fame was earning Big buckets of money in his new label via the Tijuana Brass, Baja Marimba band and other POP and novelty records selling like hot cakes to a starved audience. As Creed Taylor was coming over to the Herb Alpert/Jerry Moss label, To develop their new jazz division under the small creative label CTI(Creed Taylor Inc.) the first fruits were an album entitled, A Day in the Life (made popular by the Beatles)other great songs on that album were  Watch what happens, When a Man loves a woman, California Nights and Angel, all anchored by the title track, A Day in the Life.(1967)

It appeared to me, even at the young age of 17, I could draw that, this was a brilliant move by Alpert/Moss label. Ripping-off a keystone artist on his previous label at Verve, and introducing this fabulous guitarist to a new hip and open-minded audiences. An artist who could play jazz at its highest level , while still being approachable by young and older audiences. Heavy pop tunes were selected by Taylor, like the Association, Beatles, other popular young group tunes. They were brought back to life with jazz guitar on not only radio, but by 1968, Wes Montgomery was on Prime-time TV shows produced by Alpert/Moss. Needless to say, this garners TV show awards for the young Record label. Unfortunately for A&M Records, Wes Montgomery was dead by summer of 1968. Reeling from their loss of the Cash cow in Montgomery hits that played on AM and FM stations and network television.

One of the biggest decision made by Creed taylor was to now reorganize his role and position with A&M.. He then crafted a deal where A&M would now be the prime Distributor of CTI Records products.

Taylor went to work immediate putting a plan of action in place by signing big name jazz artists who had recently left other mainstream labels and was being reinvented by Taylor in his new label image of , Young sounds of electronic instruments, and popular compositions recently heard on the Radio in all genres; Soul, POP, Latin and Middle of the Road audiences. `Officially beginning in 1969/70.. you saw Taylor create some new jazz classics with older jazz artists,Quincy Jones,Nat Adderley, Stanley Turrentine, Freddie Hubbard, Hubert Laws, Milt “Bags” Jackson, George Benson, Deodato, Joe Farrell were scattered around the charts in early 70s radio and concerts. Just like Blue Note records grew its roster of players by recording early and often with stars and their friends that they brought with them regardless of stature or standing.

Taylor, like Blue Note records used only the best in Recording and Engineering by bringing in Rudy Van Gelder on most of their choice records. The third leg of this trifecta is vivid grahics & museum quality photography. Some CTI favorites of mine are, Follow Your Heart Joe Farrell, African Cookbook Randy Weston, Straight Life Freddie Hubbard, Also , Creed spun-off even edgyier artists which a had a R&B/SOUL slant to it . KUDU RECORDS, being its answer to contemporary jazz being played with the technology of that day in Keyboards, recording, sounds, adding different rhythms and grooves . Wild Horses Rock STeady Johnny Hammond Smith, Grover Washington, Little Esther Phillips, Eric Gale, and Hank Crawford all Funky and greasy but smooth in the Pocket groove makers playing on Pop record and soul stations all over the country, many Grammy nominations and high record sales from artist who never imagine the type record sales they were now getting after signing with CTI Records.

In a sidenote many years later, Mr Creed Taylor scored again with a veteran artist ,some thought would never compromise on style and approach. He even convinced Nina Simone to record a very successful album Baltimore”. The title track was a Reggae Beat with Strings, written by Randy Newman and arranged by Dave Matthews in my opinion, one of the very best ever by CTI.

Follow this writer on http://www.hipstersanctuary.com / blues2jazz2003@yahoo.com

https://images.app.goo.gl/jHfKixJ1nF83Jpa89

YOUR MAJESTY: WALK SPIRIT TALK SPIRIT!


