10 Great Jazz and Classical Shows in the Bay Area This Summer
Jazz and Classical Concerts to See in the Bay Area This Fall
North Bay Arts Orgs Receive $1.2 Million from Hewlett Foundation
On the Air: Cy and Gabe's Do List Picks for Nov. 24, 2017
The Santa Rosa Symphony Continues its Hunt for a New Conductor
On the Air: Cy and A-lan's Do List Picks for Nov. 3, 2017
The Santa Rosa Symphony Turns to Healing and Transformation
Sponsored
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Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco can’t have a \u003cem>complete\u003c/em> lock on Mahler, now, can it? In this cheekily titled program, Symphony San Jose performs Mahler’s First — the “Titan” symphony — a tone poem–esque work that marked the beginning of a legendary run. In another shade of the harmonic spectrum is Mozart’s Piano Concerto No. 21, used to great effect in the film \u003cem>Elvira Madigan\u003c/em>. Rounding out the program is \u003cem>Danzon No. 2\u003c/em>, by the living Mexican composer Arturo Márquez, which captures the lively rhythms and flavors of mariachi.\u003c/p>\n\n","blocks":[],"excerpt":"From the community center to the concert hall, this summer brings exciting jazz and classical performances.","status":"publish","parent":0,"modified":1715959423,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1380},"headData":{"title":"10 Great Jazz and Classical Shows in the Bay Area This Summer | KQED","description":"From the community center to the concert hall, this summer brings exciting jazz and classical performances.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Great Jazz and Classical Shows in the Bay Area This Summer","datePublished":"2024-05-17T08:00:28-07:00","dateModified":"2024-05-17T08:23:43-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957999","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957999/best-jazz-and-classical-shows-bay-area-summer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I know, I know — summertime is for staying out ’til 2 a.m., losing your mind to ear-splitting bass and dancing for hours. Not exactly the realm of classical music or jazz.\u003c/p>\n\u003cp>But there’s balance in all things, and this summer offers some exciting, not-to-be-missed jazz and classical performances in the Bay Area’s community centers, nightclubs and concert halls. Here are just 10 of them.\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13933558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED in San Francisco, Calif., on Friday, Aug. 18, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/41st-san-francisco-jazz-festival/gary-bartz/\">Gary Bartz Ntu Troop Revisited\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Saxophonist Gary Bartz may be 83 years old, but each time I’ve seen him, he’s played with more imagination and spirit than many musicians half his age. For this show, Bartz reassembles his Ntu Troop project, responsible for classics like “Celestial Blues,” and the Langston Hughes poem set to music, “I’ve Known Rivers,” which he performed earlier this month \u003ca href=\"https://www.npr.org/2024/05/13/1250054477/tiny-desk-concert-gary-bartz\">at NPR’s Tiny Desk\u003c/a>. (He was \u003ca href=\"https://www.kqed.org/arts/13935159/8-over-80-gary-bartz\">also part of KQED’s 8 Over 80 cohort\u003c/a> last year.) Bartz is joined on this show by fellow East Bay resident Ambrose Akinmusire, a phenomenal trumpet talent.\u003c/p>\n\u003cfigure id=\"attachment_13958057\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg\" alt=\"\" width=\"940\" height=\"470\" class=\"size-full wp-image-13958057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GardenofMemory-768x384.jpg 768w\" sizes=\"(max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">‘Garden of Memory’ at Chapel of the Chimes presents new music soloists and groups throughout the century-old columbarium once a year. \u003ccite>(Garden of Memory )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.gardenofmemory.com/\">Garden of Memory\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 21, 2024\u003cbr>\nChapel of the Chimes, Piedmont\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This annual event is one of the Bay Area’s best hidden gems. The idea is simple: place over 50 musicians throughout the Julia Morgan-designed columbarium, and let the public walk through to hear new sounds in jazz, classical and experimental music. The day includes Bay Area legends like ROVA, Sarah Cahill, Paul Dresher, Lisa Mezzacappa and Will Bernard, but the experience is less about marquee names and more about discovery. Surrounded by beautiful urns and receptacles for the dead, it’s also a meditation on existence itself.