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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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"description": "A festival veteran picks this year's top shows, including Samara Joy, Ambrose Akinmusire, Houston Person and more.",
"title": "Best Bets for the 2024 Healdsburg Jazz Festival | KQED",
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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",
"headTitle": "In Praise of Tammy Hall, the Bay Area’s Indispensable Jazz Accompanist | KQED",
"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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"title": "Live from Death Row, Keith LaMar Performs Freedom Songs in SF",
"headTitle": "Live from Death Row, Keith LaMar Performs Freedom Songs in SF | KQED",
"content": "\u003cp>When Jay Bordeleau booked Freedom First, a singular collaboration between pianist Albert Marquès and spoken word artist \u003ca href=\"https://www.keithlamar.org/\">Keith LaMar\u003c/a>, the \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Oct. 3-4 engagement\u003c/a> was marked by an urgency unlike any other at his jazz club, Mr. Tipple’s — or any other venue in the city for that matter.\u003c/p>\n\u003cp>After 29 years on death row, LaMar was scheduled for execution at Ohio State Penitentiary on Nov. 16, 2023 for what he’s always insisted was a wrongful conviction. In recent years, Marquès and a dedicated cadre of jazz musicians have championed his cause through international performances and the 2022 album \u003cem>\u003ca href=\"https://sayitloudrecords.bandcamp.com/album/freedom-first\">Freedom First\u003c/a>\u003c/em>, where LaMar skillfully recites his work via telephone from prison.\u003c/p>\n\u003cp>Along with ongoing efforts to secure a new trial, the attention from Freedom First may have helped induce Ohio Governor Mike DeWine to issue a \u003ca href=\"https://governor.ohio.gov/media/news-and-media/governor-dewine-issues-reprieve\">four-year reprieve for LaMar\u003c/a>, though the stated cause was “ongoing problems involving the willingness of pharmaceutical suppliers to provide drugs to the Ohio Department of Rehabilitation.”\u003c/p>\n\u003cp>The governor’s July decree moved his execution date to Jan. 13, 2027, “a mixed bag,” says LaMar in a recent phone conversation. “More time means more opportunity to right the wrong. But it also means more time. It’s bittersweet. I’m trying to hold on.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZiCHpQpaxs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>LaMar was serving 15 years to life at the Southern Ohio Correctional Facility for a 1989 murder when riots broke out in April 1993. At the end of the 11-day standoff, nine inmates and a prison guard were dead, and in 1995 LaMar was convicted for murdering five prisoners. He’s steadfastly maintained his innocence, and it was only in the aftermath of George Floyd’s death in 2020 that Marquès came into the picture.\u003c/p>\n\u003cp>Born and raised in an industrial town outside of Barcelona, Marquès has long drawn inspiration from Catalonia’s heritage of radical politics. He and his wife, sculptor Mia Pearlman, happened to live in the same Brooklyn building as Brian Jackson, the keyboardist and composer best known for his prolific creative partnership with the late Gil Scott-Heron.\u003c/p>\n\u003cp>As Black Lives Matter demonstrations swept the nation, “we had lots of conversations around the George Floyd protests,” Marquès recalls. “The question kept coming up, ‘Why don’t we do something before the government kills [people]?’ Brian’s wife had read Keith’s book and that made connections. Keith loves jazz and John Coltrane, and he knows so much about it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L8b3ZMwA9Qc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Talking to LaMar is a bracing experience. People often describe music as a lifeline, but in his case it provides a soul-bearing creative outlet, essential emotional sustenance and a direct connection to fellow jazz devotees. He grew up in Cleveland surrounded by sacred and secular Black popular music, and didn’t really discover jazz until he was years into his sentence. On death row, he immersed himself in the music of Thelonious Monk, Nat “King” Cole and, particularly, John Coltrane, “all these people who created this canon of creativity,” he says.\u003c/p>\n\u003cp>“I started reading history books, learning and growing. My loyalty to this art form grew along with my knowledge of this art form. It’s an integral part of my life. I start listening when I wake up and throughout the day it helps me stay focused.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2002727958/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>He’s all too aware of the tension between his incarceration and jazz’s liberatory impulse, though he echoes the epiphany of Albert Camus’ Meursault in \u003cem>The Stranger\u003c/em> in describing his mindset. LaMar celebrates the music as a vehicle for freedom, but it’s the embrace of a man who has liberated himself.\u003c/p>\n\u003cp>“I’m already free,” he says. “I just happen to be in this place, death row. But we’re all leaving this planet. What are you going to do between now and then?”