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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/terence_blanchard\">Terence Blanchard\u003c/a>, an Academy Award-nominated and Grammy-winning jazz musician and composer, will be the new executive artistic director at SFJAZZ, the organization announced June 8.\u003c/p>\n\u003cp>Known for his rich and lively film scores, which have appeared in notable Spike Lee films like \u003cem>Da 5 Bloods\u003c/em> and \u003cem>BlacKkKlansman\u003c/em>, Blanchard has carved out an indelible presence within the contemporary jazz scene. In 2021, he was the first Black composer to have an opera staged at the Metropolitan Opera, breaking a long legacy of exclusion.[aside postid='arts_13928699']\u003c/p>\n\u003cp>Blanchard will succeed SFJAZZ executive artistic director and founder \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline, who plans to step down\u003c/a> from his role in November. Blanchard will lead the organization’s artistic programming, with duties including planning year-round concerts, community engagement events and educational opportunities.\u003c/p>\n\u003cp>Blanchard will also head the organization’s creative direction, with a goal of ushering in a new era of forward-thinking artistry. In a \u003ca href=\"https://www.youtube.com/watch?v=IIDG4GkqrhE\">2021 conversation with writer Hua Hsu\u003c/a>, Blanchard discussed the roles jazz greats John Coltrane and Thelonious Monk have had in his development as a musician. “But I’m not trying to be them,” said Blanchard. “I’m trying to find the sound for my generation.”\u003c/p>\n\u003cfigure id=\"attachment_13930243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg\" alt=\"a Black man with black glasses in a denim jacket stands in a window, you can see the letters spelling 'SFJAZZ' on the building behind him\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Incoming SFJAZZ Executive Artistic Director Terence Blanchard at SFJAZZ Center in San Francisco. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dedicated to honoring the traditions of jazz music and its importance in Black culture and history, Blanchard is also looking towards the ways the genre is evolving and expanding — and incorporating that into SFJAZZ programming. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blanchard will succeed SFJAZZ executive artistic director and founder \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline, who plans to step down\u003c/a> from his role in November. Blanchard will lead the organization’s artistic programming, with duties including planning year-round concerts, community engagement events and educational opportunities.\u003c/p>\n\u003cp>Blanchard will also head the organization’s creative direction, with a goal of ushering in a new era of forward-thinking artistry. In a \u003ca href=\"https://www.youtube.com/watch?v=IIDG4GkqrhE\">2021 conversation with writer Hua Hsu\u003c/a>, Blanchard discussed the roles jazz greats John Coltrane and Thelonious Monk have had in his development as a musician. “But I’m not trying to be them,” said Blanchard. “I’m trying to find the sound for my generation.”\u003c/p>\n\u003cfigure id=\"attachment_13930243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg\" alt=\"a Black man with black glasses in a denim jacket stands in a window, you can see the letters spelling 'SFJAZZ' on the building behind him\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Incoming SFJAZZ Executive Artistic Director Terence Blanchard at SFJAZZ Center in San Francisco. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dedicated to honoring the traditions of jazz music and its importance in Black culture and history, Blanchard is also looking towards the ways the genre is evolving and expanding — and incorporating that into SFJAZZ programming. In the announcement, Blanchard discussed his plans for the role: “I am looking forward to collaborating with the staff while also bringing my own ideas about how to move our music forward and continue the SFJAZZ mission to explore the full spectrum of jazz — from its origins to its diverse and evolving expressions around the world today.”\u003c/p>\n\u003cp>Terence Blanchard will join SFJAZZ for its \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2023-summer-season/\">40th San Francisco Jazz Festival\u003c/a>, which began June 7, as well as its \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2023-24-season/\">2023-2024\u003c/a> season, which begins Sept. 7.\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": "\u003cp>A little over 60 years ago, the editor-in-chief of \u003cem>DownBeat\u003c/em> magazine asked John Coltrane and Eric Dolphy a deceptively simple question: \u003cem>What are you trying to do? \u003c/em>He rephrased slightly: \u003cem>What are you doing? \u003c/em>The two saxophonists sat for a long 30 seconds before Dolphy broke the silence. “That’s a good question,” he said.\u003c/p>\n\u003cp>The \u003cem>DownBeat \u003c/em>editor, Don DeMicheal, printed this exchange in the April 1962 issue, as part of \u003ca href=\"https://downbeat.com/microsites/prestige/dolphy-interview.html\">a fascinating article\u003c/a> headlined “John Coltrane and Eric Dolphy Answer the \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> Critics.” Regular readers of the magazine would have known precisely what provoked this gesture: a scathing review of Coltrane’s quintet with Dolphy, decrying “an anarchistic course in their music that can but be termed anti-jazz.”\u003c/p>\n\u003cp>[aside postid='arts_13929691']1961 had been a prolific and pivotal year for Coltrane. That spring, his sleek, intriguing quartet version of “My Favorite Things,” from \u003cem>The Sound of Music, \u003c/em>became a breakout hit. But later that year, as he signed to a new label, Impulse! Records, he wasn’t putting a premium on commercial success. Instead, he was exploring new sounds and configurations, often testing ideas on the bandstand. One such idea was the addition of Dolphy, a wildly original voice on both reeds and flute, and a close personal friend.\u003c/p>\n\u003cp>The intrepid depth of their musical rapport takes center stage on a stunning new archival release, \u003cem>Evenings at the Village Gate: John Coltrane with Eric Dolphy\u003c/em>, which \u003ca href=\"https://JohnColtrane.lnk.to/Shop\">Impulse! will release on July 14\u003c/a>. Tomorrow the label will share a preview track, “Impressions,” featuring Coltrane on soprano saxophone and Dolphy on alto saxophone and bass clarinet — along with drummer Elvin Jones, pianist McCoy Tyner and bassist Reggie Workman, who together make the song feel something like a runaway train. (Until then, you can hear it — exclusively — here.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYja5pH7ciM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Any time that we worked with John,” Workman, who is a few weeks shy of 86, tells NPR, “you could always hear transition in his music.” This was maybe never truer than it is here, in a recording made during a month-long residency in late-summer of 1961. \u003cem>Evenings at the Village Gate \u003c/em>actually opens with a version of “My Favorite Things,” and closes with the droning, polyrhythmic churn of “Africa.” Coltrane was in the process of reinventing his language, and by extension the language of jazz.\u003c/p>\n\u003cp>“He was growing into a place where he did not want to be inhibited by the steps and the changes that were prescribed by certain structures,” Workman says, adding: “He wanted us to be about a chant.”\u003c/p>\n\u003cfigure id=\"attachment_13929976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-1020x796.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM.png 1158w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the marquee at the Village Gate in New York, advertising John Coltrane’s performances in the summer of 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Village Gate was a large basement room with a growing reputation in 1961, home to folksingers and comedy acts as well as artists like Nina Simone. Coltrane worked there in August as part of a triple bill, alongside groups led by drummer Art Blakey and pianist Horace Silver. (A photograph of the club marquee by Herb Snitzer shows Coltrane billed with a quartet, underscoring how recently Dolphy had joined the fray.)\u003c/p>\n\u003cp>[aside postid='arts_13927947']The Gate had a state-of-the-art sound system, installed by an ambitious young engineer named Richard Alderson. One night during Coltrane’s run, Alderson decided to test the system by capturing the band, using a single RCA ribbon microphone suspended above the stage, with a line running to a reel-to-reel tape recorder. The tapes were never intended for public consumption, and unauthorized in any case, so Alderson set them aside. They found their way to a collection at the New York Public Library for the Performing Arts, where they were recently rediscovered by a Bob Dylan archivist.\u003c/p>\n\u003cfigure id=\"attachment_13929973\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg\" alt=\"An album cover depicts two men performing on stage, in shadow.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Evenings at the Village Gate’ by John Coltrane with Eric Dolphy. \u003ccite>(Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coltrane admirers, jazz historians and anyone intrigued by the experimental end of improvisational music, \u003cem>Evenings at the Village Gate \u003c/em>will represent not only a welcome new find but also a link in a chain. The Coltrane-and-Dolphy frontline was short-lived, in part because it faced such strong headwinds from the jazz establishment, but it did leave behind a major testament: \u003cem>Coltrane “Live” at the Village Vanguard, \u003c/em>recorded at a different Greenwich Village club in November 1961, the same month that their unruly output jarred loose the indelible phrase “anti-jazz.”\u003c/p>\n\u003cp>Those Village Vanguard tapes, which later yielded a monumental four-disc set, amount to one of the most mysterious and thrilling documents in jazz history. A couple of years ago, Ben Ratliff, author of \u003cem>Coltrane: The Story of a Sound\u003c/em>, placed this music within a cultural context of “ambivalent possibility,” in a vivid essay for the \u003cem>Washington Post \u003c/em>titled “\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/11/03/john-coltrane-village-vanguard-1961/\">John Coltrane and the Essence of 1961\u003c/a>.” He observes: “The music sounds post-heroic and pre-cynical; interestingly free from grandiosity; full of room for the listener to find a place within it and make up their own mind.”\u003c/p>\n\u003cp>Last week, after hearing the version of “Impressions” from \u003cem>Evenings at the Gate, \u003c/em>Ratliff elaborated on this idea. “It’s very hard to label or encapsulate, but it’s just so ferociously full of life force,” he said of the performance. “The musicians know how good this is, and they know how exciting it is — but beyond that, they don’t really know much, and it hasn’t been called anything yet. There’s a lot of the unknown here.”\u003c/p>\n\u003cfigure id=\"attachment_13929974\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929974\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg\" alt=\"\" width=\"200\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42-160x198.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Eric Dolphy (left) and John Coltrane taken by Herb Snitzer during a performance at the Village Gate in New York in 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What came next for Coltrane was the most stable period of his career, as he solidified the personnel of his quartet — Tyner, Jones and bassist Jimmy Garrison, who can be heard on parts of the Village Vanguard corpus — and made venerated albums like \u003cem>Crescent, Ballads \u003c/em>and \u003cem>A Love Supreme.\u003c/em> Parting ways, Dolphy refocused on his own visionary music, making strong statements until his tragically untimely death, of a diabetic coma, in 1964. (Coltrane died only three years later, of liver cancer.) The last several years have brought revelatory archival releases from both saxophonists, but \u003cem>Evenings at the Gate\u003c/em> is a window onto the early bloom of their collaboration, when it must have felt like pure possibility to all involved.\u003c/p>\n\u003cp>The 80-minute album — which will be released in physical formats with illuminating liner essays by Workman, Alderson, Grammy-winning jazz writer Ashley Kahn, and saxophonists Branford Marsalis and Lakecia Benjamin — seems guaranteed to reignite conversation about an incipient phase in Coltrane’s restless evolution. And it’s worth recalling part of the answer he finally gave DeMicheal, for the piece in \u003cem>DownBeat.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[aside postid='arts_13921584']“I think the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe,” Coltrane said, sounding not the least bit defensive. “That’s what music is to me — it’s just another way of saying this is a big, beautiful universe we live in, that’s been given to us, and here’s an example of just how magnificent and encompassing it is. That’s what I would like to do. I think that’s one of the greatest things you can do in life, and we all try to do it in some way. The musician’s is through his music.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Coltrane+and+Eric+Dolphy%27s+fearless+experiment+sets+a+new+album+ablaze+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A little over 60 years ago, the editor-in-chief of \u003cem>DownBeat\u003c/em> magazine asked John Coltrane and Eric Dolphy a deceptively simple question: \u003cem>What are you trying to do? \u003c/em>He rephrased slightly: \u003cem>What are you doing? \u003c/em>The two saxophonists sat for a long 30 seconds before Dolphy broke the silence. “That’s a good question,” he said.\u003c/p>\n\u003cp>The \u003cem>DownBeat \u003c/em>editor, Don DeMicheal, printed this exchange in the April 1962 issue, as part of \u003ca href=\"https://downbeat.com/microsites/prestige/dolphy-interview.html\">a fascinating article\u003c/a> headlined “John Coltrane and Eric Dolphy Answer the \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> Critics.” Regular readers of the magazine would have known precisely what provoked this gesture: a scathing review of Coltrane’s quintet with Dolphy, decrying “an anarchistic course in their music that can but be termed anti-jazz.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1961 had been a prolific and pivotal year for Coltrane. That spring, his sleek, intriguing quartet version of “My Favorite Things,” from \u003cem>The Sound of Music, \u003c/em>became a breakout hit. But later that year, as he signed to a new label, Impulse! Records, he wasn’t putting a premium on commercial success. Instead, he was exploring new sounds and configurations, often testing ideas on the bandstand. One such idea was the addition of Dolphy, a wildly original voice on both reeds and flute, and a close personal friend.\u003c/p>\n\u003cp>The intrepid depth of their musical rapport takes center stage on a stunning new archival release, \u003cem>Evenings at the Village Gate: John Coltrane with Eric Dolphy\u003c/em>, which \u003ca href=\"https://JohnColtrane.lnk.to/Shop\">Impulse! will release on July 14\u003c/a>. Tomorrow the label will share a preview track, “Impressions,” featuring Coltrane on soprano saxophone and Dolphy on alto saxophone and bass clarinet — along with drummer Elvin Jones, pianist McCoy Tyner and bassist Reggie Workman, who together make the song feel something like a runaway train. (Until then, you can hear it — exclusively — here.)\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/DYja5pH7ciM'\n title='//www.youtube.com/embed/DYja5pH7ciM'\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>“Any time that we worked with John,” Workman, who is a few weeks shy of 86, tells NPR, “you could always hear transition in his music.” This was maybe never truer than it is here, in a recording made during a month-long residency in late-summer of 1961. \u003cem>Evenings at the Village Gate \u003c/em>actually opens with a version of “My Favorite Things,” and closes with the droning, polyrhythmic churn of “Africa.” Coltrane was in the process of reinventing his language, and by extension the language of jazz.\u003c/p>\n\u003cp>“He was growing into a place where he did not want to be inhibited by the steps and the changes that were prescribed by certain structures,” Workman says, adding: “He wanted us to be about a chant.”\u003c/p>\n\u003cfigure id=\"attachment_13929976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-1020x796.