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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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"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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"excerpt": "From the community center to the concert hall, this summer brings exciting jazz and classical performances.",
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"description": "From the community center to the concert hall, this summer brings exciting jazz and classical performances.",
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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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"title": "‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music",
"headTitle": "‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED",
"content": "\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Best Bets for the 2024 Healdsburg Jazz Festival",
"headTitle": "Best Bets for the 2024 Healdsburg Jazz Festival | KQED",
"content": "\u003cfigure id=\"attachment_13955692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg\" alt=\"A black woman in a red dress sings into a microphone while tilting her head upward, eyes closed\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Samara Joy will headline an opening weekend concert for the Healdsburg Jazz Festival on June 16 at Kendall-Jackson winery. \u003ccite>(Gabriele Bifolchi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Sonoma County resident and jazz fan, I’ve gone to the Healdsburg Jazz Festival nearly every year for the past 20 years. When the lineup drops, \u003ca href=\"https://healdsburgjazz.org/schedule/\">like it recently did for the 2024 festival\u003c/a> running June 15–23, I make notated lists of what to see. What follows are my picks for the best shows to see among the formidable lineup.\u003c/p>\n\u003cp>But first: If you’ve heard about the festival but never attended, let me try to tell you what makes it special.\u003c/p>\n\u003cp>Take last year’s free show in the town plaza with Charles McPherson. Where else could farmworkers and wine tourists alike sit in the shade on the grass, listening to an 83-year-old jazz saxophone legend? Or last year’s tribute to Pharoah Sanders, with Gary Bartz and Sanders’ son Tomoki reverently playing “The Creator Has a Master Plan” under the stars and among the vineyards?\u003c/p>\n\u003cp>[aside postID='arts_13953845']Over its history, Healdsburg has hosted up-and-coming talent, like Esperanza Spalding, who played in a restaurant’s backyard at the festival when she was brand-new on the scene. For several years, Santa Rosa-raised guitarist Julian Lage was a local opener at the festival, before he became a \u003ca href=\"https://www.google.com/search?sca_esv=ad9616c29454c2b8&q=julian+lage+magazine+cover&uds=AMwkrPtc7PyXK2WRiJ0T8Fn6QQyoDLDS_R5vB2RasiRzgL7GfSHmnjqxyC_SllFIMWH8gk1rwQ6Ib2VsM5YLrqpNvPIu3UrHbCJssIdIk6CmIbWTReA3P1dLz0uviMFuoVegwY-7e9YqQrTxuDro_w8j5l7wRRsnQg1UAgmdLJZ5nUkMkCSLWpHKBhVHAr5_szKq4HsVi-Lj5Ciosc2qR_oz2wJBBTX5bsmpCAGuadalMXNUOnAxs8gKikCL5iKE_rxuwuifj-__Jzvi7_R0T1HfFOSbBWa9QgNvrAob49MFZgRHehqhrQPcgu6Z0bHrOqGzfZ43IptS&udm=2&prmd=isvnmbtz&sa=X&ved=2ahUKEwjW2ICSpraFAxVSOTQIHQDCDeQQtKgLegQICxAB&biw=1053&bih=537&dpr=2.5\">Blue Note recording artist who graces magazine covers\u003c/a>.\u003c/p>\n\u003cp>And then, naturally, there are the legends. Past years have included Jackie McLean, Ron Carter, Kenny Burrell, Charles Lloyd, Geri Allen, Charlie Haden — the list goes on. In Healdsburg, these artists get the treatment and crowds they deserve, and in an unusually scenic, intimate setting. (I’ll never forget the year I literally bumped into \u003ca href=\"https://en.wikipedia.org/wiki/Andrew_Cyrille\">drummer Andrew Cyrille\u003c/a> in the cramped back kitchen of a coffee shop just off the downtown plaza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, if you want to start easy, there’s the return of the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120753&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Juneteenth in the Plaza concert\u003c/a> on June 15, this year featuring trombonist Steve Turre with his sextet and soul-jazz saxophone veteran Houston Person. The plaza concerts (hosted by KCSM’s \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>) are among my favorites at the festival — they’re completely free, the grass fills up with all types of people, and the music blankets the entire downtown.\u003c/p>\n\u003cfigure id=\"attachment_11662335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg\" alt=\"Billy Hart at the Healdsburg Jazz Festival, June 4, 2016.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart at the Healdsburg Jazz Festival, June 4, 2016. \u003ccite>(George B. Wells)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Want to go big? After a sold-out performance at last year’s festival, hot-streak vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Samara Joy\u003c/a> will headline the festival’s opening weekend with a June 16 show at Kendall-Jackson winery. The cheapest seats are $125, but lawn seating is $35–$55 — and feels more befitting of a winery show, in my opinion.\u003c/p>\n\u003cp>Bacchus Landing’s outdoor courtyard, situated among the vineyards, is a relatively new venue for the festival; though the sun can heat the folding-chair seating, it’s hard to beat the cool open air after sundown. I have my eyes on rising vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Jazzmeia Horn\u003c/a>, and her performance with festival director Marcus Shelby and his orchestra on June 20.\u003c/p>\n\u003cp>[aside postID='arts_13885595']Also at Bacchus Landing is the remarkable \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Chief Adjuah\u003c/a> (née Christian Scott) in a double bill with \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">The Cookers\u003c/a> (Cecil McBee, George Cables, Billy Hart, Craig Handy, Eddie Henderson, Donald Harrison Jr. and David Weiss) on June 21; the \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Joshua Redman Quartet featuring Gabrielle Cavassa\u003c/a> on June 23; and \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Ambrose Akinmusire, Bill Frisell and Herlin Riley\u003c/a> with opener the \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">Brandee Younger\u003c/a> Trio on June 22. Redman \u003ca href=\"https://www.kqed.org/arts/11661739/live-review-creative-risks-pay-off-at-healdsburgs-billy-hart-tribute\">tends to shine in Healdsburg\u003c/a>, and Younger \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">blew my mind last month\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Cuban pianist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Omar Sosa and his Quarteto Americanos\u003c/a> will perform on June 17 at Healdsburg’s venerable Raven Theater, a charming former movie theater built in 1949. And then there’s the small shows scattered all over town. My picks would be \u003ca href=\"https://www.kqed.org/arts/13951290/howard-wiley-gospel-jazz\">Howard Wiley\u003c/a>’s quartet at The Elephant in the Room on June 15, the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120759&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Jazz Mafia\u003c/a>’s “New Directions in Brass” at Spoonbar on June 19, and a \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=119630&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">tribute to Duke Ellington with Tiffany Austin\u003c/a> at St. Paul’s Church on June 22.\u003c/p>\n\u003cp>As for food? Other people will be happy to gush about Healdsburg’s world-class dining and wine. I’m more likely to recommend the no-frills \u003ca href=\"https://elsombrerohbg.com/\">El Sombrero\u003c/a> or \u003ca href=\"https://www.flakeycream.com/menu\">Flakey Cream\u003c/a> for lunch, and either Healdsburg’s Goodwill or a Russian River swimming hole for cheap thrills.\u003c/p>\n\u003cp>But for a week in June, at least, we can all agree on the music.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 26th Annual Healdsburg Jazz Festival runs June 15–23, 2024, at various venues in and around Healdsburg. \u003ca href=\"https://healdsburgjazz.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A festival veteran picks this year's top shows, including Samara Joy, Ambrose Akinmusire, Houston Person and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg\" alt=\"A black woman in a red dress sings into a microphone while tilting her head upward, eyes closed\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Samara Joy will headline an opening weekend concert for the Healdsburg Jazz Festival on June 16 at Kendall-Jackson winery. \u003ccite>(Gabriele Bifolchi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Sonoma County resident and jazz fan, I’ve gone to the Healdsburg Jazz Festival nearly every year for the past 20 years. When the lineup drops, \u003ca href=\"https://healdsburgjazz.org/schedule/\">like it recently did for the 2024 festival\u003c/a> running June 15–23, I make notated lists of what to see. What follows are my picks for the best shows to see among the formidable lineup.\u003c/p>\n\u003cp>But first: If you’ve heard about the festival but never attended, let me try to tell you what makes it special.\u003c/p>\n\u003cp>Take last year’s free show in the town plaza with Charles McPherson. Where else could farmworkers and wine tourists alike sit in the shade on the grass, listening to an 83-year-old jazz saxophone legend? Or last year’s tribute to Pharoah Sanders, with Gary Bartz and Sanders’ son Tomoki reverently playing “The Creator Has a Master Plan” under the stars and among the vineyards?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over its history, Healdsburg has hosted up-and-coming talent, like Esperanza Spalding, who played in a restaurant’s backyard at the festival when she was brand-new on the scene. For several years, Santa Rosa-raised guitarist Julian Lage was a local opener at the festival, before he became a \u003ca href=\"https://www.google.com/search?sca_esv=ad9616c29454c2b8&q=julian+lage+magazine+cover&uds=AMwkrPtc7PyXK2WRiJ0T8Fn6QQyoDLDS_R5vB2RasiRzgL7GfSHmnjqxyC_SllFIMWH8gk1rwQ6Ib2VsM5YLrqpNvPIu3UrHbCJssIdIk6CmIbWTReA3P1dLz0uviMFuoVegwY-7e9YqQrTxuDro_w8j5l7wRRsnQg1UAgmdLJZ5nUkMkCSLWpHKBhVHAr5_szKq4HsVi-Lj5Ciosc2qR_oz2wJBBTX5bsmpCAGuadalMXNUOnAxs8gKikCL5iKE_rxuwuifj-__Jzvi7_R0T1HfFOSbBWa9QgNvrAob49MFZgRHehqhrQPcgu6Z0bHrOqGzfZ43IptS&udm=2&prmd=isvnmbtz&sa=X&ved=2ahUKEwjW2ICSpraFAxVSOTQIHQDCDeQQtKgLegQICxAB&biw=1053&bih=537&dpr=2.5\">Blue Note recording artist who graces magazine covers\u003c/a>.\u003c/p>\n\u003cp>And then, naturally, there are the legends. Past years have included Jackie McLean, Ron Carter, Kenny Burrell, Charles Lloyd, Geri Allen, Charlie Haden — the list goes on. In Healdsburg, these artists get the treatment and crowds they deserve, and in an unusually scenic, intimate setting. (I’ll never forget the year I literally bumped into \u003ca href=\"https://en.wikipedia.org/wiki/Andrew_Cyrille\">drummer Andrew Cyrille\u003c/a> in the cramped back kitchen of a coffee shop just off the downtown plaza.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, if you want to start easy, there’s the return of the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120753&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Juneteenth in the Plaza concert\u003c/a> on June 15, this year featuring trombonist Steve Turre with his sextet and soul-jazz saxophone veteran Houston Person. The plaza concerts (hosted by KCSM’s \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>) are among my favorites at the festival — they’re completely free, the grass fills up with all types of people, and the music blankets the entire downtown.\u003c/p>\n\u003cfigure id=\"attachment_11662335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg\" alt=\"Billy Hart at the Healdsburg Jazz Festival, June 4, 2016.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart at the Healdsburg Jazz Festival, June 4, 2016. \u003ccite>(George B. Wells)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Want to go big? After a sold-out performance at last year’s festival, hot-streak vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Samara Joy\u003c/a> will headline the festival’s opening weekend with a June 16 show at Kendall-Jackson winery. The cheapest seats are $125, but lawn seating is $35–$55 — and feels more befitting of a winery show, in my opinion.