\u003c/p>\n\u003cfigure id=\"attachment_13935221\" class=\"wp-caption aligncenter\" style=\"max-width: 1663px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg\" alt=\"A musician visiting from the outside and an incarcerated poet hug inside a prison.\" width=\"1663\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg 1663w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-800x1232.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1020x1570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1330x2048.jpeg 1330w\" sizes=\"(max-width: 1663px) 100vw, 1663px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Albert Marquès and poet Keith LaMar in 2022. \u003ccite>(Courtesy of Albert Marquès)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the Oct. 3-4 performances at Mr. Tipple’s, which are fundraisers for the legal campaign to overturn his sentence, LaMar will be reciting pieces from \u003cem>Freedom First\u003c/em> via phone from death row as Marquès leads a quartet featuring bassist Joshua Thurston-Milgrom, drummer Zack O’Farrill and tenor saxophonist Kazemde George.\u003c/p>\n\u003cp>O’Farrill, the third generation of an illustrious jazz clan, and the Berkeley-reared George have been working with Marquès since he first assembled some 30 musicians for performance protests in 2020. Since then, more than 70 musicians have participated in the project, including Berkeley-raised pianist-composer Samora Pinderhughes, who conducted a public conversation with LaMar last year as part of \u003ca href=\"https://ybca.org/event/transformation-music-and-healing-with-keith-lamar-and-samora-pinderhughes/\">\u003cem>The Healing Project\u003c/em>\u003c/a>, an extensive installation at Yerba Buena Center for the Arts. [aside postid='arts_13911226']\u003c/p>\n\u003cp>For George, who returns to the Bay Area to perform at the \u003ca href=\"https://blackcatsf.turntabletickets.com/shows/1487/?date=2023-11-24\">Black Cat Nov. 24-26\u003c/a> with vocalist Sami Stevens, the attraction to playing in Freedom First is both political and aesthetic. “First of all, we’re playing really good music, Albert’s originals, gospel and John Coltrane, all stuff I’m really into interpreting from a musical standpoint,” he says. “And we play some Trane I wouldn’t normally play, like ‘Alabama,’ a really heavy tune that I’m not going to call on a regular gig for a Saturday night crowd. The purpose of this music is different. This feels like we’re serving a bigger purpose.”\u003c/p>\n\u003cp>Mr. Tipples, a chatty supper club that’s been a jazz hot spot since 2016, isn’t an obvious venue for Freedom First, unless you know that its owner, Bordeleau, spent his college years in Ann Arbor giving music workshops in Michigan prisons.\u003c/p>\n\u003cp>“The idea was to create art and joy in the prison system, so I jumped at this when I heard about LaMar,” he says. “Those experiences made me really interested in not just serving cocktails to fancy people. This is much more interesting and impactful.”[aside postid='arts_13883580']\u003c/p>\n\u003cp>Part of Freedom First’s impact flows from LaMar’s musical commitment. He can’t hear much of what the musicians are playing to accompany him in the moment, but he listens back to recordings to study how they respond to his voice. And he’s constantly absorbing new sounds and songs. He listens mostly to jazz, but lately he’s been checking out Elvis Costello and he’s been obsessed with a song by Mercury Prize-winning British singer-songwriter Benjamin Clementine, “\u003ca href=\"https://www.youtube.com/watch?v=6DU6lDPs-AQ\">Condolence\u003c/a>.”\u003c/p>\n\u003cp>“Some of what music does for me as a person, it immerses and envelopes me in my significance as a human being,” he says. “It lets me feel I’m a member of this thing called humanity.”\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 floatright]\u003c/p>\n\u003cp>\u003cem>Freedom First performs at \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Mr. Tipple’s on Oct. 3-4, 2023\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jay Bordeleau booked Freedom First, a singular collaboration between pianist Albert Marquès and spoken word artist \u003ca href=\"https://www.keithlamar.org/\">Keith LaMar\u003c/a>, the \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Oct. 3-4 engagement\u003c/a> was marked by an urgency unlike any other at his jazz club, Mr. Tipple’s — or any other venue in the city for that matter.\u003c/p>\n\u003cp>After 29 years on death row, LaMar was scheduled for execution at Ohio State Penitentiary on Nov. 16, 2023 for what he’s always insisted was a wrongful conviction. In recent years, Marquès and a dedicated cadre of jazz musicians have championed his cause through international performances and the 2022 album \u003cem>\u003ca href=\"https://sayitloudrecords.bandcamp.com/album/freedom-first\">Freedom First\u003c/a>\u003c/em>, where LaMar skillfully recites his work via telephone from prison.\u003c/p>\n\u003cp>Along with ongoing efforts to secure a new trial, the attention from Freedom First may have helped induce Ohio Governor Mike DeWine to issue a \u003ca href=\"https://governor.ohio.gov/media/news-and-media/governor-dewine-issues-reprieve\">four-year reprieve for LaMar\u003c/a>, though the stated cause was “ongoing problems involving the willingness of pharmaceutical suppliers to provide drugs to the Ohio Department of Rehabilitation.”\u003c/p>\n\u003cp>The governor’s July decree moved his execution date to Jan. 13, 2027, “a mixed bag,” says LaMar in a recent phone conversation. “More time means more opportunity to right the wrong. But it also means more time. It’s bittersweet. I’m trying to hold on.”