Stanley Sagov & The Remembering the Future Jazz Band with Special Guest Larry Coryell at Regattabar

Cambridge, MA--An Evening with Stanley Sagov & The Remembering The Future Jazz Band with Special Guest jazz/rock guitarist Larry Coryell is headed to The Regattabar at the Charles Hotel, One Bennett Street in Cambridge on Saturday, March 31 for two shows--7:30 PM and 10:00 PM. Tickets at $35.00 for either show are on sale now and can be purchased on line at www.regattabarjazz.com or by calling: 617-395-7757.

The Remembering the Future Jazz Band features some of the premier musicians in Boston: Dr. Stanley Sagov on piano and keyboards, John Lockwood on acoustic bass, Bob Gullotti on drums, Robert Douglas Gay on alto sax and Mike Peipman on trumpet, Stan Strickland on tenor sax, flute and vocals and special guest vocalist, Wannetta Jackson....

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Cambridge, MA--An Evening with Stanley Sagov & The Remembering The Future Jazz Band with Special Guest jazz/rock guitarist Larry Coryell is headed to The Regattabar at the Charles Hotel, One Bennett Street in Cambridge on Saturday, March 31 for two shows--7:30 PM and 10:00 PM. Tickets at $35.00 for either show are on sale now and can be purchased on line at www.regattabarjazz.com or by calling: 617-395-7757.

The Remembering the Future Jazz Band features some of the premier musicians in Boston: Dr. Stanley Sagov on piano and keyboards, John Lockwood on acoustic bass, Bob Gullotti on drums, Robert Douglas Gay on alto sax and Mike Peipman on trumpet, Stan Strickland on tenor sax, flute and vocals and special guest vocalist, Wannetta Jackson.

Stanley Sagov is a dazzling jazz pianist and composer who is skilled on a number of musical instruments. Sagov also commands a full time career as a medical doctor, amazing his colleagues in both music and in medicine with his ability to lead such an intense dual life both as a physician and as a musician.

As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Special Guest Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar.

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