\u003c/p>\n\u003cp>Bacchus Landing’s outdoor courtyard, situated among the vineyards, is a relatively new venue for the festival; though the sun can heat the folding-chair seating, it’s hard to beat the cool open air after sundown. I have my eyes on rising vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Jazzmeia Horn\u003c/a>, and her performance with festival director Marcus Shelby and his orchestra on June 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also at Bacchus Landing is the remarkable \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Chief Adjuah\u003c/a> (née Christian Scott) in a double bill with \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">The Cookers\u003c/a> (Cecil McBee, George Cables, Billy Hart, Craig Handy, Eddie Henderson, Donald Harrison Jr. and David Weiss) on June 21; the \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Joshua Redman Quartet featuring Gabrielle Cavassa\u003c/a> on June 23; and \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Ambrose Akinmusire, Bill Frisell and Herlin Riley\u003c/a> with opener the \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">Brandee Younger\u003c/a> Trio on June 22. Redman \u003ca href=\"https://www.kqed.org/arts/11661739/live-review-creative-risks-pay-off-at-healdsburgs-billy-hart-tribute\">tends to shine in Healdsburg\u003c/a>, and Younger \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">blew my mind last month\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Cuban pianist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Omar Sosa and his Quarteto Americanos\u003c/a> will perform on June 17 at Healdsburg’s venerable Raven Theater, a charming former movie theater built in 1949. And then there’s the small shows scattered all over town. My picks would be \u003ca href=\"https://www.kqed.org/arts/13951290/howard-wiley-gospel-jazz\">Howard Wiley\u003c/a>’s quartet at The Elephant in the Room on June 15, the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120759&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Jazz Mafia\u003c/a>’s “New Directions in Brass” at Spoonbar on June 19, and a \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=119630&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">tribute to Duke Ellington with Tiffany Austin\u003c/a> at St. Paul’s Church on June 22.\u003c/p>\n\u003cp>As for food? Other people will be happy to gush about Healdsburg’s world-class dining and wine. I’m more likely to recommend the no-frills \u003ca href=\"https://elsombrerohbg.com/\">El Sombrero\u003c/a> or \u003ca href=\"https://www.flakeycream.com/menu\">Flakey Cream\u003c/a> for lunch, and either Healdsburg’s Goodwill or a Russian River swimming hole for cheap thrills.\u003c/p>\n\u003cp>But for a week in June, at least, we can all agree on the music.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 26th Annual Healdsburg Jazz Festival runs June 15–23, 2024, at various venues in and around Healdsburg. \u003ca href=\"https://healdsburgjazz.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82",
"headTitle": "Calvin Keys, Widely Loved Jazz Guitarist With Endless Soul, Dies at 82 | KQED",
"content": "\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>[aside postID='arts_13935159']Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calvin Keys, the Oakland-based jazz guitarist who worked with giants like Ray Charles and Ahmad Jamal, and who possessed a unique style both on stage and records, died Sunday afternoon. He was 82. \u003c/p>\n\u003cp>Keys was surrounded at Berkeley’s Alta Bates Medical Center on Sunday by family and loved ones from the Bay Area music scene, said his close friend and musical collaborator, Art Maxwell. The cause of death was complications due to a stroke.\u003c/p>\n\u003cp>“The world has just lost a wonderful person and musician,” said the bassist Henry Franklin, who played and recorded with Keys. “He was very prolific on his instrument, very inventive, and I’m sure he’s got one of the first seats in the big orchestra in the sky.”\u003c/p>\n\u003cfigure id=\"attachment_13956010\" class=\"wp-caption aligncenter\" style=\"max-width: 1264px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg\" alt=\"\" width=\"1264\" height=\"1920\" class=\"size-full wp-image-13956010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027.jpg 1264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/GettyImages-507929027-1011x1536.jpg 1011w\" sizes=\"(max-width: 1264px) 100vw, 1264px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys performing in San Francisco, circa 1977. \u003ccite>(Tom Copi/Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Ray Charles and Ahmad Jamal, Keys played with the likes of Donald Byrd, Lou Donaldson, Bobby Hutcherson, Tony Bennett, Earl “Fatha” Hines, Joe Henderson, Carmen McRea, Pharoah Sanders, Freddie Hubbard, Woody Shaw, Eddie Henderson, Stanley Turrentine and many, many others.\u003c/p>\n\u003cp>Maxwell remembered first seeing Keys at Laney College in Oakland in 1978, and later joining his band for shows at 57th Street Gallery and Geoffrey’s Inner Circle. Eventually he would become Keys’ musical director, and played with him for the past decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Calvin was the real deal,” Maxwell said. “He was a very handsome man, very warm, and extremely nice to almost everybody.” \u003c/p>\n\u003cp>Maxwell recalled when Keys, a few years ago, successfully petitioned Spotify to pay him for royalties due. “He took me out to a restaurant,” Maxwell said, “and said ‘Go ahead, get the best steak! Get everything, dessert, whatever you want!’ That was Calvin.”\u003c/p>\n\u003cfigure id=\"attachment_13956008\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg\" alt=\"\" width=\"1920\" height=\"1431\" class=\"size-full wp-image-13956008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/5-1536x1145.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Calvin Keys was born Feb. 6, 1942 in Omaha, Nebraska. As a young boy, his father, a drummer, used to sneak him into local ballrooms to hear performers like Little Richard and James Brown. He would soon learn guitar, and join jam sessions in town with touring artists like George Benson and Brother Jack McDuff. At the age of 15, Keys moved to Kansas City and soon began touring as a young teenager.\u003c/p>\n\u003cp>Keys played in top trios with popular organists like Jimmy McGriff and Jimmy Smith, and worked with Ray Charles on and off for 15 years. A move to Los Angeles in the late 1960s connected him with the Black Jazz record label, for which he recorded two era-defining albums: 1971’s \u003cem>Shawn-Neeq\u003c/em> and 1974’s \u003cem>Proceed With Caution\u003c/em>. He moved to the Bay Area in 1975.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch\u003c/strong>: \u003ca href=\"https://www.youtube.com/live/pC0Qa1zJmrM?si=DF1HedoMKLdhiH5J&t=3907\">Calvin Keys on stage at KQED, interviewed by Bianca Taylor\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>After joining pianist Ahmad Jamal’s group, Keys spent six years touring and recording with the jazz giant. He sometimes told the story of Miles Davis, an avowed Jamal fan, once asking Jamal after a show if he could audition Keys for his own group — an offer Keys declined. \u003c/p>\n\u003cfigure id=\"attachment_13956007\" class=\"wp-caption aligncenter\" style=\"max-width: 1535px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg\" alt=\"\" width=\"1535\" height=\"1920\" class=\"size-full wp-image-13956007\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/16-1228x1536.jpg 1228w\" sizes=\"(max-width: 1535px) 100vw, 1535px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys on stage with his hollow-body guitar on stage. Keys performed at small clubs and community events into his 80s. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gregory Howe, the Bay Area producer and musician who under his Wide Hive Records label released four albums by Keys starting in 2000, said that Keys “was just an authoritative voice on his instrument.” He recalled his first experience with Keys in the recording studio, when he nailed a guitar solo in one take. \u003c/p>\n\u003cp>“He arrived in this \u003cem>huge\u003c/em> ’70s Cadillac,” Howe said. “We had this little recording studio in North Beach, and we couldn’t find anywhere to park the car!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Howe also remembered Keys’ sharp personal style, and how he would show up to record in “really clean” outfits that matched his high-class talent. \u003c/p>\n\u003cp>“When he would play, you \u003cem>had\u003c/em> to listen,” Howe said. “The way he could weave a solo, I don’t know any other guitarist that had that caliber of soulfulness and musical strength.”\u003c/p>\n\u003cp>Keys enjoyed a small renaissance in the 2010s as his early albums garnered more attention, including in places as distant as Europe and Japan. In 2012, the Bay Area label Tompkins Square reissued \u003cem>Shawn-Neeq\u003c/em>; \u003cem>Proceed With Caution\u003c/em> and 1985’s \u003cem>Full Court Press\u003c/em> have also been reissued in recent years. \u003c/p>\n\u003cfigure id=\"attachment_13956009\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/61i8yhpYBqL._UF10001000_QL80_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Keys’ first album as a leader, ‘Shawn-Neeq,’ has been reissued multiple times since its release in 1971. \u003ccite>(Black Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keys was a teacher at the Oakland Public Conservatory and frequently taught his skills to the younger generation at camps and in private lessons.\u003c/p>\n\u003cp>On stage, Keys continued to perform locally, including at clubs like Yoshi’s, up to the end. He refused suggestions to retire, even as he underwent quadruple bypass surgery in 1997 and back surgery in recent years, Maxwell said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Terrace Martin, the famed keyboardist and hip-hop producer, and Keys’ godson, \u003ca href=\"https://www.instagram.com/p/C5yGq43r6gh/?hl=en&img_index=1\">said on Instagram\u003c/a>: “A true master teacher has transitioned. Rest in power, love and peace to Calvin Keys. I love you.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Praise of Tammy Hall, the Bay Area’s Indispensable Jazz Accompanist",
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"content": "\u003cfigure id=\"attachment_13953882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-800x533.jpg\" alt=\"A Black woman in black top and greyish hair styled up plays the piano.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Hall, one of the most in-demand vocal accompanists in the Bay Area jazz scene, plays a full slate of shows this month — and gets honored by others in a special tribute. \u003ccite>(Janice Rickert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art of vocal accompaniment requires a pianist to hover in the background. The paradox of Tammy Hall is that, in mastering this selfless role of subsuming oneself, she’s turned herself into the Bay Area’s conspicuously indispensable woman — a near-iconic figure fought over by jazz divas, blues belters, Brazilian singers and stars of women’s music alike.\u003c/p>\n\u003cp>A supremely soulful player with a fierce left hand, Hall is a consummate musician who cherishes elevating other artists, keeping her chops in check so as not to call attention away from the singer. Hall isn’t averse to leading a combo; she’s delivered many a thrilling performance with a trio or quartet. But it’s the Jedi practice of attaining invisibility while shaping a vocalist’s performance that has made Hall a ubiquitous presence at venues around the region.\u003c/p>\n\u003cp>In a recent conversation from her home in Seaside, where she moved three years ago “to be with the love of my life” after being priced out of San Francisco, Hall described some of the attributes required for effective accompaniment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFb0SR6WdIo\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You cannot have an ego,” she said. “At its best, you don’t know where you begin and the singer ends. Playing with Kim Nalley for her Nina Simone tribute, it was feeling like I was breathing with her. There has to be a marked amount of empathy. Not everybody has the capacity. And if you get a solo, you better be really saying something, not just spouting out a lot of notes.”