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"title": "Hugh Masekela and Vusi Mahlasela Pay Tribute to South Africa's Musical History",
"headTitle": "Hugh Masekela and Vusi Mahlasela Pay Tribute to South Africa’s Musical History | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hugh-masekela-and-vusi-mahlasela/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Hugh Masekela and Vusi Mahlasela\u003c/h2>\n\u003cdiv class=\"event-desc\">Evening of South African music.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 11, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Zellerbach Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hugh-masekela-and-vusi-mahlasela/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been 20 years since the people of South Africa elected their first black president, Nelson Mandela, thus symbolically ending the era of legalized segregation and discrimination known as apartheid. To commemorate the milestone, South African musical legends Hugh Masekela and Vusi Mahlasela perform a cross section of South African music about love, resistance, community, and happiness in their \u003cem>20 Years of Freedom\u003c/em> concert tour, coming to Berkeley on March 11.\u003c/p>\n\u003cp>Masekela has dazzled international audiences on the trumpet and flugelhorn for over 50 years. Throughout his solo career, he’s worked with Dizzy Gillespie, the Byrds, Fela Kuti, Marvin Gaye, Herb Alpert, Paul Simon, Stevie Wonder and more. His initial stay in the U.S. and enrollment at the Manhattan School of Music wouldn’t have been possible without the help of Harry Belafonte and fellow South African musician and childhood friend Miriam Makeba. In the early 1960s, he released his debut album \u003cem>Trumpet Africaine\u003c/em>, and didn’t return home to South Africa until 1990, when Nelson Mandela left Victor Vestor prison a free man.\u003c/p>\n\u003cfigure id=\"attachment_10442891\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10442891 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-400x266.jpeg\" alt=\"Vusi Mahlasela at the Lyric Theatre\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-320x213.jpeg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vusi Mahlasela\u003c/figcaption>\u003c/figure>\n\u003cp>Around the same time, in the early ’90s, Mahlasela entered the scene performing political folk music. During apartheid, he was held in solitary confinement and harassed by police for writing songs about dignity, revolution, peace, and life. Mahlasela used his songs to heal himself and his listeners, and became known as “The Voice” for his passionate, octave-leaping vocalization. Since then, he’s collaborated with Dave Matthews Band, Sting, Paul Simon, Taj Mahal and others.\u003c/p>\n\u003cp>Throughout their careers, both singers have composed songs recalling the history of resistance in South Africa. And though both had well known, anti-apartheid anthems — Mahlasela’s “When You Come Back” and Masekela’s “Bring Him Back Home” — this tour marks the first time the musicians have collaborated together onstage.\u003c/p>\n\u003cp>“We just want to come and celebrate everyone who helped us take apartheid down,” Mahlasela tells KQED.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert will feature some of the greatest hits from both artists (which they will play together), including “Stimela” and “Grazing in the Grass,” as well as a collection of South African music that the two grew up listening to — most likely including Miriam Makeba’s 1967 hit “Pata Pata,” which helped to popularize South African music and the injustices of apartheid to the rest of the world.\u003c/p>\n\u003cp>“We are just giving a kaleidoscope of South African songs from long before we were even musicians,” Masekela says. “It just so happens that South Africa was liberated from South Africa 20 years ago.”\u003c/p>\n\u003cp>Mahlasela says the South African music he grew up on covered topics like human desire, entitlement and language — or, as he puts it, “who you are [and] where you come from”. These songs, from the 1950s and ’60s, were also inherently political.\u003c/p>\n\u003cfigure id=\"attachment_10442895\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10442895 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-400x267.jpeg\" alt=\"HUGH-MASEKELA-0052\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-320x213.jpeg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hugh Masekela\u003c/figcaption>\u003c/figure>\n\u003cp>“What people don’t realize is that war against occupation in South Africa began when the first Dutch settlers came in 1652, and it didn’t stop till 1994,” Masekela says. “I don’t consider myself a political musician; I consider myself a person who learned music form people who were resisting an oppression.”\u003c/p>\n\u003cp>The 1984 anti-apartheid anthem “Bring Him Back Home” came in a flash to Masekela while he was reading a letter Nelson Mandela, a family friend, wrote from prison. Masekela was living in Botswana at the time, and “it just came to me at the time and I went to the piano and sang it,” he says. “It came complete.”\u003c/p>\n\u003cp>Mahlasela, on the other hand, was part of the Ancestors of Africa poetry group and the Congress of South African Writers. They supported each other’s creation of activist work preserving the heritage of native South Africans. His song “When You Come Back” pays homage to the country’s political fighters and exiles. The song celebrated life and offered hopefulness. The message is clear: “One day we will get apartheid down,” and “we deserve that date,” Mahlasela adds.\u003c/p>\n\u003cp>\u003cem>Mahlasela playing “When You Come Back” at Nelson Mandela’s 90th Birthday:\u003c/em>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=tqupFUoMvW4?list=PLE7FA0EA1CB2989DD&w=420&h=315]\u003c/p>\n\u003cp>The duo’s show has special resonance in the Bay Area, an area with many allies in the fight to end apartheid. Eight years before the Comprehensive Anti-Apartheid Act of 1986 became Federal law, the city of San Francisco passed legislation in 1978 to divest in banks or corporations doing business with South Africa. Not long thereafter, Berkeley became the “epicenter of American anti-apartheid activity” following the 1985 \u003ca href=\"http://articles.latimes.com/1985-04-16/news/mn-23272_1_anti-apartheid-demonstration\">anti-apartheid demonstrations\u003c/a> where hundreds of Berkeley students urged the UC administration to divest in South Africa.\u003c/p>\n\u003cp>Twenty years ago, South Africa was in a peculiar situation — democracy had triumphed over the unjust apartheid government, Nelson Mandela was elected president, and the era of reconciliation was slowly beginning. Meanwhile, HIV/AIDS had reached pandemic proportions, and in a couple years, president Thabo Mbeki would deny the epidemic altogether.\u003c/p>\n\u003cp>But the message of this tour is a lot simpler than all that. South Africa obtained freedom from apartheid, and people in the United States stood in solidarity with black South Africans. For one night in Berkeley, it’s about this legacy of solidarity which Masekela and Mahlasela wish to celebrate, along with the rich music that inspired them to become the legends they are today.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>\u003cem>Masekela playing at Paul Simon’s ‘Graceland – The African Concert’:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=NG3oKb2JQow&w=420&h=315]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hugh-masekela-and-vusi-mahlasela/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Hugh Masekela and Vusi Mahlasela\u003c/h2>\n\u003cdiv class=\"event-desc\">Evening of South African music.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 11, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Zellerbach Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/hugh-masekela-and-vusi-mahlasela/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been 20 years since the people of South Africa elected their first black president, Nelson Mandela, thus symbolically ending the era of legalized segregation and discrimination known as apartheid. To commemorate the milestone, South African musical legends Hugh Masekela and Vusi Mahlasela perform a cross section of South African music about love, resistance, community, and happiness in their \u003cem>20 Years of Freedom\u003c/em> concert tour, coming to Berkeley on March 11.\u003c/p>\n\u003cp>Masekela has dazzled international audiences on the trumpet and flugelhorn for over 50 years. Throughout his solo career, he’s worked with Dizzy Gillespie, the Byrds, Fela Kuti, Marvin Gaye, Herb Alpert, Paul Simon, Stevie Wonder and more. His initial stay in the U.S. and enrollment at the Manhattan School of Music wouldn’t have been possible without the help of Harry Belafonte and fellow South African musician and childhood friend Miriam Makeba. In the early 1960s, he released his debut album \u003cem>Trumpet Africaine\u003c/em>, and didn’t return home to South Africa until 1990, when Nelson Mandela left Victor Vestor prison a free man.\u003c/p>\n\u003cfigure id=\"attachment_10442891\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10442891 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-400x266.jpeg\" alt=\"Vusi Mahlasela at the Lyric Theatre\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-400x266.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/VusiLiveatLryic-320x213.jpeg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vusi Mahlasela\u003c/figcaption>\u003c/figure>\n\u003cp>Around the same time, in the early ’90s, Mahlasela entered the scene performing political folk music. During apartheid, he was held in solitary confinement and harassed by police for writing songs about dignity, revolution, peace, and life. Mahlasela used his songs to heal himself and his listeners, and became known as “The Voice” for his passionate, octave-leaping vocalization. Since then, he’s collaborated with Dave Matthews Band, Sting, Paul Simon, Taj Mahal and others.\u003c/p>\n\u003cp>Throughout their careers, both singers have composed songs recalling the history of resistance in South Africa. And though both had well known, anti-apartheid anthems — Mahlasela’s “When You Come Back” and Masekela’s “Bring Him Back Home” — this tour marks the first time the musicians have collaborated together onstage.\u003c/p>\n\u003cp>“We just want to come and celebrate everyone who helped us take apartheid down,” Mahlasela tells KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert will feature some of the greatest hits from both artists (which they will play together), including “Stimela” and “Grazing in the Grass,” as well as a collection of South African music that the two grew up listening to — most likely including Miriam Makeba’s 1967 hit “Pata Pata,” which helped to popularize South African music and the injustices of apartheid to the rest of the world.\u003c/p>\n\u003cp>“We are just giving a kaleidoscope of South African songs from long before we were even musicians,” Masekela says. “It just so happens that South Africa was liberated from South Africa 20 years ago.”\u003c/p>\n\u003cp>Mahlasela says the South African music he grew up on covered topics like human desire, entitlement and language — or, as he puts it, “who you are [and] where you come from”. These songs, from the 1950s and ’60s, were also inherently political.\u003c/p>\n\u003cfigure id=\"attachment_10442895\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10442895 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-400x267.jpeg\" alt=\"HUGH-MASEKELA-0052\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/HUGH-MASEKELA-0052-320x213.jpeg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hugh Masekela\u003c/figcaption>\u003c/figure>\n\u003cp>“What people don’t realize is that war against occupation in South Africa began when the first Dutch settlers came in 1652, and it didn’t stop till 1994,” Masekela says. “I don’t consider myself a political musician; I consider myself a person who learned music form people who were resisting an oppression.”\u003c/p>\n\u003cp>The 1984 anti-apartheid anthem “Bring Him Back Home” came in a flash to Masekela while he was reading a letter Nelson Mandela, a family friend, wrote from prison. Masekela was living in Botswana at the time, and “it just came to me at the time and I went to the piano and sang it,” he says. “It came complete.”\u003c/p>\n\u003cp>Mahlasela, on the other hand, was part of the Ancestors of Africa poetry group and the Congress of South African Writers. They supported each other’s creation of activist work preserving the heritage of native South Africans. His song “When You Come Back” pays homage to the country’s political fighters and exiles. The song celebrated life and offered hopefulness. The message is clear: “One day we will get apartheid down,” and “we deserve that date,” Mahlasela adds.\u003c/p>\n\u003cp>\u003cem>Mahlasela playing “When You Come Back” at Nelson Mandela’s 90th Birthday:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tqupFUoMvW4?list=PLE7FA0EA1CB2989DD'\n title='//www.youtube.com/embed/tqupFUoMvW4?list=PLE7FA0EA1CB2989DD'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The duo’s show has special resonance in the Bay Area, an area with many allies in the fight to end apartheid. Eight years before the Comprehensive Anti-Apartheid Act of 1986 became Federal law, the city of San Francisco passed legislation in 1978 to divest in banks or corporations doing business with South Africa. Not long thereafter, Berkeley became the “epicenter of American anti-apartheid activity” following the 1985 \u003ca href=\"http://articles.latimes.com/1985-04-16/news/mn-23272_1_anti-apartheid-demonstration\">anti-apartheid demonstrations\u003c/a> where hundreds of Berkeley students urged the UC administration to divest in South Africa.\u003c/p>\n\u003cp>Twenty years ago, South Africa was in a peculiar situation — democracy had triumphed over the unjust apartheid government, Nelson Mandela was elected president, and the era of reconciliation was slowly beginning. Meanwhile, HIV/AIDS had reached pandemic proportions, and in a couple years, president Thabo Mbeki would deny the epidemic altogether.\u003c/p>\n\u003cp>But the message of this tour is a lot simpler than all that. South Africa obtained freedom from apartheid, and people in the United States stood in solidarity with black South Africans. For one night in Berkeley, it’s about this legacy of solidarity which Masekela and Mahlasela wish to celebrate, along with the rich music that inspired them to become the legends they are today.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>\u003cem>Masekela playing at Paul Simon’s ‘Graceland – The African Concert’:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NG3oKb2JQow'\n title='//www.youtube.com/embed/NG3oKb2JQow'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jewish Music Festival, Celebrating 30th Year, Bids Director Farewell in Style",
"headTitle": "Jewish Music Festival, Celebrating 30th Year, Bids Director Farewell in Style | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Jewish Music Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Celebration of Jewish music of all types.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 5–22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As she gets ready to leave a festival that has been at the forefront of Jewish music for 30 years, \u003ca title=\"Ellie Shapior\" href=\"http://www.jewishmusicfestival.org/about-us/staff-and-committees\" target=\"_blank\" rel=\"noopener\">Eleanor Shapiro\u003c/a> has no regrets. Why would she? Under Shapiro’s guidance, Berkeley’s \u003ca title=\"Jewish Music Festival\" href=\"http://www.jewishmusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Jewish Music Festival\u003c/a> has established itself as the most prominent and most culturally far-reaching Jewish music festival in the United States. Where else can you hear groups that reflect every Jewish tradition — not just the European tradition whose best-known form is klezmer, but traditions that emanate from Jewish histories in Arab countries and other geographies?\u003c/p>\n\u003cp>The festival that \u003ca title=\"klezmatica concert\" href=\"http://www.jewishmusicfestival.org/events/klezmatics\" target=\"_blank\" rel=\"noopener\">opens Thursday, Mar. 5\u003c/a> with a concert by \u003ca href=\"http://klezmatics.com/\" target=\"_blank\" rel=\"noopener\">The Klezmatics\u003c/a> will be Shapiro’s last one — she’s leaving to finish her doctorate at the Berkeley’s Graduate Theological Union. And though initial reports declared this year’s festival to be the last, the festival, which has been sponsored by the \u003ca title=\"jcc east bay\" href=\"http://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of the East Bay\u003c/a>, will re-emerge there in a different form that’s still to be determined, Shapiro says.\u003c/p>\n\u003cp>Whether that reincarnation will resemble the festivals directed by Shapiro is anyone’s guess. What’s certain is that Shapiro is going out in style — with a lineup that features heavy hitters from the world of klezmer (The Klezmatics), the world of cantorial music (\u003ca href=\"http://www.jewishmusicfestival.org/events/hazonos\" target=\"_blank\" rel=\"noopener\">Jack Mendelson\u003c/a> on Saturday, Mar. 7), the world of Eastern European music (\u003ca href=\"http://www.jewishmusicfestival.org/events/kitka\" target=\"_blank\" rel=\"noopener\">Kitka\u003c/a> on Sunday, Mar. 8), the world of avant-garde music with a Jewish touch (\u003ca href=\"http://www.jewishmusicfestival.org/events/sway-machinery\" target=\"_blank\" rel=\"noopener\">Sway Machinery\u003c/a> on Tuesday, Mar. 10, and the \u003ca href=\"http://www.jewishmusicfestival.org/events/paul-hanson-s-homecoming\" target=\"_blank\" rel=\"noopener\">Paul Hanson Ensemble\u003c/a> on Wednesday, Mar. 11), and the world of multi-cultural Israel music (\u003ca href=\"http://www.jewishmusicfestival.org/events/diwan-saz\" target=\"_blank\" rel=\"noopener\">Diwan Saz and Yair Dalal\u003c/a> on Mar. 14).\u003c/p>\n\u003cp>There’s something for everyone, including those who know nothing about Jewish music. Diwan Saz is a perfect example. An Israeli ensemble of Jewish, Christian, and Muslim musicians that plays oud, kanun, and saz, and sings in Hebrew, Arabic, and Turkish, the group has a completely infectious sound that could easily fit in at a world music festival or global showcase — and, in fact, after the Jewish Music Festival, Diwan Saz is headed to South by Southwest (SXSW) as a featured group. Their concert on Mar. 14 at Oakland’s First Congregational Church will be their Bay Area debut.\u003c/p>\n\u003cfigure id=\"attachment_10434916\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/klezmatics.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10434916\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/klezmatics.jpg\" alt=\"The Klezmatics\" width=\"300\" height=\"454\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Klezmatics\u003c/figcaption>\u003c/figure>\n\u003cp>The Klezmatics are another example. Founded in 1986 and based in New York, the group won a Grammy for Best Contemporary World Music Album in 2007 for \u003ca href=\"http://klezmatics.com/klezmer-music/wonder-wheel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Wonder Wheel\u003c/em>\u003c/a>, which features songs the group created out of old \u003ca href=\"http://www.woodyguthrie.org/\" target=\"_blank\" rel=\"noopener\">Woody Guthrie\u003c/a> lyrics. Shapiro has brought the Klezmatics to the festival before, and the group this year will play a combination of its hits and new music, says trumpeter and keyboardist \u003ca href=\"http://klezmatics.com/about/members/frank-london/\" target=\"_blank\" rel=\"noopener\">Frank London\u003c/a>, a co-founder who calls Shapiro “inspiring” and calls the festival “one of the most important Jewish music festivals in North America and the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think of her as an artist,” London says of Shapiro in a phone interview from New York. “She’s an inspiring artist. She’s passionate about the music and the culture. And this festival has been important to us over the years. They take Jewish music in the most open way. And that’s really the most inspiring way for us to presented.”\u003c/p>\n\u003cp>Shapiro became the festival’s co-director in 1997, and in 2004 began directing it by herself. Under Shapiro, the festival began commissioning new music, which she says is one her prouder achievements. “The fact that we’ve been able to contribute new music to contemporary Jewish culture has been great,” she says. “Two groups we commissioned — \u003ca href=\"http://www.jewishmusicfestival.org/jmf-cd-store/the-ark-project-cd\" target=\"_blank\" rel=\"noopener\">the Ark Ensemble\u003c/a>, and \u003ca href=\"http://www.jewishmusicfestival.org/projects/ger-mandolin-orchestra\" target=\"_blank\" rel=\"noopener\">Ger Mandolin Orchestra\u003c/a> — went on to tour in Eastern Europe, so we’re bringing this music back to its origins.”