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"content": "\u003cp>Longtime Bay Area hip-hop fans mourned the passing last December of Pam the Funkstress, the pioneering East Bay DJ who backed both The Coup and, before he died, Prince. A tribute to Pam is just one of the dozens of reasons to head to the \u003ca href=\"https://www.facebook.com/events/872665479587831/\" rel=\"noopener\" target=\"_blank\">Malcolm X Jazz Arts Festival\u003c/a>, a huge outdoor celebration of art and music.\u003c/p>\n\u003cp>Both I and my co-host this week, Ariana Proehl, have been to the festival in years past, and it’s always a great vibe and crowd. Vendors, live painting and graffiti art, a jazz stage, dance stage, poetry stage, DJs are all on the schedule, but you really never know what you’ll stumble on there, and that’s part of the festival’s appeal — the community always turns out for it. \u003c/p>\n\u003cp>Things we’re looking forward to include Bay Area favorite DJ LadyRyan, Oakland-based musical artist Jennifer Johns, poet and activist Tanea Lunsford Lynx, the terrific jazz saxophonist Howard Wiley, the poet and MC Jahi, and of course the tribute to Pam the Funkstress. That’s the Malcolm X Jazz Arts Festival at San Antonio Park in Oakland, on Saturday, May 19 — the festival runs all day and admission is free. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Longtime Bay Area hip-hop fans mourned the passing last December of Pam the Funkstress, the pioneering East Bay DJ who backed both The Coup and, before he died, Prince. A tribute to Pam is just one of the dozens of reasons to head to the \u003ca href=\"https://www.facebook.com/events/872665479587831/\" rel=\"noopener\" target=\"_blank\">Malcolm X Jazz Arts Festival\u003c/a>, a huge outdoor celebration of art and music.\u003c/p>\n\u003cp>Both I and my co-host this week, Ariana Proehl, have been to the festival in years past, and it’s always a great vibe and crowd. Vendors, live painting and graffiti art, a jazz stage, dance stage, poetry stage, DJs are all on the schedule, but you really never know what you’ll stumble on there, and that’s part of the festival’s appeal — the community always turns out for it. \u003c/p>\n\u003cp>Things we’re looking forward to include Bay Area favorite DJ LadyRyan, Oakland-based musical artist Jennifer Johns, poet and activist Tanea Lunsford Lynx, the terrific jazz saxophonist Howard Wiley, the poet and MC Jahi, and of course the tribute to Pam the Funkstress. That’s the Malcolm X Jazz Arts Festival at San Antonio Park in Oakland, on Saturday, May 19 — the festival runs all day and admission is free. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the early 1990s, the late \u003ca href=\"https://www.arts.gov/honors/jazz/melba-liston\">trombonist-arranger Melba Liston\u003c/a> lived with her three aunts in a stately, old home in Los Angeles’ West Adams neighborhood. Though she had recently suffered a stroke, she was in the midst of creating some of her most vivid work for pianist-composer and fellow NEA Jazz Master \u003ca href=\"https://www.arts.gov/honors/jazz/randy-weston\">Randy Weston\u003c/a>, a collaborator of hers since the ’50s. As the only female horn player to tour and record with some of the era’s definitive jazz orchestras, Liston had plenty of stories to tell when I visited her during those years.\u003c/p>\n\u003cp>She described repeated rapes on the road by fellow musicians with matter-of-fact sadness. She also remembered the support of one of her primary champions, trumpet legend \u003ca href=\"https://www.britannica.com/biography/Dizzy-Gillespie\">Dizzy Gillespie\u003c/a>.\u003c/p>\n\u003cp>Liston had made her mark on the L.A. jazz scene in the mid-1940s, playing and arranging for \u003ca href=\"https://www.arts.gov/honors/jazz/gerald-wilson\">Gerald Wilson’s\u003c/a> innovative big bands. When Gillespie brought her into his short-lived bebop orchestra at the end of that decade, some of the men grumbled loudly about a woman joining the band, asking, “Who’s this bitch?”\u003c/p>\n\u003cp>Gillespie ignored them and asked Liston to pass out an arrangement she’d written for the band. He counted it off and, within a few measures, it turned into a train wreck, with the top-shelf players confounded by her intricate writing. “\u003cem>Now\u003c/em> who’s the bitch?” Gillespie cackled.\u003c/p>\n\u003cp>“They didn’t say anything about me after that,” Liston recalled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ojwANp_D_fE\u003c/p>\n\u003cp>Liston has been on my mind lately because a recently-formed band is playing some of her music at \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\">Freight & Salvage\u003c/a> in Berkeley on May 6. Co-founded and led by Oakland multi-instrumentalist Mwamba Blakwomyn (on bass) and Berkeley trombonist Pat Mullan, Mary Lou’s Apartment is a 12-piece, all-women ensemble created to celebrate the legacies of Liston and pianist-composer \u003ca href=\"http://newarkwww.rutgers.edu/ijs/mlw/intro2.html\">Mary Lou Williams\u003c/a>, an essential figure in jazz’s evolution from the swing era to bebop and beyond.\u003c/p>\n\u003cp>Mary Lou’s Apartment shines a welcome spotlight on two African-American women whose outsized contributions to American music are too often overlooked and forgotten. The multi-racial band features a critical mass of black women players that’s almost unprecedented in recent decades.\u003c/p>\n\u003cp>“That was the idea, putting women, and black women, up front,” said Mullan, a retired librarian who’s also the band manager of Berkeley’s long-running Junius Courtney Big Band.\u003c/p>\n\u003cfigure id=\"attachment_13830620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13830620 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg\" alt=\"Vocalist Deborah Tisdale introduces Mary Lou's Apartment at a recent performance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Deborah Tisdale introduces Mary Lou’s Apartment at a recent performance. \u003ccite>(Lucy Jane Bledsoe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t want to get into the craziness of a big band,” she continued. “But we thought something like a ‘little big band’ could work, mainly to play great music and have a copacetic group to hang out with. The time we spend rehearsing is the best part of my week.”\u003c/p>\n\u003cp>It’s more than appropriate that the musicians revel in the hang-out time rehearsal provides. The band takes its name from Williams’s Harlem digs on Sugar Hill, at 63 Hamilton Terrace. She famously left the door unlocked when she wasn’t home so musicians could drop by and use her piano. The apartment served as an after-hours spot and convivial workshop for artists like Thelonious Monk, Miles Davis, Tadd Dameron and Charlie Parker, who sought out Williams for advice on various musical matters.\u003c/p>\n\u003cp>A child prodigy who was supporting her family before she turned 10, the Pittsburgh-raised Williams established herself as a commanding blues and stride pianist in the 1920s. She wrote hits for Benny Goodman (“Roll ‘Em”), Duke Ellington (“Trumpets No End”) and Jimmie Lunceford (“What’s Your Story Mornin’ Glory”) in the swing era. Later, she was in the thick of the intellectual ferment that gave birth to bebop, supplying Gillespie with the hit “In the Land of Oo-Bla-Dee” in 1945.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3X5sVnZvaVQ\u003c/p>\n\u003cp>Williams is in the pantheon, but often overlooked: even some of the women in Mary Lou’s Apartment weren’t aware of her music.\u003c/p>\n\u003cp>Baritone saxophonist Jonnette Newton, a longtime educator who recently retired as the principal of the Bayside Martin Luther King Jr. Academy in Sausalito, grew up immersed in jazz. The niece of the great free-jazz drummer Sunny Murray, she admits she had “never heard of Mary Lou, even when my uncle was dragging me around New York to see music.”\u003c/p>\n\u003cp>“I was awed when I first met a woman sax player, when I saw Vi Redd in L.A.,” Newton added, referring to the fiery bebop altoist, vocalist and grand-niece of Melba Liston’s early L.A. mentor, Alma Hightower.\u003c/p>\n\u003cp>Newton had heard some of Liston’s music, and since joining Mary Lou’s Apartment, she’s delved into Williams’s life, reading Linda Dahl’s 2001 Williams biography \u003cem>Morning Glory\u003c/em> and regularly sharing snippets with her bandmates during rehearsals. But more than anything, she’s loved diving into the tunes.\u003c/p>\n\u003cp>“Both Mary Lou and Melba’s music is so complicated and quirky,” Newton said. “Mary Lou puts different formats into her music. For a minute, you’re going nice and smoothly — and then jagged and jerking — and she’ll tie all those movements together in one piece so brilliantly.”\u003c/p>\n\u003cp>https://youtu.be/8s-kcloC-fI\u003c/p>\n\u003cp>Liston is best known for her decades-long collaboration with Randy Weston, but she was a first-call trombonist who played on hundreds of jazz, pop and R&B sessions. Though she only recorded one album under her own name (1959’s \u003cem>Melba and Her ‘Bones\u003c/em>), she wrote arrangements for a bevy of classic albums.\u003c/p>\n\u003cp>Mullan spent time sifting through Liston’s archives at Columbia College in Chicago while seeking out tunes for the band. She also traveled to Rutgers University in New Jersey to look through Williams’s papers.