\u003c/p>\n\u003cp>Some serious health setbacks at the end of last year took Hall out of circulation for several months, and she’s still working to rebuild her stamina. She’s going to need it. Throughout March, she’s got a punishing schedule, including curating SFJAZZ’s four-part “\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/discover-jazz/seen-heard-bay-area-women-jazz/\">Seen & Heard: Bay Area Women in Jazz & Beyond\u003c/a>.”\u003c/p>\n\u003cp>[aside postID='arts_13926121']Part of the organization’s Discover Jazz education program, the Wednesday night series kicked off last week and continues March 13 with Melba’s Kitchen, the all-women big band that performs compositions and arrangements by the late trombone great Melba Liston (with a generous helping of material by innovative pianist and composer Mary Lou Williams).\u003c/p>\n\u003cp>Trombonist Pat Mullan, who co-directs Melba’s Kitchen, started hearing Hall around three decades ago, shortly after the pianist returned to the Bay Area following a productive three-year stint in Brussels. Hall made a powerful impression backing jazz chanteuse Denise Perrier, but Mullan got a fuller sense of her power in the Montclair Women’s Big Band, “where I began to hear the extent of her genius,” Mullan said. “She could make that band swing!”\u003c/p>\n\u003cp>During the years when Mullan kept the East Bay’s long-running Junius Courtney Big Band going following the 2003 death of its namesake trumpeter, she sought out Hall for collaborations that revealed the depth of the pianist’s jazz knowledge. For a 2011 Freight & Salvage performance celebrating the legacy of Earl “Fatha” Hines, a pervasively influential pianist in the decades before World War II, she brought a “really clear vision, instructing the band about what she wanted from the group,” Mullan said. “She has a facility of getting her message across to musicians, and if you can do that, you can get it across to audiences. She really had Hines in her body.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i6qIICqjY4w\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>It’s entirely in keeping with Hall’s personality and career that her SFJAZZ series turns the spotlight on other artists. On March 20, an illustrious cast comes together in the Joe Henderson Lab to celebrate Afro-Cuban vocalist Bobi Céspedes, a key figure on the Bay Area’s Latin music scene since the 1980s. Hall’s series concludes March 27 back in Miner Auditorium with a night dedicated to powerhouse vocalist Linda Tillery — who, like Hall, was deeply involved with the women’s music movement centered around \u003ca href=\"https://www.kqed.org/arts/13926121/barbara-higbie-teresa-trull-olivia-records\">Olivia Records\u003c/a>, which opened up space for a stylistically diverse array of lesbian musicians in the 1970s and ’80s.\u003c/p>\n\u003cp>“I’m really excited we get to celebrate Linda,” Hall said. “She’s been a vital and indelible force in this music. I remember first seeing her at Ollie’s in the back room playing drums.”\u003c/p>\n\u003cp>Darlene “Ollie” Oliveira’s namesake club in Oakland’s Temescal was a headquarters for lesbian musicians in the 1980s, and it was where Hall, who grew up in Dallas, landed one of her first regular Bay Area gigs, playing Sundays with a fusion band Beyond Definition. She’s since stayed connected to the women’s music scene, particularly through Holly Near, with whom she performs at \u003ca href=\"https://secure.thefreight.org/13987/holly-near-0518\">Freight & Salvage on May 18\u003c/a> for Near’s “Almost 75th Birthday Party” show.\u003c/p>\n\u003cfigure id=\"attachment_13953881\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg\" alt=\"\" width=\"884\" height=\"462\" class=\"size-full wp-image-13953881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-768x401.jpg 768w\" sizes=\"(max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Hall. \u003ccite>(Courtesy Tammy Hall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Hall hands out well-deserved bouquets to other women, the Civic Center jazz spot Mr. Tipple’s is ensuring she gets a floral arrangement of her own. She hasn’t just been a regular presence at Mr. Tipple’s: Tracy Piper’s \u003ca href=\"https://mitziemee.com/wp-content/uploads/2022/03/2022-3-28.jpg\">striking mural of the pianist\u003c/a> graces the club’s otherwise nondescript Fell Street façade. So turning \u003ca href=\"https://mrtipplessf.com/calendar/\">March 16 into a marathon toast\u003c/a> for Hall seems entirely fitting. Club proprietor Jay Bordeleau has booked five shows through the course of the night, including an early set by Hall’s trio, followed by the Santa Cruz samba band SambaDá and jazz vocalists Azure McCall, Christelle Durandy and Tiffany Austin.\u003c/p>\n\u003cp>“How do you book Women’s History Month without Tammy?” Bordeleau said. “Tiffany Austin said, ‘Let’s give Tammy her flowers and do a tribute she can enjoy.’ So we decided to do a celebration for her in her style, but not rely on her. I told her, ‘You can sit in the audience and just enjoy the shows.’”\u003c/p>\n\u003cp>[aside postID='arts_13830544']Hall backs another bevy of women players on March 23 at Freight & Salvage as the leader of the Lillian Armstrong Tribute Band for vocalist Rhonda Benin’s \u003ca href=\"https://secure.thefreight.org/13801/rhonda-benins-0202\">10th Annual Just Like a Woman\u003c/a> revue. And she’s back at \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/family-matinee/tammy-l-hall/\">SFJAZZ’s Miner Auditorium on May 18\u003c/a> for a family matinee celebrating Mary Lou Williams and Brazilian pianist Tania Maria.\u003c/p>\n\u003cp>Rebeca Mauleón, a formidable pianist herself who’s worked closely with Hall over the years as director of education at SFJAZZ, has always admired Hall’s “rare combination of power and grace.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s as if she cradles the piano while knocking it on its rear end! Her musical generosity and humanity are always front and center,” Mauleón said. “Tammy truly shows up for her bandmates, for her colleagues, and for her students. She is unequivocally one of our Bay Area treasures.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-800x533.jpg\" alt=\"A Black woman in black top and greyish hair styled up plays the piano.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-by-Janice-Rickert.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Hall, one of the most in-demand vocal accompanists in the Bay Area jazz scene, plays a full slate of shows this month — and gets honored by others in a special tribute. \u003ccite>(Janice Rickert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art of vocal accompaniment requires a pianist to hover in the background. The paradox of Tammy Hall is that, in mastering this selfless role of subsuming oneself, she’s turned herself into the Bay Area’s conspicuously indispensable woman — a near-iconic figure fought over by jazz divas, blues belters, Brazilian singers and stars of women’s music alike.\u003c/p>\n\u003cp>A supremely soulful player with a fierce left hand, Hall is a consummate musician who cherishes elevating other artists, keeping her chops in check so as not to call attention away from the singer. Hall isn’t averse to leading a combo; she’s delivered many a thrilling performance with a trio or quartet. But it’s the Jedi practice of attaining invisibility while shaping a vocalist’s performance that has made Hall a ubiquitous presence at venues around the region.\u003c/p>\n\u003cp>In a recent conversation from her home in Seaside, where she moved three years ago “to be with the love of my life” after being priced out of San Francisco, Hall described some of the attributes required for effective accompaniment.\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/VFb0SR6WdIo'\n title='//www.youtube.com/embed/VFb0SR6WdIo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You cannot have an ego,” she said. “At its best, you don’t know where you begin and the singer ends. Playing with Kim Nalley for her Nina Simone tribute, it was feeling like I was breathing with her. There has to be a marked amount of empathy. Not everybody has the capacity. And if you get a solo, you better be really saying something, not just spouting out a lot of notes.”\u003c/p>\n\u003cp>Some serious health setbacks at the end of last year took Hall out of circulation for several months, and she’s still working to rebuild her stamina. She’s going to need it. Throughout March, she’s got a punishing schedule, including curating SFJAZZ’s four-part “\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/discover-jazz/seen-heard-bay-area-women-jazz/\">Seen & Heard: Bay Area Women in Jazz & Beyond\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of the organization’s Discover Jazz education program, the Wednesday night series kicked off last week and continues March 13 with Melba’s Kitchen, the all-women big band that performs compositions and arrangements by the late trombone great Melba Liston (with a generous helping of material by innovative pianist and composer Mary Lou Williams).\u003c/p>\n\u003cp>Trombonist Pat Mullan, who co-directs Melba’s Kitchen, started hearing Hall around three decades ago, shortly after the pianist returned to the Bay Area following a productive three-year stint in Brussels. Hall made a powerful impression backing jazz chanteuse Denise Perrier, but Mullan got a fuller sense of her power in the Montclair Women’s Big Band, “where I began to hear the extent of her genius,” Mullan said. “She could make that band swing!”\u003c/p>\n\u003cp>During the years when Mullan kept the East Bay’s long-running Junius Courtney Big Band going following the 2003 death of its namesake trumpeter, she sought out Hall for collaborations that revealed the depth of the pianist’s jazz knowledge. For a 2011 Freight & Salvage performance celebrating the legacy of Earl “Fatha” Hines, a pervasively influential pianist in the decades before World War II, she brought a “really clear vision, instructing the band about what she wanted from the group,” Mullan said. “She has a facility of getting her message across to musicians, and if you can do that, you can get it across to audiences. She really had Hines in her body.”\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/i6qIICqjY4w'\n title='//www.youtube.com/embed/i6qIICqjY4w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>It’s entirely in keeping with Hall’s personality and career that her SFJAZZ series turns the spotlight on other artists. On March 20, an illustrious cast comes together in the Joe Henderson Lab to celebrate Afro-Cuban vocalist Bobi Céspedes, a key figure on the Bay Area’s Latin music scene since the 1980s. Hall’s series concludes March 27 back in Miner Auditorium with a night dedicated to powerhouse vocalist Linda Tillery — who, like Hall, was deeply involved with the women’s music movement centered around \u003ca href=\"https://www.kqed.org/arts/13926121/barbara-higbie-teresa-trull-olivia-records\">Olivia Records\u003c/a>, which opened up space for a stylistically diverse array of lesbian musicians in the 1970s and ’80s.\u003c/p>\n\u003cp>“I’m really excited we get to celebrate Linda,” Hall said. “She’s been a vital and indelible force in this music. I remember first seeing her at Ollie’s in the back room playing drums.”\u003c/p>\n\u003cp>Darlene “Ollie” Oliveira’s namesake club in Oakland’s Temescal was a headquarters for lesbian musicians in the 1980s, and it was where Hall, who grew up in Dallas, landed one of her first regular Bay Area gigs, playing Sundays with a fusion band Beyond Definition. She’s since stayed connected to the women’s music scene, particularly through Holly Near, with whom she performs at \u003ca href=\"https://secure.thefreight.org/13987/holly-near-0518\">Freight & Salvage on May 18\u003c/a> for Near’s “Almost 75th Birthday Party” show.