BRIA ANSARA
Welcome to Key West Music Magazine. Its premise is pretty simple, really: celebrate the Key West music scene and introduce the people who make it possible.
The amount of talent on this small island is the inspiration for everything that comes from this desk. On any given day, one can walk down Duval Street and hear and see such diverse musical expression that it surprises those who are new to Key West and gives a bit of continuity to those of us who play. We know we can take chances here and try something new, or lay into the tried and true with equal vigor.
Because we live in such a small place, we all get to know each other as players and as fans. When you begin to play gigs regu larly on the island you notice a number of people who not only enjoy live music, but support it wholeheartedly. They become fans and friends and unofficial publicists, posting pictures and videos of our work on social media, and getting others interested. These connections soon become as important as any aspect of this musical life we are lucky to lead.
We are fortunate in other ways. You can find live music on our island every single day from 8 a.m. until whatever time Willy T’s decides to close. There is a plethora of opportunity. There are bands, solo artists, karaoke, drag shows, disco, funk, country, reggae, jazz and almost anything else you can think of, all happening on one street. It’s a safe place to be an artist and a fan.
bria_ansara_music PERFORMING
Mon-Wed: Bourbon Street Pub, 8:30p-10:30p Thurs: Berlins Cocktail Lounge, 6p-9p Sun: Reggae Brunch at The Reach, 10a-2p
We also know one another. We live nearby and see each other daily. We hold benefits when someone needs help and parties when they are feeling good. With the amount of work to be had competition is way down on the list of priorities here. That makes for a unique scene, one where the norm is to help each other, not hinder someone for fear of not having work. If someone needs some equipment in an emergency situation, one post on social media garners numerous responses offering aid and advice. We are thankful for the situation we find ourselves in and want to celebrate our luck. Hence Key West Music Magazine.
We hope this publication follows in the same vein as the community in which we live. Personally, I would like to this to be a magazine that I would want to be in.
In the near future we will be including a musician’s directory to help people new to the island figure out who to see and where.
Check out keywestmusicmagazine.com for more features and a daily schedule.
Ray West Publisher
LIVE MUSIC
7 NIGHTS A WEEK
Publisher
Ray West
keywestmusicmagazine@gmail.com keywestmusicmagazine.com
Contributors
Ralph De Palma, Ian Shaw
Kit Carson Smith, Jeff Dalton
Bill Klipp, Kim Walsh
Max Zahner, Keith Terracina Dani Hoy
Photographers
Rob O’Neal, Ralph De Palma
Bill Klipp, Brit Woollard Photography
Cover photo
Bill Klipp
‘Happy Dog’ playing at Higgs Beach
Key West Music Magazine
David Jones Art
HEADLINERS KEY WEST MUSIC MAGAZINE
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Managing Partner
Britt Myers
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Editing
Mandy Miles
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Mike Howie mike@keysweekly.com
Business Development
Stephanie Mitchell stephanie@keysweekly.com
Design
Irene de Bruijn
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“Never say no to a new gig, even if it’s scary.”
Brit Woollard Photography
By Ralph De Palma
Key West is like a big music sandbox
Originally from Davenport, Iowa, Claire started classical piano lessons at the age of four. Barb Davis, a piano teacher who lived across the street from Claire’s grandmother, agreed to give a test lesson to young Claire. She continued to study piano with Ms. Davis until the age of 18.
She started playing violin in the fourth grade and played in the elementary school orchestra. One day, the middle school jazz band visited and performed. Claire was intrigued by the bass player and by the fifth grade, she was playing bass in the middle school jazz band.
Claire’s parents supported her at every step — every lesson, every rehearsal and outfits for every performance. The musical director of a Lutheran church group where Claire performed suggested a five-week summer program at the Berklee School of Music in Boston. While at the summer camp, which she loved, Claire qualified for a Berklee World Scholarship that paid $7,000 toward the school’s estimated $170,000 undergraduate degree. She later qualified for an additional $7,000 and in her second year at Berklee, she qualified for the Wes Wehmiller Bass Scholarship. Between all the scholarships and her parents’ savings, she graduated in 2009 with degrees in Electric Bass Performance and Music Business Management — and without any student loans.
Claire stayed in the Boston area and played in a wedding band called Men In Black until 2014.
While in Boston, she substituted for one of her professors in a band called Entrain, where she met Jeff Clark of Key West. After returning to Key West, Jeff called Claire and offered her a wedding gig in Key West with the potential for a few others.
When she arrived, Claire was overwhelmed by the hardto-believe live music scene. But the clincher was the open and free vibe of Key West and the late-night bike rides, with the smell of night-blooming jasmine and other plants, many of which her father had grown in the basement of their Iowa home. It all made for a convincing combination and Claire decided to make Key West home.
Claire watched her Berklee classmates move to Los Angeles, Nashville and New York, but none of those places would provide the quality of life that Key West offered. Besides, Claire has always felt the core values that lead to success — a positive belief and a good inner compass — will do the same in Key West, New Orleans or Nashville.
Though she schedules a number of out-of-town gigs, she always comes home to Key West, home to steady music work on a beautiful tropical island. Nowhere else can a musician can work steadily and collaborate with so many other musicians. “I get to go downtown and play music with my friends at the amazing Green Parrot,” Claire said.
