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"bio": "Shannon Faulise is a graduate of the UC Berkeley Graduate School of Journalism, where she concentrated on photojournalism and feature writing. Shannon's photos, audio pieces and written stories have appeared in The Oaklandside, The Redwood City Pulse and KALX. Outside of reporting, Shannon loves kpop, women's sports and concerts. She served as an intern for KQED Arts & Culture in 2024–25.",
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"slug": "best-jazz-classical-concerts-bay-area-fall-2026",
"title": "The Best Jazz and Classical Concerts in the Bay Area This Fall",
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"content": "\n\u003cp>It’s a ripe year for \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a> in the Bay Area. While this year marks the centennials of two jazz giants, Miles Davis and John Coltrane, the jazz on offer this fall extends beyond tribute performances of “So What” and “Giant Steps.”\u003cbr>\u003cbr>And it’s an exciting year for the local \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a> landscape, with a \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">dynamic new conductor\u003c/a> in San Francisco. Even the smaller regional orchestras are programming world premieres, catering to the historic hunger from Bay Area audiences for the fresh and new. \u003cbr>\u003cbr>Here’s a select list of some of the season’s best bets in jazz and classical.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114.jpg\" alt=\"\" class=\"wp-image-13993546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Christian McBride. (Ebru Yildiz)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfjazz.org/calendar/?date=2026-09-10&layout=A&artists=Christian%20McBride\">Christian McBride\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–13\u003c/em>, \u003cem>2026\u003c/em>\u003cbr>\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The esteemed bassist and host of NPR’s \u003cem>\u003ca href=\"https://www.npr.org/series/347139849/jazz-night-in-america\">Jazz Night in America\u003c/a>\u003c/em> swings through town with two configurations. One is a tribute to the great bassist Ray Brown, in a trio with the pianist Benny Green, who played hundreds of gigs alongside Brown. McBride’s quintet Ursa Major, meanwhile, leans to the future, with a group of the next generation’s sparkling talents (including Oakland’s own Savannah Harris on drums).\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo.jpg\" alt=\"\" class=\"wp-image-13993547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat. (Laura Scaccabarozzi)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003ca href=\"https://www.sfopera.com/operas/simon-boccanegra/\">Simon Boccanegra\u003c/a>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12–27, 2026 \u003cbr>War Memorial Opera House, San Francisco\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cp>Before the perennial performance of \u003ca href=\"https://www.sfopera.com/operainthepark\">Opera in the Park\u003c/a>, SF Opera opens its season with this underperformed opera by Giuseppe Verdi, a stirring exploration of a splintered family and a divided republic. With the remarkable conductor Eun Sun Kim at the podium, and with Amartuvshin Enkhbat in the title role, expect to be moved.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1.jpg\" alt=\"\" class=\"wp-image-13993548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Kamasi Washington. (Vincent Haycock)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://yoshis.com/events/sold-out/kamasi-washington/detail\">Kamasi Washington\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13 and 14, 2026\u003cbr>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\n\n\n\u003cp>There may be no finer torchbearer of the spiritual jazz era than this tenor saxophonist, who routinely conjures moments of transcendence with his longtime bandmates. Considering Washington’s most recent visit to the Bay Area was a sold-out concert at the 2,300-capacity Golden Gate Theater, these intimate club dates should be especially special.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1118\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane.jpg\" alt=\"\" class=\"wp-image-13993549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-1536x859.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Ravi Coltrane. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ravicoltrane.com/tour-dates/\">Ravi Coltrane\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19, UC Theatre, Berkeley\u003c/em>\u003cbr>\u003cem>Sept. 20, Raven Theater, Healdsburg\u003c/em>\u003c/p>\n\n\n\n\u003cp>The oldest son of jazz demigod John Coltrane has always kept one foot out of his father’s shadow, but in this, the elder Coltrane’s centennial year, he indulges his family history. For this program of Coltrane’s timeless music, with a quintet including Jonathan Finlayson, Gadi Lehavi and Elé Howell, anticipate fire and beauty in equal measure.