\u003c/p>\n\u003cp>Another achievement: “In 2000, from Ukraine, I brought \u003ca href=\"//www.jewishmusicfestival.org/jmf-cd-store/arkady-gendler\" target=\"_blank\" rel=\"noopener\">Arkady Gendler\u003c/a>, one of the few remaining Yiddish songwriters who began his career and repertoire before the war. He was in his 80s. And on his way from the festival to the airport, we brought him to Fantasy Studios, and in one take we did a CD that has now gone all over the world, and has contributed to younger singers doing new Yiddish music he’s written.”\u003c/p>\n\u003cfigure id=\"attachment_10434918\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Paul-Hanson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10434918\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Paul-Hanson.jpg\" alt=\"Paul Hanson\" width=\"300\" height=\"435\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Hanson\u003c/figcaption>\u003c/figure>\n\u003cp>Eighteen years is a long time to helm a festival, and Shapiro says the time involved to raise funds and run the festival prohibited her from completing her Ph.D. Shapiro — who in 2013 lived in Poland on a Fulbright fellowship to study the re-introduction of Jewish music in small Polish towns — will stay involved in Jewish music as a consultant. She also plans to teach after getting her degree. \u003c/p>\n\u003cp>“I need to finish my dissertation, which I started in 2006; it’s always been part-time, and the festival has been full-time,” says Shapiro, adding that the two roles were previously complementary. “I got to Poland initially because I was invited as a Jewish cultural presenter here. The Polish Cultural Institute invited me to see what was happening in Poland.”\u003c/p>\n\u003cp>On Tuesday, February 24, the Berkeley City Council \u003ca href=\"http://www.berkeleyside.com/2015/02/26/berkeley-honors-eleanor-shapiro-during-final-year-of-jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">honored\u003c/a> Shapiro’s advocacy for Jewish music by declaring that day “Eleanor Shapiro Day” in Berkeley. Shapiro told the body how the revival of klezmer as a viable international music took place in Berkeley in the mid-1970s. After the Holocaust, klezmer music went through years of dormancy among Jewish musicians, but the Berkeley-based group called \u003ca href=\"http://en.wikipedia.org/wiki/The_Klezmorim\" target=\"_blank\" rel=\"noopener\">the Klezmorim\u003c/a> brought it back to critical attention. Not long after that, the Jewish Music Festival was born, as were the Klezmatics.\u003c/p>\n\u003cp>The Klezmatics’ Mar. 5 concert at Oakland’s New Parish should be electrifying. “For me, they’re the standard-bearer of the whole genre,” Shapiro says. “Like the Grateful Dead that became tighter and tighter year after year, The Klezmatics’ sound is so tight, and they’re constantly reinventing themselves. I saw them in 1996 or 1997 at the Great American Music Hall. It was a concert I’ll never forget. I saw them on stage, and I felt like like my identity was being reflected back to me.”\u003c/p>\n\u003cp>But Shapiro also reflects the music of other Jews in the festival. “I lived in Israel for nine years,” she says, “so I’m very committed to Jewish roots music from around the world. To me, ‘Jewish music’ is music that somehow reflects or incorporates the Jewish experience. So that can be classical, cantorial, liturgical music on the one hand, and that can incorporate the music of cultures that Jews have lived in proximity to. Kitka will be doing Eastern European music, because that’s the environment that many Jews lived in. And when Muhammad Gadir (of Diwan Saz) sings Bedouin folk songs, that’s an environment that Jews are also living. There’s mutual cultural influences.”\u003c/p>\n\u003cp>Shapiro says she will be looking to see how the festival is reborn. The festival is the oldest Jewish music festival in the United States. “Over the last 30 years, this music has become more acceptable in mainstream venues, and that’s something we contributed to,” Shapiro says. “Jewish music doesn’t have to just come from the Jewish Community Center. But the Jewish Community Center is committed to doing something (with the festival). It just needs to be re-imagined. I’m leaving more than the festival is disappearing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Jewish Music Festival opens Mar. 5 with the Klezmatics at Oakland’s New Parish, and runs until Mar. 22, when Veretski Pass, Steve Weintraub and others perform at the Jewish Community Center of the East Bay. Click here for \u003ca href=\"http://www.jewishmusicfestival.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As longtime director Eleanor Shapiro steps down, this year's Jewish Music Festival boasts a lineup to remember -- and a return, in some form, in the future.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Jewish Music Festival\u003c/h2>\n\u003cdiv class=\"event-desc\">Celebration of Jewish music of all types.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 5–22, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Venues\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As she gets ready to leave a festival that has been at the forefront of Jewish music for 30 years, \u003ca title=\"Ellie Shapior\" href=\"http://www.jewishmusicfestival.org/about-us/staff-and-committees\" target=\"_blank\" rel=\"noopener\">Eleanor Shapiro\u003c/a> has no regrets. Why would she? Under Shapiro’s guidance, Berkeley’s \u003ca title=\"Jewish Music Festival\" href=\"http://www.jewishmusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Jewish Music Festival\u003c/a> has established itself as the most prominent and most culturally far-reaching Jewish music festival in the United States. Where else can you hear groups that reflect every Jewish tradition — not just the European tradition whose best-known form is klezmer, but traditions that emanate from Jewish histories in Arab countries and other geographies?\u003c/p>\n\u003cp>The festival that \u003ca title=\"klezmatica concert\" href=\"http://www.jewishmusicfestival.org/events/klezmatics\" target=\"_blank\" rel=\"noopener\">opens Thursday, Mar. 5\u003c/a> with a concert by \u003ca href=\"http://klezmatics.com/\" target=\"_blank\" rel=\"noopener\">The Klezmatics\u003c/a> will be Shapiro’s last one — she’s leaving to finish her doctorate at the Berkeley’s Graduate Theological Union. And though initial reports declared this year’s festival to be the last, the festival, which has been sponsored by the \u003ca title=\"jcc east bay\" href=\"http://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of the East Bay\u003c/a>, will re-emerge there in a different form that’s still to be determined, Shapiro says.\u003c/p>\n\u003cp>Whether that reincarnation will resemble the festivals directed by Shapiro is anyone’s guess. What’s certain is that Shapiro is going out in style — with a lineup that features heavy hitters from the world of klezmer (The Klezmatics), the world of cantorial music (\u003ca href=\"http://www.jewishmusicfestival.org/events/hazonos\" target=\"_blank\" rel=\"noopener\">Jack Mendelson\u003c/a> on Saturday, Mar. 7), the world of Eastern European music (\u003ca href=\"http://www.jewishmusicfestival.org/events/kitka\" target=\"_blank\" rel=\"noopener\">Kitka\u003c/a> on Sunday, Mar. 8), the world of avant-garde music with a Jewish touch (\u003ca href=\"http://www.jewishmusicfestival.org/events/sway-machinery\" target=\"_blank\" rel=\"noopener\">Sway Machinery\u003c/a> on Tuesday, Mar. 10, and the \u003ca href=\"http://www.jewishmusicfestival.org/events/paul-hanson-s-homecoming\" target=\"_blank\" rel=\"noopener\">Paul Hanson Ensemble\u003c/a> on Wednesday, Mar. 11), and the world of multi-cultural Israel music (\u003ca href=\"http://www.jewishmusicfestival.org/events/diwan-saz\" target=\"_blank\" rel=\"noopener\">Diwan Saz and Yair Dalal\u003c/a> on Mar. 14).\u003c/p>\n\u003cp>There’s something for everyone, including those who know nothing about Jewish music. Diwan Saz is a perfect example. An Israeli ensemble of Jewish, Christian, and Muslim musicians that plays oud, kanun, and saz, and sings in Hebrew, Arabic, and Turkish, the group has a completely infectious sound that could easily fit in at a world music festival or global showcase — and, in fact, after the Jewish Music Festival, Diwan Saz is headed to South by Southwest (SXSW) as a featured group. Their concert on Mar. 14 at Oakland’s First Congregational Church will be their Bay Area debut.\u003c/p>\n\u003cfigure id=\"attachment_10434916\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/klezmatics.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10434916\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/klezmatics.jpg\" alt=\"The Klezmatics\" width=\"300\" height=\"454\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Klezmatics\u003c/figcaption>\u003c/figure>\n\u003cp>The Klezmatics are another example. Founded in 1986 and based in New York, the group won a Grammy for Best Contemporary World Music Album in 2007 for \u003ca href=\"http://klezmatics.com/klezmer-music/wonder-wheel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Wonder Wheel\u003c/em>\u003c/a>, which features songs the group created out of old \u003ca href=\"http://www.woodyguthrie.org/\" target=\"_blank\" rel=\"noopener\">Woody Guthrie\u003c/a> lyrics. Shapiro has brought the Klezmatics to the festival before, and the group this year will play a combination of its hits and new music, says trumpeter and keyboardist \u003ca href=\"http://klezmatics.com/about/members/frank-london/\" target=\"_blank\" rel=\"noopener\">Frank London\u003c/a>, a co-founder who calls Shapiro “inspiring” and calls the festival “one of the most important Jewish music festivals in North America and the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think of her as an artist,” London says of Shapiro in a phone interview from New York. “She’s an inspiring artist. She’s passionate about the music and the culture. And this festival has been important to us over the years. They take Jewish music in the most open way. And that’s really the most inspiring way for us to presented.”\u003c/p>\n\u003cp>Shapiro became the festival’s co-director in 1997, and in 2004 began directing it by herself. Under Shapiro, the festival began commissioning new music, which she says is one her prouder achievements. “The fact that we’ve been able to contribute new music to contemporary Jewish culture has been great,” she says. “Two groups we commissioned — \u003ca href=\"http://www.jewishmusicfestival.org/jmf-cd-store/the-ark-project-cd\" target=\"_blank\" rel=\"noopener\">the Ark Ensemble\u003c/a>, and \u003ca href=\"http://www.jewishmusicfestival.org/projects/ger-mandolin-orchestra\" target=\"_blank\" rel=\"noopener\">Ger Mandolin Orchestra\u003c/a> — went on to tour in Eastern Europe, so we’re bringing this music back to its origins.”\u003c/p>\n\u003cp>Another achievement: “In 2000, from Ukraine, I brought \u003ca href=\"//www.jewishmusicfestival.org/jmf-cd-store/arkady-gendler\" target=\"_blank\" rel=\"noopener\">Arkady Gendler\u003c/a>, one of the few remaining Yiddish songwriters who began his career and repertoire before the war. He was in his 80s. And on his way from the festival to the airport, we brought him to Fantasy Studios, and in one take we did a CD that has now gone all over the world, and has contributed to younger singers doing new Yiddish music he’s written.”\u003c/p>\n\u003cfigure id=\"attachment_10434918\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Paul-Hanson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10434918\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Paul-Hanson.jpg\" alt=\"Paul Hanson\" width=\"300\" height=\"435\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Hanson\u003c/figcaption>\u003c/figure>\n\u003cp>Eighteen years is a long time to helm a festival, and Shapiro says the time involved to raise funds and run the festival prohibited her from completing her Ph.D. Shapiro — who in 2013 lived in Poland on a Fulbright fellowship to study the re-introduction of Jewish music in small Polish towns — will stay involved in Jewish music as a consultant. She also plans to teach after getting her degree. \u003c/p>\n\u003cp>“I need to finish my dissertation, which I started in 2006; it’s always been part-time, and the festival has been full-time,” says Shapiro, adding that the two roles were previously complementary. “I got to Poland initially because I was invited as a Jewish cultural presenter here. The Polish Cultural Institute invited me to see what was happening in Poland.”\u003c/p>\n\u003cp>On Tuesday, February 24, the Berkeley City Council \u003ca href=\"http://www.berkeleyside.com/2015/02/26/berkeley-honors-eleanor-shapiro-during-final-year-of-jewish-music-festival/\" target=\"_blank\" rel=\"noopener\">honored\u003c/a> Shapiro’s advocacy for Jewish music by declaring that day “Eleanor Shapiro Day” in Berkeley. Shapiro told the body how the revival of klezmer as a viable international music took place in Berkeley in the mid-1970s. After the Holocaust, klezmer music went through years of dormancy among Jewish musicians, but the Berkeley-based group called \u003ca href=\"http://en.wikipedia.org/wiki/The_Klezmorim\" target=\"_blank\" rel=\"noopener\">the Klezmorim\u003c/a> brought it back to critical attention. Not long after that, the Jewish Music Festival was born, as were the Klezmatics.\u003c/p>\n\u003cp>The Klezmatics’ Mar. 5 concert at Oakland’s New Parish should be electrifying. “For me, they’re the standard-bearer of the whole genre,” Shapiro says. “Like the Grateful Dead that became tighter and tighter year after year, The Klezmatics’ sound is so tight, and they’re constantly reinventing themselves. I saw them in 1996 or 1997 at the Great American Music Hall. It was a concert I’ll never forget. I saw them on stage, and I felt like like my identity was being reflected back to me.”\u003c/p>\n\u003cp>But Shapiro also reflects the music of other Jews in the festival. “I lived in Israel for nine years,” she says, “so I’m very committed to Jewish roots music from around the world. To me, ‘Jewish music’ is music that somehow reflects or incorporates the Jewish experience. So that can be classical, cantorial, liturgical music on the one hand, and that can incorporate the music of cultures that Jews have lived in proximity to. Kitka will be doing Eastern European music, because that’s the environment that many Jews lived in. And when Muhammad Gadir (of Diwan Saz) sings Bedouin folk songs, that’s an environment that Jews are also living. There’s mutual cultural influences.”\u003c/p>\n\u003cp>Shapiro says she will be looking to see how the festival is reborn. The festival is the oldest Jewish music festival in the United States. “Over the last 30 years, this music has become more acceptable in mainstream venues, and that’s something we contributed to,” Shapiro says. “Jewish music doesn’t have to just come from the Jewish Community Center. But the Jewish Community Center is committed to doing something (with the festival). It just needs to be re-imagined. I’m leaving more than the festival is disappearing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jewish Music Festival opens Mar. 5 with the Klezmatics at Oakland’s New Parish, and runs until Mar. 22, when Veretski Pass, Steve Weintraub and others perform at the Jewish Community Center of the East Bay. Click here for \u003ca href=\"http://www.jewishmusicfestival.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stewart Copeland Takes Classical Music 'Off the Score'",
"headTitle": "Stewart Copeland Takes Classical Music ‘Off the Score’ | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stewart-copeland/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Stewart Copeland\u003c/h2>\n\u003cdiv class=\"event-desc\">Drummer leads daring improv prog-jazz-classical group.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Green Music Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stewart-copeland/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Since his days playing with \u003ca href=\"http://youtu.be/YCaiY7Pmw2Y\">the Police\u003c/a>, Stewart Copeland has been widely considered one of the world’s best rock drummers. Growing up in Beirut, where his father worked for the CIA, Copeland developed an esoteric and precise sense of rhythm on the drum kit. After the Police disbanded in 1984, Copeland forged a decades-long career as a composer of film soundtracks for movies like \u003cem>Rumblefish\u003c/em> and \u003cem>Wall Street. \u003c/em>\u003c/p>\n\u003cp>Now in his sixties, the gregarious musician with seemingly bottomless energy has been commissioned by the Royal Toronto Conservatory, the Royal Opera House of London, the Pittsburgh Symphony, and the Iceland Symphony Orchestra as a composer of opera and symphonies. The Long Beach Opera staged Copeland’s operatic version of Edgar Allen Poe’s “Tell-Tale Heart” in 2013, and last fall, he premiered a new soundtrack to the classic silent film \u003cem>Ben Hur\u003c/em> at the Virginia Arts Festival.\u003c/p>\n\u003cp>Copeland’s latest project, \u003cem>Off the Score\u003c/em>, which comes to the \u003ca href=\"http://gmc.sonoma.edu/event/2158661-stewart-copeland-and-jon-kimura-parker\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> on March 8, finds Copeland joining forces with classical pianist Jon Kimura Parker for a kinetic take on chamber music. Between it all, he jams at his home studio with famous friends like Neal Peart, Les Claypool, Snoop Dogg and Ben Harper, posting the resulting videos on YouTube as the \u003ca href=\"https://www.youtube.com/user/stewartcopelandnet\">Sacred Grove Sessions\u003c/a>. It’s all in a day’s work for the Grammy award-winning multi-instrumentalist.\u003c/p>\n\u003cp>From his home in Los Angeles, Copeland spoke with KQED about his career as a composer, “burning down the house” with an orchestra, and how he came to share the stage with two stars of the classical music world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What’s the story behind \u003cem>Off the Score\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>It was actually our agent that brought Jon “Jackie” Kimura Parker and I together. He represents both of us, and he said to each of us, ‘You’ve gotta meet this other guy.’ As Parker is playing his Stravinksy, he’s always thought that he could mess with it, but he doesn’t because he comes from a world where the mission is to recreate what Uncle Igor put on the page. Even when musical possibilities present themselves to him, he doesn’t usually deviate because in his normal environment that’s not what you do. So we said, let’s create a different environment where it’s okay to do that. Um, how about that drummer guy who is a raging inferno of cacophony and energy? And so the two of us came together and it was a meeting of minds.\u003c/p>\n\u003cp>From my point of view, I get to play with players of the caliber of Jackie and Yoon Kwon. For film scores, I hire the triple-scale guys. The best of the best of the best are available for film composers here in Los Angeles, but none of them have the chops of these stars of the classical world. Yoon Kwon plays first violin with the Met. And she also has been longing for an opportunity to step outside the world of the visual page of the music. Those are the forces that brought us together.\u003c/p>\n\u003cp>The most important thing is that it’s a meeting of two worlds of music, which can be defined as players and readers. Readers are trained from their earliest moments of their interaction with music to follow the page, to connect with the music with their eyes, the visual connection. They’re reading the notes with their eyes on the page, and then they are reading the baton with their eyes for the cue that holds them together rhythmically. The players can have their eyes closed. They connect with their ears and their feel for what the other guys are doing. Whereas orchestral players and conductors worship the score. They look for every minutiae of detail that the composers provided on the page, and they seek to understand it and to express it as they think, or hope, the composer intended. Because that’s the only way that ninety guys can swing together. It all has to have that basic fundamental ethos of playing what’s on the page.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=DRVBOYV3kLY&w=560&h=315]\u003c/p>\n\u003cp>The players improvise. They might play it slightly differently every time because there’s only four guys on stage. They have a lot of latitude to add their own expression to what their part is. There’s just five guys on the stage and they are ten feet away and their looking at each other. It’s a very different relationship with the music, and those two worlds are coming together in this mission.