Key West is a music sandbox, where everyone brings their toys, all are welcome and good players show up all the time.
“I probably gained more music skills by playing for three years in Key West than 10 years in Boston,” she said. “I book my own band, play with other groups, play different styles of music and live in paradise.”
For many regular visitors, Key West is almost an addiction. Claire has followers who watch her performances on streaming cameras at various Key West venues, long after they have left the island and returned to the cold northen winters in Minnesota or Wisconsin. The Key West culture revolves around live music. It’s infectious and exciting and never gets stale.
Claire became best friends with Savannah Jane Buffett, the daughter of the late singer/songwriter Jimmy Buffett, and performed at her wedding. The night before the nuptials, a group that was part of the international Playing For Change Foundation, which was established to promote peace through music, filmed Claire performing two songs that would be played around the world. Claire recorded the 50-year celebration of “Dock of the Bay” and “Soul Rebel” with Bunny Wailer. They then asked Claire to play with their 13-piece band.
Since 2018, Claire’s main focus has been Playing For Change. The worldwide organization was founded in 2007 by Mark Johnson and Whitney Kroenke Silverstein with the first song, “Stand By Me,” recorded by street musicians from around the world, proving music is a universal language that connects us all.
They’ve won the Polar Music Prize and their for-profit section currently supports 16 music schools that provide free music lessons in countries that really need them. Claire is currently recording all over the world — Brazil, India, Bahrain, Australia — playing all different styles of music with local musicians. It’s a dream come true. They record with music stars like Ringo Starr, Keith Richards and Bono.
Claire’s advice to new musicians? “Never say no to a new gig even if it’s scary. Not every situation is a perfect fit, but it may be a stepping stone. There are many components to becoming a good musician; it’s much more than hitting the right note at the right time.”
at the console
WE
Certain compressors, which keep audio levels consistent, mic pre-amps and microphones, mostly designed in the 1950s and ‘60s, have attained legendary reputations.
Back when recording in professional facilities was the only option, studios made their names and reputations on having the most expensive and latest technology, and record companies demanded the best for their recording artists, with starship-sized British or American mixing consoles, high-end German microphones and Swiss-made tape machines.
Digital recording replaced tape at the turn of the century, and leveled the recording playing field. Everyone could now access software that enabled them to make an entire record on a laptop computer. Record company recording budgets shrunk and many big-name studios closed their doors.
But the new digital technology didn’t initially sound very good. It was brittle and lacked warmth, problems that were exacerbated by inexperienced users recording at home with cheap microphones and mixers.
Analogue equipment manufacturers came to the rescue. Companies like Neve, whose mixing consoles are the industry’s Rolls Royce, no longer able to sell many of their giant multichannel mixers, started making single channels of their classic designs. Other companies followed suit, and pieces of venerated studio gear that had ceased production decades before, reappeared on the market.
Often the reboots were not as good. Designs were tweaked for affordability with cheaper components and printed circuit boards, not handwired like the originals, where cost to the consumer was not a consideration in the design and build. The only question back then was “how good can we make this sound?”
This caused the vintage recording equipment market to explode, as musicians and producers scrambled to buy original versions of classic studio gear and microphones.
same compressor (if you can find one) will now fetch $40,000 to $60,000. Vintage and original Neumann microphones, Universal audio compressors and Neve mic pre-amps command prices at least double that of their reissues.
Among my gear collection is a pair of Neve mic channels I’ve owned for over 30 years, stripped out of a 1970s Neve console that was being broken up. They’re built like tanks and make anything plugged into them sound fantastic, adding some kind of undefinable vintage sheen. I have two vintage compressors, including a Beatlesera tube-driven Altec.
Investing in vintage gear has been one of the good decisions I’ve made over the course of my recording career. Owning classic studio equipment satisfies my gear addiction, and helps give my clients the best recording quality possible.
Ian Shaw is a British record producer who relocated to Key West. Warmfuzz Productions offers live recording of gigs directly to ProTools and studio-based production and mixing.
Units like the Fairchild Tube 670 compressor cost $700 when it first appeared in the late 1950s. These were thrown into Dumpsters at the end of the ‘60s when transistors came along and replaced tube technology. The Warmfuzz Productions ian.shaw@warmfuzz.com
WITH IAN SHAW
By Ray West
IGGIES INFO
WHAT YOU NEED TO KNOW ABOUT THE KEY WEST MUSIC AWARDS
The Iggies are right around the corner. On Jan. 13, the Key West Theater will host the fourth annual Key West Music Awards. As in years past there will be several performances by some of the city’s best and brightest. This year includes Belle Jampol, Marshall and Scott Morlock, Tony Baltimore, Mark King and Marjory Lee. Zack Seemiller will co-host and the house band is back, led by Jeff Dalton.
The awards show consists of 24 categories, including Songwriter of the Year, Fan of the Year, Mentor of the Year, Rock Act of the Year and Entertainer of the Year. A Lifetime Appreciation Award is also given out annually. Winners are determined from nominations that were chosen by you, the people, back in December. You nominated your favorites in all the categories at keywestmusicawards.com.
After that, the votes were counted and the top nominees in each category became our finalists. From there, they progressed to a panel of seven judges who reviewed, listened and compared before deciding the winners. These judges had no knowledge of how many nominations each finalist received.