\u003c/p>\n\u003cfigure id=\"attachment_13958051\" class=\"wp-caption aligncenter\" style=\"max-width: 1131px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg\" alt=\"\" width=\"1131\" height=\"731\" class=\"size-full wp-image-13958051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren.jpg 1131w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/LilianFarahani.MauriceLammertsvanBueren-768x496.jpg 768w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani, who plays the role of the bride in ‘Innocence’ at San Francisco Opera. \u003ccite>(Maurice Lammerts van Bueren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">‘Innocence’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–21, 2024\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House\u003c/em>\u003c/p>\n\u003cp>An opera about… a \u003cem>school shooting\u003c/em>? Believe it. San Francisco Opera hosts the U.S. premiere of this contemporary opera, about a wedding thrown into turmoil when the bride suddenly learns that her husband-to-be is the brother of the gunman from a school shooting from 10 years prior. Exploring themes of love and betrayal, and interweaving teachers and students — and ghosts — with the events of the wedding, \u003cem>Innocence\u003c/em> has been \u003ca href=\"https://www.nytimes.com/2021/07/07/arts/music/innocence-saariaho-opera-aix.html\">hailed as a masterpiece\u003c/a>. (A supplemental event, \u003ca href=\"https://www.sfopera.com/operas/innocence/beyond-innocence/\">Beyond Innocence\u003c/a>, brings the discussion of gun violence in focus with a variety of local figures from the church, public policy, television, public media and hip-hop.)\u003c/p>\n\u003cfigure id=\"attachment_13958053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg\" alt=\"\" width=\"1920\" height=\"1373\" class=\"size-full wp-image-13958053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Lawrence-Azar-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azar Lawrence. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/azar-lawrence-1/detail\">The Azar Lawrence Experience\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 19, 2024\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>A saxophonist of compelling power, Azar Lawrence may be the only musician who can say he’s collaborated with Marvin Gaye, Busta Rhymes, Tina Turner \u003cem>and\u003c/em> famed John Coltrane drummer Elvin Jones. A Coltrane acolyte, Lawrence has played nearly every style of music and returned home to searing, exploratory jazz; when I saw him at a Pharoah Sanders tribute last year, his playing was crisp and emotive. (Pro tip: If, like me, you make a tradition of going to \u003ca href=\"https://www.homeofchickenandwaffles.com/\">Home of Chicken and Waffles\u003c/a> after shows at Yoshi’s, know that they \u003ca href=\"https://www.instagram.com/the_homeofchickenandwaffles/\">recently closed\u003c/a> and plan to reopen soon, six blocks away.)\u003c/p>\n\u003cfigure id=\"attachment_13958055\" class=\"wp-caption aligncenter\" style=\"max-width: 914px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg\" alt=\"\" width=\"914\" height=\"615\" class=\"size-full wp-image-13958055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/557-768x517.jpg 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003cfigcaption class=\"wp-caption-text\">David Murray and Kahil El’Zabar. \u003ccite>(Delmark Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/p/C6-WGmdL8V9/\">Kahil El’Zabar and David Murray\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 15, 2024\u003cbr>\nEastside Cultural Center, Oakland\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Cultural Center\u003c/a> is a small community space doing important work in the neighborhood; it’s also an excellent, intimate place for a jazz show. This exciting evening features two legends in a duo setting: multi-instrumentalist Kahil El’Zabar, who just released the 18th album with his Ethnic Heritage Ensemble, and tenor titan David Murray, who brought down the sold-out house when his quartet appeared at Eastside last year. While they could easily perform at the Bay Area’s more traditional jazz clubs, it’s a testament to Eastside’s mission that Murray and El’Zabar chose the grassroots option in East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13958056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1486\" class=\"size-full wp-image-13958056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography-1536x1189.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Symphony Music Director Francesco Lecce-Chong. \u003ccite>(Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/road-to-100-the-complete-beethoven-symphonies-year-1/\">Road to 100: The Complete Beethoven Symphonies, Year 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 9, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>The Santa Rosa Symphony didn’t exactly have auspicious beginnings: its first performance, in 1928, was at an Elks Club. Now, nearly 100 years later, the orchestra performs at a world-class music hall, led by the inventive, energetic director Francesco Lecce-Chong. To celebrate its upcoming centennial, the Santa Rosa Symphony plans to perform all of Beethoven’s symphonies over the next five years, starting with Nos. 1 and 3. And who said classical music is stuffy? Afterward, Lecce-Chong and the musicians will join a “Beethoven BBQ” on the lawn outside, chowing down on chicken drumsticks and chillin’ with the audience.\u003c/p>\n\u003cfigure id=\"attachment_13958058\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg\" alt=\"\" width=\"1067\" height=\"720\" class=\"size-full wp-image-13958058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/64c031e9d67135e187def3a1_Price-768x518.jpg 768w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Florence Price.