\u003c/p>\n\u003cp>\u003cstrong>Were you trained classically as a child? Did you listen to classical music before getting into \u003ca href=\"http://youtu.be/t8BJoKNLSG8\">prog\u003c/a> and then \u003ca href=\"http://youtu.be/HRLou_Ylzog\">new wave\u003c/a> and punk music? \u003c/strong>\u003c/p>\n\u003cp>Well, I was raised to be a jazz musician. All of my instruction in my early years was all about jazz, which is where I learned how to read music. My father was a jazz trumpeter back in the day. Meanwhile, my mother was playing mainly modern expressionist composers; the 20th-century and turn-of-the-century composers. The jazz didn’t hit me emotionally. I got training in jazz, but my heart went emotionally to the classical music.\u003c/p>\n\u003cp>And that was all fine, until the day when Jimi Hendrix appeared in the world. For me, it became all about guitar. At that age, when you’re expressing young, male frustration, the blistering aggression of a Stratocaster through a 200-watt Marshall amp puts hair on your chest. I was a late bloomer and putting on loud, hard, and heavy music was a way of borrowing chest hair. My voice might be a little squeaky, but I turn up that amplifier and it becomes a manly roar! I’m a sixty-something father of seven and grandfather of two, and I still have fun with heavy metal music and the expression of rage, even though my sense of humor prevails.\u003c/p>\n\u003cp>\u003cstrong>In a recent interview, you said that you’re all about “art for art’s sake” right now. What does that look like for you? \u003c/strong>\u003c/p>\n\u003cp>It looks like I can afford to be a professional orchestral composer and turn aside from the more lucrative film composing. Which, by the way, has been a great blessing in my life. Film composition taught me more than any school could have taught me, way more than I would have learned as an “artist.”\u003c/p>\n\u003cp>A film composer is not an artist, he’s a craftsman. As a craftsman, you have to develop skills. You have to go to places where an artist wouldn’t instinctively go. I’ve been forced to study Rodgers and Hammerstein tunes because they bought the rights to use those themes, and I’m forced to incorporate them into the score, so I have to study that drivel. And guess what? Those guys really knew how to write a song and I learned a great deal from something from having my nose rubbed in something I would otherwise have stayed away from.\u003c/p>\n\u003cp>As a film composer, you are forced to look for emotional messages and textures, and you really get to the nuts and bolts, of where the rubber hits the road with melody, harmony, and emotion. Twenty years of doing that, I’ve got a pretty clear idea of how music can drive emotion, which is why I’m so keen on opera — which is the most fun a composer can have with his clothes on.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=lmpgGuBqtcg&w=560&h=315]\u003c/p>\n\u003cp>By day, my desk is heating with wonderful and engrossing missions. By night, I turn my chair around and face my Marshall amplifier, guitars, and drums and I rock out. I feel pretty happy and pretty blessed. My studio here, for me, is a giant train set. I have the world’s largest collection of the cheapest instruments money can buy. I have trombones, saxophones, tubas, cello, timpani, all kinds of drums, amps, guitars, basses, whatever. I’m an eBay nut. So my buddies come over here, my illustrious friends, my fancy friends, and we jam. Plus, I have six stationary cameras around the room, so when they arrive I just flip the cameras on. I’m basically a glorified roadie, and I spend some of the happiest hours of my day under the gear, wiring stuff and trying different microphone techniques. It’s a really fun environment to play, and ideally set up for a musician’s every need. Then they go home, and the next day I wake up with a helluva hangover, and I check the tapes, and I listen to the tracks, and tinker around with them, and then put them up on YouTube. It’s called the Sacred Grove.\u003c/p>\n\u003cp>\u003cstrong>Those Sacred Grove sessions on YouTube have garnered a lot of views. Do you have a favorite session?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Actually, one of my favorites doesn’t have all the stellar names. It’s called ‘This Drummer’s at the Right Gig.’ \u003ca href=\"http://www.thomaslangdrummer.com/\">Thomas Lang\u003c/a> came over. He’s one of the world’s most incredible drummers. He’s never really played with a huge bands in the top tier, but his gifts and abilities are way high on the list. Amazing player. And he came over and we did a fun little jam. A couple of days later a woman came over who was making a documentary about drummers, and so she sat down and set up the cameras and we did our shoot. I ended up overdubbing her playing a gigantic baritone sax, and I overdubbed her onto the footage with Thomas Lang. That is one of my favorite tracks.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=5GZMdvSyS-M&w=560&h=315]\u003c/p>\n\u003cp>\u003cstrong>Now that you are doing so much composing, do you consider yourself more of a classical musician? \u003c/strong>\u003c/p>\n\u003cp>People think of an orchestra and they think it’s classical music. I don’t play classical music. I’m not Brahms. If you come to my show, it’s not going to be Mendelssohn. I’ve come to the conclusion: If we’ve got 90 guys on the stage, how about we burn down the building? And I know how to do that with guitar, bass, and drums. It ought to be possible with 90 guys, and it turns out, it is. I’ve been having a great time playing shows with orchestras where we really do rock the joint. That’s my intention, to use an orchestra to rock the joint.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>[Note: interview edited for length and clarity.]\u003c/em>\u003c/p>\n\n",
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"excerpt": "The famed drummer from the Police talks with KQED about his new project, a propulsive combination of classical, jazz, rock and improvisation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stewart-copeland/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Stewart Copeland\u003c/h2>\n\u003cdiv class=\"event-desc\">Drummer leads daring improv prog-jazz-classical group.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Green Music Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stewart-copeland/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Since his days playing with \u003ca href=\"http://youtu.be/YCaiY7Pmw2Y\">the Police\u003c/a>, Stewart Copeland has been widely considered one of the world’s best rock drummers. Growing up in Beirut, where his father worked for the CIA, Copeland developed an esoteric and precise sense of rhythm on the drum kit. After the Police disbanded in 1984, Copeland forged a decades-long career as a composer of film soundtracks for movies like \u003cem>Rumblefish\u003c/em> and \u003cem>Wall Street. \u003c/em>\u003c/p>\n\u003cp>Now in his sixties, the gregarious musician with seemingly bottomless energy has been commissioned by the Royal Toronto Conservatory, the Royal Opera House of London, the Pittsburgh Symphony, and the Iceland Symphony Orchestra as a composer of opera and symphonies. The Long Beach Opera staged Copeland’s operatic version of Edgar Allen Poe’s “Tell-Tale Heart” in 2013, and last fall, he premiered a new soundtrack to the classic silent film \u003cem>Ben Hur\u003c/em> at the Virginia Arts Festival.\u003c/p>\n\u003cp>Copeland’s latest project, \u003cem>Off the Score\u003c/em>, which comes to the \u003ca href=\"http://gmc.sonoma.edu/event/2158661-stewart-copeland-and-jon-kimura-parker\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> on March 8, finds Copeland joining forces with classical pianist Jon Kimura Parker for a kinetic take on chamber music. Between it all, he jams at his home studio with famous friends like Neal Peart, Les Claypool, Snoop Dogg and Ben Harper, posting the resulting videos on YouTube as the \u003ca href=\"https://www.youtube.com/user/stewartcopelandnet\">Sacred Grove Sessions\u003c/a>. It’s all in a day’s work for the Grammy award-winning multi-instrumentalist.\u003c/p>\n\u003cp>From his home in Los Angeles, Copeland spoke with KQED about his career as a composer, “burning down the house” with an orchestra, and how he came to share the stage with two stars of the classical music world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What’s the story behind \u003cem>Off the Score\u003c/em>? \u003c/strong>\u003c/p>\n\u003cp>It was actually our agent that brought Jon “Jackie” Kimura Parker and I together. He represents both of us, and he said to each of us, ‘You’ve gotta meet this other guy.’ As Parker is playing his Stravinksy, he’s always thought that he could mess with it, but he doesn’t because he comes from a world where the mission is to recreate what Uncle Igor put on the page. Even when musical possibilities present themselves to him, he doesn’t usually deviate because in his normal environment that’s not what you do. So we said, let’s create a different environment where it’s okay to do that. Um, how about that drummer guy who is a raging inferno of cacophony and energy? And so the two of us came together and it was a meeting of minds.\u003c/p>\n\u003cp>From my point of view, I get to play with players of the caliber of Jackie and Yoon Kwon. For film scores, I hire the triple-scale guys. The best of the best of the best are available for film composers here in Los Angeles, but none of them have the chops of these stars of the classical world. Yoon Kwon plays first violin with the Met. And she also has been longing for an opportunity to step outside the world of the visual page of the music. Those are the forces that brought us together.\u003c/p>\n\u003cp>The most important thing is that it’s a meeting of two worlds of music, which can be defined as players and readers. Readers are trained from their earliest moments of their interaction with music to follow the page, to connect with the music with their eyes, the visual connection. They’re reading the notes with their eyes on the page, and then they are reading the baton with their eyes for the cue that holds them together rhythmically. The players can have their eyes closed. They connect with their ears and their feel for what the other guys are doing. Whereas orchestral players and conductors worship the score. They look for every minutiae of detail that the composers provided on the page, and they seek to understand it and to express it as they think, or hope, the composer intended. Because that’s the only way that ninety guys can swing together. It all has to have that basic fundamental ethos of playing what’s on the page.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DRVBOYV3kLY'\n title='//www.youtube.com/embed/DRVBOYV3kLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The players improvise. They might play it slightly differently every time because there’s only four guys on stage. They have a lot of latitude to add their own expression to what their part is. There’s just five guys on the stage and they are ten feet away and their looking at each other. It’s a very different relationship with the music, and those two worlds are coming together in this mission.\u003c/p>\n\u003cp>\u003cstrong>Were you trained classically as a child? Did you listen to classical music before getting into \u003ca href=\"http://youtu.be/t8BJoKNLSG8\">prog\u003c/a> and then \u003ca href=\"http://youtu.be/HRLou_Ylzog\">new wave\u003c/a> and punk music? \u003c/strong>\u003c/p>\n\u003cp>Well, I was raised to be a jazz musician. All of my instruction in my early years was all about jazz, which is where I learned how to read music. My father was a jazz trumpeter back in the day. Meanwhile, my mother was playing mainly modern expressionist composers; the 20th-century and turn-of-the-century composers. The jazz didn’t hit me emotionally. I got training in jazz, but my heart went emotionally to the classical music.\u003c/p>\n\u003cp>And that was all fine, until the day when Jimi Hendrix appeared in the world. For me, it became all about guitar. At that age, when you’re expressing young, male frustration, the blistering aggression of a Stratocaster through a 200-watt Marshall amp puts hair on your chest. I was a late bloomer and putting on loud, hard, and heavy music was a way of borrowing chest hair. My voice might be a little squeaky, but I turn up that amplifier and it becomes a manly roar! I’m a sixty-something father of seven and grandfather of two, and I still have fun with heavy metal music and the expression of rage, even though my sense of humor prevails.\u003c/p>\n\u003cp>\u003cstrong>In a recent interview, you said that you’re all about “art for art’s sake” right now. What does that look like for you? \u003c/strong>\u003c/p>\n\u003cp>It looks like I can afford to be a professional orchestral composer and turn aside from the more lucrative film composing. Which, by the way, has been a great blessing in my life. Film composition taught me more than any school could have taught me, way more than I would have learned as an “artist.”\u003c/p>\n\u003cp>A film composer is not an artist, he’s a craftsman. As a craftsman, you have to develop skills. You have to go to places where an artist wouldn’t instinctively go. I’ve been forced to study Rodgers and Hammerstein tunes because they bought the rights to use those themes, and I’m forced to incorporate them into the score, so I have to study that drivel. And guess what? Those guys really knew how to write a song and I learned a great deal from something from having my nose rubbed in something I would otherwise have stayed away from.\u003c/p>\n\u003cp>As a film composer, you are forced to look for emotional messages and textures, and you really get to the nuts and bolts, of where the rubber hits the road with melody, harmony, and emotion. Twenty years of doing that, I’ve got a pretty clear idea of how music can drive emotion, which is why I’m so keen on opera — which is the most fun a composer can have with his clothes on.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lmpgGuBqtcg'\n title='//www.youtube.com/embed/lmpgGuBqtcg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>By day, my desk is heating with wonderful and engrossing missions. By night, I turn my chair around and face my Marshall amplifier, guitars, and drums and I rock out. I feel pretty happy and pretty blessed. My studio here, for me, is a giant train set. I have the world’s largest collection of the cheapest instruments money can buy. I have trombones, saxophones, tubas, cello, timpani, all kinds of drums, amps, guitars, basses, whatever. I’m an eBay nut. So my buddies come over here, my illustrious friends, my fancy friends, and we jam. Plus, I have six stationary cameras around the room, so when they arrive I just flip the cameras on. I’m basically a glorified roadie, and I spend some of the happiest hours of my day under the gear, wiring stuff and trying different microphone techniques. It’s a really fun environment to play, and ideally set up for a musician’s every need. Then they go home, and the next day I wake up with a helluva hangover, and I check the tapes, and I listen to the tracks, and tinker around with them, and then put them up on YouTube. It’s called the Sacred Grove.\u003c/p>\n\u003cp>\u003cstrong>Those Sacred Grove sessions on YouTube have garnered a lot of views. Do you have a favorite session?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Actually, one of my favorites doesn’t have all the stellar names. It’s called ‘This Drummer’s at the Right Gig.’ \u003ca href=\"http://www.thomaslangdrummer.com/\">Thomas Lang\u003c/a> came over. He’s one of the world’s most incredible drummers. He’s never really played with a huge bands in the top tier, but his gifts and abilities are way high on the list. Amazing player. And he came over and we did a fun little jam. A couple of days later a woman came over who was making a documentary about drummers, and so she sat down and set up the cameras and we did our shoot. I ended up overdubbing her playing a gigantic baritone sax, and I overdubbed her onto the footage with Thomas Lang. That is one of my favorite tracks.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5GZMdvSyS-M'\n title='//www.youtube.com/embed/5GZMdvSyS-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now that you are doing so much composing, do you consider yourself more of a classical musician? \u003c/strong>\u003c/p>\n\u003cp>People think of an orchestra and they think it’s classical music. I don’t play classical music. I’m not Brahms. If you come to my show, it’s not going to be Mendelssohn. I’ve come to the conclusion: If we’ve got 90 guys on the stage, how about we burn down the building? And I know how to do that with guitar, bass, and drums. It ought to be possible with 90 guys, and it turns out, it is. I’ve been having a great time playing shows with orchestras where we really do rock the joint. That’s my intention, to use an orchestra to rock the joint.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Broncho, Sabertooth Zombie, Tim Hecker, Title Fight, the Blank Tapes and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_March_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>Many Bay Area bands are heading down to Austin to take part in \u003ca href=\"http://sxsw.com/\">South by Southwest\u003c/a> madness this month. While that may mean that more locals are away, it also means more opportunities to see emerging artists on pre- and post-SXSW tours, including international buzz bands like Madrid’s \u003cstrong>\u003ca href=\"https://www.facebook.com/hindsband\">Hinds\u003c/a>\u003c/strong> and London’s \u003cstrong>\u003ca href=\"https://www.facebook.com/Happynessmusic\">Happyness\u003c/a>\u003c/strong>. Both of those bands are younger than London-based \u003cstrong>\u003ca href=\"https://www.facebook.com/twofiftyfour\">2:54\u003c/a>\u003c/strong>, but that group hasn’t visited the U.S. since supporting the XX three years ago.\u003c/p>\n\u003cp>On the local music front, four of the five SF bands featured in this podcast are releasing new albums this month. \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sabertooth-Zombie-official/115203128499396\">Sabertooth Zombie\u003c/a>\u003c/strong>‘s \u003cem>Human Performance IV\u003c/em> completes a four-release series for the North Bay band, with a sound mixing psychedelic and hardcore elements. \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sea-Dramas/128805460524465\">Sea Dramas\u003c/a>\u003c/strong> actually made their new LP, \u003cem>Beware the Ephemeral\u003c/em>, twice. After hearing one of their songs as recorded by Papercuts’ Jason Quever, the group scrapped their home recordings and re-did the whole album with him. Also check out new music from \u003cstrong>\u003ca href=\"https://www.facebook.com/Growwler\">Growwler\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/sportinglifewins\">Sporting Life\u003c/a>\u003c/strong> in the mix.\u003c/p>\n\u003cp>Finally, \u003cstrong>\u003ca href=\"https://www.facebook.com/theseshen\">The Seshen\u003c/a>\u003c/strong> don’t have any new album release this month, but we’re so excited about the Oakland band’s stellar electronic indie pop that they’ll be playing at \u003ca href=\"http://thebaybridged.com/the-bay-brewed/\">\u003cstrong>The Bay Brewed\u003c/strong>\u003c/a>, our rock ‘n’ roll beer festival later this month.\u003c/p>\n\u003cp>Enjoy the podcast… and then go see some concerts!