YOUR MAJESTY GEORGE ~ WALK SPIRIT TALK SPIRIT

By Robert J. Carmack- Hipster Sanctuary.com

I don’t know what it is about Jazz that makes me Astral-travel. My definition of a curated Jazz recording is, 1. Best material 2. Solid musicians 3.Willingness to “Go out on a Limb”(courage). When tackling a tour de force with powerful music and the ilk of McCoy Tyner, Nat Adderley, Wes Montgomery, Charlie Parker, Hank Mobley, and Lou Donaldson. What makes this project so hip and exciting is GEORGE V. JOHNSON Jr.’s vision and experience as working musician and songwriter.  Right out the gate, is a big splash intro to a moving piece of history by McCoy Tyner. Walk Spirit Talk Spirit (Knarrative Will Set You Free) we lost the great one in 2020.

What George has done is take two of Tyner’s stellar compositions including “Fly with the Wind” and crafted them into masterpieces in sound and “Griot” lyrics, that tell the best stories abound.

I lived with this CD for almost a month before I even attempted to review this project in art and soul. In my humble opinion, given a generous amount of “plays” this can become a #1 jazz hit. For example, Johnson Jr’s remarkable lyrics treatment of Wes Montgomery’s ROAD SONG, a strong cut involving the stories from all around the world while traveling and experiencing life on life’s terms. I can only concur with others, who have experienced the personality and artistry of GVJ. Jr. Be sure to put on your seatbelt when you listen to NO ROOM for SQUARES” (Hank Mobley, blue note) Nat Adderley’s JIVE SAMBA, Lou Donaldson, GRAVYTRAIN (1960s soul jazz classic)

George’s sinewy jazz sound shines on all the cuts in this beautiful session with just electrifying musicianship. Band personnel are; Devonte McCoy Trumpet, Elijah Easton saxophone, Herman Burney on Bass (I met years ago in Atlanta, when he was doing a gig with CEDAR WALTON trio) Allyn John Johnson Piano, Dana J. Hawkins drums, (**Steve Arnold bass). This ensemble brings a perfect balance of Dynamics while breathing new life into these classic, iconic tunes.

George has perfect command of his jazz vocabulary, which is not surprising since, he was mentored by the best, the Grand Pop of vocalese, Eddie Jefferson, and James Moody. Eddie even claimed George was the next in-line for sheer skill and dominance in jazz vocals. Its like having a “Magic Jukebox” that plays all the best tunes and in the right order too.

Recalling the electric pace of NO ROOM for SQUARES. It immediately takes me back to when my dad brought that album home, when I was just learning saxophone. Elijah Easton lit a fire under the Band, as if they needed more fuel, in his searing white hot solo, eating up bop changes like pancakes. ”This followed by a lucid, laser-focused solo by trumpeter Devonte McCoy. Allyn Johnson “brings the pain” on all the tunes he plays on.

It’s Johnson Jr. and him alone, who places you in a cozy Jazz Inn in Western USA or, on stage in a smoky, boozy spot tucked away along the Rhine River in Europe during the 1950s..Magic! Lol!! Whether you were diggin’ Miles, Monk, Trane or Mobley, even when they walked the earth, Or, You are a modern Hipster downloading all you can making playlists.. YOU MUST FIND ROOM for YOUR Majesty! You will Hear and see what the Barons of Bop saw in George going all the way back to 1974. He’s relentless in his attack of these songs, injecting his own personal touch that hangs over you like a Dexter Gordon 32 note phrase in Bopology and swing.

One other thing, what’s up with the “YOUR MAJESTY” thing?? Lol. I’m told it was gifted to him by another mentor John Malachi. When the jazz elders give you a nickname, you wear it with pride, like a “Blue Badge of Courage” and respect.

 George V. is the total package also, backgrounds in music, dance, and theater. Watching him perform onstage or just interact with the masters is a treat all in itself.  www.HipsterSanctuary.com gives this effort, FOUR STARS! My highest rating.  Why not grab two copies, one extra for a Pal or student trying to learn about jazz .. very approachable music even for beginners.

Walk Spirit Talk Spirit: YOUR MAJESTY ~ George V. Johnson,Jr. strikes the right chord with me. Get it at your favorite retail spot for recordings or downloads, or direct at www.georgevjohnsonjr.com

JAZZ ELEPHANTS STAMPEDE!