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM.png 1158w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the marquee at the Village Gate in New York, advertising John Coltrane’s performances in the summer of 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Village Gate was a large basement room with a growing reputation in 1961, home to folksingers and comedy acts as well as artists like Nina Simone. Coltrane worked there in August as part of a triple bill, alongside groups led by drummer Art Blakey and pianist Horace Silver. (A photograph of the club marquee by Herb Snitzer shows Coltrane billed with a quartet, underscoring how recently Dolphy had joined the fray.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Gate had a state-of-the-art sound system, installed by an ambitious young engineer named Richard Alderson. One night during Coltrane’s run, Alderson decided to test the system by capturing the band, using a single RCA ribbon microphone suspended above the stage, with a line running to a reel-to-reel tape recorder. The tapes were never intended for public consumption, and unauthorized in any case, so Alderson set them aside. They found their way to a collection at the New York Public Library for the Performing Arts, where they were recently rediscovered by a Bob Dylan archivist.\u003c/p>\n\u003cfigure id=\"attachment_13929973\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg\" alt=\"An album cover depicts two men performing on stage, in shadow.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Evenings at the Village Gate’ by John Coltrane with Eric Dolphy. \u003ccite>(Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coltrane admirers, jazz historians and anyone intrigued by the experimental end of improvisational music, \u003cem>Evenings at the Village Gate \u003c/em>will represent not only a welcome new find but also a link in a chain. The Coltrane-and-Dolphy frontline was short-lived, in part because it faced such strong headwinds from the jazz establishment, but it did leave behind a major testament: \u003cem>Coltrane “Live” at the Village Vanguard, \u003c/em>recorded at a different Greenwich Village club in November 1961, the same month that their unruly output jarred loose the indelible phrase “anti-jazz.”\u003c/p>\n\u003cp>Those Village Vanguard tapes, which later yielded a monumental four-disc set, amount to one of the most mysterious and thrilling documents in jazz history. A couple of years ago, Ben Ratliff, author of \u003cem>Coltrane: The Story of a Sound\u003c/em>, placed this music within a cultural context of “ambivalent possibility,” in a vivid essay for the \u003cem>Washington Post \u003c/em>titled “\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/11/03/john-coltrane-village-vanguard-1961/\">John Coltrane and the Essence of 1961\u003c/a>.” He observes: “The music sounds post-heroic and pre-cynical; interestingly free from grandiosity; full of room for the listener to find a place within it and make up their own mind.”\u003c/p>\n\u003cp>Last week, after hearing the version of “Impressions” from \u003cem>Evenings at the Gate, \u003c/em>Ratliff elaborated on this idea. “It’s very hard to label or encapsulate, but it’s just so ferociously full of life force,” he said of the performance. “The musicians know how good this is, and they know how exciting it is — but beyond that, they don’t really know much, and it hasn’t been called anything yet. There’s a lot of the unknown here.”\u003c/p>\n\u003cfigure id=\"attachment_13929974\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929974\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg\" alt=\"\" width=\"200\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42-160x198.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Eric Dolphy (left) and John Coltrane taken by Herb Snitzer during a performance at the Village Gate in New York in 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What came next for Coltrane was the most stable period of his career, as he solidified the personnel of his quartet — Tyner, Jones and bassist Jimmy Garrison, who can be heard on parts of the Village Vanguard corpus — and made venerated albums like \u003cem>Crescent, Ballads \u003c/em>and \u003cem>A Love Supreme.\u003c/em> Parting ways, Dolphy refocused on his own visionary music, making strong statements until his tragically untimely death, of a diabetic coma, in 1964. (Coltrane died only three years later, of liver cancer.) The last several years have brought revelatory archival releases from both saxophonists, but \u003cem>Evenings at the Gate\u003c/em> is a window onto the early bloom of their collaboration, when it must have felt like pure possibility to all involved.\u003c/p>\n\u003cp>The 80-minute album — which will be released in physical formats with illuminating liner essays by Workman, Alderson, Grammy-winning jazz writer Ashley Kahn, and saxophonists Branford Marsalis and Lakecia Benjamin — seems guaranteed to reignite conversation about an incipient phase in Coltrane’s restless evolution. And it’s worth recalling part of the answer he finally gave DeMicheal, for the piece in \u003cem>DownBeat.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe,” Coltrane said, sounding not the least bit defensive. “That’s what music is to me — it’s just another way of saying this is a big, beautiful universe we live in, that’s been given to us, and here’s an example of just how magnificent and encompassing it is. That’s what I would like to do. I think that’s one of the greatest things you can do in life, and we all try to do it in some way. The musician’s is through his music.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Coltrane+and+Eric+Dolphy%27s+fearless+experiment+sets+a+new+album+ablaze+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "10-jazz-and-classical-performances-to-catch-in-the-bay-area-this-summer",
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"content": "\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A Frida Kahlo opera, a salsa legend, an afrofuturist big band and, ahem, a mash-up between Tchaikovsky and Drake keep the jazz and classical scene lively this summer.",
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"title": "10 Jazz and Classical Performances to Catch in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a vast continental nation with a culture foundationally shaped by the unresolved legacy of chattel slavery, Brazil often feels like a Southern hemispheric mirror image of the United States. At times, it’s a distorted funhouse reflection (though it’s hard to choose, between Trump or Bolsonaro, which country’s former president casts a more grotesque figure).\u003c/p>\n\u003cp>But when it comes to music, Brazil shines with a kaleidoscopic intensity that should be making a deeper impression in North America. The sheer profusion of styles, rhythms and regionally based idioms from Brazil would take an entire lifetime to explore. Care for a starter’s course? With a pandemic-induced backlog breaking open on the touring circuit, four definitive Brazilian acts perform in the Bay Area over the next two weeks.\u003c/p>\n\u003cp>\u003cstrong>Hermeto Pascoal\u003c/strong>, a figure so deep and prodigious that Miles Davis himself hailed him as “the most complete musician I’ve ever met,” makes an all-too-rare visit to the region next month. Under the auspices of the Los Angeles label and production house Jazz Is Dead, the 86-year-old composer and multi-instrumentalist brings his longtime band to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/hermeto-pascoal-grupo/\">Kuumbwa Jazz Center on June 2\u003c/a> and Berkeley’s \u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-hermeto-pasqual/detail\">UC Theatre on June 4\u003c/a>, fresh off of accepting an \u003ca href=\"https://www.juilliard.edu/news/162526/juilliard-school-celebrates-classes-2023-commencement-ceremonies-may-19-and-20\">honorary doctorate from Juilliard\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UP8_ZTtgxYs\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A famously fecund ensemble that’s shaped major composers and improvisers for decades, Pascoal’s group has been anchored since 1977 by bassist Itiberê Zwarg (a formidable bandleader and composer himself). As much a family as a band, the sextet includes Hermeto’s son, the percussionist, soprano saxophonist and producer Fabio Pascoal, who came on board in 1987, and drummer Ajurinã Zwarg, the son of bassist Itiberê. Pianist André Marques was 18 when he jumped into the Pascoal pool two decades ago, and saxophonist and flutist Jota P. has been in the group for more than a decade.\u003c/p>\n\u003cp>“I look for musicians that are very highly trained, very skillful, with fast fingers and a lot of education,” Pascoal said on a recent video call, speaking in Portuguese, and emphasizing the importance he places on spontaneity. “They need a base before, but when you join, you can be very loose. Whoever walks a fixed line is a train. It’s universal music. My music is like the wind. It comes, passes through you, and causes a sensation and won’t come again. The next time it’s going to be different.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uAHlq2vkobc\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Known with reverence and affection in Brazil as “O Bruxo” (The Sorcerer), Pascoal was a revolutionary figure in Brazilian instrumental music in the mid-1960s, profoundly shaping the post-bossa nova landscape via recordings with rising stars Elis Regina, Edu Lobo, and Cesar Camargo Mariano. His influence expanded via a series of groups with percussionist Airto Moreira, and he became a sensation in 1970 when Airto brought him into Miles Davis’s volatile electric band, a relationship documented on the album \u003cem>Live-Evil\u003c/em>, which includes Pascoal’s tunes “Nem um Talvez” (Not Even A Maybe) and “Igrejinha” (Little Church).\u003c/p>\n\u003cp>Back in Brazil, Pascoal cultivated a verdantly rich musical world combining jazz, rock and contemporary classical music with Brazilian styles like frevo and samba, xaxado and forró. His closest associate in the Bay Area is Rio de Janeiro-born vocalist, pianist, composer and percussionist \u003cstrong>Claudia Villela\u003c/strong>, who’s been based in the Santa Cruz area since the mid-1980s. The last time Pascoal performed in California, he brought Villela on stage at the SFJAZZ Center and hailed her as a fellow sonic adventurer. She performs with her group at \u003ca href=\"https://www.kuumbwajazz.org/calendar/claudia-villela/\">Kuumbwa June 26\u003c/a>.\u003c/p>\n\u003cp>“I shortened my trip coming back because I want to catch him at Kuumbwa,” Villela said recently via video call from Rio, where she was performing with the great composer and guitarist Guinga. “I wouldn’t do for anybody else. Hermeto embodies the whole gestalt. An amalgam of everything Brazilian and beyond, every sound starting to make sense and connecting.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XUqDnKKHdM0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If Pascoal embodies the experimental ethos in Brazilian jazz, then \u003cstrong>Zeca Pagodinho\u003c/strong> is the people’s choice — a samba superstar with a four-decade career making hits that speak to the lives of struggling and aspiring Brazilians. On his only Bay Area date, he plays the \u003ca href=\"https://theuctheatre.org/events/buy-tickets/zeca-pagodinho/detail\">UC Theatre on June 3\u003c/a>, one of only six U.S. shows on his schedule. As a songwriter, he’s the patriarch of pagode, a propulsive style of samba that emerged in early ’80s Rio characterized by the sharp sound of four-string banjo. He’s been turning out popular albums ever since.\u003c/p>\n\u003cp>“He came from a very violent area of Rio and never forgot his origins,” said Villela in explaining Pagodinho’s intense bond with the Brazilian people. “He still translates the existence of workers. His humor is a little sarcastic. His ‘paintings’ of the favelas are very artistic. He’s another face of Brazil, and speaks to a great majority. Even people who love a little bit more sophisticated music, who identify with Hermeto, they love Zeca too. He’s integral, very Carioca.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HHNkleVOms0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>In a similar way, guitarist \u003cstrong>Lulu Santos\u003c/strong> represents progressive Brazilian rock. A prolific and popular figure since the early 1980s, he ends a rare U.S. tour \u003ca href=\"https://theuctheatre.org/events/buy-tickets/lulu-santos/detail\">May 28 at the UC Theatre\u003c/a>. Working closely with lyricist Nelson Motta, he recorded a series of hits “combining pop aesthetics and philosophy, talking about surfers and Buddhism,” Villela said. He broke new ground when he came out, managing to maintain his pop star status with a gay identity. “It was a big deal, because Brazil is such a macho country,” Villela said. “He was very candid. He’s still very loved, the same as Zeca, reaching across all strata.”\u003c/p>\n\u003cp>No Brazilian band is more inextricably linked to a particular moment than \u003cstrong>Os Mutantes\u003c/strong>, who emerged from São Paulo as teenagers in 1966 to spearhead the hugely influential but short-lived art movement known as Tropicalia (along with fellow Paulista Tom Zé and Gilberto Gil, Caetano Veloso, and Gal Costa, all from Salvador de Bahia). Created by Rita Lee and the brothers \u003ca href=\"http://en.wikipedia.org/wiki/Arnaldo_Baptista\">Arnaldo Baptista\u003c/a> and \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\u003c/a>, the band created a sound steeped in psychedelia and acid rock, combining a gleefully absurdist sense of humor, outrageous costumes and cagey use of musical pastiche. After decades of dormancy, the group reunited in the mid-aughts, and the incarnation playing at \u003ca href=\"https://thechapelsf.com/event/os-mutantes/\">The Chapel on May 27\u003c/a> features only one original member, \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gfs9DC4GNr0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The group’s legacy received a burst of attention with the death on May 8 of Lee, who was thrown out of Mutantes in 1972 and went on to became Brazil’s biggest female rock star. A proud leftist, she hailed from an American family that fled the confederacy after the Civil War looking for a country that permitted slavery. (Brazil became the last country in the Americas to end de jure slavery, in 1888.) In Mutantes and as a solo artist, Lee was a champion of freedom, facing off against the military government.\u003c/p>\n\u003cp>“Mutantes were very important, with that pantomime and circus, the new aesthetics, some Brazilian rhythm and a little Beatles,” Villela said. “The hook of the whole thing was Rita Lee. Her ability to get right to the heart of the matter with her lyrics. In the ’60s, she sang with a bridal dress, pregnant, totally against the grain. They were a big piece of the kaleidoscope.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a vast continental nation with a culture foundationally shaped by the unresolved legacy of chattel slavery, Brazil often feels like a Southern hemispheric mirror image of the United States. At times, it’s a distorted funhouse reflection (though it’s hard to choose, between Trump or Bolsonaro, which country’s former president casts a more grotesque figure).\u003c/p>\n\u003cp>But when it comes to music, Brazil shines with a kaleidoscopic intensity that should be making a deeper impression in North America. The sheer profusion of styles, rhythms and regionally based idioms from Brazil would take an entire lifetime to explore. Care for a starter’s course? With a pandemic-induced backlog breaking open on the touring circuit, four definitive Brazilian acts perform in the Bay Area over the next two weeks.\u003c/p>\n\u003cp>\u003cstrong>Hermeto Pascoal\u003c/strong>, a figure so deep and prodigious that Miles Davis himself hailed him as “the most complete musician I’ve ever met,” makes an all-too-rare visit to the region next month. Under the auspices of the Los Angeles label and production house Jazz Is Dead, the 86-year-old composer and multi-instrumentalist brings his longtime band to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/hermeto-pascoal-grupo/\">Kuumbwa Jazz Center on June 2\u003c/a> and Berkeley’s \u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-hermeto-pasqual/detail\">UC Theatre on June 4\u003c/a>, fresh off of accepting an \u003ca href=\"https://www.juilliard.edu/news/162526/juilliard-school-celebrates-classes-2023-commencement-ceremonies-may-19-and-20\">honorary doctorate from Juilliard\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/UP8_ZTtgxYs'\n title='//www.youtube.com/embed/UP8_ZTtgxYs'\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>A famously fecund ensemble that’s shaped major composers and improvisers for decades, Pascoal’s group has been anchored since 1977 by bassist Itiberê Zwarg (a formidable bandleader and composer himself). As much a family as a band, the sextet includes Hermeto’s son, the percussionist, soprano saxophonist and producer Fabio Pascoal, who came on board in 1987, and drummer Ajurinã Zwarg, the son of bassist Itiberê. Pianist André Marques was 18 when he jumped into the Pascoal pool two decades ago, and saxophonist and flutist Jota P. has been in the group for more than a decade.