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bronchoband\">Broncho\u003c/a>\u003c/strong> – “Class Historian”\u003cbr>\nWyatt Blair and The Morons open for Broncho at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sabertooth-Zombie-official/115203128499396\">Sabertooth Zombie\u003c/a>\u003c/strong> – “Gardens Of Loss”\u003cbr>\nOn March 14, Creative Adult, Buffalo Tooth, Culture Abuse, and I Wanna Die round out the bill at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Naomi-Punk/545535965464006\">Naomi Punk\u003c/a>\u003c/strong> – “Television Man”\u003cbr>\nThe Olympia band’s tour with PC Worship hits the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> on March 11; locals Mall Walk, Dead Meat, and Al Lover (DJ set) support\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/moonduoofficial\">Moon Duo\u003c/a>\u003c/strong> – “Animal”\u003cbr>\nOn March 25, the band headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.N4fW1MXj.dpbs\">Bottom of the Hill\u003c/a> with great locals Once and Future Band and Carlton Melton\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theseshen\">The Seshen\u003c/a>\u003c/strong> – “The Fall”\u003cbr>\nThe Oakland band joins Tumbleweed Wanderers, Guy Fox, and John Brothers Piano Company at \u003ca href=\"http://thebaybridged.com/the-bay-brewed/\">\u003cstrong>The Bay Brewed\u003c/strong>\u003c/a>, our rock and roll beer festival at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sea-Dramas/128805460524465\">Sea Dramas\u003c/a>\u003c/strong> – “Maker of Heart”\u003cbr>\nCelebrating the release of their new album at the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> with Buxton on March 28 \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hindsband\">Hinds\u003c/a>\u003c/strong> – “Between Cans”\u003cbr>\nFormerly known as Deers, this Spanish band plays the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 23 with Daydream Machine and Hot Flash Heat Wave\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twofiftyfour\">2:54\u003c/a>\u003c/strong> – “In the Mirror”\u003cbr>\nOn March 11, 2:54’s tour with Honeyblood comes to \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>, where they’ll be joined by K. Skelton\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sportinglifewins\">Sporting Life\u003c/a>\u003c/strong> – “Spoil Yr Party”\u003cbr>\nThe SF band plays the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on March 11 with Drgn King and Post Men\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/titlefight\">Title Fight\u003c/a>\u003c/strong> – “Chlorine”\u003cbr>\nMerchandise and Power Trip support the band at \u003ca href=\"http://www.slimspresents.com/calendar/\">Slim’s\u003c/a> on March 13\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/blanktapes\">The Blank Tapes\u003c/a>\u003c/strong> – “Way Too Stoned”\u003cbr>\nTouring with Howlin Rain, both bands come to \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on March 13 and the \u003ca href=\"http://www.sweetwatermusichall.com/\">Sweetwater Music Hall\u003c/a> on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Growwler\">Growwler\u003c/a>\u003c/strong> – “Song Of Songs, pt. I”\u003cbr>\nPlaying the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> on March 12 with Golden Void, Cellar Doors, and JJAAXXNN\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Happynessmusic\">Happyness\u003c/a>\u003c/strong> – “A Whole New Shape”\u003cbr>\nOpening for White Fence and Twerps at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.N4fW1MXj.dpbs\">Bottom of the Hill\u003c/a> on March 30\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Tim-Hecker/42374759420\">Tim Hecker\u003c/a>\u003c/strong> – “Amps, Drugs, Mellotron”\u003cbr>\nThe electronic artist performs with Oren Ambarchi on March 24 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing the Bay Area this month, including tracks by Broncho, Sabertooth Zombie, Tim Hecker, Title Fight, the Blank Tapes and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_March_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/p>\n\u003cp>Many Bay Area bands are heading down to Austin to take part in \u003ca href=\"http://sxsw.com/\">South by Southwest\u003c/a> madness this month. While that may mean that more locals are away, it also means more opportunities to see emerging artists on pre- and post-SXSW tours, including international buzz bands like Madrid’s \u003cstrong>\u003ca href=\"https://www.facebook.com/hindsband\">Hinds\u003c/a>\u003c/strong> and London’s \u003cstrong>\u003ca href=\"https://www.facebook.com/Happynessmusic\">Happyness\u003c/a>\u003c/strong>. Both of those bands are younger than London-based \u003cstrong>\u003ca href=\"https://www.facebook.com/twofiftyfour\">2:54\u003c/a>\u003c/strong>, but that group hasn’t visited the U.S. since supporting the XX three years ago.\u003c/p>\n\u003cp>On the local music front, four of the five SF bands featured in this podcast are releasing new albums this month. \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sabertooth-Zombie-official/115203128499396\">Sabertooth Zombie\u003c/a>\u003c/strong>‘s \u003cem>Human Performance IV\u003c/em> completes a four-release series for the North Bay band, with a sound mixing psychedelic and hardcore elements. \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sea-Dramas/128805460524465\">Sea Dramas\u003c/a>\u003c/strong> actually made their new LP, \u003cem>Beware the Ephemeral\u003c/em>, twice. After hearing one of their songs as recorded by Papercuts’ Jason Quever, the group scrapped their home recordings and re-did the whole album with him. Also check out new music from \u003cstrong>\u003ca href=\"https://www.facebook.com/Growwler\">Growwler\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/sportinglifewins\">Sporting Life\u003c/a>\u003c/strong> in the mix.\u003c/p>\n\u003cp>Finally, \u003cstrong>\u003ca href=\"https://www.facebook.com/theseshen\">The Seshen\u003c/a>\u003c/strong> don’t have any new album release this month, but we’re so excited about the Oakland band’s stellar electronic indie pop that they’ll be playing at \u003ca href=\"http://thebaybridged.com/the-bay-brewed/\">\u003cstrong>The Bay Brewed\u003c/strong>\u003c/a>, our rock ‘n’ roll beer festival later this month.\u003c/p>\n\u003cp>Enjoy the podcast… and then go see some concerts!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bronchoband\">Broncho\u003c/a>\u003c/strong> – “Class Historian”\u003cbr>\nWyatt Blair and The Morons open for Broncho at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sabertooth-Zombie-official/115203128499396\">Sabertooth Zombie\u003c/a>\u003c/strong> – “Gardens Of Loss”\u003cbr>\nOn March 14, Creative Adult, Buffalo Tooth, Culture Abuse, and I Wanna Die round out the bill at \u003ca href=\"http://theeparkside.com/\">Thee Parkside\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Naomi-Punk/545535965464006\">Naomi Punk\u003c/a>\u003c/strong> – “Television Man”\u003cbr>\nThe Olympia band’s tour with PC Worship hits the \u003ca href=\"http://brickandmortarmusic.com/shows.cfm\">Brick & Mortar Music Hall\u003c/a> on March 11; locals Mall Walk, Dead Meat, and Al Lover (DJ set) support\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/moonduoofficial\">Moon Duo\u003c/a>\u003c/strong> – “Animal”\u003cbr>\nOn March 25, the band headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.N4fW1MXj.dpbs\">Bottom of the Hill\u003c/a> with great locals Once and Future Band and Carlton Melton\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theseshen\">The Seshen\u003c/a>\u003c/strong> – “The Fall”\u003cbr>\nThe Oakland band joins Tumbleweed Wanderers, Guy Fox, and John Brothers Piano Company at \u003ca href=\"http://thebaybridged.com/the-bay-brewed/\">\u003cstrong>The Bay Brewed\u003c/strong>\u003c/a>, our rock and roll beer festival at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> on March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Sea-Dramas/128805460524465\">Sea Dramas\u003c/a>\u003c/strong> – “Maker of Heart”\u003cbr>\nCelebrating the release of their new album at the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> with Buxton on March 28 \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hindsband\">Hinds\u003c/a>\u003c/strong> – “Between Cans”\u003cbr>\nFormerly known as Deers, this Spanish band plays the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on March 23 with Daydream Machine and Hot Flash Heat Wave\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/twofiftyfour\">2:54\u003c/a>\u003c/strong> – “In the Mirror”\u003cbr>\nOn March 11, 2:54’s tour with Honeyblood comes to \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>, where they’ll be joined by K. Skelton\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sportinglifewins\">Sporting Life\u003c/a>\u003c/strong> – “Spoil Yr Party”\u003cbr>\nThe SF band plays the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on March 11 with Drgn King and Post Men\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/titlefight\">Title Fight\u003c/a>\u003c/strong> – “Chlorine”\u003cbr>\nMerchandise and Power Trip support the band at \u003ca href=\"http://www.slimspresents.com/calendar/\">Slim’s\u003c/a> on March 13\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/blanktapes\">The Blank Tapes\u003c/a>\u003c/strong> – “Way Too Stoned”\u003cbr>\nTouring with Howlin Rain, both bands come to \u003ca href=\"http://clubleos.com/shows.cfm\">Leo’s\u003c/a> on March 13 and the \u003ca href=\"http://www.sweetwatermusichall.com/\">Sweetwater Music Hall\u003c/a> on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Growwler\">Growwler\u003c/a>\u003c/strong> – “Song Of Songs, pt. I”\u003cbr>\nPlaying the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> on March 12 with Golden Void, Cellar Doors, and JJAAXXNN\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Happynessmusic\">Happyness\u003c/a>\u003c/strong> – “A Whole New Shape”\u003cbr>\nOpening for White Fence and Twerps at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.N4fW1MXj.dpbs\">Bottom of the Hill\u003c/a> on March 30\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Tim-Hecker/42374759420\">Tim Hecker\u003c/a>\u003c/strong> – “Amps, Drugs, Mellotron”\u003cbr>\nThe electronic artist performs with Oren Ambarchi on March 24 at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lucinda Williams on Her Father's Death: \"He Taught Me to be Empathetic\"",
"headTitle": "Lucinda Williams on Her Father’s Death: “He Taught Me to be Empathetic” | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lucinda-williams/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Lucinda Williams\u003c/h2>\n\u003cdiv class=\"event-desc\">Brilliant songwriter plays two shows.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 3-4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lucinda-williams/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As a songwriter, Lucinda Williams needs no introduction. In brilliant, award-winning albums like \u003cem>Car Wheels on a Gravel Road\u003c/em> and \u003cem>World Without Tears\u003c/em>, her way with words has helped bring salve after musical salve to sadness inherent in the modern world, be it from suicide (“Pineola,” “Sweet Old World”), addiction (“Drunken Angel,” “Real Life Bleeding Fingers and Broken Guitar Strings”) or heartbreak (too many songs to name). \u003c/p>\n\u003cp>It’s not an act — loss has been a constant in Williams’ personal life. Two early boyfriends died from self-inflicted gunshot wounds and liver damage, respectively. Her mother, hindered by alcoholism and mental illness, failed to receive custody of her children after a divorce; she died in 2004.\u003c/p>\n\u003cp>But the largest hole in Williams’ life is the absence of her father, the celebrated poet Miller Williams, who \u003ca href=\"http://www.nytimes.com/2015/01/03/arts/miller-williams-laconic-arkansas-poet-dies-at-84.html\" target=\"_blank\" rel=\"noopener\">died last month at age 84\u003c/a>. To say the two were close is a huge understatement — as she’d written to him, once he’d been stricken with Alzheimer’s, in the liner notes of her latest album \u003cem>Down Where the Spirit Meets the Bone\u003c/em>, “As Flannery O’Connor was to you, you were my greatest teacher. Thank you.”\u003c/p>\n\u003cp>After his death, Williams postponed some shows. She went on a cruise. And then, last week, before two shows at the Fillmore this Tuesday and Wednesday, she picked up the phone and talked with KQED for the first time since her father’s passing about Miller Williams — the man who had influenced her, and her music, more than anyone. \u003c/p>\n\u003cp> \u003cbr>\n–\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>All of your fans, myself included, were sad to hear about your father, who I know was a huge presence in your life.\u003c/strong> \u003c/p>\n\u003cp>Well, we’ve been out doing shows and everything. I’ve been staying busy, and that always helps.\u003c/p>\n\u003cp>\u003cstrong>You finally put one of his poems to music, with the song “\u003ca href=\"https://www.youtube.com/watch?v=n7hw4bV-P8M\" target=\"_blank\" rel=\"noopener\">Compassion\u003c/a>.” During these recent shows, does “Compassion” take on a different meaning for you now?\u003c/strong>\u003c/p>\n\u003cp>It’s just a lot more intense now when I sing it. I wasn’t sure just how easy or hard it was going to be to get on stage and do that song. Actually, I’m still pretty grounded. I think it’s because he died of Alzheimer’s, and really, there was a part of him that had already died. You know? That’s the sad thing about Alzheimer’s. It just drags on and on. I think I grieved maybe more so when he told me that he couldn’t write poetry any more. I remember that just knocked the wind out of my sails because that was just so much… I mean, that’s who he was. \u003c/p>\n\u003cp>\u003cstrong>And such a large part of your relationship was based on words. I remember that for each album, you used to submit your lyrics for him to for review.\u003c/strong>\u003c/p>\n\u003cp>Yeah, I did.\u003c/p>\n\u003cp>\u003cstrong>What was the most valuable lesson as a lyricist that you learned from him in that process?\u003c/strong>\u003c/p>\n\u003cp>Well, a couple of things. He always said, “Never censor yourself as a writer.” And he taught me about the economics of writing. I learned how to edit. He was a great editor, besides being a great poet. Those are probably the main things. \u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=sbTmS1O5oEU&w=640&h=360]\u003c/p>\n\u003cp>\u003cstrong>It’s been well-chronicled that you’ve endured a lot of tragedy. And while that can oftentimes turn people bitter or angry, instead, your songs exude a sense of empathy and understanding. How does that happen?\u003c/strong>\u003c/p>\n\u003cp>He taught me that. To be empathetic. I can’t be bitter, I never have. I’m just not that kind of person. I’m not a cynical, jaded person. And he wasn’t either, you know? He always found… He stayed inquisitive and was able to still be in awe of things. I think you have to be. I think it makes a person a better artist, really.\u003c/p>\n\u003cp>\u003cstrong>One of your dad’s poems \u003ca href=\"http://wonderingminstrels.blogspot.com/2001/10/shrinking-lonesome-sestina-miller.html\" target=\"_blank\" rel=\"noopener\">opens with the line\u003c/a>: “Somewhere in everyone’s head, something points toward home.” This last record you made, there’s so much of the south on it. Is home for you still in the south, or is it in Hollywood now?\u003c/strong>\u003c/p>\n\u003cp>It’s still in the south. We live in Los Angeles and it’s a great place. I love L.A., but my memories always take me back to the south. Most of my family is still in the south, or parts of the south. The south will always live in me, no matter where I am. It almost doesn’t matter where I am, because I travel so much anyway. But I still feel a real deep connection with the south.\u003c/p>\n\u003cp>\u003cstrong>There’s also a lot of good-versus-evil on this record, in songs like “Something Wicked This Way Comes” and “Everything But The Truth,” these sort of holy-roller songs. God shows up in your songs — what role, if any, does God play in your life?\u003c/strong>\u003c/p>\n\u003cp>For me, it’s more about a higher power. God shows up in all different kinds of ways. It’s just more about love. I don’t consider myself a Christian or a religious person. Probably a lot of people would echo these sentiments, but it’s just more some kind of energy force, or field, or something that I know is there. I’m not sure what it is, but I know it’s something and it’s there, because I’ve felt it before. We’re not just living in this empty void. Call it love, call it energy, call it a connection… The power. Spiritual power.\u003c/p>\n\u003cp>And I just feel like it’s so much more complex than that for me. My father’s father was a Methodist minister, and he was a Christian in the true sense of the word. He believed in women’s rights and equal rights for everyone. He was a conscientious objector of World War I. He and my grandmother both wore black armbands during the Vietnam moratorium. So he was a real good role model for me as far as all of that goes. I was influenced and inspired, to some degree, by the more traditional ways of Christianity. My mother’s father was also a Methodist minister, but he was more hellfire and brimstone. I was able to see both ends of it. I’ve always enjoyed reading about religion, and studying comparative religions. I just find it really fascinating. \u003c/p>\n\u003cp>I remember my dad was… We’d get into discussions about quantum physics, because he was a writer, and he was this preacher’s son, and he also taught biochemistry. That’s what his degree was in. He had that very scientific, kind of practical way of thinking, while at the same time being very creative and enjoying exploring the human condition.\u003c/p>\n\u003cp>\u003cstrong>Do you think he ever asked why a God, that his father believed in, would allow such tragedy to happen in the world?\u003c/strong>\u003c/p>\n\u003cp>Oh, certainly. My dad has a poem called “Why Does God Permit Evil?” For years, I’ve been wanting to put that poem into a song, but it’s kind of a long poem. That’s why he pulled away from the church and everything, because of those kinds of questions which no one knows the answers to. If you see God as this kind of all-powerful deity, where if you pray hard enough, you’ll get something that you want? That always has bothered me, because you hear people say that all the time: “God’s answered my prayers.” Well, what about the people who \u003cem>didn’t\u003c/em> get their prayers answered?\u003c/p>\n\u003cp>\u003cstrong>It reminds me of that song by Tom Waits, “\u003ca href=\"http://songmeanings.com/songs/view/3530822107858535999/\" target=\"_blank\" rel=\"noopener\">Georgia Lee\u003c/a>,” about a young girl killed and left on the side of the road. The chorus of which is, “Why wasn’t God watching? Why wasn’t God listening? Why wasn’t God there for Georgia Lee?” \u003c/strong>\u003c/p>\n\u003cp>Yeah, I’ve talked to Christians about this, too, and that’s always the main question. “Why does God permit evil?” I remember someone said to me once, “Man has free will, and this is all man’s doing.” I guess God is just kind of hanging out, watching us all fuck up or something. I don’t know.\u003c/p>\n\u003cp>I always look to Bob Dylan, who’s dealt with the subject so many times in his music. Even before he became a Christian or whatever, in his early music: “God said to Abraham ‘Kill me a son’ / Abe said ‘Man, you must be putting me on.'” Leonard Cohen, also. Go back and look at his lyrics, and he deals with a lot of that subject matter in his songs.\u003c/p>\n\u003cp>\u003cstrong>I’ve heard that your dad had a great sense of humor. Would you agree with that?\u003c/strong>\u003c/p>\n\u003cp>Yes. And a very dry sense of humor, even up until the end. We’d talk on the phone and he’d forget he said something, and he’d say, “Well, you know, sometimes my brain’s not working the way it used to.” Or something like that.\u003c/p>\n\u003cp>\u003cstrong>Have you started writing any songs about your dad?\u003c/strong>\u003c/p>\n\u003cp>I actually have started one. And I have a couple things that I’d started before, about his Alzheimer’s, and when he told me he couldn’t remember anymore. But I have to work on them some more.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>\u003cem>Lucinda Williams plays Tuesday and Wednesday, Mar. 3 & 4, at the Fillmore in San Francisco. For details and more information, \u003ca href=\"http://thefillmore.com/event/lucinda-williams/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lucinda-williams/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Lucinda Williams\u003c/h2>\n\u003cdiv class=\"event-desc\">Brilliant songwriter plays two shows.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Mar. 3-4, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lucinda-williams/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>As a songwriter, Lucinda Williams needs no introduction. In brilliant, award-winning albums like \u003cem>Car Wheels on a Gravel Road\u003c/em> and \u003cem>World Without Tears\u003c/em>, her way with words has helped bring salve after musical salve to sadness inherent in the modern world, be it from suicide (“Pineola,” “Sweet Old World”), addiction (“Drunken Angel,” “Real Life Bleeding Fingers and Broken Guitar Strings”) or heartbreak (too many songs to name). \u003c/p>\n\u003cp>It’s not an act — loss has been a constant in Williams’ personal life. Two early boyfriends died from self-inflicted gunshot wounds and liver damage, respectively. Her mother, hindered by alcoholism and mental illness, failed to receive custody of her children after a divorce; she died in 2004.\u003c/p>\n\u003cp>But the largest hole in Williams’ life is the absence of her father, the celebrated poet Miller Williams, who \u003ca href=\"http://www.nytimes.com/2015/01/03/arts/miller-williams-laconic-arkansas-poet-dies-at-84.html\" target=\"_blank\" rel=\"noopener\">died last month at age 84\u003c/a>. To say the two were close is a huge understatement — as she’d written to him, once he’d been stricken with Alzheimer’s, in the liner notes of her latest album \u003cem>Down Where the Spirit Meets the Bone\u003c/em>, “As Flannery O’Connor was to you, you were my greatest teacher. Thank you.”