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"content": "\u003cp>\u003ca href=\"http://www.jazzmafia.com/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> is one of those Bay Area music scene figures whose cup runneth over with so much talent, you’ve likely heard him without realizing it. He’s the founder of the locally beloved collective Jazz Mafia; has co-written songs with Blackalicious, Zion-I and Lyrics Born; and performed as a sideman with KRS One, Booker T. Jones and J Boogie’s Dubtronic Science. One time, in 2009, Stevie Wonder crashed one of his shows at an intimate club in the Mission district and \u003ca href=\"http://www.jazzmafia.com/news-1/2017/4/10/jffndbr4c1s03pdjfvlp9v412fdzd5\" target=\"_blank\" rel=\"noopener\">performed two songs with his band\u003c/a>. He’s \u003cem>that \u003c/em>good.\u003c/p>\n\u003cp>https://youtu.be/M0V0bNdJT-4\u003c/p>\n\u003cp>Theis’ latest project is a Jazz Mafia collaboration with the Vau de Vire Society, a circus arts collective comprised of dancers, aerialists and contortionists with an avant-garde edge. Their new production, \u003ca href=\"http://www.thesoileddove.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Soiled Dove\u003c/em>\u003c/a>, takes place inside a giant red tent down the block from the Fox Theater in downtown Oakland. Jazz Mafia perform a live soundtrack at the event, which runs every Friday and Saturday through Nov. 17. The music is also available on \u003ca href=\"https://jazzmafia.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>—though the pole dancers and acrobats won’t come with your download.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.jazzmafia.com/adam-theis/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> is one of those Bay Area music scene figures whose cup runneth over with so much talent, you’ve likely heard him without realizing it. He’s the founder of the locally beloved collective Jazz Mafia; has co-written songs with Blackalicious, Zion-I and Lyrics Born; and performed as a sideman with KRS One, Booker T. Jones and J Boogie’s Dubtronic Science. One time, in 2009, Stevie Wonder crashed one of his shows at an intimate club in the Mission district and \u003ca href=\"http://www.jazzmafia.com/news-1/2017/4/10/jffndbr4c1s03pdjfvlp9v412fdzd5\" target=\"_blank\" rel=\"noopener\">performed two songs with his band\u003c/a>. He’s \u003cem>that \u003c/em>good.\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/M0V0bNdJT-4'\n title='//www.youtube.com/embed/M0V0bNdJT-4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Theis’ latest project is a Jazz Mafia collaboration with the Vau de Vire Society, a circus arts collective comprised of dancers, aerialists and contortionists with an avant-garde edge. Their new production, \u003ca href=\"http://www.thesoileddove.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Soiled Dove\u003c/em>\u003c/a>, takes place inside a giant red tent down the block from the Fox Theater in downtown Oakland. Jazz Mafia perform a live soundtrack at the event, which runs every Friday and Saturday through Nov. 17. The music is also available on \u003ca href=\"https://jazzmafia.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>—though the pole dancers and acrobats won’t come with your download.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Oakland hip-hop orchestra \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener\">Ensemble Mik Nawooj\u003c/a> (EMN) has made a name for itself through a rigorous yet inventive attention to process. There are the processes of Western classical music, which inform the structure and function of melody; of disruption, fundamental to hip-hop from its inception; and what founder and composer JooWan Kim refers to as “\u003ca href=\"https://youtu.be/B73lg1bcGE4\" target=\"_blank\" rel=\"noopener\">method sampling\u003c/a>,” or borrowing ideas and rationales from different disciplines to create something new.\u003c/p>\n\u003cp>All this makes EMN an incredibly dynamic ensemble to experience live and draws like-minded people into their orbit. One especially unique and synchronous opportunity came about for the group earlier this year: writing a theme song for \u003ca href=\"https://www.globalpeoplesummit.org/\" target=\"_blank\" rel=\"noopener\">Global People’s Summit\u003c/a>, which takes place on Sept. 22 in parallel with the United Nations General Assembly meeting in New York City. Its bold topic this year is “Reimagine Humanity.”\u003c/p>\n\u003cp>The song, with its staccato rhymes and sweeping instrumental sections, anchors around the the theme of the death of an “old persona,” decisively calling for a new future free of oppression. At its pinnacle, the music abruptly blasts open, and the lion marches in through the melody underscoring the call to action: “Rise up! Keep your passion, be in action.” As the song wanes, a flute floats above the orchestra, hopefully, like a bird after the flood. “Fear screams build walls / Love says build a bridge.”\u003c/p>\n\u003cp>“The world is changing in a way that old ideas and old systems do not work anymore,” says Kim. “We have to create new culture, new systems, new ways of thinking, new ways of living.”\u003c/p>\n\u003cp>https://youtu.be/KqYg9yViiC4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Global People’s Summit brings together heads of state and global change-makers to tackle some of humanity’s most pressing issues. The 2018 summit seeks to reframe the U.N.’s \u003ca href=\"https://sustainabledevelopment.un.org/?menu=1300\" target=\"_blank\" rel=\"noopener\">Sustainable Development Goals\u003c/a>, reimagine the role of music and culture in civic engagement, redefine the narrative on refugees and much more. Remarkably, the free event takes place entirely online and integrates participation from civilians around the globe. In 2017, the summit reached 84 million people from over 160 countries.\u003c/p>\n\u003cp>The bridge between the Global People’s Summit and Ensemble Mik Nawooj came late last year when Global People’s Summit advisor Jenni Choi met Kim after EMN’s \u003ca href=\"https://tedxoakland.org/\" target=\"_blank\" rel=\"noopener\">TEDxOakland\u003c/a> performance. (Choi has since become an advisor for EMN, which is a nonprofit entity, as well.) Seeing the parallels in vision, she introduced Kim to Global People’s Summit founder and CEO \u003ca href=\"https://www.globalpeoplesummit.org/team/shany-smith\" target=\"_blank\" rel=\"noopener\">Hazami Barmada\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13841268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-800x1000.jpg\" alt=\"Ensemble Mik Nawooj\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-1180x1475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Mik Nawooj \u003ccite>(Matthew Evearitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The language of music transcends cultures, languages and geographic divides,” says Barmada. “Our collaboration with EMN to produce an uplifting and inspirational song for the Global People’s Summit aims to harness the power of our humanity and unite us around a message for a better tomorrow.”\u003c/p>\n\u003cp>Though she didn’t speak to the genre explicitly, one only has to look at the astronomical rise of hip-hop’s global popularity to see the relevance of Barmada’s musical choice. As Kim and the ensemble’s two resident MCs, Sandman and Do D.A.T., explain, the thing about hip-hop is that the process of reimagining is at the core of its DNA. Through reimagining the sounds of past decades through sampling, it eventually emerged as a language, culture and style of its own. As with hip-hop, so the world?[contextly_sidebar id=”OWI7oYfgUCm1hSgG6xQYjFWzTucrphYd”]\u003c/p>\n\u003cp>Kim, classically trained in composition at Berklee College of Music and the San Francisco Conservatory of Music, considers himself a “serious composer.” But he experienced a hip-hop conversion in 2010, which fundamentally challenged his dedication to the Western classical aesthetic.\u003c/p>\n\u003cp>“I found NWA, in particular the track ‘F-ck the Police,’” he says. “At that time, I was dipped into the River Hip-Hop and \u003ca href=\"http://activate.metroactive.com/2016/06/ensemble-mik-nawooj-merge-classical-and-hip-hop/\" target=\"_blank\" rel=\"noopener\">reborn a hip-hop composer\u003c/a>.”\u003c/p>\n\u003cp>At its foundation, “Reimagine Humanity” is a deconstruction of “\u003ca href=\"https://www.youtube.com/watch?v=r52dbwr5ZSc\" target=\"_blank\" rel=\"noopener\">Introduction et marche royale du lion\u003c/a>” from French composer Camille Saint-Saëns’ \u003cem>Carnaval des animaux\u003c/em>. The orchestration was recorded earlier this year with a 68-piece symphony orchestra and a 20-piece choir, in collaboration with \u003ca href=\"https://jmpent.com/\" target=\"_blank\" rel=\"noopener\">Jason Michael Paul Entertainment\u003c/a> and \u003ca href=\"http://www.nichibay.com/\" target=\"_blank\" rel=\"noopener\">Nichi Bay Productions\u003c/a> as a commission for \u003cem>National Geographic\u003c/em>’s concert series, \u003ca href=\"https://natgeo-symphony.com/\" target=\"_blank\" rel=\"noopener\">Symphony for Our World\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/RYLwEvZGJVA\u003c/p>\n\u003cp>Kim, with \u003cem>Nat Geo\u003c/em>’s blessing, brought the composition to Sandman and Do D.A.T when the Global People’s Summit opportunity came about. “I come up with the theme and general pathos of the piece, but it is almost entirely up to [the MCs] to interpret what that means,” says Kim. “Naturally, they talk about what matters to them and I generally accept it because they’re great artists with great ability to execute their ideas into rhymes.”\u003c/p>\n\u003cp>Where to begin in writing lyrics for a song that will be heard by a hundred million people around the world or more? “I’m an idealist so…these are things that I think and write about all the time,” Do D.A.T. shares with a smile.\u003c/p>\n\u003cp>The piece starts off dark, swelling with emotion as the MCs deliver rapidfire syllables. “I wanted to express to whomever,” Sandman says, “that I understand what it is to live in a desperate, addicted, violent, narcissistic, nihilistic and predator-ridden environment, wanting to flee with nowhere to go. Though I don’t know what it’s like to have drones drop bombs on my block or to have chemical weapons deployed in my neighborhood, I understand what it feels like to be under constant threat while personally having no enemies.”[contextly_sidebar id=”7i2Hyu8tLMla5q4hSpUSHUV6Z6piw3J5″]\u003c/p>\n\u003cp>With its work over the last year, EMN joins an elite crew of Oakland artists—Boots Riley (\u003cem>Sorry to Bother You\u003c/em>), Daveed Diggs (\u003cem>Blindspotting\u003c/em>), Ryan Coogler (\u003cem>Black Panther\u003c/em>), Fantastic Negrito and others—who are changing national and global cultural conversations with their work. Yet whether their song will become a new anthem for the international movement towards a more sustainable future is not on Kim or Sandman’s minds.\u003c/p>\n\u003cp>“It is unrealistic to think I can address the needs and pains of all who will hear a song I’ve written,” Sandman says. “I recognize my connection to humans as a citizen of the world. I seek to resolve, accentuate and sometimes indulge, and as I express this, I find partners in action.”\u003c/p>\n\u003cp>For his part, Do D.A.T. expresses gratitude and a vision for the work ahead. “It is a honor to have written music for the Global People’s Summit,” he says. “I hope that more hip-hoppers will be invited to spaces such as these, because of the nature of what we do I think we are the best innovators on the planet, and we need innovators to be involved with solving old problems.”\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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Correction: This article incorrectly stated that the Global People’s Summit is part of the United Nations’ General Assembly when it in fact is organized by the The Humanity Lab Foundation in collaboration with the United Nations Office of Partnerships.