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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conductor Michael Morgan is always looking for ways to bring new audiences out to hear the Oakland Symphony, and in this first concert of the new year, he’s got what we think is a winner — comedian and social activist W. Kamau Bell curating the Jan. 19 program.\u003c/p>\n\u003cp>For his “playlist,” Bell has chosen songs by Nina Simone, Prince, Jimi Hendrix, and even a segment from John Coltrane’s “A Love Supreme.” Arrangements for this very big band are handled by the Jazz Mafia’s Adam Theis, and some of the Bay Area’s best singers and players will be on hand to perform, including singers Tossie Long and Zakiya Harris as well as the Jazz Mafia horns. Details \u003ca href=\"https://www.oaklandsymphony.org/event/w-kamau-bells-playlist/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11494411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11494411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg\" alt=\"W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go.\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go. \u003ccite>(Photo: Courtesy of CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his own, Kamau Bell does a standup gig at the Punchline in San Francisco Jan. 29 and 30. Details \u003ca href=\"http://www.punchlinecomedyclub.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\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, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dee Dee Bridgewater is reminding us at 67 years of age why she’s such a great artist — stretching beyond familiar territory in jazz to dig into classic soul from Memphis, her hometown. She covers Bobby Bland, Al Green and Ann Peebles, among others, on \u003cem>Memphis … Yes I’m Ready\u003c/em>. Fun fact: Bridgewater recorded this latest entirely with musicians from the city. NPR fans will also recall her fine work on NPR’s \u003ca href=\"https://www.npr.org/series/15773330/jazzset-with-dee-dee-bridgewater\" target=\"_blank\" rel=\"noopener\">JazzSet with Dee Dee Bridgewater\u003c/a>. She performs March 8, 2018, at Montalvo Arts Center; \u003ca href=\"http://montalvoarts.org/events/dee_dee_2018/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>Catch a sneak peak of \u003cem>Memphis\u003c/em> as performed in Italy last May:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=5Zr0EQGZo9g]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dee Dee Bridgewater is reminding us at 67 years of age why she’s such a great artist — stretching beyond familiar territory in jazz to dig into classic soul from Memphis, her hometown. She covers Bobby Bland, Al Green and Ann Peebles, among others, on \u003cem>Memphis … Yes I’m Ready\u003c/em>. Fun fact: Bridgewater recorded this latest entirely with musicians from the city. NPR fans will also recall her fine work on NPR’s \u003ca href=\"https://www.npr.org/series/15773330/jazzset-with-dee-dee-bridgewater\" target=\"_blank\" rel=\"noopener\">JazzSet with Dee Dee Bridgewater\u003c/a>. She performs March 8, 2018, at Montalvo Arts Center; \u003ca href=\"http://montalvoarts.org/events/dee_dee_2018/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>Catch a sneak peak of \u003cem>Memphis\u003c/em> as performed in Italy last May:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5Zr0EQGZo9g'\n title='//www.youtube.com/embed/5Zr0EQGZo9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland singer-songwriter Meklit has belted out funk with James Brown’s saxophonist, covered indie rock hits with sweet \u003ca href=\"https://www.youtube.com/watch?v=wot63F4rFQ0\">soulman Quinn DeVeaux\u003c/a>, and collaborated with musicians from across Northeast Africa for \u003ca href=\"http://nileproject.org\">the Nile Project\u003c/a>, a visionary NGO she co-founded. Her translucent voice finds a cozy home in every far-flung setting, but she’s never sounded as free and grounded as on \u003cem>When the People Move the Music Moves Too\u003c/em>, which was released this past June on Six Degrees Records.\u003c/p>\n\u003cp>https://youtu.be/MwDrcvGTODs\u003c/p>\n\u003cp>A creative breakthrough born out of bandstand experimentation, the album weaves together Meklit’s Ethiopian roots with a propulsive menagerie of African-diaspora grooves. As the album’s title suggests, Meklit captures the way culture and beats evolve as people move across regions and continents. Her lyrics evoke the love and ache for worlds left behind, but tracks like the soaring opener “This Was Made Here” also speak to the ecstatic power of self-reinvention.