Neither voters nor nominees knew who the judges were, and they were unknown to each other, to prevent any sharing of notes or collusion. The judges included music professionals and teachers as well as fans who see an exceptional amount of live, local music.
The upcoming awards night will feature the Key West red carpet with plenty of sequins and leather. It’ll be a packed house as local celebrities present the awards and musical guests join the live band between celebrations to give a glimpse of the talent this town attracts. Many Key West musicians end up at one place, which rarely happens in this working town.
At its heart, the Iggies is a charity. All proceeds from the show go directly to help other organizations and individuals in our community. This year’s main beneficiary is the Bahama Village Music Program to help them in finalizing their new facility.
The show starts at 8 p.m. with the official after-party at the Alamo, 4 Charles St., for some late-night jams. To become a sponsor, donate or get tickets, go to keywestmusicawards.com.
KWMA Director Ray West introduces the third annual Iggy Awards in 2024. Photo by Ralph De Palma.
new local releases
WELCOME TO THE HELL COUNTRY
BY JESSE COTTON STONE
Jesse Cotton Stone continues his storytelling tradition with “Welcome to the Hell Country,” the fourth definitive Hell Country Blues studio album. Written, performed, recorded, engineered and produced by JCS at Gypsy Magik Productions, featuring Stefan Flores on drums. Now available on all streaming platforms. JesseCottonStone.com
RUNNING
WITH THE DOG
BY JOE BOOE & THE DOG (TIM MARSHALL CURTIS)
Joe Booe and The Dog’s second album release, ‘Running with the Dog’ is a collection of diverse and eclectic rock songs. Tim Marshall Curtis (a.k.a. the Dog) writes, records and produces in Key West. Joe Booe writes and records the lyrics and vocals from Bradenton, Florida. Drummers include Gregg (G-Man) Shanle, Lee Venters and Randy Stint. Recorded at Warmfuzz Studios with Ian Shaw. Available on Spotify.
PAST TENSE
BY COLLETTE CAMPBELL
‘Past Tense’ describes the uncomfortable feeling of having to move on after losing someone you love. Recorded and produced at Sunrise Studios of Marathon, the album features Collette on vocals and acoustic guitar, Jeff Dalton on bass and piano, Ross Brown on acoustic/electric guitar and shaker, and Evan Valentine on drums. Released on Spotify, Apple Music, Youtube, Amazon
TO LIVE
BY MCKENNA CARLSON
‘To Live’ is about taking the necessary steps toward creating a better personal view on life. The song was produced by sound tech Ian Shaw at Conchtown Records with Matt Backer on electric guitar, Jon Skiffington on bass and Hyram Garzaro on drums and percussion. mckennacarlsonmusic.com
GLITTER & DIAMONDS
BY OK MIDNIGHT & BRIA ANSARA
A love letter to late ‘70s funk, disco, electronic music mixed with an adoration of Daft Punk. Featuring & co-produced by OK Midnight, the track also features Bria Ansara. Glitter & Diamonds video available at TonyBaltimore.com.
FLY
BY LUFFKID
A new single written/recorded by LuFFKiD (Adam Lufkin) and mixed/ produced by OK Midnight (Chazz McConn) at SNST Studio here in Key West. It’s a blend of Cali Reggae, Rock and Pop. It’s a song about staying positive and upbeat when going through tough changes in life. Available now on all streaming platforms. LuFFKiD.com @luffkid @ ok_midnight
MUSICAL FUSION
BY C.W. COLT & AL MIGHTY
From Key West’s own C.W. Colt and Jamaican producer Al Mighty, the innovative project blends Van Morrison’s mysticism and Waylon Jennings’ storytelling with reggae rhythms reminiscent of The Wailers. Experience this groundbreaking island music fusion on all local radio stations and major streaming platforms.
THE SECOND HAND
BY SAM CARLSON
Sam Carlson recorded his debut album in Key West at DePoo Sound. It was produced and engineered by Keith Banning. Sam writes about the modern age and ponders feelings of discontent, the need to travel and the search for truth in a world of confusion.
sammakinmusic.com
SWORD & SHIELD
BY SPOGGA
Spogga’s album, ‘Sword & Shield’ features the songs ‘Warrior,’ ‘Goodbye Radio,’ and ‘Sangria for Life.’ Part of the album was recorded in a home studio in Treme, New Orleans, while ‘Sangria for Life’ was recorded here in Key West. Drum programming, percussion, bass, keys, guitar, vocals and songwriting by Spogga. Mastered with Nathan at Vault Mastering. YouTube.com/spogga
KIT INTERVIEWS ELLE HALEY
“Many people know me as ‘The Pizza Man’ or the ‘Earl of Pizza,’ but before that, I was a young fashion designer and frustrated musician from a small town in southeast Georgia. I moved to Key West in 1986 after I graduated from Troy University. Two years later, I crossed over to the dark side and took stewardship of Angelina’s Pizzeria on Duval Street.
When I founded Angelina’s in 1988, my goal was to have a fantastic place to work where I could listen to rock ‘n’ roll, play pinball and have fun. And, oh yeah, eat a lot of delicious pizza. I’ve been knocking that goal out of the park ever since and I’m the luckiest guy in the world. I get to hang out here on Duval Street in beautiful Key West listening to great live music, eating pizza with my friends and meeting some of the craziest and nicest people on the planet. It hasn’t always been easy, but it’s been fun. I’ve served more drunk slices than most people can imagine. Just when you think you’ve heard and seen it all, in walks the next customer.
