Her uncle was Lester Young, her other uncle was drummer Lee Young. Her mother, Irma Young, played saxophone in the family band. And her grandfather, Willis Handy Young, was both a bandleader and teacher to her mother and her uncles. Following the family tradition, Martha Young also received her first music lessons from her grandfather on her instrument of choice: the piano.

As a working pianist, Martha Young cut her teeth in the burgeoning Jazz scene of a post-war Los Angeles. Backing players like Dexter Gordon, she worked as a house pianist in many of the top clubs. She was a well-rounded and seasoned musician; she had a style uniquely suited to commanding a room’s attention contrasted by an attentive and sensitive accompaniment style sought out by singers.

Unfortunately for us, Martha Young is not found on many recordings. In the early 1980s, she had a series of engagements in the San Francisco Bay Area, one of which was recorded (and subsequently released as an album) by the late Bob Parlocha. “The Martha Young All-Stars” was a live date at the defunct club, Bajones.

In 1982 I had the pleasure of hearing Ms. Young at the Kuumbwa Jazz Center in Santa Cruz: her swing feel made you feel as though a locomotive was coming through the room: her presence behind the piano, the cohesion of her group and the great joy heard in her interpretations, remain unforgettable to me. Sadly, she remains an elusive presence in Jazz history; I very much hope that one day her story will be told and her artistry more fully appreciated.  (Below: Ms. Young with Stan Getz, 1982 in San Francisco. Photo by: Jerry Stoli)

As a woman, having functioned in the field for some decades now, it is clear that my perspective/work/contribution, is most potent when it acknowledges my make up as a complete human being, and my womanhood is at the core of that. Pianist/Composer Geri Allen

For almost 30 years, KCSM has set aside a day of programming to honor the women that make the music: instrumentalists, composers, band leaders, producers. Today, March 8, 2020 we proudly carry on that tradition.

On March 8, 1908, 15,000 women took to the streets in New York City demanding shorter hours, better pay and voting rights. The day underscores the aims of that long ago protest and has set a “tone” for the subsequent decades: Unity, Celebration, Reflection, Advocacy and Action sum up what the day, and that initial protest, were founded on. And what better music is there, than Jazz, to reflect that call for unity, celebration, reflection, advocacy, and indeed, action.

And since the entire month of March–via a 1980 presidential order by then President Jimmy Carter–is designated as Women’s History Month,  KCSM will continue to feature the great female artists who have contributed to this music. For the month we’ll put the spotlight on a Jazz foremother, or a woman who has perhaps eluded your notice, working steadily as a valued “sideman.” Jazz is a music of tradition and innovation, and we’ll share the new voices as well as the older established female artists. Stay tuned and thank you for your support!

Vibraphonist Bobby Hutcherson was part of the Blue Note post bop “new thing” group of artists. He started with the bebop style and moved his music on to newer things. Bobby was inspired by Milt Jackson of Modern Jazz Quartet but developed his own sound and techniques.

Bobby started his career on the west coast and played with Les McCann, Billy Mitchell and other prominent west coast jazz musicians. Bobby moved to New York where he built a reputation and was picked up by Blue Note records. This was in the 1960s and he appeared on many of the post-bop, avant guarde and free jazz style recordings. After losing his cabaret card in NY he returned to the west coast where he eventually settled in Montara, Ca just north of Half Moon Bay(south of SF).

In his later years he was a founding member of SF Jazz Collective with Joshua Redman, Miguel Zenon, Nicholas Peton, Renee Rosnes, and Eric Harland. He would regualarly play to sold out performances on both coasts.

His most popular composition is “Little B’s poem” which composed for his son.

Be sure to tune in all weekend long as your favorite hosts celebrate Nat King Cole and the great singers and pianists of the 1930’s, 40’s and 50’s…..The Golden Age of Jazz!

Nat King Cole, born in Alabama & raised in Chicago got a family launching to his musical carer ! He learned organ & piano from his mother Perlina, who was the organist to his father’s Baptist church. He performed at 4, started lessons at 12 in jazz, gospel and Western classical, and was in a famous musical school program at DuSable High School. He was already performing in his own group in his teens.