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard.jpg\" alt=\"\" class=\"wp-image-13993560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-1536x945.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jennifer Higdon. (Andrew Bogard)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.californiasymphony.org/shows/sibelius-higdon-and-bartok/\">American Connections\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26 and 27, 2026 \u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Lesher Center for the Arts, Walnut Creek\u003c/em>\u003c/p>\n\n\n\n\u003cp>This year’s celebrations for the United States’ 250th anniversary have seen a flood of programming filled with Ives, Gershwin and Copland; the California Symphony, meanwhile, highlights Sibelius’ \u003cem>The Oceanides\u003c/em>, written during the composer’s only trip to the states. It’s paired here with American composer Jennifer Higdon’s cello concerto, performed by Julian Schwarz, and Bartok’s Concerto for Orchestra.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080.jpg\" alt=\"\" class=\"wp-image-13993550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Renée Fleming. (Andrew Eccles)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Renee-Fleming-Strauss\">Renée Fleming\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 1, 3 and 4, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The soprano Renée Fleming needs no introduction, and perhaps her interpretations of the songs of Richard Strauss don’t either. Suffice it to say that her long relationship with Strauss’ \u003cem>Four Last Songs\u003c/em> provides repeated moments of contemplation and emotional depth for one’s life — and its end. Also on the program is Strauss’ \u003cem>Ein Heldenleben\u003c/em>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg\" alt=\"\" class=\"wp-image-13993559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Ann Toomey as Sister Angelica with the Berlin Philharmonic in 2020. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://livermorevalleyopera.com/suor-angelica/\">Suor Angelica\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 3–11, 2026\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Bankhead Theater, Livermore\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>\u003cbr>\u003c/em>Set in a convent, Puccini’s luminous one-act features a rare all-female cast. At Livermore Opera, that cast is led by Ann Toomey as Sister Angelica, who wrestles with family estrangement and worldly desires — and sings the moving aria “Senza mamma.” Part of Puccini’s “triptych” of lesser-performed one-acts, \u003cem>Suor Angelica\u003c/em> remains rewarding.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" class=\"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=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Francesco Lecce-Chong. (Susan and Neil Silverman Photography)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.srsymphony.org/event/twist-of-fate/\">Twist of Fate\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 10–12, 2026\u003cbr>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\n\n\n\u003cp>In the Santa Rosa Symphony’s season opener, Music Director Francesco Lecce-Chong returns to the first piece he performed with the orchestra, nine years ago: Tchaikovsky’s Symphony No. 4. Liszt’s Piano Concerto No. 1 is in the capable hands of Maxim Lando, hailed in \u003cem>The New York Times\u003c/em> for his “brilliance and infectious exuberance,” and a world premiere of Matt Browne’s \u003cem>Divertimento for Orchestra\u003c/em> rounds out the program.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool.jpg\" alt=\"\" class=\"wp-image-13993551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool-1536x1083.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Bang on a Can All-Stars. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://calperformances.org/events/2026-27/new-music/steve-reich-at-90-a-birthday-celebration-bang-on-a-can-all-stars-ensemble-signal/\">Steve Reich at 90\u003c/a> \u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 24, 2026 \u003cbr>Zellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>With the dubious honor of being \u003ca href=\"https://pitchfork.com/news/69512-donald-trump-on-steve-reich-hes-a-great-example-of-an-innovator/\">one of the few musicians praised by Donald Trump\u003c/a> (or maybe just his \u003ca href=\"https://en.wikipedia.org/wiki/Meredith_McIver\">ghostwriter\u003c/a>, who even knows), Steve Reich turns 90 this year. Presented by \u003ca href=\"https://calperformances.org/\">Cal Performances\u003c/a> in Berkeley, the New York ensemble Bang on a Can All Stars perform his \u003cem>Electric Counterpoint\u003c/em>, Double Sextet and a new Cal Performances co-commission, \u003cem>In All Your Ways\u003c/em>. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver.jpg\" alt=\"\" class=\"wp-image-13993552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Charles Tolliver. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/26-27/charles-tolliver-africa-brass/\">Charles Tolliver\u003c/a>\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 25, 2026\u003cbr>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>It’s been ages since trumpeter Charles Tolliver last performed in the Bay Area, and in the years since, the record label he co-founded in the 1970s, Strata East, has undergone a massive renaissance. Which makes it curious that, instead of performing his own music, he’s in town for a tribute to John Coltrane’s \u003cem>Africa/Brass\u003c/em> album. Ever original, he’ll surely put his own stamp on the big-band compositions. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg\" alt=\"A young Asian woman stands, arms outstretched, holding a baton in front of a symphony orchestra\" class=\"wp-image-13990510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Elim Chan with the San Francisco Symphony. (Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Doctor-Atomic-and-Mendelssohn-OR\">Elim Chan Conducts Adams and Mendelssohn\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 29–Nov. 1, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>In her first appearance since \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">a triumphant welcome concert in June\u003c/a>, the first woman to lead the San Francisco Symphony conducts Brahms and Mendelssohn alongside two contemporary pieces: Arvo Pärt’s \u003cem>Magnificat\u003c/em> and John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony. Chan is openly enamored of Adams, and her ease with soft tenderness should serve Pärt’s music well. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio.jpg\" alt=\"\" class=\"wp-image-13993553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The Marcus Roberts Trio. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>\u003ca href=\"https://www.ncco.org/concert-season/groove-with-marcus-roberts-trio\">Marcus Roberts Trio with the New Century Chamber Orchestra\u003c/a>\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Nov. 5–8, 2026\u003cbr>Various venues\u003c/em>\u003c/p>\n\n\n\n\u003cp>The Bay Area’s conductorless New Century Chamber Orchestra teams up with jazz pianist Marcus Roberts and his trio for a joint performance of Ellington and Gershwin. Adding plenty to the program are newer pieces by Caroline Shaw and Rhiannon Giddens. Roberts and the orchestra were a hot ticket in 2019; catch them this year across four dates in Berkeley, Mountain View, San Francisco and San Rafael.\u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s a ripe year for \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a> in the Bay Area. While this year marks the centennials of two jazz giants, Miles Davis and John Coltrane, the jazz on offer this fall extends beyond tribute performances of “So What” and “Giant Steps.”\u003cbr>\u003cbr>And it’s an exciting year for the local \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a> landscape, with a \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">dynamic new conductor\u003c/a> in San Francisco. Even the smaller regional orchestras are programming world premieres, catering to the historic hunger from Bay Area audiences for the fresh and new. \u003cbr>\u003cbr>Here’s a select list of some of the season’s best bets in jazz and classical.\u003c/p>\n",
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"\n\u003cp>It’s a ripe year for \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a> in the Bay Area. While this year marks the centennials of two jazz giants, Miles Davis and John Coltrane, the jazz on offer this fall extends beyond tribute performances of “So What” and “Giant Steps.”\u003cbr>\u003cbr>And it’s an exciting year for the local \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a> landscape, with a \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">dynamic new conductor\u003c/a> in San Francisco. Even the smaller regional orchestras are programming world premieres, catering to the historic hunger from Bay Area audiences for the fresh and new. \u003cbr>\u003cbr>Here’s a select list of some of the season’s best bets in jazz and classical.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114.jpg\" alt=\"\" class=\"wp-image-13993546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-1200x675.jpg 1200w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Christian McBride.\u003ccite class=\"wp-inline-image-credit\"> (Ebru Yildiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114.jpg\" alt=\"\" class=\"wp-image-13993546\"/>\u003cfigcaption class=\"wp-element-caption\">Christian McBride.