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"content": "\u003cp>Indian tabla player Zakir Hussain — who united musicians from diverse cultures and by doing so, shaped modern world music — died on Sunday in San Francisco.\u003cstrong> \u003c/strong>He was 73.\u003c/p>\n\u003cp>In a statement, his family said the cause of death was idiopathic pulmonary fibrosis.\u003c/p>\n\u003cp>“His prolific work as a teacher, mentor and educator has left an indelible mark on countless musicians. He hoped to inspire the next generation to go further. He leaves behind an unparalleled legacy as a cultural ambassador and one of the greatest musicians of all time,” his family added.\u003c/p>\n\u003cp>Hussain’s career spanned over five decades, during which he was revered as a national treasure both in India and the United States. He made his Bay Area home in San Anselmo, in Marin County, and was admired worldwide. \u003c/p>\n\u003cp>[aside postID='arts_13891739']\u003c/p>\n\u003cp>He defied genres and collaborated with an impressive range of musicians, including jazz saxophonist Charles Lloyd, bluegrass artists Edgar Meyer and Béla Fleck, as well as rockstars George Harrison and Van Morrison. His versatility earned him the rare distinction of performing twice on NPR’s Tiny Desk — once \u003ca href=\"https://www.npr.org/2010/07/26/128652297/bela-fleck-edgar-meyer-zakir-hussain-tiny-desk-concert\">in 2010\u003c/a> and then \u003ca href=\"https://www.npr.org/2023/10/30/1208837412/shakti-tiny-desk-concert\">in 2023\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You know, you come from India and you say, ‘OK, I’m representing a 3,000-year-old history,’ so you think you’re gonna teach the world about rhythms and drums and so on,” \u003ca href=\"https://www.npr.org/2015/01/08/375637915/the-tabla-master-who-jammed-with-the-grateful-dead\">he told NPR in 2015\u003c/a>. “And then you arrive here. You suddenly realize that you know nothing. You’re just one little dot in the painting that is the music of the universe.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/zakir-hussain/\">\u003cstrong>Watch an episode of KQED’s ‘Spark’ with Zakir Hussain here\u003c/strong>\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Beyond his performances, Hussain was admired for his passion to teaching Indian drumming, further spreading appreciation for the art form.\u003c/p>\n\u003cp>Hussain often said that his musical journey began soon after he was born in Bombay. In the 2015 NPR interview, he recalled a tradition where a father whispers a prayer into his newborn son’s ear. Instead, his father chose to sing him rhythms. \u003c/p>\n\u003cp>“My mother was very upset and said, ‘Why are you doing this?’ And he said, ‘Because this \u003cem>is\u003c/em> my prayer,'” Hussain said.\u003c/p>\n\u003cp>He told NPR that it was his father’s dream for him to carry on the tradition of being an Indian classical musician. His father, Alla Rakha, was considered one of the world’s greatest player’s of tabla, a centuries-old Indian hand drum. His father taught Hussain how to play the tabla when he was 7 years old. \u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2048x1437+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F4e%2F8f%2F4f0a60b14885b03986cfcda31151%2Fgettyimages-1557479932.jpg\" alt=\"Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist's question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003.\">\u003cfigcaption>Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist’s question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003. \u003ccite> (Indranil Mukherjee | AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his father also introduced Hussain to music from around the world, which is how Hussain fell in love with rock and Western music. \u003c/p>\n\u003cp>“I was the only kid on the block who was walking down the street with a boombox on my shoulder, playing as loud as I could ‘Light My Fire,'” Hussain recalled.\u003c/p>\n\u003cp>In 1970, at 19, Hussain traveled to the U.S. where he spent the following years working with rockstars like George Harrison, Van Morrison and Mickey Hart, the drummer from The Grateful Dead. He also played with jazz musician John Handy.\u003c/p>\n\u003cp>In 1973, Hussain formed the Indian jazz fusion band Shakti with jazz guitarist John McLaughlin. With its melodic and rhythm instruments, the band helped American listeners appreciate sounds and instruments beyond Western music. \u003c/p>\n\u003cp>In 2024, Hussain became the first musician from India to receive three Grammy awards in the same year after Shakti won Best Global Music Album, and Hussain’s collaboration with Edgar Meyer and Béla Fleck featuring Rakesh Chaurasia won Best Global Music Performance and Best Contemporary Instrumental Album.\u003c/p>\n\u003cp>[aside postID='news_10780713']\u003c/p>\n\u003cp>Hussain told NPR in 2015 that throughout the course of his career, he has found similarities between rhythmists around the world — regardless of approach or style. \u003c/p>\n\u003cp>“We were all on the same wavelength, the same quest, looking for perfection, which we will never find. But that didn’t matter because it’s all about the journey — not the goal,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Felix Contreras contributed reporting.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You know, you come from India and you say, ‘OK, I’m representing a 3,000-year-old history,’ so you think you’re gonna teach the world about rhythms and drums and so on,” \u003ca href=\"https://www.npr.org/2015/01/08/375637915/the-tabla-master-who-jammed-with-the-grateful-dead\">he told NPR in 2015\u003c/a>. “And then you arrive here. You suddenly realize that you know nothing. You’re just one little dot in the painting that is the music of the universe.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/zakir-hussain/\">\u003cstrong>Watch an episode of KQED’s ‘Spark’ with Zakir Hussain here\u003c/strong>\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Beyond his performances, Hussain was admired for his passion to teaching Indian drumming, further spreading appreciation for the art form.\u003c/p>\n\u003cp>Hussain often said that his musical journey began soon after he was born in Bombay. In the 2015 NPR interview, he recalled a tradition where a father whispers a prayer into his newborn son’s ear. Instead, his father chose to sing him rhythms. \u003c/p>\n\u003cp>“My mother was very upset and said, ‘Why are you doing this?’ And he said, ‘Because this \u003cem>is\u003c/em> my prayer,'” Hussain said.\u003c/p>\n\u003cp>He told NPR that it was his father’s dream for him to carry on the tradition of being an Indian classical musician. His father, Alla Rakha, was considered one of the world’s greatest player’s of tabla, a centuries-old Indian hand drum. His father taught Hussain how to play the tabla when he was 7 years old. \u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2048x1437+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F4e%2F8f%2F4f0a60b14885b03986cfcda31151%2Fgettyimages-1557479932.jpg\" alt=\"Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist's question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003.\">\u003cfigcaption>Guitarist John McLaughlin (L) and tabla maestro Zakir Hussain listen to a journalist’s question upon arrival at their hotel in Bangalore, India, on Jan. 30, 2003. \u003ccite> (Indranil Mukherjee | AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his father also introduced Hussain to music from around the world, which is how Hussain fell in love with rock and Western music. \u003c/p>\n\u003cp>“I was the only kid on the block who was walking down the street with a boombox on my shoulder, playing as loud as I could ‘Light My Fire,'” Hussain recalled.\u003c/p>\n\u003cp>In 1970, at 19, Hussain traveled to the U.S. where he spent the following years working with rockstars like George Harrison, Van Morrison and Mickey Hart, the drummer from The Grateful Dead. He also played with jazz musician John Handy.\u003c/p>\n\u003cp>In 1973, Hussain formed the Indian jazz fusion band Shakti with jazz guitarist John McLaughlin. With its melodic and rhythm instruments, the band helped American listeners appreciate sounds and instruments beyond Western music. \u003c/p>\n\u003cp>In 2024, Hussain became the first musician from India to receive three Grammy awards in the same year after Shakti won Best Global Music Album, and Hussain’s collaboration with Edgar Meyer and Béla Fleck featuring Rakesh Chaurasia won Best Global Music Performance and Best Contemporary Instrumental Album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13969326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg\" alt=\"\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Simon Keyser Petty, center, Jazzschool Community Music School professor of funk, on stage at the California Jazz Conservatory’s concert hall in Berkeley, Calif., on Saturday, Dec. 7, 2024, with students Tobey Palathingal, 15, left, and Rea Horgan, 15, before their performance begins. With its degree program ending, the organization is turning its attention to the Jazzschool, a community education program. \u003ccite>(Florence Middleton for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trí Phạm, a 26-year-old guitar player from Vietnam, was falling more and more in love with jazz, and knew he wanted to move to the United States.\u003c/p>\n\u003cp>Other musicians might have been lured to the jazz scene of New York, but Phạm chose Berkeley, home to the California Jazz Conservatory (CJC). His dream came true when he landed a scholarship to study there, and enrolled this fall.\u003c/p>\n\u003cp>“My true love is jazz. I wanted to play it and study it more, but the jazz scene in Vietnam is very, very new. So I felt a bit lonely there,” Phạm said. “All of my musical heroes, they all come from the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13969324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\" alt='the front of a building is seen from the outside with the word \"jazz\" illuminated' width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The California Jazz Conservatory in Berkeley, Calif., on Saturday, Dec. 7, 2024. The conservatory is the only private, accredited institution in the country dedicated exclusively to the study of jazz. After this fall semester, the conservatory is permanently closing its degree program. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Phạm’s first semester will also be his last. Because of declining enrollment, the degree programs at the CJC are ending. Phạm and his cohort will mark the end of their musical journey at CJC during \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">final concerts on Dec. 16 and 17\u003c/a>.\u003c/p>\n\u003cp>“It’s totally heartbreaking,” Phạm said. “It’s hard to accept because the school is amazing, the program is amazing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pham loves the school so much that he enrolled in as many classes as he could, from theory to bebop to jazz history. He’s learned from musicians he admires at the school, including Jeff Denson, Gerald Cleaver, and Mimi Fox, one of his favorite guitarists.\u003c/p>\n\u003cfigure id=\"attachment_13969319\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\" alt=\"four students playing instruments\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(clockwise from top left) Nolan Kim, 18, plays the trombone, Ansha Anant, 14, plays the alto saxophone, and Kemet Albasiel, 17, and Jasper Chan, 16, play the tenor saxophone during a rehearsal with the Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Students and alumni say the CJC gave them the chance to build a foundation in jazz, play alongside talented faculty, and grow into the musicians they are today.\u003c/p>\n\u003cp>The opportunity to earn a degree at a place like the CJC is rare. The institution is the only private music conservatory in the country solely devoted to the study and performance of jazz. The school, which gained accreditation in 2013, is the vision of Susan Muscarella, an educator and pianist who has sought to establish “the Juilliard of jazz on the West Coast.”\u003c/p>\n\u003cp>But the COVID-19 pandemic lockdowns caused a major dip in enrollment, said Nick Phillips, who became president of the California Jazz Conservatory in October of 2023. The high cost of living in the Bay Area also makes it difficult to recruit students to a smaller California school offering only jazz.\u003c/p>\n\u003cfigure id=\"attachment_13969321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\" alt=\"young people with instruments\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Nolan Kim, 18, Wilder Kagay, 17, Alexander Furber, 17, and Jasper Chan, 16, walk off stage with their Jazzschool Community Music School youth funk ensemble class after they performed in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phillips said in 2014, about 70 students were enrolled in CJC’s degree program. By the fall of 2023, that number had dropped to 20 students.