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"content": "\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jazz Drummer Makaya McCraven Brings His 'Organic Beat Music' to SF",
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"content": "\u003cp>Jazz, that forever-rising dough of American music, is in a leavened state right now. A big part of the recipe is the saxophone—you’ve probably heard the words “Kamasi Washington” in conjunction with the notion that jazz is “back”—but a more fertile ingredient lately is the drum set. Similar to the acid-jazz explosion in the 1990s, rhythm is the backbone in jazz’s new sound, but it’s changed; you’re likely to hear influences of hip-hop producer \u003ca href=\"http://www.j-dilla.com/\" rel=\"noopener\" target=\"_blank\">J. Dilla\u003c/a> and electronic visionary \u003ca href=\"https://aphextwin.warp.net/\" rel=\"noopener\" target=\"_blank\">Aphex Twin\u003c/a> underpinning a propulsion that feels half-natural, half-electronic.\u003c/p>\n\u003cfigure id=\"attachment_13854885\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg\" alt=\"'Universal Beings' is the latest album from Makaya McCraven.\" width=\"160\" height=\"160\" class=\"size-thumbnail wp-image-13854885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">‘Universal Beings’ is the latest album from Makaya McCraven.\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Makaya McCraven, whose excellent 2018 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=ChnFBXxzpj4&list=PLbcerJq8u6Idxp3cG7COmJxId9jQ1IuDI\" rel=\"noopener\" target=\"_blank\">Universal Beings\u003c/a>\u003c/em> straddles that divide. Recorded at various jam sessions in four different cities (London, Chicago, New York and Los Angeles), the music from each was then edited into long, cohesive compositions. And while the sessions included some of the new guard’s top stars (including bassist \u003ca href=\"https://stanfordjazz.org/more-info/anna-butterss/\" rel=\"noopener\" target=\"_blank\">Anna Butterss\u003c/a> and British sax phenom \u003ca href=\"https://twitter.com/gmeline/status/1050218325664387072\" rel=\"noopener\" target=\"_blank\">Shabaka Hutchings\u003c/a>), it’s McCraven that gives the music its skittering-but-not-anxious pulse. He calls it “organic beat music.” \u003c/p>\n\u003cp>McCraven settles in with his group for two nights, April 16 and 17, at the \u003ca href=\"https://blackcatsf.com/\" rel=\"noopener\" target=\"_blank\">Black Cat\u003c/a>. A supper-club style joint in the Tenderloin, the Black Cat helpfully offers various tiers of tickets: table seating with an additional $20 per-person food or drink minimum; general admission for those who don’t mind standing; and the broke jazz fan’s option of hanging out in the upstairs lounge and hearing, but not watching, the music for free. However you experience the guy, McCraven is one to watch right now, and the shows are bound to be energy-filled and exciting. \u003ca href=\"https://www.eventbrite.com/o/black-cat-17110170624\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jazz, that forever-rising dough of American music, is in a leavened state right now. A big part of the recipe is the saxophone—you’ve probably heard the words “Kamasi Washington” in conjunction with the notion that jazz is “back”—but a more fertile ingredient lately is the drum set. Similar to the acid-jazz explosion in the 1990s, rhythm is the backbone in jazz’s new sound, but it’s changed; you’re likely to hear influences of hip-hop producer \u003ca href=\"http://www.j-dilla.com/\" rel=\"noopener\" target=\"_blank\">J. Dilla\u003c/a> and electronic visionary \u003ca href=\"https://aphextwin.warp.net/\" rel=\"noopener\" target=\"_blank\">Aphex Twin\u003c/a> underpinning a propulsion that feels half-natural, half-electronic.\u003c/p>\n\u003cfigure id=\"attachment_13854885\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg\" alt=\"'Universal Beings' is the latest album from Makaya McCraven.\" width=\"160\" height=\"160\" class=\"size-thumbnail wp-image-13854885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">‘Universal Beings’ is the latest album from Makaya McCraven.\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Makaya McCraven, whose excellent 2018 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=ChnFBXxzpj4&list=PLbcerJq8u6Idxp3cG7COmJxId9jQ1IuDI\" rel=\"noopener\" target=\"_blank\">Universal Beings\u003c/a>\u003c/em> straddles that divide. Recorded at various jam sessions in four different cities (London, Chicago, New York and Los Angeles), the music from each was then edited into long, cohesive compositions. And while the sessions included some of the new guard’s top stars (including bassist \u003ca href=\"https://stanfordjazz.org/more-info/anna-butterss/\" rel=\"noopener\" target=\"_blank\">Anna Butterss\u003c/a> and British sax phenom \u003ca href=\"https://twitter.com/gmeline/status/1050218325664387072\" rel=\"noopener\" target=\"_blank\">Shabaka Hutchings\u003c/a>), it’s McCraven that gives the music its skittering-but-not-anxious pulse. He calls it “organic beat music.” \u003c/p>\n\u003cp>McCraven settles in with his group for two nights, April 16 and 17, at the \u003ca href=\"https://blackcatsf.com/\" rel=\"noopener\" target=\"_blank\">Black Cat\u003c/a>. A supper-club style joint in the Tenderloin, the Black Cat helpfully offers various tiers of tickets: table seating with an additional $20 per-person food or drink minimum; general admission for those who don’t mind standing; and the broke jazz fan’s option of hanging out in the upstairs lounge and hearing, but not watching, the music for free. However you experience the guy, McCraven is one to watch right now, and the shows are bound to be energy-filled and exciting. \u003ca href=\"https://www.eventbrite.com/o/black-cat-17110170624\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour",
"headTitle": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour | KQED",
"content": "\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13845721' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/GettyImages-946721988-1920x1080.jpg'* target='_blank']\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ken Nordine, the wildly creative mind behind a series of \u003cem>Word Jazz\u003c/em> albums and the long-running \u003cem>Word Jazz\u003c/em> radio show, died Saturday at age 98, \u003ca href=\"https://www.wbez.org/shows/wbez-news/word-jazz-creator-and-host-ken-nordine-dies/71c82188-3b11-432b-93da-91d83affdaad\" rel=\"noopener\" target=\"_blank\">WBEZ reports\u003c/a>. \u003c/p>\n\u003cp>Nordine’s instantly recognizable vocal delivery—a rich basement tone that carried equal parts omen and humor—was a favorite of hipsters, radio listeners, jazz fans, poets, and college stoners, particularly during a run of surreal albums starting in the 1950s. Unusual song titles like “I Used to Think My Right Hand Was Uglier Than My Left” or “Flibberty Jib” became vehicles for Nordine’s improvisational approach to poetry, often backed by a small jazz combo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UVYpCdY4Y_0\u003c/p>\n\u003cp>In the 1970s, Nordine brought a radio show called \u003cem>Word Jazz\u003c/em> to Chicago public radio station WBEZ, after a short stint at WBBM. It stayed a staple of WBEZ’s programming for over 40 years. According to WBEZ’s Steve Edwards, the show maintained a “delicious buffet of sound portraits, mind-altering moodscapes and irregular riffs.” \u003c/p>\n\u003cp>Nordine, with his resonant voice, got his start in commercial advertising, an arena that proved dull and banal to the artist who would later collaborate with Tom Waits and David Bowie. One client he stayed with was Levi’s, then based in San Francisco, which he said gave him more creative freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_jCJURLuzdw\u003c/p>\n\u003cp>As a voice actor, Nordine’s jobs spanned unusual territory. Muppet creator Jim Henson adapted his 1957 track “Where Hunger is From” for \u003ca href=\"https://www.youtube.com/watch?v=RUWQKwrbcvA\" rel=\"noopener\" target=\"_blank\">a strange segment\u003c/a> on his first television series \u003cem>Sam and Friends\u003c/em>. Nordine also worked with autor Maurice Sendak on \u003cem>Sesame Street\u003c/em> in the 1970s—the same decade he served as vocal coach to Linda Blair for the horror film \u003cem>The Exorcist\u003c/em>.\u003c/p>\n\u003cp>The Grateful Dead’s Jerry Garcia was among many who heard Nordine’s \u003cem>Word Jazz\u003c/em> albums as a teenager and was opened to the possibilities of the human mind. “It was like a religious experience,” Garcia once said. “It was not only a completely different way of thinking, but a fantastic combination of words and music.” (Garcia collaborated with Nordine on a 1990 release, \u003cem>\u003ca href=\"http://swampland.com/reviews/view/title:devout_catalyst\" rel=\"noopener\" target=\"_blank\">Devout Catalyst\u003c/a>\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nordine was born in Iowa, and moved to Chicago young, making the city his longtime home. He is survived by three children, ten grandchildren and four great-grandchildren.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ken Nordine, the wildly creative mind behind a series of \u003cem>Word Jazz\u003c/em> albums and the long-running \u003cem>Word Jazz\u003c/em> radio show, died Saturday at age 98, \u003ca href=\"https://www.wbez.org/shows/wbez-news/word-jazz-creator-and-host-ken-nordine-dies/71c82188-3b11-432b-93da-91d83affdaad\" rel=\"noopener\" target=\"_blank\">WBEZ reports\u003c/a>. \u003c/p>\n\u003cp>Nordine’s instantly recognizable vocal delivery—a rich basement tone that carried equal parts omen and humor—was a favorite of hipsters, radio listeners, jazz fans, poets, and college stoners, particularly during a run of surreal albums starting in the 1950s. Unusual song titles like “I Used to Think My Right Hand Was Uglier Than My Left” or “Flibberty Jib” became vehicles for Nordine’s improvisational approach to poetry, often backed by a small jazz combo.\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/UVYpCdY4Y_0'\n title='//www.youtube.com/embed/UVYpCdY4Y_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the 1970s, Nordine brought a radio show called \u003cem>Word Jazz\u003c/em> to Chicago public radio station WBEZ, after a short stint at WBBM. It stayed a staple of WBEZ’s programming for over 40 years. According to WBEZ’s Steve Edwards, the show maintained a “delicious buffet of sound portraits, mind-altering moodscapes and irregular riffs.” \u003c/p>\n\u003cp>Nordine, with his resonant voice, got his start in commercial advertising, an arena that proved dull and banal to the artist who would later collaborate with Tom Waits and David Bowie. One client he stayed with was Levi’s, then based in San Francisco, which he said gave him more creative freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/_jCJURLuzdw'\n title='//www.youtube.com/embed/_jCJURLuzdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a voice actor, Nordine’s jobs spanned unusual territory. Muppet creator Jim Henson adapted his 1957 track “Where Hunger is From” for \u003ca href=\"https://www.youtube.com/watch?v=RUWQKwrbcvA\" rel=\"noopener\" target=\"_blank\">a strange segment\u003c/a> on his first television series \u003cem>Sam and Friends\u003c/em>. Nordine also worked with autor Maurice Sendak on \u003cem>Sesame Street\u003c/em> in the 1970s—the same decade he served as vocal coach to Linda Blair for the horror film \u003cem>The Exorcist\u003c/em>.\u003c/p>\n\u003cp>The Grateful Dead’s Jerry Garcia was among many who heard Nordine’s \u003cem>Word Jazz\u003c/em> albums as a teenager and was opened to the possibilities of the human mind. “It was like a religious experience,” Garcia once said. “It was not only a completely different way of thinking, but a fantastic combination of words and music.” (Garcia collaborated with Nordine on a 1990 release, \u003cem>\u003ca href=\"http://swampland.com/reviews/view/title:devout_catalyst\" rel=\"noopener\" target=\"_blank\">Devout Catalyst\u003c/a>\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nordine was born in Iowa, and moved to Chicago young, making the city his longtime home. He is survived by three children, ten grandchildren and four great-grandchildren.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amid all our turbulent politics, racial division, our president declaring an emergency that he \u003ca href=\"https://www.youtube.com/watch?v=_NzqiWXrfL4\" rel=\"noopener\" target=\"_blank\">openly admits he doesn’t need to declare\u003c/a>, general widespread discontent and malaise, I keep asking myself: where is the Charles Mingus revival?\u003c/p>\n\u003cp>Mingus, the outspoken, fiercely political jazz composer and bassist, seems tailor-made for 2019. Look at his lifelong fights against racial discrimination and corrupt greed among the wealthy. Look at his hard-driving compositional canon, a whirlwind of music by turns uplifting and angry or sad. Or, just look at his song titles: “Free Cell Block F, ‘Tis Nazi U.S.A.,” “Meditations on Integration,” “Remember Rockefeller at Attica,” “Prayer for Passive Resistance.” \u003c/p>\n\u003cp>Until it spreads nationwide, the answer to the question “where is the Mingus revival” is, for two nights at least, in San Jose. As part of the two-week San Jose Jazz Winterfest, running through Feb. 27, the SJZ Collective pays tribute to the larger-then-life bassist with a \u003ca href=\"https://sanjosejazz.org/artist/sjz-collective-plays-mingus/\" rel=\"noopener\" target=\"_blank\">sextet concert of Mingus compositions\u003c/a> at Cafe Stritch (Feb. 23; $15–$18).\u003c/p>\n\u003cp>Then, on Feb. 27, a living bridge to Mingus’ music hits the Stritch stage as Charles McPherson performs with his quartet. McPherson, a key element of classic Mingus albums such as \u003cem>Mingus at Monterey\u003c/em> and \u003cem>Let My Children Hear Music\u003c/em>. As a leader in his own right, his expression and tone straddle early traditions of bebop and the turbulent avant-garde. In the intimate confines of Cafe Stritch, it should be a rewarding set for a jazz master.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Charles McPherson plays Wednesday, Feb. 27, at Cafe Stritch in San Jose. \u003ca href=\"https://sanjosejazz.org/artist/charles-mcpherson/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. For the full San Jose Jazz Winterfest 2019 lineup, including the Bad Plus, Marcus Shelby, and Catherine Russell, \u003ca href=\"https://sanjosejazz.org/winter-fest/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid all our turbulent politics, racial division, our president declaring an emergency that he \u003ca href=\"https://www.youtube.com/watch?v=_NzqiWXrfL4\" rel=\"noopener\" target=\"_blank\">openly admits he doesn’t need to declare\u003c/a>, general widespread discontent and malaise, I keep asking myself: where is the Charles Mingus revival?\u003c/p>\n\u003cp>Mingus, the outspoken, fiercely political jazz composer and bassist, seems tailor-made for 2019. Look at his lifelong fights against racial discrimination and corrupt greed among the wealthy. Look at his hard-driving compositional canon, a whirlwind of music by turns uplifting and angry or sad. Or, just look at his song titles: “Free Cell Block F, ‘Tis Nazi U.S.A.,” “Meditations on Integration,” “Remember Rockefeller at Attica,” “Prayer for Passive Resistance.” \u003c/p>\n\u003cp>Until it spreads nationwide, the answer to the question “where is the Mingus revival” is, for two nights at least, in San Jose. As part of the two-week San Jose Jazz Winterfest, running through Feb. 27, the SJZ Collective pays tribute to the larger-then-life bassist with a \u003ca href=\"https://sanjosejazz.org/artist/sjz-collective-plays-mingus/\" rel=\"noopener\" target=\"_blank\">sextet concert of Mingus compositions\u003c/a> at Cafe Stritch (Feb. 23; $15–$18).