\u003c/p>\n\u003cp>“I look for musicians that are very highly trained, very skillful, with fast fingers and a lot of education,” Pascoal said on a recent video call, speaking in Portuguese, and emphasizing the importance he places on spontaneity. “They need a base before, but when you join, you can be very loose. Whoever walks a fixed line is a train. It’s universal music. My music is like the wind. It comes, passes through you, and causes a sensation and won’t come again. The next time it’s going to be different.”\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/uAHlq2vkobc'\n title='//www.youtube.com/embed/uAHlq2vkobc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Known with reverence and affection in Brazil as “O Bruxo” (The Sorcerer), Pascoal was a revolutionary figure in Brazilian instrumental music in the mid-1960s, profoundly shaping the post-bossa nova landscape via recordings with rising stars Elis Regina, Edu Lobo, and Cesar Camargo Mariano. His influence expanded via a series of groups with percussionist Airto Moreira, and he became a sensation in 1970 when Airto brought him into Miles Davis’s volatile electric band, a relationship documented on the album \u003cem>Live-Evil\u003c/em>, which includes Pascoal’s tunes “Nem um Talvez” (Not Even A Maybe) and “Igrejinha” (Little Church).\u003c/p>\n\u003cp>Back in Brazil, Pascoal cultivated a verdantly rich musical world combining jazz, rock and contemporary classical music with Brazilian styles like frevo and samba, xaxado and forró. His closest associate in the Bay Area is Rio de Janeiro-born vocalist, pianist, composer and percussionist \u003cstrong>Claudia Villela\u003c/strong>, who’s been based in the Santa Cruz area since the mid-1980s. The last time Pascoal performed in California, he brought Villela on stage at the SFJAZZ Center and hailed her as a fellow sonic adventurer. She performs with her group at \u003ca href=\"https://www.kuumbwajazz.org/calendar/claudia-villela/\">Kuumbwa June 26\u003c/a>.\u003c/p>\n\u003cp>“I shortened my trip coming back because I want to catch him at Kuumbwa,” Villela said recently via video call from Rio, where she was performing with the great composer and guitarist Guinga. “I wouldn’t do for anybody else. Hermeto embodies the whole gestalt. An amalgam of everything Brazilian and beyond, every sound starting to make sense and connecting.”\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/XUqDnKKHdM0'\n title='//www.youtube.com/embed/XUqDnKKHdM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>If Pascoal embodies the experimental ethos in Brazilian jazz, then \u003cstrong>Zeca Pagodinho\u003c/strong> is the people’s choice — a samba superstar with a four-decade career making hits that speak to the lives of struggling and aspiring Brazilians. On his only Bay Area date, he plays the \u003ca href=\"https://theuctheatre.org/events/buy-tickets/zeca-pagodinho/detail\">UC Theatre on June 3\u003c/a>, one of only six U.S. shows on his schedule. As a songwriter, he’s the patriarch of pagode, a propulsive style of samba that emerged in early ’80s Rio characterized by the sharp sound of four-string banjo. He’s been turning out popular albums ever since.\u003c/p>\n\u003cp>“He came from a very violent area of Rio and never forgot his origins,” said Villela in explaining Pagodinho’s intense bond with the Brazilian people. “He still translates the existence of workers. His humor is a little sarcastic. His ‘paintings’ of the favelas are very artistic. He’s another face of Brazil, and speaks to a great majority. Even people who love a little bit more sophisticated music, who identify with Hermeto, they love Zeca too. He’s integral, very Carioca.”\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/HHNkleVOms0'\n title='//www.youtube.com/embed/HHNkleVOms0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>In a similar way, guitarist \u003cstrong>Lulu Santos\u003c/strong> represents progressive Brazilian rock. A prolific and popular figure since the early 1980s, he ends a rare U.S. tour \u003ca href=\"https://theuctheatre.org/events/buy-tickets/lulu-santos/detail\">May 28 at the UC Theatre\u003c/a>. Working closely with lyricist Nelson Motta, he recorded a series of hits “combining pop aesthetics and philosophy, talking about surfers and Buddhism,” Villela said. He broke new ground when he came out, managing to maintain his pop star status with a gay identity. “It was a big deal, because Brazil is such a macho country,” Villela said. “He was very candid. He’s still very loved, the same as Zeca, reaching across all strata.”\u003c/p>\n\u003cp>No Brazilian band is more inextricably linked to a particular moment than \u003cstrong>Os Mutantes\u003c/strong>, who emerged from São Paulo as teenagers in 1966 to spearhead the hugely influential but short-lived art movement known as Tropicalia (along with fellow Paulista Tom Zé and Gilberto Gil, Caetano Veloso, and Gal Costa, all from Salvador de Bahia). Created by Rita Lee and the brothers \u003ca href=\"http://en.wikipedia.org/wiki/Arnaldo_Baptista\">Arnaldo Baptista\u003c/a> and \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\u003c/a>, the band created a sound steeped in psychedelia and acid rock, combining a gleefully absurdist sense of humor, outrageous costumes and cagey use of musical pastiche. After decades of dormancy, the group reunited in the mid-aughts, and the incarnation playing at \u003ca href=\"https://thechapelsf.com/event/os-mutantes/\">The Chapel on May 27\u003c/a> features only one original member, \u003ca href=\"http://en.wikipedia.org/w/index.php?title=S%C3%A9rgio_Dias&action=edit\">Sérgio Dias\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/gfs9DC4GNr0'\n title='//www.youtube.com/embed/gfs9DC4GNr0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The group’s legacy received a burst of attention with the death on May 8 of Lee, who was thrown out of Mutantes in 1972 and went on to became Brazil’s biggest female rock star. A proud leftist, she hailed from an American family that fled the confederacy after the Civil War looking for a country that permitted slavery. (Brazil became the last country in the Americas to end de jure slavery, in 1888.) In Mutantes and as a solo artist, Lee was a champion of freedom, facing off against the military government.\u003c/p>\n\u003cp>“Mutantes were very important, with that pantomime and circus, the new aesthetics, some Brazilian rhythm and a little Beatles,” Villela said. “The hook of the whole thing was Rita Lee. Her ability to get right to the heart of the matter with her lyrics. In the ’60s, she sang with a bridal dress, pregnant, totally against the grain. They were a big piece of the kaleidoscope.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13928975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-800x1184.jpg\" alt=\"A book cover depicting a shirtless man standing on a beach wearing a horned mask.\" width=\"800\" height=\"1184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-800x1184.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-1020x1510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-1038x1536.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Monsters: A Fan’s Dilemma,’ by Claire Dederer. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last month, I gave a talk at a conference in honor of the late writer \u003ca href=\"https://www.npr.org/2007/11/10/15573385/norman-mailer-author-and-social-critic-dies-at-84\">Norman Mailer\u003c/a>. When I mentioned this conference in class to my Georgetown students, a couple of them blurted out, “But, he stabbed his wife.” I could feel the mood in that classroom shifting: The students seemed puzzled, disappointed even. What was I doing speaking at a conference in honor of a man capable of such an act?\u003c/p>\n\u003cp>[aside postid='forum_2010101892940']The situation was reversed at the conference itself: When I confessed in my talk that, much as I revere Mailer’s nonfiction writing, I was just as glad never to have met him, some audience members were taken aback, offended on Mailer’s behalf.\u003c/p>\n\u003cp>If Mailer’s writing had always been as bad as his \u003ca href=\"https://www.npr.org/2013/10/26/240289747/norman-mailer-warts-and-all-in-a-double-life\">sporadic behavior\u003c/a> there would be no problem. But as \u003ca href=\"https://www.kqed.org/forum/2010101892940/can-you-love-the-art-of-a-person-you-loathe\">Claire Dederer\u003c/a> points out in her superb new book, \u003cem>Monsters\u003c/em>, the problem arises when great art is made by men who’ve done bad things: men like Picasso, \u003ca href=\"https://www.npr.org/2021/03/30/982637327/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\">Hemingway\u003c/a>, \u003ca href=\"https://www.npr.org/2022/07/18/1112004834/polanski-sex-case-sentencing\">Roman Polanski\u003c/a>, Miles Davis, \u003ca href=\"https://www.npr.org/2020/03/06/812687472/after-woody-allens-memoir-was-signed-book-publisher-s-employees-walk-out\">Woody Allen\u003c/a> and, yes, Mailer.\u003c/p>\n\u003cp>Do we put blinders on and just focus on the work? Do geniuses, as Dederer asks, get a “hall pass” for their behavior? Or, do we “cancel” the art of men — and some women — who’ve done “monstrous” things?\u003c/p>\n\u003cp>I hope that Dederer herself doesn’t turn out to be a monster because I flat-out admire her book and want to share it with my students. As a thinker, Dederer is smart, informed, nuanced and very funny. She started out as a film critic and credits Pauline Kael as a model for grounding her judgments in her own subjectivity, her own emotions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13923921']The subtitle of \u003cem>Monsters \u003c/em>is \u003cem>A Fan’s Dilemma\u003c/em>: the dilemma being still loving, say, the music of Wagner or \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">Michael Jackson\u003c/a>; still being caught up in movies like \u003cem>Chinatown\u003c/em> or maybe even \u003cem>Manhattan\u003c/em>. In short, Dederer wants to dive deep into the murk of being “unwilling to give up the work [of art you love], and [yet, also being] unwilling to look away from the stain [of the monster who created it].”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.npr.org/2022/10/28/1131500833/me-too-harvey-weinstein-anniversary\">#MeToo \u003c/a>movement propels this exploration but so, too, does our own social media, biography-saturated moment: “When I was young,” Dederer writes, “it was hard to find information about artists whose work I loved. Record albums and books appeared before us as if they had arrived after hurtling through space’s black reaches, unmoored from all context.”\u003c/p>\n\u003cp>These days, however, “[w]e turn on \u003cem>Seinfeld\u003c/em>, and whether we want to or not, we think of Michael Richard’s racist rant … Biography used to be something you sought out, yearned for, actively pursued. Now it falls on your head all day long.”\u003c/p>\n\u003cp>Maybe you can hear in those quotes how alive Dederer’s own critical language is. She also frequently flings open the door of the stuffy seminar room, so to speak, to take her readers along on field trips: There’s a swank dinner in New York with an intimidating “man of letters” who, she says, likes to play the part, “ironically but not — ties and blazers and low-key misogyny and brown alcohol in a tumbler.”\u003c/p>\n\u003cp>When she expresses distaste for Allen’s \u003cem>Manhattan \u003c/em>normalizing a middle-aged man in a relationship with a 17-year-old he tells her to “Get over it. You really need to judge it strictly on aesthetics.” Dederer confesses to finding herself put off-balance in that conversation, doubting herself.\u003c/p>\n\u003cp>[aside postid='arts_13928256']We also march through a Picasso show at the Vancouver Art Gallery in the company of Dederer and her children. At the time, she says they “possessed the fierce moral sense to be found in teenagers and maniacs, [and] were starting to look a bit nettled” at the exhibit’s disclosures of Picasso’s abusive treatment of the women in his life.\u003c/p>\n\u003cp>So where does all this walking and talking and thinking and reacting get us on the issues of monsters and their art? Still in the murk, perhaps, but maybe buoyed up a bit by a sharp question Dederer tosses out in the middle of her book:\u003c/p>\n\u003cblockquote>\u003cp>What if criticism involves trusting our feelings — not just about the crime, which we deplore, but about the work we love.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>To do that we’ll have to think \u003cem>and \u003c/em>feel with much greater urgency and, yet, more care than we are currently doing. As Dederer suggests — and \u003ca href=\"https://www.npr.org/2011/11/03/140824540/a-critic-to-remember-pauline-kael-at-the-movies\">Pauline Kael \u003c/a>famously did — we should go ahead and lose it at the movies and then think hard about what we’ve lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+art+you+love+was+made+by+%27Monsters%27%3A+A+critic+lays+out+the+%27Fan%27s+Dilemma%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The situation was reversed at the conference itself: When I confessed in my talk that, much as I revere Mailer’s nonfiction writing, I was just as glad never to have met him, some audience members were taken aback, offended on Mailer’s behalf.\u003c/p>\n\u003cp>If Mailer’s writing had always been as bad as his \u003ca href=\"https://www.npr.org/2013/10/26/240289747/norman-mailer-warts-and-all-in-a-double-life\">sporadic behavior\u003c/a> there would be no problem. But as \u003ca href=\"https://www.kqed.org/forum/2010101892940/can-you-love-the-art-of-a-person-you-loathe\">Claire Dederer\u003c/a> points out in her superb new book, \u003cem>Monsters\u003c/em>, the problem arises when great art is made by men who’ve done bad things: men like Picasso, \u003ca href=\"https://www.npr.org/2021/03/30/982637327/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\">Hemingway\u003c/a>, \u003ca href=\"https://www.npr.org/2022/07/18/1112004834/polanski-sex-case-sentencing\">Roman Polanski\u003c/a>, Miles Davis, \u003ca href=\"https://www.npr.org/2020/03/06/812687472/after-woody-allens-memoir-was-signed-book-publisher-s-employees-walk-out\">Woody Allen\u003c/a> and, yes, Mailer.\u003c/p>\n\u003cp>Do we put blinders on and just focus on the work? Do geniuses, as Dederer asks, get a “hall pass” for their behavior? Or, do we “cancel” the art of men — and some women — who’ve done “monstrous” things?\u003c/p>\n\u003cp>I hope that Dederer herself doesn’t turn out to be a monster because I flat-out admire her book and want to share it with my students. As a thinker, Dederer is smart, informed, nuanced and very funny. She started out as a film critic and credits Pauline Kael as a model for grounding her judgments in her own subjectivity, her own emotions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The subtitle of \u003cem>Monsters \u003c/em>is \u003cem>A Fan’s Dilemma\u003c/em>: the dilemma being still loving, say, the music of Wagner or \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">Michael Jackson\u003c/a>; still being caught up in movies like \u003cem>Chinatown\u003c/em> or maybe even \u003cem>Manhattan\u003c/em>. In short, Dederer wants to dive deep into the murk of being “unwilling to give up the work [of art you love], and [yet, also being] unwilling to look away from the stain [of the monster who created it].”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.npr.org/2022/10/28/1131500833/me-too-harvey-weinstein-anniversary\">#MeToo \u003c/a>movement propels this exploration but so, too, does our own social media, biography-saturated moment: “When I was young,” Dederer writes, “it was hard to find information about artists whose work I loved. Record albums and books appeared before us as if they had arrived after hurtling through space’s black reaches, unmoored from all context.”\u003c/p>\n\u003cp>These days, however, “[w]e turn on \u003cem>Seinfeld\u003c/em>, and whether we want to or not, we think of Michael Richard’s racist rant … Biography used to be something you sought out, yearned for, actively pursued. Now it falls on your head all day long.”\u003c/p>\n\u003cp>Maybe you can hear in those quotes how alive Dederer’s own critical language is. She also frequently flings open the door of the stuffy seminar room, so to speak, to take her readers along on field trips: There’s a swank dinner in New York with an intimidating “man of letters” who, she says, likes to play the part, “ironically but not — ties and blazers and low-key misogyny and brown alcohol in a tumbler.”\u003c/p>\n\u003cp>When she expresses distaste for Allen’s \u003cem>Manhattan \u003c/em>normalizing a middle-aged man in a relationship with a 17-year-old he tells her to “Get over it. You really need to judge it strictly on aesthetics.” Dederer confesses to finding herself put off-balance in that conversation, doubting herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We also march through a Picasso show at the Vancouver Art Gallery in the company of Dederer and her children. At the time, she says they “possessed the fierce moral sense to be found in teenagers and maniacs, [and] were starting to look a bit nettled” at the exhibit’s disclosures of Picasso’s abusive treatment of the women in his life.\u003c/p>\n\u003cp>So where does all this walking and talking and thinking and reacting get us on the issues of monsters and their art? Still in the murk, perhaps, but maybe buoyed up a bit by a sharp question Dederer tosses out in the middle of her book:\u003c/p>\n\u003cblockquote>\u003cp>What if criticism involves trusting our feelings — not just about the crime, which we deplore, but about the work we love.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>To do that we’ll have to think \u003cem>and \u003c/em>feel with much greater urgency and, yet, more care than we are currently doing. As Dederer suggests — and \u003ca href=\"https://www.npr.org/2011/11/03/140824540/a-critic-to-remember-pauline-kael-at-the-movies\">Pauline Kael \u003c/a>famously did — we should go ahead and lose it at the movies and then think hard about what we’ve lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+art+you+love+was+made+by+%27Monsters%27%3A+A+critic+lays+out+the+%27Fan%27s+Dilemma%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Review: Magic in the Air for All-Star Celebration of SFJAZZ Founder",