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland hip-hop orchestra \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener\">Ensemble Mik Nawooj\u003c/a> (EMN) has made a name for itself through a rigorous yet inventive attention to process. There are the processes of Western classical music, which inform the structure and function of melody; of disruption, fundamental to hip-hop from its inception; and what founder and composer JooWan Kim refers to as “\u003ca href=\"https://youtu.be/B73lg1bcGE4\" target=\"_blank\" rel=\"noopener\">method sampling\u003c/a>,” or borrowing ideas and rationales from different disciplines to create something new.\u003c/p>\n\u003cp>All this makes EMN an incredibly dynamic ensemble to experience live and draws like-minded people into their orbit. One especially unique and synchronous opportunity came about for the group earlier this year: writing a theme song for \u003ca href=\"https://www.globalpeoplesummit.org/\" target=\"_blank\" rel=\"noopener\">Global People’s Summit\u003c/a>, which takes place on Sept. 22 in parallel with the United Nations General Assembly meeting in New York City. Its bold topic this year is “Reimagine Humanity.”\u003c/p>\n\u003cp>The song, with its staccato rhymes and sweeping instrumental sections, anchors around the the theme of the death of an “old persona,” decisively calling for a new future free of oppression. At its pinnacle, the music abruptly blasts open, and the lion marches in through the melody underscoring the call to action: “Rise up! Keep your passion, be in action.” As the song wanes, a flute floats above the orchestra, hopefully, like a bird after the flood. “Fear screams build walls / Love says build a bridge.”\u003c/p>\n\u003cp>“The world is changing in a way that old ideas and old systems do not work anymore,” says Kim. “We have to create new culture, new systems, new ways of thinking, new ways of living.”\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/KqYg9yViiC4'\n title='//www.youtube.com/embed/KqYg9yViiC4'\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>The Global People’s Summit brings together heads of state and global change-makers to tackle some of humanity’s most pressing issues. The 2018 summit seeks to reframe the U.N.’s \u003ca href=\"https://sustainabledevelopment.un.org/?menu=1300\" target=\"_blank\" rel=\"noopener\">Sustainable Development Goals\u003c/a>, reimagine the role of music and culture in civic engagement, redefine the narrative on refugees and much more. Remarkably, the free event takes place entirely online and integrates participation from civilians around the globe. In 2017, the summit reached 84 million people from over 160 countries.\u003c/p>\n\u003cp>The bridge between the Global People’s Summit and Ensemble Mik Nawooj came late last year when Global People’s Summit advisor Jenni Choi met Kim after EMN’s \u003ca href=\"https://tedxoakland.org/\" target=\"_blank\" rel=\"noopener\">TEDxOakland\u003c/a> performance. (Choi has since become an advisor for EMN, which is a nonprofit entity, as well.) Seeing the parallels in vision, she introduced Kim to Global People’s Summit founder and CEO \u003ca href=\"https://www.globalpeoplesummit.org/team/shany-smith\" target=\"_blank\" rel=\"noopener\">Hazami Barmada\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13841268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-800x1000.jpg\" alt=\"Ensemble Mik Nawooj\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-1180x1475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/EMN-credit-Matthew-Evearitt.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Mik Nawooj \u003ccite>(Matthew Evearitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The language of music transcends cultures, languages and geographic divides,” says Barmada. “Our collaboration with EMN to produce an uplifting and inspirational song for the Global People’s Summit aims to harness the power of our humanity and unite us around a message for a better tomorrow.”\u003c/p>\n\u003cp>Though she didn’t speak to the genre explicitly, one only has to look at the astronomical rise of hip-hop’s global popularity to see the relevance of Barmada’s musical choice. As Kim and the ensemble’s two resident MCs, Sandman and Do D.A.T., explain, the thing about hip-hop is that the process of reimagining is at the core of its DNA. Through reimagining the sounds of past decades through sampling, it eventually emerged as a language, culture and style of its own. As with hip-hop, so the world?\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Kim, classically trained in composition at Berklee College of Music and the San Francisco Conservatory of Music, considers himself a “serious composer.” But he experienced a hip-hop conversion in 2010, which fundamentally challenged his dedication to the Western classical aesthetic.\u003c/p>\n\u003cp>“I found NWA, in particular the track ‘F-ck the Police,’” he says. “At that time, I was dipped into the River Hip-Hop and \u003ca href=\"http://activate.metroactive.com/2016/06/ensemble-mik-nawooj-merge-classical-and-hip-hop/\" target=\"_blank\" rel=\"noopener\">reborn a hip-hop composer\u003c/a>.”\u003c/p>\n\u003cp>At its foundation, “Reimagine Humanity” is a deconstruction of “\u003ca href=\"https://www.youtube.com/watch?v=r52dbwr5ZSc\" target=\"_blank\" rel=\"noopener\">Introduction et marche royale du lion\u003c/a>” from French composer Camille Saint-Saëns’ \u003cem>Carnaval des animaux\u003c/em>. The orchestration was recorded earlier this year with a 68-piece symphony orchestra and a 20-piece choir, in collaboration with \u003ca href=\"https://jmpent.com/\" target=\"_blank\" rel=\"noopener\">Jason Michael Paul Entertainment\u003c/a> and \u003ca href=\"http://www.nichibay.com/\" target=\"_blank\" rel=\"noopener\">Nichi Bay Productions\u003c/a> as a commission for \u003cem>National Geographic\u003c/em>’s concert series, \u003ca href=\"https://natgeo-symphony.com/\" target=\"_blank\" rel=\"noopener\">Symphony for Our World\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/RYLwEvZGJVA'\n title='//www.youtube.com/embed/RYLwEvZGJVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kim, with \u003cem>Nat Geo\u003c/em>’s blessing, brought the composition to Sandman and Do D.A.T when the Global People’s Summit opportunity came about. “I come up with the theme and general pathos of the piece, but it is almost entirely up to [the MCs] to interpret what that means,” says Kim. “Naturally, they talk about what matters to them and I generally accept it because they’re great artists with great ability to execute their ideas into rhymes.”\u003c/p>\n\u003cp>Where to begin in writing lyrics for a song that will be heard by a hundred million people around the world or more? “I’m an idealist so…these are things that I think and write about all the time,” Do D.A.T. shares with a smile.\u003c/p>\n\u003cp>The piece starts off dark, swelling with emotion as the MCs deliver rapidfire syllables. “I wanted to express to whomever,” Sandman says, “that I understand what it is to live in a desperate, addicted, violent, narcissistic, nihilistic and predator-ridden environment, wanting to flee with nowhere to go. Though I don’t know what it’s like to have drones drop bombs on my block or to have chemical weapons deployed in my neighborhood, I understand what it feels like to be under constant threat while personally having no enemies.”\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With its work over the last year, EMN joins an elite crew of Oakland artists—Boots Riley (\u003cem>Sorry to Bother You\u003c/em>), Daveed Diggs (\u003cem>Blindspotting\u003c/em>), Ryan Coogler (\u003cem>Black Panther\u003c/em>), Fantastic Negrito and others—who are changing national and global cultural conversations with their work. Yet whether their song will become a new anthem for the international movement towards a more sustainable future is not on Kim or Sandman’s minds.\u003c/p>\n\u003cp>“It is unrealistic to think I can address the needs and pains of all who will hear a song I’ve written,” Sandman says. “I recognize my connection to humans as a citizen of the world. I seek to resolve, accentuate and sometimes indulge, and as I express this, I find partners in action.”\u003c/p>\n\u003cp>For his part, Do D.A.T. expresses gratitude and a vision for the work ahead. “It is a honor to have written music for the Global People’s Summit,” he says. “I hope that more hip-hoppers will be invited to spaces such as these, because of the nature of what we do I think we are the best innovators on the planet, and we need innovators to be involved with solving old problems.”\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: This article incorrectly stated that the Global People’s Summit is part of the United Nations’ General Assembly when it in fact is organized by the The Humanity Lab Foundation in collaboration with the United Nations Office of Partnerships.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://sameergupta.com\" target=\"_blank\" rel=\"noopener\">percussionist Sameer Gupta\u003c/a> last performed in the Bay Area, he was leading an unprecedented East-meets-West exploration of Terry Riley’s protean minimalist composition, “\u003ca href=\"https://en.wikipedia.org/wiki/In_C\" target=\"_blank\" rel=\"noopener\">In C\u003c/a>.”\u003c/p>\n\u003cp>At the \u003ca href=\"https://ybgfestival.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Gardens\u003c/a> Festival last September, the energizing performance brought together string players from the Bay Area collective \u003ca href=\"http://www.classicalrevolution.org\">Classical Revolution\u003c/a> with musicians from \u003ca href=\"https://www.brooklynragamassive.org\" target=\"_blank\" rel=\"noopener\">Brooklyn Raga Massive\u003c/a>, Gupta’s collective devoted to Indian classical music. Riley’s cellular cycle provided an ideal vehicle for the rhythmically charged encounter, a concept that Brooklyn Raga Massive captured on the album \u003cem>Terry Riley In C\u003c/em> (Northern Spy Records) with a cast of New York musicians.\u003c/p>\n\u003cp>Back in the Bay Area for a series of concerts, Gupta is navigating a different kind of cycle. At the release show for his new album, \u003cem>A Circle Has No Beginning\u003c/em>, at Berkeley’s \u003ca href=\"https://www.thefreight.org/event/1686930-circle-has-no-beginning-by-berkeley/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage\u003c/a> on Aug. 19, he’s presenting original music that that brings together another brilliant bridge-building ensemble that combines East and West Coast and Eastern and Western musical traditions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mUIzJg0in1o\u003c/p>\n\u003cp>“It’s like an orchestra with a wide spectrum of sounds and timbres with the strings and classical Indian elements,” says Gupta, who moves between tablas and a trap drum kit in the band. “I work with people who love to improvise, and that thread draws us together. We’re all in this moment together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Originally from Fremont, Gupta spent his formative years in the Bay Area scene before decamping for Brooklyn in 2008. At his upcoming album release show, a bevy of accomplished musicians will join him on stage. The diverse lineup includes jazz bassist Rashaan Carter—who’s performed around the Bay Area with trumpet great Wallace Roney—and conservatory-trained cellist and \u003ca href=\"http://www.marikahughes.com\" target=\"_blank\" rel=\"noopener\">vocalist Marika Hughes\u003c/a>, a supremely versatile artist who was a crucial part of the Bay Area’s creative string scene from 1994-2005 via her work with violinist Carla Kihlstedt’s experimental ensemble 2 Foot Yard, vocalist Jewlia Eisenberg’s Charming Hostess and violinist Jeremy Cohen’s Quartet San Francisco.