\u003ccite class=\"wp-inline-image-credit\"> (Ebru Yildiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfjazz.org/calendar/?date=2026-09-10&layout=A&artists=Christian%20McBride\">Christian McBride\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfjazz.org/calendar/?date=2026-09-10&layout=A&artists=Christian%20McBride\">Christian McBride\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 10–13\u003c/em>, \u003cem>2026\u003c/em>\u003cbr>\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 10–13\u003c/em>, \u003cem>2026\u003c/em>\u003cbr>\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The esteemed bassist and host of NPR’s \u003cem>\u003ca href=\"https://www.npr.org/series/347139849/jazz-night-in-america\">Jazz Night in America\u003c/a>\u003c/em> swings through town with two configurations. One is a tribute to the great bassist Ray Brown, in a trio with the pianist Benny Green, who played hundreds of gigs alongside Brown. McBride’s quintet Ursa Major, meanwhile, leans to the future, with a group of the next generation’s sparkling talents (including Oakland’s own Savannah Harris on drums).\u003c/p>\n",
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"\n\u003cp>The esteemed bassist and host of NPR’s \u003cem>\u003ca href=\"https://www.npr.org/series/347139849/jazz-night-in-america\">Jazz Night in America\u003c/a>\u003c/em> swings through town with two configurations. One is a tribute to the great bassist Ray Brown, in a trio with the pianist Benny Green, who played hundreds of gigs alongside Brown. McBride’s quintet Ursa Major, meanwhile, leans to the future, with a group of the next generation’s sparkling talents (including Oakland’s own Savannah Harris on drums).\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo.jpg\" alt=\"\" class=\"wp-image-13993547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat.\u003ccite class=\"wp-inline-image-credit\"> (Laura Scaccabarozzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo.jpg\" alt=\"\" class=\"wp-image-13993547\"/>\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat.\u003ccite class=\"wp-inline-image-credit\"> (Laura Scaccabarozzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003ca href=\"https://www.sfopera.com/operas/simon-boccanegra/\">Simon Boccanegra\u003c/a>’\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 12–27, 2026 \u003cbr>War Memorial Opera House, San Francisco\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 12–27, 2026 \u003cbr>War Memorial Opera House, San Francisco\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Before the perennial performance of \u003ca href=\"https://www.sfopera.com/operainthepark\">Opera in the Park\u003c/a>, SF Opera opens its season with this underperformed opera by Giuseppe Verdi, a stirring exploration of a splintered family and a divided republic. With the remarkable conductor Eun Sun Kim at the podium, and with Amartuvshin Enkhbat in the title role, expect to be moved.\u003c/p>\n",
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"\n\u003cp>Before the perennial performance of \u003ca href=\"https://www.sfopera.com/operainthepark\">Opera in the Park\u003c/a>, SF Opera opens its season with this underperformed opera by Giuseppe Verdi, a stirring exploration of a splintered family and a divided republic. With the remarkable conductor Eun Sun Kim at the podium, and with Amartuvshin Enkhbat in the title role, expect to be moved.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1.jpg\" alt=\"\" class=\"wp-image-13993548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Kamasi Washington. \u003ccite class=\"wp-inline-image-credit\"> (Vincent Haycock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1.jpg\" alt=\"\" class=\"wp-image-13993548\"/>\u003cfigcaption class=\"wp-element-caption\">Kamasi Washington. \u003ccite class=\"wp-inline-image-credit\"> (Vincent Haycock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://yoshis.com/events/sold-out/kamasi-washington/detail\">Kamasi Washington\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 13 and 14, 2026\u003cbr>Yoshi’s, Oakland\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>There may be no finer torchbearer of the spiritual jazz era than this tenor saxophonist, who routinely conjures moments of transcendence with his longtime bandmates. Considering Washington’s most recent visit to the Bay Area was a sold-out concert at the 2,300-capacity Golden Gate Theater, these intimate club dates should be especially special.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane.jpg\" alt=\"\" class=\"wp-image-13993549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-1536x859.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Ravi Coltrane.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane.jpg\" alt=\"\" class=\"wp-image-13993549\"/>\u003cfigcaption class=\"wp-element-caption\">Ravi Coltrane.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ravicoltrane.com/tour-dates/\">Ravi Coltrane\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ravicoltrane.com/tour-dates/\">Ravi Coltrane\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 19, UC Theatre, Berkeley\u003c/em>\u003cbr>\u003cem>Sept. 20, Raven Theater, Healdsburg\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 19, UC Theatre, Berkeley\u003c/em>\u003cbr>\u003cem>Sept. 20, Raven Theater, Healdsburg\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The oldest son of jazz demigod John Coltrane has always kept one foot out of his father’s shadow, but in this, the elder Coltrane’s centennial year, he indulges his family history. For this program of Coltrane’s timeless music, with a quintet including Jonathan Finlayson, Gadi Lehavi and Elé Howell, anticipate fire and beauty in equal measure.\u003c/p>\n",