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"content": "\u003cp>You might know \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a> as the guy who gets on stage before SFJAZZ shows to shower praise on the musicians. Last night, the tables were turned: as the recipient of the SFJAZZ Lifetime Achievement Award before his \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">upcoming retirement\u003c/a>, it was Kline, founder and driving force of SFJAZZ for 40 years, who was lauded by the jazz artists.\u003c/p>\n\u003cp>This began right at the start of the all-star gala concert, when a processional of nine musicians played a traditional Santeria chant while marching down the aisles, each stopping at Kline’s third-row seat for a fist bump. And it carried through to the end, when a more formal testimonial at the podium came from pianist Gonzalo Rubalcaba, who cited Kline’s “talent, charisma, intelligence and experience” in presenting jazz in San Francisco.\u003c/p>\n\u003cp>[aside postID='arts_13910898']The highest tribute, though, came from the music itself. \u003c/p>\n\u003cp>Playing at their highest caliber, saxophonists Chris Potter and David Sánchez duetted on Joe Henderson’s “Recorda Me.” Cécile McLorin Salvant delivered a buoyant, joyful “If This Isn’t Love” at the absolute height of jazz vocal artistry. Ravi Coltrane performed his mother Alice Coltrane’s pensive “Turiya and Ramakrishna,” and never before have I heard him play with more emotion, or depth. Truly, something was in the air.\u003c/p>\n\u003cfigure id=\"attachment_13928730\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane.jpg\" alt=\"\" width=\"1920\" height=\"1417\" class=\"size-full wp-image-13928730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Host Diane Reeves and saxophonist Ravi Coltrane at the SFJAZZ gala honoring founder Randall Kline, May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lost legends hung over portions of the set. Wayne Shorter, who \u003ca href=\"https://www.kqed.org/arts/13925776/wayne-shorter-dies-at-89\">died just two months ago\u003c/a>, was remembered by Branford Marsalis, leading a probing take on Shorter’s “Armageddon.” Oakland trumpeter \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">Ambrose Akinmusire\u003c/a> honored \u003ca href=\"https://www.kqed.org/arts/10753290/ornette-coleman-shape-of-jazz-bay-area\">Ornette Coleman\u003c/a> with a ferocious “Una Muy Bonita,” soloing while the rhythm section fell apart in all the best ways. At the concert’s most sublime moment, pianist Rubalcaba gave a breathtaking solo performance of \u003ca href=\"https://www.kqed.org/arts/10138969/remembering-jazz-legend-charlie-haden-who-crafted-his-voice-in-bass\">Charlie Haden\u003c/a>‘s “First Song.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the mood was not all somber. When host Diane Reeves announced the winning score of the Warriors game to wild cheers, it was apparent that this was a celebration, not a sad farewell. Right before violinist Regina Carter tore the house down on Cuban bassist Israel “Cachao” López’s “Chanchullo,” a cocktail glass dropped and shattered somewhere in the seats, and rather than murmuring uncomfortably, the audience hooted and clapped like it was a Havana party in 1949.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mary Stallings opened the evening with a lively “I Love Being Here With You,” backed by an ensemble of top-notch high school students. And to close the concert, the ageless Herbie Hancock, in a trio setting, played “Maiden Voyage.” (As the man sitting next to me whispered afterward, “When you think of the thousands of times he’s played that piece, it’s incredible how he breathes new life into it.”)\u003c/p>\n\u003cp>In an emotional speech, Kline fought back tears as he accepted his award, saying he was “overwhelmed — never could I have imagined being recognized like this.” After a 20-strong, all-star encore of an up-tempo “I’ll Be Seeing You,” with vocalists Veronica Swift, McLorin Salvant, Rosanne Cash and Reeves, and with two drummers, plus four pianists sharing the 88 keys, it’s safe to say: none of us could have imagined it either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The SFJAZZ Gala will be rebroadcast online on Sunday, May 7, at 5 p.m. Pacific time at \u003ca href=\"https://www.sfjazz.org/athome/special-events/watch-gala-2023/\">SFJAZZ’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might know \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline\u003c/a> as the guy who gets on stage before SFJAZZ shows to shower praise on the musicians. Last night, the tables were turned: as the recipient of the SFJAZZ Lifetime Achievement Award before his \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">upcoming retirement\u003c/a>, it was Kline, founder and driving force of SFJAZZ for 40 years, who was lauded by the jazz artists.\u003c/p>\n\u003cp>This began right at the start of the all-star gala concert, when a processional of nine musicians played a traditional Santeria chant while marching down the aisles, each stopping at Kline’s third-row seat for a fist bump. And it carried through to the end, when a more formal testimonial at the podium came from pianist Gonzalo Rubalcaba, who cited Kline’s “talent, charisma, intelligence and experience” in presenting jazz in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The highest tribute, though, came from the music itself. \u003c/p>\n\u003cp>Playing at their highest caliber, saxophonists Chris Potter and David Sánchez duetted on Joe Henderson’s “Recorda Me.” Cécile McLorin Salvant delivered a buoyant, joyful “If This Isn’t Love” at the absolute height of jazz vocal artistry. Ravi Coltrane performed his mother Alice Coltrane’s pensive “Turiya and Ramakrishna,” and never before have I heard him play with more emotion, or depth. Truly, something was in the air.\u003c/p>\n\u003cfigure id=\"attachment_13928730\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane.jpg\" alt=\"\" width=\"1920\" height=\"1417\" class=\"size-full wp-image-13928730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dianne-Reeves.Ravi_.Coltrane-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Host Diane Reeves and saxophonist Ravi Coltrane at the SFJAZZ gala honoring founder Randall Kline, May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lost legends hung over portions of the set. Wayne Shorter, who \u003ca href=\"https://www.kqed.org/arts/13925776/wayne-shorter-dies-at-89\">died just two months ago\u003c/a>, was remembered by Branford Marsalis, leading a probing take on Shorter’s “Armageddon.” Oakland trumpeter \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">Ambrose Akinmusire\u003c/a> honored \u003ca href=\"https://www.kqed.org/arts/10753290/ornette-coleman-shape-of-jazz-bay-area\">Ornette Coleman\u003c/a> with a ferocious “Una Muy Bonita,” soloing while the rhythm section fell apart in all the best ways. At the concert’s most sublime moment, pianist Rubalcaba gave a breathtaking solo performance of \u003ca href=\"https://www.kqed.org/arts/10138969/remembering-jazz-legend-charlie-haden-who-crafted-his-voice-in-bass\">Charlie Haden\u003c/a>‘s “First Song.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the mood was not all somber. When host Diane Reeves announced the winning score of the Warriors game to wild cheers, it was apparent that this was a celebration, not a sad farewell. Right before violinist Regina Carter tore the house down on Cuban bassist Israel “Cachao” López’s “Chanchullo,” a cocktail glass dropped and shattered somewhere in the seats, and rather than murmuring uncomfortably, the audience hooted and clapped like it was a Havana party in 1949.\u003c/p>\n\u003cfigure id=\"attachment_13928729\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Randall.Kline_.2023.Gala_-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SFJAZZ founder Randall Kline accepts the Lifetime Achievement Award at the organization’s annual gala in San Francisco on May 4, 2023. \u003ccite>(Drew Alitzer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mary Stallings opened the evening with a lively “I Love Being Here With You,” backed by an ensemble of top-notch high school students. And to close the concert, the ageless Herbie Hancock, in a trio setting, played “Maiden Voyage.” (As the man sitting next to me whispered afterward, “When you think of the thousands of times he’s played that piece, it’s incredible how he breathes new life into it.”)\u003c/p>\n\u003cp>In an emotional speech, Kline fought back tears as he accepted his award, saying he was “overwhelmed — never could I have imagined being recognized like this.” After a 20-strong, all-star encore of an up-tempo “I’ll Be Seeing You,” with vocalists Veronica Swift, McLorin Salvant, Rosanne Cash and Reeves, and with two drummers, plus four pianists sharing the 88 keys, it’s safe to say: none of us could have imagined it either.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The SFJAZZ Gala will be rebroadcast online on Sunday, May 7, at 5 p.m. Pacific time at \u003ca href=\"https://www.sfjazz.org/athome/special-events/watch-gala-2023/\">SFJAZZ’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Howard Wiley is a record fanatic. Or, as Wiley puts it, “a bona fide jazz fanatic junkie.” He’s also an accomplished jazz musician who’s played tenor saxophone with a who’s-who of greats, including trumpeter Clark Terry, pianist Jason Moran and hip-hop icon Lauryn Hill, in addition to his \u003ca href=\"https://ybgfestival.org/event/howard-wiley-2023/\">regular gigs around the Bay\u003c/a>. He’s released several albums since 1995, including the acclaimed \u003ca href=\"https://music.apple.com/us/album/the-angola-project/267828625\">\u003ci>The Angola Project\u003c/i>\u003c/a>, and he’s got new music on the way this year (plus a soon-to-be-announced role as a resident artistic director at \u003ca href=\"https://www.sfjazz.org/\">SFJAZZ\u003c/a>, starting in 2024).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jDYTyPEUMFc\u003c/p>\n\u003cp>I spoke to Wiley earlier this year for \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">a story about his pal and fellow jazz musician Ambrose Akinmusire\u003c/a>. Over the course of the conversation, I learned about Wiley’s massive record collection and his passion for crate digging. So as \u003ca href=\"https://recordstoreday.com/\">Record Store Day\u003c/a> approaches — an annual day designated to celebrate independent record stores, landing this year on April 22 — I asked Wiley to take me to some of his favorite local record shops and share his tips for finding classic records to start, or grow, one’s collection.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: Before we dig into the crates, tell us about your record collection.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Howard Wiley:\u003c/strong> I have about 10,000 records — about 7,000 collected on my own and 3,000 inherited from my mentor. Serious focus on the straight-ahead jazz. So I got all your favorite artists: all the Erroll Garner, all the Sarah Vaughan, all the Duke Ellington, all the Count Basie, all the Dexter Gordon, all the Charlie Parker, all the Miles Davis stuff. I have that and the artists who perform with them. \u003ca href=\"https://www.youtube.com/watch?v=lbpou3NLawM\">Johnny Hodges\u003c/a> played with Duke Ellington, so I got all the Johnny Hodges records. And all of the offshoots, the big bands.\u003c/p>\n\u003cp>I try to do regional stuff, [and] I like tenor [saxophone] players because I play tenor. I just love the music. I also have an incredibly large classical music collection. So all your major composers, all the major periods — not too much 20th century, though. Also got a lot of gospel. I’m working on gospel from the golden era [from the 1940s to 1950s], and, say, 1960 to 1990.\u003c/p>\n\u003cp>\u003cstrong>How do you approach digging for records? Do you have advice about what’s worth spending money on?\u003c/strong>\u003c/p>\n\u003cp>Streaming has a lot of the popular stuff. They got a lot of the hits and the top artists: Duke Ellington, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, Charlie Parker, Dizzy Gillespie. \u003cspan style=\"font-weight: 400\">So if you see an original copy of Miles Davis’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kind of Blue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> or of Dave Brubeck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Time Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">…they printed millions of those. Getting a reissue on one of those throughout the years is just as good. \u003c/span>I’m looking for off-the-beaten-path type stuff. Those seminal jazz artists that we don’t tend to talk about. So, I’ll look for a \u003ca href=\"https://www.youtube.com/watch?v=VgusuGsEtRQ\">Wynton Kelly\u003c/a> album. I’m gonna look for some \u003ca href=\"https://www.youtube.com/watch?v=tAZTYX_zsQ8\">Red Garland\u003c/a> on Prestige [Records]. I’ll look for some \u003ca href=\"https://www.youtube.com/watch?v=zqJ_ho8hvLE\">Shirley Scott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-800x600.jpg\" alt=\"a bin of records with a record by jazz artist J.J. Johnson called 'First Place' on top\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The kind of record Wiley geeks out on — a Columbia Records “six-eye” original of ‘First Place’ by J.J. Johnson, seen at Noise Records in San Francisco on April 7. ‘J.J. was one of the foremost innovators of jazz trombone coming out of the bebop era,’ says Wiley. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you scope a quality record?\u003c/strong>\u003c/p>\n\u003cp>You can always tell by the thickness of the record. Once the ’80s hit, the vinyl got thinner. And just got thinner and thinner each decade.\u003c/p>\n\u003cp>You can also tell when you don’t have the big parent companies listed. If you’re looking for a good album – and it’s an old album – you won’t see any mention of parent companies. For example, if it’s a Verve album and it says Polygram on it, or Universal, you know that’s a reissue. If you see a Blue Note record and it says EMI on it, that’s a reissue. You want to look for the records where it’s just that [original] company.