a daughter, Kate Koester and two grandchildren. In addition to his wife, whom he met when she worked across the street from his store and whom he married in 1967, Mr. “I’m not about to bring in a bunch of stuff that you can’t hear a guy doing when he’s up onstage.” “I don’t believe in production,” he said. It was the atmosphere of those nightclubs that he tried to capture in his recording studio. They probably thought I was there dealing drugs or something.” The worst times I had were from white cops who would try and throw me out of the bars. “When they found out you were there to listen to the music and for no other reason, you were a friend. “When a white guy showed up in a Black bar, it was assumed he was either a cop, a bill collector or looking for sex,” Mr. Koester stand out in Chicago when he went out on the town sampling talent. “Not only Black music, but he definitely gave Black music its due in a way that other labels were not.” Koester was white most of the artists he dealt with were Black. “He reissued a lot of stuff from fairly obscure artists who had recorded independently. “He loved obscure record labels from the ‘30s and ‘40s, and he acquired several of them,” Mr. His label not only recorded the players of the day but also reissued older recordings. He acquired a Chicago record shop from a trumpeter named Seymour Schwartz in 1959 and soon turned it into the Jazz Record Mart. Louis boulevard, but once he relocated to Chicago in the late 1950s he added the K. He originally called his label Delmar, after a St. He had started recording musicians as well.
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That was the beginning of my retail business.” Then I’d sell records at the Jazz Club meetings. Louis Post-Dispatch in 1993 for an article marking the 40th anniversary of the founding of his record label. “I’d make regular runs, hitting all the secondhand stores, Father Dempsey’s Charities, places like that, buying used records,” he told The St. His dorm-room business turned into a store, where he sold both new and used records. “They told me not to come back for a fourth year.” “I went to three years at Saint Louie U,” he said in the oral history. The rapidly growing record business crowded out his studies. And he started accumulating and trading records, especially traditional jazz 78s, out of his dorm room. Louis Jazz Club, a jazz appreciation group. “Unfortunately for them, there were Black jazz clubs all around the university.” “My parents didn’t want me going to school in one of the big cities like New York or Chicago because they didn’t want me to be distracted from my studies by music,” he said. Probably something to do with a repressed Catholic upbringing.”Ĭollege at Saint Louis University, where he enrolled to study cinematography, broadened his musical opportunities. “There was a mystery to the names of those old blues guys - Speckled Red, Pinetop Perkins - that made it sound really appealing. “I never liked country music, and growing up in Wichita, Kansas, there wasn’t much else,” he said. But, he told Richard Marcus in a 2008 interview for, further musical exploration wasn’t easy. record by the Original Dixieland Jazz Band in his grandfather’s collection intrigued him when he was young, he said in an oral history recorded in 2017 by the National Association of Music Merchants. His father, Edward, was a petroleum geologist, and his mother, Mary (Frank) Koester, was a homemaker. “Often they came into the store looking for one thing,” she said, “and he pointed them in another direction.” He especially loved talking to customers. “He loved going into the studio in the days when he was recording Junior Wells and Jimmy Dawkins,” she said, “but retail was in his blood.” Koester said the store held a special place in her husband’s heart - so much so that when he finally closed it in 2016, citing rising rent, he opened another, Bob’s Blues and Jazz Mart, almost immediately.
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“You’d get into a conversation with him,” he said, “and in 10 minutes he was talking about some obscure wormhole of a serial number on a pressing.” Koester’s deep reservoir of arcane musical knowledge. Mandel said part of the fun was tapping into Mr. “You never knew what fascinating characters would wander in, so I always felt like I was in the eye of the storm there.” “Shakey Walter Horton and Ransom Knowling would hang out there, and Sunnyland Slim and Homesick James were always dropping by,” the harmonica player and bandleader Charlie Musselwhite, who was a clerk at the store in the mid-1960s, told The Times in 2009, rattling off the names of some fellow blues musicians.