\u003c/p>\n\u003cp>Recorded in Addis Ababa, Los Angeles, New Orleans, and San Francisco, the album is a collaboration with Grammy Award-winning LA songwriter and \u003ca href=\"https://danwilsonmusic.com/about/official-bio/\">producer Dan Wilson\u003c/a>, renowned for his work with Adele, the Dixie Chicks, and Taylor Swift. Rather than trying to fit the uncategorizable Meklit into a neat, pop niche, he expands her textural palette with guest artists Andrew Bird (on violin and whistling), the Preservation Hall Jazz Band, and top-shelf session players from LA.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\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>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland singer-songwriter Meklit has belted out funk with James Brown’s saxophonist, covered indie rock hits with sweet \u003ca href=\"https://www.youtube.com/watch?v=wot63F4rFQ0\">soulman Quinn DeVeaux\u003c/a>, and collaborated with musicians from across Northeast Africa for \u003ca href=\"http://nileproject.org\">the Nile Project\u003c/a>, a visionary NGO she co-founded. Her translucent voice finds a cozy home in every far-flung setting, but she’s never sounded as free and grounded as on \u003cem>When the People Move the Music Moves Too\u003c/em>, which was released this past June on Six Degrees Records.\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/MwDrcvGTODs'\n title='//www.youtube.com/embed/MwDrcvGTODs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A creative breakthrough born out of bandstand experimentation, the album weaves together Meklit’s Ethiopian roots with a propulsive menagerie of African-diaspora grooves. As the album’s title suggests, Meklit captures the way culture and beats evolve as people move across regions and continents. Her lyrics evoke the love and ache for worlds left behind, but tracks like the soaring opener “This Was Made Here” also speak to the ecstatic power of self-reinvention.\u003c/p>\n\u003cp>Recorded in Addis Ababa, Los Angeles, New Orleans, and San Francisco, the album is a collaboration with Grammy Award-winning LA songwriter and \u003ca href=\"https://danwilsonmusic.com/about/official-bio/\">producer Dan Wilson\u003c/a>, renowned for his work with Adele, the Dixie Chicks, and Taylor Swift. Rather than trying to fit the uncategorizable Meklit into a neat, pop niche, he expands her textural palette with guest artists Andrew Bird (on violin and whistling), the Preservation Hall Jazz Band, and top-shelf session players from LA.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\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>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yissy Garcia and her band Bandancha make hyphenated music that tests the limits of hyphens. It’s jazz-rock-hip-hop-fusion, with a hint of smooth jazz. She crowdfunded her new album — no small task in Cuba, with its intermittent internet connections — to avoid letting the Cuban government own the work. But what a shame that you won’t find the album on iTunes or Amazon music, though it is on Spotify. Despite the challenges, Garcia is part of an international jazz scene. She even collaborated with Joshua Bell and Dave Matthews one evening in New York. We’re just glad she’s coming to Cafe Stritch in San Jose and Ashkenaz in Berkeley. \u003ca href=\"http://yissygarcia.com/index.php/en/shows/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4A0NbEnbsto\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Mel Martin, a multi-instrumentalist and composer who dedicated his life to the Bay Area jazz scene, died last week at the age of 75.\u003c/p>\n\u003cp>Martin died of a heart attack on Friday, Nov. 17, according to his daughter Sara Breindel. Her announcement of his passing on \u003ca href=\"https://www.facebook.com/Melissma7/posts/10213567892683980?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> inspired in an outpouring of condolences on social media.\u003c/p>\n\u003cp>“I am in mourning, shocked, and saddened beyond words. Jazz Saxophone Giant, Mel Martin has just passed,” jazz guitarist Steve Homan \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1892492484399408&id=100009160245792\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “It is so hard to even share this news. Your beautiful music, and the times we shared the stage, playing music together, will be with me always.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r_VIYkpt_vU\u003c/p>\n\u003cp>Martin played with many legendary artists over his 60-year career in music, backing up jazz greats like Dizzy Gillespie and Ella Fitzgerald and playing alongside stars in others genres like Frank Sinatra, James Brown and Tom Waits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento, Martin fell in love with jazz at the age of 12. Though Martin’s parents loved music and played piano at home, they hoped that their only son would take over the family real estate business. But Martin never showed any interest; instead, he spent much of his time at jazz clubs watching legends like Benny Goodman, Duke Ellington, Woody Herman and Cannonball Adderly.