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.leftcoastensemble.org/pathways\">‘Pathways: Florence Price Piano Quintet’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 8 and 9, 2024\u003cbr>\nRuth Williams Opera House, Bayview, San Francisco\u003cbr>\nPiedmont Center for the Arts, Piedmont\u003c/em>\u003c/p>\n\u003cp>In 2009, the new owners of a house in Illinois stumbled upon reams of music manuscripts. They turned out to be the works of the late Black composer Florence Price, sparking a renaissance for Price’s music once the newly discovered pieces were performed and recorded. One of them, the Piano Quintet in A Minor, forms the centerpiece of these two shows by the Left Coast Chamber Ensemble. Pairing Price’s quintet with a piece by American composer David Sanford, as well as new works seeing their world premieres, the performances should open new possibilities in classical music, both past and future.\u003c/p>\n\u003cfigure id=\"attachment_13958050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg\" alt=\"\" width=\"1200\" height=\"689\" class=\"size-full wp-image-13958050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-1020x586.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KronosQuartet2_creditLennyGonzalez-768x441.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Kronos Festival 2024\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 20–23, 2024\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s a new era for the venerable, ever-searching Kronos Quartet: violinist John Sherba and violist Hank Dutt are retiring after 46 years with the group. This year’s annual Kronos Festival is their send-off, and what a party it is. Over four days, pieces by Terry Riley, Mahsa Vahdat, Sun Ra, Nicole Lizée, Zachary James Watkins and many others will get the full Kronos treatment. The festivities conclude with a performance of the “live documentary” \u003cem>A Thousand Thoughts\u003c/em>, and a farewell to Sherba and Dutt. Expect a long standing ovation; they deserve it.\u003c/p>\n\u003cfigure id=\"attachment_13958052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13958052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Sheku-Song-Photo-5-Credit_-Ollie-Ali-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheku Kanneh-Mason. \u003ccite>(Ollie Ali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-KANNEH-MASON\">Esa-Pekka Salonen & Sheku Kanneh-Mason\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2024\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>What with Esa-Pekka Salonen’s impending departure — \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">not without controversy\u003c/a> — from the San Francisco Symphony, I can’t be the only one making plans to catch him on the podium as much as possible in the coming year. An attractive option comes with Salonen conducting Shostakovich’s Cello Concerto No. 1, with the British cellist Sheku Kanneh-Mason. Shortly afterward in June, Salonen conducts \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-BRONFMAN\">Schumann’s Piano Concerto\u003c/a> as well as \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SALONEN-CONDUCTS-MAHLER-3\">Mahler’s Third\u003c/a>, but my money’s on Shostakovich, and the cellist who, yes, \u003ca href=\"https://www.youtube.com/watch?v=TeDB27cq3fE\">performed at the wedding of Prince Harry and Meghan Markle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958054\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13958054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Arturo-Marquez-1600x900-1-e1651870192402-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mexican composer Arturo Márquez.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/current-season/classics-at-the-california/remember-the-titans/\">Remember the Titans: Mahler, Mozart and Márquez\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1 and 2, 2024\u003c/em>\u003cbr>\n\u003cem>California Theatre, San Jos\u003c/em>e\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco can’t have a \u003cem>complete\u003c/em> lock on Mahler, now, can it? In this cheekily titled program, Symphony San Jose performs Mahler’s First — the “Titan” symphony — a tone poem–esque work that marked the beginning of a legendary run. In another shade of the harmonic spectrum is Mozart’s Piano Concerto No. 21, used to great effect in the film \u003cem>Elvira Madigan\u003c/em>. Rounding out the program is \u003cem>Danzon No. 2\u003c/em>, by the living Mexican composer Arturo Márquez, which captures the lively rhythms and flavors of mariachi.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957999/best-jazz-and-classical-shows-bay-area-summer","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1312","arts_10278","arts_1420","arts_1367","arts_2960","arts_3316","arts_2048","arts_585","arts_4107"],"featImg":"arts_13958055","label":"source_arts_13957999"},"arts_13902315":{"type":"posts","id":"arts_13902315","meta":{"index":"posts_1591205157","site":"arts","id":"13902315","score":null,"sort":[1630618940000]},"guestAuthors":[],"slug":"jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","title":"Jazz and Classical Concerts to See in the Bay Area This Fall","publishDate":1630618940,"format":"aside","headTitle":"Jazz and Classical Concerts to See in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n","blocks":[],"excerpt":"Innovation and diversity are the drivers of this season's jazz and classical performances.","status":"publish","parent":0,"modified":1705007800,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1350},"headData":{"title":"Jazz and Classical Concerts to See in the Bay Area This Fall | KQED","description":"Innovation and diversity are the drivers of this season's jazz and classical performances.