\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/AZiCHpQpaxs'\n title='//www.youtube.com/embed/AZiCHpQpaxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>LaMar was serving 15 years to life at the Southern Ohio Correctional Facility for a 1989 murder when riots broke out in April 1993. At the end of the 11-day standoff, nine inmates and a prison guard were dead, and in 1995 LaMar was convicted for murdering five prisoners. He’s steadfastly maintained his innocence, and it was only in the aftermath of George Floyd’s death in 2020 that Marquès came into the picture.\u003c/p>\n\u003cp>Born and raised in an industrial town outside of Barcelona, Marquès has long drawn inspiration from Catalonia’s heritage of radical politics. He and his wife, sculptor Mia Pearlman, happened to live in the same Brooklyn building as Brian Jackson, the keyboardist and composer best known for his prolific creative partnership with the late Gil Scott-Heron.\u003c/p>\n\u003cp>As Black Lives Matter demonstrations swept the nation, “we had lots of conversations around the George Floyd protests,” Marquès recalls. “The question kept coming up, ‘Why don’t we do something before the government kills [people]?’ Brian’s wife had read Keith’s book and that made connections. Keith loves jazz and John Coltrane, and he knows so much about it.”\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/L8b3ZMwA9Qc'\n title='//www.youtube.com/embed/L8b3ZMwA9Qc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Talking to LaMar is a bracing experience. People often describe music as a lifeline, but in his case it provides a soul-bearing creative outlet, essential emotional sustenance and a direct connection to fellow jazz devotees. He grew up in Cleveland surrounded by sacred and secular Black popular music, and didn’t really discover jazz until he was years into his sentence. On death row, he immersed himself in the music of Thelonious Monk, Nat “King” Cole and, particularly, John Coltrane, “all these people who created this canon of creativity,” he says.\u003c/p>\n\u003cp>“I started reading history books, learning and growing. My loyalty to this art form grew along with my knowledge of this art form. It’s an integral part of my life. I start listening when I wake up and throughout the day it helps me stay focused.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2002727958/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>He’s all too aware of the tension between his incarceration and jazz’s liberatory impulse, though he echoes the epiphany of Albert Camus’ Meursault in \u003cem>The Stranger\u003c/em> in describing his mindset. LaMar celebrates the music as a vehicle for freedom, but it’s the embrace of a man who has liberated himself.\u003c/p>\n\u003cp>“I’m already free,” he says. “I just happen to be in this place, death row. But we’re all leaving this planet. What are you going to do between now and then?”\u003c/p>\n\u003cfigure id=\"attachment_13935221\" class=\"wp-caption aligncenter\" style=\"max-width: 1663px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg\" alt=\"A musician visiting from the outside and an incarcerated poet hug inside a prison.\" width=\"1663\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-scaled.jpeg 1663w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-800x1232.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1020x1570.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/processed-55849b59-9acf-4916-8780-769392acade4_YqdYR55a-1330x2048.jpeg 1330w\" sizes=\"(max-width: 1663px) 100vw, 1663px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Albert Marquès and poet Keith LaMar in 2022. \u003ccite>(Courtesy of Albert Marquès)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the Oct. 3-4 performances at Mr. Tipple’s, which are fundraisers for the legal campaign to overturn his sentence, LaMar will be reciting pieces from \u003cem>Freedom First\u003c/em> via phone from death row as Marquès leads a quartet featuring bassist Joshua Thurston-Milgrom, drummer Zack O’Farrill and tenor saxophonist Kazemde George.\u003c/p>\n\u003cp>O’Farrill, the third generation of an illustrious jazz clan, and the Berkeley-reared George have been working with Marquès since he first assembled some 30 musicians for performance protests in 2020. Since then, more than 70 musicians have participated in the project, including Berkeley-raised pianist-composer Samora Pinderhughes, who conducted a public conversation with LaMar last year as part of \u003ca href=\"https://ybca.org/event/transformation-music-and-healing-with-keith-lamar-and-samora-pinderhughes/\">\u003cem>The Healing Project\u003c/em>\u003c/a>, an extensive installation at Yerba Buena Center for the Arts. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For George, who returns to the Bay Area to perform at the \u003ca href=\"https://blackcatsf.turntabletickets.com/shows/1487/?date=2023-11-24\">Black Cat Nov. 24-26\u003c/a> with vocalist Sami Stevens, the attraction to playing in Freedom First is both political and aesthetic. “First of all, we’re playing really good music, Albert’s originals, gospel and John Coltrane, all stuff I’m really into interpreting from a musical standpoint,” he says. “And we play some Trane I wouldn’t normally play, like ‘Alabama,’ a really heavy tune that I’m not going to call on a regular gig for a Saturday night crowd. The purpose of this music is different. This feels like we’re serving a bigger purpose.”