She’s Restoring Native American Jazz History — and Creating Her Own
Remembering Anthony Ant, Trumpeter and Indefatigable Scene-Builder
José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84
One to Watch: Rabiah Kabir’s Jazz Flute Odyssey at the Black Cat
How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop
Cellist Mia Pixley Flourishes in Darkness
Berkeley’s Jazzschool Appoints Lisa Mezzacappa as Executive Director
Oakland’s EastSide Arts Alliance Celebrates 25 Years — With Big Changes Ahead
8 Great Jazz and Classical Concerts in the Bay Area This Fall
Sponsored
Player sponsored by
window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13987366": {
"type": "attachments",
"id": "arts_13987366",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13987366",
"found": true
},
"title": "JKIBB_HolyCross_Troy-B.-Thompson_2",
"publishDate": 1772644840,
"status": "inherit",
"parent": 0,
"modified": 1772645064,
"caption": "Julia Keefe onstage at the Prior Performing Arts Center at College of the Holy Cross.",
"credit": "Troy B. Thompson",
"altTag": "A woman in a black wardrobe holds a microphone and looks slightly upward and to the right, while a pianist plays in the background.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_HolyCross_Troy-B.-Thompson_2-160x106.jpg",
"width": 160,
"height": 106,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_HolyCross_Troy-B.-Thompson_2-768x511.jpg",
"width": 768,
"height": 511,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_HolyCross_Troy-B.-Thompson_2-1536x1022.jpg",
"width": 1536,
"height": 1022,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_HolyCross_Troy-B.-Thompson_2-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_HolyCross_Troy-B.-Thompson_2-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_HolyCross_Troy-B.-Thompson_2-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_HolyCross_Troy-B.-Thompson_2.jpg",
"width": 2000,
"height": 1331
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13986712": {
"type": "attachments",
"id": "arts_13986712",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13986712",
"found": true
},
"title": "Celebration of life jam session held in honor of Anthony “Anthony Ant” Anderson held at The Starry Plough Pub in Berkeley",
"publishDate": 1771005352,
"status": "inherit",
"parent": 0,
"modified": 1771005722,
"caption": "Attendees visit an altar in honor of Anthony “Anthony Ant” Anderson during a celebration-of-life jam session at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. Anderson was killed by Alameda County Sheriff's deputies on Monday.",
"credit": "Amir Aziz for KQED",
"altTag": "A photo of a man in a beanie is surrounded by candles",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_007-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_007-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_007-KQED-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_007-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_007-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_007-KQED-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_007-KQED.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13934404": {
"type": "attachments",
"id": "arts_13934404",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13934404",
"found": true
},
"title": "RS67193_230721-JoséCuéllar8over80-15-BL_2000",
"publishDate": 1694042664,
"status": "inherit",
"parent": 13934296,
"modified": 1769797839,
"caption": "José Cuéllar, aka Dr. Loco, at home in San Francisco on July 21, 2023.",
"credit": "Beth LaBerge/KQED",
"altTag": "An older man with white braids and glasses sits in a chair smiling, with one arm propped on his hip",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67193_230721-JoséCuéllar8over80-15-BL_2000.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985770": {
"type": "attachments",
"id": "arts_13985770",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985770",
"found": true
},
"title": "IMG_0772",
"publishDate": 1769120691,
"status": "inherit",
"parent": 13985768,
"modified": 1769120720,
"caption": "Rabiah Kabir and her sextet perform at the Black Cat jazz club in San Francisco on Jan. 21, 2026.",
"credit": "Gabe Meline",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_0772-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_0772-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_0772-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_0772-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_0772-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_0772-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_0772.jpg",
"width": 2000,
"height": 1125
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985282": {
"type": "attachments",
"id": "arts_13985282",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985282",
"found": true
},
"title": "260108-yoshishiphopshows00586_TV_qed",
"publishDate": 1768005839,
"status": "inherit",
"parent": 0,
"modified": 1769030288,
"caption": "Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. Yoshi’s, a historically known jazz venue, has recently hosted more and more rap artists, often appearing with a live band.",
"credit": "Tâm Vũ / KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984300": {
"type": "attachments",
"id": "arts_13984300",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984300",
"found": true
},
"title": "Mia Pixley",
"publishDate": 1764696515,
"status": "inherit",
"parent": 13984267,
"modified": 1764696640,
"caption": "Cellist and jazz vocalist Mia Pixley. ",
"credit": "ASTU",
"altTag": "A woman sits and poses for the camera while holding a cello horizontally in her lap.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984501": {
"type": "attachments",
"id": "arts_13984501",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984501",
"found": true
},
"title": "Lisa Mezzacappa",
"publishDate": 1764877594,
"status": "inherit",
"parent": 13984384,
"modified": 1764877753,
"caption": "Jazz musician and educator, Lisa Mezzacappa, is the new executive director of The Jazzschool in Berkeley. ",
"credit": "Amy Sullivan",
"altTag": "A woman with glasses stands next to a building while posing for a photo, holding an upright bass.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-scaled-e1764877779672-160x161.jpg",
"width": 160,
"height": 161,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-scaled-e1764877779672-768x774.jpg",
"width": 768,
"height": 774,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-scaled-e1764877779672-1523x1536.jpg",
"width": 1523,
"height": 1536,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-1365x2048.jpg",
"width": 1365,
"height": 2048,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-scaled-e1764877779672-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-scaled-e1764877779672-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-scaled-e1764877779672-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1-1-scaled-e1764877779672.jpg",
"width": 1706,
"height": 1720
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13981413": {
"type": "attachments",
"id": "arts_13981413",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13981413",
"found": true
},
"title": "Morozumi.Sitting.16x9",
"publishDate": 1758126683,
"status": "inherit",
"parent": 0,
"modified": 1758126683,
"caption": null,
"credit": null,
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.Sitting.16x9-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.Sitting.16x9-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.Sitting.16x9-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.Sitting.16x9-1035x576.jpg",
"width": 1035,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.Sitting.16x9.jpg",
"width": 1035,
"height": 582
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13980481": {
"type": "attachments",
"id": "arts_13980481",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13980481",
"found": true
},
"title": "Brandee-Younger-CRED-Erin-Patrice-OBrien",
"publishDate": 1755762015,
"status": "inherit",
"parent": 0,
"modified": 1756183596,
"caption": "Brandee Younger.",
"credit": "Erin Patrice O'Brien",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg",
"width": 1920,
"height": 1080
}
},
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13987167": {
"type": "posts",
"id": "arts_13987167",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13987167",
"score": null,
"sort": [
1772645923000
]
},
"guestAuthors": [],
"slug": "julia-keefe-indigenous-big-band-jazz",
"title": "She’s Restoring Native American Jazz History — and Creating Her Own",
"publishDate": 1772645923,
"format": "standard",
"headTitle": "She’s Restoring Native American Jazz History — and Creating Her Own | KQED",
"labelTerm": {},
"content": "\u003cp>At first, Julia Keefe simply wanted the world to finally know about the historical legacy of Native Americans in \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a>.\u003c/p>\n\u003cp>But with her flagship project, the Julia Keefe Indigenous Big Band, the vocalist and enrolled member of the Nez Perce tribe built a creative dynamo inspiring original compositions and arrangements. Rather than merely illuminating the past, Keefe and her far-flung cast of young Indigenous collaborators are blazing a new chapter in jazz history.\u003c/p>\n\u003cp>“With a lot of younger folks in the band, they thought they were the only Indigenous jazz musicians out there,” said Keefe, 36, who makes her Cal Performances debut with the Indigenous Big Band \u003ca href=\"https://calperformances.org/events/2025-26/illuminations-exile-sanctuary/julia-keefe-indigenous-big-band/\">March 6 at Zellerbach Playhouse\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13987364\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Keefe leads the band. \u003ccite>(Jasz Garrett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re all scattered to the winds and four directions, and the more we do this work, the more we connect with these folks who’ve felt really isolated. Our roster is growing. We’ve connected with well over 60 people, and my hope is to get us all together for an Indigenous jazz summit,” she says.\u003c/p>\n\u003cp>Vivacious and earnest on stage, Keefe has spent much of her life searching for traces of Native Americans in jazz. Growing up in Spokane, she fell in love with the music as a child, entranced by the plaintive quality of Billie Holiday’s voice. Gigging in her early teens, she discovered that pioneering big band vocalist Mildred Bailey, cited by Holiday as an influence, grew up on the Coeur d’Alene Reservation in Idaho before relocating with her family to Spokane.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Not only was Bailey Indigenous,” Keefe said, “she was from my part of the country, and like me, spent formative years in Spokane. Holy smokes!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TEXG4mZ5y2A\u003c/p>\n\u003cp>Often referred to as “The Rockin’ Chair Lady” after one of her early hits, Bailey was the first woman to sing with a jazz big band, touring with the Paul Whiteman Orchestra from 1929-33. Along with Louis Armstrong, she played an essential role in shaping Bing Crosby’s jazz-inspired phrasing, which is to say, American pop music. Though Bailey recorded dozens of classic songs with the era’s greatest improvisers, she’s largely been forgotten since her death in 1951 at the age of 44.\u003c/p>\n\u003cp>Other prominent Native American jazz artists included “Big Chief” Russell Moore (1912-1983), the prolific Pima trombonist best known for several stints with Louis Armstrong. And the number of Black jazz greats with Native American heritage remains striking, including modern jazz architects such as drummer Max Roach, bassists Oscar Pettiford and Charlie Mingus, alto saxophonist Charlie Parker and trumpeter Dizzy Gillespie.\u003c/p>\n\u003cp>But those attenuated connections rarely manifested on the bandstand, with the notable exception of Los Angeles bass maestro John Clayton’s “Red Man-Black Man,” a suite commissioned by the 2006 Monterey Jazz Festival that explored resonances between African American and Native American music.\u003c/p>\n\u003cfigure id=\"attachment_13987367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Keefe performs at the 2024 Monterey Jazz Festival. \u003ccite>(Jessica Worthington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keefe began developing the Mildred Bailey Project around 2009. It eventually put her on the jazz map, and connected Keefe with other Native American jazz musicians. There had been talk for years about creating an Indigenous jazz orchestra, but financing the unprecedented venture seemed impossible until she landed a major grant from South Arts in 2021.\u003c/p>\n\u003cp>She turned to Diné trumpeter Delbert Anderson to co-lead the 16-piece ensemble, which made its debut at Olympia’s Washington Center for the Performing Arts in 2022 (quickly followed by a stellar performance at the Monterey Jazz Festival). The repertoire initially focused on expanded arrangements of Keefe’s Bailey material, and pieces like Kaw and Muscogee saxophonist Jim Pepper’s medicine song “\u003ca href=\"https://youtu.be/S2YeEUlyhQw?si=87777sucZrJwKGZr\">Witchi Tai To\u003c/a>” (an unlikely FM radio hit in 1969 for the jazz-rock band Everything Is Everything).\u003c/p>\n\u003cp>But the more time the musicians spent together, particularly during a spring 2024 residency at the Kennedy Center in Washington, D.C. for the Mary Lou Williams Jazz Festival, the more they honed their original Indigenous jazz material.\u003c/p>\n\u003cp>“What’s evolved is folks being able to bring in their own music, music from their tribes and different parts of the Western hemisphere,” Keefe said. “Now we’re really expanding more into band member’s personal songbooks, melodies from their tribes. It’s such a beautiful showcase of pan-indigeneity.”\u003c/p>\n\u003cfigure id=\"attachment_13987365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay.jpg\" alt=\"\" width=\"2000\" height=\"1597\" class=\"size-full wp-image-13987365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay-1536x1226.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Julia Keefe Indigenous Big Band performs at the Kennedy Center in Washington D.C. \u003ccite>(Jati Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The orchestra includes Indigenous musicians from Canada, the U.S. and Mexico, Hawaii and Cuba, many of whom contribute pieces on the ensemble’s upcoming debut album \u003cem>Incarnadine\u003c/em>. Keefe tapped one of the band’s trombonists, Arkansas-raised Quinn Carson, to produce the project.\u003c/p>\n\u003cp>Now ensconced in the Los Angeles studio scene, the Apache and Kiowa horn player had already created his own orchestral project in L.A. to play music from his Indigenous heritage. Combining Apache melodies with big band swing, New Orleans brass, and 1990s R&B grooves, Bone FX found an avid audience online. As the only Indigenous musician in the project, he was thrilled when a friend connected him with Keefe about three years ago.\u003c/p>\n\u003cp>“I was in this dark room doing this research into Native American songs, what it would sound like before contact,” said Carson, who’s performed often in the Bay Area as a sideman but has yet to bring his band north. “Julia turned this light on, and now there are 15 people in the room with me, and we’re all working together.”\u003c/p>\n\u003cp>[aside postID='arts_13966547']In jazz, movements grow from exactly this kind of cadre. With each performance, Keefe and her collaborators connect with new Native American musicians, sometimes inspiring people to pick up instruments abandoned since high school or college.\u003c/p>\n\u003cp>“Every other gig, if not more, we have at least one person in the audience who comes up and says they’re Indigenous and used to play, or they are an active jazz musician,” Keefe says. “It happens so much more often than people would guess.”\u003c/p>\n\u003cp>If jazz, that most omnivorous of art forms, sees a long-overdue Native American moment, the Julia Keefe Indigenous Big Band will have put the process in motion.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Julia Keefe Indigenous Big Band performs on Friday, March 6, at Zellerbach Playhouse (2413 Bancroft Way, Berkeley). \u003ca href=\"https://calperformances.org/events/2025-26/illuminations-exile-sanctuary/julia-keefe-indigenous-big-band/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Julia Keefe’s band set out to honor lesser-known Indigenous jazz musicians. It turned into so much more.",