\u003c/p>\n\u003cp>“For a degree program to be sustainable, you need to have students enrolled in it. That’s just the bottom line,” said Phillips.\u003c/p>\n\u003cp>About one university or college per week on average this year has announced that it will close or merge, according to an April report from the Hechinger Report, a nonprofit, independent news organization focused on inequality and innovation in education.\u003c/p>\n\u003cfigure id=\"attachment_13969323\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\" alt=\"\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilder Kagay, 17, plays the bass during a rehearsal with his California Jazz Conservatory youth funk ensemble class before they perform in the conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CJC announced the end of the degree programs in July, but made the decision to offer it one final semester to give students and faculty enough notice. The school is also helping students transfer credits.\u003c/p>\n\u003cp>The organization is also turning its attention to the Jazzschool, the CJC’s community education program, where enrollment numbers are rebounding.\u003c/p>\n\u003cp>“A place where people can explore and learn jazz — that’s what we want to continue,” Phillips said.\u003c/p>\n\u003ch2>The legacy of the jazz program\u003c/h2>\n\u003cp>As the CJC transitions into its next chapter, students and alumni are reflecting on how the degree program shaped their lives as musicians. Ruthie Dineen, a pianist, composer, and the executive director of the East Bay Center for the Performing Arts, was part of the school’s first graduating class.\u003c/p>\n\u003cfigure id=\"attachment_13969318\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\" alt=\"a woman in a black leather jacket plays the keyboard\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ruthie Dineen, executive director for East Bay Center for the Performing Arts, practices with the band Bululú before a KQED live event in San Francisco on Dec. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the Bay Area music scene as one large band. I feel like I’m still finding my voice, but that was really how I became part of it,” Dineen said.\u003c/p>\n\u003cp>The CJC made jazz education accessible for students like Dineen. She remembered being awestruck as a kid seeing Berkeley High’s jazz band perform.\u003c/p>\n\u003cp>“The group was so diverse. I vividly remember that, because as a young girl coming from a family from El Salvador, none of this seemed very accessible,” Dineen said. “My mom was a nurse, my dad was a firefighter. So it’s just a whole other world.”\u003c/p>\n\u003cfigure id=\"attachment_13969320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\" alt=\"\" width=\"2000\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-768x256.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1536x511.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1920x639.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rea Horgan, 15, plays the bass during a rehearsal with her Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2009, Susan Muscarella asked Dineen if she would attend the new jazz degree program she was starting up in Berkeley.\u003c/p>\n\u003cp>The school offered Dineen a scholarship. She enrolled, taking private piano lessons with Susan, who pushed her hard.\u003c/p>\n\u003cp>“I cared so much about Susan, and I was so grateful to her in particular for providing that education to me,” Dineen said.\u003c/p>\n\u003ch2>Out with a bang\u003c/h2>\n\u003cp>Now the remaining students at the CJC are preparing for their final concerts and next chapters. Phạm, the international student from Vietnam, plans to continue studying in the United States, and wants to be a teacher one day.\u003c/p>\n\u003cp>His classmate, pianist Abner Robles, is determined to go out with a bang. He’s also an apprentice at Callahan Piano Service, a shop offering piano care, tuning, and rebuilding. He’s living the life of a tradesman, a musician and — for now — a student.\u003c/p>\n\u003cfigure id=\"attachment_13969315\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\" alt=\"a young man plays the piano\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Jazz Conservatory student Abner Robles behind the piano. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robles grew up singing in church choir, and discovered jazz during the pandemic after hanging around musicians in Sacramento who loved to improvise.\u003c/p>\n\u003cp>“Improvising doesn’t have to mean that it’s this crazy advanced thing that only the chosen ones can do. You can boil it down to the simplest thing ever,” Robles said.\u003c/p>\n\u003cp>He has no regrets about taking the leap to study at the CJC.\u003c/p>\n\u003cp>“I knew I wanted to be in a Hogwarts of music,” Robles said. “I enjoy this semester more than the other ones because with the professors, all their focus is on us, and they want to build us up. Now is as intense as it gets and as cool as it gets.”\u003c/p>\n\u003cp>He knows attracting students is a challenge, especially when so many aspiring jazz musicians want to move to New York. But he’s proud he got the chance to study in Berkeley.\u003c/p>\n\u003cp>“What I have learned up to this point, and people that I’ve met, I wouldn’t trade that for anything,” he said. “I have a lot of love for that school.”\u003c/p>\n\u003cp>He’s looking at other schools now, like the San Francisco Conservatory of Music. His friends at CJC are doing the same.\u003c/p>\n\u003cp>Like any good jazz musician, these students know how to improvise.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The end-of-semester degree performances are scheduled for Dec. 16 and 17, 2024 at 8 p.m. at the California Jazz Conservatory (2040 Addison St., Berkeley). \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13969326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg\" alt=\"\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/30_20241207_JazzConservatory_Middleton_256-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Simon Keyser Petty, center, Jazzschool Community Music School professor of funk, on stage at the California Jazz Conservatory’s concert hall in Berkeley, Calif., on Saturday, Dec. 7, 2024, with students Tobey Palathingal, 15, left, and Rea Horgan, 15, before their performance begins. With its degree program ending, the organization is turning its attention to the Jazzschool, a community education program. \u003ccite>(Florence Middleton for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trí Phạm, a 26-year-old guitar player from Vietnam, was falling more and more in love with jazz, and knew he wanted to move to the United States.\u003c/p>\n\u003cp>Other musicians might have been lured to the jazz scene of New York, but Phạm chose Berkeley, home to the California Jazz Conservatory (CJC). His dream came true when he landed a scholarship to study there, and enrolled this fall.\u003c/p>\n\u003cp>“My true love is jazz. I wanted to play it and study it more, but the jazz scene in Vietnam is very, very new. So I felt a bit lonely there,” Phạm said. “All of my musical heroes, they all come from the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13969324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg\" alt='the front of a building is seen from the outside with the word \"jazz\" illuminated' width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/15_20241207_JazzConservatory_Middleton_166-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The California Jazz Conservatory in Berkeley, Calif., on Saturday, Dec. 7, 2024. The conservatory is the only private, accredited institution in the country dedicated exclusively to the study of jazz. After this fall semester, the conservatory is permanently closing its degree program. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Phạm’s first semester will also be his last. Because of declining enrollment, the degree programs at the CJC are ending. Phạm and his cohort will mark the end of their musical journey at CJC during \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">final concerts on Dec. 16 and 17\u003c/a>.\u003c/p>\n\u003cp>“It’s totally heartbreaking,” Phạm said. “It’s hard to accept because the school is amazing, the program is amazing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pham loves the school so much that he enrolled in as many classes as he could, from theory to bebop to jazz history. He’s learned from musicians he admires at the school, including Jeff Denson, Gerald Cleaver, and Mimi Fox, one of his favorite guitarists.\u003c/p>\n\u003cfigure id=\"attachment_13969319\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg\" alt=\"four students playing instruments\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/21_20241207_JazzConservatory_Middleton_530_tri-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(clockwise from top left) Nolan Kim, 18, plays the trombone, Ansha Anant, 14, plays the alto saxophone, and Kemet Albasiel, 17, and Jasper Chan, 16, play the tenor saxophone during a rehearsal with the Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Students and alumni say the CJC gave them the chance to build a foundation in jazz, play alongside talented faculty, and grow into the musicians they are today.\u003c/p>\n\u003cp>The opportunity to earn a degree at a place like the CJC is rare. The institution is the only private music conservatory in the country solely devoted to the study and performance of jazz. The school, which gained accreditation in 2013, is the vision of Susan Muscarella, an educator and pianist who has sought to establish “the Juilliard of jazz on the West Coast.”\u003c/p>\n\u003cp>But the COVID-19 pandemic lockdowns caused a major dip in enrollment, said Nick Phillips, who became president of the California Jazz Conservatory in October of 2023. The high cost of living in the Bay Area also makes it difficult to recruit students to a smaller California school offering only jazz.\u003c/p>\n\u003cfigure id=\"attachment_13969321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg\" alt=\"young people with instruments\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/43_20241207_JazzConservatory_Middleton_374-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Nolan Kim, 18, Wilder Kagay, 17, Alexander Furber, 17, and Jasper Chan, 16, walk off stage with their Jazzschool Community Music School youth funk ensemble class after they performed in the California Jazz Conservatory’s concert hall in Berkeley on Dec. 7, 2024. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phillips said in 2014, about 70 students were enrolled in CJC’s degree program. By the fall of 2023, that number had dropped to 20 students.\u003c/p>\n\u003cp>“For a degree program to be sustainable, you need to have students enrolled in it. That’s just the bottom line,” said Phillips.\u003c/p>\n\u003cp>About one university or college per week on average this year has announced that it will close or merge, according to an April report from the Hechinger Report, a nonprofit, independent news organization focused on inequality and innovation in education.\u003c/p>\n\u003cfigure id=\"attachment_13969323\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg\" alt=\"\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/06_20241207_JazzConservatory_Middleton_424-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wilder Kagay, 17, plays the bass during a rehearsal with his California Jazz Conservatory youth funk ensemble class before they perform in the conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CJC announced the end of the degree programs in July, but made the decision to offer it one final semester to give students and faculty enough notice. The school is also helping students transfer credits.\u003c/p>\n\u003cp>The organization is also turning its attention to the Jazzschool, the CJC’s community education program, where enrollment numbers are rebounding.\u003c/p>\n\u003cp>“A place where people can explore and learn jazz — that’s what we want to continue,” Phillips said.\u003c/p>\n\u003ch2>The legacy of the jazz program\u003c/h2>\n\u003cp>As the CJC transitions into its next chapter, students and alumni are reflecting on how the degree program shaped their lives as musicians. Ruthie Dineen, a pianist, composer, and the executive director of the East Bay Center for the Performing Arts, was part of the school’s first graduating class.\u003c/p>\n\u003cfigure id=\"attachment_13969318\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg\" alt=\"a woman in a black leather jacket plays the keyboard\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/241205-CaliforniaJazzConservatory-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ruthie Dineen, executive director for East Bay Center for the Performing Arts, practices with the band Bululú before a KQED live event in San Francisco on Dec. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think about the Bay Area music scene as one large band. I feel like I’m still finding my voice, but that was really how I became part of it,” Dineen said.