\u003c/p>\n\u003cp>After his death, Williams postponed some shows. She went on a cruise. And then, last week, before two shows at the Fillmore this Tuesday and Wednesday, she picked up the phone and talked with KQED for the first time since her father’s passing about Miller Williams — the man who had influenced her, and her music, more than anyone. \u003c/p>\n\u003cp> \u003cbr>\n–\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>All of your fans, myself included, were sad to hear about your father, who I know was a huge presence in your life.\u003c/strong> \u003c/p>\n\u003cp>Well, we’ve been out doing shows and everything. I’ve been staying busy, and that always helps.\u003c/p>\n\u003cp>\u003cstrong>You finally put one of his poems to music, with the song “\u003ca href=\"https://www.youtube.com/watch?v=n7hw4bV-P8M\" target=\"_blank\" rel=\"noopener\">Compassion\u003c/a>.” During these recent shows, does “Compassion” take on a different meaning for you now?\u003c/strong>\u003c/p>\n\u003cp>It’s just a lot more intense now when I sing it. I wasn’t sure just how easy or hard it was going to be to get on stage and do that song. Actually, I’m still pretty grounded. I think it’s because he died of Alzheimer’s, and really, there was a part of him that had already died. You know? That’s the sad thing about Alzheimer’s. It just drags on and on. I think I grieved maybe more so when he told me that he couldn’t write poetry any more. I remember that just knocked the wind out of my sails because that was just so much… I mean, that’s who he was. \u003c/p>\n\u003cp>\u003cstrong>And such a large part of your relationship was based on words. I remember that for each album, you used to submit your lyrics for him to for review.\u003c/strong>\u003c/p>\n\u003cp>Yeah, I did.\u003c/p>\n\u003cp>\u003cstrong>What was the most valuable lesson as a lyricist that you learned from him in that process?\u003c/strong>\u003c/p>\n\u003cp>Well, a couple of things. He always said, “Never censor yourself as a writer.” And he taught me about the economics of writing. I learned how to edit. He was a great editor, besides being a great poet. Those are probably the main things. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sbTmS1O5oEU'\n title='//www.youtube.com/embed/sbTmS1O5oEU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>It’s been well-chronicled that you’ve endured a lot of tragedy. And while that can oftentimes turn people bitter or angry, instead, your songs exude a sense of empathy and understanding. How does that happen?\u003c/strong>\u003c/p>\n\u003cp>He taught me that. To be empathetic. I can’t be bitter, I never have. I’m just not that kind of person. I’m not a cynical, jaded person. And he wasn’t either, you know? He always found… He stayed inquisitive and was able to still be in awe of things. I think you have to be. I think it makes a person a better artist, really.\u003c/p>\n\u003cp>\u003cstrong>One of your dad’s poems \u003ca href=\"http://wonderingminstrels.blogspot.com/2001/10/shrinking-lonesome-sestina-miller.html\" target=\"_blank\" rel=\"noopener\">opens with the line\u003c/a>: “Somewhere in everyone’s head, something points toward home.” This last record you made, there’s so much of the south on it. Is home for you still in the south, or is it in Hollywood now?\u003c/strong>\u003c/p>\n\u003cp>It’s still in the south. We live in Los Angeles and it’s a great place. I love L.A., but my memories always take me back to the south. Most of my family is still in the south, or parts of the south. The south will always live in me, no matter where I am. It almost doesn’t matter where I am, because I travel so much anyway. But I still feel a real deep connection with the south.\u003c/p>\n\u003cp>\u003cstrong>There’s also a lot of good-versus-evil on this record, in songs like “Something Wicked This Way Comes” and “Everything But The Truth,” these sort of holy-roller songs. God shows up in your songs — what role, if any, does God play in your life?\u003c/strong>\u003c/p>\n\u003cp>For me, it’s more about a higher power. God shows up in all different kinds of ways. It’s just more about love. I don’t consider myself a Christian or a religious person. Probably a lot of people would echo these sentiments, but it’s just more some kind of energy force, or field, or something that I know is there. I’m not sure what it is, but I know it’s something and it’s there, because I’ve felt it before. We’re not just living in this empty void. Call it love, call it energy, call it a connection… The power. Spiritual power.\u003c/p>\n\u003cp>And I just feel like it’s so much more complex than that for me. My father’s father was a Methodist minister, and he was a Christian in the true sense of the word. He believed in women’s rights and equal rights for everyone. He was a conscientious objector of World War I. He and my grandmother both wore black armbands during the Vietnam moratorium. So he was a real good role model for me as far as all of that goes. I was influenced and inspired, to some degree, by the more traditional ways of Christianity. My mother’s father was also a Methodist minister, but he was more hellfire and brimstone. I was able to see both ends of it. I’ve always enjoyed reading about religion, and studying comparative religions. I just find it really fascinating. \u003c/p>\n\u003cp>I remember my dad was… We’d get into discussions about quantum physics, because he was a writer, and he was this preacher’s son, and he also taught biochemistry. That’s what his degree was in. He had that very scientific, kind of practical way of thinking, while at the same time being very creative and enjoying exploring the human condition.\u003c/p>\n\u003cp>\u003cstrong>Do you think he ever asked why a God, that his father believed in, would allow such tragedy to happen in the world?\u003c/strong>\u003c/p>\n\u003cp>Oh, certainly. My dad has a poem called “Why Does God Permit Evil?” For years, I’ve been wanting to put that poem into a song, but it’s kind of a long poem. That’s why he pulled away from the church and everything, because of those kinds of questions which no one knows the answers to. If you see God as this kind of all-powerful deity, where if you pray hard enough, you’ll get something that you want? That always has bothered me, because you hear people say that all the time: “God’s answered my prayers.” Well, what about the people who \u003cem>didn’t\u003c/em> get their prayers answered?\u003c/p>\n\u003cp>\u003cstrong>It reminds me of that song by Tom Waits, “\u003ca href=\"http://songmeanings.com/songs/view/3530822107858535999/\" target=\"_blank\" rel=\"noopener\">Georgia Lee\u003c/a>,” about a young girl killed and left on the side of the road. The chorus of which is, “Why wasn’t God watching? Why wasn’t God listening? Why wasn’t God there for Georgia Lee?” \u003c/strong>\u003c/p>\n\u003cp>Yeah, I’ve talked to Christians about this, too, and that’s always the main question. “Why does God permit evil?” I remember someone said to me once, “Man has free will, and this is all man’s doing.” I guess God is just kind of hanging out, watching us all fuck up or something. I don’t know.\u003c/p>\n\u003cp>I always look to Bob Dylan, who’s dealt with the subject so many times in his music. Even before he became a Christian or whatever, in his early music: “God said to Abraham ‘Kill me a son’ / Abe said ‘Man, you must be putting me on.'” Leonard Cohen, also. Go back and look at his lyrics, and he deals with a lot of that subject matter in his songs.\u003c/p>\n\u003cp>\u003cstrong>I’ve heard that your dad had a great sense of humor. Would you agree with that?\u003c/strong>\u003c/p>\n\u003cp>Yes. And a very dry sense of humor, even up until the end. We’d talk on the phone and he’d forget he said something, and he’d say, “Well, you know, sometimes my brain’s not working the way it used to.” Or something like that.\u003c/p>\n\u003cp>\u003cstrong>Have you started writing any songs about your dad?\u003c/strong>\u003c/p>\n\u003cp>I actually have started one. And I have a couple things that I’d started before, about his Alzheimer’s, and when he told me he couldn’t remember anymore. But I have to work on them some more.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>\u003cem>Lucinda Williams plays Tuesday and Wednesday, Mar. 3 & 4, at the Fillmore in San Francisco. For details and more information, \u003ca href=\"http://thefillmore.com/event/lucinda-williams/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Swinging Through the 20th Century: An Appreciation of Orrin Keepnews",
"headTitle": "Swinging Through the 20th Century: An Appreciation of Orrin Keepnews | KQED",
"content": "\u003cp>In a business replete with boasters, scammers, hustlers and thieves, Orrin Keepnews was a mensch and a legend.\u003c/p>\n\u003cp>By the time he moved to San Francisco in the early 1970s, Keepnews was already recognized as one of the most influential producers in jazz history, responsible for overseeing classic recordings by many of the music’s most creative figures, including pianists Thelonious Monk and Bill Evans, guitarist Wes Montgomery, vibraphonist Milt Jackson, and saxophonists Cannonball Adderley, Sonny Rollins, Benny Golson, and Jimmy Heath, just to name a few. His death on March 1, one day shy of his 92nd birthday, leaves only one man left from the small cadre of pioneering producers responsible for ushering jazz into the age of the LP (Columbia Records’ \u003ca href=\"http://en.wikipedia.org/wiki/George_Avakian\" target=\"_blank\" rel=\"noopener\">George Avakian\u003c/a> turned 95 last month). \u003c/p>\n\u003cp>A daring entrepreneur, incisive writer, and close ally of numerous musicians, Keepnews won an NEA Jazz Masters Award and four Grammys — including a Grammy Trustees Award for non-performers, which he received with his characteristic growl, declining the career-capping implications of the honor. He founded three record labels: Landmark, Milestone, and most importantly \u003ca href=\"http://en.wikipedia.org/wiki/Riverside_Records\" target=\"_blank\" rel=\"noopener\">Riverside\u003c/a>, which from 1953-1964 was surpassed only by Blue Note as the era’s definitive independent outlet for modern jazz. In the ’70s and ’80s, when his peer producers were gone or retired, he did some of his most important work out of the \u003ca href=\"http://www.fantasystudios.com/about.html\" target=\"_blank\" rel=\"noopener\">Fantasy building in Berkeley\u003c/a>, overseeing a series of great albums by McCoy Tyner and Joe Henderson (on Milestone) and Bobby Hutcherson (on Landmark). \u003c/p>\n\u003cfigure id=\"attachment_10434911\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Addelrley.jpg\" alt=\"Cannonball Adderley's Live in San Francisco.\" width=\"400\" height=\"402\" class=\"size-full wp-image-10434911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-320x322.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cannonball Adderley’s \u003cem>Live in San Francisco\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>By listening to the advice of musicians, Keepnews was often able to sign brilliant players overlooked by other labels. Trumpeter Kenny Dorham tipped him off about tenor saxophonist, arranger and composer Jimmy Heath. The trumpeter Clark Terry, who died last month at 94 and also recorded memorable sessions for Riverside, introduced him to Julian “Cannonball” and Nat Adderley, brothers who became jazz stars with the release of the blazing 1959 Riverside album recorded at North Beach’s Jazz Workshop, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=lEnbXVqQ1go&list=PLB0F41080AA82D45B\" target=\"_blank\" rel=\"noopener\">The Cannonball Adderley Quintet Live in San Francisco\u003c/a>\u003c/em>. And it was Cannonball who turned Keepnews on to a little-known guitarist living in Indianapolis. \u003c/p>\n\u003cp>“Cannonball came busting into my office and said, ‘I heard this incredible guitar player Wes Montgomery and we’ve got to get him on the label,’” Keepnews recalled. For Keepnews, the fact that the saxophonist referred to Riverside as a collective endeavor was the real triumph: “My principal artist referred to the label as ‘we’! That’s what it’s all about.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jimmy Heath had been off the scene for several years when Keepnews signed him to Riverside in 1959. He had been courted by Blue Note, but Heath decided to go with Keepnews because he offered Heath opportunities to work as an arranger. Heath, who often recorded with his brothers, bassist Percy Heath and drummer Albert “Tootie” Heath, appreciated that Keepnews treated Riverside artists like family. \u003c/p>\n\u003cp>“The thing that strikes me as unique about Orrin is that he allowed me to choose my material and instrumentation — in other words, artistic freedom,” Heath said. “He was also a good friend of my whole family, my mom and pop. My wife Mona was close with his wife Lucy.” \u003c/p>\n\u003cfigure id=\"attachment_10434912\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/monk.jpg\" alt=\"Thelonious Monk Plays the Music of Duke Ellington.\" width=\"400\" height=\"396\" class=\"size-full wp-image-10434912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-320x317.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Thelonious Monk Plays the Music of Duke Ellington\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>With his wry, side-of-the-mouth delivery, Keepnews often said that he was an unlikely person to turn into one of the preeminent producers of modern jazz’s golden age. He grew up with “not a drop of music” in a middle-class Jewish household in upper Manhattan. His mother was a public school teacher and his father worked for the Department of Welfare, civil-service jobs that shielded the family from the brunt of the Great Depression. \u003c/p>\n\u003cp>After graduating from Columbia University and serving in the Army during World War II flying bomber missions in the Pacific theatre, he returned to New York City and took a job as a junior editor in a publishing firm. When his college buddy Bill Grauer took over \u003cem>\u003ca href=\"https://www.facebook.com/media/set/?set=a.139230360522.231836.127181040522&type=3\" target=\"_blank\" rel=\"noopener\">The Record Changer\u003c/a>\u003c/em>, a publication in 1948 that specialized in jazz, Keepnews came on board as editor, following his passion for 1920s jazz. \u003c/p>\n\u003cp>Though at first unimpressed with bebop, the modern jazz movement that had come to the fore during the war years, Keepnews had the musical insight to champion an obscure pianist/composer named Thelonious Monk when Blue Note producer Alfred Lion introduced him to the artist and played him Monk’s first recordings as a leader. His prescient 1948 \u003cem>Record Changer\u003c/em> piece was one of the first ever written on Monk, and in comparing the pianist to Jelly Roll Morton and Duke Ellington he was certainly the first non-musician to foresee the central role that Monk would play in post-war jazz. \u003c/p>\n\u003cp>Keepnews made the leap from journalist to active participant in the music business after writing an expose detailing how RCA Victor was allowing a label aptly named Jolly Roger to press bootleg copies of out-of-print 1920s and ’30s jazz recordings owned by rival labels. The story led to the creation of Riverside Records in 1952, which he and Grauer founded as a vehicle for reissuing classic recordings by early jazz stars like Jelly Roll Morton and Louis Armstrong. By 1954, the two were ready to start producing new music, signing pianist and budding composer Randy Weston as their first artist.\u003c/p>\n\u003cp>But Riverside really made its mark by signing Monk, who had been languishing unhappily at Prestige, a rival indie, after his epochal stint at Blue Note. \u003c/p>\n\u003cp>“We were more than a little unhappy with our traditionalist reputation,” Keepnews said. “We said to ourselves, if we can come up with Monk it’s going to mean either we’re crazy or we’re serious about wanting to be on the contemporary scene, or maybe both. When we set up a meeting, Monk informed me that the the \u003cem>Record Changer\u003c/em> piece I had written was the first article about him that had ever appeared in a national magazine.”\u003c/p>\n\u003cfigure id=\"attachment_10434913\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/evans.jpg\" alt=\"Bill Evans' Sunday at the Village Vanguard.\" width=\"400\" height=\"402\" class=\"size-full wp-image-10434913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-320x322.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bill Evans’ \u003cem>Sunday at the Village Vanguard\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, most jazz critics regarded Monk as an interesting composer with deficient keyboard technique. In a brilliant stroke of marketing, Keepnews successfully orchestrated Monk’s reintroduction to the public on Riverside with two trio recordings, 1955’s \u003cem>Thelonious Monk Plays Duke Ellington\u003c/em>, and the 1956 standards project \u003cem>The Unique Thelonious Monk\u003c/em>. Applied to familiar melodies, Monk’s knotty touch and thick harmonies became much more approachable, and opened many listeners’ ears to later recordings of his ingenious original compositions.\u003c/p>\n\u003cp>By the time Monk left Riverside for major label digs at Columbia in 1961, he was recognized as a giant of 20th century music, a pervasively influential pianist and a composer of invigorating musical riddles that resisted pat solutions. \u003c/p>\n\u003cp>Like many artists associated with Riverside, Monk did much of his finest work for the label. Keepnews was also instrumental in convincing a reluctant, largely unknown pianist named Bill Evans to make his \u003ca href=\"http://www.allmusic.com/album/new-jazz-conceptions-mw0002376242\" target=\"_blank\" rel=\"noopener\">first recording as a leader\u003c/a> in 1956. By the time he returned to the studio in 1958, Evans was a rising star with the Miles Davis Sextet, and he started recording a string of hugely influential albums that culminated with \u003cem>Sunday at the Village Vanguard\u003c/em>, a session that became a beacon of telepathic interplay. \u003c/p>\n\u003cp>Sonny Rollins was the most influential tenor saxophonist in jazz when he started recording for Riverside as a freelance artist. One project was his politically charged 1958 album \u003cem>The Freedom Suite\u003c/em>, which included \u003ca href=\"http://www.allaboutjazz.com/freedom-suite-revisited-by-aaj-staff.php\" target=\"_blank\" rel=\"noopener\">liner notes\u003c/a> making it clear Rollins was protesting American society’s endemic racism. \u003c/p>\n\u003cfigure id=\"attachment_10434914\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/rollins.jpg\" alt=\"Sonny Rollins, The Freedom Suite.\" width=\"400\" height=\"412\" class=\"size-full wp-image-10434914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/rollins.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/rollins-320x330.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/rollins-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Rollins, \u003cem>The Freedom Suite\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>“At the time it was a \u003ca href=\"http://forums.stevehoffman.tv/threads/why-was-sonny-rollins-freedom-suite-lp-quickly-renamed-shadow-waltz.189482/\" target=\"_blank\" rel=\"noopener\">somewhat controversial\u003c/a> record,” Rollins told me several years ago. “It was sort of a black consciousness record made before the civil rights movement took off, and I’m not sure that a lot of other producers would have allowed that record to be made with the sentiments that I expressed. I thought Orrin had to be a standup guy to do that, and that’s some extra added respect I’ve had for him all these years.” Rollins later signed with Keepnews’ second label, and he recorded for Milestone under that contract until launching his own label, Doxy, in 2006.\u003c/p>\n\u003cp>Keepnews and his wife Lucy, who passed away in 1989, moved to San Francisco in 1972, when Fantasy bought Milestone and hired him as head of jazz A&R. For the past decade or so he lived in El Cerrito with his second wife, the clothing designer Martha Egan. In many ways, he spread his wings as a producer even further in the Bay Area, working with new-music champions Kronos Quartet and jazz/cabaret vocalist Wesla Whitfield. \u003c/p>\n\u003cp>I interviewed Keepnews numerous times over the years in various settings, and he was a skillful, if not concise, raconteur with a vast trove of stories about the artists with whom he worked closely. While he didn’t downplay his role in the creation of pivotal recordings, he never tried to take credit for an artist’s accomplishments. \u003c/p>\n\u003cp>“I’m not walking around claiming something or somebody happened because of what I did,” Keepnews said. “There are cases, however, where I’m not going to be bashful about the fact that what I did and the way I did it certainly contributed to what happened. Whether it’s the only way it could have happened, or I made it easier or even harder, I don’t know. But I do know that I did it and in a certain number of cases it worked.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10434919\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/monksmusic.jpg\" alt=\"Thelonious Monk, Monk's Music.\" width=\"400\" height=\"400\" class=\"size-full wp-image-10434919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Thelonious Monk, \u003cem>Monk’s Music\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003ch2>Keepnews’ Legacy: The Top 10\u003c/h2>\n\u003cp>Keepnews selected among his favorite albums for Concord Music’s “\u003ca href=\"http://www.concordmusicgroup.com/promos/keepnews/\" target=\"_blank\" rel=\"noopener\">Keepnews Collection\u003c/a>” reissue series, while the four-disc box set, \u003cem>\u003ca href=\"http://www.allmusic.com/album/the-riverside-records-story-mw0000030339\" target=\"_blank\" rel=\"noopener\">The Riverside Records Story\u003c/a>\u003c/em>, provides a highly satisfying overview of his early career highlights. Here’s my list of Keepnews-produced albums that should be part of any well-stocked music collection. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>1) Thelonious Monk, \u003cem>Monk’s Music\u003c/em>, 1957\u003cbr>\n2) Bill Evans, \u003cem>Sunday at the Village Vanguard\u003c/em>, 1961\u003cbr>\n3) Wes Montgomery, \u003cem>The Incredible Jazz Guitar of Wes Montgomery\u003c/em>, 1961\u003cbr>\n4) McCoy Tyner, \u003cem>Song For My Lady\u003c/em>, 1973\u003cbr>\n5) The Cannonball Adderley Sextet – \u003cem>In New York\u003c/em>, 1962\u003cbr>\n6) Sonny Rollins, \u003cem>The Freedom Suite\u003c/em>, 1958\u003cbr>\n7) Joe Henderson, \u003cem>The Kicker\u003c/em>, 1967\u003cbr>\n8) Clark Terry, \u003cem>In Orbit\u003c/em>, 1958\u003cbr>\n9) Milt Jackson, \u003cem>Invitation\u003c/em>, 1962\u003cbr>\n10) McCoy Tyner, \u003cem>Horizon\u003c/em>, 1979\u003c/p>\n\n",