"status": "publish",
"parent": 0,
"modified": 1772645923,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1113
},
"headData": {
"title": "Julia Keefe On Restoring Native American Jazz History | KQED",
"description": "Her Indigenous Big Band set out to honor lesser-known Indigenous jazz musicians. It turned into so much more.",
"ogTitle": "She’s Restoring Native American Jazz History — and Creating Her Own",
"ogDescription": "Julia Keefe’s band set out to honor lesser-known Indigenous jazz musicians. It turned into so much more.",
"ogImgId": "",
"twTitle": "She’s Restoring Native American Jazz History — and Creating Her Own",
"twDescription": "Julia Keefe’s band set out to honor lesser-known Indigenous jazz musicians. It turned into so much more.",
"twImgId": "",
"socialTitle": "Julia Keefe On Restoring Native American Jazz History %%page%% %%sep%% KQED",
"socialDescription": "Her Indigenous Big Band set out to honor lesser-known Indigenous jazz musicians. It turned into so much more.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "She’s Restoring Native American Jazz History — and Creating Her Own",
"datePublished": "2026-03-04T09:38:43-08:00",
"dateModified": "2026-03-04T09:38:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13987167",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13987167/julia-keefe-indigenous-big-band-jazz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first, Julia Keefe simply wanted the world to finally know about the historical legacy of Native Americans in \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a>.\u003c/p>\n\u003cp>But with her flagship project, the Julia Keefe Indigenous Big Band, the vocalist and enrolled member of the Nez Perce tribe built a creative dynamo inspiring original compositions and arrangements. Rather than merely illuminating the past, Keefe and her far-flung cast of young Indigenous collaborators are blazing a new chapter in jazz history.\u003c/p>\n\u003cp>“With a lot of younger folks in the band, they thought they were the only Indigenous jazz musicians out there,” said Keefe, 36, who makes her Cal Performances debut with the Indigenous Big Band \u003ca href=\"https://calperformances.org/events/2025-26/illuminations-exile-sanctuary/julia-keefe-indigenous-big-band/\">March 6 at Zellerbach Playhouse\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13987364\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_JaszGarrett-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Keefe leads the band. \u003ccite>(Jasz Garrett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re all scattered to the winds and four directions, and the more we do this work, the more we connect with these folks who’ve felt really isolated. Our roster is growing. We’ve connected with well over 60 people, and my hope is to get us all together for an Indigenous jazz summit,” she says.\u003c/p>\n\u003cp>Vivacious and earnest on stage, Keefe has spent much of her life searching for traces of Native Americans in jazz. Growing up in Spokane, she fell in love with the music as a child, entranced by the plaintive quality of Billie Holiday’s voice. Gigging in her early teens, she discovered that pioneering big band vocalist Mildred Bailey, cited by Holiday as an influence, grew up on the Coeur d’Alene Reservation in Idaho before relocating with her family to Spokane.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Not only was Bailey Indigenous,” Keefe said, “she was from my part of the country, and like me, spent formative years in Spokane. Holy smokes!”\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/TEXG4mZ5y2A'\n title='//www.youtube.com/embed/TEXG4mZ5y2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Often referred to as “The Rockin’ Chair Lady” after one of her early hits, Bailey was the first woman to sing with a jazz big band, touring with the Paul Whiteman Orchestra from 1929-33. Along with Louis Armstrong, she played an essential role in shaping Bing Crosby’s jazz-inspired phrasing, which is to say, American pop music. Though Bailey recorded dozens of classic songs with the era’s greatest improvisers, she’s largely been forgotten since her death in 1951 at the age of 44.\u003c/p>\n\u003cp>Other prominent Native American jazz artists included “Big Chief” Russell Moore (1912-1983), the prolific Pima trombonist best known for several stints with Louis Armstrong. And the number of Black jazz greats with Native American heritage remains striking, including modern jazz architects such as drummer Max Roach, bassists Oscar Pettiford and Charlie Mingus, alto saxophonist Charlie Parker and trumpeter Dizzy Gillespie.\u003c/p>\n\u003cp>But those attenuated connections rarely manifested on the bandstand, with the notable exception of Los Angeles bass maestro John Clayton’s “Red Man-Black Man,” a suite commissioned by the 2006 Monterey Jazz Festival that explored resonances between African American and Native American music.\u003c/p>\n\u003cfigure id=\"attachment_13987367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIJE_MJF67_2024_cJessica-Worthington-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julia Keefe performs at the 2024 Monterey Jazz Festival. \u003ccite>(Jessica Worthington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keefe began developing the Mildred Bailey Project around 2009. It eventually put her on the jazz map, and connected Keefe with other Native American jazz musicians. There had been talk for years about creating an Indigenous jazz orchestra, but financing the unprecedented venture seemed impossible until she landed a major grant from South Arts in 2021.\u003c/p>\n\u003cp>She turned to Diné trumpeter Delbert Anderson to co-lead the 16-piece ensemble, which made its debut at Olympia’s Washington Center for the Performing Arts in 2022 (quickly followed by a stellar performance at the Monterey Jazz Festival). The repertoire initially focused on expanded arrangements of Keefe’s Bailey material, and pieces like Kaw and Muscogee saxophonist Jim Pepper’s medicine song “\u003ca href=\"https://youtu.be/S2YeEUlyhQw?si=87777sucZrJwKGZr\">Witchi Tai To\u003c/a>” (an unlikely FM radio hit in 1969 for the jazz-rock band Everything Is Everything).\u003c/p>\n\u003cp>But the more time the musicians spent together, particularly during a spring 2024 residency at the Kennedy Center in Washington, D.C. for the Mary Lou Williams Jazz Festival, the more they honed their original Indigenous jazz material.\u003c/p>\n\u003cp>“What’s evolved is folks being able to bring in their own music, music from their tribes and different parts of the Western hemisphere,” Keefe said. “Now we’re really expanding more into band member’s personal songbooks, melodies from their tribes. It’s such a beautiful showcase of pan-indigeneity.”\u003c/p>\n\u003cfigure id=\"attachment_13987365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay.jpg\" alt=\"\" width=\"2000\" height=\"1597\" class=\"size-full wp-image-13987365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/JKIBB_KenCen_JatiLindsay-1536x1226.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Julia Keefe Indigenous Big Band performs at the Kennedy Center in Washington D.C. \u003ccite>(Jati Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The orchestra includes Indigenous musicians from Canada, the U.S. and Mexico, Hawaii and Cuba, many of whom contribute pieces on the ensemble’s upcoming debut album \u003cem>Incarnadine\u003c/em>. Keefe tapped one of the band’s trombonists, Arkansas-raised Quinn Carson, to produce the project.\u003c/p>\n\u003cp>Now ensconced in the Los Angeles studio scene, the Apache and Kiowa horn player had already created his own orchestral project in L.A. to play music from his Indigenous heritage. Combining Apache melodies with big band swing, New Orleans brass, and 1990s R&B grooves, Bone FX found an avid audience online. As the only Indigenous musician in the project, he was thrilled when a friend connected him with Keefe about three years ago.\u003c/p>\n\u003cp>“I was in this dark room doing this research into Native American songs, what it would sound like before contact,” said Carson, who’s performed often in the Bay Area as a sideman but has yet to bring his band north. “Julia turned this light on, and now there are 15 people in the room with me, and we’re all working together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966547",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In jazz, movements grow from exactly this kind of cadre. With each performance, Keefe and her collaborators connect with new Native American musicians, sometimes inspiring people to pick up instruments abandoned since high school or college.\u003c/p>\n\u003cp>“Every other gig, if not more, we have at least one person in the audience who comes up and says they’re Indigenous and used to play, or they are an active jazz musician,” Keefe says. “It happens so much more often than people would guess.”\u003c/p>\n\u003cp>If jazz, that most omnivorous of art forms, sees a long-overdue Native American moment, the Julia Keefe Indigenous Big Band will have put the process in motion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Julia Keefe Indigenous Big Band performs on Friday, March 6, at Zellerbach Playhouse (2413 Bancroft Way, Berkeley). \u003ca href=\"https://calperformances.org/events/2025-26/illuminations-exile-sanctuary/julia-keefe-indigenous-big-band/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13987167/julia-keefe-indigenous-big-band-jazz",
"authors": [
"86"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1270",
"arts_10278",
"arts_7005",
"arts_1420",
"arts_3178",
"arts_585",
"arts_2880"
],
"featImg": "arts_13987366",
"label": "source_arts_13987167"
},
"arts_13986706": {
"type": "posts",
"id": "arts_13986706",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13986706",
"score": null,
"sort": [
1771006185000
]
},
"guestAuthors": [],
"slug": "anthony-ant-remembrance-starry-plough-trumpet-berkeley",
"title": "Remembering Anthony Ant, Trumpeter and Indefatigable Scene-Builder",
"publishDate": 1771006185,
"format": "standard",
"headTitle": "Remembering Anthony Ant, Trumpeter and Indefatigable Scene-Builder | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Anthony Ant spent his adult life bringing the Bay Area music scene together. On Thursday night, the scene convened at the Starry Plough in South Berkeley to dance, shout, jam and comfort each other over the shocking and sudden loss of their friend, colleague and tireless champion.\u003c/p>\n\u003cp>A powerful trumpeter versed in funk, jazz, R&B and soul, Ant, 40, was a binding force in the region’s far-flung musical community, connecting hundreds of musicians through a succession of East Bay jam sessions. He also played countless club dates, corporate gigs, weddings and parties.\u003c/p>\n\u003cp>The news of his death — Ant was \u003ca href=\"https://www.kqed.org/news/12073025/man-fatally-shot-by-alameda-county-deputies-reportedly-had-a-pipe-not-a-gun\">shot by Alameda County sheriff’s deputies in an early Monday morning confrontation\u003c/a> outside his home in San Leandro — was still raw and undigested for many. The Starry Plough, where Ant produced the weekly Free Funk Glory Jam, had already seen impromptu vigils on Tuesday and Wednesday, but Thursday’s was officially organized by his family.\u003c/p>\n\u003cp>The response was legion. At 10 p.m., fed by a steady flow of newcomers, the crowd spilled out onto Shattuck Avenue, making the corner unpassable.\u003c/p>\n\u003cfigure id=\"attachment_13986714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg\" alt=\"The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside the packed club, guitarist Stu Silverman’s Stu Crew kicked off the music after leading a call-and-response declaring love for Ant. Shortly before taking the stage, he and his bandmates praised the trumpeter, who was born Anthony Anderson and grew up in Berkeley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He did more to connect people and create happiness than anyone I know,” Silverman said. “They should name a school after him.”\u003c/p>\n\u003cp>“He was a true community musician,” added saxophonist John Palowitch. “Anthony never looked to go out on tour. He was focused on here.”\u003c/p>\n\u003cp>Ant’s adopted name was apt. Like the diminutive picnic staple, he was ubiquitous on the Bay Area stages, impossible to miss at jam sessions and shows. But his most ant-like quality was an ability to lift dozens of times his weight, carrying an entire music scene on his back.\u003c/p>\n\u003cp>“He manually sent out text messages to hundreds of people every week, so everybody would have a chance to participate, for their voices to be heard,” said Kaila Love, who helped organize the tribute.\u003c/p>\n\u003cfigure id=\"attachment_13986715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg\" alt=\"Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ant’s primary vehicle for this roiling musical democracy was the jam session, starting at The Layover in downtown Oakland in the mid-aughts. “He took over from me when I went on tour,” said bassist Stephen Paul Godwin. “When I got back, the place was packed, like 200 people. It got too big for the club.”\u003c/p>\n\u003cp>Ant organized sessions at other Oakland joints, including Legionnaire and the Starline Social Club, before settling in at the Starry Plough. “He’s been building this for 15 years,” said trumpeter Mario Silva. “Early on, it was thin, but he refused to give up.”\u003c/p>\n\u003cp>Jam sessions can be treacherous. If a player is unfamiliar with chord changes, or falls a beat behind, or simply doesn’t exude confidence, they can feel a draft of dismissal. Ant was the antidote to getting vibed. As word of his death started to circulate on social media, dozens of musicians described Ant welcoming them onto the scene. Those stories were echoed by many at the Starry Plough.\u003c/p>\n\u003cfigure id=\"attachment_13986711\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg\" alt=\"A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a high school student in San Jose, Joy Hackett was an aspiring jazz keyboardist searching for a jam session, and “this was the one that everyone talked about,” she said. “I drove up with a friend, walked in the door and my mind was blown. It was shoulder-to-shoulder, and I hear Anthony on the mic: ‘The glory!’ I made it up and took my solo, and knew I found the place I need to be.”\u003c/p>\n\u003cp>Perhaps the greatest testament to Ant’s support of the local music scene is that he literally changed people’s lives. On Thursday night, Scott Chowning recalled how he’d played French horn in a Navy band, but gave it up, and had walked away from music.\u003c/p>\n\u003cp>“Anthony heard me noodling around on keyboard and called me for a gig, my first one in 10 years,” he recalled. “Now I’m a full-time musician.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Family members are planning a memorial for Anthony Ant, with details to be announced soon; a \u003ca href=\"https://www.gofundme.com/f/honoring-anthony-support-his-family-after-tragic-shooting\">GoFundMe page\u003c/a> to support his family and funeral expenses is live now. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "At the Starry Plough, loved ones praised Ant's dedication to uplifting and supporting fellow musicians.",
"status": "publish",
"parent": 0,
"modified": 1771634565,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 854
},
"headData": {
"title": "Remembering Anthony Ant, Trumpeter and Indefatigable Scene-Builder | KQED",