\u003c/p>\n\u003cp>“He discovered jazz and there was no stopping him,” Breindel said.\u003c/p>\n\u003cp>Originally a clarinet player, Martin began playing saxophone and flute as teenager in the music program at Sacramento High School. It was around then that he landed his first big gig playing with legendary jazz guitarist Wes Montgomery. According to Martin’s \u003ca href=\"http://www.melmartin.com/html_pages/bios.html\" target=\"_blank\" rel=\"noopener\">bio\u003c/a> on his website, by then, the Montgomery brothers (Wes, Monk and Buddy) were living in Sacramento and playing shows around town. Martin was already confident enough in his abilities to jam with other working musicians, so he got the nerve to ask the brothers if he could join them on flute.\u003c/p>\n\u003cp>“All of a sudden I was up there and I noticed I’d never sounded so good in my life. When you play with great musicians, you tend to up your game,” Martin wrote on his website. “At another gig Wes wrote out the changes to ‘West Cost Blues’ on a napkin that I still have.”\u003c/p>\n\u003cfigure id=\"attachment_13815535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg\" alt=\"Mel Martin with Dizzy Gillespie\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin with Dizzy Gillespie \u003ccite>(Courtesy of the Martin family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After high school, Martin moved to San Francisco to attend San Francisco State University (SFSU), where he majored in music. He didn’t stay long, as he found the school “disappointing” compared to the excellent program at his high school.\u003c/p>\n\u003cp>“The streets, however, were another story,” Martin said in a \u003ca href=\"http://www.bestsaxophonewebsiteever.com/what-makes-saxophone-stalwart-mel-martin-tick/\" target=\"_blank\" rel=\"noopener\">2011 interview\u003c/a>.\u003c/p>\n\u003cp>Martin then began playing with fellow SFSU student \u003ca href=\"http://www.johnhandy.com/\" target=\"_blank\" rel=\"noopener\">John Handy\u003c/a> in his Freedom Band — an experience Martin would later describe as his first time “working within a real jazz situation.” He spent the rest of the ’60s living the jazz life: Gigging at jazz clubs around the Bay Area, like Bop City and the Jazz Workshop, and staying up until the early morning hanging out with fellow jazz players.\u003c/p>\n\u003cp>In the ’70s, Martin began making a name for himself in the emerging jazz fusion scene. Among the groups he played and recorded with were \u003ca href=\"https://www.youtube.com/watch?v=ANSzlPKdLII\" target=\"_blank\" rel=\"noopener\">Azteca\u003c/a>, the Latin-fusion group led by legendary percussionists Coke Escovedo and Pete Escovedo; and \u003ca href=\"https://www.discogs.com/Sir-Douglas-Quintet-2-Honkey-Blues/release/2982700\" target=\"_blank\" rel=\"noopener\">Doug Sahm’s Honkey Blues Band\u003c/a>, the influential Texan musician’s short-lived band in San Francisco. He also played on recordings by Boz Scaggs, Chuck Berry and Dr. John, among many others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ISc5AUZ81IA\u003c/p>\n\u003cp>In 1977, Martin started \u003ca href=\"https://www.discogs.com/artist/569851-Listen\" target=\"_blank\" rel=\"noopener\">Listen\u003c/a>, his jazz fusion group whose first two albums — 1977’s \u003ci>Featuring Mel Martin\u003c/i> and 1978’s \u003ci>Growing\u003c/i> — brought him real acclaim, including the Musician Of The Year award from the San Francisco chapter of National Academy of Recording Arts & Sciences (NARAS), the same organization that hosts the GRAMMY Awards. The first Listen record also won the BAMMY for Best Jazz Album that same year.\u003c/p>\n\u003cfigure id=\"attachment_13815552\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815552\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg\" alt=\"Mel Martin at Keystone Korner in the '70s. Martin was a regular at the legendary jazz club\" width=\"496\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-375x517.jpg 375w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin at Keystone Korner in the ’70s. Martin was a regular at the legendary jazz club \u003ccite>(Brian McMillen/Courtesy of Todd Barkan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin was also a working composer and studio musician, writing and recording parts for a wide variety of projects, including commercials and even animated shorts on \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=fhd8bcl7cdo\" target=\"_blank\" rel=\"noopener\">Sesame Street\u003c/a>\u003c/i>. He contributed music for the TV show \u003cem>t\u003c/em>\u003ci>he Twilight Zone,\u003c/i> and movies like the \u003cem>t\u003c/em>\u003ci>he Warriors,\u003c/i> \u003cem>Rumblefish\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em>.