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jazz and Classical Concerts to See in the Bay Area This Fall","datePublished":"2021-09-02T14:42:20-07:00","dateModified":"2024-01-11T13:16:40-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Arts Preview 2021","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13902315/jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902315/jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_2435","arts_15393","arts_15307","arts_10278","arts_1420","arts_1275","arts_1367","arts_2960","arts_3316","arts_2048","arts_585","arts_4107"],"featImg":"arts_13902406","label":"source_arts_13902315"},"arts_13830550":{"type":"posts","id":"arts_13830550","meta":{"index":"posts_1591205157","site":"arts","id":"13830550","score":null,"sort":[1524774505000]},"guestAuthors":[],"slug":"north-bay-arts-orgs-receive-1-2-million-from-hewlett-foundation","title":"North Bay Arts Orgs Receive $1.2 Million from Hewlett Foundation","publishDate":1524774505,"format":"standard","headTitle":"North Bay Arts Orgs Receive $1.2 Million from Hewlett Foundation | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>The William and Flora Hewlett Foundation announced plans Thursday to distribute $1.2 million in grants to eight arts organizations in the North Bay that were affected by \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" rel=\"noopener\" target=\"_blank\">last year’s wildfires\u003c/a>.\u003c/p>\n\u003cp>The one-time fire recovery grants range from $100,000 to $205,000. As unrestricted grants, they may be used according to each nonprofit organization’s needs. In some cases the funds will repair damaged facilities, while in others it will replenish revenues lost due to canceled shows.\u003c/p>\n\u003cp>“Recovering from a disaster isn’t accomplished in a week or a month, and these unrestricted grants will support the ongoing recovery needs of these arts organizations and their communities,” said Emiko Ono, director of the Hewlett Foundation’s Performing Arts Program. \u003c/p>\n\u003cp>The organizations receiving grants are:\u003c/p>\n\u003cul>\n\u003cli>\n\u003ca href=\"https://www.artscouncilnapavalley.org/\" rel=\"noopener\" target=\"_blank\">Arts Council Napa Valley\u003c/a> — Napa County’s arts agency.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cazadero.org/\" rel=\"noopener\" target=\"_blank\">Cazadero Music Camp\u003c/a> — A 50-year-old music program for kids 10-18.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cinnabartheater.org/\" rel=\"noopener\" target=\"_blank\">Cinnabar Theater\u003c/a> — A Petaluma-based performing arts theater started in 1970. \u003c/li>\n\u003cli>\u003ca href=\"http://theimaginists.org/\" rel=\"noopener\" target=\"_blank\">Knights of Indulgence/ The Imaginists\u003c/a> — An experimental theater company based in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://lutherburbankcenter.org/\" rel=\"noopener\" target=\"_blank\">Luther Burbank Center for the Arts\u003c/a> — A large performance space and education program in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener\" target=\"_blank\">Santa Rosa Symphony\u003c/a> — A regional symphony with an international reputation.\u003c/li>\n\u003cli>\u003ca href=\"http://sonomaedb.org/Current-Projects/Creative-Sonoma/\" rel=\"noopener\" target=\"_blank\">Sonoma County Economic Development Board/ Creative Sonoma\u003c/a> — A consulting and advocacy group focused on helping arts organizations in Sonoma.\u003c/li>\n\u003cli>\u003ca href=\"http://greenmusiccenter.sonoma.edu/\" rel=\"noopener\" target=\"_blank\">Sonoma State University/ Green Music Center\u003c/a> — A performance venue on SSU’s campus in Rohnert Park.\u003c/li>\n\u003c/ul>\n\u003cp>The several large wildfires in the North Bay that ignited in October of last year burned approximately 245,000 acres in total, and resulted in the deaths of 44 people and an estimated $9.4 billion in property damage. The large artist community in the area suffered significantly, as \u003ca href=\"https://www.kqed.org/arts/13813818/jeremy-ehling-stable-santa-rosa\" rel=\"noopener\" target=\"_blank\">many artworks\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13813914/allen-sudduth-santa-rosa\" rel=\"noopener\" target=\"_blank\">instruments\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811269/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires\" rel=\"noopener\" target=\"_blank\">collections of memorabilia\u003c/a> were destroyed. Over six months later, the \u003ca href=\"https://www.kqed.org/arts/13828118/up-from-the-ashes-six-months-after-the-north-bay-fires\" rel=\"noopener\" target=\"_blank\">area is still recovering\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hewlett.org/\" rel=\"noopener\" target=\"_blank\">The Hewlett Foundation\u003c/a> was founded more than 50 years ago to support institutions and advance ideas that “promote a better world.” With assets estimated around $9 billion, it is considered one of the wealthiest grant makers in the nation. \u003c/p>\n\n","blocks":[],"excerpt":"The Hewlett Foundation will provide grants to eight non-profits still recovering from last year's wildfires.","status":"publish","parent":0,"modified":1705027993,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":360},"headData":{"title":"North Bay Arts Orgs Receive $1.2 Million from Hewlett Foundation | KQED","description":"The Hewlett Foundation will provide grants to eight non-profits still recovering from last year's wildfires.