\u003c/p>\n\u003cfigure id=\"attachment_13953881\" class=\"wp-caption aligncenter\" style=\"max-width: 884px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg\" alt=\"\" width=\"884\" height=\"462\" class=\"size-full wp-image-13953881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist.jpg 884w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Tammy-Hall-courtesy-of-the-artist-768x401.jpg 768w\" sizes=\"(max-width: 884px) 100vw, 884px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Hall. \u003ccite>(Courtesy Tammy Hall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Hall hands out well-deserved bouquets to other women, the Civic Center jazz spot Mr. Tipple’s is ensuring she gets a floral arrangement of her own. She hasn’t just been a regular presence at Mr. Tipple’s: Tracy Piper’s \u003ca href=\"https://mitziemee.com/wp-content/uploads/2022/03/2022-3-28.jpg\">striking mural of the pianist\u003c/a> graces the club’s otherwise nondescript Fell Street façade. So turning \u003ca href=\"https://mrtipplessf.com/calendar/\">March 16 into a marathon toast\u003c/a> for Hall seems entirely fitting. Club proprietor Jay Bordeleau has booked five shows through the course of the night, including an early set by Hall’s trio, followed by the Santa Cruz samba band SambaDá and jazz vocalists Azure McCall, Christelle Durandy and Tiffany Austin.\u003c/p>\n\u003cp>“How do you book Women’s History Month without Tammy?” Bordeleau said. “Tiffany Austin said, ‘Let’s give Tammy her flowers and do a tribute she can enjoy.’ So we decided to do a celebration for her in her style, but not rely on her. I told her, ‘You can sit in the audience and just enjoy the shows.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hall backs another bevy of women players on March 23 at Freight & Salvage as the leader of the Lillian Armstrong Tribute Band for vocalist Rhonda Benin’s \u003ca href=\"https://secure.thefreight.org/13801/rhonda-benins-0202\">10th Annual Just Like a Woman\u003c/a> revue. And she’s back at \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/education/family-matinee/tammy-l-hall/\">SFJAZZ’s Miner Auditorium on May 18\u003c/a> for a family matinee celebrating Mary Lou Williams and Brazilian pianist Tania Maria.\u003c/p>\n\u003cp>Rebeca Mauleón, a formidable pianist herself who’s worked closely with Hall over the years as director of education at SFJAZZ, has always admired Hall’s “rare combination of power and grace.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s as if she cradles the piano while knocking it on its rear end! Her musical generosity and humanity are always front and center,” Mauleón said. “Tammy truly shows up for her bandmates, for her colleagues, and for her students. She is unequivocally one of our Bay Area treasures.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Review: Brandee Younger Honors the Music — and Spirit — of Alice Coltrane at SFJAZZ",
"headTitle": "Review: Brandee Younger Honors the Music — and Spirit — of Alice Coltrane at SFJAZZ | KQED",
"content": "\u003cfigure id=\"attachment_13953842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg\" alt=\"A Black woman sitting in white dress plays the harp with musical equipment and a potted plant nearby\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had started to worry about the term “spiritual jazz.” \u003c/p>\n\u003cp>For the past six or seven years, it has become divorced from its radical roots to become the new \u003ca href=\"https://putumayo.bandcamp.com/\">Putumayo Music\u003c/a> — a hip, vaguely “exotic” sound for well-to-do middle-aged white people to dabble in its aesthetics in order to feel sophisticated. It is no longer the social and political undercurrent of “\u003ca href=\"https://www.youtube.com/watch?v=OQ3vbrwabuM\">Alabama\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=dokLwszdUgY\">Space is the Place\u003c/a>” or “\u003ca href=\"https://www.youtube.com/watch?v=FkDvkR5l1eg\">Colors\u003c/a>,” but playlist wallpaper. A few years ago, when I was in one of those lifestyle boutiques on Valencia Street — you know the kind, with candles, bespoke jewelry and a single rack of long dresses — and heard Alice Coltrane’s \u003cem>Journey in Satchidananda\u003c/em>, I knew something was amiss culturally, like something reverent was being stolen.\u003c/p>\n\u003cp>Thankfully, Brandee Younger came to the SFJAZZ Center this past weekend to take it back. \u003c/p>\n\u003cfigure id=\"attachment_13953843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger, second from right, performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024 with her ensemble. Left to right: string ensemble conducted by De’Sean Jones, drummer Makaya McCraven, flautist Nicole Mitchell, bassist Rashaan Carter, saxophonist Ravi Coltrane, harpist Younger, and pianist/ keyboardist Marc Cary. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her program dedicated to the music of Alice Coltrane, Younger brought players closely connected to the music’s lineage. Nicole Mitchell, founder of the \u003ca href=\"https://www.youtube.com/watch?v=ZbCd6iPoQCA\">Black Earth Ensemble\u003c/a> and former chair of the \u003ca href=\"https://www.youtube.com/watch?v=c5CTjuCYOTw\">Association for the Advancement of Creative Musicians\u003c/a>, played flute. On drums was Makaya McCraven, whose father played with \u003ca href=\"https://www.youtube.com/watch?v=75MCN2k1tQw\">Archie Shepp\u003c/a>. On saxophone, well, you can’t do much better than Ravi Coltrane, the son of John and Alice Coltrane.\u003c/p>\n\u003cp>But it was Younger’s total immersion in the music, and commitment to honoring it deeply and properly, that elevated the program from surface-level tribute to sacred ritual. From lesser-known songs like set opener “Rama Rama” to eternal compositions like “Turiya & Ramakrishna,” Younger played solos that dug probingly into Coltrane’s modal chord figures and prodded the band to moments of transcendental alchemy. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Alice Coltrane was overlooked in her time is no secret; plainly sexist notions, of her as mere wife of one of jazz’s most prominent musicians, kept the world from recognizing her genius. Shattered by her husband’s untimely death at the tail end of the civil rights era, she turned to religious education, founded Sai Anantam Ashram in Southern California and recorded privately pressed cassettes of Hindu devotional songs.\u003c/p>\n\u003cp>In other words, she lived with intention — and the group on Saturday night matched it. There were quite simply no weak links on stage. Credit must go to De’Sean Jones, who conducted a string sextet with a keen ear for dynamics, especially on the delicate “Pranadhana,” played by just harp, soprano sax and strings. Bassist Rashaan Carter anchored the group (the bass line for “Journey in Satchidananda” was one of the first he ever learned, remarked Younger after the song) and included a few brilliant solos of hammer-ons and pull-offs that never got too flashy for their own good. \u003c/p>\n\u003cp>[aside postID='news_11693821']Mitchell traded fours with Coltrane on the perpetually accelerating “Los Caballos,” which gave McCraven a chance to break out of his support role and play the disassembled beats he’s known for. On “Blue Nile” — a song that Alice Coltrane performed at her \u003ca href=\"https://www.eastbaytimes.com/2006/11/07/fans-share-a-love-supreme-with-alice-coltrane-and-son/\">last-ever concert\u003c/a>, at San Francisco’s Masonic Auditorium in 2006 — Mitchell infused her invigorating alto flute solo with a bluesy, human cry of experience. (\u003ca href=\"https://www.kqed.org/arts/13950805/andre-3000-tickets-san-francisco-bimbos-the-independent\">Andre 3000\u003c/a>, take notes.)\u003c/p>\n\u003cp>Ravi Coltrane, who just gets more revelatory every year, propelled the uptempo “Affinity” with a thrilling solo that maneuvered inside and out of the music. As for Marc Cary, who played piano and synthesizer? At the end of “Prema,” he soloed so bracingly up the piano keys that his fingers kept right on playing, off the right edge of the piano, into the air. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Younger’s high regard for Alice Coltrane is more than evident; she introduced three different songs as “my favorite Alice Coltrane composition.” What she \u003cem>did\u003c/em> with that esteem at SFJAZZ on Saturday night, though? You won’t get it in a spiritual jazz playlist piped through Sonos speakers at a Thai fusion restaurant in Napa. You just had to be there, and let it wash over you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg\" alt=\"A Black woman sitting in white dress plays the harp with musical equipment and a potted plant nearby\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had started to worry about the term “spiritual jazz.” \u003c/p>\n\u003cp>For the past six or seven years, it has become divorced from its radical roots to become the new \u003ca href=\"https://putumayo.bandcamp.com/\">Putumayo Music\u003c/a> — a hip, vaguely “exotic” sound for well-to-do middle-aged white people to dabble in its aesthetics in order to feel sophisticated. It is no longer the social and political undercurrent of “\u003ca href=\"https://www.youtube.com/watch?v=OQ3vbrwabuM\">Alabama\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=dokLwszdUgY\">Space is the Place\u003c/a>” or “\u003ca href=\"https://www.youtube.com/watch?v=FkDvkR5l1eg\">Colors\u003c/a>,” but playlist wallpaper. A few years ago, when I was in one of those lifestyle boutiques on Valencia Street — you know the kind, with candles, bespoke jewelry and a single rack of long dresses — and heard Alice Coltrane’s \u003cem>Journey in Satchidananda\u003c/em>, I knew something was amiss culturally, like something reverent was being stolen.\u003c/p>\n\u003cp>Thankfully, Brandee Younger came to the SFJAZZ Center this past weekend to take it back. \u003c/p>\n\u003cfigure id=\"attachment_13953843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger, second from right, performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024 with her ensemble. Left to right: string ensemble conducted by De’Sean Jones, drummer Makaya McCraven, flautist Nicole Mitchell, bassist Rashaan Carter, saxophonist Ravi Coltrane, harpist Younger, and pianist/ keyboardist Marc Cary. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her program dedicated to the music of Alice Coltrane, Younger brought players closely connected to the music’s lineage. Nicole Mitchell, founder of the \u003ca href=\"https://www.youtube.com/watch?v=ZbCd6iPoQCA\">Black Earth Ensemble\u003c/a> and former chair of the \u003ca href=\"https://www.youtube.com/watch?v=c5CTjuCYOTw\">Association for the Advancement of Creative Musicians\u003c/a>, played flute. On drums was Makaya McCraven, whose father played with \u003ca href=\"https://www.youtube.com/watch?v=75MCN2k1tQw\">Archie Shepp\u003c/a>. On saxophone, well, you can’t do much better than Ravi Coltrane, the son of John and Alice Coltrane.\u003c/p>\n\u003cp>But it was Younger’s total immersion in the music, and commitment to honoring it deeply and properly, that elevated the program from surface-level tribute to sacred ritual. From lesser-known songs like set opener “Rama Rama” to eternal compositions like “Turiya & Ramakrishna,” Younger played solos that dug probingly into Coltrane’s modal chord figures and prodded the band to moments of transcendental alchemy. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Alice Coltrane was overlooked in her time is no secret; plainly sexist notions, of her as mere wife of one of jazz’s most prominent musicians, kept the world from recognizing her genius. Shattered by her husband’s untimely death at the tail end of the civil rights era, she turned to religious education, founded Sai Anantam Ashram in Southern California and recorded privately pressed cassettes of Hindu devotional songs.\u003c/p>\n\u003cp>In other words, she lived with intention — and the group on Saturday night matched it. There were quite simply no weak links on stage. Credit must go to De’Sean Jones, who conducted a string sextet with a keen ear for dynamics, especially on the delicate “Pranadhana,” played by just harp, soprano sax and strings. Bassist Rashaan Carter anchored the group (the bass line for “Journey in Satchidananda” was one of the first he ever learned, remarked Younger after the song) and included a few brilliant solos of hammer-ons and pull-offs that never got too flashy for their own good. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mitchell traded fours with Coltrane on the perpetually accelerating “Los Caballos,” which gave McCraven a chance to break out of his support role and play the disassembled beats he’s known for. On “Blue Nile” — a song that Alice Coltrane performed at her \u003ca href=\"https://www.eastbaytimes.com/2006/11/07/fans-share-a-love-supreme-with-alice-coltrane-and-son/\">last-ever concert\u003c/a>, at San Francisco’s Masonic Auditorium in 2006 — Mitchell infused her invigorating alto flute solo with a bluesy, human cry of experience. (\u003ca href=\"https://www.kqed.org/arts/13950805/andre-3000-tickets-san-francisco-bimbos-the-independent\">Andre 3000\u003c/a>, take notes.)\u003c/p>\n\u003cp>Ravi Coltrane, who just gets more revelatory every year, propelled the uptempo “Affinity” with a thrilling solo that maneuvered inside and out of the music. As for Marc Cary, who played piano and synthesizer? At the end of “Prema,” he soloed so bracingly up the piano keys that his fingers kept right on playing, off the right edge of the piano, into the air. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Younger’s high regard for Alice Coltrane is more than evident; she introduced three different songs as “my favorite Alice Coltrane composition.” What she \u003cem>did\u003c/em> with that esteem at SFJAZZ on Saturday night, though? You won’t get it in a spiritual jazz playlist piped through Sonos speakers at a Thai fusion restaurant in Napa. You just had to be there, and let it wash over you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Gospel According to Howard Wiley",