\u003c/p>\n\u003cp>Then, on Feb. 27, a living bridge to Mingus’ music hits the Stritch stage as Charles McPherson performs with his quartet. McPherson, a key element of classic Mingus albums such as \u003cem>Mingus at Monterey\u003c/em> and \u003cem>Let My Children Hear Music\u003c/em>. As a leader in his own right, his expression and tone straddle early traditions of bebop and the turbulent avant-garde. In the intimate confines of Cafe Stritch, it should be a rewarding set for a jazz master.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Many may know \u003ca href=\"https://www.npr.org/artists/16302592/wanda-jackson\">Wanda Jackson\u003c/a>‘s 1960s hit “\u003ca href=\"https://www.youtube.com/watch?v=ip_rNAASt6I\">Let’s Have a Party\u003c/a>,” or even the versions performed by \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, but most will not recognize the name of the woman who wrote it: Jessie Mae Robinson.\u003c/p>\n\u003cp>Whether she was composing party songs or heartbreak songs, Robinson wrote with the concise, evocative language of a journalist. She gave her characters dignity no matter who they were or what they were doing.\u003c/p>\n\u003cp>Born in Texas in 1918 and raised in California, Robinson’s songs have been recorded by hundreds of artists, from \u003ca href=\"https://www.npr.org/artists/15404400/louis-jordan\">Louis Jordan\u003c/a> to \u003ca href=\"https://www.npr.org/artists/145913023/lana-del-rey\">Lana Del Rey\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”wG4bQWyv4SVZes0v9saOts3pZRAiAmoW”]\u003c/p>\n\u003cp>Growing up in the Watts neighborhood of Los Angeles, Robinson found a supportive community, and plenty of opportunities to explore her creative interests. She became a champion tap dancer, competing at the old Largo Theater. As a teenager, she wrote a column for the \u003ca href=\"https://www.pbs.org/blackpress/news_bios/ca_eagle.html\">\u003cem>California Eagle\u003c/em>\u003c/a> newspaper. She earned an \u003ca href=\"https://www.actorsequity.org/join/\">Actors’ Equity\u003c/a> card, performing in WPA musicals like \u003cem>Show Boat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Robinson also had a penchant for making up melodies and writing poetry. She was encouraged to become a songwriter by neighborhood friend Joe Adams, who’d go on to manage \u003ca href=\"https://www.npr.org/artists/14951033/ray-charles\">Ray Charles\u003c/a> and Dootsie Williams. Williams owned a local studio, where Robinson got her songwriting start. She caught a break in 1945, when a young \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\">Dinah Washington\u003c/a> released “Mellow Mama Blues.”\u003c/p>\n\u003cp>Robinson was an African American woman working mostly on her own in the 1940s and 50s, but she challenged a music industry determined to pigeonhole her into writing only blues and R&B. She loved\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=103402874\"> Tin Pan Alley \u003c/a>and show tunes, and refused to be confined by genre.\u003c/p>\n\u003cp>[contextly_sidebar id=”ct1SmKSyDNDH3nDUThOhnHL6UQMjkK8m”]\u003c/p>\n\u003cp>In 1952, Robinson had her first pop music crossover success when \u003ca href=\"https://www.npr.org/sections/therecord/2013/01/03/168488929/patti-page-who-dominated-the-50s-pop-charts-dies\">Patti Page\u003c/a> recorded her song, “I Went To Your Wedding,” about watching the love of your life marry someone else.\u003c/p>\n\u003cp>A self-taught musician, Robinson wrote songs even when she had no access to an instrument. She’d hum melodies into a tape recorder, and scribble lyrics on random pieces of paper. She didn’t learn to drive until age 30, so early in her career, she’d take a bus to Hollywood, and have her songs transcribed onto sheet music that the studio musicians could read.\u003c/p>\n\u003cp>[contextly_sidebar id=”Nkp42ZQ5aAQPxYVtFnMbN4bi1oVEbWQc”]\u003c/p>\n\u003cp>In the early 1960s, Robinson started her own record labels, naming the first one after her daughter, June. Though she loved music, Robinson had grown tired of the industry. She was physically tired, too. Robinson’s health was in decline, and in 1966 she sought treatment for a chronic throat problem. The doctors suggested surgery, but she said no, fearful of permanently losing her voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Robinson died in 1966 at age 48, leaving behind a body of work that reflects who she was: soft-spoken yet self-possessed, imaginative and ambitious. She was a uniquely gifted composer with an eye for detail that most people overlook and the ability to pack so much emotion into just a few words.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Women+Behind+The+Songs%3A+Jessie+Mae+Robinson&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many may know \u003ca href=\"https://www.npr.org/artists/16302592/wanda-jackson\">Wanda Jackson\u003c/a>‘s 1960s hit “\u003ca href=\"https://www.youtube.com/watch?v=ip_rNAASt6I\">Let’s Have a Party\u003c/a>,” or even the versions performed by \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, but most will not recognize the name of the woman who wrote it: Jessie Mae Robinson.\u003c/p>\n\u003cp>Whether she was composing party songs or heartbreak songs, Robinson wrote with the concise, evocative language of a journalist. She gave her characters dignity no matter who they were or what they were doing.\u003c/p>\n\u003cp>Born in Texas in 1918 and raised in California, Robinson’s songs have been recorded by hundreds of artists, from \u003ca href=\"https://www.npr.org/artists/15404400/louis-jordan\">Louis Jordan\u003c/a> to \u003ca href=\"https://www.npr.org/artists/145913023/lana-del-rey\">Lana Del Rey\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Growing up in the Watts neighborhood of Los Angeles, Robinson found a supportive community, and plenty of opportunities to explore her creative interests. She became a champion tap dancer, competing at the old Largo Theater. As a teenager, she wrote a column for the \u003ca href=\"https://www.pbs.org/blackpress/news_bios/ca_eagle.html\">\u003cem>California Eagle\u003c/em>\u003c/a> newspaper. She earned an \u003ca href=\"https://www.actorsequity.org/join/\">Actors’ Equity\u003c/a> card, performing in WPA musicals like \u003cem>Show Boat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Robinson also had a penchant for making up melodies and writing poetry. She was encouraged to become a songwriter by neighborhood friend Joe Adams, who’d go on to manage \u003ca href=\"https://www.npr.org/artists/14951033/ray-charles\">Ray Charles\u003c/a> and Dootsie Williams. Williams owned a local studio, where Robinson got her songwriting start. She caught a break in 1945, when a young \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\">Dinah Washington\u003c/a> released “Mellow Mama Blues.”\u003c/p>\n\u003cp>Robinson was an African American woman working mostly on her own in the 1940s and 50s, but she challenged a music industry determined to pigeonhole her into writing only blues and R&B. She loved\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=103402874\"> Tin Pan Alley \u003c/a>and show tunes, and refused to be confined by genre.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In 1952, Robinson had her first pop music crossover success when \u003ca href=\"https://www.npr.org/sections/therecord/2013/01/03/168488929/patti-page-who-dominated-the-50s-pop-charts-dies\">Patti Page\u003c/a> recorded her song, “I Went To Your Wedding,” about watching the love of your life marry someone else.\u003c/p>\n\u003cp>A self-taught musician, Robinson wrote songs even when she had no access to an instrument. She’d hum melodies into a tape recorder, and scribble lyrics on random pieces of paper. She didn’t learn to drive until age 30, so early in her career, she’d take a bus to Hollywood, and have her songs transcribed onto sheet music that the studio musicians could read.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the early 1960s, Robinson started her own record labels, naming the first one after her daughter, June. Though she loved music, Robinson had grown tired of the industry. She was physically tired, too. Robinson’s health was in decline, and in 1966 she sought treatment for a chronic throat problem. The doctors suggested surgery, but she said no, fearful of permanently losing her voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Robinson died in 1966 at age 48, leaving behind a body of work that reflects who she was: soft-spoken yet self-possessed, imaginative and ambitious. She was a uniquely gifted composer with an eye for detail that most people overlook and the ability to pack so much emotion into just a few words.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Women+Behind+The+Songs%3A+Jessie+Mae+Robinson&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was the opening night of what had originally been planned as a four-day residency for Wayne Shorter and his quartet at SFJAZZ, and the absence of the 85-year-old jazz legend, who canceled due to illness, hung in the air.\u003c/p>\n\u003cp>Then longtime friend Herbie Hancock got on the microphone.\u003c/p>\n\u003cp>“May Wayne have a happy, long life. This guy’s amazing—he’s been through so much health-wise, and now he’s in the middle of writing an opera!” Hancock said. “Can any of \u003cem>you\u003c/em> do that?”\u003c/p>\n\u003cp>And so the retooled residency—with Shorter’s enduring group of Brian Blade, Danilo Pérez and John Patitucci backing various luminaries influenced by the saxophonist and composer—became a celebration of Shorter’s music.\u003c/p>\n\u003cfigure id=\"attachment_13848119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-800x450.jpg\" alt=\"Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was no more evident then on Thursday night: Hancock (who’d suggested the show go on as a tribute when Shorter fell ill) traded keytar licks with trumpeter Terence Blanchard, dueted on piano with Pérez, and supplied atmospheric synthesizers with \u003ca href=\"https://www.ebony.com/entertainment/terrace-martin-influencers/#axzz450iZIILX\" rel=\"noopener\" target=\"_blank\">Kendrick Lamar collaborator\u003c/a> Terrace Martin on compositions like “Nefertiti” and “Visitor From Nowhere.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These were written decades, almost eras ago, right?” Hancock remarked from the stage. “They don’t \u003cem>sound\u003c/em> like that, though. Wayne’s compositions never get old—and we can’t say that about everybody.”\u003c/p>\n\u003cp>The tribute continues Friday night in a sold-out show with Branford Marsalis and Blanchard heading the group. But it’s the Saturday and Sunday shows, just on the cusp of selling out, which are grabbing more attention in my circles.\u003c/p>\n\u003cp>The reigning minister of Los Angeles’ new jazz explosion, Kamasi Washington, joins Martin to play Shorter’s music on Saturday night, while Sunday is given over to two local boys made very, very good: Joshua Redman and Ambrose Akinmusire. \u003c/p>\n\u003cp>And with any luck, Shorter himself will be back soon. As Hancock said Thursday night, “Wayne never, never, never gives up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Wayne Shorter Legacy Celebration continues on Friday, Saturday and Sunday nights, Jan. 4–6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/wayne-shorter/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the opening night of what had originally been planned as a four-day residency for Wayne Shorter and his quartet at SFJAZZ, and the absence of the 85-year-old jazz legend, who canceled due to illness, hung in the air.\u003c/p>\n\u003cp>Then longtime friend Herbie Hancock got on the microphone.\u003c/p>\n\u003cp>“May Wayne have a happy, long life. This guy’s amazing—he’s been through so much health-wise, and now he’s in the middle of writing an opera!” Hancock said. “Can any of \u003cem>you\u003c/em> do that?”\u003c/p>\n\u003cp>And so the retooled residency—with Shorter’s enduring group of Brian Blade, Danilo Pérez and John Patitucci backing various luminaries influenced by the saxophonist and composer—became a celebration of Shorter’s music.\u003c/p>\n\u003cfigure id=\"attachment_13848119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-800x450.jpg\" alt=\"Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was no more evident then on Thursday night: Hancock (who’d suggested the show go on as a tribute when Shorter fell ill) traded keytar licks with trumpeter Terence Blanchard, dueted on piano with Pérez, and supplied atmospheric synthesizers with \u003ca href=\"https://www.ebony.com/entertainment/terrace-martin-influencers/#axzz450iZIILX\" rel=\"noopener\" target=\"_blank\">Kendrick Lamar collaborator\u003c/a> Terrace Martin on compositions like “Nefertiti” and “Visitor From Nowhere.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These were written decades, almost eras ago, right?” Hancock remarked from the stage. “They don’t \u003cem>sound\u003c/em> like that, though. Wayne’s compositions never get old—and we can’t say that about everybody.”\u003c/p>\n\u003cp>The tribute continues Friday night in a sold-out show with Branford Marsalis and Blanchard heading the group. But it’s the Saturday and Sunday shows, just on the cusp of selling out, which are grabbing more attention in my circles.\u003c/p>\n\u003cp>The reigning minister of Los Angeles’ new jazz explosion, Kamasi Washington, joins Martin to play Shorter’s music on Saturday night, while Sunday is given over to two local boys made very, very good: Joshua Redman and Ambrose Akinmusire. \u003c/p>\n\u003cp>And with any luck, Shorter himself will be back soon. As Hancock said Thursday night, “Wayne never, never, never gives up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Wayne Shorter Legacy Celebration continues on Friday, Saturday and Sunday nights, Jan. 4–6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/wayne-shorter/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Listen: KQED Arts' Top 20 Albums of 2018",