\u003c/p>\n\u003cp>Mr. Tipples, a chatty supper club that’s been a jazz hot spot since 2016, isn’t an obvious venue for Freedom First, unless you know that its owner, Bordeleau, spent his college years in Ann Arbor giving music workshops in Michigan prisons.\u003c/p>\n\u003cp>“The idea was to create art and joy in the prison system, so I jumped at this when I heard about LaMar,” he says. “Those experiences made me really interested in not just serving cocktails to fancy people. This is much more interesting and impactful.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of Freedom First’s impact flows from LaMar’s musical commitment. He can’t hear much of what the musicians are playing to accompany him in the moment, but he listens back to recordings to study how they respond to his voice. And he’s constantly absorbing new sounds and songs. He listens mostly to jazz, but lately he’s been checking out Elvis Costello and he’s been obsessed with a song by Mercury Prize-winning British singer-songwriter Benjamin Clementine, “\u003ca href=\"https://www.youtube.com/watch?v=6DU6lDPs-AQ\">Condolence\u003c/a>.”\u003c/p>\n\u003cp>“Some of what music does for me as a person, it immerses and envelopes me in my significance as a human being,” he says. “It lets me feel I’m a member of this thing called humanity.”\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Freedom First performs at \u003ca href=\"https://mrtipplessf.com/calendar/albert-marques-and-keith-lamar-freedom-first/\">Mr. Tipple’s on Oct. 3-4, 2023\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "8-over-80-gary-bartz",
"title": "For 82-Year-Old Jazz Saxophonist Gary Bartz, ‘Music Is My Religion’",
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"headTitle": "For 82-Year-Old Jazz Saxophonist Gary Bartz, ‘Music Is My Religion’ | KQED",
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"content": "\u003cfigure id=\"attachment_13935187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg\" alt=\"A man with white hair and a blue suit plays alto saxophone with foliage in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays saxophone on the rooftop of KQED in San Francisco, Aug. 13, 2023. The recently named NEA Jazz Master has just finished recording three new projects, due to be released in 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>[dropcap]G[/dropcap]ary Bartz wants to go to the playground. Walking along 17th Street in San Francisco, he spies a swing set in Franklin Square and clambers up the park stairs, carrying his saxophone.\u003c/p>\n\u003cp>In his 82 years, Bartz has released dozens of albums under his own name, and hundreds more as a sideman. He’s performed thousands of concerts with jazz luminaries like Miles Davis, Pharoah Sanders and Art Blakey, all over the globe. In August, three weeks before we meet, the \u003ca href=\"https://www.npr.org/2023/07/12/1187199875/nea-jazz-masters\">NEA named him a 2024 Jazz Master\u003c/a>, a prestigious national honor.\u003c/p>\n\u003cp>But today, he’s just returned from a marathon three-week recording session in Los Angeles, and he’s ready to unwind. At the playground, he hops on a swing, throws his head back with a wide smile and starts singing: “Fairy tales can come true / It can happen to you / If you’re young at heart…”\u003c/p>\n\u003cp>The passage of time, this inevitable thing that might nag at other octogenarians, comes to a halt. For a moment, singing of love and life and dreams, Bartz is a kid again, transported back to his childhood in Baltimore. When he reaches the end of the song, he stands up, brushes the dirt from the swing’s chains off his hands, and asks out loud to no one in particular:\u003c/p>\n\u003cp>“Who’s 82 \u003cem>now\u003c/em>?!”\u003c/p>\n\u003cfigure id=\"attachment_13933561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg\" alt=\"Gary Bartz swings at the playground at Franklin Square in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz swings at the playground at San Francisco’s Franklin Square. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There may be a reason for Bartz’s carefree mood these days. In addition to the NEA honor, which comes with a $25,000 grant, his music is undergoing a renaissance among younger listeners. Part of it is his recent collaboration with Adrian Younge and Ali Shaheed Muhammad (from A Tribe Called Quest) in their \u003cem>Jazz Is Dead\u003c/em> series, which introduced Bartz to a new audience amidst a growing crossover of jazz and hip-hop.\u003c/p>\n\u003cp>But mainly, it’s that Bartz has always made music that reflects the emotional, spiritual and political realms of the world. Everyone else is just catching up, is all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘Spontaneous composition’ in the Bay Area\u003c/h2>\n\u003cp>For a college professor — he’s taught at Oberlin for over two decades — Bartz is quicker to admit what he doesn’t know than what he does. He says he can’t define love, exactly. He doesn’t know what happens to us in the afterlife, only that man-made religions exist to console those who refuse to see reality. As for music, this thing he’s spent his life studying, “we don’t know where it comes from, and we don’t know where it goes.”