"description": "At the Starry Plough, loved ones praised Ant's dedication to uplifting and supporting fellow musicians.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Remembering Anthony Ant, Trumpeter and Indefatigable Scene-Builder",
"datePublished": "2026-02-13T10:09:45-08:00",
"dateModified": "2026-02-20T16:42:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13986706",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13986706/anthony-ant-remembrance-starry-plough-trumpet-berkeley",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Ant spent his adult life bringing the Bay Area music scene together. On Thursday night, the scene convened at the Starry Plough in South Berkeley to dance, shout, jam and comfort each other over the shocking and sudden loss of their friend, colleague and tireless champion.\u003c/p>\n\u003cp>A powerful trumpeter versed in funk, jazz, R&B and soul, Ant, 40, was a binding force in the region’s far-flung musical community, connecting hundreds of musicians through a succession of East Bay jam sessions. He also played countless club dates, corporate gigs, weddings and parties.\u003c/p>\n\u003cp>The news of his death — Ant was \u003ca href=\"https://www.kqed.org/news/12073025/man-fatally-shot-by-alameda-county-deputies-reportedly-had-a-pipe-not-a-gun\">shot by Alameda County sheriff’s deputies in an early Monday morning confrontation\u003c/a> outside his home in San Leandro — was still raw and undigested for many. The Starry Plough, where Ant produced the weekly Free Funk Glory Jam, had already seen impromptu vigils on Tuesday and Wednesday, but Thursday’s was officially organized by his family.\u003c/p>\n\u003cp>The response was legion. At 10 p.m., fed by a steady flow of newcomers, the crowd spilled out onto Shattuck Avenue, making the corner unpassable.\u003c/p>\n\u003cfigure id=\"attachment_13986714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg\" alt=\"The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside the packed club, guitarist Stu Silverman’s Stu Crew kicked off the music after leading a call-and-response declaring love for Ant. Shortly before taking the stage, he and his bandmates praised the trumpeter, who was born Anthony Anderson and grew up in Berkeley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He did more to connect people and create happiness than anyone I know,” Silverman said. “They should name a school after him.”\u003c/p>\n\u003cp>“He was a true community musician,” added saxophonist John Palowitch. “Anthony never looked to go out on tour. He was focused on here.”\u003c/p>\n\u003cp>Ant’s adopted name was apt. Like the diminutive picnic staple, he was ubiquitous on the Bay Area stages, impossible to miss at jam sessions and shows. But his most ant-like quality was an ability to lift dozens of times his weight, carrying an entire music scene on his back.\u003c/p>\n\u003cp>“He manually sent out text messages to hundreds of people every week, so everybody would have a chance to participate, for their voices to be heard,” said Kaila Love, who helped organize the tribute.\u003c/p>\n\u003cfigure id=\"attachment_13986715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg\" alt=\"Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stu Crew perform at a jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ant’s primary vehicle for this roiling musical democracy was the jam session, starting at The Layover in downtown Oakland in the mid-aughts. “He took over from me when I went on tour,” said bassist Stephen Paul Godwin. “When I got back, the place was packed, like 200 people. It got too big for the club.”\u003c/p>\n\u003cp>Ant organized sessions at other Oakland joints, including Legionnaire and the Starline Social Club, before settling in at the Starry Plough. “He’s been building this for 15 years,” said trumpeter Mario Silva. “Early on, it was thin, but he refused to give up.”\u003c/p>\n\u003cp>Jam sessions can be treacherous. If a player is unfamiliar with chord changes, or falls a beat behind, or simply doesn’t exude confidence, they can feel a draft of dismissal. Ant was the antidote to getting vibed. As word of his death started to circulate on social media, dozens of musicians described Ant welcoming them onto the scene. Those stories were echoed by many at the Starry Plough.\u003c/p>\n\u003cfigure id=\"attachment_13986711\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg\" alt=\"A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/ANTHONY-ANT-JAM-SESSION_20260212_AA_002-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd forms outside the jam session in honor of Anthony ‘Anthony Ant’ Anderson at The Starry Plough Pub in Berkeley, California on Thursday, Feb. 12, 2026. \u003ccite>(Amir Aziz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a high school student in San Jose, Joy Hackett was an aspiring jazz keyboardist searching for a jam session, and “this was the one that everyone talked about,” she said. “I drove up with a friend, walked in the door and my mind was blown. It was shoulder-to-shoulder, and I hear Anthony on the mic: ‘The glory!’ I made it up and took my solo, and knew I found the place I need to be.”\u003c/p>\n\u003cp>Perhaps the greatest testament to Ant’s support of the local music scene is that he literally changed people’s lives. On Thursday night, Scott Chowning recalled how he’d played French horn in a Navy band, but gave it up, and had walked away from music.\u003c/p>\n\u003cp>“Anthony heard me noodling around on keyboard and called me for a gig, my first one in 10 years,” he recalled. “Now I’m a full-time musician.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Family members are planning a memorial for Anthony Ant, with details to be announced soon; a \u003ca href=\"https://www.gofundme.com/f/honoring-anthony-support-his-family-after-tragic-shooting\">GoFundMe page\u003c/a> to support his family and funeral expenses is live now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13986706/anthony-ant-remembrance-starry-plough-trumpet-berkeley",
"authors": [
"86"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_1564"
],
"tags": [
"arts_1270",
"arts_10342",
"arts_10278",
"arts_22402",
"arts_1420",
"arts_1091",
"arts_21789"
],
"featImg": "arts_13986712",
"label": "arts"
},
"arts_13986089": {
"type": "posts",
"id": "arts_13986089",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13986089",
"score": null,
"sort": [
1769799178000
]
},
"guestAuthors": [],
"slug": "dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco",
"title": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84",
"publishDate": 1769799178,
"format": "standard",
"headTitle": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>[aside postID=arts_13934296 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67183_230721-Jose%CC%81Cue%CC%81llar8over80-06-BL_COVER.jpg']Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J-WMhAJONdk\u003c/p>\n\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbY1JHtRFI8\u003c/p>\n\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>[aside postID='arts_13880670']It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Cuéllar is survived by his younger brothers, Hector and Tony Cuéllar, his son Benny Cuéllar, wife Stacie Powers Cuéllar, and their daughter Ixchel Cuéllar. A GoFundMe campaign to help funeral expenses will soon be created, according to his wife Stacie. A celebration of his life is planned for early April.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The leader of Dr. Loco’s Rockin’ Jalapeño Band died at his Mission District home, surrounded by family.",
"status": "publish",
"parent": 0,
"modified": 1769804360,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1190
},
"headData": {
"title": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84 | KQED",
"description": "The leader of Dr. Loco’s Rockin’ Jalapeño Band died at his Mission District home, surrounded by family.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "José ‘Dr. Loco’ Cuéllar, Chicano Scholar, Bandleader and Activist, Dies at 84",
"datePublished": "2026-01-30T10:52:58-08:00",
"dateModified": "2026-01-30T12:19:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"WpOldSlug": "jose-dr-loco-cuellar-chicano-scholar-bandleader-and-activist-dies-at-84",
"nprStoryId": "kqed-13986089",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last pachuco is gone.\u003c/p>\n\u003cp>Anthropologist José B. Cuéllar, who carved out a singular musical career as the saxophonist, accordionist, vocalist and leader of \u003ca href=\"https://www.kqed.org/arts/13934296/8-over-80-jose-cuellar-dr-loco\">Dr. Loco’s Rockin’ Jalapeño Band\u003c/a>, died at his Mission District home Jan. 21 surrounded by family. He was 84. The cause was lung cancer, according to his wife, Stacie Powers Cuéllar.\u003c/p>\n\u003cp>With his bushy eyebrows, impish smile, braided beard and long hair worn in a tight plait, Cuéllar was an iconic figure who effortlessly intertwined his twin callings as an educator and bandleader. His distinguished career as an academic included two decades studying and documenting Chicano culture as chair and director of San Francisco State’s Cesar Chavez Public Policy Institute.\u003c/p>\n\u003cp>But it was as Dr. Loco that he himself took the reins of Chicano culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13934296",
"hero": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS67183_230721-Jose%CC%81Cue%CC%81llar8over80-06-BL_COVER.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Launched during his years teaching at Stanford in the mid-1980s, the Rockin’ Jalapeno Band drew upon his earlier career as an R&B musician in San Antonio, and later, Las Vegas. But the inveterately curious Cuéllar kept expanding the Rockin’ Jalapeno sound, deepening its connections to New Orleans grooves, jazz, and soul. Over the decades, the group included dozens of top Bay Area musicians, including many who went on to lead their own bands, and became known as a sure-fire act for fundraisers, community events, rallies and protests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even early on he had killer musicians, guys who represented the real Tejano sound he’d come from,” said Jesse “Chuy” Varela, a Latin music expert and program and music director at the radio station KCSM. “As he evolved he kept bringing in different folks, like trombonist/arranger Wayne Wallace and drummer Brian Andres. A lot of the gigs weren’t going to pay a lot, and he’d be paying musicians out of his pocket. For Loco, it was more about spreading joy through the message.”\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/J-WMhAJONdk'\n title='//www.youtube.com/embed/J-WMhAJONdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That message traveled much further than Cuéllar expected. His sound and visage made a particularly deep impression in Mexico City, where rock en español pioneers \u003ca href=\"https://www.instagram.com/malditavecindad/?hl=en\">Maldita Vecindad\u003c/a> viewed him as the embodiment of borderlands cool. They’d scored a major hit in 1991 with “\u003ca href=\"https://www.youtube.com/watch?v=jRN6n9Wgq2Q\">Pachuco\u003c/a>,” a song celebrating the sartorial style of Mexican American young men exemplified by zoot suits, “and they saw him as the last pachuco,” said Greg Landau, the eight-time Grammy Award nominee who started working with Dr. Loco as a producer and sideman in the 1990s.\u003c/p>\n\u003cp>In a final act of friendship, Landau produced an \u003ca href=\"https://missionlocal.org/2025/12/dr-locos-last-jam-at-brava/\">era-encompassing concert last month at Brava Theater Center\u003c/a>, “A Rockin’ Jalapeño Tribute Concert: Celebrating the Musical Legacy of Dr. Loco.” Landau had already been thinking about pulling together a celebration, but Cuéllar’s terminal diagnosis put the project on a fast track. The sold-out event featured three generations of Rockin’ Jalapeno bands playing songs from the albums \u003cem>Movimiento Music\u003c/em>, \u003cem>¡Puro Party!\u003c/em> and \u003cem>Barrio Ritmos & Blues\u003c/em>.\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/zbY1JHtRFI8'\n title='//www.youtube.com/embed/zbY1JHtRFI8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was so overwhelmed,” Stacie Powers Cuéllar said of the concert, which Dr. Loco attended but was unable to perform at in his full capacity. “One thing he did through his music was connecting people all the time, in the classroom, at events. He had a really good time, but it was also heartbreaking for him, to know that was a defining moment and not be able to direct it. He so was proud of all the musicians and all the work and gigs they’d done.”\u003c/p>\n\u003cp>Born April 3, 1941 in San Antonio, Texas, Cuéllar often described obtaining a saxophone as a high school senior as a strike of lightning that changed the course of his life. He learned the ropes on the Texas roadhouse circuit with the Del–Kings, a mostly Chicano R&B band with a book of full of honking numbers by Junior Parker, Bobby “Blue” Bland, B.B. King and T–Bone Walker, with a little Five Satins-style doo-wop thrown in for romance.\u003c/p>\n\u003cp>He put down his horn when he enlisted in the Air Force, and trained as a dental technician. But upon mustering out, he realized that he didn’t want to face the hurdles “it would take for a Mexican to be a dentist in Texas, as presented to me by my dentist,” he told KQED in a 2023 interview. He returned to the saxophone, a more stimulating work tool than a dental drill. \u003c/p>\n\u003cfigure id=\"attachment_13931989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-Jose%CC%81Cue%CC%81llar8over80-21-BL-KQED.jpg\" alt=\"A person with gray hair and a gray moustache and beard holds a photo of himself playing music at an earlier age.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13931989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67199_230721-JoséCuéllar8over80-21-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">José Cuéllar, 82, holds a photo of himself playing music in the early 1990s at his home in San Francisco on July 21, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Cuéllar spent the ’60s performing in Vegas and Southern California, he gradually found his way back to school, enrolling at Golden West College in Huntington Beach to study music. The anti-Vietnam War movement started his politicization, and when he transferred to Long Beach State in 1969, the rising Chicano movement, then deeply entwined with anti-war protests, shaped his scholarly direction.\u003c/p>\n\u003cp>He managed to juggle music and graduate studies, eventually earning a PhD in anthropology from UCLA in 1977. A tenure-track position at the University of Colorado at Boulder, however, left him bereft of musical comrades. “I wanted to get more involved in my academics too,” he said. “So the horn went into the closet and stayed there until I got to Stanford in 1983.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13880670",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It was his students at Stanford who inspired him to get his groove back. Teaching Chicano Studies and serving as senior ethnogerontologist at the School of Medicine, they urged Cuéllar to form a combo to play campus events. Always in the thick of the cultural ferment, he often backed the Chicano comedy troupe Culture Clash, who felt he needed a catchy stage name. The problem was solved while he was doing research on gang kids, cholos, in Tijuana.\u003c/p>\n\u003cp>“I was standing there with a bunch of kids, and this kid comes up and says ‘Is it true you’re a doctor?’ And I said ‘Yeah, I’m an anthropologist,’ but in Spanish its \u003cem>antropólogo\u003c/em>, so he goes, ‘Dr. Loco.’” The name stuck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cuéllar is survived by his younger brothers, Hector and Tony Cuéllar, his son Benny Cuéllar, wife Stacie Powers Cuéllar, and their daughter Ixchel Cuéllar. A GoFundMe campaign to help funeral expenses will soon be created, according to his wife Stacie. A celebration of his life is planned for early April.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco",
"authors": [
"86"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_1564"