\u003c/p>\n\u003cp>“It’s voluminous, and all in their handwriting, which is pretty amazing,” said Mullan. “I got one of Melba’s better-known pieces out of the Chicago archives, ‘Ben Loves Lu,’ a lush ballad statement about Ben Webster that we feature Barbara Hunter on with her big, beautiful tenor sound.”\u003c/p>\n\u003cp>Mary Lou’s Apartment’s repertoire continues to evolve so that each performance offers a snapshot of the bandmates’ latest investigations. Liston did a fair amount of writing for Williams, and Mullan hopes to present some of that material in the future.\u003c/p>\n\u003cp>At a time when women musicians inspired by #MeToo have been sharing accounts of mistreatment by male peers — ranging from disrespect to assault — Mary Lou’s Apartment provides a welcome look at black female brilliance that refuses not to shine.\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>Mary Lou’s Apartment perform at Freight & Salvage on May 6. More info \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1990s, the late \u003ca href=\"https://www.arts.gov/honors/jazz/melba-liston\">trombonist-arranger Melba Liston\u003c/a> lived with her three aunts in a stately, old home in Los Angeles’ West Adams neighborhood. Though she had recently suffered a stroke, she was in the midst of creating some of her most vivid work for pianist-composer and fellow NEA Jazz Master \u003ca href=\"https://www.arts.gov/honors/jazz/randy-weston\">Randy Weston\u003c/a>, a collaborator of hers since the ’50s. As the only female horn player to tour and record with some of the era’s definitive jazz orchestras, Liston had plenty of stories to tell when I visited her during those years.\u003c/p>\n\u003cp>She described repeated rapes on the road by fellow musicians with matter-of-fact sadness. She also remembered the support of one of her primary champions, trumpet legend \u003ca href=\"https://www.britannica.com/biography/Dizzy-Gillespie\">Dizzy Gillespie\u003c/a>.\u003c/p>\n\u003cp>Liston had made her mark on the L.A. jazz scene in the mid-1940s, playing and arranging for \u003ca href=\"https://www.arts.gov/honors/jazz/gerald-wilson\">Gerald Wilson’s\u003c/a> innovative big bands. When Gillespie brought her into his short-lived bebop orchestra at the end of that decade, some of the men grumbled loudly about a woman joining the band, asking, “Who’s this bitch?”\u003c/p>\n\u003cp>Gillespie ignored them and asked Liston to pass out an arrangement she’d written for the band. He counted it off and, within a few measures, it turned into a train wreck, with the top-shelf players confounded by her intricate writing. “\u003cem>Now\u003c/em> who’s the bitch?” Gillespie cackled.\u003c/p>\n\u003cp>“They didn’t say anything about me after that,” Liston recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ojwANp_D_fE'\n title='//www.youtube.com/embed/ojwANp_D_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liston has been on my mind lately because a recently-formed band is playing some of her music at \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\">Freight & Salvage\u003c/a> in Berkeley on May 6. Co-founded and led by Oakland multi-instrumentalist Mwamba Blakwomyn (on bass) and Berkeley trombonist Pat Mullan, Mary Lou’s Apartment is a 12-piece, all-women ensemble created to celebrate the legacies of Liston and pianist-composer \u003ca href=\"http://newarkwww.rutgers.edu/ijs/mlw/intro2.html\">Mary Lou Williams\u003c/a>, an essential figure in jazz’s evolution from the swing era to bebop and beyond.\u003c/p>\n\u003cp>Mary Lou’s Apartment shines a welcome spotlight on two African-American women whose outsized contributions to American music are too often overlooked and forgotten. The multi-racial band features a critical mass of black women players that’s almost unprecedented in recent decades.\u003c/p>\n\u003cp>“That was the idea, putting women, and black women, up front,” said Mullan, a retired librarian who’s also the band manager of Berkeley’s long-running Junius Courtney Big Band.\u003c/p>\n\u003cfigure id=\"attachment_13830620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13830620 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg\" alt=\"Vocalist Deborah Tisdale introduces Mary Lou's Apartment at a recent performance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Deborah Tisdale introduces Mary Lou’s Apartment at a recent performance. \u003ccite>(Lucy Jane Bledsoe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t want to get into the craziness of a big band,” she continued. “But we thought something like a ‘little big band’ could work, mainly to play great music and have a copacetic group to hang out with. The time we spend rehearsing is the best part of my week.”\u003c/p>\n\u003cp>It’s more than appropriate that the musicians revel in the hang-out time rehearsal provides. The band takes its name from Williams’s Harlem digs on Sugar Hill, at 63 Hamilton Terrace. She famously left the door unlocked when she wasn’t home so musicians could drop by and use her piano. The apartment served as an after-hours spot and convivial workshop for artists like Thelonious Monk, Miles Davis, Tadd Dameron and Charlie Parker, who sought out Williams for advice on various musical matters.\u003c/p>\n\u003cp>A child prodigy who was supporting her family before she turned 10, the Pittsburgh-raised Williams established herself as a commanding blues and stride pianist in the 1920s. She wrote hits for Benny Goodman (“Roll ‘Em”), Duke Ellington (“Trumpets No End”) and Jimmie Lunceford (“What’s Your Story Mornin’ Glory”) in the swing era. Later, she was in the thick of the intellectual ferment that gave birth to bebop, supplying Gillespie with the hit “In the Land of Oo-Bla-Dee” in 1945.\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/3X5sVnZvaVQ'\n title='//www.youtube.com/embed/3X5sVnZvaVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Williams is in the pantheon, but often overlooked: even some of the women in Mary Lou’s Apartment weren’t aware of her music.\u003c/p>\n\u003cp>Baritone saxophonist Jonnette Newton, a longtime educator who recently retired as the principal of the Bayside Martin Luther King Jr. Academy in Sausalito, grew up immersed in jazz. The niece of the great free-jazz drummer Sunny Murray, she admits she had “never heard of Mary Lou, even when my uncle was dragging me around New York to see music.”\u003c/p>\n\u003cp>“I was awed when I first met a woman sax player, when I saw Vi Redd in L.A.,” Newton added, referring to the fiery bebop altoist, vocalist and grand-niece of Melba Liston’s early L.A. mentor, Alma Hightower.\u003c/p>\n\u003cp>Newton had heard some of Liston’s music, and since joining Mary Lou’s Apartment, she’s delved into Williams’s life, reading Linda Dahl’s 2001 Williams biography \u003cem>Morning Glory\u003c/em> and regularly sharing snippets with her bandmates during rehearsals. But more than anything, she’s loved diving into the tunes.\u003c/p>\n\u003cp>“Both Mary Lou and Melba’s music is so complicated and quirky,” Newton said. “Mary Lou puts different formats into her music. For a minute, you’re going nice and smoothly — and then jagged and jerking — and she’ll tie all those movements together in one piece so brilliantly.”\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/8s-kcloC-fI'\n title='//www.youtube.com/embed/8s-kcloC-fI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liston is best known for her decades-long collaboration with Randy Weston, but she was a first-call trombonist who played on hundreds of jazz, pop and R&B sessions. Though she only recorded one album under her own name (1959’s \u003cem>Melba and Her ‘Bones\u003c/em>), she wrote arrangements for a bevy of classic albums.\u003c/p>\n\u003cp>Mullan spent time sifting through Liston’s archives at Columbia College in Chicago while seeking out tunes for the band. She also traveled to Rutgers University in New Jersey to look through Williams’s papers.\u003c/p>\n\u003cp>“It’s voluminous, and all in their handwriting, which is pretty amazing,” said Mullan. “I got one of Melba’s better-known pieces out of the Chicago archives, ‘Ben Loves Lu,’ a lush ballad statement about Ben Webster that we feature Barbara Hunter on with her big, beautiful tenor sound.”\u003c/p>\n\u003cp>Mary Lou’s Apartment’s repertoire continues to evolve so that each performance offers a snapshot of the bandmates’ latest investigations. Liston did a fair amount of writing for Williams, and Mullan hopes to present some of that material in the future.\u003c/p>\n\u003cp>At a time when women musicians inspired by #MeToo have been sharing accounts of mistreatment by male peers — ranging from disrespect to assault — Mary Lou’s Apartment provides a welcome look at black female brilliance that refuses not to shine.