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"content": "\u003cdiv class=\"post-body\">\u003cp>Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre",
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"content": "\u003cp>The Queen Bey has entered the country music genre but make no mistake, this is no random sliding into the charts.\u003c/p>\n\u003cp>With less than 10 days left until the release of her eighth studio album \u003cem>Cowboy Carter\u003c/em>, Beyoncé is reflecting on making the upcoming album — as she explained to fans the inspiration behind it and how exactly the piece of art came to life.\u003c/p>\n\u003cp>[aside postid='arts_13940030']In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jj1T7uHdBcY\u003c/p>\n\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13953532']Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\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/Jj1T7uHdBcY'\n title='//www.youtube.com/embed/Jj1T7uHdBcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen",
"headTitle": "San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen | KQED",
"content": "\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the flyer and a press release distributed on Monday, orchestra musicians criticized the board’s decision to cancel the orchestra’s European tour and make cuts to its digital projects, educational initiatives and its nightclub-environment series, SoundBox. They added that the cancellations and cuts raise “serious questions about the future of the Symphony.”\u003c/p>\n\u003cp>Through a representative, Salonen declined comment to KQED. \u003c/p>\n\u003cp>[aside postID='arts_13954083']“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the flyer and a press release distributed on Monday, orchestra musicians criticized the board’s decision to cancel the orchestra’s European tour and make cuts to its digital projects, educational initiatives and its nightclub-environment series, SoundBox. They added that the cancellations and cuts raise “serious questions about the future of the Symphony.”\u003c/p>\n\u003cp>Through a representative, Salonen declined comment to KQED. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Public media loves “storytelling,” so when Houston rapper Scarface \u003ca href=\"https://www.youtube.com/watch?v=ajNYTJcF6rE\">was booked into NPR’s Tiny Desk\u003c/a> late last year, who could be surprised? Scarface, along with Nas and Slick Rick, is undeniably among hip-hop’s greatest and most vivid storytellers.\u003c/p>\n\u003cp>[aside postID='arts_13939056']Take the 1997 track “\u003ca href=\"https://www.youtube.com/watch?v=QXBSkipMFL8\">Southside\u003c/a>,” where in just one minute and 13 seconds, Scarface tells you everything you need to know. He’s broke, high and walking past his neighborhood high school, thinking about his probation that’s worried his mom and reactivated his father’s depression. Terrified by visions of the devil, Scarface thinks of his own inherited depressive tendencies, and the reality that Black men like him rarely talk about mental health, worsening their alienation: “Somebody help the lost souls find a savior,” he pleads.\u003c/p>\n\u003cp>One verse. That’s it, that’s the whole song. And that’s what Scarface does over and over again across a catalog that’s remarkably consistent: “Mind Playin’ Tricks on Me” and other early work with the Geto Boys, his 1994 masterpiece \u003cem>The Diary\u003c/em>, his renaissance album \u003cem>The Fix\u003c/em>, and every live show he’s played since, full touring band in tow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ajNYTJcF6rE\u003c/p>\n\u003cp>Performing at Oakland jazz club Yoshi’s in 2019, Scarface let his band stretch out: whether in psychedelic fashion (he’s a huge fan of Pink Floyd), or replicating Houston legend DJ Screw’s chopped-and-screwed sound. “Smile” turned into a remembrance of Tupac Shakur; “Mind Playin’ Tricks on Me” was recited line-for-line by the well-dressed crowd, and “I Seen a Man Die” very nearly opened up the ceiling and touched the heavens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words: don’t miss Scarface when he returns to the Bay Area with his live band on Saturday, March 23, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/531644\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Take the 1997 track “\u003ca href=\"https://www.youtube.com/watch?v=QXBSkipMFL8\">Southside\u003c/a>,” where in just one minute and 13 seconds, Scarface tells you everything you need to know. He’s broke, high and walking past his neighborhood high school, thinking about his probation that’s worried his mom and reactivated his father’s depression. Terrified by visions of the devil, Scarface thinks of his own inherited depressive tendencies, and the reality that Black men like him rarely talk about mental health, worsening their alienation: “Somebody help the lost souls find a savior,” he pleads.\u003c/p>\n\u003cp>One verse. That’s it, that’s the whole song. And that’s what Scarface does over and over again across a catalog that’s remarkably consistent: “Mind Playin’ Tricks on Me” and other early work with the Geto Boys, his 1994 masterpiece \u003cem>The Diary\u003c/em>, his renaissance album \u003cem>The Fix\u003c/em>, and every live show he’s played since, full touring band in tow.\u003c/p>\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/ajNYTJcF6rE'\n title='//www.youtube.com/embed/ajNYTJcF6rE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Performing at Oakland jazz club Yoshi’s in 2019, Scarface let his band stretch out: whether in psychedelic fashion (he’s a huge fan of Pink Floyd), or replicating Houston legend DJ Screw’s chopped-and-screwed sound. “Smile” turned into a remembrance of Tupac Shakur; “Mind Playin’ Tricks on Me” was recited line-for-line by the well-dressed crowd, and “I Seen a Man Die” very nearly opened up the ceiling and touched the heavens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13954078\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954078 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg\" alt=\"A young Black woman pictured from above, laying in a field of grass and surrounded by flowers, photographed with a wide-angle lens.\" width=\"1047\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wk8Wj_skMQc\u003c/p>\n\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>[aside postID='arts_13953970']The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-RTVfNf000\u003c/p>\n\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>[aside postID='arts_13953475']“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954078\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954078 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg\" alt=\"A young Black woman pictured from above, laying in a field of grass and surrounded by flowers, photographed with a wide-angle lens.\" width=\"1047\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\u003c/p>\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/Wk8Wj_skMQc'\n title='//www.youtube.com/embed/Wk8Wj_skMQc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\u003c/p>\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/E-RTVfNf000'\n title='//www.youtube.com/embed/E-RTVfNf000'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025",
"headTitle": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025 | KQED",
"content": "\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n",