Nat did start out commercially as a jazz pianist but his real career with the nation was of him as the singer. He had a soft voice that welcomed all, and carried his fame for decades after his life. Not even 20, and playing in his own jazz trio, someone said “Nat, you should be a singer”. The hit records started rolling.

Cole performed on multiple NBC radio shows in the late ’30’s and early 40’s. He recorded for Excelsior Records, and then moved on to the young Capitol Records. His hot record sales helped float the company in it’s early life.

Nat’s singing successes carried on from there through the rest of his life, (which ended in 1965).

Nina Simone is an iconic voice in American popular music and renown as “The High Priestess of Soul”. Jesse “Chuy” Varela celebrates Nina Simone with a profile of her life, legacy and controversy.

Jazz & blues singer Nina Simone of North Carolina started at the classical piano, singing to keep her education going. If you sift through her songs over the early years look for influences like Johan Bach in her piano work! With a great voice she became one of our heartfelt blues & jazz singers.

The civil protests of the 60’s loomed and entered her work (but did not completely take it over – the ballads of everyman’s heart are still there).

One of the KCSM Nina specials will be Wednesday, 2/19 with Jesse “Chuy” Varela on Jazz In The Afternoon

Hola Jazz Fans! Join Jesse ‘Chuy’ Varela and Chris Cortez for a celebration of the Machito Orchestra.  With his longtime musical director, Mario Bauza, Frank Grillo, better known as Machito, blended Afro-Cuban rhythms with jazz in the 1940s and gave America a vibrant new Latin twist. 

In between, if you don’t have any tracks of your own, get a little of the flavor with a few clicks in your YouTube window. This group has some great clips out there. One of KCSM’s special on this will be Sunday, 2/16 – celebrating Machito’s 100th Birthday with Jesse “Chuy” Varela on The Latin Jazz Show.

Monday Feb 17 marks the passing of Thelonius Monk in 1982. Here is a short description of him and his music.

Pianist and composer Thelonious Sphere Monk is one of the major figures of bebop and revered, alongside such luminaries as Charlie Parker and Dizzy Gillespie, as a father of modern jazz. But, in so many respects, his stylistic approach to the music differed from his illustrious contemporaries. While Parker, Gillespie and his fellow pianist Bud Powell often displayed their considerable technique at ridiculously fast tempos, Monk’s approach was entirely different with a keyboard technique that used a considerable amount of space and relied greatly on its percussive qualities for impact.

If you are interested in reading his biography I highly recommend the book “Thelonius Monk, the life and times of an American original” by Robin D.G. Kelly. This book provides a great up close view of Monk’s career and music.

Welcome to 2020! KCSM is pleased to bring you a series of special programs over the next three weeks. Please tune in and join us for these shows:

Friday, 2/14-2/16 Valentine’s Day weekend

All weekend long we’ll bring you songs and stories about love and love “gone bad.” Friday, February 14^th Alisa Clancy and Pete Fallico start your morning on A Morning Cup of Jazz. Chris Cortez and Lee Thomas take over from 10-2pm, Jayn Pettingill and Michael Burman follow from 2-6pm and Harry Duncan will close the evening on the Jazz Oasis. Saturday and Sunday will be full of surprises and “Lovely Love” from Greg Bridges, Sonny Buxton, Dick Conte and Jesse “Chuy” Varela. Be sure to tune in!

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Sunday, 2/16 2-6pm – Celebrate Machito’s 100^th Birthday with Jesse “Chuy” Varela on The Latin Jazz Show

Hola Jazz Fans! Join Jesse ‘Chuy’ Varela and Chris Cortez for a celebration of the Machito Orchestra.  With his longtime musical director, Mario Bauza, Frank Grillo, better known as Machito, blended Afro-Cuban rhythms with jazz in the 1940s and gave America a vibrant new Latin twist.  Don’t miss it as we celebrate the 80^th anniversary of the Machito Orchestra.

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Monday, 2/17 2-6pm – (President’s Day) Monk Tribute with Jesse “Chuy” Varela on Jazz In The Afternoon

Thelonious Monk is one of the major figures of bebop and revered as a father of modern jazz. Jesse “Chuy” Varela remembers Thelonious Monk on the anniversary of his passing in 1982.