\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>Mary Lou’s Apartment perform at Freight & Salvage on May 6. More info \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Pitchfork, Complex, Fader, and even Spin, there was Lee Hildebrand. The Bay Area music writer has covered jazz, R&B and blues music for nigh on four decades at nearly every paper one can name, including the \u003cem>East Bay Express\u003c/em>, which he helped found in 1978. \u003c/p>\n\u003cp>Now, the veteran writer is beset with health issues, and the musicians who he gave so much support to over the years give back with a jam-packed May 24 benefit fundraiser. Musicians include former Tower of Power vocalist Lenny Williams, jazz saxophone stalwart John Handy, Oakland legend Sugar Pie DeSanto, fusion drummer Norman Connors, local treasure Faye Carol, guitarist Calvin Keys and many others. \u003c/p>\n\u003cp>It’s all to raise funds for Hildebrand, who suffered a stroke late last year and can reportedly no longer write to earn a living. The celebration gets underway on Thursday, May 24, at Geoffrey’s Inner Circle in Oakland. \u003ca href=\"https://www.gofundme.com/bring-lee-hildebrand-home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Pitchfork, Complex, Fader, and even Spin, there was Lee Hildebrand. The Bay Area music writer has covered jazz, R&B and blues music for nigh on four decades at nearly every paper one can name, including the \u003cem>East Bay Express\u003c/em>, which he helped found in 1978. \u003c/p>\n\u003cp>Now, the veteran writer is beset with health issues, and the musicians who he gave so much support to over the years give back with a jam-packed May 24 benefit fundraiser. Musicians include former Tower of Power vocalist Lenny Williams, jazz saxophone stalwart John Handy, Oakland legend Sugar Pie DeSanto, fusion drummer Norman Connors, local treasure Faye Carol, guitarist Calvin Keys and many others. \u003c/p>\n\u003cp>It’s all to raise funds for Hildebrand, who suffered a stroke late last year and can reportedly no longer write to earn a living. The celebration gets underway on Thursday, May 24, at Geoffrey’s Inner Circle in Oakland. \u003ca href=\"https://www.gofundme.com/bring-lee-hildebrand-home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Man Alone: Solo Bass Conversations with Dave Holland",
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"content": "\u003cp>Bassists can be a self-deprecating lot, which probably explains why every few days I see some low-end specialist posting that cartoon with two tough guys trying to extract information from a blindfolded, handcuffed mug. “I think he will talk now boss…” says one, while poised to start playing a double bass. “Oh yeah! I know that!” the boss replies. “Everybody starts to talk during a bass solo…” \u003c/p>\n\u003cp>It’s true that audiences often get restless during bass solos, and that said solos are too often meted out injudiciously in jazz, arising more from a seeming desire to distribute equal time in the spotlight than from musical need. But when \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> Dave Holland opens another four-night run Thursday at the SFJAZZ Center with \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-solo/?gclid=CjwKCAjws6jVBRBZEiwAkIfZ2s8-FFZYa3BqVXEYlh9kULDJq2M7-HbSvNqhQuXHi_-wjsp1BU9zShoCnn0QAvD_BwE\">a rare solo recital\u003c/a>, the response is far more likely to be rapt silence than chatter.\u003c/p>\n\u003cp>More than a jazz giant, Holland is a restless seeker, always looking to forge new musical relationships. Technically, programmatically and imaginatively, any jazz bassist faces numerous challenges playing without a score. But for Holland, it’s the lack an interlocutor that makes the format an existential leap. “The clear difference is you’re on your own,” he said in a recent phone call from Basel, Switzerland.\u003c/p>\n\u003cp>“There’s no conversation or interaction, other than with the audience. That’s an element that I particularly enjoy, the back and forth with other players. What I had to learn was how to pace the concert, how get enough variety so it doesn’t get repetitious over 80 or 90 minutes.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JmvCZxZ_jwM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At 71, the British-born Holland has been a creative force for more than half a century, and a vanguard figure since he arrived in the United States in 1968 to play with trumpet legend Miles Davis, who wanted an electric bassist for his rapidly evolving band. Holland long ago shed the electric bass from his arsenal, and he’s one of a handful of jazz double bassists resourceful enough to turn a solo evening into a riveting musical experience.\u003c/p>\n\u003cp>San Francisco native Barre Phillips released the first solo jazz bass album in 1968, a project known under various titles, including \u003cem>Journal Violone\u003c/em>. But it was Holland’s 1977 album \u003cem>Emerald Tears\u003c/em> (ECM) that brought the demanding format into jazz’s mainstream (fittingly, Holland and Phillips recorded a duo album together, 1971’s ECM session \u003cem>Music For Two Basses\u003c/em>). His history with the format spans his peripatetic creative journey from his years in the avant-garde quartet Circle with Chick Corea, Barry Altschul, and Anthony Braxton, through his embrace of compositional form and groove as a bandleader some two decade later.\u003c/p>\n\u003cp>“Anthony Braxton encouraged me to do more solo playing,” Holland says. “But I didn’t really do my first solo concert until \u003cem>Emerald Tears\u003c/em>. When you think about the bass, you can play double stops and some chordal things, but you have to present the whole song. When I started playing cello in 1970 I worked on those amazing Bach solo suites, and that’s what used to develop a solo bass approach too. Bach presents a way to accompany, fulfill the harmonic setting and play melody at the same time.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-and-kenny-barron/\">Friday night’s show\u003c/a>, Holland is joined by pianist and fellow NEA Jazz Master Kenny Barron, a duo that embodies jazz’s interactive imperative at its more rarified. They first played together on Barron’s 1985 trio session \u003cem>Scratch\u003c/em> (Enja), and in the years following, whenever their paths crossed, they talked about working together again. Decades later, they finally seized the moment, resulting in the duo album \u003cem>The Art of Conversation\u003c/em> (Impulse!), which was named 2014 Album of the Year by the Jazz Journalists Association.\u003c/p>\n\u003cp>As befitting an improviser whose lines flow with elegant, curvilinear grace, Holland adds a player over the course of each night. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-kevin-eubanks-obed-calvaire/\">Saturday’s trio\u003c/a> reunites Holland with guitarist Kevin Eubanks, with whom he’s collaborated since the 1980s, and SFJAZZ Collective drummer Obed Calvaire, a more recent connection. Holland caught Calvaire playing on a gig with Cameroonian bassist/vocalist Richard Bona a few years ago, and sought him out. Holland and Eubanks had been in the midst of creating new music after the guitarist left his long-running television gig with Jay Leno, and they added Calvaire into the mix, a trio they’re in the process of recording.\u003c/p>\n\u003cp>The run \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-chris-potter-lionel-loueke-eric-harland/\">closes on Sunday\u003c/a> with Aziza, Holland’s quartet with tenor saxophonist Chris Potter, drummer Eric Harland, and Beninese guitarist Lionel Loueke (who was just in town with Herbie Hancock a few weeks ago). “Talk about a unique guitarist!” Holland says. “I’m so lucky to have this relationship with two amazing guitarists, Kevin and Lionel. The way Lionel relates to a band and accompanies brings such an amazing dynamic to a group.”\u003c/p>\n\u003cp>Holland returns to the SFJAZZ Center on June 16 as part of the 36th San Francisco Jazz Festival for a trio concert with Chris Potter and Zakir Hussain, who built last year’s India-jazz summit Crosscurrents at SFJAZZ around Holland’s bass.\u003c/p>\n\u003cp>Crosscurrents has toured widely since then, but this date is a stripped-down situation “so we can get into deep waters with Zakir and his rhythmic world,” Holland says. “He’s such a supportive player. But still, it’s so challenging to play with him, with his incredible ability and depth, combining all the Indian tradition and his experience working with all his collaborations. It’s something very special.”\u003c/p>\n\u003cp>But that’s a whole other conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dave Holland’s residency at SFJAZZ runs March 22–25. \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2017-18/dave-holland/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bassists can be a self-deprecating lot, which probably explains why every few days I see some low-end specialist posting that cartoon with two tough guys trying to extract information from a blindfolded, handcuffed mug. “I think he will talk now boss…” says one, while poised to start playing a double bass. “Oh yeah! I know that!” the boss replies. “Everybody starts to talk during a bass solo…” \u003c/p>\n\u003cp>It’s true that audiences often get restless during bass solos, and that said solos are too often meted out injudiciously in jazz, arising more from a seeming desire to distribute equal time in the spotlight than from musical need. But when \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> Dave Holland opens another four-night run Thursday at the SFJAZZ Center with \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-solo/?gclid=CjwKCAjws6jVBRBZEiwAkIfZ2s8-FFZYa3BqVXEYlh9kULDJq2M7-HbSvNqhQuXHi_-wjsp1BU9zShoCnn0QAvD_BwE\">a rare solo recital\u003c/a>, the response is far more likely to be rapt silence than chatter.