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"content": "\u003cp>\u003cem>With year-end list season in full swing at media outlets across the country, KQED Arts is dedicating our top 20 national and international albums list to projects that didn’t reign over the Billboard charts or mainstream publications. Some of our picks celebrate works that made widespread impact, but most of them highlight lesser-known yet worthy releases. Of course, many of our favorite albums were local. For our favorite Bay Area releases of 2018, click \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/HRggdDV-dBc\u003c/p>\n\u003ch3>Best Album to Feed the Spirit of Global Resistance\u003c/h3>\n\u003cp>\u003cstrong>Seun Kuti & Egypt 80, \u003cem>Black Times \u003c/em>(Strut)\u003c/strong>\u003c/p>\n\u003cp>When Nigerian Afrobeat pioneer Fela Kuti passed away in 1997, his son Seun Kuti inherited his virtuosic ensemble Egypt 80 at 14 years old. No pressure, right? With his latest release, \u003cem>Black Times\u003c/em>, Fela’s youngest son reminds us that the revolutionary spirit of the Kuti family is still necessary for 2018’s political battles, and that what they do remarkably well is communicate political messages through jubilant, danceable music without dumbing them down \u003cem>or\u003c/em> coming across as preachy. With florid explosions of horns and hip-shaking congas, Seun Kuti rails against environment-destroying corporations and champions the 99 percent. His dad spoke out against human rights abuses in Nigeria, but Seun Kuti has a far-reaching message for a globalized world.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/pJKOaVjfHus\u003c/p>\n\u003ch3>Best Album to Preserve an Endangered Language\u003c/h3>\n\u003cp>\u003cstrong>Jeremy Dutcher, \u003cem>Wolastoqiyik Lintuwakonawa \u003c/em>(Fontana North)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though we love to make jokes about Canada’s politeness and handsome prime minister, Americans often forget that our northern neighbor’s colonial history parallels our own. In the past few years, more and more indigenous artists have been claiming a seat at the table, including pianist and singer Jeremy Dutcher. The recipient of 2018’s Polaris Prize, Dutcher spent five years writing \u003cem>Wolastoqiyik Lintuwakonawa (Our Maliseet Songs)\u003c/em> in Wolastoq, his people’s language that only has around 100 speakers. \u003cem>Wolastoqiyik Lintuwakonawa\u003c/em> is a swooning work of operatic grace, a delicate historical document and a massive middle finger to those that would tell him to “get over it.”\u003cem>—Jody Amable\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/e8g7A7LAO_o\u003c/p>\n\u003ch3>Best Reminder that Multi-Instrumentalists are Super Heroes\u003c/h3>\n\u003cp>\u003cstrong>Kadhja Bonet, \u003cem>Childqueen \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>The fiercely intelligent Kadhja Bonet wrote, produced, mixed and performed almost every aspect of \u003cem>Childqueen\u003c/em>‘s ten tracks (plus cover art) with a painstaking attention to detail. The resulting work—drawing on soul, R&B and disco with choral and symphonic influences—is threaded with Bonet’s delicate vocals and swollen with a restrained power. \u003cem>Childqueen\u003c/em> masters that thin line between mainstream accessibility and a music geek’s delight, creating a work so fresh it defies all categorization. Bonus: if the album leaves you craving more, she also released a short EP of its outtakes.\u003cem>—Annie Bacon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91QQqfr1qzE\u003c/p>\n\u003ch3>Best Album to Channel Your Rage\u003c/h3>\n\u003cp>\u003cstrong>Rico Nasty, \u003cem>Nasty \u003c/em>(Sugar Trap)\u003c/strong>\u003c/p>\n\u003cp>With family separations at the border, a major housing crisis and a patriarchal display at the Supreme Court confirmation hearing, there was plenty to be angry about in 2018. For this rage, Rico Nasty’s firecracker of an album, \u003cem>Nasty\u003c/em>, offers a balm. With the delivery of a drill sergeant, Nasty funnels her anger and insecurities through the growls of nu-metal stalwarts like Korn and Slipknot (“Rage,” “Trust Issues”), and empowered braggadocio of female rappers past (“Countin’ Up,” “Bitch I’m Nasty”). “Nasty” reveals the healing power of fury, and it feels so good.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/9f5zD7ZSNpQ\u003c/p>\n\u003ch3>Best Album for Cruising in a Vintage Cadillac\u003c/h3>\n\u003cp>\u003cstrong>Kali Uchis, \u003cem>Isolation\u003c/em> (Universal)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Isolation\u003c/em> is Kali Uchis’ strongest project since the self-released mixtape that launched her into indie stardom, \u003cem>Drunken Babble\u003c/em>. Rather than sticking to the lo-fi R&B style that first caught listeners’ attention (which, let’s face it, would be so 2012), Uchis’ major-label debut hones in on the vintage, low-rider oldies-inspired sound the Colombian-American singer has been grasping at for years. With assists from Bootsy Collins and The Internet’s Steve Lacy, Uchis infuses her songwriting with a funky, danceable backbeat that harks back to 1970s Chicano soul, with lyrics that speak to young women striving to get out from under toxic relationships and other forms of patriachy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/es9-P1SOeHU\u003c/p>\n\u003ch3>Best Album for People Who Live on the Internet\u003c/h3>\n\u003cp>\u003cstrong>Sophie, \u003cem>Oil of Every Pearl’s Un-Insides \u003c/em>(MSMSMSM/Future Classic)\u003c/strong>\u003c/p>\n\u003cp>This year—OK, let’s be real, the last few millennia—men have been acting a damn fool, to put it kindly. Blasting SOPHIE’s spectacularly queer album is the perfect way to drown out the sound of all that entitled macho rage. So much of popular music these days is paint-by-numbers and risk-averse, but SOPHIE takes the traditional form of a pop song and gives it a makeover with a chainsaw. Ever wonder what an elephant exorcism taking place in a nightclub 100 years from now might sound like? Listen to “Ponyboy.” What about the experience of gobbling up a pack of sour straws laced with acid? Get hyper with “Immaterial.” A helium balloon on fire? Enjoy the squeaky destruction of “Faceshopping,” about social media and plastic surgery. The album is manic, surreal, challenging and kind of scary, but that’s because it’s doing something new, and that’s what keeps me going back for another hit.\u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/EOTebhPy04g\u003c/p>\n\u003ch3>Best Album to Fuel a Creative Spree\u003c/h3>\n\u003cp>\u003cstrong>Tierra Whack, \u003cem>Whack World \u003c/em>(Self-Released)\u003c/strong>\u003c/p>\n\u003cp>My only complaint about Tierra Whack’s debut is that I want more! Comprised of 15 one-minute tracks, \u003cem>Whack World\u003c/em> is a feat of imagination and brevity during a year when rap’s most-streamed albums (looking at you, Migos, Drake and Rae Sremmurd) were stuffed with throw-away songs that dimmed their brightest moments. In her bite-sized format, Whack shows off her penchant for writing in a variety of genres. On the sexy, R&B track “Bite It,” she makes a statement on how female artists are more often appreciated for their aesthetics than their ingenuity; with “Pet Cemetery,” she eulogizes a dead friend with a silly yet heart-rending play on the cliche “all dogs go to heaven.” The only problem is, each song ends just as you get ready to sing along.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/zI11XRzGRKQ\u003c/p>\n\u003ch3>Best Album To Remind Us That Good People Still Exist\u003c/h3>\n\u003cp>\u003cstrong>Courtney Marie Andrews, \u003cem>May Your Kindness Remain \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>Once a backup singer for Jimmy Eat World, country-leaning folk singer/songwriter Courtney Marie Andrews wouldn’t have found her way on a winding career path were it not for the altruism of the people she’s met along the way. With the country charm of “Kindness of Strangers,” the blues keys of “Border” and the gospel soul of the album’s title track, Andrews’ \u003cem>May Your Kindness Remain\u003c/em> tells her story brilliantly at every turn. Here’s to hoping we can all move through life as tenderly as this singer with a heart-melting voice.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/LdyabrdFMC8\u003c/p>\n\u003ch3>Best Album to Turn Arcade Games into Revelations\u003c/h3>\n\u003cp>\u003cstrong>Kamasi Washington,\u003cem> Heaven and Earth \u003c/em>(Young Turks)\u003c/strong>\u003c/p>\n\u003cp>Kamasi Washington’s \u003cem>Heaven and Earth\u003c/em> is boundless. The virtuosic jazz saxophonist and his band, the West Coast Get Down, maneuver listeners through space, time and place seamlessly on the 144-minute double album. Washington takes us to Los Angeles for some G-funk on “Street Fighter Mas,” reinterprets a classic Bruce Lee theme on “Fists of Fury,” beckons us to church on “Will You Sing?” and ventures south with the bossa nova-tinged “Vi Lua Vi Sol.” The result is a transcendent album that finds its home in the space between the terrestrial and divine.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/42XXZvrnHbM\u003c/p>\n\u003ch3>Most Likely to Start a Mosh Pit\u003c/h3>\n\u003cp>\u003cstrong>Courtney Barnett, \u003cem>Tell Me How You Really Feel \u003c/em>(Marathon Artists/Mom+Pop)\u003c/strong>\u003c/p>\n\u003cp>If Barnett’s 2015 debut, \u003cem>Sometimes I Sit and Think, and Sometimes I Just Sit\u003c/em>, was a house party specifically designed to make sparks fly between unsuspecting guests, \u003cem>Tell Me How You Really Feel\u003c/em> is the hangover and awkward social consequences that unfold the next day. It’s the heartrending sound of an ex-fly on the wall, grappling with the discomfort and paranoia of suddenly being the center of attention. Barnett’s smart inner monologue was the thing that launched her to fame in the first place. Here, she turns the wry observations on herself to remind listeners to be careful what they wish for. The final result is surprising and moving.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/vz9-pXuvFEU\u003c/p>\n\u003ch3>Best Reminder That Everyone Needs an Editor\u003c/h3>\n\u003cp>\u003cstrong>Vince Staples, \u003cem>FM! \u003c/em>(Def Jam)\u003c/strong>\u003c/p>\n\u003cp>As rap albums grow increasingly bloated, Vince Staples’ \u003cem>FM!\u003c/em> makes a case for concision. Framed as a mock broadcast of the nationally-syndicated radio show \u003cem>Big Boy’s Neighborhood\u003c/em> and produced by Kenny Beats and Hagler, \u003cem>FM!\u003c/em> captures the buoyancy of summertime alongside the casual and stark ubiquity of death in Staples’ Long Beach. “Summertime in the LB wild / We gon’ party till the sun or the guns come out,” he raps on “Feels like Summer,” setting the tone for the 22-minute record. The album is brief but mighty, a feat only accomplished by a wordsmith as economic and skilled as Staples.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/oOAgB44MI3Q\u003c/p>\n\u003ch3>Best Album for Flossing Out Your Poor Oversaturated Brain\u003c/h3>\n\u003cp>\u003cstrong>Autechre, \u003cem>NTS Sessions \u003c/em>(Warp Records)\u003c/strong>\u003c/p>\n\u003cp>It almost shouldn’t have been an album. \u003ci>NTS Sessions\u003c/i>, the hefty 8-hour release from UK electronic duo Autechre, debuted as an online radio premiere in April. However, this isn’t a box set collection of throwaways or B-sides, but rather an invigorating, rich marathon of sound designed as a linear narrative, with its own set of climaxes and comedowns. This is all the more impressive having been generated in the algorithmic software \u003ca href=\"https://youtu.be/dkf87DJhG-4?t=3m4s\" target=\"_blank\" rel=\"noopener\">Max/MSP\u003c/a>; I’m normally a naysayer of AI compositon and its ability to convey emotion, but Autechre have trained their software closer to a human than anything else I’ve heard. Above all, \u003ci>NTS Sessions\u003c/i> is an 8-hour cleanse for the ears and brain—a useful thing amid the information static of 2018. —\u003ci>Gabe Meline\u003c/i>\u003c/p>\n\u003cp>https://youtu.be/MIyUHkTSfLM\u003c/p>\n\u003ch3>Best Album to Accompany a Psychedelic Trip\u003c/h3>\n\u003cp>\u003cstrong>Kikagaku Moyo, \u003cem>Masana Temples \u003c/em>(Guruguru Brain)\u003c/strong>\u003c/p>\n\u003cp>Flipping on \u003cem>Masana Temples\u003c/em>, the fourth LP from Japanese psych-rock band Kikagaku Moyo, I’m transported back to a bean bag chair in a college dorm room, my mind in euphoric bliss. “Dripping Sun” feels like felt-coated black light posters are swirling in a hallucination alongside cowbells, wah pedals and Go Kurosawa’s soft vocals. “Majupose” sounds like Stereolab re-incarnated in Japanese. Released on Amsterdam’s Guruguru Brain label, the kaleidoscopic explorations of Masana Temples are nothing short of high-grade stuff.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/OaFymywIT7M\u003c/p>\n\u003ch3>Best Album For Throwing a Middle Finger Up to the Patriarchy\u003c/h3>\n\u003cp>\u003cstrong>Alice Bag, \u003cem>Blueprint \u003c/em>(Don Giovanni Records)\u003c/strong>\u003c/p>\n\u003cp>Outspoken Chicana activist and feminist punk icon Alice Bag digs into her roots and serves up a potent antidote for apathy with \u003cem>Blueprint\u003c/em>. “77” rallies for women everywhere to mobilize towards fair wages (white women make 77 cents to the white man’s dollar while Latinas earn closer to 53). On “Se Cree Joven,” Bag casts off all expectations about how she should look, talk and act at her age with a bouncy, buzzing mantra proclaiming self-love: “Whether I’m 15 or 100 / I’m going to be myself / Because this is how I feel good.” With balladic undertones, \u003cem>Blueprint’\u003c/em>s final track lyrically illustrates the Chicano Moratorium protest and ultimate clash with the police on Aug. 29, 1970: “You say justice is color blind / I know you’re lying” and “White justice doesn’t work for me / White justice is a travesty / White justice just isn’t, just isn’t just.” If there’s anything you take away from this album, one message is crystal clear: “It’s time for change.”\u003cem>—Lina Blanco\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/rzgw0XldTC0\u003c/p>\n\u003ch3>Best Album to Demonstrate Reggaeton’s Staying Power in Pop\u003c/h3>\n\u003cp>\u003cstrong>J Balvin, \u003cem>Vibras \u003c/em>(Universal Music Latino)\u003c/strong>\u003c/p>\n\u003cp>The international success of Luis Fonsi and Daddy Yankee’s “Despacito” gave rise to the wave of Latinx artists taking over into the Anglo market. Such is the case with Colombian reggaeton singer J Balvin, whose \u003cem>Vibras\u003c/em> album proved that Latinx artists can vie for American pop stardom without releasing an album in English. Even Beyoncé wanted in on this Colombian reggaeton-pop fusion, joining J Balvin on the remix of lead single “Mi Gente.” \u003cem>Vibras\u003c/em> recently won the Latin Grammy for best urban music album, and J Balvin is repaving the glory days of this Afro-Caribbean sound.\u003cem>—Azucena Rasilla\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/qooWnw5rEcI\u003c/p>\n\u003ch3>Best Album to Help Overcome Heartbreak\u003c/h3>\n\u003cp>\u003cstrong>Mitski, \u003cem>Be the Cowboy \u003c/em>(Dead Oceans)\u003c/strong>\u003c/p>\n\u003cp>Have you ever been completely leveled by love? Mitski has too. \u003cem>On Be The Cowboy\u003c/em>, Mitski ditches romantic banalities and sends her fuzzy guitars to the back in favor of exploring a broader pop landscape and the devastation wrought by handing over your heart to someone. Here, Mitski is insatiable, diving head first into the wreckage of her feelings and relationships. Playing it cool isn’t an option. Rather, she’s gutted as pleads for her lover’s presence (“Geyser,” “Come into the Water”), resigns to her loneliness (“Nobody,” “Lonesome Love”) and falls apart (“Pink in the Night”). Her love is as ardent and abjectly desirous as it is isolating.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/1Iom3PA_JaY\u003c/p>\n\u003ch3>Best Album to Remind Us of History’s Lessons\u003c/h3>\n\u003cp>\u003cstrong>Tiffany Austin, \u003cem>Unbroken\u003c/em> (Con Alma Music)\u003c/strong>\u003c/p>\n\u003cp>No single album can encompass the breadth and depth of the African-American experience, but jazz vocalist Tiffany Austin’s \u003cem>Unbroken\u003c/em> offers a kaleidoscopic soul-steeped sojourn into the sounds that have long nourished and sustained black communities. Redolent of church pews and juke joints, protests, late-night slow dances and jam sessions, Austin’s warm and welcoming voice infuses every song with wisdom and grace. With original pieces that stand up effectively next to the standards, she’s well-served by a superlative cast, including an insuperable New York rhythm section featuring pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/kjEC49hTitI\u003c/p>\n\u003ch3>Best Pissed-off-at-the-Presidency Album\u003c/h3>\n\u003cp>\u003cstrong>Ministry, \u003cem>AmeriKKKant\u003c/em> (Nuclear Blast)\u003c/strong>\u003c/p>\n\u003cp>Sometimes you want music to match an angry mood, and for days when your dark cloud is specifically political in nature, Ministry’s 14th studio album, \u003cem>AmeriKKKant\u003c/em>, provides the perfect soundtrack. Tightly-wound, appropriately aggressive and full of musical surprises—such as the opening track’s quivering, nervy strings building to the throb-and-squeal of “The Twilight Zone”—AmeriKKKant lays to rest that old canard about people naturally growing more conservative as they grow older. Ministry frontman Al Jourgenson has definitely not mellowed in his elder years, and his outrage is true to form.