"headTitle": "The Gospel According to Howard Wiley | KQED",
"content": "\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Pictured in his Oakland studio, saxophonist Howard Wiley has been preparing for an upcoming run of gospel shows, titled ‘Saturday Night to Sunday Morning.’ \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people go to church on Sunday morning. Others make it an all-day activity. Growing up, jazz saxophonist \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> attended two different Oakland churches, and used to ditch services to go to \u003cem>another\u003c/em> church.\u003c/p>\n\u003cp>If you know Wiley, the reason is probably obvious. “It was like a jam session!” he says, sitting in his Oakland studio on a recent afternoon. “They are playing music, they are singin’, they are jammin’. So I’d go down there just to hang out and check out the music.”\u003c/p>\n\u003cp>The musical bedrock laid by those childhood Sundays is the foundation of Wiley’s upcoming shows at SFJAZZ, a gospel and jazz hybrid that he’s titled \u003cem>\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Saturday Night to Sunday Morning\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_10957761']Jazz and God have intersected before — famously through John Coltrane’s \u003cem>A Love Supreme\u003c/em>; locally in Duke Ellington’s concert to consecrate Grace Cathedral in San Francisco. Part gospel standards, part originals, Wiley’s show is less an evocation of a genre — gospel music — and more of a summoning of its spirit.\u003c/p>\n\u003cp>“There’s something that just make you, that give you chills, that raise a hair on your arm,” says Wiley, one of five resident artistic directors at SFJAZZ this season. “When that Holy Spirit hit, it’s no denying it. And I hear it in everybody’s music. I hear it in Coltrane’s music. I hear it in Cannonball Adderley’s music. I hear it in James Brown’s music. I hear it when I read James Baldwin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those open ears, of the musician-as-receiver, guide Wiley’s omnivorous activity. In the past year, I’ve happened to see him playing raucous Second Line marches with MJ’s BrassBoppers, tender ballads in a duo with longtime collaborator Kev Choice, and angular back-and-forth solos with tenor sax titan David Murray. Every time, the spirit — that goosebumps thing — is present.\u003c/p>\n\u003cfigure id=\"attachment_13951312\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Jazz saxophonist Howard Wiley rehearses in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For one song to be performed this week, “That’s Why We Praise His Holy Name,” Wiley put himself in the music after his faith was tested. During his years of playing at Glide Memorial in the Tenderloin, there was a small child that sat in the front row.\u003c/p>\n\u003cp>“I had found out the baby’s life had been so tried. His mother was incarcerated, his father was incarcerated,” Wiley says. “And I don’t see the baby one week. Next week I see the uncle, I’m like, ‘Hey, man, where’s the baby?’ He’s like, ‘The baby is dead.’ Hurt me to my soul.”\u003c/p>\n\u003cp>That same day, Wiley learned that another acquaintance — “a man of God, a family man who I respected, I knew his family” — had been convicted of molesting children. While wrestling with the fact that God could allow such things to happen, Wiley started writing.\u003c/p>\n\u003cp>“It’s like a conversation with God. It’s like ‘God, how can this happen?’ And then talking to the victim, ‘How can this happen?’ And through God’s light, I found a way that saved my mind and soul. That’s ‘That’s Why We Praise His Holy Name.'”\u003c/p>\n\u003cp>[aside postID='arts_13927947']Wiley’s quintet for \u003cem>Saturday Night to Sunday Morning\u003c/em> includes Damien Sneed, who collaborated with Wynton Marsalis on his Abyssinian Mass, along with Camille Thurman, Amina Scott and Darrell Green. The set’s traditional spirituals run in their blood; all share a language from the church.\u003c/p>\n\u003cp>For Wiley, that language came early, from Star Bethel Missionary Baptist Church and Triumph Church on San Pablo Avenue in Oakland, both founded after Wiley’s family left the south during the Great Migration — and, down the street, the jam sessions at The Church of God in Christ.\u003c/p>\n\u003cp>Wiley rattles off the names of church folk who planted something in him: Pastor Claiborne. Mae Mae on piano. Joe Bumpus on organ. Sister Willie Mae, Mother Scott, and Mother Gray and Papa Gray, who encouraged him. Willie B., who hired him for his first gig. All contribute in their own way to this week’s shows, which Wiley hopes will provide a bit of realignment.\u003c/p>\n\u003cp>“You know, look at all this war. Look at all this famine. Look at all this starvation. Look at our entire world ecosystem, where it’s haves and have-nots. That is not the way of God,” Wiley says.\u003c/p>\n\u003cp>“But this music, it’s just something that does it. Same with Stevie Wonder’s music, or to hear Bach’s music, Beethoven’s music \u003cspan style=\"font-weight: 400\">—\u003c/span> it’s just something that is so pure, it takes you out of this construct that we’re in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>Howard Wiley’s ‘Saturday Night to Sunday Morning’ runs Saturday and Sunday, Feb. 2 and 3, with four shows at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Pictured in his Oakland studio, saxophonist Howard Wiley has been preparing for an upcoming run of gospel shows, titled ‘Saturday Night to Sunday Morning.’ \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people go to church on Sunday morning. Others make it an all-day activity. Growing up, jazz saxophonist \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> attended two different Oakland churches, and used to ditch services to go to \u003cem>another\u003c/em> church.\u003c/p>\n\u003cp>If you know Wiley, the reason is probably obvious. “It was like a jam session!” he says, sitting in his Oakland studio on a recent afternoon. “They are playing music, they are singin’, they are jammin’. So I’d go down there just to hang out and check out the music.”\u003c/p>\n\u003cp>The musical bedrock laid by those childhood Sundays is the foundation of Wiley’s upcoming shows at SFJAZZ, a gospel and jazz hybrid that he’s titled \u003cem>\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Saturday Night to Sunday Morning\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jazz and God have intersected before — famously through John Coltrane’s \u003cem>A Love Supreme\u003c/em>; locally in Duke Ellington’s concert to consecrate Grace Cathedral in San Francisco. Part gospel standards, part originals, Wiley’s show is less an evocation of a genre — gospel music — and more of a summoning of its spirit.\u003c/p>\n\u003cp>“There’s something that just make you, that give you chills, that raise a hair on your arm,” says Wiley, one of five resident artistic directors at SFJAZZ this season. “When that Holy Spirit hit, it’s no denying it. And I hear it in everybody’s music. I hear it in Coltrane’s music. I hear it in Cannonball Adderley’s music. I hear it in James Brown’s music. I hear it when I read James Baldwin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those open ears, of the musician-as-receiver, guide Wiley’s omnivorous activity. In the past year, I’ve happened to see him playing raucous Second Line marches with MJ’s BrassBoppers, tender ballads in a duo with longtime collaborator Kev Choice, and angular back-and-forth solos with tenor sax titan David Murray. Every time, the spirit — that goosebumps thing — is present.\u003c/p>\n\u003cfigure id=\"attachment_13951312\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Jazz saxophonist Howard Wiley rehearses in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For one song to be performed this week, “That’s Why We Praise His Holy Name,” Wiley put himself in the music after his faith was tested. During his years of playing at Glide Memorial in the Tenderloin, there was a small child that sat in the front row.\u003c/p>\n\u003cp>“I had found out the baby’s life had been so tried. His mother was incarcerated, his father was incarcerated,” Wiley says. “And I don’t see the baby one week. Next week I see the uncle, I’m like, ‘Hey, man, where’s the baby?’ He’s like, ‘The baby is dead.’ Hurt me to my soul.”\u003c/p>\n\u003cp>That same day, Wiley learned that another acquaintance — “a man of God, a family man who I respected, I knew his family” — had been convicted of molesting children. While wrestling with the fact that God could allow such things to happen, Wiley started writing.\u003c/p>\n\u003cp>“It’s like a conversation with God. It’s like ‘God, how can this happen?’ And then talking to the victim, ‘How can this happen?’ And through God’s light, I found a way that saved my mind and soul. That’s ‘That’s Why We Praise His Holy Name.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wiley’s quintet for \u003cem>Saturday Night to Sunday Morning\u003c/em> includes Damien Sneed, who collaborated with Wynton Marsalis on his Abyssinian Mass, along with Camille Thurman, Amina Scott and Darrell Green. The set’s traditional spirituals run in their blood; all share a language from the church.\u003c/p>\n\u003cp>For Wiley, that language came early, from Star Bethel Missionary Baptist Church and Triumph Church on San Pablo Avenue in Oakland, both founded after Wiley’s family left the south during the Great Migration — and, down the street, the jam sessions at The Church of God in Christ.\u003c/p>\n\u003cp>Wiley rattles off the names of church folk who planted something in him: Pastor Claiborne. Mae Mae on piano. Joe Bumpus on organ. Sister Willie Mae, Mother Scott, and Mother Gray and Papa Gray, who encouraged him. Willie B., who hired him for his first gig. All contribute in their own way to this week’s shows, which Wiley hopes will provide a bit of realignment.\u003c/p>\n\u003cp>“You know, look at all this war. Look at all this famine. Look at all this starvation. Look at our entire world ecosystem, where it’s haves and have-nots. That is not the way of God,” Wiley says.\u003c/p>\n\u003cp>“But this music, it’s just something that does it. Same with Stevie Wonder’s music, or to hear Bach’s music, Beethoven’s music \u003cspan style=\"font-weight: 400\">—\u003c/span> it’s just something that is so pure, it takes you out of this construct that we’re in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>Howard Wiley’s ‘Saturday Night to Sunday Morning’ runs Saturday and Sunday, Feb. 2 and 3, with four shows at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: André 3000 in Berkeley at Cornerstone",
"headTitle": "Ticket Alert: André 3000 in Berkeley at Cornerstone | KQED",
