Martin Klemm

Sound Engineer

As engineer for WMUK, Martin Klemm could be taking care of a producer's computer in the morning, recording the Kalamazoo Symphony that evening, and producing Grass Roots the next afternoon. Being concerned with details and the staff's comfort, Martin will never run out of things to do.  Before coming to WMUK in 2003, Martin worked in Los Angeles making records with some outstanding producers, but preferred to be close to his family here in west Michigan. He enjoys keeping a busy schedule balancing WMUK, operating a recording studio downtown Kalamazoo, and remodeling his home in the Edison neighborhood.

Email: martin.klemm (at) wmich.edu     Phone: (269) 387  3169

via Wikipedia

On January 16, 1958, the Ahmad Jamal Trio recorded a landmark album at the Pershing Lounge at the Pershing Hotel in Chicago, Illinois. Titled At the Pershing-But Not For Me, it featured Chicago bassist Israel Crosby and New Orleans drummer Vernel Fournier. The album was on Billboard’s Hot 100 album chart for more than 2 years, and included the crossover dance hit “Poinciana." Keith Hall is our guide to the many treasures found in this recording, on this episode of Jazz Currents.


C. Lieurance

On Wednesday, composer/pianist Cassandra Kaczor and baritone Ian McGuffin, both graduate students at Roosevelt University in Chicago, will premiere a new, eight-movement work based on the writing of Will Brooks, a musician, writer, and voice for the LGBT community. In an interview and performance at WMUK, Kaczor and McGuffin talked about writing the work and previewed three selections.


(Here are the earlier episodes in this Jazz Currents series celebrating what would have been Miles Davis' 90th birthday: Part 1, Part 2Part 3, and Part 4.) In the late 60’s and early 70’s, Miles Davis began experimenting with electronic instruments, becoming one of the leading voices in what we now call fusion. After taking a hiatus in the late 70’s, Davis returned and continued to break new ground, while embracing contemporary sounds and styles. In the end, Davis came full circle to revisit his classic repertoire.


C. Lieurance

Anthony Healy is a pianist and educator who recently earned his master's degree in music at Western Michigan University, where he studied with Jeremy Siskind. In addition to teaching at Crescendo Academy and for the Gilmore Keyboard Festival outreach programs, he performs regularly in Kalamazoo at Ouzos Pub & European Grill on Friday nights and at the Sunday Jazz Brunch at The Old Dog Tavern, usually with a revolving list of musicians. On short notice, Healy agreed to bring some holiday cheer to WMUK's studio, playing his impromptu settings of favorite carols.


(Here are the earlier episodes in this Jazz Currents series celebrating what would have been Miles Davis' 90th birthday: Part 1, Part 2 and Part 3.) When we look back at the career of Miles Davis, and the many musicians that have come through his bands, two combinations stand out: The first great quintet of the 1950’s with Coltrane, Garland, Chambers and Jones; and his brilliant second quintet featuring Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. In this, the fourth of five episodes on Miles Davis, Keith Hall digs into the rich catalog of this 1960’s quintet.

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