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"excerpt": "\"I do not share the same goals for the future of the institution,\" Esa-Pekka Salonen stated.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re a fan of acts like Japanese pop-funk band \u003ca href=\"https://www.youtube.com/watch?v=vQ4r1Wf75Jk\">CHAI\u003c/a>, Amsterdam Turkish psych rockers \u003ca href=\"https://www.youtube.com/watch?v=uLayWDyFrAo\">Altin Gün\u003c/a> or Colombian electro-pop band \u003ca href=\"https://www.youtube.com/watch?v=qU50MDtbkEk\">Bomba Estéreo\u003c/a>, there’s a chance that you’ve heard \u003ca href=\"https://www.kexp.org/\">KEXP\u003c/a>. The Seattle public radio station has 3.2 million subscribers on YouTube, where its in-studio concerts regularly garner tens of thousands of views. In fact, a large portion KEXP’s fanbase resides in the Bay Area — making the region well suited for KEXP’s expansion, which hits local airwaves March 19 on 92.7 FM.\u003c/p>\n\u003cp>[aside postID='arts_13926316']“We hope that we can add value to the local ecosystem. And in that, one of our focuses has been to connect with and to build relationships with the other stations out there, both terrestrial and online,” said Chief Programming Officer Chris Kellogg in a recent interview.\u003c/p>\n\u003cp>Those other like-minded stations include San Francisco’s KALW, which features DJs active in the Bay Area’s live music and nightlife scenes, UC Berkeley’s KALX and BFF.FM, which streams an eclectic array of DIY programing out of San Francisco’s Mission District.\u003c/p>\n\u003cp>“We really think that there is space for all of us and that we can and look forward to opportunities for us to uplift each other,” Kellogg added.\u003c/p>\n\u003cp>KEXP emerged out of University of Washington in 1972, and established itself as a tastemaker in the late 1980s, when Nirvana and Soundgarden put the spotlight on Seattle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Its Bay Area expansion materialized in October 2023, when it won an auction to purchase KREV 92.7 FM Alameda/San Francisco, which most recently operated as a hip-hop station. KEXP sources about half its budget from listener pledges, and funded the acquisition thanks to a $10 million bequest in a donor’s will, which the station has strategically invested.\u003c/p>\n\u003cp>Programming on KEXP Bay Area will mirror the DJ-driven, genre-less array of shows on KEXP Seattle, and the station will soon begin recruiting a host for a Bay Area music show it plans to launch, tentatively, in August. Already, KEXP Seattle boasts the longest running local music show in the Northwest, \u003ca href=\"https://www.kexp.org/shows/Audioasis/\">\u003cem>Audioasis\u003c/em>\u003c/a>. [aside postid='arts_13953497']\u003c/p>\n\u003cp>“My hope — and what success will look like — is that over time, we’re able to develop that same sort of trust that we have with a lot of local folks here [in Seattle], as a destination to tap into what’s happening currently in the Bay Area musically across many, many genres,” Kellogg said. “When you tune in to 92.7 FM on Saturday nights when we launch the local music show, you’re going to likely hear something that you haven’t heard before, and you’re going to hear it alongside something that you do know, and that’s going to be exciting.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, KEXP’s CEO Ethan Raup is \u003ca href=\"https://www.kexp.org/about/kexp-bay-area-radio/\">soliciting feedback\u003c/a> from Bay Area music lovers and artists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a fan of acts like Japanese pop-funk band \u003ca href=\"https://www.youtube.com/watch?v=vQ4r1Wf75Jk\">CHAI\u003c/a>, Amsterdam Turkish psych rockers \u003ca href=\"https://www.youtube.com/watch?v=uLayWDyFrAo\">Altin Gün\u003c/a> or Colombian electro-pop band \u003ca href=\"https://www.youtube.com/watch?v=qU50MDtbkEk\">Bomba Estéreo\u003c/a>, there’s a chance that you’ve heard \u003ca href=\"https://www.kexp.org/\">KEXP\u003c/a>. The Seattle public radio station has 3.2 million subscribers on YouTube, where its in-studio concerts regularly garner tens of thousands of views. In fact, a large portion KEXP’s fanbase resides in the Bay Area — making the region well suited for KEXP’s expansion, which hits local airwaves March 19 on 92.7 FM.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We hope that we can add value to the local ecosystem. And in that, one of our focuses has been to connect with and to build relationships with the other stations out there, both terrestrial and online,” said Chief Programming Officer Chris Kellogg in a recent interview.\u003c/p>\n\u003cp>Those other like-minded stations include San Francisco’s KALW, which features DJs active in the Bay Area’s live music and nightlife scenes, UC Berkeley’s KALX and BFF.FM, which streams an eclectic array of DIY programing out of San Francisco’s Mission District.\u003c/p>\n\u003cp>“We really think that there is space for all of us and that we can and look forward to opportunities for us to uplift each other,” Kellogg added.\u003c/p>\n\u003cp>KEXP emerged out of University of Washington in 1972, and established itself as a tastemaker in the late 1980s, when Nirvana and Soundgarden put the spotlight on Seattle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Its Bay Area expansion materialized in October 2023, when it won an auction to purchase KREV 92.7 FM Alameda/San Francisco, which most recently operated as a hip-hop station. KEXP sources about half its budget from listener pledges, and funded the acquisition thanks to a $10 million bequest in a donor’s will, which the station has strategically invested.\u003c/p>\n\u003cp>Programming on KEXP Bay Area will mirror the DJ-driven, genre-less array of shows on KEXP Seattle, and the station will soon begin recruiting a host for a Bay Area music show it plans to launch, tentatively, in August. Already, KEXP Seattle boasts the longest running local music show in the Northwest, \u003ca href=\"https://www.kexp.org/shows/Audioasis/\">\u003cem>Audioasis\u003c/em>\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My hope — and what success will look like — is that over time, we’re able to develop that same sort of trust that we have with a lot of local folks here [in Seattle], as a destination to tap into what’s happening currently in the Bay Area musically across many, many genres,” Kellogg said. “When you tune in to 92.7 FM on Saturday nights when we launch the local music show, you’re going to likely hear something that you haven’t heard before, and you’re going to hear it alongside something that you do know, and that’s going to be exciting.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, KEXP’s CEO Ethan Raup is \u003ca href=\"https://www.kexp.org/about/kexp-bay-area-radio/\">soliciting feedback\u003c/a> from Bay Area music lovers and artists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Out The Way on J: An Artist Pipeline From Sac to the Bay",
"headTitle": "Out The Way on J: An Artist Pipeline From Sac to the Bay | KQED",
"content": "\u003cp>Above the bustling one-way traffic on J Street, a main thoroughfare in Sacramento’s midtown, sits a second-story hair salon named \u003ca href=\"https://www.mahoganyandrose.com/\">Mahogany and Rose\u003c/a> that doubles as a live performance venue once a month. On every third Saturday, dim lights, big plants and sultry incense smoke welcome attendees at the event series known as \u003ca href=\"https://www.mahoganyandrose.com/events\">Out The Way on J\u003c/a>.\u003c/p>\n\u003cp>On a typical night, live musicians play as poets, singers and rappers take the stage in front of an intimate yet energetic crowd of roughly 40 to 50 people. Many of the attendees and artists hail from Sacramento and its surrounding cities, while others drive up Interstate 80 from Richmond, Oakland and the greater Bay Area. That’s what makes Out The Way on J unique: it’s representative of the entire region.\u003c/p>\n\u003cfigure id=\"attachment_13953978\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg\" alt=\"Purple mood lighting sets the tone as a live band plays during an Out The Way on J event.\" width=\"1234\" height=\"1645\" class=\"size-full wp-image-13953978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1152x1536.jpg 1152w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">A typical Out The Way on J event features live musicians, rappers, singers and poetry. \u003ccite>(Camille Janae)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Sacramento metro area and the Bay Area have their differences — namely the weather and the cost of living — the connections are undeniable. \u003c/p>\n\u003cp>There’s been a longstanding exchange between the two regions, both in population and culture. Many Bay Areans, like Mac Dre and Raphael Saadiq, have called the state capital home. The inverse has happened too, with folks like Sacramento-raised Hall of Famer and former San Francisco Giants skipper Dusty Baker, renowned \u003cem>Chronicle\u003c/em> columnist Herb Caen, and musician-slash-model Saweetie.