\u003c/p>\n\u003cp>Martin was a member of the musicians’ union and always had some kind of recording studio set up at his house. Even during periods when he was often playing live, he was still working on new music.\u003c/p>\n\u003cp>“His first love was definitely jazz but he played TV shows, commercials — whatever they would hire him for,” Breindel said. “I grew up with music around me 24 hours a day, in recording studios and concert halls and night clubs. There were always musicians in our house.”\u003c/p>\n\u003cp>After years of looking to the future of music, Martin began looking back at the legacy of jazz in the ’80s and ’90s. He started projects like the Mel Martin All-Star Big Band and the bebop tribute group Bebop & Beyond, who recorded albums of music by Thelonious Monk and Dizzy Gillespie — artists Martin backed on multiple occasions in his later years. Martin later started a tribute band dedicated to one of his heroes, Benny Carter. He received five grants from the National Endowment for the Arts for his tribute and preservation work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JbicfHwS21M\u003c/p>\n\u003cp>In his later years, Martin dedicated much of his time to teaching and mentoring younger musicians. After an 11-year stint teaching at the Stanford Jazz Workshop, he went on to tutor students at his home in Novato and at schools around Marin County. He also spent numerous hours on the internet discussing music, most notably on his popular Facebook group \u003ca href=\"https://www.facebook.com/groups/MMJazzSaxophone/\" target=\"_blank\" rel=\"noopener\">MEL MARTIN’S JAZZ SAXOPHONE FORUM\u003c/a>, which currently has over 2,000 members. Breindel says her father was on his computer, reaching out to his musician friends on social media when he died.\u003c/p>\n\u003cp>“He did not isolate himself at all. His thing was to share the music and really connect with people on that level,” she said.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155048314177452&set=p.10155048314177452\u003c/p>\n\u003cp>Breindel is a college-educated classical musician herself. “I wanted to rebel against my father and have all the notes written down for me,” she said, adding that there will probably be a musical celebration for her father at some point. But she feels that the big band concert Martin organized for his 75th birthday at Filoli Gardens, which included a lot of his old musician friends, was a perfect sendoff for him as he was able to play and enjoy it.\u003c/p>\n\u003cp>“It really felt like an honor and a tribute to my father’s life,” Breindel said. “I’m so glad he did that because now that I look back, I can see it was a bit of a farewell.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The founder of Bay Area Jazz institutions such as Listen and Bebop & Beyond died suddenly at his home.",
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"headline": "Mel Martin, Stalwart of the Bay Area Jazz Scene, Dead at 75",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mel Martin, a multi-instrumentalist and composer who dedicated his life to the Bay Area jazz scene, died last week at the age of 75.\u003c/p>\n\u003cp>Martin died of a heart attack on Friday, Nov. 17, according to his daughter Sara Breindel. Her announcement of his passing on \u003ca href=\"https://www.facebook.com/Melissma7/posts/10213567892683980?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> inspired in an outpouring of condolences on social media.\u003c/p>\n\u003cp>“I am in mourning, shocked, and saddened beyond words. Jazz Saxophone Giant, Mel Martin has just passed,” jazz guitarist Steve Homan \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1892492484399408&id=100009160245792\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “It is so hard to even share this news. Your beautiful music, and the times we shared the stage, playing music together, will be with me always.”\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/r_VIYkpt_vU'\n title='//www.youtube.com/embed/r_VIYkpt_vU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Martin played with many legendary artists over his 60-year career in music, backing up jazz greats like Dizzy Gillespie and Ella Fitzgerald and playing alongside stars in others genres like Frank Sinatra, James Brown and Tom Waits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento, Martin fell in love with jazz at the age of 12. Though Martin’s parents loved music and played piano at home, they hoped that their only son would take over the family real estate business. But Martin never showed any interest; instead, he spent much of his time at jazz clubs watching legends like Benny Goodman, Duke Ellington, Woody Herman and Cannonball Adderly.