"content": "\u003cfigure id=\"attachment_13950813\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_.jpg\" alt=\"\" width=\"719\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_-160x160.jpg 160w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">André 3000’s New Blue Sun Live tour comes to San Francisco Feb. 20–24, with a band including Carlos Niño, Nate Mercereau, Surya Botofasina and Deantoni Parks. \u003ccite>(Todd Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>After making one of the more unlikely hit records of 2023, former Outkast rapper André 3000 is taking his flute on the road.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.amyriadofpyramids.com/\">New Blue Sun Live\u003c/a> tour hits San Francisco in late February, with one catch: the venues are small. Like, really small. On \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-bimbos-365-club-tickets/13452783?pl=365bimbos\">Feb. 20\u003c/a> and \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-bimbos-365-club-tickets/13452793?pl=365bimbos\">22\u003c/a>, André 3000 plays Bimbo’s 365 Club (capacity 685), while on Feb. 24, he plays \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-the-independent-tickets/13457903?pl=independentsf\">two\u003c/a> \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-the-independent-tickets/13457923?pl=independentsf\">shows\u003c/a> at the Independent (capacity 500).\u003c/p>\n\u003cp>\u003cstrong>UPDATE\u003c/strong>: Andre 3000 has announced one more Bay Area show, on Monday, Feb. 19 at Cornerstone in Berkeley. The show is all-ages, and tickets, $100 each, \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/andr-3000-new-blue-sun-live-94741\">go on sale here on Friday, Feb. 9 at 10 a.m. PST\u003c/a>.\u003c/p>\n\u003cp>Here’s what to know about the San Francisco shows: Tickets go on sale at 10 a.m. on Wednesday, Jan. 24. Tickets are $99 each plus fees, and there are no presale codes. All four San Francisco shows are 21+, and tickets are general admission. There’s a two-ticket limit per order, and to combat scalping, the ticket order pages alert that “tickets will be delivered day of show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another thing to know: tickets are being sold through Ticketweb, not Ticketmaster. So if you don’t yet have a Ticketweb account, you’ll want to \u003ca href=\"https://www.ticketweb.com/\">open one\u003c/a>, and put a credit or debit card on file to speed the checkout process should you get the opportunity to put tickets in your cart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other than that, good luck refreshing your browser at 10 a.m. on Wednesday. Find links to tickets \u003ca href=\"https://www.amyriadofpyramids.com/\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13950813\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_.jpg\" alt=\"\" width=\"719\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_-160x160.jpg 160w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">André 3000’s New Blue Sun Live tour comes to San Francisco Feb. 20–24, with a band including Carlos Niño, Nate Mercereau, Surya Botofasina and Deantoni Parks. \u003ccite>(Todd Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>After making one of the more unlikely hit records of 2023, former Outkast rapper André 3000 is taking his flute on the road.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.amyriadofpyramids.com/\">New Blue Sun Live\u003c/a> tour hits San Francisco in late February, with one catch: the venues are small. Like, really small. On \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-bimbos-365-club-tickets/13452783?pl=365bimbos\">Feb. 20\u003c/a> and \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-bimbos-365-club-tickets/13452793?pl=365bimbos\">22\u003c/a>, André 3000 plays Bimbo’s 365 Club (capacity 685), while on Feb. 24, he plays \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-the-independent-tickets/13457903?pl=independentsf\">two\u003c/a> \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-the-independent-tickets/13457923?pl=independentsf\">shows\u003c/a> at the Independent (capacity 500).\u003c/p>\n\u003cp>\u003cstrong>UPDATE\u003c/strong>: Andre 3000 has announced one more Bay Area show, on Monday, Feb. 19 at Cornerstone in Berkeley. The show is all-ages, and tickets, $100 each, \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/andr-3000-new-blue-sun-live-94741\">go on sale here on Friday, Feb. 9 at 10 a.m. PST\u003c/a>.\u003c/p>\n\u003cp>Here’s what to know about the San Francisco shows: Tickets go on sale at 10 a.m. on Wednesday, Jan. 24. Tickets are $99 each plus fees, and there are no presale codes. All four San Francisco shows are 21+, and tickets are general admission. There’s a two-ticket limit per order, and to combat scalping, the ticket order pages alert that “tickets will be delivered day of show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another thing to know: tickets are being sold through Ticketweb, not Ticketmaster. So if you don’t yet have a Ticketweb account, you’ll want to \u003ca href=\"https://www.ticketweb.com/\">open one\u003c/a>, and put a credit or debit card on file to speed the checkout process should you get the opportunity to put tickets in your cart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other than that, good luck refreshing your browser at 10 a.m. on Wednesday. Find links to tickets \u003ca href=\"https://www.amyriadofpyramids.com/\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Julian Lage literally grew up on Bay Area stages.\u003c/p>\n\u003cp>From the age of five, the Santa Rosa-raised guitarist cut an irresistible, diminutive figure, playing with the poise, technique and preternatural maturity of a musician many times his age. He was such a \u003ca href=\"https://www.youtube.com/watch?v=Ro8vOlHDqYo\">conspicuously gifted player\u003c/a> that a 1996 documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=s7FY65rd03I\">Jules at Eight\u003c/a>\u003c/em>, made the rounds at film festivals.\u003c/p>\n\u003cp>But rather than becoming a cautionary example of the pitfalls often associated with young, prodigious talent, Lage took time to let music — and life — take its own course.\u003c/p>\n\u003cp>Now 36, Lage has more than lived up to his promise, creating a vast body of music as a bandleader, composer and collaborator with some of contemporary music’s most celebrated artists. Those include fellow guitarists like \u003ca href=\"https://www.youtube.com/watch?v=Yrryw0HxV-A\">Bill Frisell\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/10314475/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage\">Nels Cline\u003c/a>, as well as vibraphonist \u003ca href=\"https://www.youtube.com/watch?v=fXjfvEcAV6w\">Gary Burton\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BqqnOjzv-zA\">tenor sax star Charles Lloyd\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8NAhjnGu8No\">altoist/composer John Zorn\u003c/a>.\u003c/p>\n\u003cp>Lage’s first stint as an SFJAZZ resident artistic director brings him back to the Bay Area from his home in New York City for \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&artist=Julian%20Lage&gclid=Cj0KCQiAwP6sBhDAARIsAPfK_wbtmnPb21HBePxkWROM6J6gmGDGc13xJiA9YnJa9xnJVQVa3PeVzeMaAg__EALw_wcB&gclsrc=aw.ds\">a four-night run at SFJAZZ on Jan. 18–21\u003c/a>, offering a intimate look at where he’s been lately.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YqA8tfc89Bo\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“It’s an opportunity to do something so dear to your heart, or things that don’t get much attention,” he said on a recent phone call with his wife, the singer, songwriter and guitarist Margaret Glaspy. “It’s so cool and such a privilege. We have this January run and we’re back in early 2025. I think of this one as establishing a foundation, and the intent is for next year’s to be more experimental.”\u003c/p>\n\u003cp>There’s nothing more foundational than an artist alone on stage with a guitar, and Lage opens the run Thursday with a solo recital focusing on material from his 2015 album \u003cem>World’s Fair\u003c/em>, an acoustic straight-to-tape session he recorded on a 1939 Martin 000-18. Aside from the Richard Rodgers standard “Where Or When” and Gary Harrison’s old-time fiddle tune “Red Prairie Dawn,” the pieces are all originals — “almost songs without lyrics,” Lage said.\u003c/p>\n\u003cp>“It’s one acoustic guitar, one mic, austere,” Lage said. He’d just finished a two-week tour of solo performances, and found himself “approaching the concerts like [pianist] Paul Bley playing solo, slipping into a standard and an original, playing a free piece, so you hear how one instrument evolves over the course of an evening.”\u003c/p>\n\u003cp>[aside postID='arts_10314475']Friday offers the frisson of a Bay Area premiere: Lage and Glaspy perform together here for the first time in Rude Ruth, a project that resets her songs in the context of his long-running trio with bassist Jorge Roeder and The Bad Plus drummer Dave King.\u003c/p>\n\u003cp>Glaspy has been a regular presence on Bay Area stages over the past 10 years, most recently last November at The Independent on a tour for her third studio album \u003cem>Echo the Diamond\u003c/em>. For audiences well-acquainted with Lage, who’ve watched his rise since grade school, there’s something wondrous about getting this glimpse into his private creative life.\u003c/p>\n\u003cp>He and Glaspy met at Berklee, and playing music together “was always the basis of our connection,” he said. She’s produced several of his albums, including his upcoming debut on Blue Note, \u003cem>Squint\u003c/em>, a song-centric project with the trio slated for release in June.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cEqgeN27Hhk\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Glaspy’s own projects tend toward the raw and dramatic, while Rude Ruth offers a lyrical setting with quieter dynamics. Another difference is that Glaspy leaves the guitar work to Lage, “so I’m free to be a singer and be in the very capable hands of Julian, which opens up a lot of doors for me as a vocalist,” she said. “In the writing process, I can dive in as a lyricist in a narrative way. For my solo work I’m often from first person, my own stories. Rude Ruth tells bigger narratives. Each one is a short story.”\u003c/p>\n\u003cp>Lage is also premiering a new set of music from an upcoming album \u003cem>Speak to Me\u003c/em>, a septet with Roeder, King, pianist Kris Davis, saxophonist Levon Henry, and keyboardist Patrick Warren. In the studio, he worked closely with veteran Los Angeles producer Joe Henry, who helped fill out the instrumental palette of “a record of spirituals and gospel, a project where the concept was to make a body of music as a form of devotion,” Lage said.\u003c/p>\n\u003cp>[aside postID='arts_13906722']While Sunday’s closing show is billed as a tribute to the late guitar legend Jim Hall, Lage says that’s not exactly accurate. Rather, he’s assembling a group of musicians similarly swayed by Hall’s profound yet puckish sensibility, “playing songs he loved to play, some originals, some not,” Lage said. Featuring saxophonist Chris Potter, bassist Scott Colley and drummer Joey Baron, who all performed and recorded with Hall, the group is less interested in repertoire than the close-listening chamber jazz aesthetic that Hall cultivated.\u003c/p>\n\u003cp>“More than anything it’s a disposition that’s rife with humor, that’s satirical and idiosyncratic,” Lage said. “That’s what Jim responded to. He was about progression.”\u003c/p>\n\u003cp>In following his multifarious muses, Lage is providing a similarly capacious road map for pursuing a creative life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Julian Lage performs across four nights, Jan. 18–21, at SFJAZZ in San Francisco. Friday night’s concert will be livestreamed, then available on demand as of Jan. 26. \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&series=61709\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Julian Lage literally grew up on Bay Area stages.\u003c/p>\n\u003cp>From the age of five, the Santa Rosa-raised guitarist cut an irresistible, diminutive figure, playing with the poise, technique and preternatural maturity of a musician many times his age. He was such a \u003ca href=\"https://www.youtube.com/watch?v=Ro8vOlHDqYo\">conspicuously gifted player\u003c/a> that a 1996 documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=s7FY65rd03I\">Jules at Eight\u003c/a>\u003c/em>, made the rounds at film festivals.