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"excerpt": "Orrin Keepnews, who died Sunday in his El Cerrito home, played a pivotal role in the development of modern jazz by producing some of its biggest names.",
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"title": "Swinging Through the 20th Century: An Appreciation of Orrin Keepnews | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a business replete with boasters, scammers, hustlers and thieves, Orrin Keepnews was a mensch and a legend.\u003c/p>\n\u003cp>By the time he moved to San Francisco in the early 1970s, Keepnews was already recognized as one of the most influential producers in jazz history, responsible for overseeing classic recordings by many of the music’s most creative figures, including pianists Thelonious Monk and Bill Evans, guitarist Wes Montgomery, vibraphonist Milt Jackson, and saxophonists Cannonball Adderley, Sonny Rollins, Benny Golson, and Jimmy Heath, just to name a few. His death on March 1, one day shy of his 92nd birthday, leaves only one man left from the small cadre of pioneering producers responsible for ushering jazz into the age of the LP (Columbia Records’ \u003ca href=\"http://en.wikipedia.org/wiki/George_Avakian\" target=\"_blank\" rel=\"noopener\">George Avakian\u003c/a> turned 95 last month). \u003c/p>\n\u003cp>A daring entrepreneur, incisive writer, and close ally of numerous musicians, Keepnews won an NEA Jazz Masters Award and four Grammys — including a Grammy Trustees Award for non-performers, which he received with his characteristic growl, declining the career-capping implications of the honor. He founded three record labels: Landmark, Milestone, and most importantly \u003ca href=\"http://en.wikipedia.org/wiki/Riverside_Records\" target=\"_blank\" rel=\"noopener\">Riverside\u003c/a>, which from 1953-1964 was surpassed only by Blue Note as the era’s definitive independent outlet for modern jazz. In the ’70s and ’80s, when his peer producers were gone or retired, he did some of his most important work out of the \u003ca href=\"http://www.fantasystudios.com/about.html\" target=\"_blank\" rel=\"noopener\">Fantasy building in Berkeley\u003c/a>, overseeing a series of great albums by McCoy Tyner and Joe Henderson (on Milestone) and Bobby Hutcherson (on Landmark). \u003c/p>\n\u003cfigure id=\"attachment_10434911\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Addelrley.jpg\" alt=\"Cannonball Adderley's Live in San Francisco.\" width=\"400\" height=\"402\" class=\"size-full wp-image-10434911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-320x322.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Addelrley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cannonball Adderley’s \u003cem>Live in San Francisco\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>By listening to the advice of musicians, Keepnews was often able to sign brilliant players overlooked by other labels. Trumpeter Kenny Dorham tipped him off about tenor saxophonist, arranger and composer Jimmy Heath. The trumpeter Clark Terry, who died last month at 94 and also recorded memorable sessions for Riverside, introduced him to Julian “Cannonball” and Nat Adderley, brothers who became jazz stars with the release of the blazing 1959 Riverside album recorded at North Beach’s Jazz Workshop, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=lEnbXVqQ1go&list=PLB0F41080AA82D45B\" target=\"_blank\" rel=\"noopener\">The Cannonball Adderley Quintet Live in San Francisco\u003c/a>\u003c/em>. And it was Cannonball who turned Keepnews on to a little-known guitarist living in Indianapolis. \u003c/p>\n\u003cp>“Cannonball came busting into my office and said, ‘I heard this incredible guitar player Wes Montgomery and we’ve got to get him on the label,’” Keepnews recalled. For Keepnews, the fact that the saxophonist referred to Riverside as a collective endeavor was the real triumph: “My principal artist referred to the label as ‘we’! That’s what it’s all about.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jimmy Heath had been off the scene for several years when Keepnews signed him to Riverside in 1959. He had been courted by Blue Note, but Heath decided to go with Keepnews because he offered Heath opportunities to work as an arranger. Heath, who often recorded with his brothers, bassist Percy Heath and drummer Albert “Tootie” Heath, appreciated that Keepnews treated Riverside artists like family. \u003c/p>\n\u003cp>“The thing that strikes me as unique about Orrin is that he allowed me to choose my material and instrumentation — in other words, artistic freedom,” Heath said. “He was also a good friend of my whole family, my mom and pop. My wife Mona was close with his wife Lucy.” \u003c/p>\n\u003cfigure id=\"attachment_10434912\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/monk.jpg\" alt=\"Thelonious Monk Plays the Music of Duke Ellington.\" width=\"400\" height=\"396\" class=\"size-full wp-image-10434912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-320x317.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monk-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Thelonious Monk Plays the Music of Duke Ellington\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>With his wry, side-of-the-mouth delivery, Keepnews often said that he was an unlikely person to turn into one of the preeminent producers of modern jazz’s golden age. He grew up with “not a drop of music” in a middle-class Jewish household in upper Manhattan. His mother was a public school teacher and his father worked for the Department of Welfare, civil-service jobs that shielded the family from the brunt of the Great Depression. \u003c/p>\n\u003cp>After graduating from Columbia University and serving in the Army during World War II flying bomber missions in the Pacific theatre, he returned to New York City and took a job as a junior editor in a publishing firm. When his college buddy Bill Grauer took over \u003cem>\u003ca href=\"https://www.facebook.com/media/set/?set=a.139230360522.231836.127181040522&type=3\" target=\"_blank\" rel=\"noopener\">The Record Changer\u003c/a>\u003c/em>, a publication in 1948 that specialized in jazz, Keepnews came on board as editor, following his passion for 1920s jazz. \u003c/p>\n\u003cp>Though at first unimpressed with bebop, the modern jazz movement that had come to the fore during the war years, Keepnews had the musical insight to champion an obscure pianist/composer named Thelonious Monk when Blue Note producer Alfred Lion introduced him to the artist and played him Monk’s first recordings as a leader. His prescient 1948 \u003cem>Record Changer\u003c/em> piece was one of the first ever written on Monk, and in comparing the pianist to Jelly Roll Morton and Duke Ellington he was certainly the first non-musician to foresee the central role that Monk would play in post-war jazz. \u003c/p>\n\u003cp>Keepnews made the leap from journalist to active participant in the music business after writing an expose detailing how RCA Victor was allowing a label aptly named Jolly Roger to press bootleg copies of out-of-print 1920s and ’30s jazz recordings owned by rival labels. The story led to the creation of Riverside Records in 1952, which he and Grauer founded as a vehicle for reissuing classic recordings by early jazz stars like Jelly Roll Morton and Louis Armstrong. By 1954, the two were ready to start producing new music, signing pianist and budding composer Randy Weston as their first artist.\u003c/p>\n\u003cp>But Riverside really made its mark by signing Monk, who had been languishing unhappily at Prestige, a rival indie, after his epochal stint at Blue Note. \u003c/p>\n\u003cp>“We were more than a little unhappy with our traditionalist reputation,” Keepnews said. “We said to ourselves, if we can come up with Monk it’s going to mean either we’re crazy or we’re serious about wanting to be on the contemporary scene, or maybe both. When we set up a meeting, Monk informed me that the the \u003cem>Record Changer\u003c/em> piece I had written was the first article about him that had ever appeared in a national magazine.”\u003c/p>\n\u003cfigure id=\"attachment_10434913\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/evans.jpg\" alt=\"Bill Evans' Sunday at the Village Vanguard.\" width=\"400\" height=\"402\" class=\"size-full wp-image-10434913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-320x322.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/evans-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bill Evans’ \u003cem>Sunday at the Village Vanguard\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, most jazz critics regarded Monk as an interesting composer with deficient keyboard technique. In a brilliant stroke of marketing, Keepnews successfully orchestrated Monk’s reintroduction to the public on Riverside with two trio recordings, 1955’s \u003cem>Thelonious Monk Plays Duke Ellington\u003c/em>, and the 1956 standards project \u003cem>The Unique Thelonious Monk\u003c/em>. Applied to familiar melodies, Monk’s knotty touch and thick harmonies became much more approachable, and opened many listeners’ ears to later recordings of his ingenious original compositions.\u003c/p>\n\u003cp>By the time Monk left Riverside for major label digs at Columbia in 1961, he was recognized as a giant of 20th century music, a pervasively influential pianist and a composer of invigorating musical riddles that resisted pat solutions. \u003c/p>\n\u003cp>Like many artists associated with Riverside, Monk did much of his finest work for the label. Keepnews was also instrumental in convincing a reluctant, largely unknown pianist named Bill Evans to make his \u003ca href=\"http://www.allmusic.com/album/new-jazz-conceptions-mw0002376242\" target=\"_blank\" rel=\"noopener\">first recording as a leader\u003c/a> in 1956. By the time he returned to the studio in 1958, Evans was a rising star with the Miles Davis Sextet, and he started recording a string of hugely influential albums that culminated with \u003cem>Sunday at the Village Vanguard\u003c/em>, a session that became a beacon of telepathic interplay. \u003c/p>\n\u003cp>Sonny Rollins was the most influential tenor saxophonist in jazz when he started recording for Riverside as a freelance artist. One project was his politically charged 1958 album \u003cem>The Freedom Suite\u003c/em>, which included \u003ca href=\"http://www.allaboutjazz.com/freedom-suite-revisited-by-aaj-staff.php\" target=\"_blank\" rel=\"noopener\">liner notes\u003c/a> making it clear Rollins was protesting American society’s endemic racism. \u003c/p>\n\u003cfigure id=\"attachment_10434914\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/rollins.jpg\" alt=\"Sonny Rollins, The Freedom Suite.\" width=\"400\" height=\"412\" class=\"size-full wp-image-10434914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/rollins.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/rollins-320x330.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/rollins-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Rollins, \u003cem>The Freedom Suite\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>“At the time it was a \u003ca href=\"http://forums.stevehoffman.tv/threads/why-was-sonny-rollins-freedom-suite-lp-quickly-renamed-shadow-waltz.189482/\" target=\"_blank\" rel=\"noopener\">somewhat controversial\u003c/a> record,” Rollins told me several years ago. “It was sort of a black consciousness record made before the civil rights movement took off, and I’m not sure that a lot of other producers would have allowed that record to be made with the sentiments that I expressed. I thought Orrin had to be a standup guy to do that, and that’s some extra added respect I’ve had for him all these years.” Rollins later signed with Keepnews’ second label, and he recorded for Milestone under that contract until launching his own label, Doxy, in 2006.\u003c/p>\n\u003cp>Keepnews and his wife Lucy, who passed away in 1989, moved to San Francisco in 1972, when Fantasy bought Milestone and hired him as head of jazz A&R. For the past decade or so he lived in El Cerrito with his second wife, the clothing designer Martha Egan. In many ways, he spread his wings as a producer even further in the Bay Area, working with new-music champions Kronos Quartet and jazz/cabaret vocalist Wesla Whitfield. \u003c/p>\n\u003cp>I interviewed Keepnews numerous times over the years in various settings, and he was a skillful, if not concise, raconteur with a vast trove of stories about the artists with whom he worked closely. While he didn’t downplay his role in the creation of pivotal recordings, he never tried to take credit for an artist’s accomplishments. \u003c/p>\n\u003cp>“I’m not walking around claiming something or somebody happened because of what I did,” Keepnews said. “There are cases, however, where I’m not going to be bashful about the fact that what I did and the way I did it certainly contributed to what happened. Whether it’s the only way it could have happened, or I made it easier or even harder, I don’t know. But I do know that I did it and in a certain number of cases it worked.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10434919\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/monksmusic.jpg\" alt=\"Thelonious Monk, Monk's Music.\" width=\"400\" height=\"400\" class=\"size-full wp-image-10434919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/monksmusic-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Thelonious Monk, \u003cem>Monk’s Music\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003ch2>Keepnews’ Legacy: The Top 10\u003c/h2>\n\u003cp>Keepnews selected among his favorite albums for Concord Music’s “\u003ca href=\"http://www.concordmusicgroup.com/promos/keepnews/\" target=\"_blank\" rel=\"noopener\">Keepnews Collection\u003c/a>” reissue series, while the four-disc box set, \u003cem>\u003ca href=\"http://www.allmusic.com/album/the-riverside-records-story-mw0000030339\" target=\"_blank\" rel=\"noopener\">The Riverside Records Story\u003c/a>\u003c/em>, provides a highly satisfying overview of his early career highlights. Here’s my list of Keepnews-produced albums that should be part of any well-stocked music collection. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003ch4>Listen to the Noise Pop Podcast’s mix of the best songs buzzing around online right now\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/Best_of_Blogs_February_2015.mp3\u003c/p>\n\n\u003cp>Every month, we scour the deepest corners of the Internet to find the best and most influential new music that’s circulating between blogs and social media. This month we have new songs from Björk, Speedy Ortiz, Drake, Sufjan Stevens and more — including Paul McCartney’s collaboration with Rihanna and Kanye West!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Raising The Skate” — Speedy Ortiz, \u003ci>Foil Deer\u003c/i>\u003c/li>\n\u003cli>“No Shade in the Shadow of the Cross” — Sufjan Stevens, \u003ci>Carrie & Lowell\u003c/i>\u003c/li>\n\u003cli>“History of Touches (Ridu Remix)” — Björk, \u003ci>Vulnicara\u003c/i>\u003c/li>\n\u003cli>“Chateau Lobby #4 (in C for Two Virgins)” — Father John Misty, \u003ci>I Love You, Honeybear\u003c/i>\u003c/li>\n\u003cli>“Just Like You” — Chromatics, \u003ci>Dear Tommy\u003c/i>\u003c/li>\n\u003cli>“Jungle” — Drake, \u003ci>If You’re Reading This it’s Too Late\u003c/i>\u003c/li>\n\u003cli>“fourfiveseconds” — Rihanna, Kanye West and Paul McCartney (single)\u003c/li>\n\u003cli>“Lifted Up” — Passion Pit, \u003ci>Kindred\u003c/i>\u003c/li>\n\u003cli>“Fear and Fury” — Pallbearer (single)\u003c/li>\n\u003cli>“Philomena” — The Decemberists, \u003ci>What a Terrible World, What a Beautiful World\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In 2010, Sam Gebru and Kristian Contreras began exchanging music via Facebook. The acquaintances had recently graduated from the same school — Encinal High School in Alameda — and were impressed by the other’s taste in music.\u003c/p>\n\u003cp>The two soon started a music blog in order to introduce and share the artists, producers and videographers that they liked: “authentic art from our communities and artists in our areas such as SF or Oakland, Greater Bay Area,” according to Gebru. After a brief hiatus, the two created a logo, and added even more creators to the mix.\u003c/p>\n\u003cp>Just like that, Youthful Kinfolk was born.\u003c/p>\n\u003cp>The members of Bay Area collective \u003ca href=\"http://youthfulkinfolk.com/\">Youthful Kinfolk\u003c/a> make and support art representative of the lifestyle and ambition often neglected in Latino, African-American and other non-white media narratives. The crew consists of young artists, all under the age of 25, whose creation spans various mediums, from music and graphic design to photography.\u003c/p>\n\u003cp>Coming on the heels of their \u003cem>Revolve\u003c/em> art show at Oakland Terminal, Youthful Kinfolk unveils \u003cem>Open House\u003c/em>, a pop-up shop-slash-party, at SoleSpace in Oakland on Feb. 28.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s people out here who might not get the most online love, so we try to push for people that don’t have the biggest following. We try to give them a platform to say what they want to say and shed light on people’s stories,” adds Contreras, who along with Gebru serves as a creative director for the collective.\u003c/p>\n\u003cfigure id=\"attachment_10398160\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/tumblr_lqu9khnlts1ql1q0to1_400.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10398160 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/tumblr_lqu9khnlts1ql1q0to1_400-400x267.jpg\" alt=\"tumblr_lqu9khnlts1ql1q0to1_400\" width=\"400\" height=\"267\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A cross-section of the Youthful Kinfolk crew, in 2011. L to R: Wallah Umoja, Yared Kiflai, SpencerxStevens, Kristian Contreras\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Youthful Kinfolk consists of Kristian Contreras, Sam Gebru, SpencerxStevens, Amir Aziz, Yared Kiflai, Wallah Umoja, Shruggs, Yadiel Plascencia and Carina Moreno. As Contreras says, “We wanted to bring together a powerhouse of creatives that were willing to work not only on solo projects, but for the community and invest in the Bay Area’s diverse musical and artistic talents.”\u003c/p>\n\u003cp>The group dynamic is simple. Contreras says they are collectively “trying to push for something better, bigger than us.” As a result, they trust each another’s ability and vision.\u003c/p>\n\u003cp>And as they grow into headlining more events — local artist mixers, pop-up shops, parties, and most recently, an art show — they’re also gaining a serious following among youth on both sides of the bridge.