\u003c/p>\n\u003cp>Gupta didn’t connect with Hughes until they were both living in New York, but the album release concert draws on several overlapping circles from his California days. San Francisco Carnatic alto \u003ca href=\"https://prasantmusic.com\" target=\"_blank\" rel=\"noopener\">saxophonist Prasant Radhakrishnan\u003c/a>, Sacramento \u003ca href=\"http://www.rosshammond.com\" target=\"_blank\" rel=\"noopener\">guitarist Ross Hammond\u003c/a> and tenor saxophonist David Boyce of the group Broun Fellinis (with whom Gupta played and recorded in the ecstatic free jazz ensemble The Supplicants) will also perform with the percussionist.\u003c/p>\n\u003cp>“David [Boyce] activates so many things musically,” Gupta says. “I so that spirit that reminds us that there’s a lot of stuff in between these notes, spaces and cracks to explore.”\u003c/p>\n\u003cp>Gupta became a force in Indian classical music in the United States through his work with Brooklyn Raga Massive (BRM), a collective that began as a weekly gathering for musicians interested in studying the tradition. He was inspired to start BRM after witnessing Classical Revolution’s rapid rise in San Francisco. Founded by \u003ca href=\"http://blog.sharmusic.com/blog/bid/83997/Interview-with-Charith-Premawardhana-Founder-of-Classical-Revolution\" target=\"_blank\" rel=\"noopener\">violist Charith Premawardhana\u003c/a>, the collective brings together top-tier string players to present classical music in cafes and other informal settings. (Premawardhana will join him on stage at the Aug. 19 release show for \u003cem>A Circle Has No Beginning\u003c/em>.)\u003c/p>\n\u003cp>When Gupta moved east, he brought the Classic Revolution idea with him, and, working with \u003ca href=\"http://www.neelmurgai.com/html/\" target=\"_blank\" rel=\"noopener\">sitarist Neel Murgai\u003c/a>, based BRM on a similar concept. Since then, BRM has steadily expanded into a major arts organization, producing festivals, holding weekly sessions and events like the recent showcase at Queens Botanical Garden, Women’s Raga Massive.\u003c/p>\n\u003cp>“Watching artists connecting with fellow artists is so powerful at many different levels,” Gupta says. “When Charith started Classical Revolution, people were coming out of the woodwork to play. We saw the same thing happen with Brooklyn Raga Massive. People who love music are drawn to it, but I think many audiences still don’t realize they can go down the street and be part of something extraordinary.”\u003c/p>\n\u003cp>Marika Hughes started playing with Neel Murgai’s ensemble and has kept an eye on BRM as its grown from its initial initial sessions in Gupta’s basement. “It’s amazing to watch what they’ve created,” she says.\u003c/p>\n\u003cp>Fascinated by Gupta’s music, she told him early on that she wanted to be part of any recording he wanted to do. “I love the combination of these grand, beautiful, sweeping Bollywood melodies with a jazz rhythm section underpinning it all,” she says. “There’s the freedom to comp or solo. I love the challenge for me as a player. I come from the Western classical tradition, and it’s always good for me to have to stretch in new ways.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PePrm3xVM9U\u003c/p>\n\u003cp>While the Aug. 19 album release concert at Freight & Salvage for \u003cem>A Circle Has No Beginning\u003c/em> is the centerpiece of Gupta’s Bay Area sojourn, he has several other engagements. On Aug. 23, he focuses on the drum kit when he rejoins forces at San Jose’s \u003ca href=\"https://www.calendarwiz.com/calendars/calendar.php?nolog=1&crd=giglink\" target=\"_blank\" rel=\"noopener\">Café Stritch\u003c/a> with bassist David Ewell and alto saxophonist Prasant Radhakrishnan in VidYa (the date was originally billed as The Supplicants). And on Aug. 24, he plays a solo tabla recital as part of vegan chef \u003ca href=\"https://eatfeastly.com/account/profile/philip.g@@17617fc6/\" target=\"_blank\" rel=\"noopener\">Philip Gelb’s\u003c/a> dinner concert series in Oakland, a reunion that completes another musical circle.\u003c/p>\n\u003cp>“It’s a really interesting way to present the tabla,” Gupta says. “Philip’s concerts are such a gem of Oakland. I hope people don’t forget he’s also an amazing musician. Last year he joined us at the Yerba Buena Gardens Festival for ‘In C’ on shakuhachi.”\u003c/p>\n\u003cp>Beyond his ambidextrous mastery of the drum kit and tabla, Gupta’s talents manifest in his ability to create musical situations that seamlessly encompass disparate worlds, like adding Gelb’s Japanese bamboo flute to the Indo-Riley extravaganza. A circle might have no beginning, but in Gupta’s hands, the infinite continuum is an open door that allows musicians to be themselves even as they explore unfamiliar territory.\u003c/p>\n\u003cp>While Marika Hughes has started studying classical Indian rhythms and phrasing, “I’ve been told I don’t have to be like an Indian musician,” she says. “Sameer is very clear we can come as we are, and be who we are. We can be whatever kind of hybrid of musician we’ve become.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sameer Gupta performs at Berkeley’s Freight & Salvage on \u003ca href=\"https://www.thefreight.org/event/1686930-circle-has-no-beginning-by-berkeley/\" target=\"_blank\" rel=\"noopener\">Aug. 19\u003c/a>, at Cafe Stritch in San Jose on \u003ca href=\"https://www.calendarwiz.com/calendars/popup.php?op=view&id=125095346&crd=giglink\" target=\"_blank\" rel=\"noopener\">Aug. 23\u003c/a> and at Philip Gelb’s dinner concert in West Oakland \u003ca href=\"https://eatfeastly.com/meals/d/191442828/sameer-gupta-dinnerconcert/?rf=\" target=\"_blank\" rel=\"noopener\">on Aug. 24\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://sameergupta.com\" target=\"_blank\" rel=\"noopener\">percussionist Sameer Gupta\u003c/a> last performed in the Bay Area, he was leading an unprecedented East-meets-West exploration of Terry Riley’s protean minimalist composition, “\u003ca href=\"https://en.wikipedia.org/wiki/In_C\" target=\"_blank\" rel=\"noopener\">In C\u003c/a>.”\u003c/p>\n\u003cp>At the \u003ca href=\"https://ybgfestival.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Gardens\u003c/a> Festival last September, the energizing performance brought together string players from the Bay Area collective \u003ca href=\"http://www.classicalrevolution.org\">Classical Revolution\u003c/a> with musicians from \u003ca href=\"https://www.brooklynragamassive.org\" target=\"_blank\" rel=\"noopener\">Brooklyn Raga Massive\u003c/a>, Gupta’s collective devoted to Indian classical music. Riley’s cellular cycle provided an ideal vehicle for the rhythmically charged encounter, a concept that Brooklyn Raga Massive captured on the album \u003cem>Terry Riley In C\u003c/em> (Northern Spy Records) with a cast of New York musicians.\u003c/p>\n\u003cp>Back in the Bay Area for a series of concerts, Gupta is navigating a different kind of cycle. At the release show for his new album, \u003cem>A Circle Has No Beginning\u003c/em>, at Berkeley’s \u003ca href=\"https://www.thefreight.org/event/1686930-circle-has-no-beginning-by-berkeley/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage\u003c/a> on Aug. 19, he’s presenting original music that that brings together another brilliant bridge-building ensemble that combines East and West Coast and Eastern and Western musical traditions.\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/mUIzJg0in1o'\n title='//www.youtube.com/embed/mUIzJg0in1o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s like an orchestra with a wide spectrum of sounds and timbres with the strings and classical Indian elements,” says Gupta, who moves between tablas and a trap drum kit in the band. “I work with people who love to improvise, and that thread draws us together. We’re all in this moment together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Originally from Fremont, Gupta spent his formative years in the Bay Area scene before decamping for Brooklyn in 2008. At his upcoming album release show, a bevy of accomplished musicians will join him on stage. The diverse lineup includes jazz bassist Rashaan Carter—who’s performed around the Bay Area with trumpet great Wallace Roney—and conservatory-trained cellist and \u003ca href=\"http://www.marikahughes.com\" target=\"_blank\" rel=\"noopener\">vocalist Marika Hughes\u003c/a>, a supremely versatile artist who was a crucial part of the Bay Area’s creative string scene from 1994-2005 via her work with violinist Carla Kihlstedt’s experimental ensemble 2 Foot Yard, vocalist Jewlia Eisenberg’s Charming Hostess and violinist Jeremy Cohen’s Quartet San Francisco.\u003c/p>\n\u003cp>Gupta didn’t connect with Hughes until they were both living in New York, but the album release concert draws on several overlapping circles from his California days. San Francisco Carnatic alto \u003ca href=\"https://prasantmusic.com\" target=\"_blank\" rel=\"noopener\">saxophonist Prasant Radhakrishnan\u003c/a>, Sacramento \u003ca href=\"http://www.rosshammond.com\" target=\"_blank\" rel=\"noopener\">guitarist Ross Hammond\u003c/a> and tenor saxophonist David Boyce of the group Broun Fellinis (with whom Gupta played and recorded in the ecstatic free jazz ensemble The Supplicants) will also perform with the percussionist.\u003c/p>\n\u003cp>“David [Boyce] activates so many things musically,” Gupta says. “I so that spirit that reminds us that there’s a lot of stuff in between these notes, spaces and cracks to explore.”\u003c/p>\n\u003cp>Gupta became a force in Indian classical music in the United States through his work with Brooklyn Raga Massive (BRM), a collective that began as a weekly gathering for musicians interested in studying the tradition. He was inspired to start BRM after witnessing Classical Revolution’s rapid rise in San Francisco. Founded by \u003ca href=\"http://blog.sharmusic.com/blog/bid/83997/Interview-with-Charith-Premawardhana-Founder-of-Classical-Revolution\" target=\"_blank\" rel=\"noopener\">violist Charith Premawardhana\u003c/a>, the collective brings together top-tier string players to present classical music in cafes and other informal settings. (Premawardhana will join him on stage at the Aug. 19 release show for \u003cem>A Circle Has No Beginning\u003c/em>.)\u003c/p>\n\u003cp>When Gupta moved east, he brought the Classic Revolution idea with him, and, working with \u003ca href=\"http://www.neelmurgai.com/html/\" target=\"_blank\" rel=\"noopener\">sitarist Neel Murgai\u003c/a>, based BRM on a similar concept. Since then, BRM has steadily expanded into a major arts organization, producing festivals, holding weekly sessions and events like the recent showcase at Queens Botanical Garden, Women’s Raga Massive.\u003c/p>\n\u003cp>“Watching artists connecting with fellow artists is so powerful at many different levels,” Gupta says. “When Charith started Classical Revolution, people were coming out of the woodwork to play. We saw the same thing happen with Brooklyn Raga Massive. People who love music are drawn to it, but I think many audiences still don’t realize they can go down the street and be part of something extraordinary.”\u003c/p>\n\u003cp>Marika Hughes started playing with Neel Murgai’s ensemble and has kept an eye on BRM as its grown from its initial initial sessions in Gupta’s basement. “It’s amazing to watch what they’ve created,” she says.\u003c/p>\n\u003cp>Fascinated by Gupta’s music, she told him early on that she wanted to be part of any recording he wanted to do. “I love the combination of these grand, beautiful, sweeping Bollywood melodies with a jazz rhythm section underpinning it all,” she says. “There’s the freedom to comp or solo. I love the challenge for me as a player. I come from the Western classical tradition, and it’s always good for me to have to stretch in new ways.”