\u003c/p>\n\u003cp>But rather than becoming a cautionary example of the pitfalls often associated with young, prodigious talent, Lage took time to let music — and life — take its own course.\u003c/p>\n\u003cp>Now 36, Lage has more than lived up to his promise, creating a vast body of music as a bandleader, composer and collaborator with some of contemporary music’s most celebrated artists. Those include fellow guitarists like \u003ca href=\"https://www.youtube.com/watch?v=Yrryw0HxV-A\">Bill Frisell\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/10314475/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage\">Nels Cline\u003c/a>, as well as vibraphonist \u003ca href=\"https://www.youtube.com/watch?v=fXjfvEcAV6w\">Gary Burton\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BqqnOjzv-zA\">tenor sax star Charles Lloyd\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8NAhjnGu8No\">altoist/composer John Zorn\u003c/a>.\u003c/p>\n\u003cp>Lage’s first stint as an SFJAZZ resident artistic director brings him back to the Bay Area from his home in New York City for \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&artist=Julian%20Lage&gclid=Cj0KCQiAwP6sBhDAARIsAPfK_wbtmnPb21HBePxkWROM6J6gmGDGc13xJiA9YnJa9xnJVQVa3PeVzeMaAg__EALw_wcB&gclsrc=aw.ds\">a four-night run at SFJAZZ on Jan. 18–21\u003c/a>, offering a intimate look at where he’s been lately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YqA8tfc89Bo'\n title='//www.youtube.com/embed/YqA8tfc89Bo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“It’s an opportunity to do something so dear to your heart, or things that don’t get much attention,” he said on a recent phone call with his wife, the singer, songwriter and guitarist Margaret Glaspy. “It’s so cool and such a privilege. We have this January run and we’re back in early 2025. I think of this one as establishing a foundation, and the intent is for next year’s to be more experimental.”\u003c/p>\n\u003cp>There’s nothing more foundational than an artist alone on stage with a guitar, and Lage opens the run Thursday with a solo recital focusing on material from his 2015 album \u003cem>World’s Fair\u003c/em>, an acoustic straight-to-tape session he recorded on a 1939 Martin 000-18. Aside from the Richard Rodgers standard “Where Or When” and Gary Harrison’s old-time fiddle tune “Red Prairie Dawn,” the pieces are all originals — “almost songs without lyrics,” Lage said.\u003c/p>\n\u003cp>“It’s one acoustic guitar, one mic, austere,” Lage said. He’d just finished a two-week tour of solo performances, and found himself “approaching the concerts like [pianist] Paul Bley playing solo, slipping into a standard and an original, playing a free piece, so you hear how one instrument evolves over the course of an evening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Friday offers the frisson of a Bay Area premiere: Lage and Glaspy perform together here for the first time in Rude Ruth, a project that resets her songs in the context of his long-running trio with bassist Jorge Roeder and The Bad Plus drummer Dave King.\u003c/p>\n\u003cp>Glaspy has been a regular presence on Bay Area stages over the past 10 years, most recently last November at The Independent on a tour for her third studio album \u003cem>Echo the Diamond\u003c/em>. For audiences well-acquainted with Lage, who’ve watched his rise since grade school, there’s something wondrous about getting this glimpse into his private creative life.\u003c/p>\n\u003cp>He and Glaspy met at Berklee, and playing music together “was always the basis of our connection,” he said. She’s produced several of his albums, including his upcoming debut on Blue Note, \u003cem>Squint\u003c/em>, a song-centric project with the trio slated for release in June.\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/cEqgeN27Hhk'\n title='//www.youtube.com/embed/cEqgeN27Hhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Glaspy’s own projects tend toward the raw and dramatic, while Rude Ruth offers a lyrical setting with quieter dynamics. Another difference is that Glaspy leaves the guitar work to Lage, “so I’m free to be a singer and be in the very capable hands of Julian, which opens up a lot of doors for me as a vocalist,” she said. “In the writing process, I can dive in as a lyricist in a narrative way. For my solo work I’m often from first person, my own stories. Rude Ruth tells bigger narratives. Each one is a short story.”\u003c/p>\n\u003cp>Lage is also premiering a new set of music from an upcoming album \u003cem>Speak to Me\u003c/em>, a septet with Roeder, King, pianist Kris Davis, saxophonist Levon Henry, and keyboardist Patrick Warren. In the studio, he worked closely with veteran Los Angeles producer Joe Henry, who helped fill out the instrumental palette of “a record of spirituals and gospel, a project where the concept was to make a body of music as a form of devotion,” Lage said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Sunday’s closing show is billed as a tribute to the late guitar legend Jim Hall, Lage says that’s not exactly accurate. Rather, he’s assembling a group of musicians similarly swayed by Hall’s profound yet puckish sensibility, “playing songs he loved to play, some originals, some not,” Lage said. Featuring saxophonist Chris Potter, bassist Scott Colley and drummer Joey Baron, who all performed and recorded with Hall, the group is less interested in repertoire than the close-listening chamber jazz aesthetic that Hall cultivated.\u003c/p>\n\u003cp>“More than anything it’s a disposition that’s rife with humor, that’s satirical and idiosyncratic,” Lage said. “That’s what Jim responded to. He was about progression.”\u003c/p>\n\u003cp>In following his multifarious muses, Lage is providing a similarly capacious road map for pursuing a creative life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Julian Lage performs across four nights, Jan. 18–21, at SFJAZZ in San Francisco. Friday night’s concert will be livestreamed, then available on demand as of Jan. 26. \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&series=61709\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fresh Sounds for the Holidays",
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"content": "\u003cp>Even the most ardent lovers of the holiday season can turn Grinch-like when confronted with a steady stream of musical treacle. It’s no dis on Mariah Carey — or even the suave silkiness of Nat “King” Cole — to long for some new celebratory sounds when Hanukkah and Christmas roll around.\u003c/p>\n\u003cp>Fortunately, the Bay Area offers a multitude of options likely to shake off your ears’ ennui, from bluegrass-glazed sugarplum fairies to a symphonic Christmas with the Peanuts posse. Here are some sonic adventures to help heighten your holiday joy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SDyA-fhZkrQ\u003c/p>\n\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"http://secure.thefreight.org/13248/mr-sun\">Mr Sun Plays Duke Ellington’s ‘Nutcracker Suite’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>8 p.m. Wednesday, Dec. 13\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_13938757']Some six decades after the release of Duke Ellington and Billy Strayhorn’s ingenious reimagining of Tchaikovsky’s beloved ballet score\u003cem> The Nutcracker\u003c/em>, the jazz suite continues to gain recognition as one of their masterworks. The acoustic supergroup Mr Sun distills the swinging essence of the work, while infusing the music with a potent shot of bluegrass. Featuring fiddle great Darol Anger, mandolinist Joe K. Walsh, guitarist Grant Gordy and bassist Aidan O’Donnell, Mr Sun released the debut album \u003cem>\u003ca href=\"http://secure.thefreight.org/13248/mr-sun\">Mr Sun Plays Duke Ellington’s Nutcracker Suite\u003c/a>\u003c/em> last month. The Marcus Shelby New Orchestra with Tiffany Austin explores the same material through a contemporary big band lens at \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/the-marcus-shelby-new-orchestra/\">the SFJAZZ Center Dec. 17\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BPY5wivx6oI\u003c/p>\n\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"https://jccsfarts.secure.nonprofitsoapbox.com/sam-reider-human-hands\">Sam Reider and the Human Hands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>7 p.m. Thursday, Dec. 14\u003cbr>\nJCCSF Kanbar Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>In recent years, when San Francisco-born Sam Reider performs around the Bay Area, it’s either been playing solo piano or in a duo, as an accordionist, with Venezuelan cuatro master Jorge Glem. But before he moved back to the Bay Area in 2019 to earn a graduate degree in composition from San Francisco State University, he toured the world with his world-jazz bluegrass band the Human Hands, absorbing a disparate array of sounds and influences. Now, the all-star acoustic combo plays a last-night-of-Hanukkah concert featuring Reider alongside alto saxophonist Eddie Barbash, best known as a founding member of Jon Batiste’s Stay Human; Rising Appalachia fiddler Duncan Wickel; Bela Fleck bassist Mark Schatz; and guitarist Roy Williams, who’s toured and recorded as the rhythmic foil for French Gypsy jazz master Stéphane Wrembel.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vt0r_ZiSZKI\u003c/p>\n\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"https://keysjazzbistro.com/event/tammy-hall-and-kalil-wilson-home-for-the-holidays/\">Kalil Amar Wilson and Alex Doty,\u003c/a> ‘Home For the Holidays’\u003c/h2>\n\u003cp>\u003cem>7 & 9 p.m. Thursday, Dec. 14–Friday, Dec. 15\u003c/em>\u003cbr>\n\u003cem>Keys Jazz Bistro, San Francisco\u003c/em>\u003c/p>\n\u003cp>Before the pandemic, Kalil Amar Wilson (they/them), the child of renowned Nigerian bassist, vocalist and bandleader Babá Ken Okulolo, spent several years performing around Russia. Now the Oakland-reared jazz crooner is reintroducing themself to Bay Area audiences. A conservatory-trained jazz vocalist with a sumptuously lithe sound, bountiful soul and consummate technique, they’re a world-class improviser who has performed with the likes of Omara Portuondo, Herbie Hancock, Zakir Hussain and Dave Holland.\u003c/p>\n\u003cp>The Keys engagement was originally planned as the debut of a duo with piano great Tammy Hall, but she suffered a health setback. Wilson will now be joined by veteran bassist Gary Brown, drummer Joe Kelner, and pianist and Keys proprietor Simon Rowe at the North Beach jazz club for four intimate holiday shows.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9KApeKOgWxo\u003c/p>\n\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"http://www.eventbrite.com/e/natalie-cressman-ian-faquini-tickets-752901447497\">Natalie Cressman & Ian Faquini\u003c/a>\u003c/h2>\n\u003cp>\u003cem>7:30 p.m. Friday, Dec. 15\u003cbr>\nThe Sound Room, Oakland\u003c/em>\u003c/p>\n\u003cp>Trombonist/vocalist Natalie Cressman spent years on the road with Phish’s Trey Anastasio, and was devastated when cancer took her horn-sectionmate James Casey in August. So Cressman and duo partner Ian Faquini — the Brazil-born, Berkeley-reared guitarist, vocalist and composer — recorded the EP \u003cem>An Old Fashioned Christmas\u003c/em>, in partnership with the \u003ca href=\"https://www.nancylanghornefoundation.com/\">Nancy Langhorne Foundation\u003c/a>, a cancer-fighting nonprofit, with all proceeds will go toward colon cancer research. Applying their luscious Brazilian jazz sound to a set of holiday standards, the duo will play the new arrangements at the Sound Room, including the premiere of a “Waltz of the Flowers” arrangement that sets the \u003cem>Nutcracker Suite\u003c/em> favorite to a samba groove.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OKLt_qgu-RE\u003c/p>\n\u003ch2 style=\"margin-top: 40px;\">San Francisco Symphony ‘\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/Charlie-Brown-Christmas\">A Charlie Brown Christmas — Live!