\u003c/p>\n\u003cp>More than a jazz giant, Holland is a restless seeker, always looking to forge new musical relationships. Technically, programmatically and imaginatively, any jazz bassist faces numerous challenges playing without a score. But for Holland, it’s the lack an interlocutor that makes the format an existential leap. “The clear difference is you’re on your own,” he said in a recent phone call from Basel, Switzerland.\u003c/p>\n\u003cp>“There’s no conversation or interaction, other than with the audience. That’s an element that I particularly enjoy, the back and forth with other players. What I had to learn was how to pace the concert, how get enough variety so it doesn’t get repetitious over 80 or 90 minutes.”\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/JmvCZxZ_jwM'\n title='//www.youtube.com/embed/JmvCZxZ_jwM'\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>At 71, the British-born Holland has been a creative force for more than half a century, and a vanguard figure since he arrived in the United States in 1968 to play with trumpet legend Miles Davis, who wanted an electric bassist for his rapidly evolving band. Holland long ago shed the electric bass from his arsenal, and he’s one of a handful of jazz double bassists resourceful enough to turn a solo evening into a riveting musical experience.\u003c/p>\n\u003cp>San Francisco native Barre Phillips released the first solo jazz bass album in 1968, a project known under various titles, including \u003cem>Journal Violone\u003c/em>. But it was Holland’s 1977 album \u003cem>Emerald Tears\u003c/em> (ECM) that brought the demanding format into jazz’s mainstream (fittingly, Holland and Phillips recorded a duo album together, 1971’s ECM session \u003cem>Music For Two Basses\u003c/em>). His history with the format spans his peripatetic creative journey from his years in the avant-garde quartet Circle with Chick Corea, Barry Altschul, and Anthony Braxton, through his embrace of compositional form and groove as a bandleader some two decade later.\u003c/p>\n\u003cp>“Anthony Braxton encouraged me to do more solo playing,” Holland says. “But I didn’t really do my first solo concert until \u003cem>Emerald Tears\u003c/em>. When you think about the bass, you can play double stops and some chordal things, but you have to present the whole song. When I started playing cello in 1970 I worked on those amazing Bach solo suites, and that’s what used to develop a solo bass approach too. Bach presents a way to accompany, fulfill the harmonic setting and play melody at the same time.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-and-kenny-barron/\">Friday night’s show\u003c/a>, Holland is joined by pianist and fellow NEA Jazz Master Kenny Barron, a duo that embodies jazz’s interactive imperative at its more rarified. They first played together on Barron’s 1985 trio session \u003cem>Scratch\u003c/em> (Enja), and in the years following, whenever their paths crossed, they talked about working together again. Decades later, they finally seized the moment, resulting in the duo album \u003cem>The Art of Conversation\u003c/em> (Impulse!), which was named 2014 Album of the Year by the Jazz Journalists Association.\u003c/p>\n\u003cp>As befitting an improviser whose lines flow with elegant, curvilinear grace, Holland adds a player over the course of each night. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-kevin-eubanks-obed-calvaire/\">Saturday’s trio\u003c/a> reunites Holland with guitarist Kevin Eubanks, with whom he’s collaborated since the 1980s, and SFJAZZ Collective drummer Obed Calvaire, a more recent connection. Holland caught Calvaire playing on a gig with Cameroonian bassist/vocalist Richard Bona a few years ago, and sought him out. Holland and Eubanks had been in the midst of creating new music after the guitarist left his long-running television gig with Jay Leno, and they added Calvaire into the mix, a trio they’re in the process of recording.\u003c/p>\n\u003cp>The run \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-chris-potter-lionel-loueke-eric-harland/\">closes on Sunday\u003c/a> with Aziza, Holland’s quartet with tenor saxophonist Chris Potter, drummer Eric Harland, and Beninese guitarist Lionel Loueke (who was just in town with Herbie Hancock a few weeks ago). “Talk about a unique guitarist!” Holland says. “I’m so lucky to have this relationship with two amazing guitarists, Kevin and Lionel. The way Lionel relates to a band and accompanies brings such an amazing dynamic to a group.”\u003c/p>\n\u003cp>Holland returns to the SFJAZZ Center on June 16 as part of the 36th San Francisco Jazz Festival for a trio concert with Chris Potter and Zakir Hussain, who built last year’s India-jazz summit Crosscurrents at SFJAZZ around Holland’s bass.\u003c/p>\n\u003cp>Crosscurrents has toured widely since then, but this date is a stripped-down situation “so we can get into deep waters with Zakir and his rhythmic world,” Holland says. “He’s such a supportive player. But still, it’s so challenging to play with him, with his incredible ability and depth, combining all the Indian tradition and his experience working with all his collaborations. It’s something very special.”\u003c/p>\n\u003cp>But that’s a whole other conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dave Holland’s residency at SFJAZZ runs March 22–25. \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2017-18/dave-holland/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Scott Amendola is a local treasure — a composer and bandleader who’s seemingly played with everyone. John Zorn and Nels Cline have collaborated with him, as well as regular local talent like Charlie Hunter and Wil Blades. Whenever you see Amendola’s name attached to a project, you can bet it’s going to be interesting.\u003c/p>\n\u003cp>So it’s no surprise Amendola’s gathering an intriguing group together for a couple of shows at the Ivy Room, including keyboardist Blades and sax players Skerik and Steve Berlin. Promoted as a sort of musical Mexican wrestling match, there’s no telling what combinations the four will take. Duos? Trios? Everyone wailing with each other? We’re gonna predict: all of the above.\u003c/p>\n\u003cp>For such a tiny bar in Albany, the Ivy Room has had something of a renaissance lately: the members of Green Day have been \u003ca href=\"http://thebaybridged.com/2018/03/12/photos-green-day-members-revealed-as-the-coverups-at-the-ivy-room/\" rel=\"noopener\" target=\"_blank\">playing cover sets\u003c/a> there, Jawbreaker \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\" rel=\"noopener\" target=\"_blank\">played their first show in 21 years\u003c/a> there, and their booking has been consistently compelling. That’s no more clear than with these two shows with the Amendola crew, 8pm and 10pm, on Saturday, March 31. \u003ca href=\"https://ivyroom.ticketfly.com/event/1643970-amendola-vs-blades-vs-skerik-albany/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. (For San Francisco folks, the same lineup falls into the Boom Boom Room on March 30; \u003ca href=\"http://boomboomtickets.com/event.cfm?cart&id=276319\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scott Amendola is a local treasure — a composer and bandleader who’s seemingly played with everyone. John Zorn and Nels Cline have collaborated with him, as well as regular local talent like Charlie Hunter and Wil Blades. Whenever you see Amendola’s name attached to a project, you can bet it’s going to be interesting.\u003c/p>\n\u003cp>So it’s no surprise Amendola’s gathering an intriguing group together for a couple of shows at the Ivy Room, including keyboardist Blades and sax players Skerik and Steve Berlin. Promoted as a sort of musical Mexican wrestling match, there’s no telling what combinations the four will take. Duos? Trios? Everyone wailing with each other? We’re gonna predict: all of the above.\u003c/p>\n\u003cp>For such a tiny bar in Albany, the Ivy Room has had something of a renaissance lately: the members of Green Day have been \u003ca href=\"http://thebaybridged.com/2018/03/12/photos-green-day-members-revealed-as-the-coverups-at-the-ivy-room/\" rel=\"noopener\" target=\"_blank\">playing cover sets\u003c/a> there, Jawbreaker \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\" rel=\"noopener\" target=\"_blank\">played their first show in 21 years\u003c/a> there, and their booking has been consistently compelling. That’s no more clear than with these two shows with the Amendola crew, 8pm and 10pm, on Saturday, March 31. \u003ca href=\"https://ivyroom.ticketfly.com/event/1643970-amendola-vs-blades-vs-skerik-albany/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. (For San Francisco folks, the same lineup falls into the Boom Boom Room on March 30; \u003ca href=\"http://boomboomtickets.com/event.cfm?cart&id=276319\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Omar Sosa lives in Barcelona now, but the Cuban born pianist used to live in Oakland, and he says playing Yoshi’s is like coming home for him. For Sosa, the long-running Oakland jazz club is a place where he knows “the people, the trees, the city’s rhythms and energy.” Sosa plays gorgeous, ethereal Afro-Cuban jazz, and his 2017 album, \u003cem>Transparent Water,\u003c/em> is like a deep meditation session by a meandering river, where occasional waterfalls add intermittent excitement. On the album and this tour, Sosa is playing with Senegalese kora master Seckou Keita (the kora is like a cross between a sitar, harp and guitar) and Venezuelan percussionist Gustavo Ovalles.