\u003c/p>\n\u003cp>The connections are also shown through organizations, like the Black Panther Party for Self-Defense, which originated in Oakland and once had an office in Sacramento’s Oak Park. Or how about by geology, as the Sacramento River is one of the main tributaries of freshwater flowing into the San Francisco Bay? Or even by American history: when settlers came in search of gold during the 1800s, many of them entered Northern California through the Bay before making their way into the Sacramento foothills. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the phone dial once connected the regions. “We all shared the same area code once upon a time,”says Andreas “Dre-T” Tilman Jr., co-founder of Out The Way on J. “\u003ca href=\"https://www.lincmad.com/map1947.html\">It was all 415\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13953974\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg\" alt=\"The spotlight shows Andreas Tillman Jr. holding the mic with his eyes closed as he stands on the stage at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Andreas Tillman Jr., onstage at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. is a true product of the region himself. His mother was raised in San Francisco, his father grew up in Sacramento’s Oak Park neighborhood and his grandmother was a founding member of San Mateo’s concert series \u003ca href=\"https://collegeofsanmateo.edu/jazzonthehill/\">Jazz on the Hill\u003c/a>. Now, Tillman Jr. is continuing that legacy of connecting the region and presenting live music. \u003c/p>\n\u003cp>“We’re greater than we could even imagine when that music gets to playing,” says Tillman Jr., who is also an MC and producer. “That’s why I think it’s important to bring the region together through music, because so many other movements branch from it.”\u003c/p>\n\u003cp>[aside postID='arts_13953471']Out The Way on J has one full season under its belt, during which it’s played host to over 20 artists, including the likes of Sacramento-area based poet \u003ca href=\"https://www.instagram.com/natachi.life/\" target=\"_blank\" rel=\"noopener\">Natachi Mez\u003c/a> and multitalented musician \u003ca href=\"https://www.instagram.com/thephilharmonik/?img_index=1\" target=\"_blank\" rel=\"noopener\">The Philharmonik\u003c/a>, as well as Richmond poet and author \u003ca href=\"https://www.instagram.com/donblak/\" target=\"_blank\" rel=\"noopener\">Donté Clark\u003c/a> and Bay Area-raised vocalist \u003ca href=\"https://www.instagram.com/lizzyparismusic/\" target=\"_blank\" rel=\"noopener\">Lizzy Paris\u003c/a>. This coming Saturday’s show is headlined by East Oakland MC \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a> and Stockton Poet Laureate \u003ca href=\"https://www.instagram.com/elderjazz/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jazmarie LaTour.\u003c/a>\u003c/p>\n\u003cp>“We have no sponsors, we’re doing this all independently, funded by the people,” says Tillman Jr., noting that they’ve compensated over $3,500 to independent artists so far. “We want to be able to give them more,” Tillman Jr. says. “We look at these artists the same way the masses look at the million-stream type of artists.” \u003c/p>\n\u003cfigure id=\"attachment_13953975\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg\" alt=\"A slice of light catches the face of Camille Janae, owner of Mahogany & Rose Hair Studio, as she graces the stage during a set at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Camille Janae, owner of Mahogany & Rose Hair Studio, onstage during a set at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A big part of it was us wanting to showcase the talent in Sacramento,” says \u003ca href=\"https://www.instagram.com/mscamillejanae/\" target=\"_blank\" rel=\"noopener\">Camille Janae\u003c/a>, salon owner of Mahogany and Rose and co-lead of the event series. A secondary part of their effort, she adds, is about “showing that there is a space in Sacramento to showcase that talent in a way that will bring in artists from the Bay Area as well.”\u003c/p>\n\u003cp>Janae and Tillman Jr. were on the same page: people from Sacramento always drive to the Bay Area for shows, so they wanted to create a venue where folks from the Bay Area would be encouraged to drive to Sacramento. “We’re just trying to bridge that gap,” says Janae, adding that they intentionally invite community that’s local and folks who are “willing to make a little drive.” \u003c/p>\n\u003cp>Janae, a hair stylist and spoken-word artist who grew up in Sacramento and attended the University of San Francisco, has owned Mahogany and Rose since 2018. She moved the business into its current spot in October of 2022. \u003c/p>\n\u003cfigure id=\"attachment_13953976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg\" alt=\"A moody black and white photo of Out The Way on J attendees shows a few silhouettes of folks sitting in the front row of a recent show.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Audience members watch that evening’s performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a space during the day where we specialize in curly hair and locs,” Janae tells me. “It’s a space that I wanted specifically Black women to feel wanted and celebrated.” \u003c/p>\n\u003cp>Sacramento’s midtown is an area well-known for arts and culture, but not very well-known for being home to Black owned businesses, and Janae wanted their presence felt. “So it’s kind of cool to use the space beyond doing hair,” says Janae. \u003c/p>\n\u003cp>Tillman Jr. explains that the Out The Way series has been making noise even before it moved to its current space. \u003c/p>\n\u003cp>[aside postID='arts_13952672']The event was born out of underground sessions Tillman Jr. held at venues around Sacramento, like the \u003ca href=\"https://www.instagram.com/cmb.neighborprogram/\" target=\"_blank\" rel=\"noopener\">Neighbor Program’s Shakur Center\u003c/a> and \u003ca href=\"https://www.instagram.com/estate_farms/\" target=\"_blank\" rel=\"noopener\">Estate Farms\u003c/a>. He’d invite artists to come and cipher, and show off their skills. Instead of going into a studio, he’d hook up the speakers and mics as if they were doing a live show. And then he’d record it.\u003c/p>\n\u003cp>“I started to see how much of a community we were building,” says Tillman Jr., adding that several artists who’ve performed at the current incarnation of Out the Way on J are from connections forged during earlier iterations. \u003c/p>\n\u003cp>“All I wanted,” says Tillman Jr., “was to see everyone who has something to offer work together.” \u003c/p>\n\u003cfigure id=\"attachment_13953977\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg\" alt=\"The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. and Janae initially met in 2013 at an open mic called the Mahogany Urban Poetry Series. “This goes back to why maintaining this ecosystem within the region is so important,” Tillman Jr. tells me. The poetry series “was one of the longest running open mics in our region,” says Tillman Jr., noting that it exposed him to creatives like the Bay Area’s Grammy-nominated poetry duo \u003ca href=\"https://www.instagram.com/prenticepowell1906/\" target=\"_blank\" rel=\"noopener\">Prentice Powell\u003c/a> and \u003ca href=\"https://www.instagram.com/iamshawnwilliam/\" target=\"_blank\" rel=\"noopener\">Shawn William\u003c/a>.\u003c/p>\n\u003cp>To those looking to get a dose of Out The Way on J, Janae says to come with an open mind, and be ready to receive whichever art form is showcased. Her hope is that people will leave “feeling like they’re a part of something bigger than themselves.”\u003c/p>\n\u003cp>Maybe even something as big as Northern California itself. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The next iteration of Out The Way on J gets underway on Saturday, March 16, at Mahogany & Rose in Sacramento from 6:30 p.m. to 9 p.m. \u003ca href=\"https://www.mahoganyandrose.com/event-details/out-the-way-on-j-march-16th\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above the bustling one-way traffic on J Street, a main thoroughfare in Sacramento’s midtown, sits a second-story hair salon named \u003ca href=\"https://www.mahoganyandrose.com/\">Mahogany and Rose\u003c/a> that doubles as a live performance venue once a month. On every third Saturday, dim lights, big plants and sultry incense smoke welcome attendees at the event series known as \u003ca href=\"https://www.mahoganyandrose.com/events\">Out The Way on J\u003c/a>.\u003c/p>\n\u003cp>On a typical night, live musicians play as poets, singers and rappers take the stage in front of an intimate yet energetic crowd of roughly 40 to 50 people. Many of the attendees and artists hail from Sacramento and its surrounding cities, while others drive up Interstate 80 from Richmond, Oakland and the greater Bay Area. That’s what makes Out The Way on J unique: it’s representative of the entire region.\u003c/p>\n\u003cfigure id=\"attachment_13953978\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg\" alt=\"Purple mood lighting sets the tone as a live band plays during an Out The Way on J event.\" width=\"1234\" height=\"1645\" class=\"size-full wp-image-13953978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-10-1152x1536.jpg 1152w\" sizes=\"(max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">A typical Out The Way on J event features live musicians, rappers, singers and poetry. \u003ccite>(Camille Janae)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Sacramento metro area and the Bay Area have their differences — namely the weather and the cost of living — the connections are undeniable. \u003c/p>\n\u003cp>There’s been a longstanding exchange between the two regions, both in population and culture. Many Bay Areans, like Mac Dre and Raphael Saadiq, have called the state capital home. The inverse has happened too, with folks like Sacramento-raised Hall of Famer and former San Francisco Giants skipper Dusty Baker, renowned \u003cem>Chronicle\u003c/em> columnist Herb Caen, and musician-slash-model Saweetie.\u003c/p>\n\u003cp>The connections are also shown through organizations, like the Black Panther Party for Self-Defense, which originated in Oakland and once had an office in Sacramento’s Oak Park. Or how about by geology, as the Sacramento River is one of the main tributaries of freshwater flowing into the San Francisco Bay? Or even by American history: when settlers came in search of gold during the 1800s, many of them entered Northern California through the Bay before making their way into the Sacramento foothills. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the phone dial once connected the regions. “We all shared the same area code once upon a time,”says Andreas “Dre-T” Tilman Jr., co-founder of Out The Way on J. “\u003ca href=\"https://www.lincmad.com/map1947.html\">It was all 415\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13953974\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg\" alt=\"The spotlight shows Andreas Tillman Jr. holding the mic with his eyes closed as he stands on the stage at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-6-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Andreas Tillman Jr., onstage at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. is a true product of the region himself. His mother was raised in San Francisco, his father grew up in Sacramento’s Oak Park neighborhood and his grandmother was a founding member of San Mateo’s concert series \u003ca href=\"https://collegeofsanmateo.edu/jazzonthehill/\">Jazz on the Hill\u003c/a>. Now, Tillman Jr. is continuing that legacy of connecting the region and presenting live music. \u003c/p>\n\u003cp>“We’re greater than we could even imagine when that music gets to playing,” says Tillman Jr., who is also an MC and producer. “That’s why I think it’s important to bring the region together through music, because so many other movements branch from it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Out The Way on J has one full season under its belt, during which it’s played host to over 20 artists, including the likes of Sacramento-area based poet \u003ca href=\"https://www.instagram.com/natachi.life/\" target=\"_blank\" rel=\"noopener\">Natachi Mez\u003c/a> and multitalented musician \u003ca href=\"https://www.instagram.com/thephilharmonik/?img_index=1\" target=\"_blank\" rel=\"noopener\">The Philharmonik\u003c/a>, as well as Richmond poet and author \u003ca href=\"https://www.instagram.com/donblak/\" target=\"_blank\" rel=\"noopener\">Donté Clark\u003c/a> and Bay Area-raised vocalist \u003ca href=\"https://www.instagram.com/lizzyparismusic/\" target=\"_blank\" rel=\"noopener\">Lizzy Paris\u003c/a>. This coming Saturday’s show is headlined by East Oakland MC \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a> and Stockton Poet Laureate \u003ca href=\"https://www.instagram.com/elderjazz/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jazmarie LaTour.\u003c/a>\u003c/p>\n\u003cp>“We have no sponsors, we’re doing this all independently, funded by the people,” says Tillman Jr., noting that they’ve compensated over $3,500 to independent artists so far. “We want to be able to give them more,” Tillman Jr. says. “We look at these artists the same way the masses look at the million-stream type of artists.” \u003c/p>\n\u003cfigure id=\"attachment_13953975\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg\" alt=\"A slice of light catches the face of Camille Janae, owner of Mahogany & Rose Hair Studio, as she graces the stage during a set at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Camille Janae, owner of Mahogany & Rose Hair Studio, onstage during a set at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A big part of it was us wanting to showcase the talent in Sacramento,” says \u003ca href=\"https://www.instagram.com/mscamillejanae/\" target=\"_blank\" rel=\"noopener\">Camille Janae\u003c/a>, salon owner of Mahogany and Rose and co-lead of the event series. A secondary part of their effort, she adds, is about “showing that there is a space in Sacramento to showcase that talent in a way that will bring in artists from the Bay Area as well.”\u003c/p>\n\u003cp>Janae and Tillman Jr. were on the same page: people from Sacramento always drive to the Bay Area for shows, so they wanted to create a venue where folks from the Bay Area would be encouraged to drive to Sacramento. “We’re just trying to bridge that gap,” says Janae, adding that they intentionally invite community that’s local and folks who are “willing to make a little drive.” \u003c/p>\n\u003cp>Janae, a hair stylist and spoken-word artist who grew up in Sacramento and attended the University of San Francisco, has owned Mahogany and Rose since 2018. She moved the business into its current spot in October of 2022. \u003c/p>\n\u003cfigure id=\"attachment_13953976\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg\" alt=\"A moody black and white photo of Out The Way on J attendees shows a few silhouettes of folks sitting in the front row of a recent show.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-9-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Audience members watch that evening’s performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a space during the day where we specialize in curly hair and locs,” Janae tells me. “It’s a space that I wanted specifically Black women to feel wanted and celebrated.” \u003c/p>\n\u003cp>Sacramento’s midtown is an area well-known for arts and culture, but not very well-known for being home to Black owned businesses, and Janae wanted their presence felt. “So it’s kind of cool to use the space beyond doing hair,” says Janae. \u003c/p>\n\u003cp>Tillman Jr. explains that the Out The Way series has been making noise even before it moved to its current space. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The event was born out of underground sessions Tillman Jr. held at venues around Sacramento, like the \u003ca href=\"https://www.instagram.com/cmb.neighborprogram/\" target=\"_blank\" rel=\"noopener\">Neighbor Program’s Shakur Center\u003c/a> and \u003ca href=\"https://www.instagram.com/estate_farms/\" target=\"_blank\" rel=\"noopener\">Estate Farms\u003c/a>. He’d invite artists to come and cipher, and show off their skills. Instead of going into a studio, he’d hook up the speakers and mics as if they were doing a live show. And then he’d record it.