\u003c/p>\n\u003cp>The CJC made jazz education accessible for students like Dineen. She remembered being awestruck as a kid seeing Berkeley High’s jazz band perform.\u003c/p>\n\u003cp>“The group was so diverse. I vividly remember that, because as a young girl coming from a family from El Salvador, none of this seemed very accessible,” Dineen said. “My mom was a nurse, my dad was a firefighter. So it’s just a whole other world.”\u003c/p>\n\u003cfigure id=\"attachment_13969320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg\" alt=\"\" width=\"2000\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-768x256.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1536x511.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/22_20241207_JazzConservatory_Middleton_535_duo-1920x639.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rea Horgan, 15, plays the bass during a rehearsal with her Jazzschool Community Music School youth funk ensemble class before they perform in the California Jazz Conservatory’s concert hall in Berkeley. \u003ccite>(Florence Middleton/for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 2009, Susan Muscarella asked Dineen if she would attend the new jazz degree program she was starting up in Berkeley.\u003c/p>\n\u003cp>The school offered Dineen a scholarship. She enrolled, taking private piano lessons with Susan, who pushed her hard.\u003c/p>\n\u003cp>“I cared so much about Susan, and I was so grateful to her in particular for providing that education to me,” Dineen said.\u003c/p>\n\u003ch2>Out with a bang\u003c/h2>\n\u003cp>Now the remaining students at the CJC are preparing for their final concerts and next chapters. Phạm, the international student from Vietnam, plans to continue studying in the United States, and wants to be a teacher one day.\u003c/p>\n\u003cp>His classmate, pianist Abner Robles, is determined to go out with a bang. He’s also an apprentice at Callahan Piano Service, a shop offering piano care, tuning, and rebuilding. He’s living the life of a tradesman, a musician and — for now — a student.\u003c/p>\n\u003cfigure id=\"attachment_13969315\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg\" alt=\"a young man plays the piano\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/20241210-CaliforniaJazzConservatory-JY-010-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Jazz Conservatory student Abner Robles behind the piano. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robles grew up singing in church choir, and discovered jazz during the pandemic after hanging around musicians in Sacramento who loved to improvise.\u003c/p>\n\u003cp>“Improvising doesn’t have to mean that it’s this crazy advanced thing that only the chosen ones can do. You can boil it down to the simplest thing ever,” Robles said.\u003c/p>\n\u003cp>He has no regrets about taking the leap to study at the CJC.\u003c/p>\n\u003cp>“I knew I wanted to be in a Hogwarts of music,” Robles said. “I enjoy this semester more than the other ones because with the professors, all their focus is on us, and they want to build us up. Now is as intense as it gets and as cool as it gets.”\u003c/p>\n\u003cp>He knows attracting students is a challenge, especially when so many aspiring jazz musicians want to move to New York. But he’s proud he got the chance to study in Berkeley.\u003c/p>\n\u003cp>“What I have learned up to this point, and people that I’ve met, I wouldn’t trade that for anything,” he said. “I have a lot of love for that school.”\u003c/p>\n\u003cp>He’s looking at other schools now, like the San Francisco Conservatory of Music. His friends at CJC are doing the same.\u003c/p>\n\u003cp>Like any good jazz musician, these students know how to improvise.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The end-of-semester degree performances are scheduled for Dec. 16 and 17, 2024 at 8 p.m. at the California Jazz Conservatory (2040 Addison St., Berkeley). \u003ca href=\"https://concerts.cjc.edu/cjc-degree-program-student-performances\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oaktown Jazz Workshops Celebrates 30th Anniversary",
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"content": "\u003cfigure id=\"attachment_13967868\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg\" alt=\"Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses next to a handful of students, as they all hold an assortment of instruments, circa 2008.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n-160x114.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses with students, circa 2008. \u003ccite>(Courtesy of Oaktown Jazz Workshops)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ravi Abcarian, the executive director of \u003ca href=\"https://www.oaktownjazz.org/main/\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops\u003c/a>, names artists who’ve honed their craft by participating in the program over the years, he unleashes an all-star roster of musicians.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> was really the first generation, \u003ca href=\"https://www.daynastephens.net/\">Dayna Stephens\u003c/a> along with him,” Abcarian says, on a recent Zoom call. \u003c/span>\u003cspan style=\"font-weight: 400\">He adds acclaimed trumpeter \u003c/span>\u003ca href=\"http://jonathanfinlayson.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Finlayson\u003c/a> and renowned drummer \u003ca href=\"https://www.instagram.com/savvyknows/?hl=en\" target=\"_blank\" rel=\"noopener\">Savannah Harris.\u003c/a> He mentions educator and sound effects specialist for\u003cem> Saturday Night Live, \u003c/em>\u003ca href=\"https://www.geoffcountryman.com/bio\" target=\"_blank\" rel=\"noopener\">Geoffrey Countryman.\u003c/a> There’s \u003ca href=\"https://www.instagram.com/josiahwoodson/\" target=\"_blank\" rel=\"noopener\">Josiah Woodson,\u003c/a> who played trumpet on the song “Love on Top” by Beyoncé.\u003c/p>\n\u003cp>[aside postID='arts_13931138']“And of course, \u003ca href=\"https://www.instagram.com/aneesastrings/\" target=\"_blank\" rel=\"noopener\">Aneesa Strings\u003c/a>,” says Abcarian, adding the superstar upright bassist to the mix.\u003c/p>\n\u003cp>On Saturday, Nov. 16, \u003ca href=\"https://www.etix.com/ticket/p/56930736/oaktown-jazz-30th-anniversary-celebration-oakland-yoshis\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops will celebrate its 30th anniversary\u003c/a> with a show at Yoshi’s in Oakland. In true Oaktown Jazz Workshops fashion, Abcarian says, the event will have a deep community presence, conversations about ensuring access to jazz music for future generations and guest appearances from artists who’ve come through the program over the past three decades.\u003c/p>\n\u003cfigure id=\"attachment_13967940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967940 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at Bandcamp Record Store and Performance Space in Oakland (left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel).\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at Bandcamp in Oakland. Left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded by the late trumpeter and educator Khalil Shaheed, Oaktown Jazz Workshops is a nonprofit originally created in response to the lack of music classes in public schools. An added layer to the organization’s mission: bringing jazz directly to the community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, they were so committed to that idea that at one point they booked artists like \u003ca href=\"https://www.kqed.org/arts/13924370/at-90-bay-area-sax-great-john-handy-is-still-composing-his-legacy\">saxophone legend John Handy\u003c/a> on a flatbed truck to hold live performances at neighborhood parks.\u003c/p>\n\u003cp>“That was the Groovemobile,” says Abcarian of the truck. He explains how artists like a young, soon-to-be Grammy award-winning singer \u003ca href=\"https://www.ledisi.com/\" target=\"_blank\" rel=\"noopener\">Ledisi\u003c/a> or renowned percussionist \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://johnsantosofficial.com/\" target=\"_blank\" rel=\"noopener\">John Santos\u003c/a> (performing at the Yoshi’s show), were conduits, bringing jazz to the community by playing on Saturday mornings at public parks and recreation centers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It brings a tear to my eyes as I think about the infancy of what Khalil was doing,” says tenor saxophonist and educator \u003ca href=\"https://www.richardhowellandsuddenchanges.com/\" target=\"_blank\" rel=\"noopener\">Richard Howell\u003c/a>, also on the Zoom call. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He\u003c/span>\u003cspan style=\"font-weight: 400\"> and Shaheed were close friends who played in many horn sections together. Shaheed died in 2012 at age 63. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13967949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967949 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg\" alt=\"Oaktown Jazz Workshops' Lead Instructor, Richard Howell and students.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Lead Instructor Richard Howell and students. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Shaheed first told Howell about the original idea for Oaktown Jazz Workshops, Howell says, “\u003cspan style=\"font-weight: 400\">I told him ‘I don’t want to teach any kids.’” \u003c/span>\u003cspan style=\"font-weight: 400\">But Howell soon folded, and when he’d step in to teach a class, Shaheed would find a way to step out.\u003c/span>\u003c/p>\n\u003cp>“He would disappear after he asked me to join him,” says Howell with a laugh, noting that it gave him a chance to share with the students the importance of improvisation. Now the program’s lead instructor, Howell says, “I love it with all my heart… This is one of the most rewarding things I’ve been doing for the last 15, 16 years.”\u003c/p>\n\u003cp>[aside postID='arts_13925710']Abcarian says the learning goes both ways in Oaktown Jazz, between students and teachers. Howell adds that being able to bring legendary artists into classes is a bonus.\u003c/p>\n\u003cp>“The great bassist Reggie Workman invited us, and we had the entire class in this one particular room,” says Howell, recalling one lecture where the students were left in disbelief. “The surprise of the day was that Sonny Rollins was on the Zoom call.”\u003c/p>\n\u003cfigure id=\"attachment_13967950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967950 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at the Hercules Public Library (left to right: Jordon Dabney, Teo Quale and Jayla Hernandez).\" width=\"800\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217.jpg 1026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at the Hercules Public Library. Left to right: Jordon Dabney, Teo Quale and Jayla Hernandez. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The program offers a variety of jazz lessons to students between the ages of 10 and 18, with new classes for young adults as well. Performances are held periodically, including some Sunday shows near their headquarters in Oakland’s Jack London Square.\u003c/p>\n\u003cp>“We get a lot of tourists coming through the area, and they see the kids playing, and the kids sound good,” exclaims Abcarian, “These people that are visiting the Bay Area, they hear it and they start tearing up, and they say ‘This reminds me of my neighborhood when I was growing up.’”\u003c/p>\n\u003cp>With jazz, community and education at the forefront, Oaktown Jazz Workshops looks to continue their work for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaktown Jazz Workshops’ 30th anniversary event is Saturday, Nov. 16, at Yoshi’s in Oakland. Hosted by KCSM’s Jesse “Chuy” Varela, the evening features live performances by Erika Oba, Jesse Levit, the John Santos Sextet, Richard Howell and more. \u003ca href=\"https://www.instagram.com/oaktownjazz/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967868\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg\" alt=\"Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses next to a handful of students, as they all hold an assortment of instruments, circa 2008.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n-160x114.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses with students, circa 2008. \u003ccite>(Courtesy of Oaktown Jazz Workshops)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ravi Abcarian, the executive director of \u003ca href=\"https://www.oaktownjazz.org/main/\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops\u003c/a>, names artists who’ve honed their craft by participating in the program over the years, he unleashes an all-star roster of musicians.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> was really the first generation, \u003ca href=\"https://www.daynastephens.net/\">Dayna Stephens\u003c/a> along with him,” Abcarian says, on a recent Zoom call. \u003c/span>\u003cspan style=\"font-weight: 400\">He adds acclaimed trumpeter \u003c/span>\u003ca href=\"http://jonathanfinlayson.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Finlayson\u003c/a> and renowned drummer \u003ca href=\"https://www.instagram.com/savvyknows/?hl=en\" target=\"_blank\" rel=\"noopener\">Savannah Harris.