],
"tags": [
"arts_3419",
"arts_10278",
"arts_1420",
"arts_2519",
"arts_877",
"arts_1257",
"arts_1091",
"arts_21789",
"arts_21733"
],
"featImg": "arts_13934404",
"label": "arts"
},
"arts_13985768": {
"type": "posts",
"id": "arts_13985768",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985768",
"score": null,
"sort": [
1769121488000
]
},
"guestAuthors": [],
"slug": "rabiah-kabir-jazz-flute-black-cat-review",
"title": "One to Watch: Rabiah Kabir’s Jazz Flute Odyssey at the Black Cat",
"publishDate": 1769121488,
"format": "standard",
"headTitle": "One to Watch: Rabiah Kabir’s Jazz Flute Odyssey at the Black Cat | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> is dead, or so the perennial phrase goes, spoken by the jaded olds. And year after year, young artists prove them wrong.\u003c/p>\n\u003cp>Case in point: \u003ca href=\"https://www.instagram.com/rbk_flute/?hl=en\">Rabiah Kabir\u003c/a> brought her sextet to the Black Cat Wednesday night for a 90-minute set that was equal parts fresh, inventive and \u003cem>fun\u003c/em>. Performing songs from her recent album \u003cem>Jezebel: Rewritten\u003c/em>, the flutist and composer showed that so long as jazz is infused with new ideas and inspirations, it will be infinitely reborn.\u003c/p>\n\u003cp>That much was evident from the first song, “Flute / Overture,” with electronic samples of birdsong and hopscotch-like sound effects. On the album, the song is dotted with samples of interviews Kabir undertook for her Stanford thesis \u003cem>\u003ca href=\"https://ccsre.stanford.edu/undergraduate-resources/project-archives/jezebel-flute-female-flute-players-black-feminism-and\">The Jezebel Flute: Female Flute Players, Black Feminism and “The Masculine Jazz Spectrum”\u003c/a>\u003c/em>; onstage Wednesday, she referred to her celebration of “the power of femininity in music.” \u003c/p>\n\u003cp>[aside postID='arts_13985679']Odd time signatures undergird Kabir’s music, on Wednesday propelled by drummer Jaycie Grady along with the driving bassist Leela Paymai, whose compositions from a Persian-jazz project, \u003ca href=\"https://zheniia.com/\">ZHENIIA\u003c/a>, were also featured onstage to great effect. \u003c/p>\n\u003cp>At one point, Aymai spoke of the historic protests in Iran, and Kabir introduced “The ReZident,” a song inspired by her time studying in Cape Town, by noting that jazz has always been protest music. During an arrangement of Tears for Fears’ “Everybody Wants to Rule the World,” pianist Julian Lopez picked up the mic to rap about media manipulation, U.S. imperialism and the bombardment of Gaza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kabir, who sat at the piano herself for an improvised solo number, shouted out her parents, educators, and collaborators, which included Nathan Sariowan on violin and Wesley Larlarb on guest piano. Ethan Buck, on alto saxophone, shined while doubling Kabir’s solos with his own simultaneous soaring lines, bringing the set to repeated climaxes. \u003c/p>\n\u003cp>https://youtu.be/Kf5iJYIH9zs?si=_oNv0qNYr0aVqSmN\u003c/p>\n\u003cp>But it was Kabir’s night, and rightly so. Neither a soul flutist in the vein of Bobbi Humphrey, an avant-gardist like Eric Dolphy nor a showman like Rahsaan Roland Kirk, Kabir is reaching for something deeper, and she frequently finds it. On “Red Shapes and Green Shapes,” a song inspired by a loved one of Kabir’s who’s currently in London and missed the show, her solo started low and introspective, the sound of loneliness, then gradually built to high wails, as if calling across the sea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The set ended with “I Crashed My Car” — a song I \u003ca href=\"http://The%20Bay%20Area%E2%80%99s%20best%20music%20critics%20pick%20the%20best%20songs%20of%202025\">liked very much last year\u003c/a> — but the trajectory of Rabiah Kabir is far from over. Keep an eye on this one, folks. \u003c/p>\n\n",
"blocks": [],
"excerpt": "In a club date, the young instrumentalist and composer proved that jazz’s evolution is eternal.",
"status": "publish",
"parent": 0,
"modified": 1769189939,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 458
},
"headData": {
"title": "One to Watch: Rabiah Kabir’s Jazz Flute Odyssey at the Black Cat | KQED",
"description": "In a club date, the young instrumentalist and composer proved that jazz’s evolution is eternal.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "One to Watch: Rabiah Kabir’s Jazz Flute Odyssey at the Black Cat",
"datePublished": "2026-01-22T14:38:08-08:00",
"dateModified": "2026-01-23T09:38:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13985768",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985768/rabiah-kabir-jazz-flute-black-cat-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> is dead, or so the perennial phrase goes, spoken by the jaded olds. And year after year, young artists prove them wrong.\u003c/p>\n\u003cp>Case in point: \u003ca href=\"https://www.instagram.com/rbk_flute/?hl=en\">Rabiah Kabir\u003c/a> brought her sextet to the Black Cat Wednesday night for a 90-minute set that was equal parts fresh, inventive and \u003cem>fun\u003c/em>. Performing songs from her recent album \u003cem>Jezebel: Rewritten\u003c/em>, the flutist and composer showed that so long as jazz is infused with new ideas and inspirations, it will be infinitely reborn.\u003c/p>\n\u003cp>That much was evident from the first song, “Flute / Overture,” with electronic samples of birdsong and hopscotch-like sound effects. On the album, the song is dotted with samples of interviews Kabir undertook for her Stanford thesis \u003cem>\u003ca href=\"https://ccsre.stanford.edu/undergraduate-resources/project-archives/jezebel-flute-female-flute-players-black-feminism-and\">The Jezebel Flute: Female Flute Players, Black Feminism and “The Masculine Jazz Spectrum”\u003c/a>\u003c/em>; onstage Wednesday, she referred to her celebration of “the power of femininity in music.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13985679",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Odd time signatures undergird Kabir’s music, on Wednesday propelled by drummer Jaycie Grady along with the driving bassist Leela Paymai, whose compositions from a Persian-jazz project, \u003ca href=\"https://zheniia.com/\">ZHENIIA\u003c/a>, were also featured onstage to great effect. \u003c/p>\n\u003cp>At one point, Aymai spoke of the historic protests in Iran, and Kabir introduced “The ReZident,” a song inspired by her time studying in Cape Town, by noting that jazz has always been protest music. During an arrangement of Tears for Fears’ “Everybody Wants to Rule the World,” pianist Julian Lopez picked up the mic to rap about media manipulation, U.S. imperialism and the bombardment of Gaza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kabir, who sat at the piano herself for an improvised solo number, shouted out her parents, educators, and collaborators, which included Nathan Sariowan on violin and Wesley Larlarb on guest piano. Ethan Buck, on alto saxophone, shined while doubling Kabir’s solos with his own simultaneous soaring lines, bringing the set to repeated climaxes. \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/Kf5iJYIH9zs'\n title='//www.youtube.com/embed/Kf5iJYIH9zs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it was Kabir’s night, and rightly so. Neither a soul flutist in the vein of Bobbi Humphrey, an avant-gardist like Eric Dolphy nor a showman like Rahsaan Roland Kirk, Kabir is reaching for something deeper, and she frequently finds it. On “Red Shapes and Green Shapes,” a song inspired by a loved one of Kabir’s who’s currently in London and missed the show, her solo started low and introspective, the sound of loneliness, then gradually built to high wails, as if calling across the sea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The set ended with “I Crashed My Car” — a song I \u003ca href=\"http://The%20Bay%20Area%E2%80%99s%20best%20music%20critics%20pick%20the%20best%20songs%20of%202025\">liked very much last year\u003c/a> — but the trajectory of Rabiah Kabir is far from over. Keep an eye on this one, folks. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985768/rabiah-kabir-jazz-flute-black-cat-review",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10278",
"arts_1420",
"arts_769",
"arts_1146"
],
"featImg": "arts_13985770",
"label": "arts"
},
"arts_13985679": {
"type": "posts",
"id": "arts_13985679",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985679",
"score": null,
"sort": [
1769033001000
]
},
"guestAuthors": [],
"slug": "yoshis-oakland-jazz-rap-hip-hop-shows",
"title": "How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop",
"publishDate": 1769033001,
"format": "standard",
"headTitle": "How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It was the final night of DJ Quik’s December residency at Yoshi’s, and he felt like stretching out. \u003c/p>\n\u003cp>Two songs into his set, the Compton-raised rap legend started conducting the band: first bringing the volume down, then leading his guitarist and keyboard player in back-to-back solos before pulling in the drums. He then turned the song’s West Coast rap rhythms upside down by grabbing some Latin percussion and twisting out an improvised solo of his own.\u003c/p>\n\u003cp>A grin spread across Quik’s face. “This \u003ci>is\u003c/i> a jazz club, ain’t it?” he asked the crowd.\u003c/p>\n\u003cp>In fact, Yoshi’s is the oldest and most famous jazz club in Oakland. But lately, it’s been something else too: a home for hip-hop legends like Scarface, the Pharcyde and Ghostface Killah, usually with a live band. It’s a reinvention that’s been especially notable in the past year, and it’s been packing in grown fans who once ran in the streets but now prefer sitting at tables. \u003c/p>\n\u003cfigure id=\"attachment_13985283\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members film Spice 1 as he performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was definitely a certain effort with us to evolve our programming into more hip-hop and contemporary R&B bookings,” says Marc Zuazua, Yoshi’s director of marketing, in the club’s dining room before a recent Spice 1 show. After the pandemic, especially, he says, the crowds that once came to see traditional jazz artists, “who would do amazing for us in the past — like, those audiences weren’t coming back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who \u003ci>were\u003c/i> coming back were rap fans, especially to see the Bay Area’s own homegrown talent. Last year alone, Vallejo legend Mac Mall sold out a show. Oakland’s Richie Rich sold out two. Too Short sold out six. \u003c/p>\n\u003cp>It’s transformed not only box office revenues but the vibe inside the club, Zuazua says, with its traditional supper-club-style semicircle seating at tables and booths, and a menu featuring sushi and cocktails. Currently, Yoshi’s has hip-hop shows lined up with Mistah FAB (Jan. 22), the GZA (Feb. 8), and Twista (April 23). \u003c/p>\n\u003cfigure id=\"attachment_13985286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Hayward’s Spice 1 took the stage later in the night, he acknowledged the mostly full club, and its atmosphere.\u003c/p>\n\u003cp>“This is kind of an upscale type thing, man,” he said, “but we can get up out of our seats!” \u003c/p>\n\u003cp>As the bass line to “I Got 5 on It” kicked off the set, many folks did just that — dancing, singing along, filming. Over the next 45 minutes, while Spice 1 delivered 30-year-old hits like “187 Proof” and “Welcome to the Ghetto,” people who now qualify for AARP membership celebrated with abandon alongside a handful of younger fans, who swarmed the rapper in the Yoshi’s front lobby afterward to get a selfie.\u003c/p>\n\u003cp>[aside postID=arts_13975538 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg']\u003c/p>\n\u003cp>It was a far cry from a straight-ahead jazz show at Yoshi’s, historically known for hosting golden-era legends like Pharoah Sanders, Roy Haynes, Charlie Haden or the esteemed McCoy Tyner, who once played an annual two-week residency at the club.\u003c/p>\n\u003cp>Even before the pandemic, several factors affected Yoshi’s ability to book traditional jazz. One was the 2013 opening of the SFJAZZ Center, which siphoned giants like Tyner across the Bay and into a brand new venue with a bigger backstage. Another was the \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\">high-profile collapse of Yoshi’s San Francisco\u003c/a>, which kept some artists away from the Oakland club — even though the operations were basically separate entities. \u003c/p>\n\u003cp>And then there’s the simple fact that, despite contemporary jazz scenes in LA, Chicago and London gaining popularity with younger fans over the past decade, \u003ca href=\"https://andscape.com/features/jazz-musicians-see-signs-of-hope-despite-repeated-questions-about-its-popularity/\">jazz remains a small sliver of overall music listening\u003c/a>. The 1960s and ’70s jazz generation is getting older. Sanders, Haynes, Haden and Tyner, to count just four of hundreds, have all passed away. As Zuazua notes, many traditional jazz fans either live far away in the suburbs, remain scared by a media crime narrative about Oakland or have simply aged out of their nightclub-going years.\u003c/p>\n\u003cp>That’s unfortunate, because if your typical jazz-listening uncle came to a rap show at Yoshi’s, most of the time he’d witness a live band on par with a classic Prestige Records-era quintet.\u003c/p>\n\u003cfigure id=\"attachment_13985677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Mall performs with a live band and DJ at Yoshi’s jazz club in Oakland on Aug. 10, 2025. \u003ccite>(Courtesy Mac Mall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappers at Yoshi’s are often backed by the go-to live hip-hop musical director for the Bay Area: Kev Choice. In fact, Choice was the first artist to regularly bring hip-hop to Yoshi’s, starting all the way back in 2008, with annual shows by his Kev Choice Ensemble that featured guests like Zumbi from Zion I, Phesto from Souls of Mischief, Silk-E from the Coup or Too Short. \u003c/p>\n\u003cp>“Hip-hop fans have grown, have matured, have come into a new space of wanting to see some of their favorite artists — maybe in a different context, or coming to life in a different way,” Choice says.\u003ci> \u003c/i>\u003c/p>\n\u003cp>Yoshi’s isn’t alone in selling out shows by regional stars, like Oakland group the Delinquents in 2023. For the past several years, the Blue Note jazz club in New York has hosted rappers like Mos Def, Black Thought and Rakim. Yoshi’s San Francisco had even booked hip-hop acts a full 10 to 15 years ago: the Geto Boys, Public Enemy, Suga Free, Jay Electronica and KRS-One all appeared on its stage. \u003c/p>\n\u003cfigure id=\"attachment_13985280\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gianna Farren performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, rap and jazz have overlapped since the dawn of the 1990s. Along with more R&B, smooth jazz and world music on Yoshi’s calendar, one could call the development part of a natural lineage, musically and culturally. Richie Rich, who once \u003ca href=\"https://youtu.be/JGXrqZY8hwM?si=sowD8bDEnrHy60en\">rapped over George Duke samples\u003c/a> in the East Bay group 415, has been particularly strong in recommending Yoshi’s to other rappers, sometimes booked by outside promoters like \u003ca href=\"https://www.instagram.com/ajthearchitect/\">AJ the Architect\u003c/a>.\u003c/p>\n\u003cp>With change comes criticism, of course. \u003c/p>\n\u003cp>“There’s definitely older jazz fans out there that always have something to say on Facebook. ‘I remember when Yoshi’s was a jazz venue,’ you know,” says Zuazua. “But if they were to show up and not just be commenting on social media, we’d definitely be booking more jazz, and more blues.”\u003c/p>\n\u003cp>[aside postID='arts_13928550']Echoing Choice — who also served as musical director for \u003ca href=\"https://youtu.be/59eBs8iiLU0?si=zAMfirZRZImLNTxi\">E-40’s recent Tiny Desk Concert at NPR\u003c/a> — Zuazua says that while the “soundscape” has changed, the intensity, spontaneity and musical beauty Yoshi’s is known for is still very much present, especially with a live band.\u003c/p>\n\u003cp>“I’ve been going to hip-hop shows for as long as I can remember,” he says. “You go to a hip-hop show with a band, and that bass line is \u003ci>popping\u003c/i>. There’s horns. It’s alive.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Mistah FAB performs two shows with the Kev Choice Ensemble on Thursday, Jan. 22, at Yoshi’s (510 Embarcadero West, Oakland), at 7 p.m. and 9 p.m. \u003ca href=\"https://yoshis.com/events/sold-out/mistah-f-a-b-with-kev-choice/detail\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Yoshi’s has turned quiet weeknights into sold-out shows by Too Short, Scarface and others.",