Jazz Elephants Stampede in Temecula,California 

One of the reasons I love covering jazz artists and groups that last long enough to see growth as a group , not just the individuals. I’ve worked with Don Littleton as a spoken word artist, MC and Promoter.. This group is a can’t miss act.. Right out the gate, Elephants nda Park dug into a Monk classic ,Bye-Ya.. A 32 bar ditty with added afro cuban Clave. Powerful playing by full band, but Pianist Mahesh Balysooria, demonstrated why he is becoming a first call jazz musician in Los Angeles..Mahesh is a USC music major alum and a busy pianist around town.

Great foundation laid-out by Mahesh on piano.. He then busted into,IMHO, a cross between McCoy Tyner and Omar Sosa intense solo, followed by drums and congas trading fours before returning back to the melody. A most improbable tune I didn’t see coming was, Giant Steps by John Coltrane, into massive bullet-trains of ideas moving through those Coltrane “changes” on saxophone by Pablo Cologero, Don’s right hand man in arrangements and directions for the band musically. 

Another great tune the band tackled was a doozy by George Coleman, Amsterdam After Dark. 

This ditty works its way around a great bassline and simple melody, but the Clave took over and had the electric audience up and on their feet. They were warned in the beginning that a stampede or house on Fire might come over the evening’s activity.  This band has started to raise a lot of eyebrows in So. Cal region and is open to going on the road to showcase this great group of musicians. The Bandleader , Don Littleton , a jazz veteran on percussion and traps. He was mentored by Billy Higgins, played with George Coleman, Hank Crawford and a who’s who in music, jazz in particular. 

Don dropped his latest group recording last year, Don Littleton and Elephants Nda Park ( see CD baby or your favorite download database under Don Littleton & Elephants Nda Park)     https://youtu.be/e5tfvno-29k 

Jazz lovers in Temecula  California , have been enjoying great straight ahead jazz at the Merc for the last 12 + years, hosted and curated by Ms. Sherry Williams, Vocalist/jazz presenter.  Everybody  loves to see her smiling face in the house, because you know it’s going to be great.

Sherry and her winning personality and smile, as she goes about the business of curating some of the best musicians jazz has to offer locally. The Merc has Jazz every Thursday evening @7:30pm ..for the rest of 2021. KEY concerts: Sept. 16th. Benn Clatworthy quartet.. Sept 23rd. “SOLD OUT” Al Williams for more info go to The Merc’s Website http://www.temeculatheater.org 866-653-8696

THE SOUL OF LOS ANGELES:LOCAL JAZZ ARTISTS MAKING MOVES AGAIN


Kamaad Tauhid  @blues2jazz2003  #PocketJazz

Rita Edmonds vocalist and saxophonist Dale Fielder

 

Bobby Bradford on Coronet

Bobby West

 

Robert Johnson Blues master on his way to the Crossroads ART BY Sam Pace

Mz. Santamaria strings of Fire!

SPIRITS OF THE UNSUNG: HOMAGE TO BABA HORACE TAPSCOTT


SPIRITS OF THE UNSUNG: A Homage to Baba Horace Tapscott

By Robert J. Carmack   #@blues2jazzguy

 One has to keep “YOUR EAR TO THE GROUND” or, listen for the TALKING DRUMS. That will help you to stay on top of who the movers and shakers are in real jazz events of LA.

I’m certainly no stranger to the underground or “Grassroots” happenings of Leimert Park and other venue pockets scattered throughout the city. Japan Town, Highland Park, San Fernando Valley and Long Beach are just the latest cities emerging with new energy.

One of the hottest jazz venues in the city of Los Angeles is The World Stage, an intimate performance gallery for presenting top-shelf jazz, performance poetry and other performing arts and exhibits of some of the finest artisans in the state or world even.

At a recent birthday celebration and Homage to Horace Tapscott held at the World Stage on his birthday (April 6th), I got a chance to briefly speak with a few longtime members of the Pan Afrikan Peoples ARKESTRA.