A year ago, with the invaluable assistance of ‘TV Tim,’ I started a YouTube channel called ‘Sit with Kit’ and it’s really taken off. There are so many unique and interesting characters on our island and I want to hear their stories. So each week, in front of Angelina’s under the ‘Reserved Parking for Sit With Kit’ sign, I sit down with the rock stars, heroes and gods of Duval Street. We learn all about them and their outlandish adventures. No two stories are the same and I never know what’s going to happen.”
KIT: Hello, and welcome, everyone, this is Kit Carson, your Duval Street pizza man. I’m hanging out here in the 200 block of Duval with a lovely young guest.
ELLE: My name is Elle Haley, I’m a musician in town.
KIT: You made quite an impression on me when I saw you singing. And you have been nominated for a Key West Music Award — which category?
ELLE: Rising star.
KIT: I don’t think I have a vote, but if I do, you’ve got mine.
ELLE: I do appreciate it.
KIT: Are you going to attend the music awards?
ELLE: Oh yeah, I’m excited to get dressed up all fancy.
KIT: I’ll be there. I can’t wait to see everybody all dressed up and I want to see you get some awards, too. What’s new that you would like to tell me about? Are you playing gigs around Europe?
ELLE: We’re going overseas to the UK and we’re doing Scotland and Dublin, Ireland.
KIT: How many gigs?
ELLE: I think we’re there for three months, about 38 shows.
KIT: Are you going to be gone the whole summer?
ELLE: I’m gone March to May.
KIT: I thank you and have a great evening. Remember if you’re planning to visit Key West, you’ll have to check to see where our new rising star is performing. Best of luck to you and thank you for sitting with me. I appreciate it.
ELLE: Thanks for having me.
PROMOTING CONCH PRIDE
Family owned and operated by Nikki, Tiffany, Cathy & Damien
the music lesson
WITH JEFF DALTON
Whenever you’re out seeing some of our great Key West musicians, you’ve most likely seen a lot of guitars and basses up on the stage. Some players have two or three instruments with them (unless they’re the immensely talented Jillian Todd, who once took the stage with 13, yes 13, beautiful guitars — and played them all.)
But why does an artist bring more than one, and how do they decide which is right for the job?
While I’ve never matched what is certainly a Key West record of 13, I do own 13 basses and each one has seen action on a Key West stage. What factors does an artist consider when deciding what goes in the truck before a gig? Sure, we might want a backup, but we don’t just grab whatever is closest. It’s a multi-variant decision that is purposeful but quick, intuitive and deliberate, and based on years of experience. That decision is based on three factors: vibe, function and sound.
VIBE • We all want to project a vibe when we’re onstage. Projecting a cool vibe enhances the audience’s experience and makes the gig more fun. Do we want to be vintage, wild, fun, crazy or serious? Jazzy, smoky or rockin’? The choice of instrument can reflect those things. Whether it’s me stepping onstage with my vintage 1963 Fender Jazz Bass, or Larry Baeder ascending with his vintage 1959 Fender Telecaster, each projects a different look and feel. And each creates a different vibe with the audience. To project something totally unique, I might bring my big acoustic bass onstage and play with the bow (you ain’t heard nothing until you’ve heard that low E with a bow through 1200 watts). And nothing screams “ROCK AND ROLL” more than Ross Brown showing up blazing with his Ibanez Destroyer.
FUNCTION • Aside from looking cool, instruments fulfill a specific function within a band. If I’m playing a jazz show at the Little Room with Claire Caplan, I always play my upright bass. It has a low-end punch that is more drum than guitar and lays down a pulse that’s perfect for bebop and swing.
If it’s funk you want, I sling on my Music Man Stringray (“the funk machine”) because nothing is better for that sharp metallic tone you hear when the bass player “slaps” his bass — something you hear at virtually every funk show. Note: I’m more of a Rocco Prestia (Tower of Power) fan, so I don’t slap much, which is why you almost never see my ‘Ray onstage.
If a gig calls for a wide variety of styles, then I need a chameleon, a bass that sounds just as great on a Bob Marley song as it does on one from the Police. Whether it’s funk, rock, soul, reggae or grunge, you can’t beat the Fender Jazz bass, which sounds equally good in the studio as it does onstage.
If you’ve got a hankering for country, my Carvin six-string is the rodeo king, with its “woody” tone and satisfying low B string that I need to hit at just the right moment. Or I might pull out my Electric Upright Bass (EUB for the cool kids), a perfect hybrid that bridges the gap between an upright bass and electric.
Some basses have four strings, some five and others six, although one player in town has a NINE-string bass. More strings give you more options, more notes and different sounds. It all depends on the music. I’m more traditional, and though I own five- and six-string basses, I usually play a four.
SOUND • In the end, vibe and function won’t quite get you there. Sound quality is the priority, and three basses are the undisputed champions: the Fender Jazz bass, the Precision bass and the acoustic upright. The Jazz bass can cover any style and sound great. The Precision excels at rock and soul. And the upright bass always sounds cool and oh so fat.