"status": "publish",
"parent": 0,
"modified": 1772059305,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1337
},
"headData": {
"title": "Rap Shows on the Rise at Yoshi's in Oakland | KQED",
"description": "Yoshi’s has turned quiet weeknights into sold-out shows by Too Short, Scarface and others.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Rap Shows on the Rise at Yoshi's in Oakland %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop",
"datePublished": "2026-01-21T14:03:21-08:00",
"dateModified": "2026-02-25T14:41:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/87fdd794-f90e-4280-920f-ab89016e8062/afd4b72a-9d87-4ea7-a379-b3f800057527/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13985679",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985679/yoshis-oakland-jazz-rap-hip-hop-shows",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the final night of DJ Quik’s December residency at Yoshi’s, and he felt like stretching out. \u003c/p>\n\u003cp>Two songs into his set, the Compton-raised rap legend started conducting the band: first bringing the volume down, then leading his guitarist and keyboard player in back-to-back solos before pulling in the drums. He then turned the song’s West Coast rap rhythms upside down by grabbing some Latin percussion and twisting out an improvised solo of his own.\u003c/p>\n\u003cp>A grin spread across Quik’s face. “This \u003ci>is\u003c/i> a jazz club, ain’t it?” he asked the crowd.\u003c/p>\n\u003cp>In fact, Yoshi’s is the oldest and most famous jazz club in Oakland. But lately, it’s been something else too: a home for hip-hop legends like Scarface, the Pharcyde and Ghostface Killah, usually with a live band. It’s a reinvention that’s been especially notable in the past year, and it’s been packing in grown fans who once ran in the streets but now prefer sitting at tables. \u003c/p>\n\u003cfigure id=\"attachment_13985283\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members film Spice 1 as he performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was definitely a certain effort with us to evolve our programming into more hip-hop and contemporary R&B bookings,” says Marc Zuazua, Yoshi’s director of marketing, in the club’s dining room before a recent Spice 1 show. After the pandemic, especially, he says, the crowds that once came to see traditional jazz artists, “who would do amazing for us in the past — like, those audiences weren’t coming back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who \u003ci>were\u003c/i> coming back were rap fans, especially to see the Bay Area’s own homegrown talent. Last year alone, Vallejo legend Mac Mall sold out a show. Oakland’s Richie Rich sold out two. Too Short sold out six. \u003c/p>\n\u003cp>It’s transformed not only box office revenues but the vibe inside the club, Zuazua says, with its traditional supper-club-style semicircle seating at tables and booths, and a menu featuring sushi and cocktails. Currently, Yoshi’s has hip-hop shows lined up with Mistah FAB (Jan. 22), the GZA (Feb. 8), and Twista (April 23). \u003c/p>\n\u003cfigure id=\"attachment_13985286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Hayward’s Spice 1 took the stage later in the night, he acknowledged the mostly full club, and its atmosphere.\u003c/p>\n\u003cp>“This is kind of an upscale type thing, man,” he said, “but we can get up out of our seats!” \u003c/p>\n\u003cp>As the bass line to “I Got 5 on It” kicked off the set, many folks did just that — dancing, singing along, filming. Over the next 45 minutes, while Spice 1 delivered 30-year-old hits like “187 Proof” and “Welcome to the Ghetto,” people who now qualify for AARP membership celebrated with abandon alongside a handful of younger fans, who swarmed the rapper in the Yoshi’s front lobby afterward to get a selfie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13975538",
"hero": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a far cry from a straight-ahead jazz show at Yoshi’s, historically known for hosting golden-era legends like Pharoah Sanders, Roy Haynes, Charlie Haden or the esteemed McCoy Tyner, who once played an annual two-week residency at the club.\u003c/p>\n\u003cp>Even before the pandemic, several factors affected Yoshi’s ability to book traditional jazz. One was the 2013 opening of the SFJAZZ Center, which siphoned giants like Tyner across the Bay and into a brand new venue with a bigger backstage. Another was the \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\">high-profile collapse of Yoshi’s San Francisco\u003c/a>, which kept some artists away from the Oakland club — even though the operations were basically separate entities. \u003c/p>\n\u003cp>And then there’s the simple fact that, despite contemporary jazz scenes in LA, Chicago and London gaining popularity with younger fans over the past decade, \u003ca href=\"https://andscape.com/features/jazz-musicians-see-signs-of-hope-despite-repeated-questions-about-its-popularity/\">jazz remains a small sliver of overall music listening\u003c/a>. The 1960s and ’70s jazz generation is getting older. Sanders, Haynes, Haden and Tyner, to count just four of hundreds, have all passed away. As Zuazua notes, many traditional jazz fans either live far away in the suburbs, remain scared by a media crime narrative about Oakland or have simply aged out of their nightclub-going years.\u003c/p>\n\u003cp>That’s unfortunate, because if your typical jazz-listening uncle came to a rap show at Yoshi’s, most of the time he’d witness a live band on par with a classic Prestige Records-era quintet.\u003c/p>\n\u003cfigure id=\"attachment_13985677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Mall performs with a live band and DJ at Yoshi’s jazz club in Oakland on Aug. 10, 2025. \u003ccite>(Courtesy Mac Mall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappers at Yoshi’s are often backed by the go-to live hip-hop musical director for the Bay Area: Kev Choice. In fact, Choice was the first artist to regularly bring hip-hop to Yoshi’s, starting all the way back in 2008, with annual shows by his Kev Choice Ensemble that featured guests like Zumbi from Zion I, Phesto from Souls of Mischief, Silk-E from the Coup or Too Short. \u003c/p>\n\u003cp>“Hip-hop fans have grown, have matured, have come into a new space of wanting to see some of their favorite artists — maybe in a different context, or coming to life in a different way,” Choice says.\u003ci> \u003c/i>\u003c/p>\n\u003cp>Yoshi’s isn’t alone in selling out shows by regional stars, like Oakland group the Delinquents in 2023. For the past several years, the Blue Note jazz club in New York has hosted rappers like Mos Def, Black Thought and Rakim. Yoshi’s San Francisco had even booked hip-hop acts a full 10 to 15 years ago: the Geto Boys, Public Enemy, Suga Free, Jay Electronica and KRS-One all appeared on its stage. \u003c/p>\n\u003cfigure id=\"attachment_13985280\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gianna Farren performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, rap and jazz have overlapped since the dawn of the 1990s. Along with more R&B, smooth jazz and world music on Yoshi’s calendar, one could call the development part of a natural lineage, musically and culturally. Richie Rich, who once \u003ca href=\"https://youtu.be/JGXrqZY8hwM?si=sowD8bDEnrHy60en\">rapped over George Duke samples\u003c/a> in the East Bay group 415, has been particularly strong in recommending Yoshi’s to other rappers, sometimes booked by outside promoters like \u003ca href=\"https://www.instagram.com/ajthearchitect/\">AJ the Architect\u003c/a>.\u003c/p>\n\u003cp>With change comes criticism, of course. \u003c/p>\n\u003cp>“There’s definitely older jazz fans out there that always have something to say on Facebook. ‘I remember when Yoshi’s was a jazz venue,’ you know,” says Zuazua. “But if they were to show up and not just be commenting on social media, we’d definitely be booking more jazz, and more blues.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928550",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Echoing Choice — who also served as musical director for \u003ca href=\"https://youtu.be/59eBs8iiLU0?si=zAMfirZRZImLNTxi\">E-40’s recent Tiny Desk Concert at NPR\u003c/a> — Zuazua says that while the “soundscape” has changed, the intensity, spontaneity and musical beauty Yoshi’s is known for is still very much present, especially with a live band.\u003c/p>\n\u003cp>“I’ve been going to hip-hop shows for as long as I can remember,” he says. “You go to a hip-hop show with a band, and that bass line is \u003ci>popping\u003c/i>. There’s horns. It’s alive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Mistah FAB performs two shows with the Kev Choice Ensemble on Thursday, Jan. 22, at Yoshi’s (510 Embarcadero West, Oakland), at 7 p.m. and 9 p.m. \u003ca href=\"https://yoshis.com/events/sold-out/mistah-f-a-b-with-kev-choice/detail\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985679/yoshis-oakland-jazz-rap-hip-hop-shows",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_831",
"arts_1420",
"arts_5371",
"arts_1143",
"arts_22382"
],
"featImg": "arts_13985282",
"label": "arts"
},
"arts_13984267": {
"type": "posts",
"id": "arts_13984267",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984267",
"score": null,
"sort": [
1765900804000
]
},
"guestAuthors": [],
"slug": "mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"title": "Cellist Mia Pixley Flourishes in Darkness",
"publishDate": 1765900804,
"format": "standard",
"headTitle": "Cellist Mia Pixley Flourishes in Darkness | KQED",
"labelTerm": {},
"content": "\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZxtGhk8rPA\u003c/p>\n\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Mia Pixley’s new album ‘Love. Dark. Bloom.’ is an exercise in using all of your senses. ",
"status": "publish",
"parent": 0,
"modified": 1765911136,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 30,
"wordCount": 1366
},
"headData": {
"title": "Cellist Mia Pixley Performs New Album in Berkeley | KQED",
"description": "Mia Pixley’s new album ‘Love. Dark. Bloom.’ is an exercise in using all of your senses. ",
"ogTitle": "Cellist Mia Pixley Flourishes in Darkness",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Cellist Mia Pixley Flourishes in Darkness",
"twDescription": "",
"twImgId": "",
"socialTitle": "Cellist Mia Pixley Performs New Album in Berkeley %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cellist Mia Pixley Flourishes in Darkness",
"datePublished": "2025-12-16T08:00:04-08:00",
"dateModified": "2025-12-16T10:52:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13984267",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "'Tis the season to \"feel your way through\" the darkness. ",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984267/mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\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/PZxtGhk8rPA'\n title='//www.youtube.com/embed/PZxtGhk8rPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984267/mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1270",
"arts_10278",
"arts_1420",
"arts_769",
"arts_585"
],
"featImg": "arts_13984300",
"label": "source_arts_13984267"
},
"arts_13984384": {
"type": "posts",
"id": "arts_13984384",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984384",
"score": null,
"sort": [
1764891823000
]
},
"guestAuthors": [],
"slug": "berkeley-jazzschool-lisa-mezzacappa-executive-director",
"title": "Berkeley’s Jazzschool Appoints Lisa Mezzacappa as Executive Director",
"publishDate": 1764891823,
"format": "standard",
"headTitle": "Berkeley’s Jazzschool Appoints Lisa Mezzacappa as Executive Director | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Berkeley-based community education institution \u003ca href=\"https://jazzschool.org/\">The Jazzschool\u003c/a> on Tuesday announced Bay Area composer, educator and bassist \u003ca href=\"https://www.lisamezzacappa.com/bio.html\">Lisa Mezzacappa\u003c/a> as its new executive director.\u003c/p>\n\u003cp>“I’m feeling great, excited, nervous and thrilled,” says Mezzacappa, reached by phone.\u003c/p>\n\u003cp>Mezzacappa plans to listen to the needs of students to add to the “magical” environment that already exists at the school — a place she said she’s fallen in love with over the past five years as an educator at the institution.\u003c/p>\n\u003cfigure id=\"attachment_13984505\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg\" alt=\"A candid shot of two people playing jazz on stage. \" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-1536x1025.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bassist Lisa Mezzacappa with vibraphonist Mark Clifford, one of many local musicians she’s worked with throughout her career. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re teaching there at night,” she says, “the place is just so alive and activated by so many different kinds of people, who are kind of giddy with playing music together.”\u003c/p>\n\u003cp>Mezzacappa refers to the school, housed in a basement in downtown Berkeley, as a “subterranean realm” full of music and community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are drummers looking for cymbals and swapping out their gear,” she says, painting a picture of the place on any given night. “There are people looking for cables, moving amplifiers around, getting vibraphones wheeled in, finding percussion.”\u003c/p>\n\u003cp>Founded in 1997 by music scholar and jazz pianist \u003ca href=\"https://jazzschool.org/people/susan-muscarella/\">Susan Muscarella\u003c/a>, the Jazzschool was previously connected to the California Jazz Conservatory (CJC), which offered a program for students to earn bachelors degrees in music. That program \u003ca href=\"https://www.kqed.org/arts/13969281/california-jazz-conservatory-degree-program-ending\">came to an end last year.\u003c/a>\u003c/p>\n\u003cp>Mezzacappa, who has also performed at the Jazzschool, says the driving force behind the institution’s appeal — beyond music — is its outstanding staff and the community of artists who gravitate to its classrooms.\u003c/p>\n\u003cfigure id=\"attachment_13984507\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg\" alt=\"A group of people stand on stage playing jazz together.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer, bandleader and bassist Lisa Mezzacappa (second from right) and her ensemble Five(ish) performing in the Bay Area. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With year-round classes offered on a quarterly basis for both adults and youth, the school teaches various styles, from Latin jazz to Brazilian funk.\u003c/p>\n\u003cp>Beyond acquiring technical expertise, Mezzacappa describes an added draw of the school: people often spend years at the Jazzschool, and connect “on that really interpersonal level through music.”\u003c/p>\n\u003cp>An avant-garde jazz artist who has a long resumé of playing gigs all over the Bay Area and beyond, Mezzacappa holds nothing back when it comes advocating for the art form.\u003c/p>\n\u003cp>[aside postID='arts_13981396']“I think jazz should be part of every conversation,” she says, noting that she’s even open to exploring the ways technological advancements are impacting one of this country’s oldest genres of music. “We can’t run away from new technology,” she attests. “We have to see what students are interested in.”\u003c/p>\n\u003cp>Her first assignment, as she takes the helm of the nearly thirty year-old institution, is the school’s fall \u003ca href=\"https://concerts.jazzschool.org/\">Youth & Adult Student Performance Series\u003c/a>. An annual showcase that runs Dec. 5–16, it features nearly 400 students from different levels, playing different styles of jazz.\u003c/p>\n\u003cp>The showcase doubles as a way of expanding community. Many people bring friends and loved ones, Mezzacappa said, who may eventually get involved and become part of a new crop of talented musicians.\u003c/p>\n\u003cp>“If you’re curious about dusting off your guitar, or the keyboard that’s been in your garage,” offers Mezzacappa, “and you’re like, ‘Maybe I wanna take a class,’ it’s a good chance to see what happens here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazzschool’s \u003ca href=\"https://concerts.jazzschool.org/\">Fall Youth & Adult Student Performance Series\u003c/a> features several free concerts from Dec. 5–16 at the Jazzschool (2087 Addison Street, Berkeley). \u003ca href=\"https://concerts.jazzschool.org/\">More event information here.\u003c/a> \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘The place is just so alive,’ the bassist and composer says of the community music institution.",