\u003c/p>\n\u003cp>He does know about the things he can control, though. On his days at home, Bartz sometimes runs or bikes around Lake Merritt or Lafayette Reservoir. He tries to stay on his diet, and listens to Frank Sinatra “about every day.” Most of the time, he practices his horn: running through his compositions, or spontaneously creating new ones. Other people, he says, foolishly call it “improvising.”\u003c/p>\n\u003cp>“But we’re not improvising. We’re composing, all the time,” he says about soloing. “Improvising means you’re making stuff up. You don’t study something for 50 years just to go make stuff up.”\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933558\" src=\"https://ww2.kqed.org/app/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\" 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. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those 50 years, Bartz kept being drawn to the Bay Area. He closed out the final show at the old Yoshi’s in North Oakland, appeared regularly at the Keystone Korner in San Francisco, and recorded prolifically at Fantasy Studios in Berkeley. He even tells a story of crossing paths with Bob Marley at a live radio broadcast session in Sausalito. “There’s so much great music that has come out of here,” he says. “It’s always been a very fertile place for me.”\u003c/p>\n\u003cp>Six years ago, Bartz moved to a house on the border of Oakland and Emeryville to be closer to family. He admits to a touch of nomadism, suggesting he may not stay forever. But in his time living in the Bay Area, he’s become part of the scene on major stages like the Kuumbwa Jazz Center and the San Jose Jazz Festival.\u003c/p>\n\u003cp>[aside tag='8over80' label='More 8 Over 80']At the SFJAZZ Center in January, Bartz appeared at a tribute to the late pianist McCoy Tyner, in whose band he performed for many years. (“He was composing music at the highest level,” Bartz says.) On tunes like “Contemplation,” Bartz soloed on stage — or rather, spontaneously composed — with more imagination, technique and spirit than many musicians half his age.\u003c/p>\n\u003cp>In June of this year, Bartz again paid tribute to a recently departed friend, who he calls “my brother”: the saxophone giant Pharoah Sanders. At the Healdsburg Jazz Festival, Bartz performed Sanders landmarks like “The Creator Has a Master Plan,” and stepped to the microphone to sing the pensive “Colors,” with its poetic lyrics about pushing aside the misery of life, and inviting happiness and joy.\u003c/p>\n\u003ch2>Hearing the future\u003c/h2>\n\u003cp>Bartz was just six when he heard Charlie Parker for the first time, and “it was the most beautiful thing I’d ever heard,” he says. He remembers thinking to himself: \u003cem>that’s what I want to do with my life\u003c/em>.\u003c/p>\n\u003cp>Five years later, during which he listened studiously to the jazz greats of the day, his parents bought him an alto saxophone. (His life goal was aided by the fact that his father, Floyd, ran a jazz club in Baltimore.) After attending Juilliard, he packed off to New York, where he hooked up with jazz drum giant Max Roach and, at age 24, joined Art Blakey’s Jazz Messengers. While stringing gigs together, he sometimes slept on the subway.\u003c/p>\n\u003cfigure id=\"attachment_13933560\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg\" alt=\"A man in a blue suit looks determinedly into the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait on San Francisco’s Bryant Street. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Miles Davis asked Bartz to join his band, in 1970, he’d already played with the likes of Charles Mingus, Roy Ayers, Eric Dolphy and Woody Shaw. But his time with Miles, captured on records like \u003cem>Live-Evil\u003c/em> and \u003cem>The Cellar Door Sessions\u003c/em>, was an experience like no other.\u003c/p>\n\u003cp>“Miles could hear the future,” Bartz says. “That’s the job of any artist, to be able to see or hear the future. Something that’s never been heard before. That’s what we’re all looking for.”\u003c/p>\n\u003cp>[aside postID='arts_13927947']Listening to Bartz’s own albums from the early 1970s, one gets a glimpse of his version of the future. On 1971’s \u003cem>Harlem Bush Music—Uhuru\u003c/em>, made with his group NTU Troop, blues and ramshackle proto-funk mix with avant-garde jazz and the music of Central and West Africa. Lyrics sung plainly by either Bartz or vocalist Andy Bey cover topics like Vietnam (“Vietcong”), life in the cosmos (“Celestial Blues”), conscientious objection to war (“Uhuru Sasa”), and the emotional abrasion of being Black in America (“Blue (A Folk Tale)”).\u003c/p>\n\u003cp>At the same time, Bartz also conveyed a playful side, as heard on the later tracks “Whasaname” and “Dozens (The Sounding Song),” which refers to the \u003ca href=\"https://www.elijahwald.com/dozens.html\">one-upping game of insults\u003c/a> which strongly influenced early hip-hop. (Rap is often a dividing line among generations, but Bartz understood it immediately: “When they asked Rakim where he got his flow, he said ‘I got my flow from listening to John Coltrane.’ So that should tell you something right there.”)