In either case, it was the forward momentum and emotional commitment that kept the audience with the band wherever it ventured. At other times, the mere shadow of the song could be detected in the long, cathartic solos by these men or by the rhythm section of bassist Robert Hurts and drummer Marvin “Smitty” Smith-but the song was there nonetheless.
At times, the pleasures of melody, harmony and groove were unmistakable in Evans’ muscular blues-gospel phrasing, in Gary Thomas’s continuous, unpunctuated tenor-sax lines, and in Sean Jones’ highly punctuated trumpet phrases. On Father’s Day last month, for example, I heard pianist Orrin Evans demonstrate how thrilling jazz can be when it refuses to abandon tunes but also refuses to be constrained by them. Owner Todd Barkan reopened the club in Baltimore in 2019, and it has become a second home for me, a place where I can hear the finest jazz pianists in the world-often the best pianists in any genre. The Keystone Korner was a legendary jazz club in San Francisco between 19, a place where Rahsaan Roland Kirk, Art Blakey and Dexter Gordon recorded important live albums.
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