"status": "publish",
"parent": 0,
"modified": 1764896955,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 627
},
"headData": {
"title": "Berkeley’s Jazzschool Appoints Lisa Mezzacappa as Executive Director | KQED",
"description": "‘The place is just so alive,’ the bassist and composer says of the community music institution.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Berkeley’s Jazzschool Appoints Lisa Mezzacappa as Executive Director",
"datePublished": "2025-12-04T15:43:43-08:00",
"dateModified": "2025-12-04T17:09:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13984384",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "In her new role, she plans on adding to the \"magic\" that already exists at the institution",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984384/berkeley-jazzschool-lisa-mezzacappa-executive-director",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley-based community education institution \u003ca href=\"https://jazzschool.org/\">The Jazzschool\u003c/a> on Tuesday announced Bay Area composer, educator and bassist \u003ca href=\"https://www.lisamezzacappa.com/bio.html\">Lisa Mezzacappa\u003c/a> as its new executive director.\u003c/p>\n\u003cp>“I’m feeling great, excited, nervous and thrilled,” says Mezzacappa, reached by phone.\u003c/p>\n\u003cp>Mezzacappa plans to listen to the needs of students to add to the “magical” environment that already exists at the school — a place she said she’s fallen in love with over the past five years as an educator at the institution.\u003c/p>\n\u003cfigure id=\"attachment_13984505\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg\" alt=\"A candid shot of two people playing jazz on stage. \" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Lisa-Mezzacappa-1536x1025.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bassist Lisa Mezzacappa with vibraphonist Mark Clifford, one of many local musicians she’s worked with throughout her career. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you’re teaching there at night,” she says, “the place is just so alive and activated by so many different kinds of people, who are kind of giddy with playing music together.”\u003c/p>\n\u003cp>Mezzacappa refers to the school, housed in a basement in downtown Berkeley, as a “subterranean realm” full of music and community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are drummers looking for cymbals and swapping out their gear,” she says, painting a picture of the place on any given night. “There are people looking for cables, moving amplifiers around, getting vibraphones wheeled in, finding percussion.”\u003c/p>\n\u003cp>Founded in 1997 by music scholar and jazz pianist \u003ca href=\"https://jazzschool.org/people/susan-muscarella/\">Susan Muscarella\u003c/a>, the Jazzschool was previously connected to the California Jazz Conservatory (CJC), which offered a program for students to earn bachelors degrees in music. That program \u003ca href=\"https://www.kqed.org/arts/13969281/california-jazz-conservatory-degree-program-ending\">came to an end last year.\u003c/a>\u003c/p>\n\u003cp>Mezzacappa, who has also performed at the Jazzschool, says the driving force behind the institution’s appeal — beyond music — is its outstanding staff and the community of artists who gravitate to its classrooms.\u003c/p>\n\u003cfigure id=\"attachment_13984507\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg\" alt=\"A group of people stand on stage playing jazz together.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer, bandleader and bassist Lisa Mezzacappa (second from right) and her ensemble Five(ish) performing in the Bay Area. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With year-round classes offered on a quarterly basis for both adults and youth, the school teaches various styles, from Latin jazz to Brazilian funk.\u003c/p>\n\u003cp>Beyond acquiring technical expertise, Mezzacappa describes an added draw of the school: people often spend years at the Jazzschool, and connect “on that really interpersonal level through music.”\u003c/p>\n\u003cp>An avant-garde jazz artist who has a long resumé of playing gigs all over the Bay Area and beyond, Mezzacappa holds nothing back when it comes advocating for the art form.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13981396",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I think jazz should be part of every conversation,” she says, noting that she’s even open to exploring the ways technological advancements are impacting one of this country’s oldest genres of music. “We can’t run away from new technology,” she attests. “We have to see what students are interested in.”\u003c/p>\n\u003cp>Her first assignment, as she takes the helm of the nearly thirty year-old institution, is the school’s fall \u003ca href=\"https://concerts.jazzschool.org/\">Youth & Adult Student Performance Series\u003c/a>. An annual showcase that runs Dec. 5–16, it features nearly 400 students from different levels, playing different styles of jazz.\u003c/p>\n\u003cp>The showcase doubles as a way of expanding community. Many people bring friends and loved ones, Mezzacappa said, who may eventually get involved and become part of a new crop of talented musicians.\u003c/p>\n\u003cp>“If you’re curious about dusting off your guitar, or the keyboard that’s been in your garage,” offers Mezzacappa, “and you’re like, ‘Maybe I wanna take a class,’ it’s a good chance to see what happens here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazzschool’s \u003ca href=\"https://concerts.jazzschool.org/\">Fall Youth & Adult Student Performance Series\u003c/a> features several free concerts from Dec. 5–16 at the Jazzschool (2087 Addison Street, Berkeley). \u003ca href=\"https://concerts.jazzschool.org/\">More event information here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984384/berkeley-jazzschool-lisa-mezzacappa-executive-director",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1270",
"arts_1420"
],
"featImg": "arts_13984501",
"label": "arts"
},
"arts_13981396": {
"type": "posts",
"id": "arts_13981396",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13981396",
"score": null,
"sort": [
1758309389000
]
},
"guestAuthors": [],
"slug": "eastside-arts-alliance-greg-morozumi-elena-serrano-susanne-takehara-oakland",
"title": "Oakland’s EastSide Arts Alliance Celebrates 25 Years — With Big Changes Ahead",
"publishDate": 1758309389,
"format": "aside",
"headTitle": "Oakland’s EastSide Arts Alliance Celebrates 25 Years — With Big Changes Ahead | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13981412\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg\" alt=\"A man sitting in front of a white board with writing on it.\" width=\"1144\" height=\"1754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-1002x1536.jpg 1002w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance cofounder Greg Morozumi, pictured planning the 2001 Malcolm X Jazz Festival. With Morozumi’s passing in June and two other cofounders stepping down, the EastSide Arts Alliance will be led by a collective. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/arts/21803/eastside_arts_alliance\">EastSide Arts Alliance\u003c/a> is a cultural hub where young artists are politicized, community members are fed and events like the \u003ca href=\"https://www.eastsideartsalliance.org/programs/malcolm-x-jazz-arts-festival\">Malcolm X Jazz Festival\u003c/a> are organized.\u003c/p>\n\u003cp>More than a traditional jazz fest, the event is a community resource where creatives, educators and entrepreneurs celebrate a variety of arts. It’s where 10 years ago \u003ca href=\"https://www.npr.org/2014/01/09/261101520/amiri-baraka-poet-and-co-founder-of-black-arts-movement-dies-at-79\">Amiri Baraka\u003c/a>, the father of the Black Arts Movement, was honored after he transitioned. It’s where \u003ca href=\"https://www.youtube.com/watch?v=wnJEz776THs\">a young Kehlani once performed\u003c/a> under the mentorship of the late \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>.\u003c/p>\n\u003cp>On Saturday, Sept. 20, EastSide Arts Alliance kicks off its 25th anniversary with \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a>, the first in a year-long series of events celebrating the center with art, food, history and community.\u003c/p>\n\u003cp>The afternoon \u003ca href=\"https://donorbox.org/eastside-arts-alliance-25th-anniversary-giving-campaign?fbclid=PAZXh0bgNhZW0CMTEAAac0m59hLWeTNQTBkUR8idP-wpemAX9EzvxbbXvgh94Tl1i_2IthyiqOrw6myA_aem_6dPCml5WDgEQa-mGuWqR0A\">fundraiser\u003c/a> and performance includes the talented \u003ca href=\"https://www.instagram.com/dnagadance/\">Dnaga Dance Company\u003c/a>, longtime EastSide Arts collaborator and \u003ca href=\"https://www.deepwatersdance.com/\">Deep Waters Dance Theatre\u003c/a> founder amara tabor-smith, violinist \u003ca href=\"https://www.illustrationhistory.org/artists/joan-tarika-lewis\">Tarika Lewis\u003c/a> — the first woman to join the Black Panther Party — and others.\u003c/p>\n\u003cfigure id=\"attachment_13981409\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg\" alt=\"A photo of a woman in a light blue shirt and a man in a black shirt, sun glasses and hat standing in a park. \" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Elena Serrano and Greg Morozumi, two of the co-founders behind EastSide Arts Alliance pictured at Malcolm X Jazz Festival at San Antonio Park. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event comes at a time of transition for for the community institution. \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">Greg Jung Morozumi\u003c/a>, EastSide Arts Alliance co-founder and mentor to many, \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">passed in June\u003c/a>. Elena Serrano and Susanne Takehara, the center’s two remaining founding members, will soon step down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet even as the baton is passed to the next generation, Serrano says, the work isn’t going to stop.\u003c/p>\n\u003ch2>The birth of an community institution\u003c/h2>\n\u003cp>The seeds that grew into EastSide Arts Alliance were planted in the late 1990s, when four collectives came together. Aerosol writers \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\">Mike “Dream” Francisco\u003c/a> and the \u003ca href=\"https://dreamtdk.com/\">TDK\u003c/a> crew, \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a>’s C4 collective, the Black Dot’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Against-Gentrification-Marcel-Diallo-sees-a-2622101.php\">Marcel Diallo\u003c/a> and \u003ca href=\"https://openspace.sfmoma.org/2009/10/seeing-with-the-blackeyed-peathe-art-of-letitia-ntofon/\">Letitia Ntofon\u003c/a> and organizers from \u003ca href=\"https://www.instagram.com/tallersinfronteras/?hl=en\">Taller sin Fronteras\u003c/a> (also known as TSF or Workshop Without Borders) all came together to curate the first Malcolm X Jazz Festival in 2000.\u003c/p>\n\u003cp>They were informed by the work of Amiri Baraka, Yuri Kochiyama, Malaquías Montoya and especially Malcolm X. The festival exemplified “the liberation of people from Third World,” says Serrano — and art was the unifying force.\u003c/p>\n\u003cfigure id=\"attachment_13981408\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg\" alt=\"Two men pose for a photo\" width=\"2000\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-1536x1089.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poet, playwright and author Amiri Baraka with organizer, artist and mentor Greg Morozumi, circa 1992. The following year, Morozumi would organize a ‘No Justice, No Peace’ event at Oakland’s Pro Arts, predating his work with EastSide Arts Alliance. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t know what we were doing,” Serrano says, reflecting on the first Malcolm X Jazz Festival. “We booked 11 acts on the main stage.” Attempting to reach all demographics with “straight-ahead jazz, jazz with hip-hop, Asian jazz, Latin jazz” and more, Serrano says, they soon learned to book less performers. But their heart was in the right place, and San Antonio Park provided a perfect location for their mission.\u003c/p>\n\u003cp>Formerly \u003ca href=\"https://www.oaklandca.gov/files/assets/city/v/1/transportation/documents/projects/san-antonio-park-master-plan/saphistoryarticle.pdf\">the site of bear and bull fights in the 1800s\u003c/a>, San Antonio Park is located on the rolling hills of the 20s in East Oakland. At the time of the first jazz festival, organizers saw the surrounding community of Southeast Asian, Chicano, Indigenous, and African-American residents as a prime example of Third World solidarity.\u003c/p>\n\u003cp>“But,” says Serrano, “it was also one of the poorest neighborhoods in Oakland.”\u003c/p>\n\u003cp>As philanthropic efforts were aimed at curbing the neighborhood’s problems, Serrano and company emphasized its benefits, like its diversity. “This is the most culturally rich community ever,” she says. “This is a true asset.”\u003c/p>\n\u003cp>Once the newly founded EastSide Arts Alliance secured funding, they launched a cultural space focused on unity to “build power amongst the people” and make needed change, says Serrano.\u003c/p>\n\u003cfigure id=\"attachment_13981411\" class=\"wp-caption aligncenter\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg\" alt=\"A man standing, reading a book, while standing in front of a bookcase. \" width=\"1110\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-768x512.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance co-founder Greg Morozumi reading one of his many books. To honor his love of books, EastSide now has a reading room dedicated to him. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A far-ranging influence\u003c/h2>\n\u003cp>Over the decades, and spanning three different locations, the center has provided a home for young people. It’s where artists grow into refined practitioners, like \u003ca href=\"https://www.instagram.com/ladimeuna/?hl=en\">Leslie “Dime” Lopez\u003c/a>. At the turn of the millennium, Lopez was a teenager who just wanted to spray paint. Now in her late 30s, Dime’s aerosol artwork now covers walls throughout the Bay Area and beyond.\u003c/p>\n\u003cp>“Graf was a big thing during that time in my life,” she says, reflecting on her teenage years during a recent phone call. She was introduced to the center when a close friend volunteered at EastSide Arts’ first Malcolm X Jazz Festival. Lopez tagged along, and soon she started attending programs, working on murals and doing banner pieces on the sidewalk. “It was the very first stages,” says Lopez, “of being a part of a community of writers that were doing a bigger things in the neighborhood.