\u003c/p>\n\u003cp>Bartz has also drawn on the words of poets, like Paul Laurence Dunbar for “\u003ca href=\"https://youtu.be/5uYVxQKLtVc?si=xYZq7titrr5KPQL0&t=1795\">Parted\u003c/a>,” and Langston Hughes for the rhythmic, reflective “\u003ca href=\"https://www.youtube.com/watch?v=l9WCFQzznC4\">I’ve Known Rivers\u003c/a>.” The latter is a highlight in Bartz’s catalog, and an ode to a community of people that spans the Congo to the Mississippi. Its final line is a meditation on age and experience: “My soul has grown deep like the rivers.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l9WCFQzznC4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The world is still catching up to Gary Bartz, but to write so soulfully, so young, I gather Bartz was also catching up to himself. He first recorded “I’ve Known Rivers” in France when he was 33 years old. Almost 50 years later, after living in New York, Italy, Spain, and Los Angeles, I ask how he views modern-day America.\u003c/p>\n\u003cp>“Well, our laws are based on a false premise, which is that color of your skin makes a race. That’s a dumb premise,” he says. “There’s only one human race. I mean, I’ve never seen a different one. Little kids know it. They have to be taught different, either on purpose, or just by society. I found out by growing up in a segregated city.”\u003c/p>\n\u003cp>With so much lived experience, I wonder: Does he feel 82?\u003c/p>\n\u003cp>“Physically, I do, sometimes,” Bartz says. “Mentally, I see myself the same as I’ve always seen myself. But when I look in the mirror, I say, ‘Who is he?’”\u003c/p>\n\u003cfigure id=\"attachment_13933559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg\" alt=\"Gary Bartz plays his saxophone on the rooftop of KQED\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays his saxophone on the rooftop of KQED. ‘Listening is more important than playing,’ he often says. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying devout\u003c/h2>\n\u003cp>A British reporter once asked Charlie Parker for his religious affiliation. “I am a devout musician,” Parker replied. Bartz likes that concept, and calls himself a born-again musician, “because there were times that I forsook music, and didn’t realize how important it really was.”\u003c/p>\n\u003cp>Bartz tells me if he could go back in time and give advice to himself at age 20, he’d say: “Be careful.”\u003c/p>\n\u003cp>Drugs were rampant in New York jazz circles at the time. Heroin, especially. If you did it, you were immediately connected to other musicians who did it too; people like Art Blakey, Kenny Dorham and Philly Joe Jones. Bartz did it, and naturally got hooked. It lasted on and off for years. “I endangered myself,” Bartz says.\u003c/p>\n\u003cfigure id=\"attachment_13935188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BartzStage.72dpi.jpg\" alt=\"A man in long pants and yellow shit plays saxophone under stage lights \" width=\"1920\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1536x1006.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz onstage with NTU Troop at the Montreux Jazz Festival in 1973. \u003ccite>(Tony Lane/Prestige Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, a friend asked Bartz, “Who do you play music for?” “It was like a koan,” he says. “It took me a while to understand even the question: Who do I play music for?”\u003c/p>\n\u003cp>He says he spent much of the 1970s trying to answer the question. He got close to an answer in 1977, when he switched gears stylistically and recorded the song “\u003ca href=\"https://www.youtube.com/watch?v=RfiEkI3Z0ig\">Music is My Sanctuary\u003c/a>.” Released on Capitol Records, it became one of his better known commercial singles. But originally, it had a different title.\u003c/p>\n\u003cp>“For me,” Bartz says, “music is my \u003cem>religion\u003c/em>.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg\" alt=\"A man with white hair and a blue suit plays alto saxophone with foliage in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays saxophone on the rooftop of KQED in San Francisco, Aug. 13, 2023. The recently named NEA Jazz Master has just finished recording three new projects, due to be released in 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">G\u003c/span>\u003c/p>\u003cp>ary Bartz wants to go to the playground. Walking along 17th Street in San Francisco, he spies a swing set in Franklin Square and clambers up the park stairs, carrying his saxophone.\u003c/p>\n\u003cp>In his 82 years, Bartz has released dozens of albums under his own name, and hundreds more as a sideman. He’s performed thousands of concerts with jazz luminaries like Miles Davis, Pharoah Sanders and Art Blakey, all over the globe. In August, three weeks before we meet, the \u003ca href=\"https://www.npr.org/2023/07/12/1187199875/nea-jazz-masters\">NEA named him a 2024 Jazz Master\u003c/a>, a prestigious national honor.\u003c/p>\n\u003cp>But today, he’s just returned from a marathon three-week recording session in Los Angeles, and he’s ready to unwind. At the playground, he hops on a swing, throws his head back with a wide smile and starts singing: “Fairy tales can come true / It can happen to you / If you’re young at heart…”\u003c/p>\n\u003cp>The passage of time, this inevitable thing that might nag at other octogenarians, comes to a halt. For a moment, singing of love and life and dreams, Bartz is a kid again, transported back to his childhood in Baltimore. When he reaches the end of the song, he stands up, brushes the dirt from the swing’s chains off his hands, and asks out loud to no one in particular:\u003c/p>\n\u003cp>“Who’s 82 \u003cem>now\u003c/em>?!”