\u003c/p>\n\u003cp>“He discovered jazz and there was no stopping him,” Breindel said.\u003c/p>\n\u003cp>Originally a clarinet player, Martin began playing saxophone and flute as teenager in the music program at Sacramento High School. It was around then that he landed his first big gig playing with legendary jazz guitarist Wes Montgomery. According to Martin’s \u003ca href=\"http://www.melmartin.com/html_pages/bios.html\" target=\"_blank\" rel=\"noopener\">bio\u003c/a> on his website, by then, the Montgomery brothers (Wes, Monk and Buddy) were living in Sacramento and playing shows around town. Martin was already confident enough in his abilities to jam with other working musicians, so he got the nerve to ask the brothers if he could join them on flute.\u003c/p>\n\u003cp>“All of a sudden I was up there and I noticed I’d never sounded so good in my life. When you play with great musicians, you tend to up your game,” Martin wrote on his website. “At another gig Wes wrote out the changes to ‘West Cost Blues’ on a napkin that I still have.”\u003c/p>\n\u003cfigure id=\"attachment_13815535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg\" alt=\"Mel Martin with Dizzy Gillespie\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin with Dizzy Gillespie \u003ccite>(Courtesy of the Martin family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After high school, Martin moved to San Francisco to attend San Francisco State University (SFSU), where he majored in music. He didn’t stay long, as he found the school “disappointing” compared to the excellent program at his high school.\u003c/p>\n\u003cp>“The streets, however, were another story,” Martin said in a \u003ca href=\"http://www.bestsaxophonewebsiteever.com/what-makes-saxophone-stalwart-mel-martin-tick/\" target=\"_blank\" rel=\"noopener\">2011 interview\u003c/a>.\u003c/p>\n\u003cp>Martin then began playing with fellow SFSU student \u003ca href=\"http://www.johnhandy.com/\" target=\"_blank\" rel=\"noopener\">John Handy\u003c/a> in his Freedom Band — an experience Martin would later describe as his first time “working within a real jazz situation.” He spent the rest of the ’60s living the jazz life: Gigging at jazz clubs around the Bay Area, like Bop City and the Jazz Workshop, and staying up until the early morning hanging out with fellow jazz players.\u003c/p>\n\u003cp>In the ’70s, Martin began making a name for himself in the emerging jazz fusion scene. Among the groups he played and recorded with were \u003ca href=\"https://www.youtube.com/watch?v=ANSzlPKdLII\" target=\"_blank\" rel=\"noopener\">Azteca\u003c/a>, the Latin-fusion group led by legendary percussionists Coke Escovedo and Pete Escovedo; and \u003ca href=\"https://www.discogs.com/Sir-Douglas-Quintet-2-Honkey-Blues/release/2982700\" target=\"_blank\" rel=\"noopener\">Doug Sahm’s Honkey Blues Band\u003c/a>, the influential Texan musician’s short-lived band in San Francisco. He also played on recordings by Boz Scaggs, Chuck Berry and Dr. John, among many others.\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/ISc5AUZ81IA'\n title='//www.youtube.com/embed/ISc5AUZ81IA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1977, Martin started \u003ca href=\"https://www.discogs.com/artist/569851-Listen\" target=\"_blank\" rel=\"noopener\">Listen\u003c/a>, his jazz fusion group whose first two albums — 1977’s \u003ci>Featuring Mel Martin\u003c/i> and 1978’s \u003ci>Growing\u003c/i> — brought him real acclaim, including the Musician Of The Year award from the San Francisco chapter of National Academy of Recording Arts & Sciences (NARAS), the same organization that hosts the GRAMMY Awards. The first Listen record also won the BAMMY for Best Jazz Album that same year.\u003c/p>\n\u003cfigure id=\"attachment_13815552\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815552\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg\" alt=\"Mel Martin at Keystone Korner in the '70s. Martin was a regular at the legendary jazz club\" width=\"496\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-375x517.jpg 375w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin at Keystone Korner in the ’70s. Martin was a regular at the legendary jazz club \u003ccite>(Brian McMillen/Courtesy of Todd Barkan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin was also a working composer and studio musician, writing and recording parts for a wide variety of projects, including commercials and even animated shorts on \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=fhd8bcl7cdo\" target=\"_blank\" rel=\"noopener\">Sesame Street\u003c/a>\u003c/i>. He contributed music for the TV show \u003cem>t\u003c/em>\u003ci>he Twilight Zone,\u003c/i> and movies like the \u003cem>t\u003c/em>\u003ci>he Warriors,\u003c/i> \u003cem>Rumblefish\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em>.