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Mru9GG3ur9U\u003c/p>\n\u003ch3>Best Album for Dancing the Pain Away\u003c/h3>\n\u003cp>\u003cstrong>Robyn, \u003cem>Honey \u003c/em>(Embassy One)\u003c/strong>\u003c/p>\n\u003cp>Forget Carmen San Diego—the pressing question of the past eight years has been, where in the world is Robyn?! Now we have our answer: she was in a lab cooking up slow-burn bops to put us in our feelings (“Baby Forgive Me,” “Send to Robyn Immediately”). Since her last solo release, \u003cem>Body Talk\u003c/em>, Robyn has been through a lot of heartbreak, including a romantic breakup and the death of a close collaborator. Much of her new work feels battle-tested, like a scab falling off. \u003cem>Honey\u003c/em> isn’t the sweaty spin around the dance floor we expected, but it’s the deep groove we needed.\u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYfvzo331Pg\u003c/p>\n\u003ch3>Best Album for Jamming Out at Home in Your Socks\u003c/h3>\n\u003cp>\u003cstrong>Francis and the Lights, \u003cem>Just for Us \u003c/em>(KTTF)\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>True, Francis and the Lights’ third full-length album came out in 2017. But if an album’s released on Dec. 29, does it really belong to that year? \u003ci>Just For Us\u003c/i> was the soundtrack of my 2018—a mostly contemplative synth-pop soundtrack punctuated by light, dancey numbers worthy of home-alone-in-your-socks moves. Clear communication got harder (“Breaking Up”); nostalgia was ruled out on “Back in Time” (in which Francis states, “That’s not the way time goes”); and I reconsidered self-driving cars (“Cruise”). \u003ci>Just For Us\u003c/i> kept me looking forward in a year I couldn’t be happier to leave behind.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"title": "Listen: KQED Arts' Top 20 Albums of 2018 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>With year-end list season in full swing at media outlets across the country, KQED Arts is dedicating our top 20 national and international albums list to projects that didn’t reign over the Billboard charts or mainstream publications. Some of our picks celebrate works that made widespread impact, but most of them highlight lesser-known yet worthy releases. Of course, many of our favorite albums were local. For our favorite Bay Area releases of 2018, click \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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/HRggdDV-dBc'\n title='//www.youtube.com/embed/HRggdDV-dBc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Feed the Spirit of Global Resistance\u003c/h3>\n\u003cp>\u003cstrong>Seun Kuti & Egypt 80, \u003cem>Black Times \u003c/em>(Strut)\u003c/strong>\u003c/p>\n\u003cp>When Nigerian Afrobeat pioneer Fela Kuti passed away in 1997, his son Seun Kuti inherited his virtuosic ensemble Egypt 80 at 14 years old. No pressure, right? With his latest release, \u003cem>Black Times\u003c/em>, Fela’s youngest son reminds us that the revolutionary spirit of the Kuti family is still necessary for 2018’s political battles, and that what they do remarkably well is communicate political messages through jubilant, danceable music without dumbing them down \u003cem>or\u003c/em> coming across as preachy. With florid explosions of horns and hip-shaking congas, Seun Kuti rails against environment-destroying corporations and champions the 99 percent. His dad spoke out against human rights abuses in Nigeria, but Seun Kuti has a far-reaching message for a globalized world.\u003cem>—Nastia Voynovskaya\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/pJKOaVjfHus'\n title='//www.youtube.com/embed/pJKOaVjfHus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Preserve an Endangered Language\u003c/h3>\n\u003cp>\u003cstrong>Jeremy Dutcher, \u003cem>Wolastoqiyik Lintuwakonawa \u003c/em>(Fontana North)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though we love to make jokes about Canada’s politeness and handsome prime minister, Americans often forget that our northern neighbor’s colonial history parallels our own. In the past few years, more and more indigenous artists have been claiming a seat at the table, including pianist and singer Jeremy Dutcher. The recipient of 2018’s Polaris Prize, Dutcher spent five years writing \u003cem>Wolastoqiyik Lintuwakonawa (Our Maliseet Songs)\u003c/em> in Wolastoq, his people’s language that only has around 100 speakers. \u003cem>Wolastoqiyik Lintuwakonawa\u003c/em> is a swooning work of operatic grace, a delicate historical document and a massive middle finger to those that would tell him to “get over it.”\u003cem>—Jody Amable\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/e8g7A7LAO_o'\n title='//www.youtube.com/embed/e8g7A7LAO_o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Reminder that Multi-Instrumentalists are Super Heroes\u003c/h3>\n\u003cp>\u003cstrong>Kadhja Bonet, \u003cem>Childqueen \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>The fiercely intelligent Kadhja Bonet wrote, produced, mixed and performed almost every aspect of \u003cem>Childqueen\u003c/em>‘s ten tracks (plus cover art) with a painstaking attention to detail. The resulting work—drawing on soul, R&B and disco with choral and symphonic influences—is threaded with Bonet’s delicate vocals and swollen with a restrained power. \u003cem>Childqueen\u003c/em> masters that thin line between mainstream accessibility and a music geek’s delight, creating a work so fresh it defies all categorization. Bonus: if the album leaves you craving more, she also released a short EP of its outtakes.\u003cem>—Annie Bacon\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/91QQqfr1qzE'\n title='//www.youtube.com/embed/91QQqfr1qzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Channel Your Rage\u003c/h3>\n\u003cp>\u003cstrong>Rico Nasty, \u003cem>Nasty \u003c/em>(Sugar Trap)\u003c/strong>\u003c/p>\n\u003cp>With family separations at the border, a major housing crisis and a patriarchal display at the Supreme Court confirmation hearing, there was plenty to be angry about in 2018. For this rage, Rico Nasty’s firecracker of an album, \u003cem>Nasty\u003c/em>, offers a balm. With the delivery of a drill sergeant, Nasty funnels her anger and insecurities through the growls of nu-metal stalwarts like Korn and Slipknot (“Rage,” “Trust Issues”), and empowered braggadocio of female rappers past (“Countin’ Up,” “Bitch I’m Nasty”). “Nasty” reveals the healing power of fury, and it feels so good.\u003cem>—Montse Reyes\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/9f5zD7ZSNpQ'\n title='//www.youtube.com/embed/9f5zD7ZSNpQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Cruising in a Vintage Cadillac\u003c/h3>\n\u003cp>\u003cstrong>Kali Uchis, \u003cem>Isolation\u003c/em> (Universal)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Isolation\u003c/em> is Kali Uchis’ strongest project since the self-released mixtape that launched her into indie stardom, \u003cem>Drunken Babble\u003c/em>. Rather than sticking to the lo-fi R&B style that first caught listeners’ attention (which, let’s face it, would be so 2012), Uchis’ major-label debut hones in on the vintage, low-rider oldies-inspired sound the Colombian-American singer has been grasping at for years. With assists from Bootsy Collins and The Internet’s Steve Lacy, Uchis infuses her songwriting with a funky, danceable backbeat that harks back to 1970s Chicano soul, with lyrics that speak to young women striving to get out from under toxic relationships and other forms of patriachy.\u003cem>—Nastia Voynovskaya\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/es9-P1SOeHU'\n title='//www.youtube.com/embed/es9-P1SOeHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for People Who Live on the Internet\u003c/h3>\n\u003cp>\u003cstrong>Sophie, \u003cem>Oil of Every Pearl’s Un-Insides \u003c/em>(MSMSMSM/Future Classic)\u003c/strong>\u003c/p>\n\u003cp>This year—OK, let’s be real, the last few millennia—men have been acting a damn fool, to put it kindly. Blasting SOPHIE’s spectacularly queer album is the perfect way to drown out the sound of all that entitled macho rage. So much of popular music these days is paint-by-numbers and risk-averse, but SOPHIE takes the traditional form of a pop song and gives it a makeover with a chainsaw. Ever wonder what an elephant exorcism taking place in a nightclub 100 years from now might sound like? Listen to “Ponyboy.” What about the experience of gobbling up a pack of sour straws laced with acid? Get hyper with “Immaterial.” A helium balloon on fire? Enjoy the squeaky destruction of “Faceshopping,” about social media and plastic surgery. The album is manic, surreal, challenging and kind of scary, but that’s because it’s doing something new, and that’s what keeps me going back for another hit.\u003cem>—Emmanuel Hapsis\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/EOTebhPy04g'\n title='//www.youtube.com/embed/EOTebhPy04g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Fuel a Creative Spree\u003c/h3>\n\u003cp>\u003cstrong>Tierra Whack, \u003cem>Whack World \u003c/em>(Self-Released)\u003c/strong>\u003c/p>\n\u003cp>My only complaint about Tierra Whack’s debut is that I want more! Comprised of 15 one-minute tracks, \u003cem>Whack World\u003c/em> is a feat of imagination and brevity during a year when rap’s most-streamed albums (looking at you, Migos, Drake and Rae Sremmurd) were stuffed with throw-away songs that dimmed their brightest moments. In her bite-sized format, Whack shows off her penchant for writing in a variety of genres. On the sexy, R&B track “Bite It,” she makes a statement on how female artists are more often appreciated for their aesthetics than their ingenuity; with “Pet Cemetery,” she eulogizes a dead friend with a silly yet heart-rending play on the cliche “all dogs go to heaven.” The only problem is, each song ends just as you get ready to sing along.\u003cem>—Nastia Voynovskaya\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/zI11XRzGRKQ'\n title='//www.youtube.com/embed/zI11XRzGRKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album To Remind Us That Good People Still Exist\u003c/h3>\n\u003cp>\u003cstrong>Courtney Marie Andrews, \u003cem>May Your Kindness Remain \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>Once a backup singer for Jimmy Eat World, country-leaning folk singer/songwriter Courtney Marie Andrews wouldn’t have found her way on a winding career path were it not for the altruism of the people she’s met along the way. With the country charm of “Kindness of Strangers,” the blues keys of “Border” and the gospel soul of the album’s title track, Andrews’ \u003cem>May Your Kindness Remain\u003c/em> tells her story brilliantly at every turn. Here’s to hoping we can all move through life as tenderly as this singer with a heart-melting voice.\u003cem>—Adrian Spinelli\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/LdyabrdFMC8'\n title='//www.youtube.com/embed/LdyabrdFMC8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Turn Arcade Games into Revelations\u003c/h3>\n\u003cp>\u003cstrong>Kamasi Washington,\u003cem> Heaven and Earth \u003c/em>(Young Turks)\u003c/strong>\u003c/p>\n\u003cp>Kamasi Washington’s \u003cem>Heaven and Earth\u003c/em> is boundless. The virtuosic jazz saxophonist and his band, the West Coast Get Down, maneuver listeners through space, time and place seamlessly on the 144-minute double album. Washington takes us to Los Angeles for some G-funk on “Street Fighter Mas,” reinterprets a classic Bruce Lee theme on “Fists of Fury,” beckons us to church on “Will You Sing?” and ventures south with the bossa nova-tinged “Vi Lua Vi Sol.” The result is a transcendent album that finds its home in the space between the terrestrial and divine.\u003cem>—Montse Reyes\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/42XXZvrnHbM'\n title='//www.youtube.com/embed/42XXZvrnHbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Most Likely to Start a Mosh Pit\u003c/h3>\n\u003cp>\u003cstrong>Courtney Barnett, \u003cem>Tell Me How You Really Feel \u003c/em>(Marathon Artists/Mom+Pop)\u003c/strong>\u003c/p>\n\u003cp>If Barnett’s 2015 debut, \u003cem>Sometimes I Sit and Think, and Sometimes I Just Sit\u003c/em>, was a house party specifically designed to make sparks fly between unsuspecting guests, \u003cem>Tell Me How You Really Feel\u003c/em> is the hangover and awkward social consequences that unfold the next day. It’s the heartrending sound of an ex-fly on the wall, grappling with the discomfort and paranoia of suddenly being the center of attention. Barnett’s smart inner monologue was the thing that launched her to fame in the first place. Here, she turns the wry observations on herself to remind listeners to be careful what they wish for. The final result is surprising and moving.\u003cem>—Rae Alexandra\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/vz9-pXuvFEU'\n title='//www.youtube.com/embed/vz9-pXuvFEU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Reminder That Everyone Needs an Editor\u003c/h3>\n\u003cp>\u003cstrong>Vince Staples, \u003cem>FM! \u003c/em>(Def Jam)\u003c/strong>\u003c/p>\n\u003cp>As rap albums grow increasingly bloated, Vince Staples’ \u003cem>FM!\u003c/em> makes a case for concision. Framed as a mock broadcast of the nationally-syndicated radio show \u003cem>Big Boy’s Neighborhood\u003c/em> and produced by Kenny Beats and Hagler, \u003cem>FM!\u003c/em> captures the buoyancy of summertime alongside the casual and stark ubiquity of death in Staples’ Long Beach. “Summertime in the LB wild / We gon’ party till the sun or the guns come out,” he raps on “Feels like Summer,” setting the tone for the 22-minute record. The album is brief but mighty, a feat only accomplished by a wordsmith as economic and skilled as Staples.\u003cem>—Montse Reyes\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/oOAgB44MI3Q'\n title='//www.youtube.com/embed/oOAgB44MI3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Flossing Out Your Poor Oversaturated Brain\u003c/h3>\n\u003cp>\u003cstrong>Autechre, \u003cem>NTS Sessions \u003c/em>(Warp Records)\u003c/strong>\u003c/p>\n\u003cp>It almost shouldn’t have been an album. \u003ci>NTS Sessions\u003c/i>, the hefty 8-hour release from UK electronic duo Autechre, debuted as an online radio premiere in April. However, this isn’t a box set collection of throwaways or B-sides, but rather an invigorating, rich marathon of sound designed as a linear narrative, with its own set of climaxes and comedowns. This is all the more impressive having been generated in the algorithmic software \u003ca href=\"https://youtu.be/dkf87DJhG-4?t=3m4s\" target=\"_blank\" rel=\"noopener\">Max/MSP\u003c/a>; I’m normally a naysayer of AI compositon and its ability to convey emotion, but Autechre have trained their software closer to a human than anything else I’ve heard. Above all, \u003ci>NTS Sessions\u003c/i> is an 8-hour cleanse for the ears and brain—a useful thing amid the information static of 2018. —\u003ci>Gabe Meline\u003c/i>\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/MIyUHkTSfLM'\n title='//www.youtube.com/embed/MIyUHkTSfLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Accompany a Psychedelic Trip\u003c/h3>\n\u003cp>\u003cstrong>Kikagaku Moyo, \u003cem>Masana Temples \u003c/em>(Guruguru Brain)\u003c/strong>\u003c/p>\n\u003cp>Flipping on \u003cem>Masana Temples\u003c/em>, the fourth LP from Japanese psych-rock band Kikagaku Moyo, I’m transported back to a bean bag chair in a college dorm room, my mind in euphoric bliss. “Dripping Sun” feels like felt-coated black light posters are swirling in a hallucination alongside cowbells, wah pedals and Go Kurosawa’s soft vocals. “Majupose” sounds like Stereolab re-incarnated in Japanese. Released on Amsterdam’s Guruguru Brain label, the kaleidoscopic explorations of Masana Temples are nothing short of high-grade stuff.