\u003c/a> He mentions educator and sound effects specialist for\u003cem> Saturday Night Live, \u003c/em>\u003ca href=\"https://www.geoffcountryman.com/bio\" target=\"_blank\" rel=\"noopener\">Geoffrey Countryman.\u003c/a> There’s \u003ca href=\"https://www.instagram.com/josiahwoodson/\" target=\"_blank\" rel=\"noopener\">Josiah Woodson,\u003c/a> who played trumpet on the song “Love on Top” by Beyoncé.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And of course, \u003ca href=\"https://www.instagram.com/aneesastrings/\" target=\"_blank\" rel=\"noopener\">Aneesa Strings\u003c/a>,” says Abcarian, adding the superstar upright bassist to the mix.\u003c/p>\n\u003cp>On Saturday, Nov. 16, \u003ca href=\"https://www.etix.com/ticket/p/56930736/oaktown-jazz-30th-anniversary-celebration-oakland-yoshis\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops will celebrate its 30th anniversary\u003c/a> with a show at Yoshi’s in Oakland. In true Oaktown Jazz Workshops fashion, Abcarian says, the event will have a deep community presence, conversations about ensuring access to jazz music for future generations and guest appearances from artists who’ve come through the program over the past three decades.\u003c/p>\n\u003cfigure id=\"attachment_13967940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967940 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at Bandcamp Record Store and Performance Space in Oakland (left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel).\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at Bandcamp in Oakland. Left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded by the late trumpeter and educator Khalil Shaheed, Oaktown Jazz Workshops is a nonprofit originally created in response to the lack of music classes in public schools. An added layer to the organization’s mission: bringing jazz directly to the community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, they were so committed to that idea that at one point they booked artists like \u003ca href=\"https://www.kqed.org/arts/13924370/at-90-bay-area-sax-great-john-handy-is-still-composing-his-legacy\">saxophone legend John Handy\u003c/a> on a flatbed truck to hold live performances at neighborhood parks.\u003c/p>\n\u003cp>“That was the Groovemobile,” says Abcarian of the truck. He explains how artists like a young, soon-to-be Grammy award-winning singer \u003ca href=\"https://www.ledisi.com/\" target=\"_blank\" rel=\"noopener\">Ledisi\u003c/a> or renowned percussionist \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://johnsantosofficial.com/\" target=\"_blank\" rel=\"noopener\">John Santos\u003c/a> (performing at the Yoshi’s show), were conduits, bringing jazz to the community by playing on Saturday mornings at public parks and recreation centers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It brings a tear to my eyes as I think about the infancy of what Khalil was doing,” says tenor saxophonist and educator \u003ca href=\"https://www.richardhowellandsuddenchanges.com/\" target=\"_blank\" rel=\"noopener\">Richard Howell\u003c/a>, also on the Zoom call. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He\u003c/span>\u003cspan style=\"font-weight: 400\"> and Shaheed were close friends who played in many horn sections together. Shaheed died in 2012 at age 63. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13967949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967949 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg\" alt=\"Oaktown Jazz Workshops' Lead Instructor, Richard Howell and students.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Lead Instructor Richard Howell and students. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Shaheed first told Howell about the original idea for Oaktown Jazz Workshops, Howell says, “\u003cspan style=\"font-weight: 400\">I told him ‘I don’t want to teach any kids.’” \u003c/span>\u003cspan style=\"font-weight: 400\">But Howell soon folded, and when he’d step in to teach a class, Shaheed would find a way to step out.\u003c/span>\u003c/p>\n\u003cp>“He would disappear after he asked me to join him,” says Howell with a laugh, noting that it gave him a chance to share with the students the importance of improvisation. Now the program’s lead instructor, Howell says, “I love it with all my heart… This is one of the most rewarding things I’ve been doing for the last 15, 16 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Abcarian says the learning goes both ways in Oaktown Jazz, between students and teachers. Howell adds that being able to bring legendary artists into classes is a bonus.\u003c/p>\n\u003cp>“The great bassist Reggie Workman invited us, and we had the entire class in this one particular room,” says Howell, recalling one lecture where the students were left in disbelief. “The surprise of the day was that Sonny Rollins was on the Zoom call.”\u003c/p>\n\u003cfigure id=\"attachment_13967950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967950 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at the Hercules Public Library (left to right: Jordon Dabney, Teo Quale and Jayla Hernandez).\" width=\"800\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217.jpg 1026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at the Hercules Public Library. Left to right: Jordon Dabney, Teo Quale and Jayla Hernandez. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The program offers a variety of jazz lessons to students between the ages of 10 and 18, with new classes for young adults as well. Performances are held periodically, including some Sunday shows near their headquarters in Oakland’s Jack London Square.\u003c/p>\n\u003cp>“We get a lot of tourists coming through the area, and they see the kids playing, and the kids sound good,” exclaims Abcarian, “These people that are visiting the Bay Area, they hear it and they start tearing up, and they say ‘This reminds me of my neighborhood when I was growing up.’”\u003c/p>\n\u003cp>With jazz, community and education at the forefront, Oaktown Jazz Workshops looks to continue their work for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaktown Jazz Workshops’ 30th anniversary event is Saturday, Nov. 16, at Yoshi’s in Oakland. Hosted by KCSM’s Jesse “Chuy” Varela, the evening features live performances by Erika Oba, Jesse Levit, the John Santos Sextet, Richard Howell and more. \u003ca href=\"https://www.instagram.com/oaktownjazz/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>[aside postID='arts_13951126']“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rare Recordings on ‘Bird in Kansas City’ Capture Charlie Parker’s Playful Mood",
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"content": "\u003cfigure id=\"attachment_13967095\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967095\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png\" alt=\"An album cover showing drums and a Black man playing a saxophone.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1920x1920.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Bird in Kansas City (Live)’ by Charlie Parker. \u003ccite>(Verve Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to Charlie Parker’s saxophone gymnastics on a new album of rare recordings is like watching Simone Biles stretch during warmups.\u003c/p>\n\u003cp>A new collection, \u003cem>Bird in Kansas City\u003c/em> captures Parker’s grace and greatness in casual settings. On 13 cuts recorded in his hometown from 1941 to 1951, the bebop pioneer’s playing is largely informal and relaxed, yet still Olympian.\u003c/p>\n\u003cp>[aside postid='arts_13966868']The material, much of it never heard before, includes two sets of private recordings with local musicians made during breaks in his travels and concludes with two unreleased songs with the Jay McShann Band. The album will be released Friday.\u003c/p>\n\u003cp>Parker solos from start to finish on each of the private recordings, and he’s in fine form, ideas pouring through the sort of improbable improvisations that tested the limits of his instrument — and jazz. There’s some crackle and hiss in the recordings, and his rhythm section can be difficult to hear, but Bird’s alto sax comes through loud and clear.\u003c/p>\n\u003cp>He experiments with energetic embellishments and long, elaborate phrases never to be repeated. He doesn’t always stick the landing, but it’s virtuosity at high velocity, and his melodic invention still startles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parker’s playful mood makes the performances especially appealing. He’s liable to insert scale practice or quotes from other tunes. On “Body and Soul (Phil Baxter Version),” he plays the same note 17 times in a row, and leaves others in the room laughing. That performance is one of seven captured via a portable wire recorder in 1951 during a late-night jam session at a friend’s home, with unknown accompanists on bass and drums.\u003c/p>\n\u003cp>[aside postid='arts_13967001']Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uO7fWpgmZsI\u003c/p>\n\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\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/uO7fWpgmZsI'\n title='//www.youtube.com/embed/uO7fWpgmZsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley’s Wide Hive Records Still Buzzes With Soul After Nearly 25 Years",
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"content": "\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RixIgKDjVfM\u003c/p>\n\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b1Y9w_sC8Vw\u003c/p>\n\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>[aside postID='arts_13962843']Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>[aside postID='arts_13955977']“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GM8gmSyeEsQ\u003c/p>\n\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\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/RixIgKDjVfM'\n title='//www.youtube.com/embed/RixIgKDjVfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\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/b1Y9w_sC8Vw'\n title='//www.youtube.com/embed/b1Y9w_sC8Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\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/GM8gmSyeEsQ'\n title='//www.youtube.com/embed/GM8gmSyeEsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n",
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"excerpt": "Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ",
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"title": "The 10 Best Jazz Shows in the Bay Area This Fall | KQED",
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"headline": "The 10 Best Jazz Shows in the Bay Area This Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The only guarantee about the Brooklyn-based musical ensemble Standing on the Corner is that there are no guarantees. \u003c/p>\n\u003cp>The group, founded nearly a decade ago, has played both avant-garde jazz sets and lo-fi beat sets. They’ve soundtracked afrofuturist films. They’ve performed at radio station benefits, and even acupuncture sessions. \u003c/p>\n\u003cp>On Saturday, the group, led on organ by Puerto Rican multidisciplinarian Gio Escobar, headlines a half-day festival at SFJAZZ while a who’s-who of Bay Area grassroots collectives and artists take over the building’s side rooms and upstairs lobby.\u003c/p>\n\u003cp>It’s the first time Standing on the Corner has played the Bay Area since 2017, opening for King Krule at the Fillmore and performing molasses-slathered renditions of “Body and Soul” and “My Funny Valentine” that handily predated the \u003ca href=\"https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/\">slowed ‘n’ reverbed TikTok trend\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg\" alt=\"\" width=\"1920\" height=\"890\" class=\"size-full wp-image-13960645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1536x712.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Zachary James Watkins and Maylee Todd also perform at Saturday’s mini-festival, coproduced by the Bay Area collective Smartbomb. \u003ccite>(Courtesy Smartbomb / Brittany Carmichael )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the seven years since, the group has collaborated with film director \u003ca href=\"https://www.youtube.com/watch?v=PEwQV6RRrzQ\">Melvin Van Peebles\u003c/a>, the rapper \u003ca href=\"https://www.youtube.com/watch?v=5vVHPRZ21iE\">Earl Sweatshirt\u003c/a>, hip-hop pioneers the Last Poets and the singer \u003ca href=\"https://www.youtube.com/watch?v=wrrjls-oxFo\">Solange\u003c/a>. After two dizzyingly creative independent releases, Standing on the Corner signed a record contract with XL Recordings but have not released a proper album since, preferring instead to self-release live cassettes and stage elaborate installations. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saturday’s show, co-produced by the Bay’s \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a> collective, also features live sets by \u003ca href=\"https://www.kqed.org/arts/11864342/the-time-traversing-sound-of-oaklands-black-spirituals\">Zachary James Watkins\u003c/a>, Maylee Todd, Musele Project and Diego Gaeta, and an art market with Smartbomb DJs and vendors from \u003ca href=\"https://www.kqed.org/arts/13919544/eternal-now-west-oakland-store-will-bundy-ali-madigan\">Eternal Now\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a> and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Standing on the Corner plays Saturday, July 6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/sfjazz-x-smartbomb/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only guarantee about the Brooklyn-based musical ensemble Standing on the Corner is that there are no guarantees. \u003c/p>\n\u003cp>The group, founded nearly a decade ago, has played both avant-garde jazz sets and lo-fi beat sets. They’ve soundtracked afrofuturist films. They’ve performed at radio station benefits, and even acupuncture sessions. \u003c/p>\n\u003cp>On Saturday, the group, led on organ by Puerto Rican multidisciplinarian Gio Escobar, headlines a half-day festival at SFJAZZ while a who’s-who of Bay Area grassroots collectives and artists take over the building’s side rooms and upstairs lobby.\u003c/p>\n\u003cp>It’s the first time Standing on the Corner has played the Bay Area since 2017, opening for King Krule at the Fillmore and performing molasses-slathered renditions of “Body and Soul” and “My Funny Valentine” that handily predated the \u003ca href=\"https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/\">slowed ‘n’ reverbed TikTok trend\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg\" alt=\"\" width=\"1920\" height=\"890\" class=\"size-full wp-image-13960645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1536x712.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Zachary James Watkins and Maylee Todd also perform at Saturday’s mini-festival, coproduced by the Bay Area collective Smartbomb. \u003ccite>(Courtesy Smartbomb / Brittany Carmichael )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the seven years since, the group has collaborated with film director \u003ca href=\"https://www.youtube.com/watch?v=PEwQV6RRrzQ\">Melvin Van Peebles\u003c/a>, the rapper \u003ca href=\"https://www.youtube.com/watch?v=5vVHPRZ21iE\">Earl Sweatshirt\u003c/a>, hip-hop pioneers the Last Poets and the singer \u003ca href=\"https://www.youtube.com/watch?v=wrrjls-oxFo\">Solange\u003c/a>. After two dizzyingly creative independent releases, Standing on the Corner signed a record contract with XL Recordings but have not released a proper album since, preferring instead to self-release live cassettes and stage elaborate installations. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday’s show, co-produced by the Bay’s \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a> collective, also features live sets by \u003ca href=\"https://www.kqed.org/arts/11864342/the-time-traversing-sound-of-oaklands-black-spirituals\">Zachary James Watkins\u003c/a>, Maylee Todd, Musele Project and Diego Gaeta, and an art market with Smartbomb DJs and vendors from \u003ca href=\"https://www.kqed.org/arts/13919544/eternal-now-west-oakland-store-will-bundy-ali-madigan\">Eternal Now\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a> and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Standing on the Corner plays Saturday, July 6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/sfjazz-x-smartbomb/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sun Ra and Kronos Quartet Collide in the Spaceways",
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"content": "\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11941785']The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With guests Terry Riley, Laraaji, RP Boo and others, Kronos Quartet honor the afrofuturist jazz visionary. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jazz-meets-hip-hop-in-bassist-giulio-xavier-cettos-world",
"title": "Jazz Meets Hip-Hop in Bassist Giulio Xavier Cetto’s World",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Jazz and hip-hop are technically different genres of music, but for bassist and composer \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto\u003c/a>, the connection between the two is indivisible.\u003c/p>\n\u003cp>Both genres seamlessly compliment each other as they show up in the music Cetto listens to as, as well as the music he makes. When he performed at \u003ca href=\"https://www.youtube.com/watch?v=0kKct_AKz8s\">NPR’s Tiny Desk\u003c/a> with \u003ca href=\"https://www.kassaoverall.com/\">Kassa Overall\u003c/a>, that connection was loud and clear. And it’s even more pronounced when he does shows at San Francisco’s \u003ca href=\"https://blackcatsf.com/\">Black Cat Jazz Supper Club\u003c/a>.\u003c/p>\n\u003cp>“My main goal is to support as a bass player,” says Cetto, who plays both the upright bass and the electric bass. “I want to be like the floor for someone to stand on. I want to be the rock. So I’m going to just listen as best as I can, and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. Not think too much. Just kind of be a vessel.”\u003c/p>\n\u003cfigure id=\"attachment_13931053\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg\" alt=\"In a black and white photo, Giulio Xavier Cetto holds his upright bass. The lighting casts a shadow over his face and arms. \" width=\"769\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1-160x213.jpg 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">Giulio Xavier Cetto curates weekly jazz shows at the Stow Lake Boathouse in Golden Gate Park. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this week’s Rightnowish, San Francisco’s own Cetto discusses the story behind his \u003ca href=\"https://www.instagram.com/thejazzthug\">Instagram handle\u003c/a>, his favorite Bay Area music venues, and what it’s like to lead \u003ca href=\"https://www.instagram.com/bigtrippin__/\">Big Trippin\u003c/a>, a band that features drummer Thomas Pridgen, saxophonist John Palowitch and pianist Javier Santiago.\u003c/p>\n\u003cp>\u003cem>This story was originally published June 30, 2023 as part of \u003ci>“Liner Notes” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13930249/rightnowish-presents-liner-notes\">\u003cspan class=\"s1\">\u003ci> five-part series\u003c/i>\u003c/span>\u003c/a>\u003ci> about jazz in Bay Area.\u003c/i>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4362298628\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW, HOST:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hello hello, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, coming to you with a special announcement ahead of today’s show. As you may know, the Rightnowish podcast series is coming to an end. Our final episode is July 18th. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In celebration of all that we’ve done over the course of our five-year run, we’re hosting one final event, an evening filled with live jazz, community convos and beverages to toast. \u003c/span>\u003cspan style=\"font-weight: 400\">The event is called \u003c/span>\u003ca href=\"https://www.kqed.org/event/4170\">\u003cspan style=\"font-weight: 400\">Liner Notes Live: A Rightnowish Jazz Production\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and it’s going down Thursday, June 20, at KQED headquarters. For more information, tickets or details about how to live stream the event, visit \u003c/span>\u003ca href=\"http://kqed.org/events\">\u003cspan style=\"font-weight: 400\">kqed.org/events\u003c/span>.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The theme of our upcoming event is inspired by a series of Rightnowish interviews we dropped about a year ago, where we talked to some well-known Bay Area based jazz artists and practitioners about their art and the current state of jazz in this region. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given the announcement of our upcoming jazz event, I think it’s a good time to revisit that Liner Notes series. So we’re going to toss it to Rightnowish producer Marisol Medina-Cadena for her 2023 conversation with jazz bassist Giulio Xavier Cetto. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I first saw you two years ago perform. And I remember going up to and being like, “How can I keep up with you?” And you were like, “I’m on the Instagram, I’m @thejazzthug.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO, GUEST: \u003c/b>\u003cspan style=\"font-weight: 400\">The jazz thug that’s my, my alias. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. What’s the story behind the alias? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> It kind of just speaks on my love for hip hop and jazz music. My friend actually made it up one time, he said it and I was like, I like that. I want to go with it. It stuck. And people like it more than I do now. I get called that.I’ll see a flyer and they won’t even put my name. They put the jazz thug. And I’m like, well, I still want my name on there. But yeah, I thought about changing it recently and a bunch of people were like, No, don’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Well, I mean, you said it’s your love of jazz and hip hop, so I’d love to hear how you hear the two genres like intersecting. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Definitely. I mean, when I listen to Ahmad Jamal, I hear hip hop and when I listen to Duke Ellington. I hear hip hop and when I listen to NAS or when I listen to, you know, J Dilla, I hear jazz. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">All my favorite hip hop is like jazz samples, and I just love to play jazz music or improvised music really, and I mean I put on jazz and I put on hip hop all day long, and then when I go out to play, I want to hear them both at the same time. So that’s kind of what happens. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> That really resonates because for me, growing up, my parents played a lot of jazz in the household, but I don’t think I appreciated it until I started getting into hip hop as a teenager and I was like, Oh, they’re like sampling that jazz riff! And then I was like, Whoa, I really like jazz now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, It kind of brings it back. Right? I love also following that, like hearing the history, like, oh, I know where this is from. I know where the samples came from. That’s like, that always brings me joy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mhmm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ll be that guy. Like, do you know what this is from? And everyone is like No. And then I like, try to explain it. They are like, okay. And I do that when I play because we’ll play a song and I’ll introduce this song…My band, Big Trippin does this song by Gary Bartz, who lives out here in the Bay Area, actually, and it’s called “Gentle Smiles.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I say that and then I’m like, a lot of people don’t, you know, recognize it right away, But I’m like, you know, Tribe Called Quest sampled this song,\u003c/span>\u003cspan style=\"font-weight: 400\"> and then everyone’s like, Oh, and then they hear that part, and then it’s like this full circle moment of realization, which is really fun to see and witness. You see people light up when they hear that part they recognize, you know, it’s cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b> How did you get put on to jazz, as a young person?\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> So my parents played it too. In the house my dad would put on Coltrane, Miles Davis, Pat Metheny, all these people that he loved to listen to. But I wanted to listen to heavy music and I had a whole punk rock phase .\u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">And then I worked my way kind of back around and found jazz again, maybe in high school. And that’s when I had realized I’d already heard so much. And I think that made it all the easier to. Just jump right into it and listen to it and it hit so much harder, I think, too, because it had that familiarity and it wasn’t so foreign because my dad always had it in the house playing, and my mom was always listening to her, her music…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> ..all this salsa and Latin music and folkloric music from Venezuela and all that kind of melding together to just make my ears more well-rounded.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> You play with a lot of trios, you play with a lot of heavy hitters too, and everybody has their own sound. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Totally. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> How are you able to adapt to each band? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> My main goal is to support as a bass player. I want to be like the the floor for someone to stand on. I want to be, you know, the rock. So. I’m going to just listen as best as I can and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. You know, not think too much. Just kind of be a vessel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Saying you are a vessel kind of makes me think about the videos I’ve seen of you performing, it looks like you are tapping into some other vibration, you know, your shoulders are into it, your head is rocking.