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"\n\u003cp>The oldest son of jazz demigod John Coltrane has always kept one foot out of his father’s shadow, but in this, the elder Coltrane’s centennial year, he indulges his family history. For this program of Coltrane’s timeless music, with a quintet including Jonathan Finlayson, Gadi Lehavi and Elé Howell, anticipate fire and beauty in equal measure.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard.jpg\" alt=\"\" class=\"wp-image-13993560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-1536x945.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Jennifer Higdon.\u003ccite class=\"wp-inline-image-credit\"> (Andrew Bogard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard.jpg\" alt=\"\" class=\"wp-image-13993560\"/>\u003cfigcaption class=\"wp-element-caption\">Jennifer Higdon.\u003ccite class=\"wp-inline-image-credit\"> (Andrew Bogard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "‘American Connections’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.californiasymphony.org/shows/sibelius-higdon-and-bartok/\">American Connections\u003c/a>’\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.californiasymphony.org/shows/sibelius-higdon-and-bartok/\">American Connections\u003c/a>’\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Sept. 26 and 27, 2026 \u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Lesher Center for the Arts, Walnut Creek\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Sept. 26 and 27, 2026 \u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Lesher Center for the Arts, Walnut Creek\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>This year’s celebrations for the United States’ 250th anniversary have seen a flood of programming filled with Ives, Gershwin and Copland; the California Symphony, meanwhile, highlights Sibelius’ \u003cem>The Oceanides\u003c/em>, written during the composer’s only trip to the states. It’s paired here with American composer Jennifer Higdon’s cello concerto, performed by Julian Schwarz, and Bartok’s Concerto for Orchestra.\u003c/p>\n",
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"\n\u003cp>This year’s celebrations for the United States’ 250th anniversary have seen a flood of programming filled with Ives, Gershwin and Copland; the California Symphony, meanwhile, highlights Sibelius’ \u003cem>The Oceanides\u003c/em>, written during the composer’s only trip to the states. It’s paired here with American composer Jennifer Higdon’s cello concerto, performed by Julian Schwarz, and Bartok’s Concerto for Orchestra.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080.jpg\" alt=\"\" class=\"wp-image-13993550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Renée Fleming.\u003ccite class=\"wp-inline-image-credit\"> (Andrew Eccles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080.jpg\" alt=\"\" class=\"wp-image-13993550\"/>\u003cfigcaption class=\"wp-element-caption\">Renée Fleming.\u003ccite class=\"wp-inline-image-credit\"> (Andrew Eccles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Renée Fleming",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Renee-Fleming-Strauss\">Renée Fleming\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Renee-Fleming-Strauss\">Renée Fleming\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 1, 3 and 4, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 1, 3 and 4, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>The soprano Renée Fleming needs no introduction, and perhaps her interpretations of the songs of Richard Strauss don’t either. Suffice it to say that her long relationship with Strauss’ \u003cem>Four Last Songs\u003c/em> provides repeated moments of contemplation and emotional depth for one’s life — and its end. Also on the program is Strauss’ \u003cem>Ein Heldenleben\u003c/em>.\u003c/p>\n",