Bandleader and eldest member in longevity (since 1966) Jesse Sharps-saxes, flutes and miscellaneous woodwinds: Jesse is a L A born musician from Watts who sat-in and listened to the early beginnings of The Pan Afrikan Peoples Arkestra until he earned his stripes and paid his dues as every young musician must do.  “Post-1965 Uprising” a great spot was spawned in the heart of Watts called, the Watts Happenin’ Coffeehouse on 103rd street. Raw talent developed, in the jazz jam sessions, poetry and theater arts workshops, creative writer programs. A real bright moment for us young artists who were part of a revolutionary Black Arts Movement beginning in the mid-late 1960s Los Angeles. That venue was followed by “The Gathering” on Western & Vernon Ave. and formation of UGMAA and other branches to ARK.

Many old school players were a big part of the musical clan that gathered at all the community festivals and churches that opened their doors to Tapscott and his Eclectic group of players. Most “Ark” members are bandleaders themselves or, play on an elite basis with the great ones.

Michael and Mekala Session: Father & son musical team; Michael: “We are especially proud of what happens after experiencing the Blackness, Unity and Creative Magic that made up the sound of the “Arkestra” during the early 1974 to present. The legacy is the community itself and its love and embrace of these musical Griots. “Man..All that sound hitting you , makes you feel like you could do anything creative after that experience” 

Mekala Session; drums,percussion, In the beginning for me when I was just a pup growing up, I did not take it seriously, but as I grew and spent my time embracing the magic and spiritualism of the people surrounding me including my dad..I said to myself, What was it Horace might have been thinking when he was in his early 20s and creating all kinds of great music.”  A Mekela Session 1

“Today in the Ark , Cats closer to my age, I’m surrounded by “crazy musicians” who are trying to represent the ” Hood” in terms of the high bar that was set long before even my Dad joined the band, or Black Arthur Blythe, Jesse Sharps, Sabir Mateen, Troy Robinson, Adele Sabastian, Nate Morgan, etc.

While he was still in his twenties, Horace Tapscott gave up a successful career in Lionel Hampton’s band and returned to his home in Los Angeles to found the Pan Afrikan Peoples Arkestra, a community arts group that focused on providing affordable, community-oriented jazz and jazz training. Over the course of almost forty years, the Arkestra, together with the related Union of God’s Musicians and Artists Ascension (UGMAA) Foundation, were at the forefront of the vital community-based arts movements in black Los Angeles. Some three hundred artists—musicians, vocalists, poets, playwrights, painters, sculptors, and graphic artists—passed through these organizations, many ultimately remaining within the community and others moving on to achieve international fame. Based primarily on one hundred in-depth interviews with current and former participants, The Dark Tree is the first history of the important and largely overlooked community arts movement of African American Los Angeles. Brought to life by the passionate voices of the men and women who worked to make the arts integral to everyday community life, this engrossing book completes the account began in the highly acclaimed Central Avenue Sounds, which documented the secular music history of the first half of the twentieth century and which the San Francisco Examiner called “one of the best jazz books ever compiled.”

Jesse Sharps with Bobby West in rear

Horace Tapscott

I can only wonder what it would be like if.. Horace, Billy Higgins  were still alive to see whats become of their fruits of their labor in the beginnings.. How many practice sessions by Horace at 4:AM in morning at old World Stage building in the dark, running passages and ideas flowing like a fountain geyser. Billy Higgins doing his task every saturday, whenever he was in town bringing top flight jazz musicians to expose the youth to, Guys that were his peers, like Benny Maupin, Jabali Hart, Eddie Harris, Jackie McLean, Barry Harris, Cedar Walton, Charles Lloyd just to name a few , those workshops were classic and memorable. Part of the reason we still celebrate the greatness of the man, but more importantly we celebrate the legacy of the Community because that’s where Horace was coming from on a spiritual note.