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> The bass face is going, yeah.. .\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What are you thinking about inside, internally? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> If I’m really in there like that, I’m thinking about nothing. Nothing is going through my mind but the music and I’m really focused. When the music has taken me over and I’m really having fun, you know, I’m not thinking about anything.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have my eyes closed, the whole whole hour set sometimes and open them up. And it’s like waking up in front of people like, Oh, woah, I forgot you were all there, ‘cause when I am really doing it right and really inside the music. Yeah, I’m letting go. the heart is on the sleeve, you know, and the emotions are coming out. And I love to play music that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> A reoccurring show you sometimes lead at The Black Cat is called Sunday Slap. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s described as Dilla meets Coltrane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s a good chance we’re going to play some Dilla and a good chance we might do some Coltrane. But yeah, I’m constantly featuring different emcees, rappers, singers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll play, you know, a jazz song, make it hip hop, we’ll do a a hip hop song and make it jazz, you know, we’ll do all that stuff and we’ll we’ll cover a lot of ground in Sunday Slap. It’s usually with my band Big Trippin, and we can do anything. Okay, we’re going to take the feel from this song, the bass line from this other song, and we get to play this jazz standard over it and till it’s unrecognizable. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Or one of our favorite things to play is this song “Nardis” that’s by Bill Evans but Miles Davis claimed it, and then Kendrick Lamar did a version where he didn’t even play the melody. \u003c/span>\u003cspan style=\"font-weight: 400\">But then I take his version and then we put the melody back over it and suddenly we’ve got this, you know, really cool intersection of jazz and hip hop that a lot of people can get down because people love Miles Davis, people love Kendrick Lamar. Put them together, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another really cool gig you had recently was you went to NPR’s Tiny Desk. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah! \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you played with Kasa Overall…\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yes.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about how that was.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\"> It was amazing. I was stressed out a little bit. It felt like this like really important recording session that a lot of people are going to listen to. You know, I go into recording sessions all the time and think, oh, I hope a lot of people listen to this, or I hope people listen to this. Then you go to Tiny Desk and you’re like, I know a lot of people are going to listen to this. So I think the pressure was on. But it was really special \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> And Kasa, I love his music and talking to all this hip hop jazz stuff. I mean, he’s like the perfect person to play with that really speaks to me. I love what he’s doing when it comes to, like, the style of beats he’s making in the music he’s making. But then I know we could just swing out and really play some real type of improvised music and jazz. And so to me, his music calls to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I could see your music and his music in conversation because he has that synthesis of jazz and hip hop and that’s what you do. And so it kind of totally makes sense why you guys just click. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">I told him I was like, I’m feel like I’m supposed to be in this band man, like. Got to get me in there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mmmm\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">He had been touring without a bass player for a while, so he got me to play with him for the Tiny Desk because it’s acoustic. So there’s not much amplification; it’s got to be kind of this stripped version. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Cuz you play the upright bass and the bass guitar. So like when folks approach you, how do you make that judgment call? Like, Oh, I think upright would do better or… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah, I’ll get asked just to play a gig and it won’t be, they won’t say which one they want. They are just like, “Can you do this?” And I’ll show up with both basses and then see where the music, what the music tells me to do, you know, because it’s usually clear to me like, Ooo, this is this is an upright song or oooh this is electric, ya know. because they’re very different, you know? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Upright bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. Super different energies to both. And one is just the sound of wood and has all that percussion behind it to the upright, you know?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Electric bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then electric bass, like I hit one note that lasts for 30 seconds and just kind of the big, powerful guitar player kind of energy. So, yeah, they both have their their things. It’s such an important part of the music that is easily looked over. And I get people telling me all the time that, Oh, I didn’t even think about the bass until I saw you play. And then I realize how much I like the bass, you know, and how important that is to the music. I’m like Yeah!!! Like it’s the it is the heart of the music. It’s, it’s the it’s the dance floor, you know, it’s that it’s important, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Your band is called Big Trippin \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you’re leading this band \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Im leading this band. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s different from a lot of your other gigs where you are just plugging into another group’s style and here you’re leading it. So talk to me about what that’s like.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah it’s four powerful players. We’ve got a guy named John Palowitch, John, our saxophone player. John Palowitch. Javier Santiago plays piano, and this guy, Thomas Pridgen, plays drums and they’re all heavy hitters. And they are all great and they all lead and do their own music. But when I get them all together, I get to choose what we do. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> You know, quarterback the ideas and where’s the where the song is going to go. Like, okay, let’s do this and repeat that and I, and I’m just calling out plays like the whole time, but they’re all leaders in their own way. So I feel like it’s a collective. They trust my musical intuition and I trust theirs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m trying to lead a band from the bass chair, which is also interesting ‘cause we have a saxophone player who is playing melodies and and if you saw us, you’d probably think he was the leader or assume ‘cause he’s, when you play the melody, you kind of lead where it goes. But I’m often right there in his ear like, okay, we’re going to play this one now. Take us to the bridge, you know, whatever. that kind of thing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I’m constantly shouting at everybody. –\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s fun. I really like to lead like that instead of just like, you know, we could just play the song over and over and end it. But usually in the middle, I’m like, Stay on this part. Or like,” okay, now, you know “just you just piano.” Suddenly you’re just changing it up, keeping it interesting the whole time, I really like to lead that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about the new self-titled album, Big Trippin, that you guys have been working on for a long time. That will be out later this year… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s been about two years in the making. A lot has happened in between us recording it and now. So there’s been some pretty serious delays. But I am really excited to put this music out and I’ve never released music under my name, So this is a big step for me and a big learning process but i just want to share. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We really bring a lot of energy. So sometimes I feel like we’re knocking wigs off. We’re making everybody a little like, whoa. And we can hit people over the head a little bit musically.\u003c/span> \u003cspan style=\"font-weight: 400\">We are like the extreme sports version of music. It’s intense. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, you have this cover arrangement of a Ahmad Jamal song and it has like a bunch of 808 beats on it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yep It’s got 808s. It’s it’s a it’s like a trap beat. Like in a trap style, but it’s a Ahmad still, like I said in the beginning of this interview, when I hear Ahmad Jamal, I hear hip hop and it’s this beautiful song of his called Arabesque and. When I heard it right away, I knew I knew what to do with it, that what I wanted to do with it anyway. Not to say that his version isn’t perfect. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This article actually came out not that long ago of, you know, someone saying like, you don’t have to change the jazz songs like it’s already this masterful work. You don’t have to make your own arrangement all the time. But for me, when I heard this, it spoke to me right away Like I hear it in the style. I couldn’t deny that I wanted to play it in that way. And I think it works beautifully.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here in the Bay, we have a lot of sweet jazz venues. Some more intimate than others. You told me in an earlier conversation we had that you really like the lake house? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which is like this unconventional spot. So I’m wondering for folks who haven’t been there or know about that place, can you tell us why it’s a cool place to play? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Lake House Jazz is at Golden Gate Park at Stow Lake. Inside the boathouse. It’s really unassuming, you know, It’s this little. It’s kind of like a shack. No, it’s not. It’s more than a shack. It’s a boathouse! And in the daytime, it’s like little gift shop. It’s got sweaters and a little snack bar. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then at night, through a group I work with called S.F. Mellow Sessions, we transform it into a concert venue, and we put out these chairs, seats about like 75, 80 people max. We do the lighting right, and then suddenly it’s this beautiful special space that’s right on Stow Lake, where you can hear music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I love it so much because you can hear a pin drop in there while we’re performing because it’s so small and intimate that everyone is just drawn right in. And I play a lot of places where that’s not the case \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then you step out of the doors and you’re just looking at the Lake and Golden Gate Park, and it’s it’s really special. Yeah, I really like playing there. And I curate that every Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What do you think as a bass player like your role is in the larger Bay Area jazz scene? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GUILIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> When I think of my role in the band and on the scene, supporting everyone as best as I can. I also feel like a connector in the scene. I love bringing artists that don’t know each other together. I’m constantly trying to bridge gaps between people and things. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I really like that I get called to play with a lot of people coming from out of town. That’s been something really special to me. It lets me be on like multiple scenes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s months that go by where I get to play with so many people coming from New York or anywhere, and then I’m always like, Oh, let’s go here. Like, I’m going to bring these guys to this session and or like, I want to connect all these worlds all the time. So that brings me joy. That’s my role. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW, HOST: \u003c/b>\u003cspan style=\"font-weight: 400\">That was Marisol Medina-Cadena speaking with the extremely talented Giulio Xavier Cetto, thank you both for that convo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Giulio is active! You can catch up with him on IG, at @thejazzthug and you can find his band under @bigtrippin_ That’s b-i-g-t-r-i-p-p-i-n underscore\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And once again, in honor of all that Rightnowish has accomplished, we’ll be enjoying live jazz and partying at KQED’s headquarters as we say goodbye to this podcast on June 20th. More info can be found at\u003c/span>\u003ca href=\"http://kqed.org/\">\u003cspan style=\"font-weight: 400\"> KQED.Org/ Events\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was produced by Marisol Medina-Cadena. Chris Hambrick is our editor. Christopher Beale is our engineer and sound designer. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jazz lives on, as does Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Cetto talks about his craft, playing at Stow Lake, and leading his band Big Trippin from the bass chair. ",