\u003c/p>\n\u003cp>Also, with Columbia Records — especially during their heyday in the Miles Davis \u003ci>Kind of Blue\u003c/i> period — you look at the record and you’ll see the Columbia logo, which is like an eye, and you’ll see three on each side of the hole. That means it’s an original. Then in the next phase, it was two eyes, one on each side of the hole. So if you get a copy of \u003ci>Kind of Blue\u003c/i> and it has a red label that says “Columbia Records” and no logos on either side of the hole, that means it’s a reissue that happened around the ’70s and later. I think they brought back the “six-eye” now, but those classic period albums all have six eyes. So if you see a \u003ca href=\"https://www.youtube.com/watch?v=RSzqhXJb-dA\">Patti Bown\u003c/a> record and it’s a “six-eye”? Absolutely. That’s a great find.\u003c/p>\n\u003cfigure id=\"attachment_13927955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388-800x489.jpg\" alt=\"two vinyl records from Columbia, with red labels, seen out of their sleeves\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1536x939.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1920x1174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of an original Columbia “six-eye” record (left) and “two-eye” record. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you consider a reasonable price point for an average record — not a rare, “holy grail” type record?\u003c/strong>\u003c/p>\n\u003cp>You can find cool, good, original press records for $4 and $5. So you don’t have to necessarily break the bank and spend $20 and $30, like new records cost now. [At $4 or $5] you can have some incredibly good music, incredibly well recorded. And with somebody like \u003ca href=\"https://www.youtube.com/watch?v=yfIjj-wN93Y&t=59s\">James Cleveland\u003c/a>, a lot of the time it’s live. So you get \u003cem>that thang\u003c/em>, you know. And I grew up in church and I love and I miss and need \u003cem>that thang\u003c/em>. It’s nice to find that.\u003c/p>\n\u003ch2>\u003cstrong>Howard Wiley’s\u003c/strong> Recommended\u003cstrong> Record Shops\u003c/strong>\u003c/h2>\n\u003cp>If you want to trace Howard Wiley’s record-shopping steps, here are his top three stops in the Bay Area, with his “liner notes” on what he loves about them:\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanfrancisconoise.com/\">Noise\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>3427 Balboa St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-800x600.jpg\" alt=\"a man looks through vinyl records in a record store while an employee sits behind the desk\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley shopping, while Sara Alison Johnson works, at Noise in San Francisco’s Outer Richmond neighborhood on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> I really love Noise. One, it’s family-owned and the owner is a saxophone player, as well. Not saying that musicians know more about records, but he just has a hunger for the music that is different. He wants to understand and he has an understanding of it. And he takes that same level of detail and study to the record store. And it’s still very organic. He runs it with his mother and his sister, and they really \u003cem>love\u003c/em> music.\u003c/p>\n\u003cp>There’s a lot of hipster used record stores and things that have been popping up, and it’s different coming from a place where somebody thinks it’s cool versus somebody who really loves music. And that’s what I get from Noise. And [the owner] Danny always has his ear to the ground for very special stuff, very special periods. And it goes across genres, too. I’m a big jazz head, big blues head, but they have all the rock and a lot of the pop stuff. It is very eclectic and very informed.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.downhomemusic.com/\">Down Home Music Store\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>10341 San Pablo Ave, El Cerrito\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353-800x600.jpg\" alt=\"a man in a purple hoodie flips through records in a record store\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley flips through records at Down Home Record Store in El Cerrito on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> At Down Home, I always hit the jazz section first, then I hit up the roots stuff. I try to see what the ethnomusicologists have done. I look for the \u003ca href=\"https://folkways.si.edu/arhoolie\">Arhoolie\u003c/a> things since this store was originally opened by Arhoolie Records founder Chris Strachwitz. I look for records and CDs that are from small or boutique presses — stuff that’s hard to find and that you only find in indie spots. They’ve got the Japanese 45s, and Japanese pressings are detailed to the max. Best sound quality.\u003c/p>\n\u003cp>This place has a lot of great CDs and video recordings, too. TV performances, live performances, stuff that you won’t find on YouTube – you find those gems here. I got a bunch of Thelonious Monk and Roots Americana videos here. A lot of regional stuff – how the music sounded in the Pacific Northwest in the ’30s during their first great migration. What it sounded like in Mississippi churches.\u003c/p>\n\u003ch2>Groove Yard\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>5555 Claremont Ave, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367-800x600.jpg\" alt=\"an older white man stands behind the counter in a cluttered record shop, laughing as he talks with a younger Black man in a purple hoodie and hat on the other side of the counter\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Groove Yard owner Rick Ballard (left) and Wiley talk records at Groove Yard in Oakland on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> The “holy trinity” of record stores in the East Bay used to be this place called Berigan’s, a place called DBA Brown and the Groove Yard. Unfortunately, Berigan’s and DBA Brown are no longer with us, and the Groove Yard is the last of that. It’s a super, super great record shop. I would go to the Groove Yard as a teenager and just hang out and listen to all the record collectors talk about labels and producers, and brag about their collections.\u003c/p>\n\u003cp>I learned not only about the records, but about the music and the culture. That’s what I get from the Groove Yard. Plus [owner] Rick Ballard is one of these dudes who’s been in the game so long as a record store owner, as a record importer and as somebody who has a place that draws all the avid collectors. So you’ll see Rick talk about stuff you don’t ever hear anybody talk about, like \u003ca href=\"https://www.evereststereo.com/about/\">Everest Records\u003c/a>. So this place is super special — a great record store run by somebody who is cool and informative. It has a special place in my heart.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Howard Wiley is a record fanatic. Or, as Wiley puts it, “a bona fide jazz fanatic junkie.” He’s also an accomplished jazz musician who’s played tenor saxophone with a who’s-who of greats, including trumpeter Clark Terry, pianist Jason Moran and hip-hop icon Lauryn Hill, in addition to his \u003ca href=\"https://ybgfestival.org/event/howard-wiley-2023/\">regular gigs around the Bay\u003c/a>. He’s released several albums since 1995, including the acclaimed \u003ca href=\"https://music.apple.com/us/album/the-angola-project/267828625\">\u003ci>The Angola Project\u003c/i>\u003c/a>, and he’s got new music on the way this year (plus a soon-to-be-announced role as a resident artistic director at \u003ca href=\"https://www.sfjazz.org/\">SFJAZZ\u003c/a>, starting in 2024).\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/jDYTyPEUMFc'\n title='//www.youtube.com/embed/jDYTyPEUMFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I spoke to Wiley earlier this year for \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">a story about his pal and fellow jazz musician Ambrose Akinmusire\u003c/a>. Over the course of the conversation, I learned about Wiley’s massive record collection and his passion for crate digging. So as \u003ca href=\"https://recordstoreday.com/\">Record Store Day\u003c/a> approaches — an annual day designated to celebrate independent record stores, landing this year on April 22 — I asked Wiley to take me to some of his favorite local record shops and share his tips for finding classic records to start, or grow, one’s collection.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: Before we dig into the crates, tell us about your record collection.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Howard Wiley:\u003c/strong> I have about 10,000 records — about 7,000 collected on my own and 3,000 inherited from my mentor. Serious focus on the straight-ahead jazz. So I got all your favorite artists: all the Erroll Garner, all the Sarah Vaughan, all the Duke Ellington, all the Count Basie, all the Dexter Gordon, all the Charlie Parker, all the Miles Davis stuff. I have that and the artists who perform with them. \u003ca href=\"https://www.youtube.com/watch?v=lbpou3NLawM\">Johnny Hodges\u003c/a> played with Duke Ellington, so I got all the Johnny Hodges records. And all of the offshoots, the big bands.\u003c/p>\n\u003cp>I try to do regional stuff, [and] I like tenor [saxophone] players because I play tenor. I just love the music. I also have an incredibly large classical music collection. So all your major composers, all the major periods — not too much 20th century, though. Also got a lot of gospel. I’m working on gospel from the golden era [from the 1940s to 1950s], and, say, 1960 to 1990.\u003c/p>\n\u003cp>\u003cstrong>How do you approach digging for records? Do you have advice about what’s worth spending money on?\u003c/strong>\u003c/p>\n\u003cp>Streaming has a lot of the popular stuff. They got a lot of the hits and the top artists: Duke Ellington, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, Charlie Parker, Dizzy Gillespie. \u003cspan style=\"font-weight: 400\">So if you see an original copy of Miles Davis’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kind of Blue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> or of Dave Brubeck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Time Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">…they printed millions of those. Getting a reissue on one of those throughout the years is just as good. \u003c/span>I’m looking for off-the-beaten-path type stuff. Those seminal jazz artists that we don’t tend to talk about. So, I’ll look for a \u003ca href=\"https://www.youtube.com/watch?v=VgusuGsEtRQ\">Wynton Kelly\u003c/a> album. I’m gonna look for some \u003ca href=\"https://www.youtube.com/watch?v=tAZTYX_zsQ8\">Red Garland\u003c/a> on Prestige [Records]. I’ll look for some \u003ca href=\"https://www.youtube.com/watch?v=zqJ_ho8hvLE\">Shirley Scott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-800x600.jpg\" alt=\"a bin of records with a record by jazz artist J.J. Johnson called 'First Place' on top\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The kind of record Wiley geeks out on — a Columbia Records “six-eye” original of ‘First Place’ by J.J. Johnson, seen at Noise Records in San Francisco on April 7. ‘J.J. was one of the foremost innovators of jazz trombone coming out of the bebop era,’ says Wiley. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you scope a quality record?\u003c/strong>\u003c/p>\n\u003cp>You can always tell by the thickness of the record. Once the ’80s hit, the vinyl got thinner. And just got thinner and thinner each decade.\u003c/p>\n\u003cp>You can also tell when you don’t have the big parent companies listed. If you’re looking for a good album – and it’s an old album – you won’t see any mention of parent companies. For example, if it’s a Verve album and it says Polygram on it, or Universal, you know that’s a reissue. If you see a Blue Note record and it says EMI on it, that’s a reissue. You want to look for the records where it’s just that [original] company.\u003c/p>\n\u003cp>Also, with Columbia Records — especially during their heyday in the Miles Davis \u003ci>Kind of Blue\u003c/i> period — you look at the record and you’ll see the Columbia logo, which is like an eye, and you’ll see three on each side of the hole. That means it’s an original. Then in the next phase, it was two eyes, one on each side of the hole. So if you get a copy of \u003ci>Kind of Blue\u003c/i> and it has a red label that says “Columbia Records” and no logos on either side of the hole, that means it’s a reissue that happened around the ’70s and later. I think they brought back the “six-eye” now, but those classic period albums all have six eyes. So if you see a \u003ca href=\"https://www.youtube.com/watch?v=RSzqhXJb-dA\">Patti Bown\u003c/a> record and it’s a “six-eye”? Absolutely. That’s a great find.\u003c/p>\n\u003cfigure id=\"attachment_13927955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388-800x489.jpg\" alt=\"two vinyl records from Columbia, with red labels, seen out of their sleeves\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1536x939.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1920x1174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of an original Columbia “six-eye” record (left) and “two-eye” record. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you consider a reasonable price point for an average record — not a rare, “holy grail” type record?\u003c/strong>\u003c/p>\n\u003cp>You can find cool, good, original press records for $4 and $5. So you don’t have to necessarily break the bank and spend $20 and $30, like new records cost now. [At $4 or $5] you can have some incredibly good music, incredibly well recorded. And with somebody like \u003ca href=\"https://www.youtube.com/watch?v=yfIjj-wN93Y&t=59s\">James Cleveland\u003c/a>, a lot of the time it’s live. So you get \u003cem>that thang\u003c/em>, you know. And I grew up in church and I love and I miss and need \u003cem>that thang\u003c/em>. It’s nice to find that.\u003c/p>\n\u003ch2>\u003cstrong>Howard Wiley’s\u003c/strong> Recommended\u003cstrong> Record Shops\u003c/strong>\u003c/h2>\n\u003cp>If you want to trace Howard Wiley’s record-shopping steps, here are his top three stops in the Bay Area, with his “liner notes” on what he loves about them:\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanfrancisconoise.com/\">Noise\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>3427 Balboa St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-800x600.jpg\" alt=\"a man looks through vinyl records in a record store while an employee sits behind the desk\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley shopping, while Sara Alison Johnson works, at Noise in San Francisco’s Outer Richmond neighborhood on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> I really love Noise. One, it’s family-owned and the owner is a saxophone player, as well. Not saying that musicians know more about records, but he just has a hunger for the music that is different. He wants to understand and he has an understanding of it. And he takes that same level of detail and study to the record store. And it’s still very organic. He runs it with his mother and his sister, and they really \u003cem>love\u003c/em> music.\u003c/p>\n\u003cp>There’s a lot of hipster used record stores and things that have been popping up, and it’s different coming from a place where somebody thinks it’s cool versus somebody who really loves music. And that’s what I get from Noise. And [the owner] Danny always has his ear to the ground for very special stuff, very special periods. And it goes across genres, too. I’m a big jazz head, big blues head, but they have all the rock and a lot of the pop stuff. It is very eclectic and very informed.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.downhomemusic.com/\">Down Home Music Store\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>10341 San Pablo Ave, El Cerrito\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353-800x600.jpg\" alt=\"a man in a purple hoodie flips through records in a record store\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley flips through records at Down Home Record Store in El Cerrito on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> At Down Home, I always hit the jazz section first, then I hit up the roots stuff. I try to see what the ethnomusicologists have done. I look for the \u003ca href=\"https://folkways.si.edu/arhoolie\">Arhoolie\u003c/a> things since this store was originally opened by Arhoolie Records founder Chris Strachwitz. I look for records and CDs that are from small or boutique presses — stuff that’s hard to find and that you only find in indie spots. They’ve got the Japanese 45s, and Japanese pressings are detailed to the max. Best sound quality.\u003c/p>\n\u003cp>This place has a lot of great CDs and video recordings, too. TV performances, live performances, stuff that you won’t find on YouTube – you find those gems here. I got a bunch of Thelonious Monk and Roots Americana videos here. A lot of regional stuff – how the music sounded in the Pacific Northwest in the ’30s during their first great migration. What it sounded like in Mississippi churches.\u003c/p>\n\u003ch2>Groove Yard\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>5555 Claremont Ave, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367-800x600.jpg\" alt=\"an older white man stands behind the counter in a cluttered record shop, laughing as he talks with a younger Black man in a purple hoodie and hat on the other side of the counter\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Groove Yard owner Rick Ballard (left) and Wiley talk records at Groove Yard in Oakland on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> The “holy trinity” of record stores in the East Bay used to be this place called Berigan’s, a place called DBA Brown and the Groove Yard. Unfortunately, Berigan’s and DBA Brown are no longer with us, and the Groove Yard is the last of that. It’s a super, super great record shop. I would go to the Groove Yard as a teenager and just hang out and listen to all the record collectors talk about labels and producers, and brag about their collections.\u003c/p>\n\u003cp>I learned not only about the records, but about the music and the culture. That’s what I get from the Groove Yard. Plus [owner] Rick Ballard is one of these dudes who’s been in the game so long as a record store owner, as a record importer and as somebody who has a place that draws all the avid collectors. So you’ll see Rick talk about stuff you don’t ever hear anybody talk about, like \u003ca href=\"https://www.evereststereo.com/about/\">Everest Records\u003c/a>. So this place is super special — a great record store run by somebody who is cool and informative. It has a special place in my heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92",