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/kev.akhidenor\">Kevin Akhidenor\u003c/a>, an educator, lyricist and accomplished freestyle rapper, also found a home at EastSide starting in 2002, when he and a friend first attended its Beats Flows program.\u003c/p>\n\u003cp>Akhidenor clearly remembers his first day, when he was a glasses-wearing fresh face on the scene. When he walked into the center, program leaders “bum-rushed” him — “they were just roasting me, and battling me,” he laughs. Momentarily overwhelmed, he quickly responded: “Battling and freestyling ain’t never been no issue to me,” he reflects, “so I just battled back.”\u003c/p>\n\u003cp>Akhidenor has been involved ever since.\u003c/p>\n\u003cfigure id=\"attachment_13832468\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg\" alt=\"The Malcolm X Jazz Arts Festival in 2009.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Malcolm X Jazz Arts Festival in 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2003, Akhidenor met Greg Morozumi, Elena Serrano and \u003ca href=\"https://www.instagram.com/tracibartlow/?hl=en\">Traci Bartlow\u003c/a>, and realized, “This is an arts political organization.” He soon joined the Malcolm X Jazz Festival planning committee, hosted a stage at that year’s event and eventually joined EastSide’s staff.\u003c/p>\n\u003cp>Well-known jazz musician \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> has been part of the Malcolm X Jazz Festival since the event’s second year. He remembers it vividly — not only because he played alongside Marcus Shelby’s group, but because he borrowed his grandmother’s diesel Mercedes Benz to get there. “And I didn’t have a license,” Wiley says.\u003c/p>\n\u003cp>In recent years, he’s become the de facto curator of the main stage. One of the most important aspects for him of the jazz festival, and EastSide as a whole, is how artists gain political knowledge from people who’ve lived it firsthand.\u003c/p>\n\u003cp>Through Morozumi and Serrano, Wiley has met members of the Last Poets and hung-out with famed jazz saxophonist David Murray. He’s heard about conversations with Thelonius Monk, John Coltrane and Malcolm X from people who were there when the titans talked. He was also blessed with Greg Morozumi’s record collection before he passed.\u003c/p>\n\u003cp>“When he had to go into hospice,” Wiley says, “we moved him out, and we were just moving all these tapes, records and books.” Blown away by the wealth in Morozumi’s archives, Wiley says, “Man, that was a dude who was committed to knowledge of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13981410\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg\" alt=\"A black and white photo showing a man's back as he sits at a desk. \" width=\"1686\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-1536x1019.jpg 1536w\" sizes=\"auto, (max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Greg Morozumi was a constant learner, and eternal teacher. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You want to make the ancestors proud’\u003c/h2>\n\u003cp>In the space adjacent to EastSide Arts is \u003ca href=\"https://www.eastsideartsalliance.org/bandung-books\">Bandung Books\u003c/a>, where many of Greg’s old books have found a home. “That idea of literacy,” says Serrano, “is something that we want to stress.”\u003c/p>\n\u003cp>Known for community events like the last month’s \u003ca href=\"https://www.eastsideartsalliance.org/blog/thank-you-for-attending-xicana-moratorium\">Xicana Moratorium Block Party,\u003c/a> the center’s most foundational practice is the simple act of reading. The first program at EastSide was the Community Archive Resource Project, which started with materials Greg had collected over 50 years of organizing work.\u003c/p>\n\u003cp>Comprised of binders of material from around the world, highlighting community actions against police brutality and uplifting the importance of the arts, Greg would use the archive as a tool for mentorship.\u003c/p>\n\u003cp>“When this generation of young people in our music studio wants to write about police brutality,” says Serrano, “Greg would be like, ‘Okay, look at all this stuff that came before you. You don’t have to reinvent stuff, you have to take it to the next level.'”\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">Now digitized\u003c/a>, Serrano says Greg’s archives of posters, music, buttons and books push artists to ask themselves, “Now, what is your role?”\u003c/p>\n\u003cp>In the coming months, Serrano will fully transition out of leadership at the center, and pass the baton to a collective of people who’ve been with the center since their teens, including Kevin Akhidenor and Leslie “Dime” Lopez.\u003c/p>\n\u003cp>“My heart is split in so many different ways,” says Lopez, about the forthcoming changes. On one hand, “I’m excited for our elders, and to continue their legacy and to really stand on the shoulders of those that built the space.”\u003c/p>\n\u003cp>But she can’t help but feel the pressure of taking the reins. “It’s scary,” Lopez says, “you want to make your parents proud, you know? And you want to make the ancestors proud as well.”\u003c/p>\n\u003cp>Reflecting on the legacy of Greg Morozumi, as well as Elena Serrano and Susanne Takehara, Lopez gives them their flowers: “They shared so much and gave so much of their lives to this space,” she says, “for us to continue that work, the only thing we can do is pay it forward.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a> takes place Saturday, Sept. 20, at EastSide Arts Alliance (2277 International Blvd., Oakland). \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Oakland's EastSide Arts Alliance prepares to pass the baton to the next generation.",
"status": "publish",
"parent": 0,
"modified": 1758309891,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 35,
"wordCount": 1707
},
"headData": {
"title": "Oakland’s EastSide Arts Alliance Celebrates 25 Years — With Big Changes Ahead | KQED",
"description": "Oakland's EastSide Arts Alliance prepares to pass the baton to the next generation.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland’s EastSide Arts Alliance Celebrates 25 Years — With Big Changes Ahead",
"datePublished": "2025-09-19T12:16:29-07:00",
"dateModified": "2025-09-19T12:24:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13981396",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "Here's what's next for the community hub. ",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13981396/eastside-arts-alliance-greg-morozumi-elena-serrano-susanne-takehara-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981412\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg\" alt=\"A man sitting in front of a white board with writing on it.\" width=\"1144\" height=\"1754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-1002x1536.jpg 1002w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance cofounder Greg Morozumi, pictured planning the 2001 Malcolm X Jazz Festival. With Morozumi’s passing in June and two other cofounders stepping down, the EastSide Arts Alliance will be led by a collective. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/arts/21803/eastside_arts_alliance\">EastSide Arts Alliance\u003c/a> is a cultural hub where young artists are politicized, community members are fed and events like the \u003ca href=\"https://www.eastsideartsalliance.org/programs/malcolm-x-jazz-arts-festival\">Malcolm X Jazz Festival\u003c/a> are organized.\u003c/p>\n\u003cp>More than a traditional jazz fest, the event is a community resource where creatives, educators and entrepreneurs celebrate a variety of arts. It’s where 10 years ago \u003ca href=\"https://www.npr.org/2014/01/09/261101520/amiri-baraka-poet-and-co-founder-of-black-arts-movement-dies-at-79\">Amiri Baraka\u003c/a>, the father of the Black Arts Movement, was honored after he transitioned. It’s where \u003ca href=\"https://www.youtube.com/watch?v=wnJEz776THs\">a young Kehlani once performed\u003c/a> under the mentorship of the late \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>.\u003c/p>\n\u003cp>On Saturday, Sept. 20, EastSide Arts Alliance kicks off its 25th anniversary with \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a>, the first in a year-long series of events celebrating the center with art, food, history and community.\u003c/p>\n\u003cp>The afternoon \u003ca href=\"https://donorbox.org/eastside-arts-alliance-25th-anniversary-giving-campaign?fbclid=PAZXh0bgNhZW0CMTEAAac0m59hLWeTNQTBkUR8idP-wpemAX9EzvxbbXvgh94Tl1i_2IthyiqOrw6myA_aem_6dPCml5WDgEQa-mGuWqR0A\">fundraiser\u003c/a> and performance includes the talented \u003ca href=\"https://www.instagram.com/dnagadance/\">Dnaga Dance Company\u003c/a>, longtime EastSide Arts collaborator and \u003ca href=\"https://www.deepwatersdance.com/\">Deep Waters Dance Theatre\u003c/a> founder amara tabor-smith, violinist \u003ca href=\"https://www.illustrationhistory.org/artists/joan-tarika-lewis\">Tarika Lewis\u003c/a> — the first woman to join the Black Panther Party — and others.\u003c/p>\n\u003cfigure id=\"attachment_13981409\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg\" alt=\"A photo of a woman in a light blue shirt and a man in a black shirt, sun glasses and hat standing in a park. \" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Elena Serrano and Greg Morozumi, two of the co-founders behind EastSide Arts Alliance pictured at Malcolm X Jazz Festival at San Antonio Park. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event comes at a time of transition for for the community institution. \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">Greg Jung Morozumi\u003c/a>, EastSide Arts Alliance co-founder and mentor to many, \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">passed in June\u003c/a>. Elena Serrano and Susanne Takehara, the center’s two remaining founding members, will soon step down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet even as the baton is passed to the next generation, Serrano says, the work isn’t going to stop.\u003c/p>\n\u003ch2>The birth of an community institution\u003c/h2>\n\u003cp>The seeds that grew into EastSide Arts Alliance were planted in the late 1990s, when four collectives came together. Aerosol writers \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\">Mike “Dream” Francisco\u003c/a> and the \u003ca href=\"https://dreamtdk.com/\">TDK\u003c/a> crew, \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a>’s C4 collective, the Black Dot’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Against-Gentrification-Marcel-Diallo-sees-a-2622101.php\">Marcel Diallo\u003c/a> and \u003ca href=\"https://openspace.sfmoma.org/2009/10/seeing-with-the-blackeyed-peathe-art-of-letitia-ntofon/\">Letitia Ntofon\u003c/a> and organizers from \u003ca href=\"https://www.instagram.com/tallersinfronteras/?hl=en\">Taller sin Fronteras\u003c/a> (also known as TSF or Workshop Without Borders) all came together to curate the first Malcolm X Jazz Festival in 2000.\u003c/p>\n\u003cp>They were informed by the work of Amiri Baraka, Yuri Kochiyama, Malaquías Montoya and especially Malcolm X. The festival exemplified “the liberation of people from Third World,” says Serrano — and art was the unifying force.\u003c/p>\n\u003cfigure id=\"attachment_13981408\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg\" alt=\"Two men pose for a photo\" width=\"2000\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-1536x1089.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poet, playwright and author Amiri Baraka with organizer, artist and mentor Greg Morozumi, circa 1992. The following year, Morozumi would organize a ‘No Justice, No Peace’ event at Oakland’s Pro Arts, predating his work with EastSide Arts Alliance. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t know what we were doing,” Serrano says, reflecting on the first Malcolm X Jazz Festival. “We booked 11 acts on the main stage.” Attempting to reach all demographics with “straight-ahead jazz, jazz with hip-hop, Asian jazz, Latin jazz” and more, Serrano says, they soon learned to book less performers. But their heart was in the right place, and San Antonio Park provided a perfect location for their mission.\u003c/p>\n\u003cp>Formerly \u003ca href=\"https://www.oaklandca.gov/files/assets/city/v/1/transportation/documents/projects/san-antonio-park-master-plan/saphistoryarticle.pdf\">the site of bear and bull fights in the 1800s\u003c/a>, San Antonio Park is located on the rolling hills of the 20s in East Oakland. At the time of the first jazz festival, organizers saw the surrounding community of Southeast Asian, Chicano, Indigenous, and African-American residents as a prime example of Third World solidarity.\u003c/p>\n\u003cp>“But,” says Serrano, “it was also one of the poorest neighborhoods in Oakland.”\u003c/p>\n\u003cp>As philanthropic efforts were aimed at curbing the neighborhood’s problems, Serrano and company emphasized its benefits, like its diversity. “This is the most culturally rich community ever,” she says. “This is a true asset.”\u003c/p>\n\u003cp>Once the newly founded EastSide Arts Alliance secured funding, they launched a cultural space focused on unity to “build power amongst the people” and make needed change, says Serrano.\u003c/p>\n\u003cfigure id=\"attachment_13981411\" class=\"wp-caption aligncenter\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg\" alt=\"A man standing, reading a book, while standing in front of a bookcase. \" width=\"1110\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-768x512.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance co-founder Greg Morozumi reading one of his many books. To honor his love of books, EastSide now has a reading room dedicated to him. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A far-ranging influence\u003c/h2>\n\u003cp>Over the decades, and spanning three different locations, the center has provided a home for young people. It’s where artists grow into refined practitioners, like \u003ca href=\"https://www.instagram.com/ladimeuna/?hl=en\">Leslie “Dime” Lopez\u003c/a>. At the turn of the millennium, Lopez was a teenager who just wanted to spray paint. Now in her late 30s, Dime’s aerosol artwork now covers walls throughout the Bay Area and beyond.\u003c/p>\n\u003cp>“Graf was a big thing during that time in my life,” she says, reflecting on her teenage years during a recent phone call. She was introduced to the center when a close friend volunteered at EastSide Arts’ first Malcolm X Jazz Festival. Lopez tagged along, and soon she started attending programs, working on murals and doing banner pieces on the sidewalk. “It was the very first stages,” says Lopez, “of being a part of a community of writers that were doing a bigger things in the neighborhood.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/kev.akhidenor\">Kevin Akhidenor\u003c/a>, an educator, lyricist and accomplished freestyle rapper, also found a home at EastSide starting in 2002, when he and a friend first attended its Beats Flows program.\u003c/p>\n\u003cp>Akhidenor clearly remembers his first day, when he was a glasses-wearing fresh face on the scene. When he walked into the center, program leaders “bum-rushed” him — “they were just roasting me, and battling me,” he laughs. Momentarily overwhelmed, he quickly responded: “Battling and freestyling ain’t never been no issue to me,” he reflects, “so I just battled back.”\u003c/p>\n\u003cp>Akhidenor has been involved ever since.\u003c/p>\n\u003cfigure id=\"attachment_13832468\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg\" alt=\"The Malcolm X Jazz Arts Festival in 2009.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Malcolm X Jazz Arts Festival in 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2003, Akhidenor met Greg Morozumi, Elena Serrano and \u003ca href=\"https://www.instagram.com/tracibartlow/?hl=en\">Traci Bartlow\u003c/a>, and realized, “This is an arts political organization.” He soon joined the Malcolm X Jazz Festival planning committee, hosted a stage at that year’s event and eventually joined EastSide’s staff.