\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/PePrm3xVM9U'\n title='//www.youtube.com/embed/PePrm3xVM9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the Aug. 19 album release concert at Freight & Salvage for \u003cem>A Circle Has No Beginning\u003c/em> is the centerpiece of Gupta’s Bay Area sojourn, he has several other engagements. On Aug. 23, he focuses on the drum kit when he rejoins forces at San Jose’s \u003ca href=\"https://www.calendarwiz.com/calendars/calendar.php?nolog=1&crd=giglink\" target=\"_blank\" rel=\"noopener\">Café Stritch\u003c/a> with bassist David Ewell and alto saxophonist Prasant Radhakrishnan in VidYa (the date was originally billed as The Supplicants). And on Aug. 24, he plays a solo tabla recital as part of vegan chef \u003ca href=\"https://eatfeastly.com/account/profile/philip.g@@17617fc6/\" target=\"_blank\" rel=\"noopener\">Philip Gelb’s\u003c/a> dinner concert series in Oakland, a reunion that completes another musical circle.\u003c/p>\n\u003cp>“It’s a really interesting way to present the tabla,” Gupta says. “Philip’s concerts are such a gem of Oakland. I hope people don’t forget he’s also an amazing musician. Last year he joined us at the Yerba Buena Gardens Festival for ‘In C’ on shakuhachi.”\u003c/p>\n\u003cp>Beyond his ambidextrous mastery of the drum kit and tabla, Gupta’s talents manifest in his ability to create musical situations that seamlessly encompass disparate worlds, like adding Gelb’s Japanese bamboo flute to the Indo-Riley extravaganza. A circle might have no beginning, but in Gupta’s hands, the infinite continuum is an open door that allows musicians to be themselves even as they explore unfamiliar territory.\u003c/p>\n\u003cp>While Marika Hughes has started studying classical Indian rhythms and phrasing, “I’ve been told I don’t have to be like an Indian musician,” she says. “Sameer is very clear we can come as we are, and be who we are. We can be whatever kind of hybrid of musician we’ve become.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sameer Gupta performs at Berkeley’s Freight & Salvage on \u003ca href=\"https://www.thefreight.org/event/1686930-circle-has-no-beginning-by-berkeley/\" target=\"_blank\" rel=\"noopener\">Aug. 19\u003c/a>, at Cafe Stritch in San Jose on \u003ca href=\"https://www.calendarwiz.com/calendars/popup.php?op=view&id=125095346&crd=giglink\" target=\"_blank\" rel=\"noopener\">Aug. 23\u003c/a> and at Philip Gelb’s dinner concert in West Oakland \u003ca href=\"https://eatfeastly.com/meals/d/191442828/sameer-gupta-dinnerconcert/?rf=\" target=\"_blank\" rel=\"noopener\">on Aug. 24\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Jazz Drummer Akira Tana Built a Musical Bridge Across the Pacific",
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"content": "\u003cp>\u003ca href=\"https://www.akiratana.com\">Akira Tana\u003c/a> doesn’t like to wait around for other people to make things happen. As a bandleader, producer and internationally acclaimed jazz artist, the Palo Alto-reared drummer has quietly waged a one-man campaign to make Bay Area audiences aware of the exceptional jazz talent coming out of Japan, particularly the thriving but little-known scene in Osaka.\u003c/p>\n\u003cp>Focusing on musicians from Japan’s second largest city might seem strangely specific, but, for reasons no one can quite explain, Osaka has produced a conspicuously gifted string of Hammond B-3 organists, including \u003ca href=\"https://www.akikojazz.com\">Akiko Tsuruga\u003c/a>, \u003ca href=\"http://www.savannajazz.com/musicians/midori-ono/\">Midori Ono\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Atsuko_Hashimoto\">Atsuko Hashimoto\u003c/a>. Tana has performed with all three women around the Bay Area over the last decade (concerts abetted by B-3 champion \u003ca href=\"https://www.doodlinlounge.com\">Pete Fallico\u003c/a>). Hashimoto returns to the region this month for a series of gigs with Tana and special guest vocalist Kenny Washington at Saratoga’s \u003ca href=\"https://cafepinkhouse.com/events-calendar/\">Café Pink House\u003c/a> (July 26), \u003ca href=\"http://www.piedmontpiano.com/concerts/180727akiraandfriends.html\">Oakland’s Piedmont Piano \u003c/a>(July 27), San Jose’s \u003ca href=\"http://www.cafestritch.com\">Cafe Stritch\u003c/a> (July 28) and the historic \u003ca href=\"http://7milehouse.com/calendar/2018/7/30/akira-tana-with-friends-from-osaka-japan-featuring-atsuko-hashimoto-hideki-kawamura-and-yutaka-hashimoto\">7 Mile House\u003c/a> in Brisbane (July 30).\u003c/p>\n\u003cp>The Osaka project performances also feature Hashimoto’s husband, the gifted guitarist Yutaka Hashimoto, and tenor saxophonist Hideki Kawamura, who hails from Kobe, which is part of the sprawling Keihanshin metropolitan region with Osaka and Kyoto. Tana can’t account for the city’s profusion of prodigious organists, but he’s been duly impressed by the depth of jazz knowledge held by its top players.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pgn6iIp7uhU\u003c/p>\n\u003cp>“They’re seasoned veterans, and really know the tradition,” says Tana, 66. “Atsuko is the first one to really break out. She’s the matriarch. When you listen to her play, her lines are so much in the bop tradition. She’s not really showy, but she really knows the instrument. And when you listen to Hideki, you hear Coleman Hawkins and Sonny Rollins. Yutaka comes out of Wes Montgomery and Kenny Burrell.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seasoned veteran is the best way to describe Tana, who spent two decades on the New York scene accompanying many of jazz’ greatest improvisers, including saxophonists Sonny Rollins, Stan Getz, James Moody, Zoot Sims, Jimmy Heath, Warne Marsh and Sonny Stitt. He established himself as a bandleader with TanaReid, a group he founded with Sacramento-raised bassist Rufus Reid. During the 1990s, the group toured internationally, released six CDs and boosted the profile of brilliant young players like saxophonists Ralph Moore and Mark Turner (a member of the SFJazz Collective from 2010-2012).\u003c/p>\n\u003cp>That same decade, Japan’s economy was in a massive bubble. Tana started producing albums for Tokyo-based King Records, which expanded his connections to a scene he’d gotten acquainted with as a touring player. “I’d put these sessions together pairing Japanese and American musicians,” he says. “I’ve never consciously pursued any kind of agenda forging relationships with Japanese musicians. It just kind of happened.”\u003c/p>\n\u003cp>The bridge that Tana has built has also taken him back over the Pacific with the singular \u003ca href=\"http://www.otonowa-usa.com\">ensemble Otonowa\u003c/a>, a group focusing on a strikingly beautiful body of music interpreting traditional Japanese melodies through a modern jazz lens. Created in the aftermath of the 2011 earthquake and tsunami that devasted northeastern Japan, the concept first came together for a tsunami relief fundraiser at Fairfax’s Elsewhere Gallery in the summer of 2011. Featuring Bay Area bassist \u003ca href=\"http://www.otonowa-usa.com/about/ken\">Noriyuki “Ken” Okada\u003c/a> (who was born in New York and raised in São Paulo, Brazil and Yokohama, Japan) and Japanese-born San Francisco \u003ca href=\"http://www.otonowa-usa.com/about/masaru\">flutist-saxophonist Masaru Koga\u003c/a> (who grew up moving between Europe and the United States), the trio played jazz arrangements of traditional Japanese songs, some dating back centuries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8JM7L3CqoDM\u003c/p>\n\u003cp>Convinced they were onto something special, Otonawa ended up bringing the music to stricken communities in Japan the following year, performing “at temporary shopping centers and housing units,” Tana recalls. In 2013, San Jose-raised pianist Art Hirahara expanded the ensemble to a quartet and Tana documented the group on an eponymous album for his label, Cannatuna.\u003c/p>\n\u003cp>Otonowa isn’t the first group to turn Japanese songs into vehicles for jazz improvisation. Trumpeter Lee Morgan arranged the folk song “Desert Moonlight” on his hit 1965 Blue Note album \u003cem>The Rumproller\u003c/em>, and saxophonist Benny Golson interpreted “Tombo” (or “Red Dragonfly”) by the great composer Kosaku Yamada with his New Jazztet in the early 1980s. Pianist, composer, orchestra leader and NEA Jazz Master Toshiko Akiyoshi spent much of her brilliant career finding inspiration in Japanese folk idioms. Otonowa takes a different approach, hewing closely to the sublime folk-derived melodies.\u003c/p>\n\u003cp>“Otonowa is kind of the reverse of the Osaka concerts,” Tana says. “We’re going over there, mostly Americans, and the material is all Japanese stuff that bridges the communication gap. They know all this music, which I didn’t until we did this.”\u003c/p>\n\u003cp>The music has continued to evolve, and while subsequent tragedies and disasters have pulled the world’s attention to other regions, Tana and Otonowa continue to raise funds for Japan’s northeastern Tohoku region. The group reunites for a series of concerts, performing at Palo Alto’s Mitchell Park Community Center (Oct. 6), Half Moon Bay’s \u003ca href=\"http://www.bachddsoc.org/calendar.html\">Bach Dancing & Dynamite Society\u003c/a> (Oct. 7) and Berkeley’s California Jazz Conservatory (Oct. 10), presented by Jazz in the Neighborhood.\u003c/p>\n\u003cp>In addition to Koga, Hirahara and Okada, the fall performances feature Bay Area koto master Shoko Hikage, San Francisco vocalist Saki Kono, and the young Japanese trumpeter Takehiro Dai, “who was separated from his family for two days after the tsunami,” Tana says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You realize what a healing force music can be,” he reflects, “and it reminded me of why we got into doing this stuff.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.akiratana.com\">Akira Tana\u003c/a> doesn’t like to wait around for other people to make things happen. As a bandleader, producer and internationally acclaimed jazz artist, the Palo Alto-reared drummer has quietly waged a one-man campaign to make Bay Area audiences aware of the exceptional jazz talent coming out of Japan, particularly the thriving but little-known scene in Osaka.\u003c/p>\n\u003cp>Focusing on musicians from Japan’s second largest city might seem strangely specific, but, for reasons no one can quite explain, Osaka has produced a conspicuously gifted string of Hammond B-3 organists, including \u003ca href=\"https://www.akikojazz.com\">Akiko Tsuruga\u003c/a>, \u003ca href=\"http://www.savannajazz.com/musicians/midori-ono/\">Midori Ono\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Atsuko_Hashimoto\">Atsuko Hashimoto\u003c/a>. Tana has performed with all three women around the Bay Area over the last decade (concerts abetted by B-3 champion \u003ca href=\"https://www.doodlinlounge.com\">Pete Fallico\u003c/a>). Hashimoto returns to the region this month for a series of gigs with Tana and special guest vocalist Kenny Washington at Saratoga’s \u003ca href=\"https://cafepinkhouse.com/events-calendar/\">Café Pink House\u003c/a> (July 26), \u003ca href=\"http://www.piedmontpiano.com/concerts/180727akiraandfriends.html\">Oakland’s Piedmont Piano \u003c/a>(July 27), San Jose’s \u003ca href=\"http://www.cafestritch.com\">Cafe Stritch\u003c/a> (July 28) and the historic \u003ca href=\"http://7milehouse.com/calendar/2018/7/30/akira-tana-with-friends-from-osaka-japan-featuring-atsuko-hashimoto-hideki-kawamura-and-yutaka-hashimoto\">7 Mile House\u003c/a> in Brisbane (July 30).\u003c/p>\n\u003cp>The Osaka project performances also feature Hashimoto’s husband, the gifted guitarist Yutaka Hashimoto, and tenor saxophonist Hideki Kawamura, who hails from Kobe, which is part of the sprawling Keihanshin metropolitan region with Osaka and Kyoto. Tana can’t account for the city’s profusion of prodigious organists, but he’s been duly impressed by the depth of jazz knowledge held by its top players.\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/Pgn6iIp7uhU'\n title='//www.youtube.com/embed/Pgn6iIp7uhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They’re seasoned veterans, and really know the tradition,” says Tana, 66. “Atsuko is the first one to really break out. She’s the matriarch. When you listen to her play, her lines are so much in the bop tradition. She’s not really showy, but she really knows the instrument. And when you listen to Hideki, you hear Coleman Hawkins and Sonny Rollins. Yutaka comes out of Wes Montgomery and Kenny Burrell.