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"\n\u003cp>The soprano Renée Fleming needs no introduction, and perhaps her interpretations of the songs of Richard Strauss don’t either. Suffice it to say that her long relationship with Strauss’ \u003cem>Four Last Songs\u003c/em> provides repeated moments of contemplation and emotional depth for one’s life — and its end. Also on the program is Strauss’ \u003cem>Ein Heldenleben\u003c/em>.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1200x675.jpg 1200w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg\" alt=\"\" class=\"wp-image-13993559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1200x675.jpg 1200w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Ann Toomey as Sister Angelica with the Berlin Philharmonic in 2020.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg\" alt=\"\" class=\"wp-image-13993559\"/>\u003cfigcaption class=\"wp-element-caption\">Ann Toomey as Sister Angelica with the Berlin Philharmonic in 2020.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "‘Suor Angelica’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://livermorevalleyopera.com/suor-angelica/\">Suor Angelica\u003c/a>’\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://livermorevalleyopera.com/suor-angelica/\">Suor Angelica\u003c/a>’\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 3–11, 2026\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Bankhead Theater, Livermore\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>\u003cbr>\u003c/em>Set in a convent, Puccini’s luminous one-act features a rare all-female cast. At Livermore Opera, that cast is led by Ann Toomey as Sister Angelica, who wrestles with family estrangement and worldly desires — and sings the moving aria “Senza mamma.” Part of Puccini’s “triptych” of lesser-performed one-acts, \u003cem>Suor Angelica\u003c/em> remains rewarding.\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 3–11, 2026\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Bankhead Theater, Livermore\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>\u003cbr>\u003c/em>Set in a convent, Puccini’s luminous one-act features a rare all-female cast. At Livermore Opera, that cast is led by Ann Toomey as Sister Angelica, who wrestles with family estrangement and worldly desires — and sings the moving aria “Senza mamma.” Part of Puccini’s “triptych” of lesser-performed one-acts, \u003cem>Suor Angelica\u003c/em> remains rewarding.\u003c/p>\n"
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"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",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" class=\"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=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Francesco Lecce-Chong. \u003ccite class=\"wp-inline-image-credit\"> (Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" class=\"wp-image-13958056\"/>\u003cfigcaption class=\"wp-element-caption\">Francesco Lecce-Chong. \u003ccite class=\"wp-inline-image-credit\"> (Susan and Neil Silverman Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"attrs": {
"text": "‘Twist of Fate’",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.srsymphony.org/event/twist-of-fate/\">Twist of Fate\u003c/a>’\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.srsymphony.org/event/twist-of-fate/\">Twist of Fate\u003c/a>’\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 10–12, 2026\u003cbr>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>In the Santa Rosa Symphony’s season opener, Music Director Francesco Lecce-Chong returns to the first piece he performed with the orchestra, nine years ago: Tchaikovsky’s Symphony No. 4. Liszt’s Piano Concerto No. 1 is in the capable hands of Maxim Lando, hailed in \u003cem>The New York Times\u003c/em> for his “brilliance and infectious exuberance,” and a world premiere of Matt Browne’s \u003cem>Divertimento for Orchestra\u003c/em> rounds out the program.\u003c/p>\n",
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"text": "Steve Reich at 90",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://calperformances.org/events/2026-27/new-music/steve-reich-at-90-a-birthday-celebration-bang-on-a-can-all-stars-ensemble-signal/\">Steve Reich at 90\u003c/a> \u003c/h2>\n",
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"innerHTML": "\n\u003cp>\u003cem>Oct. 24, 2026 \u003cbr>Zellerbach Hall, Berkeley\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 24, 2026 \u003cbr>Zellerbach Hall, Berkeley\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>With the dubious honor of being \u003ca href=\"https://pitchfork.com/news/69512-donald-trump-on-steve-reich-hes-a-great-example-of-an-innovator/\">one of the few musicians praised by Donald Trump\u003c/a> (or maybe just his \u003ca href=\"https://en.wikipedia.org/wiki/Meredith_McIver\">ghostwriter\u003c/a>, who even knows), Steve Reich turns 90 this year. Presented by \u003ca href=\"https://calperformances.org/\">Cal Performances\u003c/a> in Berkeley, the New York ensemble Bang on a Can All Stars perform his \u003cem>Electric Counterpoint\u003c/em>, Double Sextet and a new Cal Performances co-commission, \u003cem>In All Your Ways\u003c/em>. \u003c/p>\n",