In the electric bass category, there are two sub-categories: fretted and fretless. If there is any chance for funk, I’ll usually select a fretted jazz bass, but there is nothing like the fretless jazz bass when you need it. It has a slidey-smooth sound of its own, and is especially great at modern jazz, a la Weather Report or Jaco Pastorius. I had a chance to pull out my 1963 fretless jazz last season for Jillian’s Joni Mitchell Celebration and the sound perfectly matched the music (not to mention it was the same exact year and model bass used by Jaco Pastorius on “Shadows and Light”).
So the decision to choose a bass (or any other instrument) isn’t random. We all have our reasons, with function and sound being the most important — but we also want to look cool doing it.
Jeff Dalton moved to the Florida Keys with his wife Patty in 2016. He is active in the Key West music community as a bass and piano player and music director. In 2023 he opened Sunrise Studios of Marathon, a music school and recording studio for all ages, and is working as a producer and engineer on projects with artists from the Keys, Southwest Florida and Detroit.
island inspired
Our bright and airy space is a treasure trove of fashion forward essentials that embrace the island lifestyle.
Offering fabulous brands including Farm Rio, Trina Turk, Oliphant & more. Stop by and check out Key West’s go to spot for splurge worthy and on-trend styles.
OPEN DAILY FROM 10 AM TO 5 PM 624 Whitehead Street | Key West 305.735.4674 | Instagram @floatkeywest
By Dani Hoy
THE WORLD OF TROP ROCK
Trop rock. Surely you’ve heard of this musical genre, particularly in Key West.
Trop, of course, is short for tropical. Think of all those songs by Jimmy Buffett, Zac Brown, Kenny Chesney and others that mention beaches, boats, palm trees, sunshine, flip flops, pirates, margaritas and other warm-weather subjects.
The rock part of the genre is a bit more wobbly, as the music can take many forms from rock and country to reggae and more. I’ll just say, the definition boils down to “Americana music with an escapist theme.” Americana in itself is very loosely defined and is kind of a blend of outlaw country and folk. Instrumentation has a lot to do with the sound of Americana, using American folk instruments such as banjos, mandolins and harmonicas.
In trop rock you’re more likely to hear ukuleles and steel drums. Radio stations on the web as well as land-based stations include the genre in their playlists and some streamers offer an exclusive trop rock playlist based on their own algorithm.
Let’s take a look at the world of trop rock in Key West. Many of you may be familiar with the Parrot Heads, as fans of Jimmy Buffett call themselves. For many years, the flocked to Key West for a gathering every November. Over the years, the Parrot Head phenomenon spawned many trop rock bands, with most tracing their roots back to Buffett.
Tribute bands gave way to independent songwriters and bands that created their own Buffett-inspired music. Year after year more musicians, including Nashville songwriters, discovered the world and appeal of trop rock, made the trek to Key West, and found themselves a niche fanbase.
While living in Pennsylvania as a member of a local Parrot Head club, we had our own club band, Tropical Soul, which has also played at the Hog’s Breath Saloon here in Key West over the years. The first time I heard Howard Livingston and the Mile Marker 24 Band was at a fundraiser for Myasthenia Gravis in Camp Hill, Pennsylvania. Who knew tropical music could be found so far from Florida? I was listening to Beachfront Radio online (and Margaritaville Radio, too) back in 2010 when I felt inspired to try writing my own songs.
Learning to write music in my mind is kind of like poetry set to music. I wrote my first song, “Tropical Man,” with this in mind, creating a setting and a story in parts. It took a lot of working with my producer before it turned into a decent song: “He’s got Buffett’s bank account / Papa Hemingway’s style / Captain Tony’s sex drive / and Jack Johnson’s smile,” to start. That was over 12 years and four CDs ago.
My fans/friends who have supported me — and my music — over the years come from many backgrounds. I’m grateful for them all and for the fact that I live here in Key West, playing music with Chris Rehm as one half of The Shanty Hounds. Like most local musicians, we play a lot of different styles, but our original music can be considered trop rock. We love to write what we know — life on an island.
In our next column we’ll delve into more of what’s going on in the trop rock scene here in Key West and beyond.
Dani Hoy and Chris Rehm have been performing as The Shanty Hounds for over 10 years. In addition to loads of unique covers, they also perform their own music.
Check out their schedule at theshantyhounds.com
key west wanderings key west wanderings
When home in Key West, internationally recognized wildlife photographer Bill Klipp strays from his normal natural world subject matter to capture the everyday happenings in and around our island paradise. Bill’s daily photo forays into Key West’s own “Wild Life” is best known on social media as “Key West Wanderings,” where his keen eye captures images of local events and items of community interest. He is also known to use his photographic skills to document and promote the activities of our extensive music community. To see more of Bill’s local photography, check his Facebook Group called “@Key West Wanderings” or his website at wildlifephotos.me.
Oh, and next time you’re at a music event and you see a guy in a distinctive fedora lurking in the shadows or darting about with a camera, wander over and introduce yourself.
WITH BILL KLIPP
1. Local singer/songwriter Nick Norman entertains a full house at Williams Hall.
2. Andy Sands does a solo act at the new Alamo Bar.
3. Cayman Smith-Martin’s and Jeff Clark’s Skank band on stage at Andy’s Cabana with Ross Brown on guitar and congas, Henry Lysy on bass and newcomer Phil Lowman on drums.