\u003c/p>\n\u003cfigure id=\"attachment_13933561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg\" alt=\"Gary Bartz swings at the playground at Franklin Square in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz swings at the playground at San Francisco’s Franklin Square. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There may be a reason for Bartz’s carefree mood these days. In addition to the NEA honor, which comes with a $25,000 grant, his music is undergoing a renaissance among younger listeners. Part of it is his recent collaboration with Adrian Younge and Ali Shaheed Muhammad (from A Tribe Called Quest) in their \u003cem>Jazz Is Dead\u003c/em> series, which introduced Bartz to a new audience amidst a growing crossover of jazz and hip-hop.\u003c/p>\n\u003cp>But mainly, it’s that Bartz has always made music that reflects the emotional, spiritual and political realms of the world. Everyone else is just catching up, is all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘Spontaneous composition’ in the Bay Area\u003c/h2>\n\u003cp>For a college professor — he’s taught at Oberlin for over two decades — Bartz is quicker to admit what he doesn’t know than what he does. He says he can’t define love, exactly. He doesn’t know what happens to us in the afterlife, only that man-made religions exist to console those who refuse to see reality. As for music, this thing he’s spent his life studying, “we don’t know where it comes from, and we don’t know where it goes.”\u003c/p>\n\u003cp>He does know about the things he can control, though. On his days at home, Bartz sometimes runs or bikes around Lake Merritt or Lafayette Reservoir. He tries to stay on his diet, and listens to Frank Sinatra “about every day.” Most of the time, he practices his horn: running through his compositions, or spontaneously creating new ones. Other people, he says, foolishly call it “improvising.”\u003c/p>\n\u003cp>“But we’re not improvising. We’re composing, all the time,” he says about soloing. “Improvising means you’re making stuff up. You don’t study something for 50 years just to go make stuff up.”\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933558\" src=\"https://ww2.kqed.org/app/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\" 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. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those 50 years, Bartz kept being drawn to the Bay Area. He closed out the final show at the old Yoshi’s in North Oakland, appeared regularly at the Keystone Korner in San Francisco, and recorded prolifically at Fantasy Studios in Berkeley. He even tells a story of crossing paths with Bob Marley at a live radio broadcast session in Sausalito. “There’s so much great music that has come out of here,” he says. “It’s always been a very fertile place for me.”\u003c/p>\n\u003cp>Six years ago, Bartz moved to a house on the border of Oakland and Emeryville to be closer to family. He admits to a touch of nomadism, suggesting he may not stay forever. But in his time living in the Bay Area, he’s become part of the scene on major stages like the Kuumbwa Jazz Center and the San Jose Jazz Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the SFJAZZ Center in January, Bartz appeared at a tribute to the late pianist McCoy Tyner, in whose band he performed for many years. (“He was composing music at the highest level,” Bartz says.) On tunes like “Contemplation,” Bartz soloed on stage — or rather, spontaneously composed — with more imagination, technique and spirit than many musicians half his age.\u003c/p>\n\u003cp>In June of this year, Bartz again paid tribute to a recently departed friend, who he calls “my brother”: the saxophone giant Pharoah Sanders. At the Healdsburg Jazz Festival, Bartz performed Sanders landmarks like “The Creator Has a Master Plan,” and stepped to the microphone to sing the pensive “Colors,” with its poetic lyrics about pushing aside the misery of life, and inviting happiness and joy.\u003c/p>\n\u003ch2>Hearing the future\u003c/h2>\n\u003cp>Bartz was just six when he heard Charlie Parker for the first time, and “it was the most beautiful thing I’d ever heard,” he says. He remembers thinking to himself: \u003cem>that’s what I want to do with my life\u003c/em>.\u003c/p>\n\u003cp>Five years later, during which he listened studiously to the jazz greats of the day, his parents bought him an alto saxophone. (His life goal was aided by the fact that his father, Floyd, ran a jazz club in Baltimore.) After attending Juilliard, he packed off to New York, where he hooked up with jazz drum giant Max Roach and, at age 24, joined Art Blakey’s Jazz Messengers. While stringing gigs together, he sometimes slept on the subway.\u003c/p>\n\u003cfigure id=\"attachment_13933560\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg\" alt=\"A man in a blue suit looks determinedly into the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait on San Francisco’s Bryant Street. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Miles Davis asked Bartz to join his band, in 1970, he’d already played with the likes of Charles Mingus, Roy Ayers, Eric Dolphy and Woody Shaw. But his time with Miles, captured on records like \u003cem>Live-Evil\u003c/em> and \u003cem>The Cellar Door Sessions\u003c/em>, was an experience like no other.