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"title": "Jazz Meets Hip-Hop in Bassist Giulio Xavier Cetto’s World | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Jazz and hip-hop are technically different genres of music, but for bassist and composer \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto\u003c/a>, the connection between the two is indivisible.\u003c/p>\n\u003cp>Both genres seamlessly compliment each other as they show up in the music Cetto listens to as, as well as the music he makes. When he performed at \u003ca href=\"https://www.youtube.com/watch?v=0kKct_AKz8s\">NPR’s Tiny Desk\u003c/a> with \u003ca href=\"https://www.kassaoverall.com/\">Kassa Overall\u003c/a>, that connection was loud and clear. And it’s even more pronounced when he does shows at San Francisco’s \u003ca href=\"https://blackcatsf.com/\">Black Cat Jazz Supper Club\u003c/a>.\u003c/p>\n\u003cp>“My main goal is to support as a bass player,” says Cetto, who plays both the upright bass and the electric bass. “I want to be like the floor for someone to stand on. I want to be the rock. So I’m going to just listen as best as I can, and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. Not think too much. Just kind of be a vessel.”\u003c/p>\n\u003cfigure id=\"attachment_13931053\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg\" alt=\"In a black and white photo, Giulio Xavier Cetto holds his upright bass. The lighting casts a shadow over his face and arms. \" width=\"769\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-1-160x213.jpg 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">Giulio Xavier Cetto curates weekly jazz shows at the Stow Lake Boathouse in Golden Gate Park. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this week’s Rightnowish, San Francisco’s own Cetto discusses the story behind his \u003ca href=\"https://www.instagram.com/thejazzthug\">Instagram handle\u003c/a>, his favorite Bay Area music venues, and what it’s like to lead \u003ca href=\"https://www.instagram.com/bigtrippin__/\">Big Trippin\u003c/a>, a band that features drummer Thomas Pridgen, saxophonist John Palowitch and pianist Javier Santiago.\u003c/p>\n\u003cp>\u003cem>This story was originally published June 30, 2023 as part of \u003ci>“Liner Notes” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13930249/rightnowish-presents-liner-notes\">\u003cspan class=\"s1\">\u003ci> five-part series\u003c/i>\u003c/span>\u003c/a>\u003ci> about jazz in Bay Area.\u003c/i>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4362298628\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW, HOST:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hello hello, welcome to Rightnowish. I’m your host, Pendarvis Harshaw, coming to you with a special announcement ahead of today’s show. As you may know, the Rightnowish podcast series is coming to an end. Our final episode is July 18th. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In celebration of all that we’ve done over the course of our five-year run, we’re hosting one final event, an evening filled with live jazz, community convos and beverages to toast. \u003c/span>\u003cspan style=\"font-weight: 400\">The event is called \u003c/span>\u003ca href=\"https://www.kqed.org/event/4170\">\u003cspan style=\"font-weight: 400\">Liner Notes Live: A Rightnowish Jazz Production\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and it’s going down Thursday, June 20, at KQED headquarters. For more information, tickets or details about how to live stream the event, visit \u003c/span>\u003ca href=\"http://kqed.org/events\">\u003cspan style=\"font-weight: 400\">kqed.org/events\u003c/span>.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The theme of our upcoming event is inspired by a series of Rightnowish interviews we dropped about a year ago, where we talked to some well-known Bay Area based jazz artists and practitioners about their art and the current state of jazz in this region. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given the announcement of our upcoming jazz event, I think it’s a good time to revisit that Liner Notes series. So we’re going to toss it to Rightnowish producer Marisol Medina-Cadena for her 2023 conversation with jazz bassist Giulio Xavier Cetto. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I first saw you two years ago perform. And I remember going up to and being like, “How can I keep up with you?” And you were like, “I’m on the Instagram, I’m @thejazzthug.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO, GUEST: \u003c/b>\u003cspan style=\"font-weight: 400\">The jazz thug that’s my, my alias. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. What’s the story behind the alias? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> It kind of just speaks on my love for hip hop and jazz music. My friend actually made it up one time, he said it and I was like, I like that. I want to go with it. It stuck. And people like it more than I do now. I get called that.I’ll see a flyer and they won’t even put my name. They put the jazz thug. And I’m like, well, I still want my name on there. But yeah, I thought about changing it recently and a bunch of people were like, No, don’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Well, I mean, you said it’s your love of jazz and hip hop, so I’d love to hear how you hear the two genres like intersecting. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Definitely. I mean, when I listen to Ahmad Jamal, I hear hip hop and when I listen to Duke Ellington. I hear hip hop and when I listen to NAS or when I listen to, you know, J Dilla, I hear jazz. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">All my favorite hip hop is like jazz samples, and I just love to play jazz music or improvised music really, and I mean I put on jazz and I put on hip hop all day long, and then when I go out to play, I want to hear them both at the same time. So that’s kind of what happens. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> That really resonates because for me, growing up, my parents played a lot of jazz in the household, but I don’t think I appreciated it until I started getting into hip hop as a teenager and I was like, Oh, they’re like sampling that jazz riff! And then I was like, Whoa, I really like jazz now. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, It kind of brings it back. Right? I love also following that, like hearing the history, like, oh, I know where this is from. I know where the samples came from. That’s like, that always brings me joy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mhmm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ll be that guy. Like, do you know what this is from? And everyone is like No. And then I like, try to explain it. They are like, okay. And I do that when I play because we’ll play a song and I’ll introduce this song…My band, Big Trippin does this song by Gary Bartz, who lives out here in the Bay Area, actually, and it’s called “Gentle Smiles.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I say that and then I’m like, a lot of people don’t, you know, recognize it right away, But I’m like, you know, Tribe Called Quest sampled this song,\u003c/span>\u003cspan style=\"font-weight: 400\"> and then everyone’s like, Oh, and then they hear that part, and then it’s like this full circle moment of realization, which is really fun to see and witness. You see people light up when they hear that part they recognize, you know, it’s cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b> How did you get put on to jazz, as a young person?\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> So my parents played it too. In the house my dad would put on Coltrane, Miles Davis, Pat Metheny, all these people that he loved to listen to. But I wanted to listen to heavy music and I had a whole punk rock phase .\u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">And then I worked my way kind of back around and found jazz again, maybe in high school. And that’s when I had realized I’d already heard so much. And I think that made it all the easier to. Just jump right into it and listen to it and it hit so much harder, I think, too, because it had that familiarity and it wasn’t so foreign because my dad always had it in the house playing, and my mom was always listening to her, her music…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> ..all this salsa and Latin music and folkloric music from Venezuela and all that kind of melding together to just make my ears more well-rounded.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> You play with a lot of trios, you play with a lot of heavy hitters too, and everybody has their own sound. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Totally. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> How are you able to adapt to each band? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> My main goal is to support as a bass player. I want to be like the the floor for someone to stand on. I want to be, you know, the rock. So. I’m going to just listen as best as I can and be super honest with what I think the music needs best. Sometimes I need to go into a situation and kind of try to be a blank slate. You know, not think too much. Just kind of be a vessel. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Saying you are a vessel kind of makes me think about the videos I’ve seen of you performing, it looks like you are tapping into some other vibration, you know, your shoulders are into it, your head is rocking.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> The bass face is going, yeah.. .\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What are you thinking about inside, internally? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> If I’m really in there like that, I’m thinking about nothing. Nothing is going through my mind but the music and I’m really focused. When the music has taken me over and I’m really having fun, you know, I’m not thinking about anything.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have my eyes closed, the whole whole hour set sometimes and open them up. And it’s like waking up in front of people like, Oh, woah, I forgot you were all there, ‘cause when I am really doing it right and really inside the music. Yeah, I’m letting go. the heart is on the sleeve, you know, and the emotions are coming out. And I love to play music that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> A reoccurring show you sometimes lead at The Black Cat is called Sunday Slap. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s described as Dilla meets Coltrane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s a good chance we’re going to play some Dilla and a good chance we might do some Coltrane. But yeah, I’m constantly featuring different emcees, rappers, singers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll play, you know, a jazz song, make it hip hop, we’ll do a a hip hop song and make it jazz, you know, we’ll do all that stuff and we’ll we’ll cover a lot of ground in Sunday Slap. It’s usually with my band Big Trippin, and we can do anything. Okay, we’re going to take the feel from this song, the bass line from this other song, and we get to play this jazz standard over it and till it’s unrecognizable. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Or one of our favorite things to play is this song “Nardis” that’s by Bill Evans but Miles Davis claimed it, and then Kendrick Lamar did a version where he didn’t even play the melody. \u003c/span>\u003cspan style=\"font-weight: 400\">But then I take his version and then we put the melody back over it and suddenly we’ve got this, you know, really cool intersection of jazz and hip hop that a lot of people can get down because people love Miles Davis, people love Kendrick Lamar. Put them together, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another really cool gig you had recently was you went to NPR’s Tiny Desk. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah! \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you played with Kasa Overall…\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> yes.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about how that was.