 

JAZZ FOR R&B LOVERS: MUSIC FOR AFTER THE AFTER PARTY


posted by Robert J. Carmack   #@blues2jazzguy  #Precious:For Lovers & Dancers

I can hardly remember but, over the last 5 -10 years we’re  missing a lot of male jazz vocalists input. Rudi Mwongozi is constantly moving up the chain of new faces and voices on the scene.. Rudi, now based in New York from Oakland, California. I’m coming at this for a second bite. After living with this latest CD of pianist/vocalist Rudi Mwongozi, I can fully appreciate what he’s doing musically.

In my opinion, of the twelve cuts on this project, I like them all. Part of this recording has some very popular songs by elite artists Like, Eric Clapton, the gold record  Free by Denise Williams/S. Greene. He really gives this song a jolt of Mwongozi(ness). the arrangement opens with a similar intro, followed by a very classy bridge and vamp. Then he breaks out in a Afro-latin rhythmic vamp which sets up an extended solo in piano wizardry and percussive rhythms.  Another favorite is his strong harmonic approach to a syncopated piece called, Whole Steps to the House of Light, filled with musical trap doors and breaks,that swings and jumps like the pioneers use to do. I got a big kick out of the eclectic cut, the James Moody Story . a Be-Bop swinger. harkens me back to the James Moody and Eddie Jefferson style of vocalese and scat singing by Rudi and Friends.  Rudi takes on a brave arrangement of a Luther Vandross composition and handles it with delicacy and panache. He’s rolling 7s on this tune. He chose not to do what many so-called smooth jazz artist do in regurgitation of the original song,by performing it  note for note instrumentally. I was amazed at his treatment of vocalizing with his very fine jazz piano chops added, he really soars on this song like no other male Jazz artist out there.

Knowing Rudi from my days living in Oakland, California and producing jazz shows with unique themes of legendary artists works. we performed on a show paying homage to the great saxophonist, Jackie McLean compositions. A wide plethora of unique compositions in various meters and styles which paid respect to Jackie’s legacy. Be sure to cash in on a Rudi’s original Precious:When the Morning Comes and Bad Habits.

I had to push you closer to this prized project, The Music for After the After Party. what a concept, so early in the morning and then again, very late too. so the perfect menu of music for that romantic part of the morning where you listen to some swing, followed by some slow romantic tunes to Hug your “sweetie” to. Follow Rudi MWONGOZI on Facebook: https://www.facebook.com/rudi.mwongozi or, right here at, http://www.hipstersanctuary.com

MAIA !! TAKES THE WORLD STAGE BY STORM COMING SOON INTERVIEW WITH MAIA.


posted by Kamaad Tauhid  #@blues2jazzguy

https://photos.google.com/photo/AF1QipPSU2-wVRzY9l48Hml_efp_oC8MWMm5I-C8LTHJ

 

 

I’ve been around music since I was a pup. I been around jazz since 1963, musician, actor, producer and poetry.  MAIA.. is a woman, and a group of very talented ladies that hit all the marks for me. I have not seen anybody that bring the soul, from the grassroots level like this group in a very long time. First off, You got to acknowledge the leader’s organic approach to jazz improvisations. a very percussive Vibist, but sweet melodic flute player as well, and gutsy vocals. all of their rich harmonizing skills were on display last Saturday (March 2)night. at least 4 ladies sing from lead or duets, to background. I was blown away by the “Sweet Honey in the Rock ” type version of Nina Simone’s song , Four Women”. Their jazz chops are beyond reproach, along with their arrangements harkens me to wonder, Why aren’t we hearing more about this “ladies-only group releasing spiritual jazz and potent vocals. one of the highlights of the group is, they have several generations of musicians including the leader’s granddaughter on vocals and piano. .