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"North Bay Arts Orgs Receive $1.2 Million from Hewlett Foundation","datePublished":"2018-04-26T13:28:25-07:00","dateModified":"2024-01-11T18:53:13-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13830550/north-bay-arts-orgs-receive-1-2-million-from-hewlett-foundation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The William and Flora Hewlett Foundation announced plans Thursday to distribute $1.2 million in grants to eight arts organizations in the North Bay that were affected by \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" rel=\"noopener\" target=\"_blank\">last year’s wildfires\u003c/a>.\u003c/p>\n\u003cp>The one-time fire recovery grants range from $100,000 to $205,000. As unrestricted grants, they may be used according to each nonprofit organization’s needs. In some cases the funds will repair damaged facilities, while in others it will replenish revenues lost due to canceled shows.\u003c/p>\n\u003cp>“Recovering from a disaster isn’t accomplished in a week or a month, and these unrestricted grants will support the ongoing recovery needs of these arts organizations and their communities,” said Emiko Ono, director of the Hewlett Foundation’s Performing Arts Program. \u003c/p>\n\u003cp>The organizations receiving grants are:\u003c/p>\n\u003cul>\n\u003cli>\n\u003ca href=\"https://www.artscouncilnapavalley.org/\" rel=\"noopener\" target=\"_blank\">Arts Council Napa Valley\u003c/a> — Napa County’s arts agency.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cazadero.org/\" rel=\"noopener\" target=\"_blank\">Cazadero Music Camp\u003c/a> — A 50-year-old music program for kids 10-18.\u003c/li>\n\u003cli>\u003ca href=\"http://www.cinnabartheater.org/\" rel=\"noopener\" target=\"_blank\">Cinnabar Theater\u003c/a> — A Petaluma-based performing arts theater started in 1970. \u003c/li>\n\u003cli>\u003ca href=\"http://theimaginists.org/\" rel=\"noopener\" target=\"_blank\">Knights of Indulgence/ The Imaginists\u003c/a> — An experimental theater company based in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://lutherburbankcenter.org/\" rel=\"noopener\" target=\"_blank\">Luther Burbank Center for the Arts\u003c/a> — A large performance space and education program in Santa Rosa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener\" target=\"_blank\">Santa Rosa Symphony\u003c/a> — A regional symphony with an international reputation.\u003c/li>\n\u003cli>\u003ca href=\"http://sonomaedb.org/Current-Projects/Creative-Sonoma/\" rel=\"noopener\" target=\"_blank\">Sonoma County Economic Development Board/ Creative Sonoma\u003c/a> — A consulting and advocacy group focused on helping arts organizations in Sonoma.\u003c/li>\n\u003cli>\u003ca href=\"http://greenmusiccenter.sonoma.edu/\" rel=\"noopener\" target=\"_blank\">Sonoma State University/ Green Music Center\u003c/a> — A performance venue on SSU’s campus in Rohnert Park.\u003c/li>\n\u003c/ul>\n\u003cp>The several large wildfires in the North Bay that ignited in October of last year burned approximately 245,000 acres in total, and resulted in the deaths of 44 people and an estimated $9.4 billion in property damage. The large artist community in the area suffered significantly, as \u003ca href=\"https://www.kqed.org/arts/13813818/jeremy-ehling-stable-santa-rosa\" rel=\"noopener\" target=\"_blank\">many artworks\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13813914/allen-sudduth-santa-rosa\" rel=\"noopener\" target=\"_blank\">instruments\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811269/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires\" rel=\"noopener\" target=\"_blank\">collections of memorabilia\u003c/a> were destroyed. Over six months later, the \u003ca href=\"https://www.kqed.org/arts/13828118/up-from-the-ashes-six-months-after-the-north-bay-fires\" rel=\"noopener\" target=\"_blank\">area is still recovering\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hewlett.org/\" rel=\"noopener\" target=\"_blank\">The Hewlett Foundation\u003c/a> was founded more than 50 years ago to support institutions and advance ideas that “promote a better world.” With assets estimated around $9 billion, it is considered one of the wealthiest grant makers in the nation. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13830550/north-bay-arts-orgs-receive-1-2-million-from-hewlett-foundation","authors":["93"],"programs":["arts_1272"],"categories":["arts_1","arts_235"],"tags":["arts_1448","arts_1988","arts_746","arts_596","arts_2960"],"featImg":"arts_13813973","label":"arts_1272"},"arts_13815554":{"type":"posts","id":"arts_13815554","meta":{"index":"posts_1591205157","site":"arts","id":"13815554","score":null,"sort":[1511398831000]},"guestAuthors":[],"slug":"on-the-air-cy-and-gabes-do-list-picks-for-nov-24-2017","title":"On the Air: Cy and Gabe's Do List Picks for Nov. 24, 2017","publishDate":1511398831,"format":"audio","headTitle":"On the Air: Cy and Gabe’s Do List Picks for Nov. 24, 2017 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>We’ve offering a special Thanksgiving Do List for you this week, recorded at the Luther Burbank Center for the Arts in Santa Rosa. Consider it a treat, like pie for breakfast.