\u003c/p>\n\u003cp>“I started to see how much of a community we were building,” says Tillman Jr., adding that several artists who’ve performed at the current incarnation of Out the Way on J are from connections forged during earlier iterations. \u003c/p>\n\u003cp>“All I wanted,” says Tillman Jr., “was to see everyone who has something to offer work together.” \u003c/p>\n\u003cfigure id=\"attachment_13953977\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg\" alt=\"The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J.\" width=\"2048\" height=\"1365\" class=\"size-full wp-image-13953977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/0-13-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The light shines on the face of Elk Grove-based poet, Natachi Mez, during a performance at Out The Way on J. \u003ccite>(Cristian Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tillman Jr. and Janae initially met in 2013 at an open mic called the Mahogany Urban Poetry Series. “This goes back to why maintaining this ecosystem within the region is so important,” Tillman Jr. tells me. The poetry series “was one of the longest running open mics in our region,” says Tillman Jr., noting that it exposed him to creatives like the Bay Area’s Grammy-nominated poetry duo \u003ca href=\"https://www.instagram.com/prenticepowell1906/\" target=\"_blank\" rel=\"noopener\">Prentice Powell\u003c/a> and \u003ca href=\"https://www.instagram.com/iamshawnwilliam/\" target=\"_blank\" rel=\"noopener\">Shawn William\u003c/a>.\u003c/p>\n\u003cp>To those looking to get a dose of Out The Way on J, Janae says to come with an open mind, and be ready to receive whichever art form is showcased. Her hope is that people will leave “feeling like they’re a part of something bigger than themselves.”\u003c/p>\n\u003cp>Maybe even something as big as Northern California itself. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The next iteration of Out The Way on J gets underway on Saturday, March 16, at Mahogany & Rose in Sacramento from 6:30 p.m. to 9 p.m. \u003ca href=\"https://www.mahoganyandrose.com/event-details/out-the-way-on-j-march-16th\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Praise of Tammy Hall, the Bay Area’s Indispensable Jazz Accompanist",
"headTitle": "In Praise of Tammy Hall, the Bay Area’s Indispensable Jazz Accompanist | KQED",
"content": "\u003cfigure id=\"attachment_13953882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-800x533.jpg\" alt=\"A Black woman in black top and greyish hair styled up plays the piano.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Hall, one of the most in-demand vocal accompanists in the Bay Area jazz scene, plays a full slate of shows this month — and gets honored by others in a special tribute. \u003ccite>(Janice Rickert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art of vocal accompaniment requires a pianist to hover in the background. The paradox of Tammy Hall is that, in mastering this selfless role of subsuming oneself, she’s turned herself into the Bay Area’s conspicuously indispensable woman — a near-iconic figure fought over by jazz divas, blues belters, Brazilian singers and stars of women’s music alike.\u003c/p>\n\u003cp>A supremely soulful player with a fierce left hand, Hall is a consummate musician who cherishes elevating other artists, keeping her chops in check so as not to call attention away from the singer. Hall isn’t averse to leading a combo; she’s delivered many a thrilling performance with a trio or quartet. But it’s the Jedi practice of attaining invisibility while shaping a vocalist’s performance that has made Hall a ubiquitous presence at venues around the region.\u003c/p>\n\u003cp>In a recent conversation from her home in Seaside, where she moved three years ago “to be with the love of my life” after being priced out of San Francisco, Hall described some of the attributes required for effective accompaniment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFb0SR6WdIo\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You cannot have an ego,” she said. “At its best, you don’t know where you begin and the singer ends. Playing with Kim Nalley for her Nina Simone tribute, it was feeling like I was breathing with her. There has to be a marked amount of empathy. Not everybody has the capacity. And if you get a solo, you better be really saying something, not just spouting out a lot of notes.”\u003c/p>\n\u003cp>Some serious health setbacks at the end of last year took Hall out of circulation for several months, and she’s still working to rebuild her stamina. She’s going to need it. Throughout March, she’s got a punishing schedule, including curating SFJAZZ’s four-part “\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/discover-jazz/seen-heard-bay-area-women-jazz/\">Seen & Heard: Bay Area Women in Jazz & Beyond\u003c/a>.”\u003c/p>\n\u003cp>[aside postID='arts_13926121']Part of the organization’s Discover Jazz education program, the Wednesday night series kicked off last week and continues March 13 with Melba’s Kitchen, the all-women big band that performs compositions and arrangements by the late trombone great Melba Liston (with a generous helping of material by innovative pianist and composer Mary Lou Williams).\u003c/p>\n\u003cp>Trombonist Pat Mullan, who co-directs Melba’s Kitchen, started hearing Hall around three decades ago, shortly after the pianist returned to the Bay Area following a productive three-year stint in Brussels. Hall made a powerful impression backing jazz chanteuse Denise Perrier, but Mullan got a fuller sense of her power in the Montclair Women’s Big Band, “where I began to hear the extent of her genius,” Mullan said. “She could make that band swing!”\u003c/p>\n\u003cp>During the years when Mullan kept the East Bay’s long-running Junius Courtney Big Band going following the 2003 death of its namesake trumpeter, she sought out Hall for collaborations that revealed the depth of the pianist’s jazz knowledge. For a 2011 Freight & Salvage performance celebrating the legacy of Earl “Fatha” Hines, a pervasively influential pianist in the decades before World War II, she brought a “really clear vision, instructing the band about what she wanted from the group,” Mullan said. “She has a facility of getting her message across to musicians, and if you can do that, you can get it across to audiences. She really had Hines in her body.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i6qIICqjY4w\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>It’s entirely in keeping with Hall’s personality and career that her SFJAZZ series turns the spotlight on other artists. On March 20, an illustrious cast comes together in the Joe Henderson Lab to celebrate Afro-Cuban vocalist Bobi Céspedes, a key figure on the Bay Area’s Latin music scene since the 1980s. Hall’s series concludes March 27 back in Miner Auditorium with a night dedicated to powerhouse vocalist Linda Tillery — who, like Hall, was deeply involved with the women’s music movement centered around \u003ca href=\"https://www.kqed.org/arts/13926121/barbara-higbie-teresa-trull-olivia-records\">Olivia Records\u003c/a>, which opened up space for a stylistically diverse array of lesbian musicians in the 1970s and ’80s.\u003c/p>\n\u003cp>“I’m really excited we get to celebrate Linda,” Hall said. “She’s been a vital and indelible force in this music. I remember first seeing her at Ollie’s in the back room playing drums.”\u003c/p>\n\u003cp>Darlene “Ollie” Oliveira’s namesake club in Oakland’s Temescal was a headquarters for lesbian musicians in the 1980s, and it was where Hall, who grew up in Dallas, landed one of her first regular Bay Area gigs, playing Sundays with a fusion band Beyond Definition. She’s since stayed connected to the women’s music scene, particularly through Holly Near, with whom she performs at \u003ca href=\"https://secure.thefreight.org/13987/holly-near-0518\">Freight & Salvage on May 18\u003c/a> for Near’s “Almost 75th Birthday Party” show.