\u003c/p>\n\u003cp>Martin was a member of the musicians’ union and always had some kind of recording studio set up at his house. Even during periods when he was often playing live, he was still working on new music.\u003c/p>\n\u003cp>“His first love was definitely jazz but he played TV shows, commercials — whatever they would hire him for,” Breindel said. “I grew up with music around me 24 hours a day, in recording studios and concert halls and night clubs. There were always musicians in our house.”\u003c/p>\n\u003cp>After years of looking to the future of music, Martin began looking back at the legacy of jazz in the ’80s and ’90s. He started projects like the Mel Martin All-Star Big Band and the bebop tribute group Bebop & Beyond, who recorded albums of music by Thelonious Monk and Dizzy Gillespie — artists Martin backed on multiple occasions in his later years. Martin later started a tribute band dedicated to one of his heroes, Benny Carter. He received five grants from the National Endowment for the Arts for his tribute and preservation work.\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/JbicfHwS21M'\n title='//www.youtube.com/embed/JbicfHwS21M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his later years, Martin dedicated much of his time to teaching and mentoring younger musicians. After an 11-year stint teaching at the Stanford Jazz Workshop, he went on to tutor students at his home in Novato and at schools around Marin County. He also spent numerous hours on the internet discussing music, most notably on his popular Facebook group \u003ca href=\"https://www.facebook.com/groups/MMJazzSaxophone/\" target=\"_blank\" rel=\"noopener\">MEL MARTIN’S JAZZ SAXOPHONE FORUM\u003c/a>, which currently has over 2,000 members. Breindel says her father was on his computer, reaching out to his musician friends on social media when he died.\u003c/p>\n\u003cp>“He did not isolate himself at all. His thing was to share the music and really connect with people on that level,” she said.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155048314177452&set=p.10155048314177452\u003c/p>\n\u003cp>Breindel is a college-educated classical musician herself. “I wanted to rebel against my father and have all the notes written down for me,” she said, adding that there will probably be a musical celebration for her father at some point. But she feels that the big band concert Martin organized for his 75th birthday at Filoli Gardens, which included a lot of his old musician friends, was a perfect sendoff for him as he was able to play and enjoy it.\u003c/p>\n\u003cp>“It really felt like an honor and a tribute to my father’s life,” Breindel said. “I’m so glad he did that because now that I look back, I can see it was a bit of a farewell.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Jill Soloway created the show \u003cem>Transparent\u003c/em> on Amazon, Abdi Soltani \u003c/span>\u003cspan style=\"font-weight: 400\">directs the ACLU of Northern California, Boots Riley is a filmmaker and lead singer for the Coup, Saul Williams is a rapper and poet. And here’s what they have in common: they’re speaking and performing at the Yerba Buena Center for the Arts 100 Summit. The Fillmore activists the Green sisters (pictured above) are also there. My guest co-host Ariana Proehl notes that o\u003c/span>ne of her former mentors, Lateefah Simon, now president of the Bay Area’s Akonadi Foundation, is at the summit, and is one of the most spirited, lyrical speakers she’s ever heard. I’m also singing the praises of pianist Samora Pinderhughes, born and raised in Berkeley, and comedian Zahra Noorbaksh a KQED Women to Watch and Do List co-host. She’s very funny. And if you go, don’t miss Lil Buck, a master of Jook dancer out of Memphis. He’s a poet with his feet. \u003ca href=\"https://www.ybca.org/whats-on/2017-ybca-100-summit\" target=\"_blank\" rel=\"noopener noreferrer\">Details 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/eXfVIPqcF9I'\n title='//www.youtube.com/embed/eXfVIPqcF9I'\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": "\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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