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Wednesday, Dec. 20–Saturday, Dec. 23\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>While San Francisco jazz pianist Vince Guaraldi had already scored a bona fide pop hit with his 1962 instrumental single “Cast Your Fate to the Wind,” his life changed with the broadcast of the first \u003cem>Peanuts\u003c/em> television special, \u003cem>A Charlie Brown Christmas\u003c/em>, in 1965. The infectiously swinging score has been a soundtrack for the holidays ever since, and the SF Symphony’s live production, complete with dancers, voice actors and veteran jazz pianist Larry Dunlap, brings the animated source material to 3D life. The program also includes pieces from John Williams’ scores for \u003cem>Home Alone\u003c/em> and \u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em>, Irving Berlin’s \u003cem>White Christmas\u003c/em> and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kZHotq9G3Rw\u003c/p>\n\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"https://secure.thefreight.org/12333/mario-y-su-timbeko-1222\">Mario y su Timbeko Holiday Dance Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>8 p.m. Friday, Dec. 22\u003cbr>\nFreight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Camagüey, Cuban singer, songwriter and percussionist Mario “Mayito” Salomon leads the timba band Timbeko, a talent-laden combo that infuses contemporary Cuban dance music with funk, jazz, gospel and R&B. Since debuting in 2018 as part of Oakland’s Temescal Street Fair, the band has been making inroads on the competitive salsa scene, with recent concerts in Miami. Featuring Carlitos Medrano on congas and percussion, bassist Ayla Davila, guitarist David Lechuga, pianist Jason Moen, vocalist/saxophonist Mario “Mayombe” Cruz and vocalist/guitarist Jordan Wilson, Timbeko is sure to heat up the holidays.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even the most ardent lovers of the holiday season can turn Grinch-like when confronted with a steady stream of musical treacle. It’s no dis on Mariah Carey — or even the suave silkiness of Nat “King” Cole — to long for some new celebratory sounds when Hanukkah and Christmas roll around.\u003c/p>\n\u003cp>Fortunately, the Bay Area offers a multitude of options likely to shake off your ears’ ennui, from bluegrass-glazed sugarplum fairies to a symphonic Christmas with the Peanuts posse. Here are some sonic adventures to help heighten your holiday joy.\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/SDyA-fhZkrQ'\n title='//www.youtube.com/embed/SDyA-fhZkrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"http://secure.thefreight.org/13248/mr-sun\">Mr Sun Plays Duke Ellington’s ‘Nutcracker Suite’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>8 p.m. Wednesday, Dec. 13\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>Some six decades after the release of Duke Ellington and Billy Strayhorn’s ingenious reimagining of Tchaikovsky’s beloved ballet score\u003cem> The Nutcracker\u003c/em>, the jazz suite continues to gain recognition as one of their masterworks. The acoustic supergroup Mr Sun distills the swinging essence of the work, while infusing the music with a potent shot of bluegrass. Featuring fiddle great Darol Anger, mandolinist Joe K. Walsh, guitarist Grant Gordy and bassist Aidan O’Donnell, Mr Sun released the debut album \u003cem>\u003ca href=\"http://secure.thefreight.org/13248/mr-sun\">Mr Sun Plays Duke Ellington’s Nutcracker Suite\u003c/a>\u003c/em> last month. The Marcus Shelby New Orchestra with Tiffany Austin explores the same material through a contemporary big band lens at \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/the-marcus-shelby-new-orchestra/\">the SFJAZZ Center Dec. 17\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BPY5wivx6oI'\n title='//www.youtube.com/embed/BPY5wivx6oI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"https://jccsfarts.secure.nonprofitsoapbox.com/sam-reider-human-hands\">Sam Reider and the Human Hands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>7 p.m. Thursday, Dec. 14\u003cbr>\nJCCSF Kanbar Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>In recent years, when San Francisco-born Sam Reider performs around the Bay Area, it’s either been playing solo piano or in a duo, as an accordionist, with Venezuelan cuatro master Jorge Glem. But before he moved back to the Bay Area in 2019 to earn a graduate degree in composition from San Francisco State University, he toured the world with his world-jazz bluegrass band the Human Hands, absorbing a disparate array of sounds and influences. Now, the all-star acoustic combo plays a last-night-of-Hanukkah concert featuring Reider alongside alto saxophonist Eddie Barbash, best known as a founding member of Jon Batiste’s Stay Human; Rising Appalachia fiddler Duncan Wickel; Bela Fleck bassist Mark Schatz; and guitarist Roy Williams, who’s toured and recorded as the rhythmic foil for French Gypsy jazz master Stéphane Wrembel.\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/vt0r_ZiSZKI'\n title='//www.youtube.com/embed/vt0r_ZiSZKI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"https://keysjazzbistro.com/event/tammy-hall-and-kalil-wilson-home-for-the-holidays/\">Kalil Amar Wilson and Alex Doty,\u003c/a> ‘Home For the Holidays’\u003c/h2>\n\u003cp>\u003cem>7 & 9 p.m. Thursday, Dec. 14–Friday, Dec. 15\u003c/em>\u003cbr>\n\u003cem>Keys Jazz Bistro, San Francisco\u003c/em>\u003c/p>\n\u003cp>Before the pandemic, Kalil Amar Wilson (they/them), the child of renowned Nigerian bassist, vocalist and bandleader Babá Ken Okulolo, spent several years performing around Russia. Now the Oakland-reared jazz crooner is reintroducing themself to Bay Area audiences. A conservatory-trained jazz vocalist with a sumptuously lithe sound, bountiful soul and consummate technique, they’re a world-class improviser who has performed with the likes of Omara Portuondo, Herbie Hancock, Zakir Hussain and Dave Holland.\u003c/p>\n\u003cp>The Keys engagement was originally planned as the debut of a duo with piano great Tammy Hall, but she suffered a health setback. Wilson will now be joined by veteran bassist Gary Brown, drummer Joe Kelner, and pianist and Keys proprietor Simon Rowe at the North Beach jazz club for four intimate holiday shows.\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/9KApeKOgWxo'\n title='//www.youtube.com/embed/9KApeKOgWxo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"http://www.eventbrite.com/e/natalie-cressman-ian-faquini-tickets-752901447497\">Natalie Cressman & Ian Faquini\u003c/a>\u003c/h2>\n\u003cp>\u003cem>7:30 p.m. Friday, Dec. 15\u003cbr>\nThe Sound Room, Oakland\u003c/em>\u003c/p>\n\u003cp>Trombonist/vocalist Natalie Cressman spent years on the road with Phish’s Trey Anastasio, and was devastated when cancer took her horn-sectionmate James Casey in August. So Cressman and duo partner Ian Faquini — the Brazil-born, Berkeley-reared guitarist, vocalist and composer — recorded the EP \u003cem>An Old Fashioned Christmas\u003c/em>, in partnership with the \u003ca href=\"https://www.nancylanghornefoundation.com/\">Nancy Langhorne Foundation\u003c/a>, a cancer-fighting nonprofit, with all proceeds will go toward colon cancer research. Applying their luscious Brazilian jazz sound to a set of holiday standards, the duo will play the new arrangements at the Sound Room, including the premiere of a “Waltz of the Flowers” arrangement that sets the \u003cem>Nutcracker Suite\u003c/em> favorite to a samba groove.\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/OKLt_qgu-RE'\n title='//www.youtube.com/embed/OKLt_qgu-RE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2 style=\"margin-top: 40px;\">San Francisco Symphony ‘\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/Charlie-Brown-Christmas\">A Charlie Brown Christmas — Live!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Wednesday, Dec. 20–Saturday, Dec. 23\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>While San Francisco jazz pianist Vince Guaraldi had already scored a bona fide pop hit with his 1962 instrumental single “Cast Your Fate to the Wind,” his life changed with the broadcast of the first \u003cem>Peanuts\u003c/em> television special, \u003cem>A Charlie Brown Christmas\u003c/em>, in 1965. The infectiously swinging score has been a soundtrack for the holidays ever since, and the SF Symphony’s live production, complete with dancers, voice actors and veteran jazz pianist Larry Dunlap, brings the animated source material to 3D life. The program also includes pieces from John Williams’ scores for \u003cem>Home Alone\u003c/em> and \u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em>, Irving Berlin’s \u003cem>White Christmas\u003c/em> and more.\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/kZHotq9G3Rw'\n title='//www.youtube.com/embed/kZHotq9G3Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2 style=\"margin-top: 40px;\">\u003ca href=\"https://secure.thefreight.org/12333/mario-y-su-timbeko-1222\">Mario y su Timbeko Holiday Dance Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>8 p.m. Friday, Dec. 22\u003cbr>\nFreight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Camagüey, Cuban singer, songwriter and percussionist Mario “Mayito” Salomon leads the timba band Timbeko, a talent-laden combo that infuses contemporary Cuban dance music with funk, jazz, gospel and R&B. Since debuting in 2018 as part of Oakland’s Temescal Street Fair, the band has been making inroads on the competitive salsa scene, with recent concerts in Miami. Featuring Carlitos Medrano on congas and percussion, bassist Ayla Davila, guitarist David Lechuga, pianist Jason Moen, vocalist/saxophonist Mario “Mayombe” Cruz and vocalist/guitarist Jordan Wilson, Timbeko is sure to heat up the holidays.\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>\u003c/p>\u003c/div>",
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"title": "Can't Make It to the Mall? See Sheila E. in the Park — For Free",
"headTitle": "Can’t Make It to the Mall? See Sheila E. in the Park — For Free | KQED",
"content": "\u003cfigure id=\"attachment_13935796\" class=\"wp-caption aligncenter\" style=\"max-width: 1632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE.jpg\" alt=\"A woman in black smiles into the camera near a set of timbales\" width=\"1632\" height=\"1632\" class=\"size-full wp-image-13935796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-1536x1536.jpg 1536w\" sizes=\"(max-width: 1632px) 100vw, 1632px\">\u003cfigcaption class=\"wp-caption-text\">Sheila E., a bona fide Oakland legend. \u003ccite>(Artist photo / Rob Shanahan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a near-perfect 29 seconds on our great and glorious internet. Sheila E. starts filming herself at the mall near a man with a boombox blasting her 1984 hit “The Glamorous Life.” “Dude is playing my song in the mall — he doesn’t even know it’s me,” she says. As the old online mantra goes, \u003ca href=\"https://www.instagram.com/p/CvaLth7trIF/\">you won’t believe what happens next\u003c/a>. \u003c/p>\n\u003cp>If this is how people these days discover legends of music like Sheila E., I am 100% fine with it. The percussion legend recently \u003ca href=\"https://www.tiktok.com/@hwdwalkoffame/video/7255720226535312682\">got a star on the Hollywood Walk of Fame\u003c/a>. She toured with Marvin Gaye, recorded with Beyoncé and played in Prince’s band for years. Insert shrug emoji here, because between Instagram and TikTok, these 29 seconds have been seen by over a million people. \u003c/p>\n\u003cp>Sheila E. plays a \u003ca href=\"https://www.eventbrite.com/e/due-south-w-sheila-e-and-the-e-train-satya-dj-umami-free-tickets-663913401857\">free show in McLaren Park\u003c/a> this weekend, and if you know someone enamored of this video, please, please, please take them to see her perform live. Their entire conception of drumming will be forever changed. They’ll know what timbales are, and how a master of their craft uses them. And, in the beautiful setting of the Jerry Garcia Amphitheater, they’ll be hard-pressed to find a better way to spend a Saturday in the city. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Sheila E. and the E-Train perform on Saturday, Oct. 7, at the Jerry Garcia Amphitheater in McLaren Park, San Francisco. Also on the bill are Satya and DJ Umami. 3 p.m. to 6 p.m. Free. \u003ca href=\"https://www.eventbrite.com/e/due-south-w-sheila-e-and-the-e-train-satya-dj-umami-free-tickets-663913401857?aff=oddtdtcreator\">Details and information here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The Oakland legend — yes, from *that* TikTok — plays a free outdoor show in San Francisco's McLaren Park.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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