\u003c/p>\n\u003cfigure id=\"attachment_13953881\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg\" alt=\"\" width=\"884\" height=\"462\" class=\"size-full wp-image-13953881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-768x401.jpg 768w\" sizes=\"(max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Hall. \u003ccite>(Courtesy Tammy Hall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Hall hands out well-deserved bouquets to other women, the Civic Center jazz spot Mr. Tipple’s is ensuring she gets a floral arrangement of her own. She hasn’t just been a regular presence at Mr. Tipple’s: Tracy Piper’s \u003ca href=\"https://mitziemee.com/wp-content/uploads/2022/03/2022-3-28.jpg\">striking mural of the pianist\u003c/a> graces the club’s otherwise nondescript Fell Street façade. So turning \u003ca href=\"https://mrtipplessf.com/calendar/\">March 16 into a marathon toast\u003c/a> for Hall seems entirely fitting. Club proprietor Jay Bordeleau has booked five shows through the course of the night, including an early set by Hall’s trio, followed by the Santa Cruz samba band SambaDá and jazz vocalists Azure McCall, Christelle Durandy and Tiffany Austin.\u003c/p>\n\u003cp>“How do you book Women’s History Month without Tammy?” Bordeleau said. “Tiffany Austin said, ‘Let’s give Tammy her flowers and do a tribute she can enjoy.’ So we decided to do a celebration for her in her style, but not rely on her. I told her, ‘You can sit in the audience and just enjoy the shows.’”\u003c/p>\n\u003cp>[aside postID='arts_13830544']Hall backs another bevy of women players on March 23 at Freight & Salvage as the leader of the Lillian Armstrong Tribute Band for vocalist Rhonda Benin’s \u003ca href=\"https://secure.thefreight.org/13801/rhonda-benins-0202\">10th Annual Just Like a Woman\u003c/a> revue. And she’s back at \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/family-matinee/tammy-l-hall/\">SFJAZZ’s Miner Auditorium on May 18\u003c/a> for a family matinee celebrating Mary Lou Williams and Brazilian pianist Tania Maria.\u003c/p>\n\u003cp>Rebeca Mauleón, a formidable pianist herself who’s worked closely with Hall over the years as director of education at SFJAZZ, has always admired Hall’s “rare combination of power and grace.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s as if she cradles the piano while knocking it on its rear end! Her musical generosity and humanity are always front and center,” Mauleón said. “Tammy truly shows up for her bandmates, for her colleagues, and for her students. She is unequivocally one of our Bay Area treasures.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You cannot have an ego,” she said. “At its best, you don’t know where you begin and the singer ends. Playing with Kim Nalley for her Nina Simone tribute, it was feeling like I was breathing with her. There has to be a marked amount of empathy. Not everybody has the capacity. And if you get a solo, you better be really saying something, not just spouting out a lot of notes.”\u003c/p>\n\u003cp>Some serious health setbacks at the end of last year took Hall out of circulation for several months, and she’s still working to rebuild her stamina. She’s going to need it. Throughout March, she’s got a punishing schedule, including curating SFJAZZ’s four-part “\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/discover-jazz/seen-heard-bay-area-women-jazz/\">Seen & Heard: Bay Area Women in Jazz & Beyond\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of the organization’s Discover Jazz education program, the Wednesday night series kicked off last week and continues March 13 with Melba’s Kitchen, the all-women big band that performs compositions and arrangements by the late trombone great Melba Liston (with a generous helping of material by innovative pianist and composer Mary Lou Williams).\u003c/p>\n\u003cp>Trombonist Pat Mullan, who co-directs Melba’s Kitchen, started hearing Hall around three decades ago, shortly after the pianist returned to the Bay Area following a productive three-year stint in Brussels. Hall made a powerful impression backing jazz chanteuse Denise Perrier, but Mullan got a fuller sense of her power in the Montclair Women’s Big Band, “where I began to hear the extent of her genius,” Mullan said. “She could make that band swing!”\u003c/p>\n\u003cp>During the years when Mullan kept the East Bay’s long-running Junius Courtney Big Band going following the 2003 death of its namesake trumpeter, she sought out Hall for collaborations that revealed the depth of the pianist’s jazz knowledge. For a 2011 Freight & Salvage performance celebrating the legacy of Earl “Fatha” Hines, a pervasively influential pianist in the decades before World War II, she brought a “really clear vision, instructing the band about what she wanted from the group,” Mullan said. “She has a facility of getting her message across to musicians, and if you can do that, you can get it across to audiences. She really had Hines in her body.”\u003c/p>\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/i6qIICqjY4w'\n title='//www.youtube.com/embed/i6qIICqjY4w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>It’s entirely in keeping with Hall’s personality and career that her SFJAZZ series turns the spotlight on other artists. On March 20, an illustrious cast comes together in the Joe Henderson Lab to celebrate Afro-Cuban vocalist Bobi Céspedes, a key figure on the Bay Area’s Latin music scene since the 1980s. Hall’s series concludes March 27 back in Miner Auditorium with a night dedicated to powerhouse vocalist Linda Tillery — who, like Hall, was deeply involved with the women’s music movement centered around \u003ca href=\"https://www.kqed.org/arts/13926121/barbara-higbie-teresa-trull-olivia-records\">Olivia Records\u003c/a>, which opened up space for a stylistically diverse array of lesbian musicians in the 1970s and ’80s.\u003c/p>\n\u003cp>“I’m really excited we get to celebrate Linda,” Hall said. “She’s been a vital and indelible force in this music. I remember first seeing her at Ollie’s in the back room playing drums.”\u003c/p>\n\u003cp>Darlene “Ollie” Oliveira’s namesake club in Oakland’s Temescal was a headquarters for lesbian musicians in the 1980s, and it was where Hall, who grew up in Dallas, landed one of her first regular Bay Area gigs, playing Sundays with a fusion band Beyond Definition. She’s since stayed connected to the women’s music scene, particularly through Holly Near, with whom she performs at \u003ca href=\"https://secure.thefreight.org/13987/holly-near-0518\">Freight & Salvage on May 18\u003c/a> for Near’s “Almost 75th Birthday Party” show.\u003c/p>\n\u003cfigure id=\"attachment_13953881\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg\" alt=\"\" width=\"884\" height=\"462\" class=\"size-full wp-image-13953881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-768x401.jpg 768w\" sizes=\"(max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Hall. \u003ccite>(Courtesy Tammy Hall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Hall hands out well-deserved bouquets to other women, the Civic Center jazz spot Mr. Tipple’s is ensuring she gets a floral arrangement of her own. She hasn’t just been a regular presence at Mr. Tipple’s: Tracy Piper’s \u003ca href=\"https://mitziemee.com/wp-content/uploads/2022/03/2022-3-28.jpg\">striking mural of the pianist\u003c/a> graces the club’s otherwise nondescript Fell Street façade. So turning \u003ca href=\"https://mrtipplessf.com/calendar/\">March 16 into a marathon toast\u003c/a> for Hall seems entirely fitting. Club proprietor Jay Bordeleau has booked five shows through the course of the night, including an early set by Hall’s trio, followed by the Santa Cruz samba band SambaDá and jazz vocalists Azure McCall, Christelle Durandy and Tiffany Austin.\u003c/p>\n\u003cp>“How do you book Women’s History Month without Tammy?” Bordeleau said. “Tiffany Austin said, ‘Let’s give Tammy her flowers and do a tribute she can enjoy.’ So we decided to do a celebration for her in her style, but not rely on her. I told her, ‘You can sit in the audience and just enjoy the shows.