\u003cem>—Adrian Spinelli\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/OaFymywIT7M'\n title='//www.youtube.com/embed/OaFymywIT7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album For Throwing a Middle Finger Up to the Patriarchy\u003c/h3>\n\u003cp>\u003cstrong>Alice Bag, \u003cem>Blueprint \u003c/em>(Don Giovanni Records)\u003c/strong>\u003c/p>\n\u003cp>Outspoken Chicana activist and feminist punk icon Alice Bag digs into her roots and serves up a potent antidote for apathy with \u003cem>Blueprint\u003c/em>. “77” rallies for women everywhere to mobilize towards fair wages (white women make 77 cents to the white man’s dollar while Latinas earn closer to 53). On “Se Cree Joven,” Bag casts off all expectations about how she should look, talk and act at her age with a bouncy, buzzing mantra proclaiming self-love: “Whether I’m 15 or 100 / I’m going to be myself / Because this is how I feel good.” With balladic undertones, \u003cem>Blueprint’\u003c/em>s final track lyrically illustrates the Chicano Moratorium protest and ultimate clash with the police on Aug. 29, 1970: “You say justice is color blind / I know you’re lying” and “White justice doesn’t work for me / White justice is a travesty / White justice just isn’t, just isn’t just.” If there’s anything you take away from this album, one message is crystal clear: “It’s time for change.”\u003cem>—Lina Blanco\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/rzgw0XldTC0'\n title='//www.youtube.com/embed/rzgw0XldTC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Demonstrate Reggaeton’s Staying Power in Pop\u003c/h3>\n\u003cp>\u003cstrong>J Balvin, \u003cem>Vibras \u003c/em>(Universal Music Latino)\u003c/strong>\u003c/p>\n\u003cp>The international success of Luis Fonsi and Daddy Yankee’s “Despacito” gave rise to the wave of Latinx artists taking over into the Anglo market. Such is the case with Colombian reggaeton singer J Balvin, whose \u003cem>Vibras\u003c/em> album proved that Latinx artists can vie for American pop stardom without releasing an album in English. Even Beyoncé wanted in on this Colombian reggaeton-pop fusion, joining J Balvin on the remix of lead single “Mi Gente.” \u003cem>Vibras\u003c/em> recently won the Latin Grammy for best urban music album, and J Balvin is repaving the glory days of this Afro-Caribbean sound.\u003cem>—Azucena Rasilla\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/qooWnw5rEcI'\n title='//www.youtube.com/embed/qooWnw5rEcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Help Overcome Heartbreak\u003c/h3>\n\u003cp>\u003cstrong>Mitski, \u003cem>Be the Cowboy \u003c/em>(Dead Oceans)\u003c/strong>\u003c/p>\n\u003cp>Have you ever been completely leveled by love? Mitski has too. \u003cem>On Be The Cowboy\u003c/em>, Mitski ditches romantic banalities and sends her fuzzy guitars to the back in favor of exploring a broader pop landscape and the devastation wrought by handing over your heart to someone. Here, Mitski is insatiable, diving head first into the wreckage of her feelings and relationships. Playing it cool isn’t an option. Rather, she’s gutted as pleads for her lover’s presence (“Geyser,” “Come into the Water”), resigns to her loneliness (“Nobody,” “Lonesome Love”) and falls apart (“Pink in the Night”). Her love is as ardent and abjectly desirous as it is isolating.\u003cem>—Montse Reyes\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/1Iom3PA_JaY'\n title='//www.youtube.com/embed/1Iom3PA_JaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Remind Us of History’s Lessons\u003c/h3>\n\u003cp>\u003cstrong>Tiffany Austin, \u003cem>Unbroken\u003c/em> (Con Alma Music)\u003c/strong>\u003c/p>\n\u003cp>No single album can encompass the breadth and depth of the African-American experience, but jazz vocalist Tiffany Austin’s \u003cem>Unbroken\u003c/em> offers a kaleidoscopic soul-steeped sojourn into the sounds that have long nourished and sustained black communities. Redolent of church pews and juke joints, protests, late-night slow dances and jam sessions, Austin’s warm and welcoming voice infuses every song with wisdom and grace. With original pieces that stand up effectively next to the standards, she’s well-served by a superlative cast, including an insuperable New York rhythm section featuring pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen.\u003cem>—Andrew Gilbert\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/kjEC49hTitI'\n title='//www.youtube.com/embed/kjEC49hTitI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Pissed-off-at-the-Presidency Album\u003c/h3>\n\u003cp>\u003cstrong>Ministry, \u003cem>AmeriKKKant\u003c/em> (Nuclear Blast)\u003c/strong>\u003c/p>\n\u003cp>Sometimes you want music to match an angry mood, and for days when your dark cloud is specifically political in nature, Ministry’s 14th studio album, \u003cem>AmeriKKKant\u003c/em>, provides the perfect soundtrack. Tightly-wound, appropriately aggressive and full of musical surprises—such as the opening track’s quivering, nervy strings building to the throb-and-squeal of “The Twilight Zone”—AmeriKKKant lays to rest that old canard about people naturally growing more conservative as they grow older. Ministry frontman Al Jourgenson has definitely not mellowed in his elder years, and his outrage is true to form.\u003cem>—Nicole Gluckstern\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/Mru9GG3ur9U'\n title='//www.youtube.com/embed/Mru9GG3ur9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Dancing the Pain Away\u003c/h3>\n\u003cp>\u003cstrong>Robyn, \u003cem>Honey \u003c/em>(Embassy One)\u003c/strong>\u003c/p>\n\u003cp>Forget Carmen San Diego—the pressing question of the past eight years has been, where in the world is Robyn?! Now we have our answer: she was in a lab cooking up slow-burn bops to put us in our feelings (“Baby Forgive Me,” “Send to Robyn Immediately”). Since her last solo release, \u003cem>Body Talk\u003c/em>, Robyn has been through a lot of heartbreak, including a romantic breakup and the death of a close collaborator. Much of her new work feels battle-tested, like a scab falling off. \u003cem>Honey\u003c/em> isn’t the sweaty spin around the dance floor we expected, but it’s the deep groove we needed.\u003cem>—Emmanuel Hapsis\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/YYfvzo331Pg'\n title='//www.youtube.com/embed/YYfvzo331Pg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Jamming Out at Home in Your Socks\u003c/h3>\n\u003cp>\u003cstrong>Francis and the Lights, \u003cem>Just for Us \u003c/em>(KTTF)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>True, Francis and the Lights’ third full-length album came out in 2017. But if an album’s released on Dec. 29, does it really belong to that year? \u003ci>Just For Us\u003c/i> was the soundtrack of my 2018—a mostly contemplative synth-pop soundtrack punctuated by light, dancey numbers worthy of home-alone-in-your-socks moves. Clear communication got harder (“Breaking Up”); nostalgia was ruled out on “Back in Time” (in which Francis states, “That’s not the way time goes”); and I reconsidered self-driving cars (“Cruise”). \u003ci>Just For Us\u003c/i> kept me looking forward in a year I couldn’t be happier to leave behind.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "2018-proved-jazz-is-still-relevant-heres-why",
"title": "2018 Proved Jazz Is Still Relevant—Here's Why",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>s there still room to innovate within a century-old genre? It all depends on who you ask.\u003c/p>\n\u003cp>In one sense, jazz is far from the mainstream dance music it once was in the 1930s and ’40s at the height of its big band era. Popular tastes have moved on to hip-hop and electronic music, and to some, jazz carries connotations of high-brow, out-of-touch intellectualism.\u003c/p>\n\u003cp>But 101 years since the first jazz recording, the genre is very much alive. In fact, it’s experiencing a transformation before our eyes. Pay no mind to the “jazz is dead” crowd, or get caught up in the fanfare when \u003ca href=\"https://www.newyorker.com/culture/cultural-comment/the-intoxicating-promise-of-john-coltranes-lost-album\" target=\"_blank\" rel=\"noopener\">unheard material\u003c/a> from Miles Davis or John Coltrane finds the light of day. Those vintage releases preserve notions of what the music should still sound like, when in 2018, jazz’s youthful innovators mold the art form in their image, integrating contemporary influences while continuing the music’s storied history of \u003ca href=\"https://www.thoughtco.com/jazz-and-the-civil-rights-movement-2039542\" target=\"_blank\" rel=\"noopener\">activism\u003c/a> and experimentation.\u003c/p>\n\u003cp>As leading jazz critic Nate Chinen writes in his new book, \u003cem>Playing Changes: Jazz for the New Century:\u003c/em> “Instead of a push for definition and one prevailing style, we have boundless permutations without fixed parameters. That multiplicity lies precisely at the heart of the new aesthetic—and is the engine of its greatest promise.”\u003c/p>\n\u003cp>https://youtu.be/LdyabrdFMC8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Angeles saxophonist Kamasi Washington is arguably the most visible artist in jazz’s recent flirtation with the mainstream. A horn and string arranger on Kendrick Lamar’s landmark 2015 album \u003cem>To Pimp a Butterfly,\u003c/em> Washington had a hand in opening new ears to jazz the same year he released his ambitious triple-disc solo debut, \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>In 2018, Washington demonstrated his creativity and ambitiousness with his \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> \u003cem>Heaven and Earth\u003c/em>. It’s surprising the album manages to feel accessible: tracks often stretch past eight minutes, with a dense tapestry that includes a full band, an orchestra and a choir. Funk and gospel elements serve as guideposts for listeners who may not be accustomed to sitting through two-plus hours of jazz. Lead single “Street Fighter Mas,” for instance, starts with a funky drum break, a fat bass line with a West Coast rap thump, jittery strings and spare piano chords that lead into a massive, soaring chorus. Washington’s sax speaks in bursts, anxious yet precise, keeping things interesting throughout.\u003c/p>\n\u003cp>Washington’s label associations help broaden his cross-over appeal, which enabled him to attract an enthusiastic audience this year during his sunset slot at pop-forward Coachella this year. \u003cem>The Epic\u003c/em> came out on Brainfeeder, a Los Angeles label run by psychedelic beatmaker Stephen Ellison, better known as Flying Lotus. (The great nephew of the Alice Coltrane, Ellison also has deep jazz roots.) While known for experimental electronic music with a hip-hop backbone, the label is also a platform for Los Angeles’ new jazz scene, with Washington, virtuoso bassist Thundercat and the late piano prodigy Austin Peralta as three of its stars.\u003c/p>\n\u003cp>Washington’s \u003cem>Heaven and Earth \u003c/em>came out on Young Turks, where he sits on a roster alongside celebrated indie rock duo The xx and experimental pop singer FKA Twigs. Thanks to these unconventional associations, Washington’s music has stayed on the radar of outlets that don’t usually \u003ca href=\"https://www.thefader.com/2018/06/25/kamasi-washington-heaven-and-earth-interview\">touch\u003c/a> \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">jazz\u003c/a>, like The Fader.\u003c/p>\n\u003cp>“It’s rare for a jazz saxophonist to make headlines from Pitchfork to Billboard, but the range of his success sunk in crazy when FlyLo and Washington shared the bill of North Sea Jazz Festival in 2016,” Kat Bein said about Washington in a recent \u003cem>\u003ca href=\"https://www.billboard.com/articles/news/dance/8486087/flying-lotus-brainfeeder-x-interview\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>\u003c/em> interview with Flying Lotus.\u003c/p>\n\u003cp>https://youtu.be/hxzA6CrDIWg\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ashington helped usher jazz into the Black Lives Matter era with his work on \u003cem>To Pimp a Butterfly\u003c/em>, and he’s not the only contemporary artist to invoke the genre’s history of civil rights activism in his work. Amid the Bay Area’s politically charged creative scene, Oakland composer Ambrose Akinmusire’s evocative, hip–hop-inflected 2018 album \u003cem>Origami Harvest\u003c/em> made a powerful statement about police brutality and racial injustice.\u003c/p>\n\u003cp>\u003cem>Origami Harvest \u003c/em>brings to mind the work of bassist and 2018-2019 SFJAZZ Resident Artistic Director Marcus Shelby, whose compositions meditate on key figures and moments in African-American history, including Dr. Martin Luther King, Jr., Harriet Tubman and the Port Chicago disaster of 1944. Akinmusire’s \u003cem>Origami Harvest\u003c/em> also shares kinship with fellow Berkeley High grad Samora Pinderhuges’ \u003ca href=\"https://www.youtube.com/watch?v=XQ9Es-7kGaU\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations Suite\u003c/em>\u003c/a>, a 2016 multi-disciplinary project that examines “the radical history of resistance within communities of the African diaspora.”\u003c/p>\n\u003cp>The opening track on \u003cem>Origami Harvest, \u003c/em>“a blooming bloodfruit in a hoodie,” shifts gears like a classical suite, with 13 minutes comprised of a handful of mini-movements. One can feel heartbreak in the dissonance between the chamber music and Bay Area rapper Kool A.D.’s gun shot ad libs and “gang gang” refrains, his words deft yet impressionistic. Akinmusire’s message comes into clear focus on “Free, White and 21,” where he reads the names of African-American men and women killed by law enforcement.\u003c/p>\n\u003cp>“One thing I never normally say in interviews is that sometimes, I imagine my name being read out lout with that list of names. I imagine someone else reading it and unfortunately, it is an easily conceivable image,” the composer shared in a recent interview with \u003ca href=\"https://qwest.tv/magazine/music-genre/jazz-en/2018/ambrose-akinmusire-it-is-hard-to-dismiss-abstraction/\" target=\"_blank\" rel=\"noopener\">Qwest TV\u003c/a>. “The train I ride a few times a week goes right past the place where Oscar Grant was killed. So it plays a very active role in my life.”\u003c/p>\n\u003cp>https://youtu.be/swcSU71gixw\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his year also saw the rise of Chicago drummer Makaya McCraven, whose latest album, \u003ca href=\"https://intlanthem.bandcamp.com/album/universal-beings\" target=\"_blank\" rel=\"noopener\">\u003cem>Universal Beings\u003c/em>\u003c/a>, finds him behind the kit with ensembles assembled in separate sessions in New York, Chicago, London and Los Angeles. The heartbeat of McCraven’s music feels different; it’s suffused with contemporary influences like hip-hop and house music, and crafted, like an electronic beat, with layers of refrains. Like Akinmusire and Washington, McCraven treats more mainstream genres as additional shades on his musical canvas.\u003c/p>\n\u003cp>It’s hard to say that this music swings. It grooves, or perhaps more fittingly, it knocks. In that sense, McCraven’s work can feel alien at times to what one might classically describe as jazz. There’s a meditative quality to \u003cem>Universal Beings\u003c/em>: with the drums as the centerpiece, there are slow-burning builds and melodic runs that often revisit a prescient phrase once its found, repeating the moment like a beat on loop.\u003c/p>\n\u003cp>\u003cem>Universal Beings\u003c/em> and other releases on the label International Anthem draw connections to Chicago’s longstanding tradition of pushing the boundaries of jazz, dating back to the work of the \u003ca href=\"https://en.wikipedia.org/wiki/Association_for_the_Advancement_of_Creative_Musicians\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> (AACM) in the 1960s and its outgrowth, \u003ca href=\"https://youtu.be/OZV6FzLeWeo\" target=\"_blank\" rel=\"noopener\">Art Ensemble of Chicago\u003c/a>.