"headTitle": "Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92 | KQED",
"content": "\u003cp>For most jazz performers, a song is part of a performance. For Ahmad Jamal, each song \u003cem>was\u003c/em> a performance. Over the course of a remarkable eight-decade career, Jamal, who passed away Sunday at the age of 92, created stellar recordings both as an ambitious youth and a sagely veteran. \u003c/p>\n\u003cp>Jamal’s death was confirmed by his daughter, Sumayah Jamal. He died Sunday afternoon in Ashley Falls, Mass., after a battle with prostate cancer.\u003c/p>\n\u003cp>Jamal’s influence and admirers spread far and wide in jazz. For instance, Miles Davis found enormous inspiration in his work: In his 1989 autobiography, \u003cem>Miles\u003c/em>, the legendary trumpeter said that Jamal “knocked me out with his concept of space, his lightness of touch, his understatement, and the way he phrases notes and chords and passages.” Miles went on to record Jamal’s “New Rhumba” on his classic 1957 recording \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13925776']His contemporary admirers are just as fervent. Pianist Ethan Iverson, a founding member of the exceptionally popular trio The Bad Plus, said, “All of his pieces are theatrical and contained. In some ways the Bad Plus was an extension of his classic trio.”\u003c/p>\n\u003cp>Pianist Vijay Iyer was just as adamant. “His sense of time is that of a dancer, or a comedian. His left hand stays focused, and his right hand is always in motion, interacting with, leaning on, and shading the pulse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He bends any song to his will, always open to the moment and always pushing the boundaries, willing to override whatever old chestnut he’s playing in search of something profoundly alive.”\u003c/p>\n\u003cp>Jamal was born Frederick Russell Jones in Pittsburgh on July 2, 1930. When he was 3 years old, his uncle challenged him to duplicate what he was playing on the piano, and the youngster actually could. He began formal studies of the piano at the age of 7 and quickly took on an advanced curriculum. He told Eugene Holley Jr. of \u003cem>Wax Poetics\u003c/em> in a 2018 interview, “I studied Art Tatum, Bach, Beethoven, Count Basie, John Kirby, and Nat Cole. I was studying Liszt. I had to know European and American classical music. My mother was rich in spirit, and she led me to another rich person: my teacher, Mary Cardwell Dawson, who started the first African-American opera company in the country.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZmvwCTMO1Lg\u003c/p>\n\u003cp>Jamal grew up in a Pittsburgh community that was rich in jazz history. His neighbors included the legendary pianists Earl Hines, Errol Garner and Mary Lou Williams. As a youth, Jamal delivered newspapers to the household of Billy Strayhorn. When Jamal began his professional career at the age of 14, Art Tatum, an early titan of the keyboard, proclaimed him “a coming great.” During a tour stop in Detroit, Jamal, who was born to Baptist parents, converted to Islam and changed his name. \u003c/p>\n\u003cp>His fluency in European classical music — Jamal disdained the term jazz, preferring American classical music as a descriptor for his work — was a highlight of his style. In a 2001 \u003cem>New York Times\u003c/em> article, Ben Waltzer, a pianist and curriculum director at the University of Chicago, noted, “when we listen to his music, fragments from Ravel’s ‘Bolero’ and Falla’s ‘Ritual Fire Dance’ mingle with the blues, standard songs, melodic catch-phrases from bebop, and the ‘Marseillaise.'”\u003c/p>\n\u003cp>This may not seem remarkable today, when most jazz musicians are conservatory-trained and well versed in art music, from Louis Armstrong to Iannis Xenakis and from Laurie Anderson to John Zorn. But Jamal was a youth when there were significant barriers to African Americans entering the academy. “In Pittsburgh, we didn’t separate the two schools,” he told Waltzer.\u003c/p>\n\u003cp>Jamal’s style went well beyond a diverse range of source material; he expanded the borders and depth of improvisation. “Jazz improvisation is generally understood as a narrative melodic line composed spontaneously in relation to a song’s harmonic structure,” wrote Waltzer. “Jamal broadened this concept by using recurring riffs, vamps and ostinatos — tropes of big-band jazz that were employed as background accompaniment for featured instrumentalists — not just to frame solos, as many musicians did, but as the stuff of improvisation itself.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pMOVImLMq_A\u003c/p>\n\u003cp>In the early and mid-’50s, Jamal led various trios and quartets, before settling into a trio setting with bassist Israel Crosby and drummer Vernel Fournier. In 1958, they released the landmark jazz recording, \u003cem>At The Pershing: But Not For Me\u003c/em>. It is one of the most popular and influential recordings in jazz history. It stayed on the \u003cem>Billboard\u003c/em> Top 200 album chart for an astounding 108 weeks. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WIW0bRcV6Ic\u003c/p>\n\u003cp>Iverson said of the title track, “The classic Jamal Trio with Crosby and Fournier is one of the greatest groups of all time. ‘But Not For Me’ is a perfect three minutes. Literally perfect. There’s nothing better.”\u003c/p>\n\u003cp>The trio’s version of “Poinciana” sparked the popularity of the recording, and it became a signature tune for Jamal. He told \u003cem>Wax Poetics\u003c/em>, “It was a combination of things: Israel Crosby’s lines, what I was playing, and Vernel—if you listen to his work on “Poinciana,” you’d think it was two drummers!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z0e2G32f3IU\u003c/p>\n\u003cp>Jamal visited Africa in 1959. Upon his return to Chicago, he had a failed venture as a club owner, then took a hiatus from recording in the early ’60s. By the middle of the decade, he’d resumed recording and touring. His 1969 album, \u003cem>The Awakening\u003c/em>, was widely hailed for its rendering of jazz standards and originals. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpwxyQh2ZdA\u003c/p>\n\u003cp>His music was found in the soundtracks of movies like \u003cem>M*A*S*H\u003c/em> and \u003cem>The Bridges of Madison County\u003c/em>. In a 1985 episode of NPR’s\u003cem> Piano Jazz\u003c/em>, Jamal told host and fellow piano legend Marian McPartland that his favorite recording was “the next one.” Then he allowed that the \u003cem>Pershing\u003c/em> “was close to perfection.” He also said that he continued to focus on ballads. “They are difficult to play,” he told her, “it takes years of living to read them properly.” In 1994, he was awarded a National Endowment for the Arts Jazz Master Fellowship.\u003c/p>\n\u003cp>He continued making stellar recordings into the past decade. His 2017 release, \u003cem>Marseille\u003c/em>, was noted in the NPR Music Jazz Critics Poll. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-j2YWdiaBa4\u003c/p>\n\u003cp>The recording featured all of the hallmarks that made Jamal a great pianist and bandleader, and the drummer Herlin Riley, like Fournier, was from New Orleans. It prompted Iyer to note that Jamal’s lineage of New Orleanian drummers — Fournier, Idris Muhammad and Riley — suggests rhythm as a ritual or cultural cornerstone. \u003c/p>\n\u003cp>Jamal’s work continued to impress other pianists. In 2014 Matthew Shipp told NPR’s Karen Michel, “His imagination is so deep. One of the joys of listening to him is to see how his fertile imagination interacts with the material he does pick and recombines it into a musical entity that we’ve never heard. I mean, he is a musical architect of the highest order.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Waltzer added, “innovation in jazz can be subtle. Rather than reaching outward to create an overtly revolutionary sound, Mr. Jamal explored the inner workings of the small ensemble to control, shape and dramatize his music.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ahmad+Jamal%2C+measured+maestro+of+the+jazz+piano%2C+dies+at+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most jazz performers, a song is part of a performance. For Ahmad Jamal, each song \u003cem>was\u003c/em> a performance. Over the course of a remarkable eight-decade career, Jamal, who passed away Sunday at the age of 92, created stellar recordings both as an ambitious youth and a sagely veteran. \u003c/p>\n\u003cp>Jamal’s death was confirmed by his daughter, Sumayah Jamal. He died Sunday afternoon in Ashley Falls, Mass., after a battle with prostate cancer.\u003c/p>\n\u003cp>Jamal’s influence and admirers spread far and wide in jazz. For instance, Miles Davis found enormous inspiration in his work: In his 1989 autobiography, \u003cem>Miles\u003c/em>, the legendary trumpeter said that Jamal “knocked me out with his concept of space, his lightness of touch, his understatement, and the way he phrases notes and chords and passages.” Miles went on to record Jamal’s “New Rhumba” on his classic 1957 recording \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His contemporary admirers are just as fervent. Pianist Ethan Iverson, a founding member of the exceptionally popular trio The Bad Plus, said, “All of his pieces are theatrical and contained. In some ways the Bad Plus was an extension of his classic trio.”\u003c/p>\n\u003cp>Pianist Vijay Iyer was just as adamant. “His sense of time is that of a dancer, or a comedian. His left hand stays focused, and his right hand is always in motion, interacting with, leaning on, and shading the pulse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He bends any song to his will, always open to the moment and always pushing the boundaries, willing to override whatever old chestnut he’s playing in search of something profoundly alive.”\u003c/p>\n\u003cp>Jamal was born Frederick Russell Jones in Pittsburgh on July 2, 1930. When he was 3 years old, his uncle challenged him to duplicate what he was playing on the piano, and the youngster actually could. He began formal studies of the piano at the age of 7 and quickly took on an advanced curriculum. He told Eugene Holley Jr. of \u003cem>Wax Poetics\u003c/em> in a 2018 interview, “I studied Art Tatum, Bach, Beethoven, Count Basie, John Kirby, and Nat Cole. I was studying Liszt. I had to know European and American classical music. My mother was rich in spirit, and she led me to another rich person: my teacher, Mary Cardwell Dawson, who started the first African-American opera company in the country.”\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/ZmvwCTMO1Lg'\n title='//www.youtube.com/embed/ZmvwCTMO1Lg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jamal grew up in a Pittsburgh community that was rich in jazz history. His neighbors included the legendary pianists Earl Hines, Errol Garner and Mary Lou Williams. As a youth, Jamal delivered newspapers to the household of Billy Strayhorn. When Jamal began his professional career at the age of 14, Art Tatum, an early titan of the keyboard, proclaimed him “a coming great.” During a tour stop in Detroit, Jamal, who was born to Baptist parents, converted to Islam and changed his name. \u003c/p>\n\u003cp>His fluency in European classical music — Jamal disdained the term jazz, preferring American classical music as a descriptor for his work — was a highlight of his style. In a 2001 \u003cem>New York Times\u003c/em> article, Ben Waltzer, a pianist and curriculum director at the University of Chicago, noted, “when we listen to his music, fragments from Ravel’s ‘Bolero’ and Falla’s ‘Ritual Fire Dance’ mingle with the blues, standard songs, melodic catch-phrases from bebop, and the ‘Marseillaise.'”\u003c/p>\n\u003cp>This may not seem remarkable today, when most jazz musicians are conservatory-trained and well versed in art music, from Louis Armstrong to Iannis Xenakis and from Laurie Anderson to John Zorn. But Jamal was a youth when there were significant barriers to African Americans entering the academy. “In Pittsburgh, we didn’t separate the two schools,” he told Waltzer.\u003c/p>\n\u003cp>Jamal’s style went well beyond a diverse range of source material; he expanded the borders and depth of improvisation. “Jazz improvisation is generally understood as a narrative melodic line composed spontaneously in relation to a song’s harmonic structure,” wrote Waltzer. “Jamal broadened this concept by using recurring riffs, vamps and ostinatos — tropes of big-band jazz that were employed as background accompaniment for featured instrumentalists — not just to frame solos, as many musicians did, but as the stuff of improvisation itself.”\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/pMOVImLMq_A'\n title='//www.youtube.com/embed/pMOVImLMq_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the early and mid-’50s, Jamal led various trios and quartets, before settling into a trio setting with bassist Israel Crosby and drummer Vernel Fournier. In 1958, they released the landmark jazz recording, \u003cem>At The Pershing: But Not For Me\u003c/em>. It is one of the most popular and influential recordings in jazz history. It stayed on the \u003cem>Billboard\u003c/em> Top 200 album chart for an astounding 108 weeks. \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/WIW0bRcV6Ic'\n title='//www.youtube.com/embed/WIW0bRcV6Ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Iverson said of the title track, “The classic Jamal Trio with Crosby and Fournier is one of the greatest groups of all time. ‘But Not For Me’ is a perfect three minutes. Literally perfect. There’s nothing better.”\u003c/p>\n\u003cp>The trio’s version of “Poinciana” sparked the popularity of the recording, and it became a signature tune for Jamal. He told \u003cem>Wax Poetics\u003c/em>, “It was a combination of things: Israel Crosby’s lines, what I was playing, and Vernel—if you listen to his work on “Poinciana,” you’d think it was two drummers!”\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/Z0e2G32f3IU'\n title='//www.youtube.com/embed/Z0e2G32f3IU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jamal visited Africa in 1959. Upon his return to Chicago, he had a failed venture as a club owner, then took a hiatus from recording in the early ’60s. By the middle of the decade, he’d resumed recording and touring. His 1969 album, \u003cem>The Awakening\u003c/em>, was widely hailed for its rendering of jazz standards and originals. \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/zpwxyQh2ZdA'\n title='//www.youtube.com/embed/zpwxyQh2ZdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His music was found in the soundtracks of movies like \u003cem>M*A*S*H\u003c/em> and \u003cem>The Bridges of Madison County\u003c/em>. In a 1985 episode of NPR’s\u003cem> Piano Jazz\u003c/em>, Jamal told host and fellow piano legend Marian McPartland that his favorite recording was “the next one.” Then he allowed that the \u003cem>Pershing\u003c/em> “was close to perfection.” He also said that he continued to focus on ballads. “They are difficult to play,” he told her, “it takes years of living to read them properly.” In 1994, he was awarded a National Endowment for the Arts Jazz Master Fellowship.