\u003c/p>\n\u003cp>Their last event, \u003cem>Revolve\u003c/em>, was the brainchild of Contreras, who also curated the show. This time, \u003cem>Open House\u003c/em> comes from Wallah Umoja, a music producer and hip-hop performance artist from Richmond. The all-day event is rich with collaborations: it’s a pop-up shop with Happen Clothing and the Chocolate Monkey, and it’s a celebration of the anniversary of \u003ca href=\"https://adp.fm/tag/rime-radio/\" target=\"_blank\" rel=\"noopener\">R.I.M.E. Radio\u003c/a>, an online radio show on Youth Radio’s \u003ca href=\"adp.fm\">AllDayPlay.fm\u003c/a>, where YK member Shruggs spins weekly. In the evening, \u003cem>Open House\u003c/em> picks up with DJ sets by Umoja, SpencerxStevens, and Shruggs.\u003c/p>\n\u003cp>At first glance, Youthful Kinfolk may seem like the project of college-aged individuals set to expire when they get their first “real world” jobs. But it’s becoming clear that they aren’t going anywhere, and they’re only gaining more momentum as they continue to grow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think we’re worried necessarily about a ‘lasting power’ because we continually try to innovate our content and come up with new series, branding and ideas for events,” says Contreras. “We have a lot of things unreleased or that are currently in the works, and are trying to create something with longevity but also substance, that people can attach to and believe in. Of course, in the back of your head there’s always a worry about whether or not what you’re doing will work out, but we genuinely enjoy to create and work with others. So regardless of measuring our success monetarily or by outreach, if people continue enjoying what we do, then we’ll continue to feel good about it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2010, Sam Gebru and Kristian Contreras began exchanging music via Facebook. The acquaintances had recently graduated from the same school — Encinal High School in Alameda — and were impressed by the other’s taste in music.\u003c/p>\n\u003cp>The two soon started a music blog in order to introduce and share the artists, producers and videographers that they liked: “authentic art from our communities and artists in our areas such as SF or Oakland, Greater Bay Area,” according to Gebru. After a brief hiatus, the two created a logo, and added even more creators to the mix.\u003c/p>\n\u003cp>Just like that, Youthful Kinfolk was born.\u003c/p>\n\u003cp>The members of Bay Area collective \u003ca href=\"http://youthfulkinfolk.com/\">Youthful Kinfolk\u003c/a> make and support art representative of the lifestyle and ambition often neglected in Latino, African-American and other non-white media narratives. The crew consists of young artists, all under the age of 25, whose creation spans various mediums, from music and graphic design to photography.\u003c/p>\n\u003cp>Coming on the heels of their \u003cem>Revolve\u003c/em> art show at Oakland Terminal, Youthful Kinfolk unveils \u003cem>Open House\u003c/em>, a pop-up shop-slash-party, at SoleSpace in Oakland on Feb. 28.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s people out here who might not get the most online love, so we try to push for people that don’t have the biggest following. We try to give them a platform to say what they want to say and shed light on people’s stories,” adds Contreras, who along with Gebru serves as a creative director for the collective.\u003c/p>\n\u003cfigure id=\"attachment_10398160\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/tumblr_lqu9khnlts1ql1q0to1_400.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10398160 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/tumblr_lqu9khnlts1ql1q0to1_400-400x267.jpg\" alt=\"tumblr_lqu9khnlts1ql1q0to1_400\" width=\"400\" height=\"267\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A cross-section of the Youthful Kinfolk crew, in 2011. L to R: Wallah Umoja, Yared Kiflai, SpencerxStevens, Kristian Contreras\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Youthful Kinfolk consists of Kristian Contreras, Sam Gebru, SpencerxStevens, Amir Aziz, Yared Kiflai, Wallah Umoja, Shruggs, Yadiel Plascencia and Carina Moreno. As Contreras says, “We wanted to bring together a powerhouse of creatives that were willing to work not only on solo projects, but for the community and invest in the Bay Area’s diverse musical and artistic talents.”\u003c/p>\n\u003cp>The group dynamic is simple. Contreras says they are collectively “trying to push for something better, bigger than us.” As a result, they trust each another’s ability and vision.\u003c/p>\n\u003cp>And as they grow into headlining more events — local artist mixers, pop-up shops, parties, and most recently, an art show — they’re also gaining a serious following among youth on both sides of the bridge.\u003c/p>\n\u003cp>Their last event, \u003cem>Revolve\u003c/em>, was the brainchild of Contreras, who also curated the show. This time, \u003cem>Open House\u003c/em> comes from Wallah Umoja, a music producer and hip-hop performance artist from Richmond. The all-day event is rich with collaborations: it’s a pop-up shop with Happen Clothing and the Chocolate Monkey, and it’s a celebration of the anniversary of \u003ca href=\"https://adp.fm/tag/rime-radio/\" target=\"_blank\" rel=\"noopener\">R.I.M.E. Radio\u003c/a>, an online radio show on Youth Radio’s \u003ca href=\"adp.fm\">AllDayPlay.fm\u003c/a>, where YK member Shruggs spins weekly. In the evening, \u003cem>Open House\u003c/em> picks up with DJ sets by Umoja, SpencerxStevens, and Shruggs.\u003c/p>\n\u003cp>At first glance, Youthful Kinfolk may seem like the project of college-aged individuals set to expire when they get their first “real world” jobs. But it’s becoming clear that they aren’t going anywhere, and they’re only gaining more momentum as they continue to grow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think we’re worried necessarily about a ‘lasting power’ because we continually try to innovate our content and come up with new series, branding and ideas for events,” says Contreras. “We have a lot of things unreleased or that are currently in the works, and are trying to create something with longevity but also substance, that people can attach to and believe in. Of course, in the back of your head there’s always a worry about whether or not what you’re doing will work out, but we genuinely enjoy to create and work with others. So regardless of measuring our success monetarily or by outreach, if people continue enjoying what we do, then we’ll continue to feel good about it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mick Jenkins and Chicago's New Hip-Hop Junior Class",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://clubleos.com/event.cfm?id=189626&cart\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Mick Jenkins\u003c/h2>\n\u003cdiv class=\"event-desc\">Chicago’s new breed visits Oakland.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 27, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Leo’s Music Club\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://clubleos.com/event.cfm?id=189626&cart\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>A line from Mick Jenkins’ \u003ca href=\"http://www.datpiff.com/Mick-Jenkins-The-Waters-mixtape.638443.html\">latest mixtape\u003c/a> \u003cem>The Water[s]\u003c/em> captures the Chicago artist’s still-evolving sound:\u003c/p>\n\u003cp>“I got some Sade I know that we could snap to / Knowledge got some rap tapes I know that we could rap to / Imma roll this joint and prolly light it, you can hit it if you want but know that you don’t really have to.”\u003c/p>\n\u003cp>Full of tight rhymes over oh-so-smooth jazz, \u003cem>The Water[s]\u003c/em> feels like settling into a beanbag chair in a hazy room for some heavy conversation. Feel free to smoke, but that’s not why you’re there.\u003c/p>\n\u003cp>Jenkins comes from a slam-influenced piece of Chicago’s keleidoscopic \u003ca href=\"http://www.redbull.com/us/en/music/stories/1331701078973/interview-with-chicago-rapper-mick-jenkins\">rap-scene-of-the-moment\u003c/a>, and as a relative newbie, he’s often \u003ca href=\"http://pitchfork.com/reviews/albums/19745-mick-jenkins-the-waters/\">defined by comparison\u003c/a>. But though he collaborated with Chance the Rapper on 2013 single “\u003ca href=\"https://www.youtube.com/watch?v=lNrQTrTHpsA\">Crossroads\u003c/a>” and draws \u003ca href=\"http://www.stereogum.com/1700160/mixtape-of-the-week-mick-jenkins-the-waters/franchises/mixtape-of-the-week/\">parallels with Common\u003c/a>, he sounds more like the hip-hop class just behind him — especially the snide, spoken-word \u003ca href=\"https://www.youtube.com/watch?v=225vSvj_1oo\">Noname Gypsy\u003c/a>, who, along with Pro Era’s Kirk Knight and Saba, \u003ca href=\"http://clubleos.com/event.cfm?id=189626\">opens for Jenkins\u003c/a> at \u003ca href=\"http://clubleos.com/event.cfm?id=189626\">Leo’s on Feb. 27\u003c/a>.\u003c/p>\n\u003cp>Chance the Rapper, after all, is \u003ca href=\"https://www.youtube.com/watch?v=QRv2_zAPrhc\">all pivot\u003c/a> — fierce snaps between \u003ca href=\"https://www.youtube.com/watch?v=Hc2ql54vW5Y\">atmospheric minor keys\u003c/a> and laughter, choral harmonies and cremation jokes — while Jenkins (and those rising in his shadow) feel smoother, with fewer \u003ca href=\"https://calvinpollak.wordpress.com/2013/08/26/close-listen-smoke-again-by-chance-the-rapper/\">triple entendres\u003c/a> and a desire to tell it straight. Layering ocean sounds, cosmic pings and even pastoral harp samples, \u003cem>The Water[s]\u003c/em> escapes new-agery with Jenkins’ lyrical and vocal precision. Whether bending his voice into a playfully slowed-down “jaaaaaaazzzz” (“\u003ca href=\"https://www.youtube.com/watch?v=F-4KiszXxHM\">Jazz\u003c/a>”) or spitting the word “martyr” like sour milk (“\u003ca href=\"https://www.youtube.com/watch?v=7TY6YZGAu-k\">Dehydration\u003c/a>”), he’s master of each nuanced syllable, wearing “his voice like a Sunday suit,” \u003ca href=\"http://pitchfork.com/reviews/albums/19745-mick-jenkins-the-waters/\">David Drake wrote\u003c/a>, perfectly, for \u003cem>Pitchfork\u003c/em>. And while \u003cem>The Water[s]\u003c/em> isn’t as tightly-themed as 2013’s Biblical \u003ca href=\"http://pitchfork.com/reviews/albums/19745-mick-jenkins-the-waters/\">\u003cem>Trees and Truths\u003c/em>\u003c/a>, its meditations on everything from \u003ca href=\"https://www.youtube.com/watch?v=7TY6YZGAu-k\">gang violence\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=mxDg2ZQ0DuQ\">Starbucks dates\u003c/a> (“getting lost in these caramel-apple spices”) come together through Jenkins’ constant desire to dig just a little deeper, a little more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Noname Gypsy, who takes on \u003ca href=\"https://www.youtube.com/watch?v=Ysq2BgU5kiU\">gender\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=225vSvj_1oo\">water privatization\u003c/a> to light ’60s grooves, and Saba, the man behind \u003ca href=\"https://www.youtube.com/watch?v=74pZUgCOJoE\">ComfortZone\u003c/a>, Jenkins’ show on the 27th will provide a glimpse into Chicago’s poetic new serious side.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://clubleos.com/event.cfm?id=189626&cart\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Mick Jenkins\u003c/h2>\n\u003cdiv class=\"event-desc\">Chicago’s new breed visits Oakland.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 27, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Leo’s Music Club\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://clubleos.com/event.cfm?id=189626&cart\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>A line from Mick Jenkins’ \u003ca href=\"http://www.datpiff.com/Mick-Jenkins-The-Waters-mixtape.638443.html\">latest mixtape\u003c/a> \u003cem>The Water[s]\u003c/em> captures the Chicago artist’s still-evolving sound:\u003c/p>\n\u003cp>“I got some Sade I know that we could snap to / Knowledge got some rap tapes I know that we could rap to / Imma roll this joint and prolly light it, you can hit it if you want but know that you don’t really have to.”\u003c/p>\n\u003cp>Full of tight rhymes over oh-so-smooth jazz, \u003cem>The Water[s]\u003c/em> feels like settling into a beanbag chair in a hazy room for some heavy conversation. Feel free to smoke, but that’s not why you’re there.\u003c/p>\n\u003cp>Jenkins comes from a slam-influenced piece of Chicago’s keleidoscopic \u003ca href=\"http://www.redbull.com/us/en/music/stories/1331701078973/interview-with-chicago-rapper-mick-jenkins\">rap-scene-of-the-moment\u003c/a>, and as a relative newbie, he’s often \u003ca href=\"http://pitchfork.com/reviews/albums/19745-mick-jenkins-the-waters/\">defined by comparison\u003c/a>. But though he collaborated with Chance the Rapper on 2013 single “\u003ca href=\"https://www.youtube.com/watch?v=lNrQTrTHpsA\">Crossroads\u003c/a>” and draws \u003ca href=\"http://www.stereogum.com/1700160/mixtape-of-the-week-mick-jenkins-the-waters/franchises/mixtape-of-the-week/\">parallels with Common\u003c/a>, he sounds more like the hip-hop class just behind him — especially the snide, spoken-word \u003ca href=\"https://www.youtube.com/watch?v=225vSvj_1oo\">Noname Gypsy\u003c/a>, who, along with Pro Era’s Kirk Knight and Saba, \u003ca href=\"http://clubleos.com/event.cfm?id=189626\">opens for Jenkins\u003c/a> at \u003ca href=\"http://clubleos.com/event.cfm?id=189626\">Leo’s on Feb. 27\u003c/a>.\u003c/p>\n\u003cp>Chance the Rapper, after all, is \u003ca href=\"https://www.youtube.com/watch?v=QRv2_zAPrhc\">all pivot\u003c/a> — fierce snaps between \u003ca href=\"https://www.youtube.com/watch?v=Hc2ql54vW5Y\">atmospheric minor keys\u003c/a> and laughter, choral harmonies and cremation jokes — while Jenkins (and those rising in his shadow) feel smoother, with fewer \u003ca href=\"https://calvinpollak.wordpress.com/2013/08/26/close-listen-smoke-again-by-chance-the-rapper/\">triple entendres\u003c/a> and a desire to tell it straight. Layering ocean sounds, cosmic pings and even pastoral harp samples, \u003cem>The Water[s]\u003c/em> escapes new-agery with Jenkins’ lyrical and vocal precision. Whether bending his voice into a playfully slowed-down “jaaaaaaazzzz” (“\u003ca href=\"https://www.youtube.com/watch?v=F-4KiszXxHM\">Jazz\u003c/a>”) or spitting the word “martyr” like sour milk (“\u003ca href=\"https://www.youtube.com/watch?v=7TY6YZGAu-k\">Dehydration\u003c/a>”), he’s master of each nuanced syllable, wearing “his voice like a Sunday suit,” \u003ca href=\"http://pitchfork.com/reviews/albums/19745-mick-jenkins-the-waters/\">David Drake wrote\u003c/a>, perfectly, for \u003cem>Pitchfork\u003c/em>. And while \u003cem>The Water[s]\u003c/em> isn’t as tightly-themed as 2013’s Biblical \u003ca href=\"http://pitchfork.com/reviews/albums/19745-mick-jenkins-the-waters/\">\u003cem>Trees and Truths\u003c/em>\u003c/a>, its meditations on everything from \u003ca href=\"https://www.youtube.com/watch?v=7TY6YZGAu-k\">gang violence\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=mxDg2ZQ0DuQ\">Starbucks dates\u003c/a> (“getting lost in these caramel-apple spices”) come together through Jenkins’ constant desire to dig just a little deeper, a little more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Noname Gypsy, who takes on \u003ca href=\"https://www.youtube.com/watch?v=Ysq2BgU5kiU\">gender\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=225vSvj_1oo\">water privatization\u003c/a> to light ’60s grooves, and Saba, the man behind \u003ca href=\"https://www.youtube.com/watch?v=74pZUgCOJoE\">ComfortZone\u003c/a>, Jenkins’ show on the 27th will provide a glimpse into Chicago’s poetic new serious side.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Fourteen San Francisco Bands to Watch in 2015",
"headTitle": "Mixtape: Fourteen San Francisco Bands to Watch in 2015 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Bay Area bands to watch in 2015.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bands_To_Watch_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>What does 2015 have in store for San Francisco Bay Area music? Using our highly scientific prognostication tools, this mixtape seeks to answer that question, highlighting emerging bands in different genres who are poised to have breakout years. Some have upcoming albums or tours, while others are continuing to gain acclaim from their 2014 releases. Whatever the case, these are 14 local bands to watch this year. Many of them are new to our podcast, and all of them are worth checking out in the months to come.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pablojamspabs\">Pablo\u003c/a>\u003c/strong> – “Stoners”\u003cbr>\nPablo Gutierrez relocated from Sacramento to Oakland to attend Mills College in 2014, which is a win for Bay Area music. The singer-songwriter’s been crafting great folk-pop for a few years, and he told us last year that he plans to form a full band to begin playing live again.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sarahbethenelson\">Sarah Bethe Nelson\u003c/a>\u003c/strong> – “Paying”\u003cbr>\nPreviously the frontwoman of Prairiedog, Sarah Bethe Nelson’s debut LP comes out in March on Burger Records. \u003cem>Fast Moving Clouds\u003c/em> was recorded with Kelley Stoltz and a band of talented local veterans; Nelson takes her band to South by Southwest in March.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/neveryoung1mil\">Never Young\u003c/a>\u003c/strong> – “Like a Version”\u003cbr>\nNever Young caught our ears with \u003cem>Master Copy\u003c/em> last year, and the noisy rock band’s forthcoming self-titled EP (on Father/Daughter Records) promises to be another exciting step forward. The band recorded the new four-song set with Jack Shirley at the Atomic Garden.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MUSKmeat\">Musk\u003c/a>\u003c/strong> – “Knuckle Dust”\u003cbr>\nOakland’s Musk released an acclaimed LP on Holy Mountain last year. The heavy, noisy quartet recorded the album mostly live, in just two days, with Chris Woodhouse.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://tttl.bandcamp.com/\">Teal\u003c/a>\u003c/strong> – “Hard For Me To Focus”\u003cbr>\t\u003cbr>\nJames Rogers of stellar local post-punk outfit Creative Adult is also a solo artist, recording warped, melodic gems under the moniker Teal. B.H. Records is set to release \u003cem>Flowers Will Lay Upon Me\u003c/em> later this month.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/KNGWMN\">King Woman\u003c/a>\u003c/strong> – “Burn”\u003cbr>\nVocalist Kristina Esfandiari (previously of Whirr, also of Miserable) started King Woman, which has now become a four-person band that just released its first EP. \u003cem>Doubt\u003c/em>, which Esfandiari also produced, features heavy instrumentation under the singer’s commanding vocals.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://kidtrails.bandcamp.com/\">Kid Trails\u003c/a>\u003c/strong> – “Never Fall in Love”\u003cbr>\nOakland duo Patrick Jeffords and Andy Woodward comprise Kid Trails. Their \u003cem>Feels The Same\u003c/em> EP came out late last year, showcasing a winning retro-futuristic pop sound.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nrvslvrs\">NRVS LVRS\u003c/a>\u003c/strong> – “City Lights”\u003cbr>\nSan Francisco’s NRVS LVRS formed just last year, and “City Lights” is the first single from their forthcoming album \u003cem>The Golden West\u003c/em>. The record drops in March, and was recorded in an SF apartment and at Different Fur Studios.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ebtalkies\">Talkies\u003c/a>\u003c/strong> – “Never Fear”\u003cbr>\nLed by Ray Seraphin (from Glitz, Legs, and other local bands), East Bay band Talkies serves up ultra-catchy power pop. The band promises physical releases in the future, and they’ll also be touring the West Coast this spring.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/leegallaghersf\">Lee Gallagher and the Hallelujah\u003c/a>\u003c/strong> – “Gloryland”\u003cbr>\n“Gloryland” is from Lee Gallagher and the Hallelujah’s self-titled debut album, which came out in January. The SF psych-influenced rock band is headed on a Pacific Northwest tour this spring in conjunction with an appearance at the Treefort Music Festival in Boise.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/leebobthetruth\">Lee Bob & The Truth\u003c/a>\u003c/strong> -“Let The Hate In (I Won’t)”\u003cbr>\nLee Bob Watson isn’t a new artist by any means, but his work with The Truth (Josh Lippi and Steve Wyreman) has found the singer-songwriter reinvigorated. We’re really excited for Watson’s \u003cem>The Truth\u003c/em> LP, which is expected to arrive early this year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nightscool\">Night School\u003c/a>\u003c/strong> – “Birthday”\u003cbr>\nNight School is a quartet influenced by garage, shoegaze, and ’60s girl groups. Led by Alexandra Morte (a former vocalist of Whirr), the Oakland band released its first EP, \u003cem>Heart Beat\u003c/em>, on Graveface Records late last year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/stallsband\">Stalls\u003c/a>\u003c/strong> – “Cola”\u003cbr>\nStalls is an Oakland trio that delivers insistent post-punk on their self-titled debut cassette, out now on Vacant Stare Records. Led by vocalist Sam Weiss, the band’s music has been garnering great reviews, and we’re excited to see them at \u003ca href=\"http://thebaybridged.com/2015/02/13/bay-bridged-presents-noise-pop-happy-hour-couches-stalls-never-young/\">The Bay Bridged’s Noise Pop Happy Hour\u003c/a> with Couches and Never Young.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Mother-Room/631847930221724\">Mother Room\u003c/a>\u003c/strong> – “Walk”\u003cbr>\nJames Meuleners crafts experimental drone compositions as Mother Room. The Oakland-based artist debuted with \u003cem>Scorched\u003c/em> on the Native Sound last year, and has a split with Planning for Burial coming in May.\u003c/p>\n\n",