4. One of Key West’s newest live music venues, “The Alamo,” hosts the Key West Blues Trio with Drew Kiniry on guitar, Henry Lysy Jr. on bass, and Juan Ignacio Caram on drums.
5. Blue Heaven diners are treated to the melodic sounds of Electric Blue Yonder with Johnny Veres, Beth Hataway Veres and a special guest.
6. A step back in time for the very popular “Open Mic/No Mic Night” at Andy’s Cabana, where locals and traveling troubadours jam on Thursday nights.
7. Local band Happy Dog with Mark King, Ross Brown and Evan Valentine on stage at the Green Parrot Bar, a classic Key West watering hole known for its exceptional music program.
8. The Jazz Harp Quartet with Skipper Kripitz on drums, Jeff Dalton on bass, Scott Marischen on harp and Mark Rose on horns playing the ‘Hemingway Social Club.’ Though not yet on everyone’s radar, it’s a very civilized spot to try some local rum drinks while listening to live music.
9. At the Sunset Pier on Tuesdays you’ll find “CC and the Sunsetters” led by Collette Campbell with Ross Brown, Mark King, Evan Valentine and Tim Mayer.
10. The Andy Westcott Band performs at Schooner Wharf Bar with Henry Lysy on bass, Rick Fusco on guitar and Lee Venters on drums.
11. Les Greene and the Swayzees rock the Green Parrot. You don’t get to see these local guys very often, but when they play together they fill the house.
UPCOMING EVENTS
YOUR MOM-AND-POP SHOP FOR EVERYTHING MUSIC
With the onslaught of new technology coming at us as fast as a broken tree limb hits your windshield during a hurricane, stories that once might have seemed boring and mundane take on a different value. Tales of honor, dedication, hard work and love stay longer and hit harder than 30-second snippets of, well, everything else.
This story begins in the early 1990s, when Wayne Sorbelli was attending Misericordia University in Dallas, Pennsylvania. Wayne had become an industrious young man, always looking for ways to supplement the costs of college and always working while in school. He also managed to pursue his first passion, guitar. In pur-
suit of his musical goals and through his love of music, Wayne had procured quite a collection of records, cassette tapes and the newest musical medium, compact discs (CDs). It wasn’t long before the music lover and the industrious worker melded into one. Wayne began to frequent farmers markets and flea markets to sell his stuff. Jamie and Wayne met in college, where she was studying for a history degree. Like Wayne, Jamie worked several different jobs to help offset the costs of an education. She also loved music and played keyboards, with Wayne on guitar, in one of their first professional bands. The bond was deep and natural and the two fell in love. It was about this time that Wayne
had first started buying and selling and Jamie was integral to the success of the endeavor. In 1996 they rented a store and the world got its first glimpse of Wayne’s World of Used CDs.
Jamie would go to school, then to work, then to the store to help Wayne. Wayne says it all became official when on April 1, 1997, he received his sales tax license. This marked a turning point in the business as Wayne and Jamie bought a modest building in 1998 in Pittston, Pennsylvania.
Back in those days, Christmas shopping was a bigger deal that required more effort than swiping and clicking on a phone. There was no internet to make shopping from the comfort of one’s own home a possibility. Christmas was a very busy time of year and Wayne was constantly on the move. Jamie became a full-time partner in the business and has been ever since.
As time went on, Wayne’s World of Used CDs went through some changes. As Wayne’s proficiency on the guitar grew, so, too, did his appetite for new musical gear. Now that he had a shop to display them in, his used guitars and accessories began to appear on the walls. People began to
ask about other gear and where to get it, and soon Wayne and Jill were selling used instruments as well as used CDs.
Wayne’s reputation grew and a musical scene soon developed at the store, which hosted jam sessions and local rock bands promoting their music. It was a good time for music and it was a good time to own a store that centered on it.
Ten years passed. The Sorbellis upgraded to another store in Dallas, Pennsylvania. Life had added two beautiful children to their mix. In 2011, they made their way to Key West for vacation. Within two days, the couple was discussing the probabilities of starting a store and a life in the Keys. Could this life plan coincide with the business plan? The answer was yes, and the move was made. It didn’t take long for Island Guitar, located in the Key Plaza shopping center, to establish itself and become a hub for the Key West music scene.
Tragedy struck in 2016 with the loss of their son Nicky to cancer. While there are no words to describe the devastating loss, the Sorbellis were able to summon from the pain something to benefit others who are going through the same struggles.
Nicky’s Celebration occurs once a year at the Key West Theater. Wayne heads a band that pays tribute to his favorite band, Led Zeppelin. An exciting and emotional night, the band is composed primarily of musicians who have also suffered loss due to cancer. The event gets bigger every year and has helped to further cement the family’s place in the Key West community.
“We moved here because this is a music town. We stay here because this is a music town,” Wayne said. “Through the lessons we give at the store, we have been able to watch our students go from the early stages of musical development to playing professionally throughout the city. It is a major source of satisfaction and we love it, and we love this town.”