\u003c/p>\n\u003cp>International Anthem’s 2017 releases, like \u003cem>Fly or Die \u003c/em>by trumpeter Jaimie Branch and the self-titled debut of Irreversible Entanglements, deliver a raw musical intensity that stands apart from the spotless, sanitized recordings often heard in contemporary jazz. Rather than using the form to showcase virtuosity, McCraven, Branch and Irreversible Entanglements shift the focus back to thoughtful group interplay.\u003c/p>\n\u003cp>https://youtu.be/VifRr_P30uU\u003c/p>\n\u003cp>Jazz has outlasted the likes of disco, rock’n’roll and new jack swing because it’s always been able to update its framework to accommodate the influences of its present-day exponents. In their own ways, Washington, Akinmusire and McCraven are all showing what jazz is capable of in 2018, revealing the staying power of one of America’s greatest cultural exports. Over 100 years from its inception, jazz is still a springboard for inventing new sounds and addressing the most pressing issues of our time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Jazz is such a malleable form that whenever you get different spheres of influence meeting it or attaching themselves to it, then it becomes something else,” said British saxophonist \u003ca href=\"https://youtu.be/NwCCfWiYk2s\" target=\"_blank\" rel=\"noopener\">Shabaka Hutchings\u003c/a>, a leading light in London’s jazz resurgence, in the short documentary \u003cem>We Out Here\u003c/em>. “You can see a branch of the tree spiral into another direction. It doesn’t negate the course the original branches are going in. It just means there’s some other perspectives.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>s there still room to innovate within a century-old genre? It all depends on who you ask.\u003c/p>\n\u003cp>In one sense, jazz is far from the mainstream dance music it once was in the 1930s and ’40s at the height of its big band era. Popular tastes have moved on to hip-hop and electronic music, and to some, jazz carries connotations of high-brow, out-of-touch intellectualism.\u003c/p>\n\u003cp>But 101 years since the first jazz recording, the genre is very much alive. In fact, it’s experiencing a transformation before our eyes. Pay no mind to the “jazz is dead” crowd, or get caught up in the fanfare when \u003ca href=\"https://www.newyorker.com/culture/cultural-comment/the-intoxicating-promise-of-john-coltranes-lost-album\" target=\"_blank\" rel=\"noopener\">unheard material\u003c/a> from Miles Davis or John Coltrane finds the light of day. Those vintage releases preserve notions of what the music should still sound like, when in 2018, jazz’s youthful innovators mold the art form in their image, integrating contemporary influences while continuing the music’s storied history of \u003ca href=\"https://www.thoughtco.com/jazz-and-the-civil-rights-movement-2039542\" target=\"_blank\" rel=\"noopener\">activism\u003c/a> and experimentation.\u003c/p>\n\u003cp>As leading jazz critic Nate Chinen writes in his new book, \u003cem>Playing Changes: Jazz for the New Century:\u003c/em> “Instead of a push for definition and one prevailing style, we have boundless permutations without fixed parameters. That multiplicity lies precisely at the heart of the new aesthetic—and is the engine of its greatest promise.”\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/LdyabrdFMC8'\n title='//www.youtube.com/embed/LdyabrdFMC8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Angeles saxophonist Kamasi Washington is arguably the most visible artist in jazz’s recent flirtation with the mainstream. A horn and string arranger on Kendrick Lamar’s landmark 2015 album \u003cem>To Pimp a Butterfly,\u003c/em> Washington had a hand in opening new ears to jazz the same year he released his ambitious triple-disc solo debut, \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>In 2018, Washington demonstrated his creativity and ambitiousness with his \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> \u003cem>Heaven and Earth\u003c/em>. It’s surprising the album manages to feel accessible: tracks often stretch past eight minutes, with a dense tapestry that includes a full band, an orchestra and a choir. Funk and gospel elements serve as guideposts for listeners who may not be accustomed to sitting through two-plus hours of jazz. Lead single “Street Fighter Mas,” for instance, starts with a funky drum break, a fat bass line with a West Coast rap thump, jittery strings and spare piano chords that lead into a massive, soaring chorus. Washington’s sax speaks in bursts, anxious yet precise, keeping things interesting throughout.\u003c/p>\n\u003cp>Washington’s label associations help broaden his cross-over appeal, which enabled him to attract an enthusiastic audience this year during his sunset slot at pop-forward Coachella this year. \u003cem>The Epic\u003c/em> came out on Brainfeeder, a Los Angeles label run by psychedelic beatmaker Stephen Ellison, better known as Flying Lotus. (The great nephew of the Alice Coltrane, Ellison also has deep jazz roots.) While known for experimental electronic music with a hip-hop backbone, the label is also a platform for Los Angeles’ new jazz scene, with Washington, virtuoso bassist Thundercat and the late piano prodigy Austin Peralta as three of its stars.\u003c/p>\n\u003cp>Washington’s \u003cem>Heaven and Earth \u003c/em>came out on Young Turks, where he sits on a roster alongside celebrated indie rock duo The xx and experimental pop singer FKA Twigs. Thanks to these unconventional associations, Washington’s music has stayed on the radar of outlets that don’t usually \u003ca href=\"https://www.thefader.com/2018/06/25/kamasi-washington-heaven-and-earth-interview\">touch\u003c/a> \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">jazz\u003c/a>, like The Fader.\u003c/p>\n\u003cp>“It’s rare for a jazz saxophonist to make headlines from Pitchfork to Billboard, but the range of his success sunk in crazy when FlyLo and Washington shared the bill of North Sea Jazz Festival in 2016,” Kat Bein said about Washington in a recent \u003cem>\u003ca href=\"https://www.billboard.com/articles/news/dance/8486087/flying-lotus-brainfeeder-x-interview\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>\u003c/em> interview with Flying Lotus.\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/hxzA6CrDIWg'\n title='//www.youtube.com/embed/hxzA6CrDIWg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ashington helped usher jazz into the Black Lives Matter era with his work on \u003cem>To Pimp a Butterfly\u003c/em>, and he’s not the only contemporary artist to invoke the genre’s history of civil rights activism in his work. Amid the Bay Area’s politically charged creative scene, Oakland composer Ambrose Akinmusire’s evocative, hip–hop-inflected 2018 album \u003cem>Origami Harvest\u003c/em> made a powerful statement about police brutality and racial injustice.\u003c/p>\n\u003cp>\u003cem>Origami Harvest \u003c/em>brings to mind the work of bassist and 2018-2019 SFJAZZ Resident Artistic Director Marcus Shelby, whose compositions meditate on key figures and moments in African-American history, including Dr. Martin Luther King, Jr., Harriet Tubman and the Port Chicago disaster of 1944. Akinmusire’s \u003cem>Origami Harvest\u003c/em> also shares kinship with fellow Berkeley High grad Samora Pinderhuges’ \u003ca href=\"https://www.youtube.com/watch?v=XQ9Es-7kGaU\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations Suite\u003c/em>\u003c/a>, a 2016 multi-disciplinary project that examines “the radical history of resistance within communities of the African diaspora.”\u003c/p>\n\u003cp>The opening track on \u003cem>Origami Harvest, \u003c/em>“a blooming bloodfruit in a hoodie,” shifts gears like a classical suite, with 13 minutes comprised of a handful of mini-movements. One can feel heartbreak in the dissonance between the chamber music and Bay Area rapper Kool A.D.’s gun shot ad libs and “gang gang” refrains, his words deft yet impressionistic. Akinmusire’s message comes into clear focus on “Free, White and 21,” where he reads the names of African-American men and women killed by law enforcement.\u003c/p>\n\u003cp>“One thing I never normally say in interviews is that sometimes, I imagine my name being read out lout with that list of names. I imagine someone else reading it and unfortunately, it is an easily conceivable image,” the composer shared in a recent interview with \u003ca href=\"https://qwest.tv/magazine/music-genre/jazz-en/2018/ambrose-akinmusire-it-is-hard-to-dismiss-abstraction/\" target=\"_blank\" rel=\"noopener\">Qwest TV\u003c/a>. “The train I ride a few times a week goes right past the place where Oscar Grant was killed. So it plays a very active role in my life.”\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/swcSU71gixw'\n title='//www.youtube.com/embed/swcSU71gixw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his year also saw the rise of Chicago drummer Makaya McCraven, whose latest album, \u003ca href=\"https://intlanthem.bandcamp.com/album/universal-beings\" target=\"_blank\" rel=\"noopener\">\u003cem>Universal Beings\u003c/em>\u003c/a>, finds him behind the kit with ensembles assembled in separate sessions in New York, Chicago, London and Los Angeles. The heartbeat of McCraven’s music feels different; it’s suffused with contemporary influences like hip-hop and house music, and crafted, like an electronic beat, with layers of refrains. Like Akinmusire and Washington, McCraven treats more mainstream genres as additional shades on his musical canvas.\u003c/p>\n\u003cp>It’s hard to say that this music swings. It grooves, or perhaps more fittingly, it knocks. In that sense, McCraven’s work can feel alien at times to what one might classically describe as jazz. There’s a meditative quality to \u003cem>Universal Beings\u003c/em>: with the drums as the centerpiece, there are slow-burning builds and melodic runs that often revisit a prescient phrase once its found, repeating the moment like a beat on loop.\u003c/p>\n\u003cp>\u003cem>Universal Beings\u003c/em> and other releases on the label International Anthem draw connections to Chicago’s longstanding tradition of pushing the boundaries of jazz, dating back to the work of the \u003ca href=\"https://en.wikipedia.org/wiki/Association_for_the_Advancement_of_Creative_Musicians\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> (AACM) in the 1960s and its outgrowth, \u003ca href=\"https://youtu.be/OZV6FzLeWeo\" target=\"_blank\" rel=\"noopener\">Art Ensemble of Chicago\u003c/a>.\u003c/p>\n\u003cp>International Anthem’s 2017 releases, like \u003cem>Fly or Die \u003c/em>by trumpeter Jaimie Branch and the self-titled debut of Irreversible Entanglements, deliver a raw musical intensity that stands apart from the spotless, sanitized recordings often heard in contemporary jazz. Rather than using the form to showcase virtuosity, McCraven, Branch and Irreversible Entanglements shift the focus back to thoughtful group interplay.\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/VifRr_P30uU'\n title='//www.youtube.com/embed/VifRr_P30uU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jazz has outlasted the likes of disco, rock’n’roll and new jack swing because it’s always been able to update its framework to accommodate the influences of its present-day exponents. In their own ways, Washington, Akinmusire and McCraven are all showing what jazz is capable of in 2018, revealing the staying power of one of America’s greatest cultural exports. Over 100 years from its inception, jazz is still a springboard for inventing new sounds and addressing the most pressing issues of our time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jazz is such a malleable form that whenever you get different spheres of influence meeting it or attaching themselves to it, then it becomes something else,” said British saxophonist \u003ca href=\"https://youtu.be/NwCCfWiYk2s\" target=\"_blank\" rel=\"noopener\">Shabaka Hutchings\u003c/a>, a leading light in London’s jazz resurgence, in the short documentary \u003cem>We Out Here\u003c/em>. “You can see a branch of the tree spiral into another direction. It doesn’t negate the course the original branches are going in. It just means there’s some other perspectives.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ian Kelly and the Role of the Bay Area Expatriate",
"headTitle": "Ian Kelly and the Role of the Bay Area Expatriate | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> few days ago Ian Kelly texted me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“Bruh I actually wanted to pick your brain about this,” he wrote. “So I got signed to Jamla Records, a label \u003ca href=\"https://twitter.com/jamlarecords?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">started\u003c/a> by 9th Wonder, and have been featured on \u003ca href=\"https://www.amazon.com/9th-Wonder-Presents-Jamla-Explicit/dp/B07KBCLHWM\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> with the likes of Cole and Busta Rhymes. Why do you think back home doesn’t show as much love?”\u003c/p>\n\u003cp>A valid question from someone who came up in the Bay and recently moved away. He followed up to clarify. “Also I’m not speaking from a tone of entitlement,” he texted. “I’m very much understanding I could be doing something wrong too.”\u003c/p>\n\u003cp>It got me thinking about the dichotomy of the rap game. On one hand, a major part of hip-hop is representing where you’re from—of course, along with representing it, you have to \u003cem>actually\u003c/em> be there. On the other hand, as an artist, you \u003cem>have\u003c/em> to get out and see the world in order for the world to see you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How can you do both?\u003c/p>\n\u003cfigure id=\"attachment_13846180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg\" alt=\"Cover art for Ian Kelly's Champian album ( by Anshil Popli)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Ian Kelly’s ‘ChampIan’ album. (Anshil Popli and Daniel Lint)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Dec. 7, Ian Kelly drops his album, \u003cem>ChampIan\u003c/em>, his first for Jamla Records. It’s also his first project since he relocated to North Carolina 18 months ago.\u003c/p>\n\u003cp>I remember when Ian told me he was going to move, and how his mother didn’t necessarily approve of him quitting his job and pursuing a rap career. I knew he’d be OK. I mean, I’ve known Kelly for over a decade, and I’ve seen him go (and grow) through a number of transitions.\u003c/p>\n\u003cp>When our common friend Aaron Harris passed in 2013, Kelly hit a low and then grew from that; only for Kelly’s father to pass the same year. Nonetheless, he persevered and continued to make music, often honoring their memory in his lyrics.\u003c/p>\n\u003cp>Hell, I was even there when Kelly learned to maneuver through Howard University’s campus in 2008. I was a resident assistant in the dorm where he resided, but he never really needed much assistance.\u003c/p>\n\u003cp>Kelly, who turns 29 on Dec. 4, is a natural sponge, and he has no problem regurgitating necessary information in story form. His ability to describe situations and paint pictures has always been his strongpoint, evident throughout \u003cem>ChampIan\u003c/em>. The song ‘Story Tellin’ is probably the best example, allowing the listener to stare at the speaker and be fully engulfed in a tale of dubious deeds. On another track called ‘Better,’ he takes his storytelling to the world of romance, showing his versatility.\u003c/p>\n\u003cp>Kelly’s only downfall is that he kind of sounds like this guy named Kendrick Lamar. But if you’re going to be compared to anyone, why not him, right?\u003c/p>\n\u003cp>I don’t know if it’s the Kendrick comparison or what, but Kelly didn’t see his rap career flourishing out here. So he took a leap of faith and ended up under the tutelage of producer \u003ca href=\"https://en.wikipedia.org/wiki/9th_Wonder\" target=\"_blank\" rel=\"noopener noreferrer\">9th Wonder\u003c/a>, Rapsody and Oakland’s GQ while living in North Carolina.