\u003c/p>\n\u003cp>“Most of the time,” Sosa told me in an phone interview from his home in Barcelona, “we all end in singing and dancing. It’s not a complex music. It’s just soulful music.”\u003c/p>\n\u003cp>Details for this deeply spiritual artist’s shows at Yoshi’s in Oakland March 9 and 10, and at Kuumbwa in Santa Cruz March 12\u003ca href=\"http://www.omarsosa.com/tour.php\" target=\"_blank\" rel=\"noopener\"> are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vZ0NsNLS3g4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Omar Sosa lives in Barcelona now, but the Cuban born pianist used to live in Oakland, and he says playing Yoshi’s is like coming home for him. For Sosa, the long-running Oakland jazz club is a place where he knows “the people, the trees, the city’s rhythms and energy.” Sosa plays gorgeous, ethereal Afro-Cuban jazz, and his 2017 album, \u003cem>Transparent Water,\u003c/em> is like a deep meditation session by a meandering river, where occasional waterfalls add intermittent excitement. On the album and this tour, Sosa is playing with Senegalese kora master Seckou Keita (the kora is like a cross between a sitar, harp and guitar) and Venezuelan percussionist Gustavo Ovalles.\u003c/p>\n\u003cp>“Most of the time,” Sosa told me in an phone interview from his home in Barcelona, “we all end in singing and dancing. It’s not a complex music. It’s just soulful music.”\u003c/p>\n\u003cp>Details for this deeply spiritual artist’s shows at Yoshi’s in Oakland March 9 and 10, and at Kuumbwa in Santa Cruz March 12\u003ca href=\"http://www.omarsosa.com/tour.php\" target=\"_blank\" rel=\"noopener\"> are here.\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/vZ0NsNLS3g4'\n title='//www.youtube.com/embed/vZ0NsNLS3g4'\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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"title": "In Matchup of Jazz Greats, 'The Calm' Meets 'The Storm' Head On",
"headTitle": "In Matchup of Jazz Greats, ‘The Calm’ Meets ‘The Storm’ Head On | KQED",
"content": "\u003cp>Even in death, \u003ca href=\"https://www.nytimes.com/2018/01/23/obituaries/hugh-masekela-dies.html\">Hugh Masekela\u003c/a> is opening new doors. In 2016, for the first time in more than half a century, the trumpet star and pianist/composer Abdullah Ibrahim reunited in \u003ca href=\"https://en.wikipedia.org/wiki/The_Jazz_Epistles\">The Jazz Epistles\u003c/a>, the pioneering South African jazz ensemble they founded in Cape Town in the late 1950s.\u003c/p>\n\u003cp>When it became clear that Masekela’s failing health wouldn’t allow him to participate in the Jazz Epistles tour this year, Ibrahim reached out to several different horn players to join the proceedings in different cities. (Terence Blanchard held down the Epistles’ trumpet chair in Seattle last weekend.) The eight-piece group checks into SFJAZZ’s Miner Auditorium on Thursday for a four-night run with trumpeter and \u003ca href=\"http://www.pulitzer.org/finalists/wadada-leo-smith\">Pulitzer Prize-finalist\u003c/a> composer \u003ca href=\"https://wadadaleosmith.com\">Wadada Leo Smith\u003c/a>.\u003c/p>\n\u003cp>At first glance, it’s a startling pairing, as Ibrahim’s music combines expansive Ellingtonian sonorities with a gentle, spiritually-charged lyricism derived from the hymns, folk themes, and chants he absorbed while growing up in Cape Town’s toughest district.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HB6pVFIwQd8\u003c/p>\n\u003cp>On the other end of the spectrum, the New Haven-based Smith is a lion of the avant-garde, a protean force who gave the Bay Area a wide-angle view of his musical world in December with more than a dozen different configurations at a \u003ca href=\"https://www.sfchronicle.com/music/article/Prolific-trumpeter-Wadada-Leo-Smith-brings-his-12424766.php\">two-day festival\u003c/a> that the trumpeter produced at The Lab with the support of a Doris Duke Foundation fellowship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Different as they might seem, Smith and Ibrahim both draw direct inspiration from the jazz explorers who introduced new rhythmic and tonal concepts in the late 1950s. At his first Epistles rehearsal last week, Smith tells me in a phone interview, he found that the session covered a lot more than running through tunes. Ibrahim spent part of the time talking about his experiences as a young exile in New York City in the mid-1960s “playing with all the great masters, Cecil Taylor, Ornette Coleman, and Don Cherry,” says Smith, 76.\u003c/p>\n\u003cp>“I knew he and Don were tight, but to watch the gleam in his eye talking about him was wonderful. It inspired me so much that this morning I started working on a composition for trumpet and piano, a psychological portrait of Ibrahim. I left the rehearsal yesterday with beautiful energy and this morning that energy gave me a gift.”\u003c/p>\n\u003cp>A thoughtful and strikingly insightful portraitist, Smith often reveals unexpected facets of his fellow artists, like on last year’s \u003cem>Solo: Reflections and Meditations on Monk\u003c/em> (TUM Records). But over the past decade, he’s enjoyed a late-career burst of activity working on expansive soundscapes that evoke entire geographical regions, like 2014’s \u003cem>The Great Lakes Suite\u003c/em> (TUM Records). His music has also meditated on complex historical events, most notably 2012’s epic Pulitzer Prize finalist \u003cem>Ten Freedom Summers\u003c/em> (Cuneiform), an orchestral four-disc project inspired by the civil rights movement.\u003c/p>\n\u003cp>Like Ibrahim, Smith takes his role as an artist seriously, embracing the idea that “music is not just for entertainment. Music can heal. It creates the conditions for healing, and carries a narrative history and the content of spirituality. The whole idea of music transforming society, and what it does when people listen, those are things that the AACM tapped into reaching back to African music,” Smith said, referring to Chicago’s seminal Association for the Advancement of Creative Musicians, which he joined in 1967.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5P2N8-u3zmA\u003c/p>\n\u003cp>As for Ibrahim, the struggle for freedom has been a central motif in his music since the start, when he was a conspicuously gifted young pianist who performed as Dollar Brand. Joined by Masekela, he launched the Jazz Epistles, which recorded the first jazz album by black South African musicians. They played original arrangements of tunes by Dizzy Gillespie, Thelonious Monk, Duke Ellington and Fats Waller, as well as originals that blended bebop and mbaqanga, a melodically lilting style that grew out of a street-corner Zulu vocal tradition.\u003c/p>\n\u003cp>The group was wildly popular, but the apartheid government’s accelerating crackdown on political dissent in 1960 made the situation untenable for musicians, as any gatherings of more than 10 blacks were banned. Ibrahim and his future wife, jazz vocalist Sathima Bea Benjamin, fled first to Europe. In Switzerland they famously connected with Ellington, who was so taken with the self-possessed young pianist that he flew the group to Paris the next day and produced the album \u003cem>Duke Ellington Presents The Dollar Brand Trio\u003c/em> (Reprise).\u003c/p>\n\u003cp>Ibrahim’s tribute to the Jazz Epistles is built on his longtime band Ekaya, featuring Noah Jackson on bass and cello, drummer Will Terrill, Cleave Guyton Jr. on alto sax, flute and clarinet, tenor saxophonist Lance Bryant, baritone saxophonist Marshall McDonald, and Andrae Murchison on trombone and trumpet. In many ways, Smith’s volatile trumpet is the wild card in a group steeped in the pianist’s serene, lapidary compositions.\u003c/p>\n\u003cp>“There’s always the perception that the music is simple, but it’s very complex, and very, very difficult to play,” Ibrahim told me in an interview several years ago. “We are the first generation of jazz improvisors in the African tradition. In order to do that, you need serenity. It’s not a question of taking bebop lines and adding it on top of our music. We had to develop a vocabulary, and we’re still developing it.”\u003c/p>\n\u003cp>With Wadada Leo Smith in the mix, Ibrahim’s music and the legacy of the Jazz Epistles is poised for another evolutionary leap.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazz Epistles, with Abdullah Ibrahim and Wadada Leo Smith, perform Feb. 22–Feb. 25 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/jazz-epistles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even in death, \u003ca href=\"https://www.nytimes.com/2018/01/23/obituaries/hugh-masekela-dies.html\">Hugh Masekela\u003c/a> is opening new doors. In 2016, for the first time in more than half a century, the trumpet star and pianist/composer Abdullah Ibrahim reunited in \u003ca href=\"https://en.wikipedia.org/wiki/The_Jazz_Epistles\">The Jazz Epistles\u003c/a>, the pioneering South African jazz ensemble they founded in Cape Town in the late 1950s.\u003c/p>\n\u003cp>When it became clear that Masekela’s failing health wouldn’t allow him to participate in the Jazz Epistles tour this year, Ibrahim reached out to several different horn players to join the proceedings in different cities. (Terence Blanchard held down the Epistles’ trumpet chair in Seattle last weekend.) The eight-piece group checks into SFJAZZ’s Miner Auditorium on Thursday for a four-night run with trumpeter and \u003ca href=\"http://www.pulitzer.org/finalists/wadada-leo-smith\">Pulitzer Prize-finalist\u003c/a> composer \u003ca href=\"https://wadadaleosmith.com\">Wadada Leo Smith\u003c/a>.