\u003c/p>\n\u003cp>He continued making stellar recordings into the past decade. His 2017 release, \u003cem>Marseille\u003c/em>, was noted in the NPR Music Jazz Critics Poll. \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/-j2YWdiaBa4'\n title='//www.youtube.com/embed/-j2YWdiaBa4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recording featured all of the hallmarks that made Jamal a great pianist and bandleader, and the drummer Herlin Riley, like Fournier, was from New Orleans. It prompted Iyer to note that Jamal’s lineage of New Orleanian drummers — Fournier, Idris Muhammad and Riley — suggests rhythm as a ritual or cultural cornerstone. \u003c/p>\n\u003cp>Jamal’s work continued to impress other pianists. In 2014 Matthew Shipp told NPR’s Karen Michel, “His imagination is so deep. One of the joys of listening to him is to see how his fertile imagination interacts with the material he does pick and recombines it into a musical entity that we’ve never heard. I mean, he is a musical architect of the highest order.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waltzer added, “innovation in jazz can be subtle. Rather than reaching outward to create an overtly revolutionary sound, Mr. Jamal explored the inner workings of the small ensemble to control, shape and dramatize his music.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ahmad+Jamal%2C+measured+maestro+of+the+jazz+piano%2C+dies+at+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/\">Blue Note Jazz Festival\u003c/a> in Napa has announced its 2023 lineup, and it leans ever more into hip-hop for its second year. Headliners Mary J. Blige, Nas, and Chance the Rapper will be joined by Madlib, Cordae, Rakim, Digable Planets, Rapsody and special guests De La Soul.\u003c/p>\n\u003cp>R&B artists like Ari Lennox and and NxWorries (Anderson .Paak and Knxwledge) are also high on the bill, with jazz artists Keyon Harrold, Soulive, Domi & JD Beck, Terrace Martin, Nicholas Payton, Yussef Dayes and others scattered across the three-day festival.\u003c/p>\n\u003cp>[aside postID='arts_13916940']Rounding out the notable acts on the lineup are funk legend George Clinton appearing with Parliament Funkadelic, New Orleans bounce queen Big Freedia, soul visionary Meshell Ndegeocello, and Taylor McFerrin appearing with his dad, Bobby McFerrin.\u003c/p>\n\u003cp>As in 2022, the festival’s artist in residence is Robert Glasper, and will be hosted by Dave Chappelle. One big change for 2023, though: 2022’s festival was held at Charles Krug Winery, north of St. Helena, while this year’s festival is at Silverado Resort, just outside the city of Napa. \u003c/p>\n\u003cp>The Blue Note Jazz Festival runs Friday–Sunday, July 28–30, at the Silverado Resort in Napa. Tickets for the three-day festival, starting at $550 plus fees, go on sale Wednesday, April 9 at 9 a.m. Pacific Time. \u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/tickets/\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Wayne Shorter, whose colorful compositional style and searching improvisations on the tenor saxophone altered the direction of jazz, died in Los Angeles on Thursday. He was 89 years old. \u003c/p>\n\u003cp>Known for his time performing in the Miles Davis Quintet, Weather Report and Art Blakey’s Jazz Messengers, Shorter was a commanding presence on stage and on record. But it was his compositions, such as his trademark tune “Footprints,” which pulled jazz into new realms.\u003c/p>\n\u003cp>Born in New Jersey, Shorter began making a noticeable mark on jazz in the 1960s, when he joined Blakey’s group. After the dissolution of Davis’ “first great quintet” with John Coltrane, Shorter joined the enigmatic trumpeter in 1964, the same year he recorded a trio of classic albums — \u003cem>Speak No Evil\u003c/em>, \u003cem>Juju\u003c/em> and \u003cem>Night Dreamer\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13925783\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg\" alt=\"\" width=\"599\" height=\"600\" class=\"size-full wp-image-13925783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377-160x160.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter’s 1964 album ‘Speak No Evil,’ which featured his first wife, Teruko Nakagami, on the cover. \u003ccite>(Blue Note Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playing alongside Davis, as well as bassist Ron Carter, drummer Tony Williams and pianist Herbie Hancock, Shorter was able to bring his intellectual confidence and philosophical background to jazz’s most high-profile group. \u003c/p>\n\u003cp>This manifested not just in his flowery playing but his writing, with more angular tunes like “E.S.P.,” “Nefertiti,” and “Footprints.” While others left Davis when he went in new directions with early-fusion albums like \u003cem>Bitches Brew\u003c/em>, Shorter stayed on for the ride. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pxb7pNXJvng\u003c/p>\n\u003cp>In the 1970s, Shorter joined Weather Report, the groundbreaking electric fusion band, with Joe Zawinul and Jaco Pastorius. He also collaborated with rock icons like Joni Mitchell and Steely Dan, playing on recording like \u003cem>Mingus\u003c/em> and \u003cem>Aja\u003c/em>. \u003c/p>\n\u003cp>Age did not thwart Shorter’s imagination. In his late 60s, he formed a quartet with pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade that pushed the borders of jazz yet again, winning a Grammy Award for Best Instrumental Jazz album in 2005. \u003c/p>\n\u003cp>During 15 years away from the studio, Shorter stayed busy, collaborating with the bassist Esperanza Spalding and performing at numerous tributes, including an 80th birthday celebration that filled the Hollywood Bowl in Los Angeles. At 85, Shorter released the massive undertaking \u003cem>Emanon\u003c/em>, a three-disc set that also won a Grammy Award. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his own spiritual life, Shorter was devoted to Nichiren Buddhism. In 2013, speaking with NPR, Shorter gave advice drawn from the religion: “Put 100 percent into the moment that you’re in, because the present moment is the only time when you can change the past and the future.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wayne Shorter, whose colorful compositional style and searching improvisations on the tenor saxophone altered the direction of jazz, died in Los Angeles on Thursday. He was 89 years old. \u003c/p>\n\u003cp>Known for his time performing in the Miles Davis Quintet, Weather Report and Art Blakey’s Jazz Messengers, Shorter was a commanding presence on stage and on record. But it was his compositions, such as his trademark tune “Footprints,” which pulled jazz into new realms.\u003c/p>\n\u003cp>Born in New Jersey, Shorter began making a noticeable mark on jazz in the 1960s, when he joined Blakey’s group. After the dissolution of Davis’ “first great quintet” with John Coltrane, Shorter joined the enigmatic trumpeter in 1964, the same year he recorded a trio of classic albums — \u003cem>Speak No Evil\u003c/em>, \u003cem>Juju\u003c/em> and \u003cem>Night Dreamer\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13925783\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg\" alt=\"\" width=\"599\" height=\"600\" class=\"size-full wp-image-13925783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377-160x160.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter’s 1964 album ‘Speak No Evil,’ which featured his first wife, Teruko Nakagami, on the cover. \u003ccite>(Blue Note Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playing alongside Davis, as well as bassist Ron Carter, drummer Tony Williams and pianist Herbie Hancock, Shorter was able to bring his intellectual confidence and philosophical background to jazz’s most high-profile group. \u003c/p>\n\u003cp>This manifested not just in his flowery playing but his writing, with more angular tunes like “E.S.P.,” “Nefertiti,” and “Footprints.” While others left Davis when he went in new directions with early-fusion albums like \u003cem>Bitches Brew\u003c/em>, Shorter stayed on for the ride. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Celebration of Oakland's Black Cultural Figures, in Portraiture",
"headTitle": "A Celebration of Oakland’s Black Cultural Figures, in Portraiture | KQED",
"content": "\u003cp>Inside a lobby off Frank H. Ogawa Plaza in Oakland is a series of illustrations of educators and MCs, as well as photographers, poets and Black Panther Party members.\u003c/p>\n\u003cp>The portraits — all comprised of black jigsaw-puzzle-like images on top of yellow backgrounds with a vertical red line through the face — are a part of the \u003cem>Oakland’s Black Modern Arts Renaissance\u003c/em> exhibition by \u003ca href=\"https://www.instagram.com/shomari7382/\" target=\"_blank\" rel=\"noopener\">Shomari Smith\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05106-800x535.jpg\" alt=\"Famed visual artist and Black Panther Party Newspaper illustrator Emory Douglas takes in Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famed visual artist and Black Panther Party newspaper illustrator Emory Douglas takes in Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are all of my people,” said Smith, a visual artist and \u003ca href=\"https://www.kqed.org/arts/13924170/hieroglyphics-hobo-junction-battle-documentary\" target=\"_blank\" rel=\"noopener\">documentary filmmaker\u003c/a>, at an opening reception with guests, portrait subjects and Oakland Mayor Sheng Thao. “These are people who taught me, people I’ve worked with, people I admire and people I’ve been inspired by.”\u003c/p>\n\u003cp>The images include portraits of \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener\">Joan Tarika Lewis\u003c/a>, the first woman to join the Black Panther Party, as well as \u003ca href=\"https://sambafunk.com/about-us/\" target=\"_blank\" rel=\"noopener\">Theo Aytchan Williams\u003c/a> of SambaFunk!, OUSD educator Jasmene Miranda and jazz radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges\u003c/a>, to name a few. (Full disclosure: there’s even a portrait of me.)\u003c/p>\n\u003cfigure id=\"attachment_13925748\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-28-at-2.27.48-PM-800x1006.png\" alt=\"An illustration of a man with a healthy beard and big smile, with a yellow background and a thick red line running vertically over the face\" width=\"600\" height=\"802\" class=\"size-medium wp-image-13925748\">\u003cfigcaption class=\"wp-caption-text\">A portrait of long-running jazz DJ Greg Bridges is one of many featured in ‘Oakland’s Black Modern Arts Renaissance,’ on view near Oakland City Hall. \u003ccite>(Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the wall text explains, the yellow backgrounds of Smith’s portraits represent creativity, while the red line represents a shared African bloodline. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look these people up and find out more about their work,” encouraged Smith, while explaining that creating these images is his way of giving a little love back to the community — and making sure others recognize their work as well.\u003c/p>\n\u003cfigure id=\"attachment_13925729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05124-800x535.jpg\" alt=\"Artists, educators and more gather to celebrate the opening reception of Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13925729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists, educators and more gather to celebrate the opening reception of Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oakland’s Black Modern Arts Renaissance’ is free and open to the public during business hours, through the month of March, at the City of Oakland building at 250 Frank Ogawa Plaza in Oakland. \u003ca href=\"https://www.instagram.com/shomari7382/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look these people up and find out more about their work,” encouraged Smith, while explaining that creating these images is his way of giving a little love back to the community — and making sure others recognize their work as well.\u003c/p>\n\u003cfigure id=\"attachment_13925729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05124-800x535.jpg\" alt=\"Artists, educators and more gather to celebrate the opening reception of Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13925729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists, educators and more gather to celebrate the opening reception of Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oakland’s Black Modern Arts Renaissance’ is free and open to the public during business hours, through the month of March, at the City of Oakland building at 250 Frank Ogawa Plaza in Oakland. \u003ca href=\"https://www.instagram.com/shomari7382/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a multidisciplinary artist who is so remarkable that although he is just 31 years old, he’s just been awarded a rare $1 million grant from the Andrew W. Mellon Foundation to fund his work: \u003ca href=\"https://www.samorapinderhughes.com/\">Samora Pinderhughes.\u003c/a>\u003c/p>\n\u003cp>Pinderhughes does many things. He’s a vocalist, pianist, composer and filmmaker. He’s also very much an activist against mass incarceration. For the past eight years, he’s been working on something called \u003ca href=\"https://www.samorapinderhughes.com/healingproject/\">The Healing Project\u003c/a>. As the name suggests, it’s about healing and leaving yourself emotionally open — to your own feelings, to the experiences of others, to generosity. That openness to vulnerability is also clear in Pinderhughes’ sweet, warm voice and in his wide vision for his work.\u003c/p>\n\u003cp>[aside postid='arts_13924661']He was inspired by the plays of one of his mentors, the playwright and actress \u003ca href=\"https://www.npr.org/2015/12/07/458742076/anna-deavere-smith-wants-playgoers-to-do-what-they-can-to-counter-violence\">Anna Deavere Smith\u003c/a>, who often bases her work on documentary interviews she’s conducted; she asked him if he was interested in exploring something similar. It led Pinderhughes — originally from the Bay Area, and now based in New York City — on a journey to conduct conversations with people across the U.S. about incarceration and structural violence.\u003c/p>\n\u003cp>Pinderhughes has always been involved in activism: his parents are professors and community activists. “It was very natural for me to start creating things that had a message,” he observes.\u003c/p>\n\u003cp>He later attended Juilliard as a jazz student. “I was there for piano performance,” he says. “I think off the top it was probably not the right place for me — but I just didn’t know that at the time that composing was a job! I wasn’t like, ‘Oh, OK, I could be like my own artist and make my own work.’ I found amazing teachers there — Frank Kimbrough, Kendall Briggs and \u003ca href=\"https://www.npr.org/2023/01/16/1149021094/nea-jazz-master-kenny-barron-shines-playing-solo-on-the-source\">Kenny Barron\u003c/a> in particular — who allowed me to be myself.” At the same time, he says, he felt he was surrounded by fellow students who were more interested in being the strongest possible technical players.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ICUoG54pIW0\u003c/p>\n\u003cp>“Meanwhile,” he adds, “I was very concerned with what was happening in the world, and how to say something about that through the music, and how to collaborate with different disciplines. I wanted to make things with the actors and make things with the string players. I was a little bit lost in the sauce there.”\u003c/p>\n\u003cp>One particular inflection point sparked Pinderhughes into using his music to address racial violence directly. “I think what really happened was \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/08/11/489494015/the-butterfly-effects-of-ferguson\">the Ferguson uprising\u003c/a> and Mike Brown’s murder, it just really charged something,” he observes. Ultimately, that led to the creation of Pinderhughes’ ambitious 2016 work \u003ca href=\"https://www.npr.org/2017/01/19/510578539/radical-imagination-jazz-and-social-justice\">\u003cem>The Transformations Suite\u003c/em>\u003c/a>, which melded jazz, spoken-word poetry and visuals into a plea for social justice.\u003c/p>\n\u003cp>In its current form, The Healing Project is also made up of many elements, including music, films and visual art. It’s meant to be performed and experienced in many different ways and in different places. Pinderhughes, who is of mixed-race and Black ancestry, says that there is one central question at its core.