Members are MAIA- Vibes, Flute, Vocals, sometimes Harp, Shanta-Bass, Mbira and vocals, Aankha Neal-Vocals/Piano, Tamina Johnson- Vocals /Piano, and Aisha Gaillard Drums/percussions

Coming soon, a sit down with MAIA! leader, vocalist and multi-instrumentalist. In April 2019…

COMING AUGUST 2019..POCKET JAZZ EVENTS by Robert J. Carmack     follow us on http://www.hipstersanctuary.com

The CAL TJADER LEGACY CONTINUES!! SOUL SAUCE at ROSCOE’S JAZZ LOUNGE


SANDRA BOOKER TORCHES L.A. SUPPER CLUB, THE GARDENIA ROOM


JAZZ BASSIST AND POET DELIGHTS L.A. AUDIENCES IN DEBUT


posted by Kamaad Tauhid @blues2jazzguy  concert photos by jazz archivist Chuck Koton

“The Stage, (pun intended)” was set 9:pm on Feb 9th 2019 in Los Angeles, where the bass master, Juini Booth landed for his WORLD STAGE DEBUT. Booth a jazz icon starting when he sprung on his own for New York in mid-60s as a teenage bassist for Sun Ra and a host of other greats. later iconic performances and recordings with McCoy Tyner, Woody Shaw and Gary Bartz’s Ntu-Troop just to name a few.

Booth powered into the world stage as part of the World Stage Black History month loaded schedule of Jazz greats. featured on spoken word and dramatic performance in the select works and poetry of SUN RA , Mr. Robert J. Carmack-MFABLACK as 1000 Nights: The Artistry and Poems of SUN RA.” Carmack reflecting on his work with Booth over the last couple of years as poet, MC and journalist said, ” It has blown by so fast, I hardly noticed its been almost 3 years since I appeared with Booth and another McCoy Tyner alumnus, AZAR LAWRENCE in a fast and powerful group of musicians performing compositions of McCoy Tyner. (Roy McCurdy, Theo Sanders,Azar, Juini and Robert)

Last year we did another Sun RA project focusing on mostly all of his “Space is the Place” material and music. carmack added, This time as part 2. I went deep on his Berkeley sessions at the University’s Artist-in-Residence, 1971,period of writings. Black nationalist views on African-Americans, politics and culture.” Carmack, a jazz journalist, actor and writer that focuses on the legacy of this genre called, jazz or American Black Classic Music.  Along with Carmack and Booth, were L.A. based sidemen, Mahesh Balasooriya on Piano, and Guillermo E. Brown drums. Brown performed last year with Booth and Carmack at the Club Zebulon, along with improvisational group, L.A. FOG and Kathleen Kim.

The audience not only heard rare Sun Ra Poems to improvisational interlude phrases by the group, but heard the band play pieces that they all favored in performing, like Jackie McLean’s “Melody for Melanie” and “Angels and Demons” by Sun Ra. A very powerful, moving solo bass, plus Loop were performed by Juini Booth to a standing ovation.

journalist/actor and producer/writer,musician R.J. Carmack

Carmack was able to navigate and sail around the writings with the ease of a skilled actor performing Shakespeare’s greatest montages of prose and poetry.  There were certainly fireworks with Juini Booth eclectic playing and melodic approach to double bass. Balasooriya treated the surprised audience to a searing piano solo on an unnamed piece he interpreted.

Carmack is based in Southern California and Juini Booth in New York. Carmack is setting up plans now as everyone gets ready for Spring and Summer events in both thriving cities. We want to redo this show in New York and San Francisco bay area as well. There are current calls for more study at the academic level for the writings of Baba Sun RA, along with his music and lecture series too.” said a jubilant Carmack, as he spoke to more collaboration projects that involve Booth and other Jazz icon’s music and writings.

Robert J. Carmack is launching this summer, a new series of Art based cultural programming involving improvisational music, drama, poetry/spoken word and fine arts(painting,sculpting and assemblage) POCKET JAZZ 2019 presented by http://www.hipstersanctuary.com 

Many thanks to the World Stage and Executive /Artistic director Dwight Trible and staff for making the group feel at home.

painting by Sam Pace

Pianist Mahesh Balasooriya

 

Guillermo E. Brown

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