\u003c/p>\n\u003cp>My co-host, KQED Arts Senior Editor Gabe Meline, and I focused on how arts organizations are helping the community recover after the North Bay fires. That’s something to give thanks for, and we’re thankful you’re tuning in to our show via the radio and podcast.\u003c/p>\n\u003cp>\u003cstrong>Nov. 26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VY5G\" target=\"_blank\" rel=\"noopener\">Dwight Yoakam and other artists play the badly singed but reopened Luther Burbank Center in Santa Rosa, and other artists crowd the schedule over the next few weeks.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-4:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13815735&action=edit\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony continues its search for a new permanent conductor with a concert featuring Ravel and Rachmaninoff\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec 11:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VY6A\" target=\"_blank\" rel=\"noopener\">The Redwood Barn at Gundlach Bundschu Winery hosts a fire benefit featuring singer and Napa native Olivia O’Brien\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 24-Dec. 17: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VY6I\" target=\"_blank\" rel=\"noopener\">The French style Cirque du Boheme offers a message of hope for children and adults at Cornerstone Sonoma\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25-Dec 30: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VY73\" target=\"_blank\" rel=\"noopener\">The di Rosa Center for Contemporary Art postpones a show, but offers free Saturday arts workshops for all ages through the end of the year\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 28-Dec. 12:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VY6J\" target=\"_blank\" rel=\"noopener\">The Grouch tours the Bay Area with a stop at the Mystic Theatre in Petaluma, a venue that welcomed fire evacuees.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25-Dec. 30:\u003c/strong> \u003ca href=\"https://www.facebook.com/3rdStreetCinemas/?hc_ref=ARQ8u12YJvMkSY9DINtYlIPkfpQVsEUkpW8cfc88bDg-VHqJOYaGyLXsaDKkWK_zlUg&fref=nf\" target=\"_blank\" rel=\"noopener\">Free Saturday movies for kids at Sonoma’s Third Street Cinemas, starting with \u003cem>The Peanuts Movie\u003c/em> Nov. 25\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 24- Dec. 3:\u003c/strong> \u003ca href=\"http://www.tandybeal.com/joy/\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil and Pickle Family Circus alumni Jeff Raz and Diane Wasnak star in a circus show produced by Tandy Beal in Santa Cruz and San Jose\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13815695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-800x450.jpg\" alt=\"KQED's Gabe Meline, Luther Burbank's Rick Nowlin, and KQED's Cy Musiker on the stage at the Luther Burbank Center\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Gabe Meline, Luther Burbank’s Rick Nowlin, and KQED’s Cy Musiker on the stage at the Luther Burbank Center \u003ccite>(Photo: Anne Abrams/Luther Burbank Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"It's a Do List special on the North Bay arts scene after it was devastated by wildfires, recorded at the Luther Burbank Center in Santa Rosa.","status":"publish","parent":0,"modified":1705029048,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":324},"headData":{"title":"On the Air: Cy and Gabe's Do List Picks for Nov. 24, 2017 | KQED","description":"It's a Do List special on the North Bay arts scene after it was devastated by wildfires, recorded at the Luther Burbank Center in Santa Rosa.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and Gabe's Do List Picks for Nov. 24, 2017","datePublished":"2017-11-22T17:00:31-08:00","dateModified":"2024-01-11T19:10:48-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2017/11/TheDoListPodcastforNovember242017.mp3","sticky":false,"path":"/arts/13815554/on-the-air-cy-and-gabes-do-list-picks-for-nov-24-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve offering a special Thanksgiving Do List for you this week, recorded at the Luther Burbank Center for the Arts in Santa Rosa. Consider it a treat, like pie for breakfast.\u003c/p>\n\u003cp>My co-host, KQED Arts Senior Editor Gabe Meline, and I focused on how arts organizations are helping the community recover after the North Bay fires. That’s something to give thanks for, and we’re thankful you’re tuning in to our show via the radio and podcast.\u003c/p>\n\u003cp>\u003cstrong>Nov. 26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VY5G\" target=\"_blank\" rel=\"noopener\">Dwight Yoakam and other artists play the badly singed but reopened Luther Burbank Center in Santa Rosa, and other artists crowd the schedule over the next few weeks.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-4:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13815735&action=edit\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony continues its search for a new permanent conductor with a concert featuring Ravel and Rachmaninoff\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec 11:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VY6A\" target=\"_blank\" rel=\"noopener\">The Redwood Barn at Gundlach Bundschu Winery hosts a fire benefit featuring singer and Napa native Olivia O’Brien\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 24-Dec. 17: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VY6I\" target=\"_blank\" rel=\"noopener\">The French style Cirque du Boheme offers a message of hope for children and adults at Cornerstone Sonoma\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25-Dec 30: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VY73\" target=\"_blank\" rel=\"noopener\">The di Rosa Center for Contemporary Art postpones a show, but offers free Saturday arts workshops for all ages through the end of the year\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 28-Dec. 12:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VY6J\" target=\"_blank\" rel=\"noopener\">The Grouch tours the Bay Area with a stop at the Mystic Theatre in Petaluma, a venue that welcomed fire evacuees.