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"\n\u003cp>With the dubious honor of being \u003ca href=\"https://pitchfork.com/news/69512-donald-trump-on-steve-reich-hes-a-great-example-of-an-innovator/\">one of the few musicians praised by Donald Trump\u003c/a> (or maybe just his \u003ca href=\"https://en.wikipedia.org/wiki/Meredith_McIver\">ghostwriter\u003c/a>, who even knows), Steve Reich turns 90 this year. Presented by \u003ca href=\"https://calperformances.org/\">Cal Performances\u003c/a> in Berkeley, the New York ensemble Bang on a Can All Stars perform his \u003cem>Electric Counterpoint\u003c/em>, Double Sextet and a new Cal Performances co-commission, \u003cem>In All Your Ways\u003c/em>. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver.jpg\" alt=\"\" class=\"wp-image-13993552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-1200x675.jpg 1200w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Charles Tolliver.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver.jpg\" alt=\"\" class=\"wp-image-13993552\"/>\u003cfigcaption class=\"wp-element-caption\">Charles Tolliver.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Charles Tolliver",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/26-27/charles-tolliver-africa-brass/\">Charles Tolliver\u003c/a>\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/26-27/charles-tolliver-africa-brass/\">Charles Tolliver\u003c/a>\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 25, 2026\u003cbr>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>It’s been ages since trumpeter Charles Tolliver last performed in the Bay Area, and in the years since, the record label he co-founded in the 1970s, Strata East, has undergone a massive renaissance. Which makes it curious that, instead of performing his own music, he’s in town for a tribute to John Coltrane’s \u003cem>Africa/Brass\u003c/em> album. Ever original, he’ll surely put his own stamp on the big-band compositions. \u003c/p>\n",
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"\n\u003cp>It’s been ages since trumpeter Charles Tolliver last performed in the Bay Area, and in the years since, the record label he co-founded in the 1970s, Strata East, has undergone a massive renaissance. Which makes it curious that, instead of performing his own music, he’s in town for a tribute to John Coltrane’s \u003cem>Africa/Brass\u003c/em> album. Ever original, he’ll surely put his own stamp on the big-band compositions. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg\" alt=\"A young Asian woman stands, arms outstretched, holding a baton in front of a symphony orchestra\" class=\"wp-image-13990510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Elim Chan with the San Francisco Symphony.\u003ccite class=\"wp-inline-image-credit\"> (Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg\" alt=\"A young Asian woman stands, arms outstretched, holding a baton in front of a symphony orchestra\" class=\"wp-image-13990510\"/>\u003cfigcaption class=\"wp-element-caption\">Elim Chan with the San Francisco Symphony.\u003ccite class=\"wp-inline-image-credit\"> (Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"text": "Elim Chan Conducts Adams and Mendelssohn",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Doctor-Atomic-and-Mendelssohn-OR\">Elim Chan Conducts Adams and Mendelssohn\u003c/a>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Doctor-Atomic-and-Mendelssohn-OR\">Elim Chan Conducts Adams and Mendelssohn\u003c/a>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>\u003cem>Oct. 29–Nov. 1, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>Oct. 29–Nov. 1, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n"
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"innerHTML": "\n\u003cp>In her first appearance since \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">a triumphant welcome concert in June\u003c/a>, the first woman to lead the San Francisco Symphony conducts Brahms and Mendelssohn alongside two contemporary pieces: Arvo Pärt’s \u003cem>Magnificat\u003c/em> and John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony. Chan is openly enamored of Adams, and her ease with soft tenderness should serve Pärt’s music well. \u003c/p>\n",
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"\n\u003cp>In her first appearance since \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">a triumphant welcome concert in June\u003c/a>, the first woman to lead the San Francisco Symphony conducts Brahms and Mendelssohn alongside two contemporary pieces: Arvo Pärt’s \u003cem>Magnificat\u003c/em> and John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony. Chan is openly enamored of Adams, and her ease with soft tenderness should serve Pärt’s music well. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio.jpg\" alt=\"\" class=\"wp-image-13993553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The Marcus Roberts Trio.\u003ccite class=\"wp-inline-image-credit\"> (Courtesy the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>The Bay Area’s conductorless New Century Chamber Orchestra teams up with jazz pianist Marcus Roberts and his trio for a joint performance of Ellington and Gershwin. Adding plenty to the program are newer pieces by Caroline Shaw and Rhiannon Giddens. Roberts and the orchestra were a hot ticket in 2019; catch them this year across four dates in Berkeley, Mountain View, San Francisco and San Rafael.\u003c/p>\n",