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iFppyjwHcd4\u003c/p>\n\u003cp>“That ended up being the question of healing from structural violence,” he says. “By structural violence, I mean just basically any type of trauma that could come from violences that are created by the society. So that could be imprisonment, that could be police brutality. It could even just be something like poverty and just like the circumstances of one’s upbringing and environment. It brought me on a journey of talking to hundreds of people around the country about their experiences and their ideas, most importantly, about healing and what they’ve been through, how they’ve come through it.”\u003c/p>\n\u003cp>Those hundreds of conversations included people who are currently incarcerated; many of them contributed their own art to the project. Pinderhughes worked with a constellation of professional artists and musicians to make meditations on those conversations, including the album \u003cem>Grief\u003c/em>. Other parts of the project include live performances and a visual art exhibition on display last year at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WFIjSW8HqMI\u003c/p>\n\u003cp>“I didn’t really want to limit it,” Pinderhughes says. “So I basically did everything that each person asked me to do. If they wanted to send me pieces that they had drawn through the mail if they were incarcerated, those go up in the exhibition. If they wanted to talk about the realities and experiences of loss and grieving, we would make a film about that. If they wanted to talk about the process of healing from long periods of incarceration, we’re going to make a composition about that.”\u003c/p>\n\u003cp>[aside postid='arts_13924934']The expansiveness of The Healing Project — part creative vessel, part catalyst for activism and part new collaborative model — is so dynamic that it attracted the attention of the Mellon Foundation. \u003ca href=\"https://mellon.org/about/staff/emil-kang/\">Emil Kang\u003c/a> directs its arts and culture program. He was blown away by Pinderhughes’ vision.\u003c/p>\n\u003cp>“I started asking him about his own artistic practice and he started to in some ways bifurcate his work: to talk about his music over here, his lived experience over here and his commitment to abolition work over there. And how he longed for the day of a time when he could actually bring all of this together.”\u003c/p>\n\u003cp>“To be frank,” Kang continues, “I was saddened by what he was saying to me, but yet I understood exactly what he was saying — that the ecosystem that we have now, especially in the performing arts, still exists in a transactional way, where an artist just puts out their work and hopes people get it somehow. At the Mellon Foundation, as we are trying to push forward our own work and what the future of the performing arts looks like, we really do believe it’s in the guise of contemporary performance — in a way that allows artists to be able to show the totality of their humanity in their work, and not just the virtuosity of their skill.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aa9FmZN3NLg\u003c/p>\n\u003cp>It is extremely rare for a single performer to get a million dollars from a grant; that’s about the same sum as a Nobel Prize. That money is going to allow The Healing Project to be manifested into even more forms, Pinderhughes says. He also avers that this is very much a collaborative effort: “Everybody that was a part of the project had a stake in the project, so everybody that has ever been a part of this project co-owns this project with me. Everybody that has been a part of the project has just as much say over what is in it as I do.”\u003c/p>\n\u003cp>“I’m really honored and humbled to receive this opportunity to just take this project into the stratosphere,” Pinderhughes continues. “It’s only the beginning, really, of what we have planned. I am an artist and I believe deeply in the power of art, but I also want to materially create change in the lives of the people that are a part of it and also in the communities that it wants to serve.”\u003c/p>\n\u003cp>[aside postid='arts_13924571']For example, Pinderhughes plans to make a printed book version of The Healing Project, because so many participants are incarcerated. They’re not able to access the collaboration otherwise.\u003c/p>\n\u003cp>When he asked participants what they would need to create a space for their healing, spiritually or materially, some interviewees said that they needed things as basic as access to healthy food and jobs — which, for those formerly incarcerated, can be very hard to secure.\u003c/p>\n\u003cp>“We’re also starting an initiative called The Healing Project Transformative Impact Fund,” Pinderhughes notes, “where we’re going to be using the project as a container to actually start to support the dreams and hopes and projects of the actual people who participated in the project — folks particularly who are formerly and currently incarcerated.”\u003c/p>\n\u003cp>At the same time, he says, “We’re going to continue to do that art, that narrative work, we’re going to make the book, we’re going to make more albums, we’re going to make more exhibitions, we’re going to make more films.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=agCTXovPYp8\u003c/p>\n\u003cp>In the meantime, he hopes that the music of The Healing Project, and the power of its art, helps both creators and audiences chart their own paths to healing. He recalls a man coming up to him after a recent performance.\u003c/p>\n\u003cp>“He was like, I feel like you should make a shirt that says, ‘I make grown men cry,’ ” Pinderhughes recounts. “And I was like, ‘That’s not a bad idea.’ So now, just kind of jokingly, that’s the tagline of what the energy is.”\u003c/p>\n\u003cp>Friday evening, Pinderhughes and some of his musical collaborators will be performing \u003ca href=\"https://www.carnegiehall.org/calendar/2023/02/10/samora-pinderhughes-and-friends-0900pm\">a concert version\u003c/a> of The Healing Project at New York’s Zankel Hall at Carnegie Hall. Almost inevitably, people will cry. And that’s a big part of healing.\u003c/p>\n\u003cp>\u003cem>Edited by: \u003c/em>\u003ca href=\"https://www.npr.org/people/3850482/neda-ulaby\">\u003cem>Neda Ulaby\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/182335974/anastasia-tsioulcas\">\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Audio story produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Audio story edited by: Neda Ulaby\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+artist%27s+%27Healing+Project%2C%27+focused+on+incarceration+and+violence%2C+wins+%241+million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was inspired by the plays of one of his mentors, the playwright and actress \u003ca href=\"https://www.npr.org/2015/12/07/458742076/anna-deavere-smith-wants-playgoers-to-do-what-they-can-to-counter-violence\">Anna Deavere Smith\u003c/a>, who often bases her work on documentary interviews she’s conducted; she asked him if he was interested in exploring something similar. It led Pinderhughes — originally from the Bay Area, and now based in New York City — on a journey to conduct conversations with people across the U.S. about incarceration and structural violence.\u003c/p>\n\u003cp>Pinderhughes has always been involved in activism: his parents are professors and community activists. “It was very natural for me to start creating things that had a message,” he observes.\u003c/p>\n\u003cp>He later attended Juilliard as a jazz student. “I was there for piano performance,” he says. “I think off the top it was probably not the right place for me — but I just didn’t know that at the time that composing was a job! I wasn’t like, ‘Oh, OK, I could be like my own artist and make my own work.’ I found amazing teachers there — Frank Kimbrough, Kendall Briggs and \u003ca href=\"https://www.npr.org/2023/01/16/1149021094/nea-jazz-master-kenny-barron-shines-playing-solo-on-the-source\">Kenny Barron\u003c/a> in particular — who allowed me to be myself.” At the same time, he says, he felt he was surrounded by fellow students who were more interested in being the strongest possible technical players.\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/ICUoG54pIW0'\n title='//www.youtube.com/embed/ICUoG54pIW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Meanwhile,” he adds, “I was very concerned with what was happening in the world, and how to say something about that through the music, and how to collaborate with different disciplines. I wanted to make things with the actors and make things with the string players. I was a little bit lost in the sauce there.”\u003c/p>\n\u003cp>One particular inflection point sparked Pinderhughes into using his music to address racial violence directly. “I think what really happened was \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/08/11/489494015/the-butterfly-effects-of-ferguson\">the Ferguson uprising\u003c/a> and Mike Brown’s murder, it just really charged something,” he observes. Ultimately, that led to the creation of Pinderhughes’ ambitious 2016 work \u003ca href=\"https://www.npr.org/2017/01/19/510578539/radical-imagination-jazz-and-social-justice\">\u003cem>The Transformations Suite\u003c/em>\u003c/a>, which melded jazz, spoken-word poetry and visuals into a plea for social justice.\u003c/p>\n\u003cp>In its current form, The Healing Project is also made up of many elements, including music, films and visual art. It’s meant to be performed and experienced in many different ways and in different places. Pinderhughes, who is of mixed-race and Black ancestry, says that there is one central question at its core.\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/iFppyjwHcd4'\n title='//www.youtube.com/embed/iFppyjwHcd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“That ended up being the question of healing from structural violence,” he says. “By structural violence, I mean just basically any type of trauma that could come from violences that are created by the society. So that could be imprisonment, that could be police brutality. It could even just be something like poverty and just like the circumstances of one’s upbringing and environment. It brought me on a journey of talking to hundreds of people around the country about their experiences and their ideas, most importantly, about healing and what they’ve been through, how they’ve come through it.”\u003c/p>\n\u003cp>Those hundreds of conversations included people who are currently incarcerated; many of them contributed their own art to the project. Pinderhughes worked with a constellation of professional artists and musicians to make meditations on those conversations, including the album \u003cem>Grief\u003c/em>. Other parts of the project include live performances and a visual art exhibition on display last year at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Yerba Buena Center for the Arts\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/WFIjSW8HqMI'\n title='//www.youtube.com/embed/WFIjSW8HqMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I didn’t really want to limit it,” Pinderhughes says. “So I basically did everything that each person asked me to do. If they wanted to send me pieces that they had drawn through the mail if they were incarcerated, those go up in the exhibition. If they wanted to talk about the realities and experiences of loss and grieving, we would make a film about that. If they wanted to talk about the process of healing from long periods of incarceration, we’re going to make a composition about that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The expansiveness of The Healing Project — part creative vessel, part catalyst for activism and part new collaborative model — is so dynamic that it attracted the attention of the Mellon Foundation. \u003ca href=\"https://mellon.org/about/staff/emil-kang/\">Emil Kang\u003c/a> directs its arts and culture program. He was blown away by Pinderhughes’ vision.\u003c/p>\n\u003cp>“I started asking him about his own artistic practice and he started to in some ways bifurcate his work: to talk about his music over here, his lived experience over here and his commitment to abolition work over there. And how he longed for the day of a time when he could actually bring all of this together.”\u003c/p>\n\u003cp>“To be frank,” Kang continues, “I was saddened by what he was saying to me, but yet I understood exactly what he was saying — that the ecosystem that we have now, especially in the performing arts, still exists in a transactional way, where an artist just puts out their work and hopes people get it somehow. At the Mellon Foundation, as we are trying to push forward our own work and what the future of the performing arts looks like, we really do believe it’s in the guise of contemporary performance — in a way that allows artists to be able to show the totality of their humanity in their work, and not just the virtuosity of their skill.”\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/aa9FmZN3NLg'\n title='//www.youtube.com/embed/aa9FmZN3NLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is extremely rare for a single performer to get a million dollars from a grant; that’s about the same sum as a Nobel Prize. That money is going to allow The Healing Project to be manifested into even more forms, Pinderhughes says. He also avers that this is very much a collaborative effort: “Everybody that was a part of the project had a stake in the project, so everybody that has ever been a part of this project co-owns this project with me. Everybody that has been a part of the project has just as much say over what is in it as I do.”\u003c/p>\n\u003cp>“I’m really honored and humbled to receive this opportunity to just take this project into the stratosphere,” Pinderhughes continues. “It’s only the beginning, really, of what we have planned. I am an artist and I believe deeply in the power of art, but I also want to materially create change in the lives of the people that are a part of it and also in the communities that it wants to serve.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For example, Pinderhughes plans to make a printed book version of The Healing Project, because so many participants are incarcerated. They’re not able to access the collaboration otherwise.\u003c/p>\n\u003cp>When he asked participants what they would need to create a space for their healing, spiritually or materially, some interviewees said that they needed things as basic as access to healthy food and jobs — which, for those formerly incarcerated, can be very hard to secure.\u003c/p>\n\u003cp>“We’re also starting an initiative called The Healing Project Transformative Impact Fund,” Pinderhughes notes, “where we’re going to be using the project as a container to actually start to support the dreams and hopes and projects of the actual people who participated in the project — folks particularly who are formerly and currently incarcerated.”\u003c/p>\n\u003cp>At the same time, he says, “We’re going to continue to do that art, that narrative work, we’re going to make the book, we’re going to make more albums, we’re going to make more exhibitions, we’re going to make more films.”\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/agCTXovPYp8'\n title='//www.youtube.com/embed/agCTXovPYp8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the meantime, he hopes that the music of The Healing Project, and the power of its art, helps both creators and audiences chart their own paths to healing. He recalls a man coming up to him after a recent performance.\u003c/p>\n\u003cp>“He was like, I feel like you should make a shirt that says, ‘I make grown men cry,’ ” Pinderhughes recounts. “And I was like, ‘That’s not a bad idea.’ So now, just kind of jokingly, that’s the tagline of what the energy is.”\u003c/p>\n\u003cp>Friday evening, Pinderhughes and some of his musical collaborators will be performing \u003ca href=\"https://www.carnegiehall.org/calendar/2023/02/10/samora-pinderhughes-and-friends-0900pm\">a concert version\u003c/a> of The Healing Project at New York’s Zankel Hall at Carnegie Hall. Almost inevitably, people will cry. And that’s a big part of healing.\u003c/p>\n\u003cp>\u003cem>Edited by: \u003c/em>\u003ca href=\"https://www.npr.org/people/3850482/neda-ulaby\">\u003cem>Neda Ulaby\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/182335974/anastasia-tsioulcas\">\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Audio story produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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"planet-money": {
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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",
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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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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