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hall backs another bevy of women players on March 23 at Freight & Salvage as the leader of the Lillian Armstrong Tribute Band for vocalist Rhonda Benin’s \u003ca href=\"https://secure.thefreight.org/13801/rhonda-benins-0202\">10th Annual Just Like a Woman\u003c/a> revue. And she’s back at \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/family-matinee/tammy-l-hall/\">SFJAZZ’s Miner Auditorium on May 18\u003c/a> for a family matinee celebrating Mary Lou Williams and Brazilian pianist Tania Maria.\u003c/p>\n\u003cp>Rebeca Mauleón, a formidable pianist herself who’s worked closely with Hall over the years as director of education at SFJAZZ, has always admired Hall’s “rare combination of power and grace.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s as if she cradles the piano while knocking it on its rear end! Her musical generosity and humanity are always front and center,” Mauleón said. “Tammy truly shows up for her bandmates, for her colleagues, and for her students. She is unequivocally one of our Bay Area treasures.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans of folk, bluegrass, soul \u003cspan style=\"font-weight: 400\">— \u003c/span>and live musical excellence in general \u003cspan style=\"font-weight: 400\">—\u003c/span> have plenty to look forward to at the \u003ca href=\"https://www.millvalleymusicfest.com/\">Mill Valley Music Festival\u003c/a>, just 20 minutes north of the Golden Gate Bridge.\u003c/p>\n\u003cp>Now in its third year, the festival running May 11 and 12 at Friends Field features Fleet Foxes as Saturday’s headliner. The Seattle indie folk band, going strong since the late 2000s, most recently earned acclaim with their 2020 album \u003cem>Shore\u003c/em>, which perfects the group’s signature vocal harmonies and spiritually uplifting lyrical approach. Sunday’s headliner, Greensky Bluegrass, bring high-energy, foot-stomping Americana from Michigan. (The band’s live sets are also known for their epic light show.)\u003c/p>\n\u003cp>Another lineup highlight is Danielle Ponder, whose chill-inducing vocals soar over propulsive, R&B-meets-indie-rock instrumentals. Several acts offer modern takes on classic soul music, including Thee Sacred Souls, St. Paul and the Broken Bones, Eric Lindell and Elliott Peck (the latter two of whom are Bay Area locals). Other lineup additions include country singer-songwriter Margo Price, indie-folk band Fruit Bats and the Rebirth Brass Band, which has been holding down the New Orleans scene since 1983.\u003c/p>\n\u003cp>The two-day event, jointly produced by the Mill Valley Chamber of Commerce and Noise Pop, takes place in its namesake town of Mill Valley at the foot of glorious Mt. Tamalpais. The festival includes food, artist vendors and a local music stage curated by the Sweetwater Music Hall. Shuttles from San Francisco and Oakland are available.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mill Valley Music Festival takes place May 11 and 12. General admission single-day tickets are $135, with discounts for teens and seniors. \u003ca href=\"https://www.millvalleymusicfest.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of folk, bluegrass, soul \u003cspan style=\"font-weight: 400\">— \u003c/span>and live musical excellence in general \u003cspan style=\"font-weight: 400\">—\u003c/span> have plenty to look forward to at the \u003ca href=\"https://www.millvalleymusicfest.com/\">Mill Valley Music Festival\u003c/a>, just 20 minutes north of the Golden Gate Bridge.\u003c/p>\n\u003cp>Now in its third year, the festival running May 11 and 12 at Friends Field features Fleet Foxes as Saturday’s headliner. The Seattle indie folk band, going strong since the late 2000s, most recently earned acclaim with their 2020 album \u003cem>Shore\u003c/em>, which perfects the group’s signature vocal harmonies and spiritually uplifting lyrical approach. Sunday’s headliner, Greensky Bluegrass, bring high-energy, foot-stomping Americana from Michigan. (The band’s live sets are also known for their epic light show.)\u003c/p>\n\u003cp>Another lineup highlight is Danielle Ponder, whose chill-inducing vocals soar over propulsive, R&B-meets-indie-rock instrumentals. Several acts offer modern takes on classic soul music, including Thee Sacred Souls, St. Paul and the Broken Bones, Eric Lindell and Elliott Peck (the latter two of whom are Bay Area locals). Other lineup additions include country singer-songwriter Margo Price, indie-folk band Fruit Bats and the Rebirth Brass Band, which has been holding down the New Orleans scene since 1983.\u003c/p>\n\u003cp>The two-day event, jointly produced by the Mill Valley Chamber of Commerce and Noise Pop, takes place in its namesake town of Mill Valley at the foot of glorious Mt. Tamalpais. The festival includes food, artist vendors and a local music stage curated by the Sweetwater Music Hall. Shuttles from San Francisco and Oakland are available.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>\u003cem>The Mill Valley Music Festival takes place May 11 and 12. General admission single-day tickets are $135, with discounts for teens and seniors. \u003ca href=\"https://www.millvalleymusicfest.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Review: Brandee Younger Honors the Music — and Spirit — of Alice Coltrane at SFJAZZ",
"headTitle": "Review: Brandee Younger Honors the Music — and Spirit — of Alice Coltrane at SFJAZZ | KQED",
"content": "\u003cfigure id=\"attachment_13953842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg\" alt=\"A Black woman sitting in white dress plays the harp with musical equipment and a potted plant nearby\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had started to worry about the term “spiritual jazz.” \u003c/p>\n\u003cp>For the past six or seven years, it has become divorced from its radical roots to become the new \u003ca href=\"https://putumayo.bandcamp.com/\">Putumayo Music\u003c/a> — a hip, vaguely “exotic” sound for well-to-do middle-aged white people to dabble in its aesthetics in order to feel sophisticated. It is no longer the social and political undercurrent of “\u003ca href=\"https://www.youtube.com/watch?v=OQ3vbrwabuM\">Alabama\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=dokLwszdUgY\">Space is the Place\u003c/a>” or “\u003ca href=\"https://www.youtube.com/watch?v=FkDvkR5l1eg\">Colors\u003c/a>,” but playlist wallpaper. A few years ago, when I was in one of those lifestyle boutiques on Valencia Street — you know the kind, with candles, bespoke jewelry and a single rack of long dresses — and heard Alice Coltrane’s \u003cem>Journey in Satchidananda\u003c/em>, I knew something was amiss culturally, like something reverent was being stolen.\u003c/p>\n\u003cp>Thankfully, Brandee Younger came to the SFJAZZ Center this past weekend to take it back. \u003c/p>\n\u003cfigure id=\"attachment_13953843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger, second from right, performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024 with her ensemble. Left to right: string ensemble conducted by De’Sean Jones, drummer Makaya McCraven, flautist Nicole Mitchell, bassist Rashaan Carter, saxophonist Ravi Coltrane, harpist Younger, and pianist/ keyboardist Marc Cary. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her program dedicated to the music of Alice Coltrane, Younger brought players closely connected to the music’s lineage. Nicole Mitchell, founder of the \u003ca href=\"https://www.youtube.com/watch?v=ZbCd6iPoQCA\">Black Earth Ensemble\u003c/a> and former chair of the \u003ca href=\"https://www.youtube.com/watch?v=c5CTjuCYOTw\">Association for the Advancement of Creative Musicians\u003c/a>, played flute. On drums was Makaya McCraven, whose father played with \u003ca href=\"https://www.youtube.com/watch?v=75MCN2k1tQw\">Archie Shepp\u003c/a>. On saxophone, well, you can’t do much better than Ravi Coltrane, the son of John and Alice Coltrane.\u003c/p>\n\u003cp>But it was Younger’s total immersion in the music, and commitment to honoring it deeply and properly, that elevated the program from surface-level tribute to sacred ritual. From lesser-known songs like set opener “Rama Rama” to eternal compositions like “Turiya & Ramakrishna,” Younger played solos that dug probingly into Coltrane’s modal chord figures and prodded the band to moments of transcendental alchemy. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Alice Coltrane was overlooked in her time is no secret; plainly sexist notions, of her as mere wife of one of jazz’s most prominent musicians, kept the world from recognizing her genius. Shattered by her husband’s untimely death at the tail end of the civil rights era, she turned to religious education, founded Sai Anantam Ashram in Southern California and recorded privately pressed cassettes of Hindu devotional songs.\u003c/p>\n\u003cp>In other words, she lived with intention — and the group on Saturday night matched it. There were quite simply no weak links on stage. Credit must go to De’Sean Jones, who conducted a string sextet with a keen ear for dynamics, especially on the delicate “Pranadhana,” played by just harp, soprano sax and strings. Bassist Rashaan Carter anchored the group (the bass line for “Journey in Satchidananda” was one of the first he ever learned, remarked Younger after the song) and included a few brilliant solos of hammer-ons and pull-offs that never got too flashy for their own good. \u003c/p>\n\u003cp>[aside postID='news_11693821']Mitchell traded fours with Coltrane on the perpetually accelerating “Los Caballos,” which gave McCraven a chance to break out of his support role and play the disassembled beats he’s known for. On “Blue Nile” — a song that Alice Coltrane performed at her \u003ca href=\"https://www.eastbaytimes.com/2006/11/07/fans-share-a-love-supreme-with-alice-coltrane-and-son/\">last-ever concert\u003c/a>, at San Francisco’s Masonic Auditorium in 2006 — Mitchell infused her invigorating alto flute solo with a bluesy, human cry of experience. (\u003ca href=\"https://www.kqed.org/arts/13950805/andre-3000-tickets-san-francisco-bimbos-the-independent\">Andre 3000\u003c/a>, take notes.)\u003c/p>\n\u003cp>Ravi Coltrane, who just gets more revelatory every year, propelled the uptempo “Affinity” with a thrilling solo that maneuvered inside and out of the music. As for Marc Cary, who played piano and synthesizer? At the end of “Prema,” he soloed so bracingly up the piano keys that his fingers kept right on playing, off the right edge of the piano, into the air. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Younger’s high regard for Alice Coltrane is more than evident; she introduced three different songs as “my favorite Alice Coltrane composition.” What she \u003cem>did\u003c/em> with that esteem at SFJAZZ on Saturday night, though? You won’t get it in a spiritual jazz playlist piped through Sonos speakers at a Thai fusion restaurant in Napa. You just had to be there, and let it wash over you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg\" alt=\"A Black woman sitting in white dress plays the harp with musical equipment and a potted plant nearby\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had started to worry about the term “spiritual jazz.” \u003c/p>\n\u003cp>For the past six or seven years, it has become divorced from its radical roots to become the new \u003ca href=\"https://putumayo.bandcamp.com/\">Putumayo Music\u003c/a> — a hip, vaguely “exotic” sound for well-to-do middle-aged white people to dabble in its aesthetics in order to feel sophisticated. It is no longer the social and political undercurrent of “\u003ca href=\"https://www.youtube.com/watch?v=OQ3vbrwabuM\">Alabama\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=dokLwszdUgY\">Space is the Place\u003c/a>” or “\u003ca href=\"https://www.youtube.com/watch?v=FkDvkR5l1eg\">Colors\u003c/a>,” but playlist wallpaper. A few years ago, when I was in one of those lifestyle boutiques on Valencia Street — you know the kind, with candles, bespoke jewelry and a single rack of long dresses — and heard Alice Coltrane’s \u003cem>Journey in Satchidananda\u003c/em>, I knew something was amiss culturally, like something reverent was being stolen.\u003c/p>\n\u003cp>Thankfully, Brandee Younger came to the SFJAZZ Center this past weekend to take it back. \u003c/p>\n\u003cfigure id=\"attachment_13953843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger, second from right, performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024 with her ensemble. Left to right: string ensemble conducted by De’Sean Jones, drummer Makaya McCraven, flautist Nicole Mitchell, bassist Rashaan Carter, saxophonist Ravi Coltrane, harpist Younger, and pianist/ keyboardist Marc Cary. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her program dedicated to the music of Alice Coltrane, Younger brought players closely connected to the music’s lineage. Nicole Mitchell, founder of the \u003ca href=\"https://www.youtube.com/watch?v=ZbCd6iPoQCA\">Black Earth Ensemble\u003c/a> and former chair of the \u003ca href=\"https://www.youtube.com/watch?v=c5CTjuCYOTw\">Association for the Advancement of Creative Musicians\u003c/a>, played flute. On drums was Makaya McCraven, whose father played with \u003ca href=\"https://www.youtube.com/watch?v=75MCN2k1tQw\">Archie Shepp\u003c/a>. On saxophone, well, you can’t do much better than Ravi Coltrane, the son of John and Alice Coltrane.\u003c/p>\n\u003cp>But it was Younger’s total immersion in the music, and commitment to honoring it deeply and properly, that elevated the program from surface-level tribute to sacred ritual. From lesser-known songs like set opener “Rama Rama” to eternal compositions like “Turiya & Ramakrishna,” Younger played solos that dug probingly into Coltrane’s modal chord figures and prodded the band to moments of transcendental alchemy. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Alice Coltrane was overlooked in her time is no secret; plainly sexist notions, of her as mere wife of one of jazz’s most prominent musicians, kept the world from recognizing her genius. Shattered by her husband’s untimely death at the tail end of the civil rights era, she turned to religious education, founded Sai Anantam Ashram in Southern California and recorded privately pressed cassettes of Hindu devotional songs.\u003c/p>\n\u003cp>In other words, she lived with intention — and the group on Saturday night matched it. There were quite simply no weak links on stage. Credit must go to De’Sean Jones, who conducted a string sextet with a keen ear for dynamics, especially on the delicate “Pranadhana,” played by just harp, soprano sax and strings. Bassist Rashaan Carter anchored the group (the bass line for “Journey in Satchidananda” was one of the first he ever learned, remarked Younger after the song) and included a few brilliant solos of hammer-ons and pull-offs that never got too flashy for their own good. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mitchell traded fours with Coltrane on the perpetually accelerating “Los Caballos,” which gave McCraven a chance to break out of his support role and play the disassembled beats he’s known for. On “Blue Nile” — a song that Alice Coltrane performed at her \u003ca href=\"https://www.eastbaytimes.com/2006/11/07/fans-share-a-love-supreme-with-alice-coltrane-and-son/\">last-ever concert\u003c/a>, at San Francisco’s Masonic Auditorium in 2006 — Mitchell infused her invigorating alto flute solo with a bluesy, human cry of experience. (\u003ca href=\"https://www.kqed.org/arts/13950805/andre-3000-tickets-san-francisco-bimbos-the-independent\">Andre 3000\u003c/a>, take notes.)\u003c/p>\n\u003cp>Ravi Coltrane, who just gets more revelatory every year, propelled the uptempo “Affinity” with a thrilling solo that maneuvered inside and out of the music. As for Marc Cary, who played piano and synthesizer? At the end of “Prema,” he soloed so bracingly up the piano keys that his fingers kept right on playing, off the right edge of the piano, into the air. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Younger’s high regard for Alice Coltrane is more than evident; she introduced three different songs as “my favorite Alice Coltrane composition.” What she \u003cem>did\u003c/em> with that esteem at SFJAZZ on Saturday night, though? You won’t get it in a spiritual jazz playlist piped through Sonos speakers at a Thai fusion restaurant in Napa. You just had to be there, and let it wash over you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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