\u003c/p>\n\u003cp>At first glance, it’s a startling pairing, as Ibrahim’s music combines expansive Ellingtonian sonorities with a gentle, spiritually-charged lyricism derived from the hymns, folk themes, and chants he absorbed while growing up in Cape Town’s toughest district.\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/HB6pVFIwQd8'\n title='//www.youtube.com/embed/HB6pVFIwQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the other end of the spectrum, the New Haven-based Smith is a lion of the avant-garde, a protean force who gave the Bay Area a wide-angle view of his musical world in December with more than a dozen different configurations at a \u003ca href=\"https://www.sfchronicle.com/music/article/Prolific-trumpeter-Wadada-Leo-Smith-brings-his-12424766.php\">two-day festival\u003c/a> that the trumpeter produced at The Lab with the support of a Doris Duke Foundation fellowship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Different as they might seem, Smith and Ibrahim both draw direct inspiration from the jazz explorers who introduced new rhythmic and tonal concepts in the late 1950s. At his first Epistles rehearsal last week, Smith tells me in a phone interview, he found that the session covered a lot more than running through tunes. Ibrahim spent part of the time talking about his experiences as a young exile in New York City in the mid-1960s “playing with all the great masters, Cecil Taylor, Ornette Coleman, and Don Cherry,” says Smith, 76.\u003c/p>\n\u003cp>“I knew he and Don were tight, but to watch the gleam in his eye talking about him was wonderful. It inspired me so much that this morning I started working on a composition for trumpet and piano, a psychological portrait of Ibrahim. I left the rehearsal yesterday with beautiful energy and this morning that energy gave me a gift.”\u003c/p>\n\u003cp>A thoughtful and strikingly insightful portraitist, Smith often reveals unexpected facets of his fellow artists, like on last year’s \u003cem>Solo: Reflections and Meditations on Monk\u003c/em> (TUM Records). But over the past decade, he’s enjoyed a late-career burst of activity working on expansive soundscapes that evoke entire geographical regions, like 2014’s \u003cem>The Great Lakes Suite\u003c/em> (TUM Records). His music has also meditated on complex historical events, most notably 2012’s epic Pulitzer Prize finalist \u003cem>Ten Freedom Summers\u003c/em> (Cuneiform), an orchestral four-disc project inspired by the civil rights movement.\u003c/p>\n\u003cp>Like Ibrahim, Smith takes his role as an artist seriously, embracing the idea that “music is not just for entertainment. Music can heal. It creates the conditions for healing, and carries a narrative history and the content of spirituality. The whole idea of music transforming society, and what it does when people listen, those are things that the AACM tapped into reaching back to African music,” Smith said, referring to Chicago’s seminal Association for the Advancement of Creative Musicians, which he joined in 1967.\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/5P2N8-u3zmA'\n title='//www.youtube.com/embed/5P2N8-u3zmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for Ibrahim, the struggle for freedom has been a central motif in his music since the start, when he was a conspicuously gifted young pianist who performed as Dollar Brand. Joined by Masekela, he launched the Jazz Epistles, which recorded the first jazz album by black South African musicians. They played original arrangements of tunes by Dizzy Gillespie, Thelonious Monk, Duke Ellington and Fats Waller, as well as originals that blended bebop and mbaqanga, a melodically lilting style that grew out of a street-corner Zulu vocal tradition.\u003c/p>\n\u003cp>The group was wildly popular, but the apartheid government’s accelerating crackdown on political dissent in 1960 made the situation untenable for musicians, as any gatherings of more than 10 blacks were banned. Ibrahim and his future wife, jazz vocalist Sathima Bea Benjamin, fled first to Europe. In Switzerland they famously connected with Ellington, who was so taken with the self-possessed young pianist that he flew the group to Paris the next day and produced the album \u003cem>Duke Ellington Presents The Dollar Brand Trio\u003c/em> (Reprise).\u003c/p>\n\u003cp>Ibrahim’s tribute to the Jazz Epistles is built on his longtime band Ekaya, featuring Noah Jackson on bass and cello, drummer Will Terrill, Cleave Guyton Jr. on alto sax, flute and clarinet, tenor saxophonist Lance Bryant, baritone saxophonist Marshall McDonald, and Andrae Murchison on trombone and trumpet. In many ways, Smith’s volatile trumpet is the wild card in a group steeped in the pianist’s serene, lapidary compositions.\u003c/p>\n\u003cp>“There’s always the perception that the music is simple, but it’s very complex, and very, very difficult to play,” Ibrahim told me in an interview several years ago. “We are the first generation of jazz improvisors in the African tradition. In order to do that, you need serenity. It’s not a question of taking bebop lines and adding it on top of our music. We had to develop a vocabulary, and we’re still developing it.”\u003c/p>\n\u003cp>With Wadada Leo Smith in the mix, Ibrahim’s music and the legacy of the Jazz Epistles is poised for another evolutionary leap.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazz Epistles, with Abdullah Ibrahim and Wadada Leo Smith, perform Feb. 22–Feb. 25 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/jazz-epistles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wesla Whitfield’s Long Musical Adventure Comes to an End",
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"content": "\u003cp>It was an epiphany at the Great American Music Hall in San Francisco that changed the course of Wesla Whitfield’s life.\u003c/p>\n\u003cp>“Some friends of mine took me to hear this singer Sarah Vaughan, and that was that,” Whitfield told me some two decades ago, in an extended interview for a documentary. “I’ve been trying ever since to get all the way from opera to jazz. I’ll never make it, but it’s a wonderful time trying.”\u003c/p>\n\u003cp>Whitfield, who died Friday night at the age of 70 in the Saint Helena home she shared with her husband, pianist Mike Greensill, left opera far behind. Over the course of four decades, 20 albums and hundreds of spellbinding performances, she played a key role in making San Francisco the most vital outpost for American Songbook exploration after New York City.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc\u003c/p>\n\u003cp>While some pigeonholed her as a cabaret singer, Whitfield’s artistry made distinctions between jazz and cabaret moot. An expert spelunker into the vast treasure trove of Broadway show tunes, Hollywood themes, and Tin Pan Alley songs churned out before the rock ‘n’ roll revolution, she turned standards into riveting tales marked by her fierce intelligence and emotional acuity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m trying to become a jazz singer, in the sense that I don’t scat, but then neither did Billie Holiday,” Whitfield said. “I tell the story of the song, and in jazz you can play with the notes a little. You can play with the rhythm, and you can play with a lot of stuff that helps tell the story. So I’m a storyteller, and I’m an apprentice jazz singer.”\u003c/p>\n\u003cp>The cabaret tag stuck partly because Whitfield became a regular presence in the country’s top cabaret venues rather than jazz clubs. She won a devoted following with long runs at the Algonquin Hotel’s storied Oak Room, the Hollywood Roosevelt Hotel’s Cinegrill, and her hometown spot, the York Hotel’s lamented Plush Room. But Whitfield surrounded herself with jazz players, most importantly Greensill, an ebulliently swinging Englishman and ace accompanist with a gift for crafting bespoke, harmonically insightful arrangements beautifully tailored for Whitfield’s voice.\u003c/p>\n\u003cp>Part of what made Whitfield such a powerful performer was her ability to set the stage for a song with a few pithy remarks, like the time she recast “You Don’t Know What Love Is” from torch song lament to passive-aggressive ode by mentioning that a former lover once sent her a recording of the song. No one has better summed up the American Songbook chapter devoted to masochistic love songs than when she once introduced Billie Holiday’s “Don’t Explain” as belonging to the “Hello! I’m a Doormat, Step on Me” genre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tmb13TOid94\u003c/p>\n\u003cp>Born Weslia Edwards in Santa Maria in 1947 when the Santa Barbara County town depended upon agriculture, Whitfield decided early on that she would be a singer. Around the age of five, she saw the singer Molly Bee on television, “and I thought that’s what I want to do,” she recalled. “I didn’t tell anybody because I was a little girl and they would say, ‘Don’t be silly. What do you know?’ But I knew I was going to be a singer.”\u003c/p>\n\u003cp>She loved showtunes, but vocal training in the 1960s focused on the European classical repertoire. After several years studying in Los Angeles she eventually made her way to the Bay Area and earned a B.A. in music from San Francisco State in 1972 (three decades later the school named her alumna of the year).