\u003c/p>\n\u003cp>Well-known jazz musician \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> has been part of the Malcolm X Jazz Festival since the event’s second year. He remembers it vividly — not only because he played alongside Marcus Shelby’s group, but because he borrowed his grandmother’s diesel Mercedes Benz to get there. “And I didn’t have a license,” Wiley says.\u003c/p>\n\u003cp>In recent years, he’s become the de facto curator of the main stage. One of the most important aspects for him of the jazz festival, and EastSide as a whole, is how artists gain political knowledge from people who’ve lived it firsthand.\u003c/p>\n\u003cp>Through Morozumi and Serrano, Wiley has met members of the Last Poets and hung-out with famed jazz saxophonist David Murray. He’s heard about conversations with Thelonius Monk, John Coltrane and Malcolm X from people who were there when the titans talked. He was also blessed with Greg Morozumi’s record collection before he passed.\u003c/p>\n\u003cp>“When he had to go into hospice,” Wiley says, “we moved him out, and we were just moving all these tapes, records and books.” Blown away by the wealth in Morozumi’s archives, Wiley says, “Man, that was a dude who was committed to knowledge of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13981410\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg\" alt=\"A black and white photo showing a man's back as he sits at a desk. \" width=\"1686\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-1536x1019.jpg 1536w\" sizes=\"auto, (max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Greg Morozumi was a constant learner, and eternal teacher. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You want to make the ancestors proud’\u003c/h2>\n\u003cp>In the space adjacent to EastSide Arts is \u003ca href=\"https://www.eastsideartsalliance.org/bandung-books\">Bandung Books\u003c/a>, where many of Greg’s old books have found a home. “That idea of literacy,” says Serrano, “is something that we want to stress.”\u003c/p>\n\u003cp>Known for community events like the last month’s \u003ca href=\"https://www.eastsideartsalliance.org/blog/thank-you-for-attending-xicana-moratorium\">Xicana Moratorium Block Party,\u003c/a> the center’s most foundational practice is the simple act of reading. The first program at EastSide was the Community Archive Resource Project, which started with materials Greg had collected over 50 years of organizing work.\u003c/p>\n\u003cp>Comprised of binders of material from around the world, highlighting community actions against police brutality and uplifting the importance of the arts, Greg would use the archive as a tool for mentorship.\u003c/p>\n\u003cp>“When this generation of young people in our music studio wants to write about police brutality,” says Serrano, “Greg would be like, ‘Okay, look at all this stuff that came before you. You don’t have to reinvent stuff, you have to take it to the next level.'”\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">Now digitized\u003c/a>, Serrano says Greg’s archives of posters, music, buttons and books push artists to ask themselves, “Now, what is your role?”\u003c/p>\n\u003cp>In the coming months, Serrano will fully transition out of leadership at the center, and pass the baton to a collective of people who’ve been with the center since their teens, including Kevin Akhidenor and Leslie “Dime” Lopez.\u003c/p>\n\u003cp>“My heart is split in so many different ways,” says Lopez, about the forthcoming changes. On one hand, “I’m excited for our elders, and to continue their legacy and to really stand on the shoulders of those that built the space.”\u003c/p>\n\u003cp>But she can’t help but feel the pressure of taking the reins. “It’s scary,” Lopez says, “you want to make your parents proud, you know? And you want to make the ancestors proud as well.”\u003c/p>\n\u003cp>Reflecting on the legacy of Greg Morozumi, as well as Elena Serrano and Susanne Takehara, Lopez gives them their flowers: “They shared so much and gave so much of their lives to this space,” she says, “for us to continue that work, the only thing we can do is pay it forward.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a> takes place Saturday, Sept. 20, at EastSide Arts Alliance (2277 International Blvd., Oakland). \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13981396/eastside-arts-alliance-greg-morozumi-elena-serrano-susanne-takehara-oakland",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_73",
"arts_69"
],
"tags": [
"arts_22564",
"arts_10278",
"arts_903",
"arts_2683",
"arts_1420",
"arts_21912",
"arts_1143",
"arts_585"
],
"featImg": "arts_13981413",
"label": "arts"
},
"arts_13980534": {
"type": "posts",
"id": "arts_13980534",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13980534",
"score": null,
"sort": [
1755867624000
]
},
"guestAuthors": [],
"slug": "jazz-classical-concerts-san-francisco-oakland-bay-area-2025",
"title": "8 Great Jazz and Classical Concerts in the Bay Area This Fall",
"publishDate": 1755867624,
"format": "aside",
"headTitle": "8 Great Jazz and Classical Concerts in the Bay Area This Fall | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Enriching musical experiences outside the confines of the jazz club or concert hall are abundant this fall.",
"status": "publish",
"parent": 0,
"modified": 1756132448,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 30,
"wordCount": 930
},
"headData": {
"title": "Your Guide to Jazz and Classical Concerts This Fall | KQED",
"description": "Enriching musical experiences outside the confines of the jazz club or concert hall are abundant this fall.",
"ogTitle": "8 Great Jazz and Classical Concerts in the Bay Area This Fall",
"ogDescription": "",
"ogImgId": "",
"twTitle": "8 Great Jazz and Classical Concerts in the Bay Area This Fall",
"twDescription": "",
"twImgId": "",
"socialTitle": "Your Guide to Jazz and Classical Concerts This Fall %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "8 Great Jazz and Classical Concerts in the Bay Area This Fall",
"datePublished": "2025-08-22T06:00:24-07:00",
"dateModified": "2025-08-25T07:34:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "Fall Guide 2025 ",
"sourceUrl": "https://www.kqed.org/arts/tag/fall-guide-2025",
"sticky": false,
"nprStoryId": "kqed-13980534",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13980534/jazz-classical-concerts-san-francisco-oakland-bay-area-2025",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13980534/jazz-classical-concerts-san-francisco-oakland-bay-area-2025",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1312",
"arts_4058",
"arts_22551",
"arts_10278",
"arts_1420",
"arts_1071",
"arts_2048",
"arts_585",
"arts_4107"
],
"featImg": "arts_13980481",
"label": "source_arts_13980534"
}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "\"KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "\"KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"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.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=jazz": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 9,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 229,
"relation": "eq"
},
"items": [
"arts_13987167",
"arts_13986706",
"arts_13986089",
"arts_13985768",
"arts_13985679",
"arts_13984267",
"arts_13984384",
"arts_13981396",
"arts_13980534"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"source_arts_13987167": {
"type": "terms",
"id": "source_arts_13987167",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984267": {
"type": "terms",
"id": "source_arts_13984267",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13980534": {
"type": "terms",
"id": "source_arts_13980534",
"meta": {
"override": true
},
"name": "Fall Guide 2025 ",
"link": "https://www.kqed.org/arts/tag/fall-guide-2025",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_7005": {
"type": "terms",
"id": "arts_7005",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7005",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Indigenous",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Indigenous Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7017,
"slug": "indigenous",
"isLoading": false,
"link": "/arts/tag/indigenous"
},
"arts_3178": {
"type": "terms",
"id": "arts_3178",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3178",
"found": true
},
"relationships": {},
"featImg": null,
"name": "native american",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "native american Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3190,
"slug": "native-american",
"isLoading": false,
"link": "/arts/tag/native-american"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_2880": {
"type": "terms",
"id": "arts_2880",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2880",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Zellerbach Hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Zellerbach Hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2892,
"slug": "zellerbach-hall",
"isLoading": false,
"link": "/arts/tag/zellerbach-hall"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_22402": {
"type": "terms",
"id": "arts_22402",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22402",
"found": true
},
"relationships": {},
"name": "funk music",
"slug": "funk-music",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "funk music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22414,
"isLoading": false,
"link": "/arts/tag/funk-music"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_21789": {
"type": "terms",
"id": "arts_21789",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21789",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obituary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obituary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21801,
"slug": "obituary",
"isLoading": false,
"link": "/arts/tag/obituary"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_3419": {
"type": "terms",
"id": "arts_3419",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3419",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chicano",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chicano Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3431,
"slug": "chicano",
"isLoading": false,
"link": "/arts/tag/chicano"
},
"arts_2519": {
"type": "terms",
"id": "arts_2519",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2519",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latin music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latin music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2531,
"slug": "latin-music",
"isLoading": false,
"link": "/arts/tag/latin-music"
},
"arts_877": {
"type": "terms",
"id": "arts_877",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "877",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mexican American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mexican American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 895,
"slug": "mexican-american",
"isLoading": false,
"link": "/arts/tag/mexican-american"
},
"arts_1257": {
"type": "terms",
"id": "arts_1257",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1257",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mission District",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mission District Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1269,
"slug": "mission-district",
"isLoading": false,
"link": "/arts/tag/mission-district"
},
"arts_21733": {
"type": "terms",
"id": "arts_21733",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21733",
"found": true
},
"relationships": {},
"featImg": null,
"name": "soul music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "soul music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21745,
"slug": "soul-music",
"isLoading": false,
"link": "/arts/tag/soul-music"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_5371": {
"type": "terms",
"id": "arts_5371",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5371",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kev Choice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kev Choice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5383,
"slug": "kev-choice",
"isLoading": false,
"link": "/arts/tag/kev-choice"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_22382": {
"type": "terms",
"id": "arts_22382",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22382",
"found": true
},
"relationships": {},
"name": "rap music",
"slug": "rap-music",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "rap music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22394,
"isLoading": false,
"link": "/arts/tag/rap-music"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_22564": {
"type": "terms",
"id": "arts_22564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22564",
"found": true
},
"relationships": {},
"name": "eastside arts alliance",
"slug": "eastside-arts-alliance",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "eastside arts alliance | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22576,
"isLoading": false,
"link": "/arts/tag/eastside-arts-alliance"
},
"arts_903": {
"type": "terms",
"id": "arts_903",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "903",
"found": true
},
"relationships": {},
"featImg": null,
"name": "graffiti",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "graffiti Archives | KQED Arts",
"ogDescription": null
},
"ttid": 921,
"slug": "graffiti",
"isLoading": false,
"link": "/arts/tag/graffiti"
},
"arts_2683": {
"type": "terms",
"id": "arts_2683",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2683",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Howard Wiley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Howard Wiley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2695,
"slug": "howard-wiley",
"isLoading": false,
"link": "/arts/tag/howard-wiley"
},
"arts_21912": {
"type": "terms",
"id": "arts_21912",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21912",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Malcolm X",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Malcolm X Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21924,
"slug": "malcolm-x",
"isLoading": false,
"link": "/arts/tag/malcolm-x"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_4058": {
"type": "terms",
"id": "arts_4058",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4058",
"found": true
},
"relationships": {},
"featImg": null,
"name": "davies symphony hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "davies symphony hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4070,
"slug": "davies-symphony-hall",
"isLoading": false,
"link": "/arts/tag/davies-symphony-hall"
},
"arts_22551": {
"type": "terms",
"id": "arts_22551",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22551",
"found": true
},
"relationships": {},
"name": "Fall Guide 2025",
"slug": "fall-guide-2025",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Fall Guide 2025 | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22563,
"isLoading": false,
"link": "/arts/tag/fall-guide-2025"
},
"arts_1071": {
"type": "terms",
"id": "arts_1071",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1071",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1088,
"slug": "san-francisco-opera",
"isLoading": false,
"link": "/arts/tag/san-francisco-opera"
},
"arts_2048": {
"type": "terms",
"id": "arts_2048",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2048",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFJAZZ",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFJAZZ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2060,
"slug": "sfjazz",
"isLoading": false,
"link": "/arts/tag/sfjazz"
},
"arts_4107": {
"type": "terms",
"id": "arts_4107",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4107",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Yoshis",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Yoshis Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4119,
"slug": "yoshis",
"isLoading": false,
"link": "/arts/tag/yoshis"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"location": {
"pathname": "/arts/tag/jazz",
"previousPathname": "/"
}
}