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seasoned veteran is the best way to describe Tana, who spent two decades on the New York scene accompanying many of jazz’ greatest improvisers, including saxophonists Sonny Rollins, Stan Getz, James Moody, Zoot Sims, Jimmy Heath, Warne Marsh and Sonny Stitt. He established himself as a bandleader with TanaReid, a group he founded with Sacramento-raised bassist Rufus Reid. During the 1990s, the group toured internationally, released six CDs and boosted the profile of brilliant young players like saxophonists Ralph Moore and Mark Turner (a member of the SFJazz Collective from 2010-2012).\u003c/p>\n\u003cp>That same decade, Japan’s economy was in a massive bubble. Tana started producing albums for Tokyo-based King Records, which expanded his connections to a scene he’d gotten acquainted with as a touring player. “I’d put these sessions together pairing Japanese and American musicians,” he says. “I’ve never consciously pursued any kind of agenda forging relationships with Japanese musicians. It just kind of happened.”\u003c/p>\n\u003cp>The bridge that Tana has built has also taken him back over the Pacific with the singular \u003ca href=\"http://www.otonowa-usa.com\">ensemble Otonowa\u003c/a>, a group focusing on a strikingly beautiful body of music interpreting traditional Japanese melodies through a modern jazz lens. Created in the aftermath of the 2011 earthquake and tsunami that devasted northeastern Japan, the concept first came together for a tsunami relief fundraiser at Fairfax’s Elsewhere Gallery in the summer of 2011. Featuring Bay Area bassist \u003ca href=\"http://www.otonowa-usa.com/about/ken\">Noriyuki “Ken” Okada\u003c/a> (who was born in New York and raised in São Paulo, Brazil and Yokohama, Japan) and Japanese-born San Francisco \u003ca href=\"http://www.otonowa-usa.com/about/masaru\">flutist-saxophonist Masaru Koga\u003c/a> (who grew up moving between Europe and the United States), the trio played jazz arrangements of traditional Japanese songs, some dating back centuries.\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/8JM7L3CqoDM'\n title='//www.youtube.com/embed/8JM7L3CqoDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Convinced they were onto something special, Otonawa ended up bringing the music to stricken communities in Japan the following year, performing “at temporary shopping centers and housing units,” Tana recalls. In 2013, San Jose-raised pianist Art Hirahara expanded the ensemble to a quartet and Tana documented the group on an eponymous album for his label, Cannatuna.\u003c/p>\n\u003cp>Otonowa isn’t the first group to turn Japanese songs into vehicles for jazz improvisation. Trumpeter Lee Morgan arranged the folk song “Desert Moonlight” on his hit 1965 Blue Note album \u003cem>The Rumproller\u003c/em>, and saxophonist Benny Golson interpreted “Tombo” (or “Red Dragonfly”) by the great composer Kosaku Yamada with his New Jazztet in the early 1980s. Pianist, composer, orchestra leader and NEA Jazz Master Toshiko Akiyoshi spent much of her brilliant career finding inspiration in Japanese folk idioms. Otonowa takes a different approach, hewing closely to the sublime folk-derived melodies.\u003c/p>\n\u003cp>“Otonowa is kind of the reverse of the Osaka concerts,” Tana says. “We’re going over there, mostly Americans, and the material is all Japanese stuff that bridges the communication gap. They know all this music, which I didn’t until we did this.”\u003c/p>\n\u003cp>The music has continued to evolve, and while subsequent tragedies and disasters have pulled the world’s attention to other regions, Tana and Otonowa continue to raise funds for Japan’s northeastern Tohoku region. The group reunites for a series of concerts, performing at Palo Alto’s Mitchell Park Community Center (Oct. 6), Half Moon Bay’s \u003ca href=\"http://www.bachddsoc.org/calendar.html\">Bach Dancing & Dynamite Society\u003c/a> (Oct. 7) and Berkeley’s California Jazz Conservatory (Oct. 10), presented by Jazz in the Neighborhood.\u003c/p>\n\u003cp>In addition to Koga, Hirahara and Okada, the fall performances feature Bay Area koto master Shoko Hikage, San Francisco vocalist Saki Kono, and the young Japanese trumpeter Takehiro Dai, “who was separated from his family for two days after the tsunami,” Tana says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You realize what a healing force music can be,” he reflects, “and it reminded me of why we got into doing this stuff.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tiffany Austin's Soul-Steeped Jazz Celebrates Black Resilience",
"headTitle": "Tiffany Austin’s Soul-Steeped Jazz Celebrates Black Resilience | KQED",
"content": "\u003cp>Redolent of church pews and juke joints, protest rallies and swanky night clubs, \u003ca href=\"https://www.tiffanyaustin.com\">Tiffany Austin’s\u003c/a> voice situates her firmly within the expansive embrace of African-American culture and musical tradition. But as a jazz singer coming up in the Bay Area scene, she sometimes finds herself pushing back against traditionalists who think that she should divest her sound of its soul-steeped DNA—that her melismatic flourishes don’t belong in jazz settings.\u003c/p>\n\u003cp>Austin was just starting to study jazz vocals as a creative outlet while pursuing a degree from the UC Berkeley School of Law in 2009 when she first felt shade from some of her teachers about “unsophisticated R&B singers,” she recalls. “I was told ‘You’re not feeling the music,’ and there was all this anti-soul, anti-blues stuff in the air.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yzecHwPAOU\u003c/p>\n\u003cp>She answered that critique with her star-making 2015 debut album \u003ca href=\"https://www.amazon.com/Nothing-But-Soul-Tiffany-Austin/dp/B0124KY0R2\">\u003cem>Nothing But Soul\u003c/em>\u003c/a>, which earned rapturous reviews in both jazz-centric publications (\u003cem>Downbeat\u003c/em>) and wide-focus cultural outlets (\u003ca href=\"https://www.npr.org/2015/08/28/435520724/jazz-vocalist-issues-a-convincing-calling-card-with-nothing-but-soul\">NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>With the curdling political climate around the 2016 presidential election, Austin decided she needed to make a larger statement to counter an environment that increasingly seemed to denigrate, erase, distort or appropriate black expression. Rather than bringing a laser focus to the jazz tradition, she refracted a rainbow of African-American music with her June album, \u003ca href=\"https://www.amazon.com/Unbroken-Tiffany-Austin/dp/B07CCFZFRV\">\u003cem>Unbroken\u003c/em>\u003c/a>, a project blazing with blues, swing, bebop, spirituals, R&B and her own Louisiana Creole heritage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to present the idea that the African-American spirit remains unbroken—that with all the things we go through, we’re still here, creating joyfully, creating great art and great music,” says Austin, who plays her first Bay Area album release date on June 29 at the \u003ca href=\"https://stanfordjazz.org/more-info/tiffany-austin-septet/\">Stanford Jazz Festival\u003c/a> with her septet. The ensemble features tenor \u003ca href=\"https://www.teodrossavery.com\">saxophonist Teodross Avery\u003c/a>, a young-lion star of the 1990s who’s returned to playing full time after earning a PhD in jazz studies from the University of Southern California.\u003c/p>\n\u003cp>The album release celebration moves to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/tiffany-austin-septet-feat-special-guest-carl-allen-unbroken-album-release-concert/\">Kuumbwa Jazz Center\u003c/a> on July 5 and the \u003ca href=\"https://www.sfjazz.org/tickets/productions/tiffany-austin/\">SFJazz Center\u003c/a> on Aug. 11, when \u003cem>Unbroken\u003c/em> co-producer, arranger and trombonist Mitch Butler and New York drum maestro Carl Allen join Austin on stage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SX2kHTosLAg\u003c/p>\n\u003cp>Co-produced by Grammy winner Richard Seidel, \u003cem>Unbroken\u003c/em> opens with two Austin originals that speak to how violent suppression of black accomplishment can lead to emotional scars. Her song “Blues Creole” distills the murky story of pioneering Louisiana Creole accordionist-vocalist Amédé Ardoin, who was allegedly killed in 1942 for interacting with a white woman at a dance. The disquieting and outraged “Greenwood” connects Watts and Ferguson to the infamous 1921 pogrom that wiped out Tulsa, Oklahoma’s prosperous “\u003ca href=\"https://www.ebony.com/black-history/the-destruction-of-black-wall-street-405\" target=\"_blank\" rel=\"noopener\">Black Wall Street\u003c/a>” neighborhood.\u003c/p>\n\u003cp>Austin’s songs are impressive works fully brought to life by her superlative accompanists, a band built on a sleek and high-octane rhythm section with pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen. Allen says he’s relished delving into Austin’s repertoire, which extends far beyond American Songbook standards.\u003c/p>\n\u003cp>“She’s a real musician. She’s soulful and she’s got a concept that’s very cool and courageous,” says Allen. “And I was wonderfully surprised by how much studying she had done, not only the music she wanted to present, but where it was coming from and the roots.”\u003c/p>\n\u003cp>Righteous anger is only one hue in Austin’s vivid emotional palette. Putting a personal stamp on the jazz canon, she turns Ornette Coleman’s early free-bop invocation “The Blessing” into an ode to gratitude. She evokes the ineffable divine spirit with her wordless vocals on Coltrane’s “Resolution” from \u003cem>A Love Supreme\u003c/em>. She often talks about her music as “freedom songs,” a trope that manifests in all its glory with a striking version of Donny Hathaway’s “Someday We’ll All Be Free.”\u003c/p>\n\u003cp>Another high point is Austin’s galvanizing duet with Whitaker on the civil rights anthem “Keep Your Eyes On the Prize.” But no piece better encapsulates her seamless tapestry of the sacred and secular than her rendition of the folk/gospel classic “Ain’t No Grave,” which ascends to a sanctified, pew-shaking scat solo.\u003c/p>\n\u003cp>“That’s the album’s centerpiece for me,” says Austin, who sees her music as honoring the struggles that made her path possible. “I can’t even think about what folks went through, brought here under the worst conditions and facing continued discrimination. And I’m standing here with a law degree and can say today, ‘I’m going to write a song.’ That’s a testament to how powerful the spirits of the ancestors are.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nqqc1N7jIpI\u003c/p>\n\u003cp>In many ways, a brilliant cadre of black artists Austin connected with after moving to the Bay Area shaped her musical vision. A Los Angeles native from a musically inclined family (her older brother John Austin IV is the popular underground rapper Ras Kass), Austin spent several years singing R&B and soul in Japan before the UC Berkeley School of Law made her a scholarship offer she couldn’t refuse.\u003c/p>\n\u003cp>After the grueling first year of law school, feeling bereft without music in her life, she sought out opportunities to perform and quickly came into the orbit of \u003ca href=\"https://www.marcusshelby.com\">bassist Marcus Shelby\u003c/a>, a composer and bandleader with a deep catalog of ambitious projects exploring various facets of African-American history, culture and politics. Through Shelby, she connected with\u003ca href=\"https://www.mercurynews.com/2018/05/16/howard-wiley-brings-soulful-sax-sound-tro-malcolm-x-fest-in-oakland/\"> saxophonist Howard Wiley\u003c/a>, another deeply rooted artist whose music encompasses Saturday night revelry and Sunday morning worship.\u003c/p>\n\u003cp>Wiley played a crucial role shepherding Austin’s debut album \u003cem>Nothing But Soul\u003c/em>, a project focusing on the songs of pianist and composer Hoagy Carmichael. In looking to develop her own approach to the tradition, Austin also gained invaluable insight watching veteran vocal masters \u003ca href=\"https://www.fayecarol.com\">Faye Carol\u003c/a> (who mentored both Shelby and Wiley) and \u003ca href=\"https://www.kennywashingtonvocalist.com\">Kenny Washington\u003c/a>, whom many peers consider the world’s finest male jazz singer.\u003c/p>\n\u003cp>“Their styles are so different, but what they bring is a real connection to the history and culture of the music,” Austin says. “I remember the first time I saw Faye Carol, I was so inspired by the joy that she brings when she sings. She brings you to your knees and to your feet, all at the same time.”\u003c/p>\n\u003cp>From Washington she gleaned a similar kind of authority, the “kind of feeling you get in church, but people aren’t scatting in church, at least not the church I go to,” Austin says. “Kenny just puts his heart out there. He’s such a musical being, you can’t take your eyes off of him.”\u003c/p>\n\u003cp>Absorbing lessons from the Bay Area’s best, Austin is becoming a national figure in her own right: an artist with a musical message as topical as an unsettling headline and as timeless as an Ella Fitzgerald ballad.\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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Tiffany Austin Septet perform at the Stanford Jazz Festival on June 29. \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "She performs songs from her new album, 'Unbroken,' with a concert at the Stanford Jazz Festival on June 29.",