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Wednesday, 2/19 2-6pm – Nina Simone Special with Jesse “Chuy” Varela on Jazz In The Afternoon

Nina Simone is an iconic voice in American popular music and renown as “The High Priestess of Soul”. Jesse “Chuy” Varela celebrates Nina Simone with a profile of her life, legacy and controversy.

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Friday, 2/21-2/23 Celebrate The Bay!

Alisa and Chris Phillips will kick off this weekend as we “Celebrate the Bay!” followed by the whole crew as we appreciate our own – musicians, educators and colleagues with music and stories going back to the 1940’s up to the music makers of today!

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Monday, 2/24. 2-6pm – Jesse “Chuy” Varela honors Bobby Hutcherson

Join Jesse “Chuy” Varela for a celebration of NEA Jazz Master Bobby Hutcherson with a reflection on his illustrious career and contributions. From Lionel Hampton to Milt Jackson, the vibraphone is now an established voice in jazz and in modern times nobody could make it sing better than Bobby Hutcherson.

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Tuesday, 2/25. 7-10am – Fat Tuesday Mardi Gras Show!

Get ready to join the grand second line and grab some throws with Alisa Clancy and Harry Duncan who will host a “Mardi Gras, Fat Tuesday Show.”

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Friday Feb 28-March 1. Nat King Cole and the Singers Weekend

Be sure to tune in all weekend long as your favorite hosts celebrate Nat King Cole and the great singers and pianists of the 1930’s, 40’s and 50’s…..The Golden Age of Jazz!

If You’ve been listening to Jazz91 for any length of time you know were all about the history and passing on the stories in our music. Coming up Labor Day weekend we’ll be telling the story of Swing to Bop! Alisa Clancy and Michael Burman will kick it off with the music of WW2 at 7am that Friday, August 30 –And they’ve got a lot of great gifts; the Very Best of Swing 3-CD Set. The Essential Jump Blues, which marked the beginnings of R & B, a Charlie Parker 10CD Set that captures some of the rarest Bird in live settings, plus we’ve got a new Bird Tee! AND since it’s Labor Day weekend you can show your workers muscle (!) with the iconic Rosie the Rivetor Tee Shirt. So, get ready to dance, swing, and bop all Labor Day weekend long!

Miles Davis once said: “Someday all the jazz musicians should get together in one place and get down on their knees and thank Duke.” It’s true, nobody did more to make jazz a serious art form than Duke Ellington. 

Here is the second in our Spring panel on Duke Ellington: “Duke and the Big Career.” (See our earlier post, “Duke Ellington, Origins of the Jazz Mover” for details on Duke prior to 1940.)

As the century took off from 1940, a lot of things combined to close out the big band format that Duke had been using. There was the war, new requirements on royalty payments to writers by performers, entertainment shifts from “big band dancing” to suburb entertainment, all taking the business support out from under the big bands.

In this shift, Duke with smaller groups became a central performer of the “old songs” that people could dependably go to for the music they remembered. (The music ranges were extreme. The following two hyperlinks will give you a pair of examples. Click here for Mood Indigo or here for Cotton Tail, a jumping dance number from the ’30’s. Do a YouTube search for It Don’t Mean A Thing Anymore, Jump For Joy. Click the video frame below for In a Sentimental Mood…). He continued to compose, especially in his famous collaboration with Billy Strayhorn. Duke’s output was labeled “enormous” and by sheer volume of quality work, kept jazz a major art form in mid-20th century America. (Try opening Google and keying in a search for Duke Ellington titles !).

In this period Duke produced some sizeable works. (Try keying up Diminuendo & Crescendo in Blue, Black, Brown and Beige, Jump for Joy, Far East Suite, Such Sweet Thunder, or Creole Rhapsody. He was even recorded as the Duke Ellington Songbook by Ella Fitzgerald.) He produced themes of popular movies (Anatomy of a Murder, Paris Blues, Nutcracker Suite, Peer Gynt). In a unique turn Duke composed a number of religious or sacred concerts (look for “A Concert of Sacred Music”.) Duke played music that Europe loved too, and filled out his bands’ lives with the tours over there.

Join Jazz 91 for a weekend of Ellingtonia, as we honor one of the most important creative forces in twentieth century music, the great Edward Kennedy Ellington, Friday June 7th through Sunday June 9th, right here on KCSM, The Bay Area’s Jazz Station.