\u003c/p>\n\u003cp>“Miles could hear the future,” Bartz says. “That’s the job of any artist, to be able to see or hear the future. Something that’s never been heard before. That’s what we’re all looking for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Listening to Bartz’s own albums from the early 1970s, one gets a glimpse of his version of the future. On 1971’s \u003cem>Harlem Bush Music—Uhuru\u003c/em>, made with his group NTU Troop, blues and ramshackle proto-funk mix with avant-garde jazz and the music of Central and West Africa. Lyrics sung plainly by either Bartz or vocalist Andy Bey cover topics like Vietnam (“Vietcong”), life in the cosmos (“Celestial Blues”), conscientious objection to war (“Uhuru Sasa”), and the emotional abrasion of being Black in America (“Blue (A Folk Tale)”).\u003c/p>\n\u003cp>At the same time, Bartz also conveyed a playful side, as heard on the later tracks “Whasaname” and “Dozens (The Sounding Song),” which refers to the \u003ca href=\"https://www.elijahwald.com/dozens.html\">one-upping game of insults\u003c/a> which strongly influenced early hip-hop. (Rap is often a dividing line among generations, but Bartz understood it immediately: “When they asked Rakim where he got his flow, he said ‘I got my flow from listening to John Coltrane.’ So that should tell you something right there.”)\u003c/p>\n\u003cp>Bartz has also drawn on the words of poets, like Paul Laurence Dunbar for “\u003ca href=\"https://youtu.be/5uYVxQKLtVc?si=xYZq7titrr5KPQL0&t=1795\">Parted\u003c/a>,” and Langston Hughes for the rhythmic, reflective “\u003ca href=\"https://www.youtube.com/watch?v=l9WCFQzznC4\">I’ve Known Rivers\u003c/a>.” The latter is a highlight in Bartz’s catalog, and an ode to a community of people that spans the Congo to the Mississippi. Its final line is a meditation on age and experience: “My soul has grown deep like the rivers.”\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/l9WCFQzznC4'\n title='//www.youtube.com/embed/l9WCFQzznC4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The world is still catching up to Gary Bartz, but to write so soulfully, so young, I gather Bartz was also catching up to himself. He first recorded “I’ve Known Rivers” in France when he was 33 years old. Almost 50 years later, after living in New York, Italy, Spain, and Los Angeles, I ask how he views modern-day America.\u003c/p>\n\u003cp>“Well, our laws are based on a false premise, which is that color of your skin makes a race. That’s a dumb premise,” he says. “There’s only one human race. I mean, I’ve never seen a different one. Little kids know it. They have to be taught different, either on purpose, or just by society. I found out by growing up in a segregated city.”\u003c/p>\n\u003cp>With so much lived experience, I wonder: Does he feel 82?\u003c/p>\n\u003cp>“Physically, I do, sometimes,” Bartz says. “Mentally, I see myself the same as I’ve always seen myself. But when I look in the mirror, I say, ‘Who is he?’”\u003c/p>\n\u003cfigure id=\"attachment_13933559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg\" alt=\"Gary Bartz plays his saxophone on the rooftop of KQED\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays his saxophone on the rooftop of KQED. ‘Listening is more important than playing,’ he often says. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying devout\u003c/h2>\n\u003cp>A British reporter once asked Charlie Parker for his religious affiliation. “I am a devout musician,” Parker replied. Bartz likes that concept, and calls himself a born-again musician, “because there were times that I forsook music, and didn’t realize how important it really was.”\u003c/p>\n\u003cp>Bartz tells me if he could go back in time and give advice to himself at age 20, he’d say: “Be careful.”\u003c/p>\n\u003cp>Drugs were rampant in New York jazz circles at the time. Heroin, especially. If you did it, you were immediately connected to other musicians who did it too; people like Art Blakey, Kenny Dorham and Philly Joe Jones. Bartz did it, and naturally got hooked. It lasted on and off for years. “I endangered myself,” Bartz says.\u003c/p>\n\u003cfigure id=\"attachment_13935188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BartzStage.72dpi.jpg\" alt=\"A man in long pants and yellow shit plays saxophone under stage lights \" width=\"1920\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1536x1006.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz onstage with NTU Troop at the Montreux Jazz Festival in 1973. \u003ccite>(Tony Lane/Prestige Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, a friend asked Bartz, “Who do you play music for?” “It was like a koan,” he says. “It took me a while to understand even the question: Who do I play music for?”\u003c/p>\n\u003cp>He says he spent much of the 1970s trying to answer the question. He got close to an answer in 1977, when he switched gears stylistically and recorded the song “\u003ca href=\"https://www.youtube.com/watch?v=RfiEkI3Z0ig\">Music is My Sanctuary\u003c/a>.” Released on Capitol Records, it became one of his better known commercial singles. But originally, it had a different title.\u003c/p>\n\u003cp>“For me,” Bartz says, “music is my \u003cem>religion\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"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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"on-the-media": {
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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