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 25-Dec. 30:\u003c/strong> \u003ca href=\"https://www.facebook.com/3rdStreetCinemas/?hc_ref=ARQ8u12YJvMkSY9DINtYlIPkfpQVsEUkpW8cfc88bDg-VHqJOYaGyLXsaDKkWK_zlUg&fref=nf\" target=\"_blank\" rel=\"noopener\">Free Saturday movies for kids at Sonoma’s Third Street Cinemas, starting with \u003cem>The Peanuts Movie\u003c/em> Nov. 25\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 24- Dec. 3:\u003c/strong> \u003ca href=\"http://www.tandybeal.com/joy/\" target=\"_blank\" rel=\"noopener\">Cirque du Soleil and Pickle Family Circus alumni Jeff Raz and Diane Wasnak star in a circus show produced by Tandy Beal in Santa Cruz and San Jose\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13815695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-800x450.jpg\" alt=\"KQED's Gabe Meline, Luther Burbank's Rick Nowlin, and KQED's Cy Musiker on the stage at the Luther Burbank Center\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_E3965-1-e1511387128515-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Gabe Meline, Luther Burbank’s Rick Nowlin, and KQED’s Cy Musiker on the stage at the Luther Burbank Center \u003ccite>(Photo: Anne Abrams/Luther Burbank Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13815554/on-the-air-cy-and-gabes-do-list-picks-for-nov-24-2017","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_70"],"tags":["arts_7534","arts_1118","arts_1006","arts_831","arts_2763","arts_3204","arts_2960","arts_2822","arts_3206","arts_1334","arts_1486"],"featImg":"arts_13815686","label":"arts_140"},"arts_13815735":{"type":"posts","id":"arts_13815735","meta":{"index":"posts_1591205157","site":"arts","id":"13815735","score":null,"sort":[1511395970000]},"guestAuthors":[],"slug":"the-santa-rosa-symphony-continues-its-hunt-for-a-new-conductor","title":"The Santa Rosa Symphony Continues its Hunt for a New Conductor","publishDate":1511395970,"format":"standard","headTitle":"The Santa Rosa Symphony Continues its Hunt for a New Conductor | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The Santa Rosa Symphony had a terrific run under the leadership of Music Director Bruno Ferrandis, but this season they’re testing out conductors for a permanent replacement. Maryland born Andrew Grams, also music director of the Elgin Symphony Orchestra, leads the orchestra in a program that includes a Ravel piano concerto. Stewart Goodyear is the soloist, and he released a gorgeous collection of Ravel’s piano sonatas earlier this year. My co-host Gabe Meline noted Grams will also lead the symphony in one of his personal favorites: Rachmaninoff’s “Symphonic Dances.” And for the rest of the 2017-2018 season, the symphony is offering free tickets to first responders and those who lost their homes in the North Bay Fires. \u003ca href=\"http://srsymphony.org/EventDetail/99\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Santa Rosa Symphony continues its search for a new music director, with concerts led by Andrew Grams and piano soloist Stewart Goodyear","status":"publish","parent":0,"modified":1705029054,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":131},"headData":{"title":"The Santa Rosa Symphony Continues its Hunt for a New Conductor | KQED","description":"The Santa Rosa Symphony continues its search for a new music director, with concerts led by Andrew Grams and piano soloist Stewart Goodyear","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Santa Rosa Symphony Continues its Hunt for a New Conductor","datePublished":"2017-11-22T16:12:50-08:00","dateModified":"2024-01-11T19:10:54-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13815735/the-santa-rosa-symphony-continues-its-hunt-for-a-new-conductor","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Santa Rosa Symphony had a terrific run under the leadership of Music Director Bruno Ferrandis, but this season they’re testing out conductors for a permanent replacement. Maryland born Andrew Grams, also music director of the Elgin Symphony Orchestra, leads the orchestra in a program that includes a Ravel piano concerto. Stewart Goodyear is the soloist, and he released a gorgeous collection of Ravel’s piano sonatas earlier this year. My co-host Gabe Meline noted Grams will also lead the symphony in one of his personal favorites: Rachmaninoff’s “Symphonic Dances.” And for the rest of the 2017-2018 season, the symphony is offering free tickets to first responders and those who lost their homes in the North Bay Fires. \u003ca href=\"http://srsymphony.org/EventDetail/99\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13815735/the-santa-rosa-symphony-continues-its-hunt-for-a-new-conductor","authors":["32"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1006","arts_596","arts_2960"],"featImg":"arts_13815741","label":"arts_140"},"arts_13813336":{"type":"posts","id":"arts_13813336","meta":{"index":"posts_1591205157","site":"arts","id":"13813336","score":null,"sort":[1509586784000]},"guestAuthors":[],"slug":"on-the-air-cy-and-a-lans-do-list-picks-for-nov-3-2017","title":"On