\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\"> It was amazing. I was stressed out a little bit. It felt like this like really important recording session that a lot of people are going to listen to. You know, I go into recording sessions all the time and think, oh, I hope a lot of people listen to this, or I hope people listen to this. Then you go to Tiny Desk and you’re like, I know a lot of people are going to listen to this. So I think the pressure was on. But it was really special \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> And Kasa, I love his music and talking to all this hip hop jazz stuff. I mean, he’s like the perfect person to play with that really speaks to me. I love what he’s doing when it comes to, like, the style of beats he’s making in the music he’s making. But then I know we could just swing out and really play some real type of improvised music and jazz. And so to me, his music calls to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I could see your music and his music in conversation because he has that synthesis of jazz and hip hop and that’s what you do. And so it kind of totally makes sense why you guys just click. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">I told him I was like, I’m feel like I’m supposed to be in this band man, like. Got to get me in there.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mmmm\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">He had been touring without a bass player for a while, so he got me to play with him for the Tiny Desk because it’s acoustic. So there’s not much amplification; it’s got to be kind of this stripped version. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Cuz you play the upright bass and the bass guitar. So like when folks approach you, how do you make that judgment call? Like, Oh, I think upright would do better or… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah, I’ll get asked just to play a gig and it won’t be, they won’t say which one they want. They are just like, “Can you do this?” And I’ll show up with both basses and then see where the music, what the music tells me to do, you know, because it’s usually clear to me like, Ooo, this is this is an upright song or oooh this is electric, ya know. because they’re very different, you know? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Upright bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. Super different energies to both. And one is just the sound of wood and has all that percussion behind it to the upright, you know?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Electric bass notes]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then electric bass, like I hit one note that lasts for 30 seconds and just kind of the big, powerful guitar player kind of energy. So, yeah, they both have their their things. It’s such an important part of the music that is easily looked over. And I get people telling me all the time that, Oh, I didn’t even think about the bass until I saw you play. And then I realize how much I like the bass, you know, and how important that is to the music. I’m like Yeah!!! Like it’s the it is the heart of the music. It’s, it’s the it’s the dance floor, you know, it’s that it’s important, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Your band is called Big Trippin \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> And you’re leading this band \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b>\u003cspan style=\"font-weight: 400\"> Im leading this band. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s different from a lot of your other gigs where you are just plugging into another group’s style and here you’re leading it. So talk to me about what that’s like.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah it’s four powerful players. We’ve got a guy named John Palowitch, John, our saxophone player. John Palowitch. Javier Santiago plays piano, and this guy, Thomas Pridgen, plays drums and they’re all heavy hitters. And they are all great and they all lead and do their own music. But when I get them all together, I get to choose what we do. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> You know, quarterback the ideas and where’s the where the song is going to go. Like, okay, let’s do this and repeat that and I, and I’m just calling out plays like the whole time, but they’re all leaders in their own way. So I feel like it’s a collective. They trust my musical intuition and I trust theirs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m trying to lead a band from the bass chair, which is also interesting ‘cause we have a saxophone player who is playing melodies and and if you saw us, you’d probably think he was the leader or assume ‘cause he’s, when you play the melody, you kind of lead where it goes. But I’m often right there in his ear like, okay, we’re going to play this one now. Take us to the bridge, you know, whatever. that kind of thing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I’m constantly shouting at everybody. –\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s fun. I really like to lead like that instead of just like, you know, we could just play the song over and over and end it. But usually in the middle, I’m like, Stay on this part. Or like,” okay, now, you know “just you just piano.” Suddenly you’re just changing it up, keeping it interesting the whole time, I really like to lead that way. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Talk to me about the new self-titled album, Big Trippin, that you guys have been working on for a long time. That will be out later this year… \u003c/span>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> It’s been about two years in the making. A lot has happened in between us recording it and now. So there’s been some pretty serious delays. But I am really excited to put this music out and I’ve never released music under my name, So this is a big step for me and a big learning process but i just want to share. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We really bring a lot of energy. So sometimes I feel like we’re knocking wigs off. We’re making everybody a little like, whoa. And we can hit people over the head a little bit musically.\u003c/span> \u003cspan style=\"font-weight: 400\">We are like the extreme sports version of music. It’s intense. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, you have this cover arrangement of a Ahmad Jamal song and it has like a bunch of 808 beats on it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Yep It’s got 808s. It’s it’s a it’s like a trap beat. Like in a trap style, but it’s a Ahmad still, like I said in the beginning of this interview, when I hear Ahmad Jamal, I hear hip hop and it’s this beautiful song of his called Arabesque and. When I heard it right away, I knew I knew what to do with it, that what I wanted to do with it anyway. Not to say that his version isn’t perfect. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This article actually came out not that long ago of, you know, someone saying like, you don’t have to change the jazz songs like it’s already this masterful work. You don’t have to make your own arrangement all the time. But for me, when I heard this, it spoke to me right away Like I hear it in the style. I couldn’t deny that I wanted to play it in that way. And I think it works beautifully.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here in the Bay, we have a lot of sweet jazz venues. Some more intimate than others. You told me in an earlier conversation we had that you really like the lake house? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Which is like this unconventional spot. So I’m wondering for folks who haven’t been there or know about that place, can you tell us why it’s a cool place to play? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> Lake House Jazz is at Golden Gate Park at Stow Lake. Inside the boathouse. It’s really unassuming, you know, It’s this little. It’s kind of like a shack. No, it’s not. It’s more than a shack. It’s a boathouse! And in the daytime, it’s like little gift shop. It’s got sweaters and a little snack bar. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\">But then at night, through a group I work with called S.F. Mellow Sessions, we transform it into a concert venue, and we put out these chairs, seats about like 75, 80 people max. We do the lighting right, and then suddenly it’s this beautiful special space that’s right on Stow Lake, where you can hear music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I love it so much because you can hear a pin drop in there while we’re performing because it’s so small and intimate that everyone is just drawn right in. And I play a lot of places where that’s not the case \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then you step out of the doors and you’re just looking at the Lake and Golden Gate Park, and it’s it’s really special. Yeah, I really like playing there. And I curate that every Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MARISOL MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> What do you think as a bass player like your role is in the larger Bay Area jazz scene? \u003c/span>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003cb>GUILIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> When I think of my role in the band and on the scene, supporting everyone as best as I can. I also feel like a connector in the scene. I love bringing artists that don’t know each other together. I’m constantly trying to bridge gaps between people and things. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>GIULIO XAVIER CETTO:\u003c/b> \u003cspan style=\"font-weight: 400\"> I really like that I get called to play with a lot of people coming from out of town. That’s been something really special to me. It lets me be on like multiple scenes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s months that go by where I get to play with so many people coming from New York or anywhere, and then I’m always like, Oh, let’s go here. Like, I’m going to bring these guys to this session and or like, I want to connect all these worlds all the time. So that brings me joy. That’s my role. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW, HOST: \u003c/b>\u003cspan style=\"font-weight: 400\">That was Marisol Medina-Cadena speaking with the extremely talented Giulio Xavier Cetto, thank you both for that convo.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Giulio is active! You can catch up with him on IG, at @thejazzthug and you can find his band under @bigtrippin_ That’s b-i-g-t-r-i-p-p-i-n underscore\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And once again, in honor of all that Rightnowish has accomplished, we’ll be enjoying live jazz and partying at KQED’s headquarters as we say goodbye to this podcast on June 20th. More info can be found at\u003c/span>\u003ca href=\"http://kqed.org/\">\u003cspan style=\"font-weight: 400\"> KQED.Org/ Events\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was produced by Marisol Medina-Cadena. Chris Hambrick is our editor. Christopher Beale is our engineer and sound designer. The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jazz lives on, as does Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"title": "10 Great Jazz and Classical Shows in the Bay Area This Summer",
"headTitle": "10 Great Jazz and Classical Shows in the Bay Area This Summer | KQED",
"content": "\u003cp>I know, I know — summertime is for staying out ’til 2 a.m., losing your mind to ear-splitting bass and dancing for hours. Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco can’t have a \u003cem>complete\u003c/em> lock on Mahler, now, can it? In this cheekily titled program, Symphony San Jose performs Mahler’s First — the “Titan” symphony — a tone poem–esque work that marked the beginning of a legendary run. In another shade of the harmonic spectrum is Mozart’s Piano Concerto No. 21, used to great effect in the film \u003cem>Elvira Madigan\u003c/em>. Rounding out the program is \u003cem>Danzon No. 2\u003c/em>, by the living Mexican composer Arturo Márquez, which captures the lively rhythms and flavors of mariachi.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I know, I know — summertime is for staying out ’til 2 a.m., losing your mind to ear-splitting bass and dancing for hours. Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco can’t have a \u003cem>complete\u003c/em> lock on Mahler, now, can it? In this cheekily titled program, Symphony San Jose performs Mahler’s First — the “Titan” symphony — a tone poem–esque work that marked the beginning of a legendary run. In another shade of the harmonic spectrum is Mozart’s Piano Concerto No. 21, used to great effect in the film \u003cem>Elvira Madigan\u003c/em>. Rounding out the program is \u003cem>Danzon No. 2\u003c/em>, by the living Mexican composer Arturo Márquez, which captures the lively rhythms and flavors of mariachi.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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