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"excerpt": "Our highly scientific prognostication tools look toward the future of Bay Area music, and choose the most promising acts on the current indie scene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Bay Area bands to watch in 2015.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Bands_To_Watch_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>What does 2015 have in store for San Francisco Bay Area music? Using our highly scientific prognostication tools, this mixtape seeks to answer that question, highlighting emerging bands in different genres who are poised to have breakout years. Some have upcoming albums or tours, while others are continuing to gain acclaim from their 2014 releases. Whatever the case, these are 14 local bands to watch this year. Many of them are new to our podcast, and all of them are worth checking out in the months to come.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pablojamspabs\">Pablo\u003c/a>\u003c/strong> – “Stoners”\u003cbr>\nPablo Gutierrez relocated from Sacramento to Oakland to attend Mills College in 2014, which is a win for Bay Area music. The singer-songwriter’s been crafting great folk-pop for a few years, and he told us last year that he plans to form a full band to begin playing live again.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sarahbethenelson\">Sarah Bethe Nelson\u003c/a>\u003c/strong> – “Paying”\u003cbr>\nPreviously the frontwoman of Prairiedog, Sarah Bethe Nelson’s debut LP comes out in March on Burger Records. \u003cem>Fast Moving Clouds\u003c/em> was recorded with Kelley Stoltz and a band of talented local veterans; Nelson takes her band to South by Southwest in March.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/neveryoung1mil\">Never Young\u003c/a>\u003c/strong> – “Like a Version”\u003cbr>\nNever Young caught our ears with \u003cem>Master Copy\u003c/em> last year, and the noisy rock band’s forthcoming self-titled EP (on Father/Daughter Records) promises to be another exciting step forward. The band recorded the new four-song set with Jack Shirley at the Atomic Garden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MUSKmeat\">Musk\u003c/a>\u003c/strong> – “Knuckle Dust”\u003cbr>\nOakland’s Musk released an acclaimed LP on Holy Mountain last year. The heavy, noisy quartet recorded the album mostly live, in just two days, with Chris Woodhouse.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://tttl.bandcamp.com/\">Teal\u003c/a>\u003c/strong> – “Hard For Me To Focus”\u003cbr>\t\u003cbr>\nJames Rogers of stellar local post-punk outfit Creative Adult is also a solo artist, recording warped, melodic gems under the moniker Teal. B.H. Records is set to release \u003cem>Flowers Will Lay Upon Me\u003c/em> later this month.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/KNGWMN\">King Woman\u003c/a>\u003c/strong> – “Burn”\u003cbr>\nVocalist Kristina Esfandiari (previously of Whirr, also of Miserable) started King Woman, which has now become a four-person band that just released its first EP. \u003cem>Doubt\u003c/em>, which Esfandiari also produced, features heavy instrumentation under the singer’s commanding vocals.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://kidtrails.bandcamp.com/\">Kid Trails\u003c/a>\u003c/strong> – “Never Fall in Love”\u003cbr>\nOakland duo Patrick Jeffords and Andy Woodward comprise Kid Trails. Their \u003cem>Feels The Same\u003c/em> EP came out late last year, showcasing a winning retro-futuristic pop sound.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nrvslvrs\">NRVS LVRS\u003c/a>\u003c/strong> – “City Lights”\u003cbr>\nSan Francisco’s NRVS LVRS formed just last year, and “City Lights” is the first single from their forthcoming album \u003cem>The Golden West\u003c/em>. The record drops in March, and was recorded in an SF apartment and at Different Fur Studios.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ebtalkies\">Talkies\u003c/a>\u003c/strong> – “Never Fear”\u003cbr>\nLed by Ray Seraphin (from Glitz, Legs, and other local bands), East Bay band Talkies serves up ultra-catchy power pop. The band promises physical releases in the future, and they’ll also be touring the West Coast this spring.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/leegallaghersf\">Lee Gallagher and the Hallelujah\u003c/a>\u003c/strong> – “Gloryland”\u003cbr>\n“Gloryland” is from Lee Gallagher and the Hallelujah’s self-titled debut album, which came out in January. The SF psych-influenced rock band is headed on a Pacific Northwest tour this spring in conjunction with an appearance at the Treefort Music Festival in Boise.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/leebobthetruth\">Lee Bob & The Truth\u003c/a>\u003c/strong> -“Let The Hate In (I Won’t)”\u003cbr>\nLee Bob Watson isn’t a new artist by any means, but his work with The Truth (Josh Lippi and Steve Wyreman) has found the singer-songwriter reinvigorated. We’re really excited for Watson’s \u003cem>The Truth\u003c/em> LP, which is expected to arrive early this year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nightscool\">Night School\u003c/a>\u003c/strong> – “Birthday”\u003cbr>\nNight School is a quartet influenced by garage, shoegaze, and ’60s girl groups. Led by Alexandra Morte (a former vocalist of Whirr), the Oakland band released its first EP, \u003cem>Heart Beat\u003c/em>, on Graveface Records late last year.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/stallsband\">Stalls\u003c/a>\u003c/strong> – “Cola”\u003cbr>\nStalls is an Oakland trio that delivers insistent post-punk on their self-titled debut cassette, out now on Vacant Stare Records. Led by vocalist Sam Weiss, the band’s music has been garnering great reviews, and we’re excited to see them at \u003ca href=\"http://thebaybridged.com/2015/02/13/bay-bridged-presents-noise-pop-happy-hour-couches-stalls-never-young/\">The Bay Bridged’s Noise Pop Happy Hour\u003c/a> with Couches and Never Young.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Mother-Room/631847930221724\">Mother Room\u003c/a>\u003c/strong> – “Walk”\u003cbr>\nJames Meuleners crafts experimental drone compositions as Mother Room. The Oakland-based artist debuted with \u003cem>Scorched\u003c/em> on the Native Sound last year, and has a split with Planning for Burial coming in May.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grand Opening of Ali Akbar Khan Library Keeps a Treasured Legacy Alive",
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"content": "\u003cp>Calling a class taught by Indian sarod maestro Ali Akbar Khan a “class” doesn’t quite capture it. Nor does “taught” fully suit what Khan did, for that matter. The sessions he held for 40 years at his Ali Akbar Khan College of Music in San Rafael are described by those who participated as more like watching Picasso paint every stroke of a treasured work. These weren’t lessons, but rather a full immersion into the creative process of a true master.\u003c/p>\n\u003cp>“Everyone who’s studied here was completely awestruck by the fact that they were watching him compose,” says Mary Khan, who was married to Khan for 30 years until his death at 87 in 2009, and who continues to run the facility. “Every class for 40 years. It was pretty mind-blowing, especially these compositions that would take seven weeks to complete, going from slow ragas to end up rock ‘n’ roll fast, as Indian music does.”\u003c/p>\n\u003cp>Khansahib, as he was known to those close to him, is gone. But the experience is once again available. He diligently recorded the classes from very early on, including videotaping the last 12 years that he taught nearly to his death. Those recordings, now digitized, are the core of materials in the Ali Akbar Khan Library, which sees a grand opening this weekend. It’s a resource unlike any other in the world of Indian music, and a start of a new era for the premiere center for Indian music studies in North America.\u003c/p>\n\u003cp>\u003cstrong>[ABOVE: Watch a 1967 clip from the Ali Akbar Khan Library]\u003c/strong>\u003c/p>\n\u003cp>The library opening is the culmination of years of work, backed by $375,000 in grants and donations, to present this singular set of materials to students and musicologists. In addition to the class recordings, there are audio and video recordings of more than 900 concerts Khan gave around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have more than 8,000 hours at this point, all accessible and easy with a nice interface,” says Mary Khan, who came to the school in 1972, first studying voice and then tabla. “From here on everything else can be included. We have much more to work on, about 12 more years of video of him teaching we have not begun to include.”\u003c/p>\n\u003cfigure id=\"attachment_10403168\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10403168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED.jpg\" alt=\"The late sarod master Ali Akbar Khan in performance\" width=\"640\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED-400x354.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The late sarod master Ali Akbar Khan in performance \u003ccite>(Courtesy the Ali Akbar Khan Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Khansahib, born in a small village in what was then East Bengal (now Bangladesh), was long-established as one of the most exciting and accomplished figures in Hindustani music when he opened the Ali Akbar Khan College of Music in its original Berkeley location in 1967 — the height of the summer of love. He first came to the U.S. in 1955 at the invitation of violin virtuoso Yehudi Menuhin and is credited with making the first album of Indian classical music recorded in North America. Together with sitarist Ravi Shankar — a friend, frequent collaborator and brother-in-law — he cultivated a strong place for the music here. Among many key achievements, he performed with Shankar at Madison Square Garden in the 1971 Concert for Bangladesh, organized by Shankar and George Harrison.\u003c/p>\n\u003cp>The college stands as the core of his legacy here, though. It has attracted top teachers and scholars from various Indian regions and traditions, as well as students from jazz, classical and rock seeking to expand their horizons. Tabla virtuoso Alla Rakha and his innovative son Zakir Hussain are among those who have had tenure on the faculty, Shankar was there regularly through the years, and the Grateful Dead’s percussionist Mickey Hart has been a strong presence and supporter. Under Mary Khan’s guidance and with tabla master Swapan Chaudhuri heading the faculty, AACM has been committed not to just continuing Khansahib’s legacy, but growing it.\u003c/p>\n\u003cp>Collecting and digitizing the archives was one thing. Organizing and cataloging… well, that was something else entirely. A small portion of the database will be accessible online via \u003ca href=\"http://aliakbarkhanlibrary.com\" target=\"_blank\" rel=\"noopener\">the library’s website\u003c/a>, and just putting that together was a huge task, organizing a series of tutorials around the 12 ragas — the melodic/structural systems that form the spine of Indian classical music — in a series of tutorials. Those wanting to go deeper, though, will need to visit the library.\u003c/p>\n\u003cfigure id=\"attachment_10403049\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/at-computers_6342.jpg\" alt=\"Students of Indian Music using the vast digital resources of the new Ali Akbar Khan Library in San Rafael. (Photo: George Ward)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10403049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/at-computers_6342.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/at-computers_6342-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Students of Indian Music using the vast digital resources of the new Ali Akbar Khan Library in San Rafael. (Photo: George Ward)\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re not going to host the whole library online,” she says, noting that at this point it’s a total of eight terabytes of information. “It’s more complicated than people realize, but my husband didn’t want it taught [online]. He wanted it to be a resource, to go along with the physical teaching. His real goal was that people would be teaching his compositions in their full state, that a student could go into the library and listen to him compose in a class he taught. In all his classes he taught with fresh material and composed on the spot. It’s real insight.”\u003c/p>\n\u003cp>But it’s also meant to be accessible for anyone with interest in the music. On one hand, a German woman working on a thesis on North Indian classical music spent several months last year using the library’s beta version. On the other, hopes are that more casual visitors might book a day to explore the material. This is central to the AACM mission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He was so dedicated to continuing it and teaching,” she says. “Even though he’d go on tour every weekend, every break, all winter, he always came back to teaching. And I decided that on my watch I wouldn’t let that disappear.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calling a class taught by Indian sarod maestro Ali Akbar Khan a “class” doesn’t quite capture it. Nor does “taught” fully suit what Khan did, for that matter. The sessions he held for 40 years at his Ali Akbar Khan College of Music in San Rafael are described by those who participated as more like watching Picasso paint every stroke of a treasured work. These weren’t lessons, but rather a full immersion into the creative process of a true master.\u003c/p>\n\u003cp>“Everyone who’s studied here was completely awestruck by the fact that they were watching him compose,” says Mary Khan, who was married to Khan for 30 years until his death at 87 in 2009, and who continues to run the facility. “Every class for 40 years. It was pretty mind-blowing, especially these compositions that would take seven weeks to complete, going from slow ragas to end up rock ‘n’ roll fast, as Indian music does.”\u003c/p>\n\u003cp>Khansahib, as he was known to those close to him, is gone. But the experience is once again available. He diligently recorded the classes from very early on, including videotaping the last 12 years that he taught nearly to his death. Those recordings, now digitized, are the core of materials in the Ali Akbar Khan Library, which sees a grand opening this weekend. It’s a resource unlike any other in the world of Indian music, and a start of a new era for the premiere center for Indian music studies in North America.\u003c/p>\n\u003cp>\u003cstrong>[ABOVE: Watch a 1967 clip from the Ali Akbar Khan Library]\u003c/strong>\u003c/p>\n\u003cp>The library opening is the culmination of years of work, backed by $375,000 in grants and donations, to present this singular set of materials to students and musicologists. In addition to the class recordings, there are audio and video recordings of more than 900 concerts Khan gave around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have more than 8,000 hours at this point, all accessible and easy with a nice interface,” says Mary Khan, who came to the school in 1972, first studying voice and then tabla. “From here on everything else can be included. We have much more to work on, about 12 more years of video of him teaching we have not begun to include.”\u003c/p>\n\u003cfigure id=\"attachment_10403168\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10403168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED.jpg\" alt=\"The late sarod master Ali Akbar Khan in performance\" width=\"640\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Ali-Akbar-Khan-for-KQED-400x354.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The late sarod master Ali Akbar Khan in performance \u003ccite>(Courtesy the Ali Akbar Khan Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Khansahib, born in a small village in what was then East Bengal (now Bangladesh), was long-established as one of the most exciting and accomplished figures in Hindustani music when he opened the Ali Akbar Khan College of Music in its original Berkeley location in 1967 — the height of the summer of love. He first came to the U.S. in 1955 at the invitation of violin virtuoso Yehudi Menuhin and is credited with making the first album of Indian classical music recorded in North America. Together with sitarist Ravi Shankar — a friend, frequent collaborator and brother-in-law — he cultivated a strong place for the music here. Among many key achievements, he performed with Shankar at Madison Square Garden in the 1971 Concert for Bangladesh, organized by Shankar and George Harrison.\u003c/p>\n\u003cp>The college stands as the core of his legacy here, though. It has attracted top teachers and scholars from various Indian regions and traditions, as well as students from jazz, classical and rock seeking to expand their horizons. Tabla virtuoso Alla Rakha and his innovative son Zakir Hussain are among those who have had tenure on the faculty, Shankar was there regularly through the years, and the Grateful Dead’s percussionist Mickey Hart has been a strong presence and supporter. Under Mary Khan’s guidance and with tabla master Swapan Chaudhuri heading the faculty, AACM has been committed not to just continuing Khansahib’s legacy, but growing it.\u003c/p>\n\u003cp>Collecting and digitizing the archives was one thing. Organizing and cataloging… well, that was something else entirely. A small portion of the database will be accessible online via \u003ca href=\"http://aliakbarkhanlibrary.com\" target=\"_blank\" rel=\"noopener\">the library’s website\u003c/a>, and just putting that together was a huge task, organizing a series of tutorials around the 12 ragas — the melodic/structural systems that form the spine of Indian classical music — in a series of tutorials. Those wanting to go deeper, though, will need to visit the library.\u003c/p>\n\u003cfigure id=\"attachment_10403049\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/at-computers_6342.jpg\" alt=\"Students of Indian Music using the vast digital resources of the new Ali Akbar Khan Library in San Rafael. (Photo: George Ward)\" width=\"640\" height=\"427\" class=\"size-full wp-image-10403049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/at-computers_6342.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/at-computers_6342-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Students of Indian Music using the vast digital resources of the new Ali Akbar Khan Library in San Rafael. (Photo: George Ward)\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re not going to host the whole library online,” she says, noting that at this point it’s a total of eight terabytes of information. “It’s more complicated than people realize, but my husband didn’t want it taught [online]. He wanted it to be a resource, to go along with the physical teaching. His real goal was that people would be teaching his compositions in their full state, that a student could go into the library and listen to him compose in a class he taught. In all his classes he taught with fresh material and composed on the spot. It’s real insight.”\u003c/p>\n\u003cp>But it’s also meant to be accessible for anyone with interest in the music. On one hand, a German woman working on a thesis on North Indian classical music spent several months last year using the library’s beta version. On the other, hopes are that more casual visitors might book a day to explore the material. This is central to the AACM mission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He was so dedicated to continuing it and teaching,” she says. “Even though he’d go on tour every weekend, every break, all winter, he always came back to teaching. And I decided that on my watch I wouldn’t let that disappear.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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