the Air: Cy and A-lan's Do List Picks for Nov. 3, 2017","publishDate":1509586784,"format":"audio","headTitle":"On the Air: Cy and A-lan’s Do List Picks for Nov. 3, 2017 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Cy Musiker and A-lan Holt feature benefits for North Bay fire relief, with a festival of big ideas, a jazz band, Tchaikovsky, and two hot new singers.","status":"publish","parent":0,"modified":1705029195,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":326},"headData":{"title":"On the Air: Cy and A-lan's Do List Picks for Nov. 3, 2017 | KQED","description":"Cy Musiker and A-lan Holt feature benefits for North Bay fire relief, with a festival of big ideas, a jazz band, Tchaikovsky, and two hot new singers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy and A-lan's Do List Picks for Nov. 3, 2017","datePublished":"2017-11-01T18:39:44-07:00","dateModified":"2024-01-11T19:13:15-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2017/11/TDL20171103PodcastVersion.mp3","sticky":false,"path":"/arts/13813336/on-the-air-cy-and-a-lans-do-list-picks-for-nov-3-2017","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13813336/on-the-air-cy-and-a-lans-do-list-picks-for-nov-3-2017","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_966","arts_74","arts_69","arts_967","arts_70"],"tags":["arts_2839","arts_1118","arts_977","arts_2520","arts_2968","arts_1694","arts_596","arts_2960","arts_626"],"featImg":"arts_13813337","label":"arts_140"},"arts_13813375":{"type":"posts","id":"arts_13813375","meta":{"index":"posts_1591205157","site":"arts","id":"13813375","score":null,"sort":[1509584980000]},"guestAuthors":[],"slug":"the-santa-rosa-symphony-turns-to-healing-and-transformation","title":"The Santa Rosa Symphony Turns to Healing and Transformation","publishDate":1509584980,"format":"standard","headTitle":"The Santa Rosa Symphony Turns to Healing and Transformation | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The Santa Rosa Symphony historian Kayleen Asbo made a series of videos weeks ago about this season’s concerts, but her comments introducing the shows this weekend are more timely than ever. “This particular program,” she says on YouTube, “is one that explores the power of music to heal and transform. I like to call it the light in the darkness.” Mei Ann Chen conducts Shostakovich’s Festive Overture, a piece with the power to inspire new resolve to those in despair, after the North Bay fires, plus Tchaikovsky’s Piano Concerto No. 1 with soloist \u003ca href=\"http://arghamanyan.com/\" target=\"_blank\" rel=\"noopener\">Nareh Arghamanyan\u003c/a>. The Santa Rosa Symphony is dedicating its season to first responders and those who’ve lost homes in the fires, both groups of which qualify for free tickets for the remainder of the season. \u003ca href=\"http://srsymphony.org/EventDetail/98\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FeDNMALavf8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"For the remainder of the season, first responders and those who lost their homes can receive free tickets to the Santa Rosa Symphony.","status":"publish","parent":0,"modified":1705029202,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":153},"headData":{"title":"The Santa Rosa Symphony Turns to Healing and Transformation | KQED","description":"For the remainder of the season, first responders and those who lost their homes can receive free tickets to the Santa Rosa Symphony.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Santa Rosa Symphony Turns to Healing and Transformation","datePublished":"2017-11-01T18:09:40-07:00","dateModified":"2024-01-11T19:13:22-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13813375/the-santa-rosa-symphony-turns-to-healing-and-transformation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Santa Rosa Symphony historian Kayleen Asbo made a series of videos weeks ago about this season’s concerts, but her comments introducing the shows this weekend are more timely than ever. “This particular program,” she says on YouTube, “is one that explores the power of music to heal and transform. I like to call it the light in the darkness.” Mei Ann Chen conducts Shostakovich’s Festive Overture, a piece with the power to inspire new resolve to those in despair, after the North Bay fires, plus Tchaikovsky’s Piano Concerto No. 1 with soloist \u003ca href=\"http://arghamanyan.com/\" target=\"_blank\" rel=\"noopener\">Nareh Arghamanyan\u003c/a>. The Santa Rosa Symphony is dedicating its season to first responders and those who’ve lost homes in the fires, both groups of which qualify for free tickets for the remainder of the season. \u003ca href=\"http://srsymphony.org/EventDetail/98\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FeDNMALavf8'\n title='//www.youtube.com/embed/FeDNMALavf8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13813375/the-santa-rosa-symphony-turns-to-healing-and-transformation","authors":["32"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_2520","arts_596","arts_2960","arts_626","arts_2726"],"featImg":"arts_13813382","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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