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"title": "Tiffany Austin's Soul-Steeped Jazz Celebrates Black Resilience | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Redolent of church pews and juke joints, protest rallies and swanky night clubs, \u003ca href=\"https://www.tiffanyaustin.com\">Tiffany Austin’s\u003c/a> voice situates her firmly within the expansive embrace of African-American culture and musical tradition. But as a jazz singer coming up in the Bay Area scene, she sometimes finds herself pushing back against traditionalists who think that she should divest her sound of its soul-steeped DNA—that her melismatic flourishes don’t belong in jazz settings.\u003c/p>\n\u003cp>Austin was just starting to study jazz vocals as a creative outlet while pursuing a degree from the UC Berkeley School of Law in 2009 when she first felt shade from some of her teachers about “unsophisticated R&B singers,” she recalls. “I was told ‘You’re not feeling the music,’ and there was all this anti-soul, anti-blues stuff in the air.”\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/_yzecHwPAOU'\n title='//www.youtube.com/embed/_yzecHwPAOU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She answered that critique with her star-making 2015 debut album \u003ca href=\"https://www.amazon.com/Nothing-But-Soul-Tiffany-Austin/dp/B0124KY0R2\">\u003cem>Nothing But Soul\u003c/em>\u003c/a>, which earned rapturous reviews in both jazz-centric publications (\u003cem>Downbeat\u003c/em>) and wide-focus cultural outlets (\u003ca href=\"https://www.npr.org/2015/08/28/435520724/jazz-vocalist-issues-a-convincing-calling-card-with-nothing-but-soul\">NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>With the curdling political climate around the 2016 presidential election, Austin decided she needed to make a larger statement to counter an environment that increasingly seemed to denigrate, erase, distort or appropriate black expression. Rather than bringing a laser focus to the jazz tradition, she refracted a rainbow of African-American music with her June album, \u003ca href=\"https://www.amazon.com/Unbroken-Tiffany-Austin/dp/B07CCFZFRV\">\u003cem>Unbroken\u003c/em>\u003c/a>, a project blazing with blues, swing, bebop, spirituals, R&B and her own Louisiana Creole heritage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to present the idea that the African-American spirit remains unbroken—that with all the things we go through, we’re still here, creating joyfully, creating great art and great music,” says Austin, who plays her first Bay Area album release date on June 29 at the \u003ca href=\"https://stanfordjazz.org/more-info/tiffany-austin-septet/\">Stanford Jazz Festival\u003c/a> with her septet. The ensemble features tenor \u003ca href=\"https://www.teodrossavery.com\">saxophonist Teodross Avery\u003c/a>, a young-lion star of the 1990s who’s returned to playing full time after earning a PhD in jazz studies from the University of Southern California.\u003c/p>\n\u003cp>The album release celebration moves to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/tiffany-austin-septet-feat-special-guest-carl-allen-unbroken-album-release-concert/\">Kuumbwa Jazz Center\u003c/a> on July 5 and the \u003ca href=\"https://www.sfjazz.org/tickets/productions/tiffany-austin/\">SFJazz Center\u003c/a> on Aug. 11, when \u003cem>Unbroken\u003c/em> co-producer, arranger and trombonist Mitch Butler and New York drum maestro Carl Allen join Austin on stage.\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/SX2kHTosLAg'\n title='//www.youtube.com/embed/SX2kHTosLAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Co-produced by Grammy winner Richard Seidel, \u003cem>Unbroken\u003c/em> opens with two Austin originals that speak to how violent suppression of black accomplishment can lead to emotional scars. Her song “Blues Creole” distills the murky story of pioneering Louisiana Creole accordionist-vocalist Amédé Ardoin, who was allegedly killed in 1942 for interacting with a white woman at a dance. The disquieting and outraged “Greenwood” connects Watts and Ferguson to the infamous 1921 pogrom that wiped out Tulsa, Oklahoma’s prosperous “\u003ca href=\"https://www.ebony.com/black-history/the-destruction-of-black-wall-street-405\" target=\"_blank\" rel=\"noopener\">Black Wall Street\u003c/a>” neighborhood.\u003c/p>\n\u003cp>Austin’s songs are impressive works fully brought to life by her superlative accompanists, a band built on a sleek and high-octane rhythm section with pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen. Allen says he’s relished delving into Austin’s repertoire, which extends far beyond American Songbook standards.\u003c/p>\n\u003cp>“She’s a real musician. She’s soulful and she’s got a concept that’s very cool and courageous,” says Allen. “And I was wonderfully surprised by how much studying she had done, not only the music she wanted to present, but where it was coming from and the roots.”\u003c/p>\n\u003cp>Righteous anger is only one hue in Austin’s vivid emotional palette. Putting a personal stamp on the jazz canon, she turns Ornette Coleman’s early free-bop invocation “The Blessing” into an ode to gratitude. She evokes the ineffable divine spirit with her wordless vocals on Coltrane’s “Resolution” from \u003cem>A Love Supreme\u003c/em>. She often talks about her music as “freedom songs,” a trope that manifests in all its glory with a striking version of Donny Hathaway’s “Someday We’ll All Be Free.”\u003c/p>\n\u003cp>Another high point is Austin’s galvanizing duet with Whitaker on the civil rights anthem “Keep Your Eyes On the Prize.” But no piece better encapsulates her seamless tapestry of the sacred and secular than her rendition of the folk/gospel classic “Ain’t No Grave,” which ascends to a sanctified, pew-shaking scat solo.\u003c/p>\n\u003cp>“That’s the album’s centerpiece for me,” says Austin, who sees her music as honoring the struggles that made her path possible. “I can’t even think about what folks went through, brought here under the worst conditions and facing continued discrimination. And I’m standing here with a law degree and can say today, ‘I’m going to write a song.’ That’s a testament to how powerful the spirits of the ancestors are.”\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/nqqc1N7jIpI'\n title='//www.youtube.com/embed/nqqc1N7jIpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In many ways, a brilliant cadre of black artists Austin connected with after moving to the Bay Area shaped her musical vision. A Los Angeles native from a musically inclined family (her older brother John Austin IV is the popular underground rapper Ras Kass), Austin spent several years singing R&B and soul in Japan before the UC Berkeley School of Law made her a scholarship offer she couldn’t refuse.\u003c/p>\n\u003cp>After the grueling first year of law school, feeling bereft without music in her life, she sought out opportunities to perform and quickly came into the orbit of \u003ca href=\"https://www.marcusshelby.com\">bassist Marcus Shelby\u003c/a>, a composer and bandleader with a deep catalog of ambitious projects exploring various facets of African-American history, culture and politics. Through Shelby, she connected with\u003ca href=\"https://www.mercurynews.com/2018/05/16/howard-wiley-brings-soulful-sax-sound-tro-malcolm-x-fest-in-oakland/\"> saxophonist Howard Wiley\u003c/a>, another deeply rooted artist whose music encompasses Saturday night revelry and Sunday morning worship.\u003c/p>\n\u003cp>Wiley played a crucial role shepherding Austin’s debut album \u003cem>Nothing But Soul\u003c/em>, a project focusing on the songs of pianist and composer Hoagy Carmichael. In looking to develop her own approach to the tradition, Austin also gained invaluable insight watching veteran vocal masters \u003ca href=\"https://www.fayecarol.com\">Faye Carol\u003c/a> (who mentored both Shelby and Wiley) and \u003ca href=\"https://www.kennywashingtonvocalist.com\">Kenny Washington\u003c/a>, whom many peers consider the world’s finest male jazz singer.\u003c/p>\n\u003cp>“Their styles are so different, but what they bring is a real connection to the history and culture of the music,” Austin says. “I remember the first time I saw Faye Carol, I was so inspired by the joy that she brings when she sings. She brings you to your knees and to your feet, all at the same time.”\u003c/p>\n\u003cp>From Washington she gleaned a similar kind of authority, the “kind of feeling you get in church, but people aren’t scatting in church, at least not the church I go to,” Austin says. “Kenny just puts his heart out there. He’s such a musical being, you can’t take your eyes off of him.”\u003c/p>\n\u003cp>Absorbing lessons from the Bay Area’s best, Austin is becoming a national figure in her own right: an artist with a musical message as topical as an unsettling headline and as timeless as an Ella Fitzgerald ballad.\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tiffany Austin Septet perform at the Stanford Jazz Festival on June 29. \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel",
"headTitle": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel | KQED",
"content": "\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oanAeie_Tag\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6qwv2f5m0xM\u003c/p>\n\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w26SF8kwEKg\u003c/p>\n\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\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/oanAeie_Tag'\n title='//www.youtube.com/embed/oanAeie_Tag'\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>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\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/6qwv2f5m0xM'\n title='//www.youtube.com/embed/6qwv2f5m0xM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\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/w26SF8kwEKg'\n title='//www.youtube.com/embed/w26SF8kwEKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "summer-in-the-north-bay-outdoor-music-free-festivals-and-picturesque-events",
"title": "Summer in the North Bay: Outdoor Music, Free Festivals, and Picturesque Events",