\u003c/p>\n\u003cp>While singing in the San Francisco Opera chorus, she led a double life, engaging in “the lowest form of singing known to man,” she said. “I started as a singing cocktail waitress, part of a little group of singing cocktail waiters and waitresses, and three times a night we would all get up and do our songs and that would be our set. Slowly I built up a little following.”\u003c/p>\n\u003cp>Then came Sarah Vaughan, and her jazz epiphany. She had just started playing little gigs around the city in 1977 when two young teenage boys tried to mug her. As she walked away, one of them pulled out a gun and shot her in the back. The shooting left her without the use of her legs, a fact that she downplayed on stage until recent years when she started performing in her wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg\" alt=\"Wesla Whitfield with jazz producer Orrin Keepnews.\" width=\"800\" height=\"452\" class=\"size-medium wp-image-11109139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield with jazz producer Orrin Keepnews. \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key turning point in her career came when she began collaborating with Greensill, who had spent four years playing in Hong Kong before settling in San Francisco in 1977. Whitfield’s pianist at the time liked to take long breaks, and Greensill ended up sitting in for several numbers one night. “He played really well, and talking to him afterwards I found out he also did arranging, so I said come by and we’ll talk about some tunes,” Whitfield recalled.\u003c/p>\n\u003cp>They were both married at the time, but over the course of five years performing together they each divorced and forged a close friendship, “then one night we looked at each other and whoops!” Whitfield said.\u003c/p>\n\u003cp>Married in 1985, they knew that Whitfield had to start recording to land better gigs. Her 1986 debut album “Just For a Thrill” featured tenor sax great Al Cohn on one of his last sessions and earned rave reviews from longtime \u003cem>San Francisco Examiner\u003c/em> critic Phil Elwood.\u003c/p>\n\u003cp>She went on to make a series of exceptional recordings, often working with legendary jazz producer Orrin Keepnews. A particular standout is 2003’s \u003cem>September Songs\u003c/em> (HighNote), a program of music by Alec Wilder, Kurt Weill, and Harry Warren featuring Kronos Quartet, pianist Tommy Flanagan, and drummer Tootie Heath among the special guests.\u003c/p>\n\u003cp>Throughout the years, Whitfield continued to measure herself by her musical heroes, “Carmen McRae and Anita O’Day and other people just unbelievably hip,” she said. “My husband is that hip and the musicians that work with me are all real jazz performers, so I’m trying. I figure I have 30 more years before I have to stop singing, or maybe not. But I’ll always be trying to be a little less square.”\u003c/p>\n\u003cp>Better than being hip, Wesla trafficked in truth, revealing the stark emotions and sometimes sublime beauty waiting to be uncovered in the American Songbook that she loved so dearly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Remembering the longtime interpreter of American standards, who died Friday at age 70.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was an epiphany at the Great American Music Hall in San Francisco that changed the course of Wesla Whitfield’s life.\u003c/p>\n\u003cp>“Some friends of mine took me to hear this singer Sarah Vaughan, and that was that,” Whitfield told me some two decades ago, in an extended interview for a documentary. “I’ve been trying ever since to get all the way from opera to jazz. I’ll never make it, but it’s a wonderful time trying.”\u003c/p>\n\u003cp>Whitfield, who died Friday night at the age of 70 in the Saint Helena home she shared with her husband, pianist Mike Greensill, left opera far behind. Over the course of four decades, 20 albums and hundreds of spellbinding performances, she played a key role in making San Francisco the most vital outpost for American Songbook exploration after New York City.\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/R9USUBGOqRc'\n title='//www.youtube.com/embed/R9USUBGOqRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While some pigeonholed her as a cabaret singer, Whitfield’s artistry made distinctions between jazz and cabaret moot. An expert spelunker into the vast treasure trove of Broadway show tunes, Hollywood themes, and Tin Pan Alley songs churned out before the rock ‘n’ roll revolution, she turned standards into riveting tales marked by her fierce intelligence and emotional acuity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m trying to become a jazz singer, in the sense that I don’t scat, but then neither did Billie Holiday,” Whitfield said. “I tell the story of the song, and in jazz you can play with the notes a little. You can play with the rhythm, and you can play with a lot of stuff that helps tell the story. So I’m a storyteller, and I’m an apprentice jazz singer.”\u003c/p>\n\u003cp>The cabaret tag stuck partly because Whitfield became a regular presence in the country’s top cabaret venues rather than jazz clubs. She won a devoted following with long runs at the Algonquin Hotel’s storied Oak Room, the Hollywood Roosevelt Hotel’s Cinegrill, and her hometown spot, the York Hotel’s lamented Plush Room. But Whitfield surrounded herself with jazz players, most importantly Greensill, an ebulliently swinging Englishman and ace accompanist with a gift for crafting bespoke, harmonically insightful arrangements beautifully tailored for Whitfield’s voice.\u003c/p>\n\u003cp>Part of what made Whitfield such a powerful performer was her ability to set the stage for a song with a few pithy remarks, like the time she recast “You Don’t Know What Love Is” from torch song lament to passive-aggressive ode by mentioning that a former lover once sent her a recording of the song. No one has better summed up the American Songbook chapter devoted to masochistic love songs than when she once introduced Billie Holiday’s “Don’t Explain” as belonging to the “Hello! I’m a Doormat, Step on Me” genre.\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/Tmb13TOid94'\n title='//www.youtube.com/embed/Tmb13TOid94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Weslia Edwards in Santa Maria in 1947 when the Santa Barbara County town depended upon agriculture, Whitfield decided early on that she would be a singer. Around the age of five, she saw the singer Molly Bee on television, “and I thought that’s what I want to do,” she recalled. “I didn’t tell anybody because I was a little girl and they would say, ‘Don’t be silly. What do you know?’ But I knew I was going to be a singer.”\u003c/p>\n\u003cp>She loved showtunes, but vocal training in the 1960s focused on the European classical repertoire. After several years studying in Los Angeles she eventually made her way to the Bay Area and earned a B.A. in music from San Francisco State in 1972 (three decades later the school named her alumna of the year).\u003c/p>\n\u003cp>While singing in the San Francisco Opera chorus, she led a double life, engaging in “the lowest form of singing known to man,” she said. “I started as a singing cocktail waitress, part of a little group of singing cocktail waiters and waitresses, and three times a night we would all get up and do our songs and that would be our set. Slowly I built up a little following.”\u003c/p>\n\u003cp>Then came Sarah Vaughan, and her jazz epiphany. She had just started playing little gigs around the city in 1977 when two young teenage boys tried to mug her. As she walked away, one of them pulled out a gun and shot her in the back. The shooting left her without the use of her legs, a fact that she downplayed on stage until recent years when she started performing in her wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg\" alt=\"Wesla Whitfield with jazz producer Orrin Keepnews.\" width=\"800\" height=\"452\" class=\"size-medium wp-image-11109139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield with jazz producer Orrin Keepnews. \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key turning point in her career came when she began collaborating with Greensill, who had spent four years playing in Hong Kong before settling in San Francisco in 1977. Whitfield’s pianist at the time liked to take long breaks, and Greensill ended up sitting in for several numbers one night. “He played really well, and talking to him afterwards I found out he also did arranging, so I said come by and we’ll talk about some tunes,” Whitfield recalled.\u003c/p>\n\u003cp>They were both married at the time, but over the course of five years performing together they each divorced and forged a close friendship, “then one night we looked at each other and whoops!” Whitfield said.\u003c/p>\n\u003cp>Married in 1985, they knew that Whitfield had to start recording to land better gigs. Her 1986 debut album “Just For a Thrill” featured tenor sax great Al Cohn on one of his last sessions and earned rave reviews from longtime \u003cem>San Francisco Examiner\u003c/em> critic Phil Elwood.\u003c/p>\n\u003cp>She went on to make a series of exceptional recordings, often working with legendary jazz producer Orrin Keepnews. A particular standout is 2003’s \u003cem>September Songs\u003c/em> (HighNote), a program of music by Alec Wilder, Kurt Weill, and Harry Warren featuring Kronos Quartet, pianist Tommy Flanagan, and drummer Tootie Heath among the special guests.\u003c/p>\n\u003cp>Throughout the years, Whitfield continued to measure herself by her musical heroes, “Carmen McRae and Anita O’Day and other people just unbelievably hip,” she said. “My husband is that hip and the musicians that work with me are all real jazz performers, so I’m trying. I figure I have 30 more years before I have to stop singing, or maybe not. But I’ll always be trying to be a little less square.”\u003c/p>\n\u003cp>Better than being hip, Wesla trafficked in truth, revealing the stark emotions and sometimes sublime beauty waiting to be uncovered in the American Songbook that she loved so dearly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Stars Come Out to Play at San Jose Jazz Winter Fest",