Island Guitar
1109 Key Plaza, Key West 305-414-8056
islandguitar.com
WITH KIM WALSH
walk around town
If you know where the ‘No Sniveling’ sign is in Key West, you’ve been to the world-famous Green Parrot bar. It’s a must-see stop on any Key West itinerary. While there, check out the quirky and cool decorations, every single sign on the walls (and ceiling) holds a great story from days gone by.
One of the oldest bars in Florida, the Green Parrot opened in the 1890s and maintains its rich and nostalgic history even as the island around it changes. The building that started as a grocery store eventually turned into a corner dive bar that became a famed hangout for an unlikely blend of locals, Navy sailors and hippies.
During the late ‘80s, the Navy crew would arrive in dress whites and sit on one side of the bar, with the local hippies on the other. Today, it’s still a favorite local hangout — and the Navy personnel and happy hippies sit together.
The Parrot is one of the best bars you’ll ever visit and in my humble opinion the classiest music venue in Key West, loved by locals and visitors alike.
The music is its draw when it comes pouring out of the bar’s giant windows and always-open doors. It sucks me in as I’m riding my bike around the corner of Whitehead and Southard, or driving by with the car windows down. The Green Parrot’s combination of great music, colorful Key West characters, amazing staff and the historic mojo of
the building itself helps make the place the heartbeat of the island.
Ask any local if they’ve been to the Parrot for sound check and the answer undoubtedly will be yes. The bar’s live music schedule is exemplified by one of its famed mottos, “Excess in Moderation.” On the weekends, the bands that are invited to play usually perform nine sets of music over three days. The sound-check set is every Friday, Saturday and Sunday from 5:30 to 7 p.m. The other sets of music start at 9 and 11 p.m.
You’ll always find dancers on the dance floor, free popcorn, 100 different beers and super sweet sounds mixed to perfection. The music drifts into the sidewalk, where you’ll often find overflow crowds dancing.
And did you know that the door behind the stage leads to the Green Parrot band house for out-of-town performers? It’s a funky, two-bedroom apartment that helps lure talented music makers from other cities to our remote island.
Over the decades, thousands of musicians have graced the stage, and I asked local players if they could sum up what it means to play at the Parrot.
They all mentioned how great the staff is, saying that Jim and John and the whole Green Parrot crew always make it feel like home.
The music that fills this “Sunny Place for Shady People” is played by bands from around the country and around the corner. There’s gritty rock, funk and blues, as well as folk and jazz. There are tribute cover bands, and all-originalmusic bands. There’s even a local ukulele group that takes the stage once a month to add to the magic.
The lure of the Green Parrot is you’ll never know what you’re going to get and you’ll always leave with a soul full of music. The Green Parrot, where No Sniveling is allowed, is an iconic landmark that stands the test of time, and a very special part of Key West.
Kim Walsh is a versatile musician and producer of the Cayo Hueso Original Music Series in Key West.
Green Parrot 601 Whitehead St., Key West greenparrot.com
ISLAND GUITAR
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PERFORMING ARTS CENTER ALL THE WAY
KEY WEST THEATER
After two years of preaching in front of the courthouse in downtown Key West, J.H. Breaker had raised enough money to build the First Baptist Church of Key West on Eaton Street. The church was completed on Jan. 2, 1849. It had cost $600.
But the church lasted only 17 years. A fire destroyed it in 1866 — a fire that may have been set by the pastor. The local rumor mill speculated that, having been humiliated for six months by the entire town over his wife’s publicly known affair, the pastor burnt the church down with the wife and 14 children inside it. In other words, there could be ghosts.
In 1990, more than a century later, the former church became a theater and hosted plays and musicals. But audiences often claimed that the smell of smoke was so strong that they left in fear, and the theater soon closed.
No other business occupied the building for many years, though not for lack of trying. Construction crews would work only a few days before refusing to enter the building due to “unexplained events.” Anyone who dared light a cigarette or flame of any kind would be shoved violently by an unseen force and their flame quickly extinguished.
The building was revived with pink and blue exterior to house the infamous Club Chameleon, which also closed, and the building stood empty and abandoned until 2015, when it became The Key West Theater. Now audiences can’t stay away.
The theater has hosted huge acts, like Kenny Chesney, Travis Tritt, Bret Michaels, David Crosby, Joan Osborne, Jefferson Starship and others. Jimmy Buffett chose this venue to do a locals-only show in February 2023, when he offered discounted tickets that were only available to those with a local ID.
Jimmy Buffett plays at Key West Theater in February 2023, offering discounted tickets that were only available to those with a local ID. Photo courtesy of Rob O’Neal
IN PICTURES
by Ralph De Palma
1. The Marshall Morlock Band takes home Cover Act of the Year. 2. Jeff Dalton, who doubles as the Iggies’ music director, accepts his Mentor of the Year Award for his work with Sunrise Studios. 3. Martin Sedlak, joined by Rae Hartwell, receives his Instrumentalist of the Year Award. 4. A perennial favorite, Gary Hempsey takes home the Song of the Year Award for his song ‘Sinkhole.’ 5. Andy Westcott accepts his Blues Band of the Year Award on behalf of the Andy Westcott Band. 6. Carolyn Guarini congratulates a happy Hiram Garza on his Supporting Artist of the Year recognition. 7. Local favorites Homegrown were named Country Act of the Year. 8. Jesse Wagner and Jillian Todd accept their Duo of the Year Award after a stellar performance. 9. Previous Vocalist of the Year winner Kari Wolf sings our Lifetime Appreciation Award winner Moose Boles’ original songs. 10. Ron Gregorcic accepts the Rock Band of the Year Award for The Durtbags. 11. Pictured with Laura Gabby, Charlie Brumley wins the multifaceted Fan of the Year Award. 12. Tony Baltimore takes home the awards for both Album of the
Year for ‘Bordello’ and Songwriter of the Year. 13. The multitalented Bria Ansara wins Entertainer of the Year. 14. The Cantina Band sings their appreciation for their Jazz Act of the Year Award. 15. Reggae Lou and the Kind Buds are named Reggae Act of the Year. 16. In addition to playing in the Iggies’ house band, Ross Brown wins Solo Artist of the Year. 17. A relative newcomer to the Key West music scene, Tantra Grillo receives the Rap Artist of the Year award. 18. Collette Campbell accepts the coveted Rising Star Award.