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"headTitle": "Summer in the North Bay: Outdoor Music, Free Festivals, and Picturesque Events | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cbr>\nIf there’s one thing the North Bay is good at, it’s free outdoor festivals. A full seven of the below ten suggestions fit that bill, so if you’re packing for a day trip, a lawn chair, blanket and sunscreen will probably come with you. Luckily, the recent fires haven’t put a damper on summertime in Sonoma County, so click through for more details and enjoy a weekend north of the bridge. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>June 12 – Oct. 2\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSeeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes tUnE-yArDs, M. Ward, James McMurtry, Fantastic Negrito and more. The sound is always great and the vibe — well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption alignleft\" style=\"max-width: 354px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>May 31 – Sept. 6\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.krsh.com/2018/04/26/backyard-concerts-2018/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThey just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes a blues night with Wee Willie Walker, a reggae night with Sol Horizon, a rockabilly night with Jinx Jones and more. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834061\" class=\"wp-caption alignleft\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg\" alt=\"Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza.\" width=\"672\" height=\"480\" class=\"size-medium wp-image-13834061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-520x371.jpg 520w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza. \u003ccite>(Courtesy of Tuesdays in the Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tuesdays in the Plaza\u003c/h2>\n\u003cp>May 29 – Aug. 28\u003cbr>\nHealdsburg Plaza, Healdsburg\u003cbr>\n\u003ca href=\"https://www.ci.healdsburg.ca.us/335/Summer-Concert-Series\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nI’ll never forget the time Chuck Prophet played on the Healdsburg Plaza and, scanning the crowd full of fine summer dresses and Louboutin heels, referred to the scene as “Beverly Hills-burg.” Indeed, regulars to this free outdoor series set up their tables with wine and cheese, and begin mingling hours before the music begins — so you’ll want to get there early. It pays off in killer music, which this year includes Con Brio, Royal Jelly Jive, Charlie Musselwhite, John Santos and more, all free. And, with wine flowing, people do sometimes jump in the fountain and dance in the water.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834048\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-800x572.jpg\" alt=\"Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade. \u003ccite>(Courtesy of Sonoma County Pride )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonoma County Pride Festival\u003c/h2>\n\u003cp>June 2\u003cbr>\nCourthouse Square and surrounding venues, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.sonomacountypride.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSonoma County’s Pride celebration makes its official move back to Santa Rosa this year, leaving some residents of Guerneville feeling betrayed. After all, it was Guerneville — historically the most gay-friendly city in Sonoma County — who stepped up to host the parade and festivities when a home was needed 10 years ago. But this year’s new location stands to host a larger crowd, who will be treated to grand marshal Alec Mapa, music from Wrabel and Jason Maek & Zaena, a fashion show, a drag afterparty, DJs, a film series, a kid’s zone and more, all within a one-block radius. There’s no way to make up for Guerneville’s inherently wild verve, it’s true, but a bigger celebration will have to suffice. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its fifth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>June 15 – Sept. 9\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past five years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even a babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>June 10\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOver the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s all over the map, including jazz (Eki Shola), punk (Gender Trash), African (Onye & the Messengers), reggae (Sol Horizon) and country (Frankie Boots). More than 20 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>July 14\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834044\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-800x572.jpg\" alt=\"This year marks your last chance to see Shakespeare in the Cannery.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This year marks your last chance to see Shakespeare in the Cannery. \u003ccite>(Courtesy of Shakespeare in the Cannery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shakespeare in the Cannery\u003c/h2>\n\u003cp>July 13 – Aug. 5\u003cbr>\nHistoric Cannery, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.shakespeareinthecannery.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOutdoor Shakespeare is a summer tradition all over the world, but Santa Rosa’s version comes with a twist: it’s presented inside the skeleton of the old CalPack Plant No. 5, a large brick warehouse just across from the brand-new SMART Train station. Once a fruit-packing plant that attracted hundreds of Italian immigrants to the west end of the city, the building has of late housed works by the world’s most famous playwright, presented by the nearby Arlene Francis Center. For its fifth and final year, the offerings move up to the modern day with \u003cem>Shakespeare in Love\u003c/em>. Bring your own blanket or lawn chair, some fromage and vino, and bid farewell to the theater in this one-of-a-kind setting.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834046\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-800x572.jpg\" alt=\"The Howell Mountain Boys perform at Napa's Porchfest.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Howell Mountain Boys perform at Napa’s Porchfest. \u003ccite>(Mitchell Glotzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Porchfest\u003c/h2>\n\u003cp>July 29\u003cbr>\nThroughout Downtown Napa\u003cbr>\n\u003ca href=\"https://napaporchfest.org/attend-napa-porchfest\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea is so perfect, it’s surprising no one thought of it sooner. At Porchfest, bands don’t go on tour… the fans do. On bikes, that is. Or skateboards, wagons, Big Wheels, by feet — however one chooses to hop from front porch to front porch, upon which local bands perform at houses all over town. Performers are not confirmed at press time, but it historically includes Napa musicians of mostly acoustic styles, like folk, jazz and country. Napa’s old Victorians provide picturesque backdrops, there’s an element of voyeurism in staring into people’s yards, and you can come and go as you please depending on the band. A fun, free way to see the town.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13834060\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz.jpg\" alt=\"Zakir Hussain, Charles Lloyd and Eric Harland at the Healdsburg Jazz Festival.\" width=\"300\" height=\"220\" class=\"size-medium wp-image-13834060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.HealdsburgJazz-240x176.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Zakir Hussain, Charles Lloyd and Eric Harland at the Healdsburg Jazz Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Healdsburg Jazz Festival\u003c/h2>\n\u003cp>June 1–10\u003cbr>\nVarious venues in Healdsburg and Santa Rosa\u003cbr>\n\u003ca href=\"http://www.healdsburgjazzfestival.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe Healdsburg Jazz Festival was founded when the small town was better known for farming equipment and dive bars than boutiques and wineries. But now, marking its 20th anniversary, the festival has retained its homegrown feel while still pulling in jazz’s biggest names. This year’s lineup includes concerts by Ravi Coltrane, Charles Lloyd, Dave Holland, Bill Frisell, George Cables, Fred Hersch, and many others. Returning to his hometown is local-boy-makes-good guitar phenomenon Julian Lage, and there’s even a special tribute to festival favorite Geri Allen, who died this past year. Venues include hotel lobbies, schools, old movie theaters and wineries.\n\u003c/p>\u003c/div>\n\n",
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"title": "Summer in the North Bay: Outdoor Music, Free Festivals, and Picturesque Events | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13832925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cbr>\nIf there’s one thing the North Bay is good at, it’s free outdoor festivals. A full seven of the below ten suggestions fit that bill, so if you’re packing for a day trip, a lawn chair, blanket and sunscreen will probably come with you. Luckily, the recent fires haven’t put a damper on summertime in Sonoma County, so click through for more details and enjoy a weekend north of the bridge. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13834051\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-800x572.jpg\" alt=\"Crowd during show at Lagunitas Brewery \" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Lagunitas-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd during show at Lagunitas Brewery \u003ccite>(Courtesy of Lagunitas Brewery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Live at Lagunitas\u003c/h2>\n\u003cp>June 12 – Oct. 2\u003cbr>\nLagunitas Brewing Co., Petaluma\u003cbr>\n\u003ca href=\"https://lagunitas.com/music-amphitheater\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSeeing a band who’d normally play the Fillmore in a small, 300-capacity outdoor amphitheater is tempting enough for most music fans. But when the tickets are free? That changes it to “pretty much all music fans,” which is why you’ll want to be quick on the mouse-click if you’re hoping to check out a show at the venerable Petaluma brewery. Tickets are offered three weeks in advance of each show in the season, and this year includes tUnE-yArDs, M. Ward, James McMurtry, Fantastic Negrito and more. The sound is always great and the vibe — well, let’s just say the Lagunitas crew doesn’t limit their mood enhancers to beer.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834054\" class=\"wp-caption alignleft\" style=\"max-width: 354px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg\" alt=\"KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert.\" width=\"354\" height=\"253\" class=\"size-medium wp-image-13834054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard.jpg 354w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.KRSHBackyard-240x172.jpg 240w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003cfigcaption class=\"wp-caption-text\">KRSH DJ Bill Bowker talks with attendees at a Krush Backyard Concert. \u003ccite>(Courtesy of Krush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Krush Backyard Concerts\u003c/h2>\n\u003cp>May 31 – Sept. 6\u003cbr>\nKRSH Studios, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.krsh.com/2018/04/26/backyard-concerts-2018/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThey just do things differently in Sonoma County. Whereas in San Francisco, radio stations host huge showcases at the Shoreline Amphitheater or the Oracle Arena, Santa Rosa’s popular station The Krush (95.9-FM) host its favorite acts playing in the studio backyard — which is to say, the grassy area behind a cluster of old-time railroad train cars, from which the DJs broadcast. Blankets, babies and beer are are welcome, and this year’s free series includes a blues night with Wee Willie Walker, a reggae night with Sol Horizon, a rockabilly night with Jinx Jones and more. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834061\" class=\"wp-caption alignleft\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg\" alt=\"Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza.\" width=\"672\" height=\"480\" class=\"size-medium wp-image-13834061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.TuesdaysinthePlaza-520x371.jpg 520w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Roy Rogers and his band kick off the 2018 season for Tuesdays in the Plaza. \u003ccite>(Courtesy of Tuesdays in the Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tuesdays in the Plaza\u003c/h2>\n\u003cp>May 29 – Aug. 28\u003cbr>\nHealdsburg Plaza, Healdsburg\u003cbr>\n\u003ca href=\"https://www.ci.healdsburg.ca.us/335/Summer-Concert-Series\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nI’ll never forget the time Chuck Prophet played on the Healdsburg Plaza and, scanning the crowd full of fine summer dresses and Louboutin heels, referred to the scene as “Beverly Hills-burg.” Indeed, regulars to this free outdoor series set up their tables with wine and cheese, and begin mingling hours before the music begins — so you’ll want to get there early. It pays off in killer music, which this year includes Con Brio, Royal Jelly Jive, Charlie Musselwhite, John Santos and more, all free. And, with wine flowing, people do sometimes jump in the fountain and dance in the water.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834048\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-800x572.jpg\" alt=\"Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.SonomaCountyPride.AlecM_-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alec Mapa is the 2018 Grand Marshal for a newly relocated Sonoma County Pride parade. \u003ccite>(Courtesy of Sonoma County Pride )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonoma County Pride Festival\u003c/h2>\n\u003cp>June 2\u003cbr>\nCourthouse Square and surrounding venues, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.sonomacountypride.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nSonoma County’s Pride celebration makes its official move back to Santa Rosa this year, leaving some residents of Guerneville feeling betrayed. After all, it was Guerneville — historically the most gay-friendly city in Sonoma County — who stepped up to host the parade and festivities when a home was needed 10 years ago. But this year’s new location stands to host a larger crowd, who will be treated to grand marshal Alec Mapa, music from Wrabel and Jason Maek & Zaena, a fashion show, a drag afterparty, DJs, a film series, a kid’s zone and more, all within a one-block radius. There’s no way to make up for Guerneville’s inherently wild verve, it’s true, but a bigger celebration will have to suffice. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834055\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-800x522.jpg\" alt=\"Now in its fifth year, 'Broadway Under the Stars' benefits Jack London State Park.\" width=\"800\" height=\"522\" class=\"size-medium wp-image-13834055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.BroadwayUndertheStars-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now in its fifth year, ‘Broadway Under the Stars’ benefits Jack London State Park. \u003ccite>(Courtesy of 'Broadway Under the Stars' )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Broadway Under the Stars\u003c/h2>\n\u003cp>June 15 – Sept. 9\u003cbr>\nJack London State Park, Glen Ellen\u003cbr>\n\u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea here is simple: take a bunch of Broadway professionals from New York, bring them to the Bay Area for the off-season in the summer, throw together revues of best-loved songs from musical theatre, and present them amidst the stone ruins of a former winery in Jack London State Park. The scenery here is picturesque, the performers bring obvious quality, and the productions are consistently entertaining and not afraid to poke fun at the usual stuffy seriousness of the theatre. The topper? Over the past five years, the company has donated over a quarter million dollars to the state park to help keep it running. This one’s a favorite.\u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834059\" class=\"wp-caption alignleft\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg\" alt=\"Even a babies get into the action at the Railroad Square Musical Festival.\" width=\"720\" height=\"480\" class=\"size-medium wp-image-13834059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RailroadSquareMusicFest-520x347.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Even a babies get into the action at the Railroad Square Musical Festival. \u003ccite>(Courtesy of Railroad Square Musical Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Railroad Square Music Festival\u003c/h2>\n\u003cp>June 10\u003cbr>\nRailroad Square, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.railroadsquaremusicfestival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOver the years, Railroad Square has played host to Alfred Hitchcock (parts of \u003cem>Shadow of a Doubt\u003c/em> were filmed there), Steve Martin (\u003cem>Cheaper by the Dozen\u003c/em>), Thomas Edison and Henry Ford (visiting by train) and, recently, several outdoor festivals of the steampunk / Burning Man variety. This one’s all over the map, including jazz (Eki Shola), punk (Gender Trash), African (Onye & the Messengers), reggae (Sol Horizon) and country (Frankie Boots). More than 20 acts total fill multiple stages, it’s free, and this year, attendees even have a fresh new transportation option in the form of the SMART Train, which disembarks just steps from the main stage. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834045\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-800x572.jpg\" alt=\"\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.RivertownRevival-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Traveling Spectacular’ stage at the Rivertown Revival. \u003ccite>(Courtesy of Traveling Spectacular)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rivertown Revival\u003c/h2>\n\u003cp>July 14\u003cbr>\nSteamer Landing Park, Petaluma\u003cbr>\n\u003ca href=\"http://www.rivertownrevival.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe boat races along the Petaluma Slough are just the tip of the daylong fun at this colorful, old-timey free festival. Part steampunk, part country, the day’s activities include live music from local folk and bluegrass bands, plenty of food and drink, public sculpture along the long, winding entrance, the “Traveling Spectacular” stage (pictured) and, if you’re feeling frisky, a hilltop gazebo for impromptu wedding ceremonies. Make sure to get your Instagram photo ops in the giant blue chair or along the old Ghirardelli barn, and yes, root for your favorite decorated boat as it floats in the water below. Take it from us: there’s much shade here, so a parasol or large hat are recommended. \u003c/p>\n\u003cp>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834044\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-800x572.jpg\" alt=\"This year marks your last chance to see Shakespeare in the Cannery.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Shakespeare-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This year marks your last chance to see Shakespeare in the Cannery. \u003ccite>(Courtesy of Shakespeare in the Cannery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shakespeare in the Cannery\u003c/h2>\n\u003cp>July 13 – Aug. 5\u003cbr>\nHistoric Cannery, Santa Rosa\u003cbr>\n\u003ca href=\"https://www.shakespeareinthecannery.com/\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nOutdoor Shakespeare is a summer tradition all over the world, but Santa Rosa’s version comes with a twist: it’s presented inside the skeleton of the old CalPack Plant No. 5, a large brick warehouse just across from the brand-new SMART Train station. Once a fruit-packing plant that attracted hundreds of Italian immigrants to the west end of the city, the building has of late housed works by the world’s most famous playwright, presented by the nearby Arlene Francis Center. For its fifth and final year, the offerings move up to the modern day with \u003cem>Shakespeare in Love\u003c/em>. Bring your own blanket or lawn chair, some fromage and vino, and bid farewell to the theater in this one-of-a-kind setting.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13834046\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-800x572.jpg\" alt=\"The Howell Mountain Boys perform at Napa's Porchfest.\" width=\"800\" height=\"572\" class=\"size-medium wp-image-13834046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HSG.Porchfest-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Howell Mountain Boys perform at Napa’s Porchfest. \u003ccite>(Mitchell Glotzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Porchfest\u003c/h2>\n\u003cp>July 29\u003cbr>\nThroughout Downtown Napa\u003cbr>\n\u003ca href=\"https://napaporchfest.org/attend-napa-porchfest\" rel=\"noopener\" target=\"_blank\">More Information\u003c/a>\u003cbr>\nThe idea is so perfect, it’s surprising no one thought of it sooner. At Porchfest, bands don’t go on tour… the fans do. On bikes, that is. Or skateboards, wagons, Big Wheels, by feet — however one chooses to hop from front porch to front porch, upon which local bands perform at houses all over town. Performers are not confirmed at press time, but it historically includes Napa musicians of mostly acoustic styles, like folk, jazz and country. Napa’s old Victorians provide picturesque backdrops, there’s an element of voyeurism in staring into people’s yards, and you can come and go as you please depending on the band. A fun, free way to see the town.\u003cbr>\n\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week we’re talking about a ballet beyond words, a play about the 1950s “red scare,” an unstoppable jazz pianist and more. Joining me in the studio is Suzie Racho, producer-director for The California Report Magazine, and founding producer of The Do List.\u003c/p>\n\u003cp>Listen to the show above, and click through the links below for more details on this week’s picks!\u003c/p>\n\u003cp>\u003cstrong>May 31–June 2\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833843/a-dance-for-the-deaf-at-oakland-ballets-scene-heard\" rel=\"noopener\" target=\"_blank\">Oakland Ballet’s Scene & Heard at the Odell Johnson Performing Arts Center at Laney College\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 4\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/remembering-david-wiegand/\" rel=\"noopener\" target=\"_blank\">A tribute to David Wiegand at the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833850/you-cant-stop-jazz-legend-ahmad-jamal\" rel=\"noopener\" target=\"_blank\">Jazz Pianist Ahmad Jamal at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 6-July 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833853/mccarthy-eras-damage-brought-onstage-in-silicon-valley\" rel=\"noopener\" target=\"_blank\">\u003cem>FINKS\u003c/em> at the Mountain View Center for the Performing Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 7-July 7\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833817/prince-before-the-fame-shown-in-new-photo-exhibition\" rel=\"noopener\" target=\"_blank\">\u003cem>Prince Pre Fame\u003c/em> photography show at the Family Affair gallery in Lower Haight\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 8-9\u003c/strong>: \u003ca href=\"https://sonoma.huichica.com/\" rel=\"noopener\" target=\"_blank\">The Huichica Music Festival at Gundlach Bundschu winery in Sonoma\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer José James is hitting the road with a new tour dedicated to the music of Bill Withers, who’s turning 80 years old July 4. James is a terrific jazz and pop singer with a very warm tone which captures the sincerity, deep feeling, and honest sentiment Withers infused into his songs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x80tq7lTlc4'\n title='//www.youtube.com/embed/x80tq7lTlc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>José James celebrates the music of Bill Withers in a concert at Kuumbwa Jazz in Santa Cruz May 10 and SFJAZZ on May 11. James also performs twice in one night, May 12, at Cafe Stritch in San Jose; the second performance includes a DJ dance set. \u003ca href=\"http://www.josejamesmusic.com/#/tour\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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