"headTitle": "Stars Come Out to Play at San Jose Jazz Winter Fest | KQED",
"content": "\u003cp>The San Jose Jazz Winter Fest brings established and rising stars to the South Bay every year. The big names include pianist Cyrus Chestnut and his trio with its bluesy brilliance; Tony and Grammy winner Dee Dee Bridgewater, fresh off an album devoted to the songs of her home town of Memphis; and Berkeley-born Benny Green returns to the Bay Area with his piano trio to back young singer Veronica Swift, whose \u003ca href=\"https://www.youtube.com/watch?v=VAvKn5zvk1o\" rel=\"noopener\" target=\"_blank\">scat-saturated bebop style\u003c/a> channels Sarah Vaughn.\u003c/p>\n\u003cfigure id=\"attachment_13823816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-800x401.jpg\" alt=\"The cumbia meets punk band La Misa Negra, one of the bands performing at the San Jose Jazz Winter Fest this month\" width=\"800\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-800x401.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-768x385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-1020x512.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-1920x963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-1180x592.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-960x481.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-520x261.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cumbia meets punk band La Misa Negra, one of the bands performing at the San Jose Jazz Winter Fest this month \u003ccite>(Photo: Courtesy of SJ Jazz Winter Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those should be terrific shows, but I’m most excited for the cumbia-meets-punk-sound of Oakland’s \u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>. Guitarist, accordionist, and songwriter Marco Polo Santiago leads this eight-member band that includes an upright bass, heavy percussion and horns. “You know I’m a rock guy,” Santiago says, “a punk guy, a metal guy. And I wanted to have that dynamic, latin orchestra thing on stage, and then a mosh pit kind of dynamic in the audience.” La Misa Negra’s show will feature a dance floor, so be ready to sweat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=169&v=JG-5fu3jrok\u003c/p>\n\u003cp>Details for the San Jose Jazz Winterfest (also in Palo Alto) February 15-28 are\u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Jose Jazz Winter Fest brings established and rising stars to the South Bay every year. The big names include pianist Cyrus Chestnut and his trio with its bluesy brilliance; Tony and Grammy winner Dee Dee Bridgewater, fresh off an album devoted to the songs of her home town of Memphis; and Berkeley-born Benny Green returns to the Bay Area with his piano trio to back young singer Veronica Swift, whose \u003ca href=\"https://www.youtube.com/watch?v=VAvKn5zvk1o\" rel=\"noopener\" target=\"_blank\">scat-saturated bebop style\u003c/a> channels Sarah Vaughn.\u003c/p>\n\u003cfigure id=\"attachment_13823816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-800x401.jpg\" alt=\"The cumbia meets punk band La Misa Negra, one of the bands performing at the San Jose Jazz Winter Fest this month\" width=\"800\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-800x401.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-768x385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-1020x512.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-1920x963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-1180x592.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-960x481.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md-520x261.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/La_Misa_Negra_PREFERRED_sop01_rgb_md.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cumbia meets punk band La Misa Negra, one of the bands performing at the San Jose Jazz Winter Fest this month \u003ccite>(Photo: Courtesy of SJ Jazz Winter Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those should be terrific shows, but I’m most excited for the cumbia-meets-punk-sound of Oakland’s \u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>. Guitarist, accordionist, and songwriter Marco Polo Santiago leads this eight-member band that includes an upright bass, heavy percussion and horns. “You know I’m a rock guy,” Santiago says, “a punk guy, a metal guy. And I wanted to have that dynamic, latin orchestra thing on stage, and then a mosh pit kind of dynamic in the audience.” La Misa Negra’s show will feature a dance floor, so be ready to sweat.\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/JG-5fu3jrok'\n title='//www.youtube.com/embed/JG-5fu3jrok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Details for the San Jose Jazz Winterfest (also in Palo Alto) February 15-28 are\u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ladysmith Black Mambazo became internationally famous after appearing on Paul Simon’s 1985 album \u003cem>Graceland\u003c/em>, but don’t take this nine-member South African male chorus for granted. They’re still making fresh, timely work, as in the 2016 song “Homeless.” “Strong wind destroy our home,” they sing, “many dead, tonight it could be you” — lyrics which could be heard to speak directly to victims of disasters around the Bay Area and the U.S. this past year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FclwRECHoWc\u003c/p>\n\u003cp>The group snagged two Grammy nominations this year, one for a remake of their classic album \u003cem>Shaka Zulu\u003c/em>. Co-host Ariana Proehl notes a Ladysmith Black Mambazo appearance at the Sonoma County Fair was the first concert she attended as a kid, and their high kicks on stage have stuck with her. And there’s continuity for the band, even without any of the founding members. Some are sons of the group’s founder Joseph Shabala, who got the idea for their a capella sound from a series of dreams in which he heard traditional Zulu melodies. If only we all dreamed such beautiful music.\u003c/p>\n\u003cp>The group plays Jan. 26 at the Green Music Center; Jan. 27 and 28 at Freight and Salvage; Jan. 30 at Grass Valley Center for the Arts; and Jan. 31 at the Rio Theater in Santa Cruz. Details \u003ca href=\"http://www.mambazo.com/tour_dates/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ladysmith Black Mambazo became internationally famous after appearing on Paul Simon’s 1985 album \u003cem>Graceland\u003c/em>, but don’t take this nine-member South African male chorus for granted. They’re still making fresh, timely work, as in the 2016 song “Homeless.” “Strong wind destroy our home,” they sing, “many dead, tonight it could be you” — lyrics which could be heard to speak directly to victims of disasters around the Bay Area and the U.S. this past year.\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/FclwRECHoWc'\n title='//www.youtube.com/embed/FclwRECHoWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The group snagged two Grammy nominations this year, one for a remake of their classic album \u003cem>Shaka Zulu\u003c/em>. Co-host Ariana Proehl notes a Ladysmith Black Mambazo appearance at the Sonoma County Fair was the first concert she attended as a kid, and their high kicks on stage have stuck with her. And there’s continuity for the band, even without any of the founding members. Some are sons of the group’s founder Joseph Shabala, who got the idea for their a capella sound from a series of dreams in which he heard traditional Zulu melodies. If only we all dreamed such beautiful music.\u003c/p>\n\u003cp>The group plays Jan. 26 at the Green Music Center; Jan. 27 and 28 at Freight and Salvage; Jan. 30 at Grass Valley Center for the Arts; and Jan. 31 at the Rio Theater in Santa Cruz. Details \u003ca href=\"http://www.mambazo.com/tour_dates/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hugh Masekela, Father Of South African Jazz, Dies At 78",
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"content": "\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a60v-flk1OE\u003c/p>\n\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\u003c/p>\n\u003cp>https://youtu.be/D4I_9OXtKUo\u003c/p>\n\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a60v-flk1OE'\n title='//www.youtube.com/embed/a60v-flk1OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\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/D4I_9OXtKUo'\n title='//www.youtube.com/embed/D4I_9OXtKUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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