\u003c/p>\n\u003cp>“Honestly, being out here it kind of helped me gain a peace of mind,” Kelly told me. “Back home, I feel like a lot of things go on and I feel like I lose focus. But being out here I was able to center myself, and grow as an artist.”\u003c/p>\n\u003cp>I could relate to finding clarity in new spaces. The same thing happened for me when I went away to college at Howard in D.C. Or even in high school, when I lived in Danville for a semester while attending the Athenian boarding school. I fell deeper in love with writing. I gained focus and confidence. I mean, I had bad case of FOMO, and I really missed Oakland. Damn, now that I think about it, I missed a lot of things while I was away.\u003c/p>\n\u003cp>I asked Kelly if he’d experienced any setbacks being away from the Town.\u003c/p>\n\u003cp>“A month ago or two months ago, I’d say yeah. But now, I see it as another stepping stone,” Kelly said. “The way you have to move as an artist: wherever my heart is, is really home.”\u003c/p>\n\u003cp>I sat with that comment. It brought to mind all the other artists I know who’ve relocated, been sent to prison for long periods of time, moved away for family reasons, or left because they couldn’t afford rent. I even thought about the artists who are constantly on the road, sharing their art with the world. Don’t they miss home?\u003c/p>\n\u003cfigure id=\"attachment_13846178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg\" alt=\"Ian Kelly posted up (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly posted up. (Anshil Popli)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>neesa Strings, who Kelly introduced me to earlier this year, is \u003ca href=\"http://www.aneesastrings.com\" target=\"_blank\" rel=\"noopener noreferrer\">a bassist and vocalist\u003c/a> who grew up in Oakland. She was a part of a band that played NPR’s \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\">Tiny Desk Concert\u003c/a> with Ill Camille earlier this year. And she’s currently on a European tour with Duckwrth.\u003c/p>\n\u003cp>Somewhere between Switzerland and Vienna, she responded to my inquiry about an artists’ need to travel. “Most people have to leave the comforts of their own hometown to get nationwide recognition,” she said. She then paraphrased the Book of Matthew: “A hero isn’t without honor except for in his own country, in his own home.”\u003c/p>\n\u003cp>She ended by writing, “The Bay isn’t any different, except that it’s not LA or NY, which are entertainment capitals of the world. You have to leave the Bay to have access to the star-makers. Music is a worldwide territory, so if an artist wants their music to go all over the world, so do they.”\u003c/p>\n\u003cp>That’s kind of what well-known tour manager Tim House said when I called him to ask how an artist should balance time spent at home versus being out in the world.\u003c/p>\n\u003cp>“Infrastructure, that’s what’s missing in the Bay,” House told me as he was on tour, somewhere between Orlando and Miami. “I can’t tell you how many people from the Bay in the industry—not just artists—have moved to LA or New York for work.”\u003c/p>\n\u003cp>House, who’s bounced back and forth between the LA and the Bay his whole life, made sure to mention that there are some examples of people building their own infrastructure here in the Bay—namely E-40. “But even E-40 went to school in the South,” House said.\u003c/p>\n\u003cp>Along with the lack of industry infrastructure, another major variable artists consider before leaving the Bay is the cost of housing.\u003c/p>\n\u003cp>“Music money will only get you so much in the Bay Area,” House told me. “You can get a nice spot in LA, but still be 30 minutes outside of downtown. You could get something nice in New York, but you wouldn’t have a yard. In Atlanta, you could get a really nice house with a moat!”\u003c/p>\n\u003cp>After a slight laugh, House brought up a serious point I hadn’t considered: the vacancies created by artists leaving the Bay Area to seek greener pastures create an opportunity for others to move in and dictate the culture.\u003c/p>\n\u003cp>And I’ve seen it. I could name a bunch of artists who’ve moved here, and have found a way to flourish on a local scale. Not a good or bad thing in my opinion, it’s just a thing to note.\u003c/p>\n\u003cp>Nonetheless, the question remains: How do you go and chase your dream, while still holding it down for the home team?\u003c/p>\n\u003cfigure id=\"attachment_13846179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg\" alt=\"Ian Kelly in the Town (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly in the Town. (Anshil Popli) \u003ccite>(Anshil Popli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here are so many rap lyrics that address this issue:\u003c/p>\n\u003cp>“I’m hardly home, but always repping,” said Drake.\u003c/p>\n\u003cp>“They said I couldn’t go back home, you know when I heard that? When I was back home,” said Jay-Z.\u003c/p>\n\u003cp>“I heard it’s not where you from, but where you pay rent/ then I heard it’s not how much you make, but how much you spent/ you got me bent, like elbows,” said Big Boi of Outkast.\u003c/p>\n\u003cp>The debate isn’t new. And I don’t think there’s a real answer. There’s no way to be two places at once. But Ian Kelly might’ve been on to something when he said, \u003cem>“The way you have to move as an artist: wherever my heart is, is really home.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> few days ago Ian Kelly texted me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“Bruh I actually wanted to pick your brain about this,” he wrote. “So I got signed to Jamla Records, a label \u003ca href=\"https://twitter.com/jamlarecords?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">started\u003c/a> by 9th Wonder, and have been featured on \u003ca href=\"https://www.amazon.com/9th-Wonder-Presents-Jamla-Explicit/dp/B07KBCLHWM\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> with the likes of Cole and Busta Rhymes. Why do you think back home doesn’t show as much love?”\u003c/p>\n\u003cp>A valid question from someone who came up in the Bay and recently moved away. He followed up to clarify. “Also I’m not speaking from a tone of entitlement,” he texted. “I’m very much understanding I could be doing something wrong too.”\u003c/p>\n\u003cp>It got me thinking about the dichotomy of the rap game. On one hand, a major part of hip-hop is representing where you’re from—of course, along with representing it, you have to \u003cem>actually\u003c/em> be there. On the other hand, as an artist, you \u003cem>have\u003c/em> to get out and see the world in order for the world to see you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How can you do both?\u003c/p>\n\u003cfigure id=\"attachment_13846180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg\" alt=\"Cover art for Ian Kelly's Champian album ( by Anshil Popli)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Ian Kelly’s ‘ChampIan’ album. (Anshil Popli and Daniel Lint)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Dec. 7, Ian Kelly drops his album, \u003cem>ChampIan\u003c/em>, his first for Jamla Records. It’s also his first project since he relocated to North Carolina 18 months ago.\u003c/p>\n\u003cp>I remember when Ian told me he was going to move, and how his mother didn’t necessarily approve of him quitting his job and pursuing a rap career. I knew he’d be OK. I mean, I’ve known Kelly for over a decade, and I’ve seen him go (and grow) through a number of transitions.\u003c/p>\n\u003cp>When our common friend Aaron Harris passed in 2013, Kelly hit a low and then grew from that; only for Kelly’s father to pass the same year. Nonetheless, he persevered and continued to make music, often honoring their memory in his lyrics.\u003c/p>\n\u003cp>Hell, I was even there when Kelly learned to maneuver through Howard University’s campus in 2008. I was a resident assistant in the dorm where he resided, but he never really needed much assistance.\u003c/p>\n\u003cp>Kelly, who turns 29 on Dec. 4, is a natural sponge, and he has no problem regurgitating necessary information in story form. His ability to describe situations and paint pictures has always been his strongpoint, evident throughout \u003cem>ChampIan\u003c/em>. The song ‘Story Tellin’ is probably the best example, allowing the listener to stare at the speaker and be fully engulfed in a tale of dubious deeds. On another track called ‘Better,’ he takes his storytelling to the world of romance, showing his versatility.\u003c/p>\n\u003cp>Kelly’s only downfall is that he kind of sounds like this guy named Kendrick Lamar. But if you’re going to be compared to anyone, why not him, right?\u003c/p>\n\u003cp>I don’t know if it’s the Kendrick comparison or what, but Kelly didn’t see his rap career flourishing out here. So he took a leap of faith and ended up under the tutelage of producer \u003ca href=\"https://en.wikipedia.org/wiki/9th_Wonder\" target=\"_blank\" rel=\"noopener noreferrer\">9th Wonder\u003c/a>, Rapsody and Oakland’s GQ while living in North Carolina.\u003c/p>\n\u003cp>“Honestly, being out here it kind of helped me gain a peace of mind,” Kelly told me. “Back home, I feel like a lot of things go on and I feel like I lose focus. But being out here I was able to center myself, and grow as an artist.”\u003c/p>\n\u003cp>I could relate to finding clarity in new spaces. The same thing happened for me when I went away to college at Howard in D.C. Or even in high school, when I lived in Danville for a semester while attending the Athenian boarding school. I fell deeper in love with writing. I gained focus and confidence. I mean, I had bad case of FOMO, and I really missed Oakland. Damn, now that I think about it, I missed a lot of things while I was away.\u003c/p>\n\u003cp>I asked Kelly if he’d experienced any setbacks being away from the Town.\u003c/p>\n\u003cp>“A month ago or two months ago, I’d say yeah. But now, I see it as another stepping stone,” Kelly said. “The way you have to move as an artist: wherever my heart is, is really home.”\u003c/p>\n\u003cp>I sat with that comment. It brought to mind all the other artists I know who’ve relocated, been sent to prison for long periods of time, moved away for family reasons, or left because they couldn’t afford rent. I even thought about the artists who are constantly on the road, sharing their art with the world. Don’t they miss home?\u003c/p>\n\u003cfigure id=\"attachment_13846178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg\" alt=\"Ian Kelly posted up (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly posted up. (Anshil Popli)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>neesa Strings, who Kelly introduced me to earlier this year, is \u003ca href=\"http://www.aneesastrings.com\" target=\"_blank\" rel=\"noopener noreferrer\">a bassist and vocalist\u003c/a> who grew up in Oakland. She was a part of a band that played NPR’s \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\">Tiny Desk Concert\u003c/a> with Ill Camille earlier this year. And she’s currently on a European tour with Duckwrth.\u003c/p>\n\u003cp>Somewhere between Switzerland and Vienna, she responded to my inquiry about an artists’ need to travel. “Most people have to leave the comforts of their own hometown to get nationwide recognition,” she said. She then paraphrased the Book of Matthew: “A hero isn’t without honor except for in his own country, in his own home.”\u003c/p>\n\u003cp>She ended by writing, “The Bay isn’t any different, except that it’s not LA or NY, which are entertainment capitals of the world. You have to leave the Bay to have access to the star-makers. Music is a worldwide territory, so if an artist wants their music to go all over the world, so do they.”\u003c/p>\n\u003cp>That’s kind of what well-known tour manager Tim House said when I called him to ask how an artist should balance time spent at home versus being out in the world.\u003c/p>\n\u003cp>“Infrastructure, that’s what’s missing in the Bay,” House told me as he was on tour, somewhere between Orlando and Miami. “I can’t tell you how many people from the Bay in the industry—not just artists—have moved to LA or New York for work.”\u003c/p>\n\u003cp>House, who’s bounced back and forth between the LA and the Bay his whole life, made sure to mention that there are some examples of people building their own infrastructure here in the Bay—namely E-40. “But even E-40 went to school in the South,” House said.\u003c/p>\n\u003cp>Along with the lack of industry infrastructure, another major variable artists consider before leaving the Bay is the cost of housing.\u003c/p>\n\u003cp>“Music money will only get you so much in the Bay Area,” House told me. “You can get a nice spot in LA, but still be 30 minutes outside of downtown. You could get something nice in New York, but you wouldn’t have a yard. In Atlanta, you could get a really nice house with a moat!”\u003c/p>\n\u003cp>After a slight laugh, House brought up a serious point I hadn’t considered: the vacancies created by artists leaving the Bay Area to seek greener pastures create an opportunity for others to move in and dictate the culture.\u003c/p>\n\u003cp>And I’ve seen it. I could name a bunch of artists who’ve moved here, and have found a way to flourish on a local scale. Not a good or bad thing in my opinion, it’s just a thing to note.\u003c/p>\n\u003cp>Nonetheless, the question remains: How do you go and chase your dream, while still holding it down for the home team?\u003c/p>\n\u003cfigure id=\"attachment_13846179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg\" alt=\"Ian Kelly in the Town (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly in the Town. (Anshil Popli) \u003ccite>(Anshil Popli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here are so many rap lyrics that address this issue:\u003c/p>\n\u003cp>“I’m hardly home, but always repping,” said Drake.\u003c/p>\n\u003cp>“They said I couldn’t go back home, you know when I heard that? When I was back home,” said Jay-Z.\u003c/p>\n\u003cp>“I heard it’s not where you from, but where you pay rent/ then I heard it’s not how much you make, but how much you spent/ you got me bent, like elbows,” said Big Boi of Outkast.\u003c/p>\n\u003cp>The debate isn’t new. And I don’t think there’s a real answer. There’s no way to be two places at once. But Ian Kelly might’ve been on to something when he said, \u003cem>“The way you have to move as an artist: wherever my heart is, is really home.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Forget Beatnik Cliches: A Fresh Style of Jazz and Poetry is Brewing",