By Max Zahner
KEY WEST: A MELODIC TAPESTRY OF PARADISE FROM 1960 TO 1980
Nestled at the southernmost tip of the United States, Key West has long been a haven for dreamers, wanderers and artists. From the 1960s to the 1980s, this sundrenched island wasn’t just a tropical escape — it was a pulsating hub of musical innovation and eclectic culture. The unique atmosphere of Key West, with its confluence of Caribbean rhythms, folk traditions and rock influences, created an unforgettable music scene that continues to echo through time.
In the heart of this era lies the captivating tale of Anthony “Captain Tony” Tarracino, a larger-thanlife figure whose colorful presence bridged the worlds of music, storytelling and community. His story, vividly brought to life in “Paradise and Pirates: Key West the Way It Was,” by Keith Terracina, serves as a perfect lens through which to explore the vibrant soundtrack of the island’s golden age.
THE SOUNDS OF THE ’60S: FOLK MEETS FREEDOM
In the early 1960s, Key West was a sleepy fishing town with a bohemian undercurrent. This was when folk music, infused with the raw authenticity of artists like Bob Dylan and Joan Baez, made its way to the island. Local bars like Captain Tony’s Saloon — a venue Tarracino himself ran — became gathering spots for wandering minstrels and aspiring songwriters.
These intimate spaces buzzed with the unamplified sound of acoustic guitars and heartfelt lyrics, as musicians traded stories and songs over cold drinks and salty air.
The saloon, its walls covered with decades of memories, offered more than music; it was a place where connections were forged. Here, one could meet a fisherman fresh off a shrimp boat, a struggling artist or a tourist mesmerized by the island’s magic. Each brought their own rhythms, and their blended experiences became the foundation of Key West’s burgeoning music scene.
THE ‘70S: CHAOS AND CREATIVITY COLLIDE
As the 1970s dawned, Key West transformed into a cultural melting pot, fueled by the free-spirited ethos of the counterculture movement. It was during this time that Captain Tony’s Saloon truly cemented its status as a musical landmark. Tarracino’s charisma drew a medley of characters — from local legends to rising stars — many of whom graced its tiny stage.
One notable figure was Jimmy Buffett, whose carefree melodies and stories of island escapades epitomized the Key West lifestyle. Songs like “Margaritaville” and “A Pirate Looks at Forty” painted vivid portraits of a life unbound by convention, much like the one Tarracino himself embraced. Buffett wasn’t the only one inspired by the
island’s energy; countless other artists found their muse here, blending genres like rock, calypso and blues into their work.
The decade also brought a darker edge. Key West’s proximity to the Caribbean made it a hotspot for smuggling, and the influx of drugs and money shaped both the culture and the music. Bands often performed in hazy, late-night jam sessions, their sounds influenced by the untamed atmosphere of the island. For some, this era represented freedom and excess, while for others, it carried a heavy cost.
VENUES THAT DEFINED AN ERA
Beyond Captain Tony’s, Key West hosted an array of iconic music venues that contributed to its distinct sound. The Chart Room Bar, nestled within the Pier House Resort, became a popular haunt for locals and visitors. Its waterfront location was a perfect spot for spontaneous performances. Musicians could test new material or simply revel in the joy of playing.
Another standout was the Casa Marina, which regularly hosted large-scale events featuring regional bands and national acts. These venues, alongside countless impromptu beachside gatherings, created a landscape where music was as much a part of the scenery as the turquoise waters and swaying palms.
THE LEGACY OF KEY WEST’S MUSIC SCENE
The music of Key West from 1960 to 1980 wasn’t just a soundtrack — it was a reflection of the island’s soul. Its fusion of folk authenticity, rock rebellion and island rhythms captured the spirit of a community that thrived on creativity and connection — and still does.
In “Paradise and Pirates,” Keith Terracina’s portrayal of Captain Tony brings this era to life, offering readers a glimpse into a world where music, family and adventure intertwined. Through the eyes of a young narrator, we see how the songs of Key West weren’t just heard — they were felt, carrying the stories and emotions of an island like no other.
Today, the echoes of that golden age can still be found in the island’s lively streets and enduring venues. For anyone who has ever yearned for a life of untamed beauty and unforgettable melodies, the story of Key West during this transformative time is an invitation to dream, to explore and to let the music guide the way.
Photos courtesy of Keith Terracina