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"content": "\u003cp>It’s taken more than five decades, but fresh jazz/poetry collaborations have finally shaken the tired cliches festering in the zeitgeist since the Beat movement of the 1950s.\u003c/p>\n\u003cp>You know what I’m talking about: a goateed young man wearing a beret sits cross-legged on the floor, playing bongos, while his bespectacled comrade proclaims an impressionistic verse with evident self-regard. It’s a tableau that has long dogged jazz and poetry alike. But in the past few years, some of contemporary jazz’s most influential and acclaimed artists have found inspiration in the work of various poets, releasing albums so creatively charged they blew through the Beat baggage.\u003c/p>\n\u003cp>No artist has played a more important role in opening up space for setting verse to music than Brazilian jazz \u003ca href=\"http://www.lucianasouza.com\" target=\"_blank\" rel=\"noopener\">vocalist/composer Luciana Souza\u003c/a>, who performs Nov. 29 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/luciana-souza-the-book-of-longing-featuring-chico-pinheiro-scott-colley/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz Center\u003c/a> and Nov. 30 at \u003ca href=\"https://sfperformances.org/performances/1819/LucianaSouza.html\" target=\"_blank\" rel=\"noopener\">Herbst Theatre\u003c/a> with Brazilian guitarist Chico Pinheiro and bassist Scott Colley. While her working repertoire includes music by contemporary Brazilian masters Milton Nascimento, Caetano Veloso and Hermeto Pascoal, for these shows, she’s focusing on songs from her new album \u003ca href=\"https://lucianasouza.bandcamp.com/album/the-book-of-longing\" target=\"_blank\" rel=\"noopener\">\u003cem>The Book of Longing\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UVQXuqgSzoA\u003c/p>\n\u003cp>Taking its name from Leonard Cohen’s 2006 book of poetry, the album features Souza’s settings for verses by Cohen, Edna St. Vincent Millay, Emily Dickinson and others. A striking session of ballads and bossa novas with long, melodic phrases that curl around the text, \u003cem>The Book of Longing\u003c/em> builds on years of Souza’s work with poetry. Previously, 2000’s \u003cem>The Poems of Elizabeth Bishop and Other Songs \u003c/em>set Bishop’s verse to four pieces music; 2004’s \u003cem>Neruda\u003c/em>, a lustrous duo session with SFJAZZ Collective pianist Edward Simon, used Pablo Neruda’s poetry as inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Souza was raised on poetry and music: she’s the daughter of poet and songwriter Tereza Souza and foundational bossa nova guitarist, singer and composer Walter Santos. She says, however, that she was slow to realize she was pursuing the family business. “Year to year I didn’t feel it, but now at 52, looking back, I see the foundation and roots buried very deeply in me,” Souza says in a phone interview from the Venice, Calif. home she shares with her husband, Larry Klein, who produced the album. “It grew slowly from the first attempt, the Elizabeth Bishop recording. After \u003cem>Neruda\u003c/em>, \u003cem>Tide\u003c/em> in 2009 had e.e. cummings, and I did something with Gary Snyder. But \u003cem>The Book of Longing\u003c/em> is my most definitive record about poetry—my statement about my love of words.”\u003c/p>\n\u003cp>Released in August on Sunnyside Records, \u003cem>The Book of Longing\u003c/em> arrived at an extraordinary moment in contemporary jazz that Souza helped architect. The scene is brimming with poetry-entwined projects: drummer Matt Wilson paid homage to a late, great 20th-century American poet on \u003ca href=\"https://www.youtube.com/watch?v=O2JziDJF3VM\" target=\"_blank\" rel=\"noopener\">\u003cem>Honey and Salt: Music Inspired By the Poetry of Carl Sandburg\u003c/em>\u003c/a> (Palmetto) in 2017; Jane Ira Bloom interpreted Emily Dickinson’s words with soprano saxophone on \u003ca href=\"https://www.youtube.com/watch?v=1Zp3Pl5_Gkw&t=1330s\" target=\"_blank\" rel=\"noopener\">\u003cem>Wild Lines: Improvising Emily Dickinson\u003c/em>\u003c/a> (Outline) the same year. Jazz Institute of Chicago commissioned flutist Nicole Mitchell and Chicago poet Haki Madhubuti to collaborate on the politically-charged\u003ca href=\"https://nicolemitchell.bandcamp.com/album/liberation-narratives\" target=\"_blank\" rel=\"noopener\"> \u003cem>Liberation Narratives\u003c/em> \u003c/a>(Black Earth Music); Fresno saxophonist Benjamin Boone documented of his creative partnership with Pulitzer Prize-winning poet Philip Levine on \u003ca href=\"https://benjaminboone.bandcamp.com/album/the-poetry-of-jazz\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetry of Jazz\u003c/em>\u003c/a> (Phrase Records).\u003c/p>\n\u003cp>Oakland reed expert Sheldon Brown just released\u003ca href=\"https://edgetonerecords.bandcamp.com/album/blood-of-the-air\" target=\"_blank\" rel=\"noopener\"> \u003cem>Blood of the Air\u003c/em>\u003c/a> (Edgetone Records), a singular album featuring his inventive songs based on poetry by Philip Lamantia. And New York pianist Helen Sung will soon arrive in the Bay Area for a series of performances focusing on her new album \u003ca href=\"https://www.youtube.com/watch?v=I8spvbraW6g\" target=\"_blank\" rel=\"noopener\">\u003cem>Sung With Words: A Collaboration with Dana Gioia\u003c/em>\u003c/a> (Stricker Street Records).\u003c/p>\n\u003cp>Sung’s longtime friendship with Sonoma resident Gioia, who is the former chairman of the National Endowment For the Arts (2003-2009) and California State Poet Laureate, led to a songwriting partnership—a new endeavor for him and Sung. With the support of a 2014 Chamber Music America grant, they embarked on an extended experiment, “doing whatever worked,” says Sung, who settles into the University of the Pacific’s \u003ca href=\"https://calendar.pacific.edu/event/helen_sung#.W_yxlZNKit8\" target=\"_blank\" rel=\"noopener\">Brubeck Institute\u003c/a> for a three-day Stockton residency on Nov. 29. Her band with vocalist Christie Dashiell, saxophonist John Ellis, bassist Joe Martin and drummer Rudy Royston also performs \u003cem>Sung With Words\u003c/em> material on Dec. 2 for \u003ca href=\"https://www.healdsburgjazzfestival.org/buy_tickets/\" target=\"_blank\" rel=\"noopener\">Healdsburg Jazz\u003c/a> at the Paul Mahder Gallery and Dec. 6 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/helen-sung-sung-with-words/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz Center\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ej1ujUFvLg8\u003c/p>\n\u003cp>“I wanted to write music that was fun to listen to, with melodies that are accessible and hummable,” Sung says. “I set some of his poems, and he wrote a piece based off of a rhythm that I had played. The last track came from when I was talking to a friend and I said ‘I wish people would just say what they mean and mean what they say.’ I called up Dana and asked ‘Can you make a poem out of this?’ And it became a song. ‘The Stars on Second Avenue’ is a tribute to Tin Pan Alley. I worked so hard on that one. I have such respect for Dana. I not only want to write great music, but something that’s truly me.”\u003c/p>\n\u003cp>\u003cem>Sung With Words\u003c/em> is sui generis, but it’s also part of a jazz zeitgeist. The question is, why is this happening now? While jazz musicians still mine the American Songbook for material, there’s a relentless search for new concepts to explore and interpret. Poetry, new and old, provides a huge reservoir of text ripe for musical treatment, confounding old stereotypes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I would tell people about the project that’s what they thought it was, some kind of Beatnik recital,” Sung says. “No, these are songs. There’s so much interesting work being created now. It reminds me of a book I read about discovery of the DNA double helix, with several teams making groundbreaking discoveries at the same time. Jazz artists are always looking for the next thing to feed their growth as an artist.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s taken more than five decades, but fresh jazz/poetry collaborations have finally shaken the tired cliches festering in the zeitgeist since the Beat movement of the 1950s.\u003c/p>\n\u003cp>You know what I’m talking about: a goateed young man wearing a beret sits cross-legged on the floor, playing bongos, while his bespectacled comrade proclaims an impressionistic verse with evident self-regard. It’s a tableau that has long dogged jazz and poetry alike. But in the past few years, some of contemporary jazz’s most influential and acclaimed artists have found inspiration in the work of various poets, releasing albums so creatively charged they blew through the Beat baggage.\u003c/p>\n\u003cp>No artist has played a more important role in opening up space for setting verse to music than Brazilian jazz \u003ca href=\"http://www.lucianasouza.com\" target=\"_blank\" rel=\"noopener\">vocalist/composer Luciana Souza\u003c/a>, who performs Nov. 29 at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/luciana-souza-the-book-of-longing-featuring-chico-pinheiro-scott-colley/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz Center\u003c/a> and Nov. 30 at \u003ca href=\"https://sfperformances.org/performances/1819/LucianaSouza.html\" target=\"_blank\" rel=\"noopener\">Herbst Theatre\u003c/a> with Brazilian guitarist Chico Pinheiro and bassist Scott Colley. While her working repertoire includes music by contemporary Brazilian masters Milton Nascimento, Caetano Veloso and Hermeto Pascoal, for these shows, she’s focusing on songs from her new album \u003ca href=\"https://lucianasouza.bandcamp.com/album/the-book-of-longing\" target=\"_blank\" rel=\"noopener\">\u003cem>The Book of Longing\u003c/em>\u003c/a>.\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/UVQXuqgSzoA'\n title='//www.youtube.com/embed/UVQXuqgSzoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Taking its name from Leonard Cohen’s 2006 book of poetry, the album features Souza’s settings for verses by Cohen, Edna St. Vincent Millay, Emily Dickinson and others. A striking session of ballads and bossa novas with long, melodic phrases that curl around the text, \u003cem>The Book of Longing\u003c/em> builds on years of Souza’s work with poetry. Previously, 2000’s \u003cem>The Poems of Elizabeth Bishop and Other Songs \u003c/em>set Bishop’s verse to four pieces music; 2004’s \u003cem>Neruda\u003c/em>, a lustrous duo session with SFJAZZ Collective pianist Edward Simon, used Pablo Neruda’s poetry as inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Souza was raised on poetry and music: she’s the daughter of poet and songwriter Tereza Souza and foundational bossa nova guitarist, singer and composer Walter Santos. She says, however, that she was slow to realize she was pursuing the family business. “Year to year I didn’t feel it, but now at 52, looking back, I see the foundation and roots buried very deeply in me,” Souza says in a phone interview from the Venice, Calif. home she shares with her husband, Larry Klein, who produced the album. “It grew slowly from the first attempt, the Elizabeth Bishop recording. After \u003cem>Neruda\u003c/em>, \u003cem>Tide\u003c/em> in 2009 had e.e. cummings, and I did something with Gary Snyder. But \u003cem>The Book of Longing\u003c/em> is my most definitive record about poetry—my statement about my love of words.”\u003c/p>\n\u003cp>Released in August on Sunnyside Records, \u003cem>The Book of Longing\u003c/em> arrived at an extraordinary moment in contemporary jazz that Souza helped architect. The scene is brimming with poetry-entwined projects: drummer Matt Wilson paid homage to a late, great 20th-century American poet on \u003ca href=\"https://www.youtube.com/watch?v=O2JziDJF3VM\" target=\"_blank\" rel=\"noopener\">\u003cem>Honey and Salt: Music Inspired By the Poetry of Carl Sandburg\u003c/em>\u003c/a> (Palmetto) in 2017; Jane Ira Bloom interpreted Emily Dickinson’s words with soprano saxophone on \u003ca href=\"https://www.youtube.com/watch?v=1Zp3Pl5_Gkw&t=1330s\" target=\"_blank\" rel=\"noopener\">\u003cem>Wild Lines: Improvising Emily Dickinson\u003c/em>\u003c/a> (Outline) the same year. Jazz Institute of Chicago commissioned flutist Nicole Mitchell and Chicago poet Haki Madhubuti to collaborate on the politically-charged\u003ca href=\"https://nicolemitchell.bandcamp.com/album/liberation-narratives\" target=\"_blank\" rel=\"noopener\"> \u003cem>Liberation Narratives\u003c/em> \u003c/a>(Black Earth Music); Fresno saxophonist Benjamin Boone documented of his creative partnership with Pulitzer Prize-winning poet Philip Levine on \u003ca href=\"https://benjaminboone.bandcamp.com/album/the-poetry-of-jazz\" target=\"_blank\" rel=\"noopener\">\u003cem>The Poetry of Jazz\u003c/em>\u003c/a> (Phrase Records).\u003c/p>\n\u003cp>Oakland reed expert Sheldon Brown just released\u003ca href=\"https://edgetonerecords.bandcamp.com/album/blood-of-the-air\" target=\"_blank\" rel=\"noopener\"> \u003cem>Blood of the Air\u003c/em>\u003c/a> (Edgetone Records), a singular album featuring his inventive songs based on poetry by Philip Lamantia. And New York pianist Helen Sung will soon arrive in the Bay Area for a series of performances focusing on her new album \u003ca href=\"https://www.youtube.com/watch?v=I8spvbraW6g\" target=\"_blank\" rel=\"noopener\">\u003cem>Sung With Words: A Collaboration with Dana Gioia\u003c/em>\u003c/a> (Stricker Street Records).\u003c/p>\n\u003cp>Sung’s longtime friendship with Sonoma resident Gioia, who is the former chairman of the National Endowment For the Arts (2003-2009) and California State Poet Laureate, led to a songwriting partnership—a new endeavor for him and Sung. With the support of a 2014 Chamber Music America grant, they embarked on an extended experiment, “doing whatever worked,” says Sung, who settles into the University of the Pacific’s \u003ca href=\"https://calendar.pacific.edu/event/helen_sung#.W_yxlZNKit8\" target=\"_blank\" rel=\"noopener\">Brubeck Institute\u003c/a> for a three-day Stockton residency on Nov. 29. 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The last track came from when I was talking to a friend and I said ‘I wish people would just say what they mean and mean what they say.’ I called up Dana and asked ‘Can you make a poem out of this?’ And it became a song. ‘The Stars on Second Avenue’ is a tribute to Tin Pan Alley. I worked so hard on that one. I have such respect for Dana. I not only want to write great music, but something that’s truly me.”\u003c/p>\n\u003cp>\u003cem>Sung With Words\u003c/em> is sui generis, but it’s also part of a jazz zeitgeist. The question is, why is this happening now? While jazz musicians still mine the American Songbook for material, there’s a relentless search for new concepts to explore and interpret. Poetry, new and old, provides a huge reservoir of text ripe for musical treatment, confounding old stereotypes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I would tell people about the project that’s what they thought it was, some kind of Beatnik recital,” Sung says. “No, these are songs. There’s so much interesting work being created now. It reminds me of a book I read about discovery of the DNA double helix, with several teams making groundbreaking discoveries at the same time. Jazz artists are always looking for the next thing to feed their growth as an artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "You Want Jazz Songs About Food for Thanksgiving? Here's Some Jazz Songs About Food for Thanksgiving",
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"content": "\u003cp>If you’re looking for jazz songs about food for Thanksgiving, look no further: Ross Eustis over at SFJAZZ has put together \u003ca href=\"https://www.sfjazz.org/onthecorner/thanksgiving-playlist/\" rel=\"noopener\" target=\"_blank\">the ultimate playlist of jazz songs about food\u003c/a>, and buddy, it’s \u003cem>three hours long\u003c/em>. Just the right amount of time between family arrivals and dinnertime, while the kitchen is bustling, everyone’s lounging about in the living room and you need music to play.\u003c/p>\n\u003cp>Of course, jazz and food have a long history together. One of my favorite tidbits about jazz trumpet godfather Louis Armstrong is that he signed all his letters “Red Beans & Ricely Yours,” which, let’s face it, is pretty damn smooth.\u003c/p>\n\u003cp>Find your Thanksgiving songs about food below (if the playlists don’t load, \u003ca href=\"https://www.sfjazz.org/onthecorner/thanksgiving-playlist/\" rel=\"noopener\" target=\"_blank\">try here\u003c/a>), and happy eatin’.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/0h5fUrphtIZsZC7cK3sD7d?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\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.",
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"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?",
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"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",
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"perspectives": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"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.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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