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"excerpt": "World premieres, centennial celebrations and other exciting shows are on tap in the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It’s a ripe year for \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a> in the Bay Area. While this year marks the centennials of two jazz giants, Miles Davis and John Coltrane, the jazz on offer this fall extends beyond tribute performances of “So What” and “Giant Steps.”\u003cbr>\u003cbr>And it’s an exciting year for the local \u003ca href=\"https://www.kqed.org/arts/tag/classical-music\">classical music\u003c/a> landscape, with a \u003ca href=\"https://www.kqed.org/arts/13990101/san-francisco-symphony-new-music-director-elim-chan\">dynamic new conductor\u003c/a> in San Francisco. Even the smaller regional orchestras are programming world premieres, catering to the historic hunger from Bay Area audiences for the fresh and new. \u003cbr>\u003cbr>Here’s a select list of some of the season’s best bets in jazz and classical.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114.jpg\" alt=\"\" class=\"wp-image-13993546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Hero_20211209_ChristianMcBride_NewJawn_EbruYildiz_114-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Christian McBride. (Ebru Yildiz)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfjazz.org/calendar/?date=2026-09-10&layout=A&artists=Christian%20McBride\">Christian McBride\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 10–13\u003c/em>, \u003cem>2026\u003c/em>\u003cbr>\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The esteemed bassist and host of NPR’s \u003cem>\u003ca href=\"https://www.npr.org/series/347139849/jazz-night-in-america\">Jazz Night in America\u003c/a>\u003c/em> swings through town with two configurations. One is a tribute to the great bassist Ray Brown, in a trio with the pianist Benny Green, who played hundreds of gigs alongside Brown. McBride’s quintet Ursa Major, meanwhile, leans to the future, with a group of the next generation’s sparkling talents (including Oakland’s own Savannah Harris on drums).\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo.jpg\" alt=\"\" class=\"wp-image-13993547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/merlin_207879450_2e6d72d2-4340-45d1-ade7-359c8cf7d9cf-superJumbo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Amartuvshin Enkhbat. (Laura Scaccabarozzi)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘\u003ca href=\"https://www.sfopera.com/operas/simon-boccanegra/\">Simon Boccanegra\u003c/a>’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 12–27, 2026 \u003cbr>War Memorial Opera House, San Francisco\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\n\n\n\u003cp>Before the perennial performance of \u003ca href=\"https://www.sfopera.com/operainthepark\">Opera in the Park\u003c/a>, SF Opera opens its season with this underperformed opera by Giuseppe Verdi, a stirring exploration of a splintered family and a divided republic. With the remarkable conductor Eun Sun Kim at the podium, and with Amartuvshin Enkhbat in the title role, expect to be moved.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1.jpg\" alt=\"\" class=\"wp-image-13993548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/KW_VincentHaycock_01-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Kamasi Washington. (Vincent Haycock)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://yoshis.com/events/sold-out/kamasi-washington/detail\">Kamasi Washington\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 13 and 14, 2026\u003cbr>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\n\n\n\u003cp>There may be no finer torchbearer of the spiritual jazz era than this tenor saxophonist, who routinely conjures moments of transcendence with his longtime bandmates. Considering Washington’s most recent visit to the Bay Area was a sold-out concert at the 2,300-capacity Golden Gate Theater, these intimate club dates should be especially special.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1118\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane.jpg\" alt=\"\" class=\"wp-image-13993549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/ravi-coltrane-1536x859.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Ravi Coltrane. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://ravicoltrane.com/tour-dates/\">Ravi Coltrane\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 19, UC Theatre, Berkeley\u003c/em>\u003cbr>\u003cem>Sept. 20, Raven Theater, Healdsburg\u003c/em>\u003c/p>\n\n\n\n\u003cp>The oldest son of jazz demigod John Coltrane has always kept one foot out of his father’s shadow, but in this, the elder Coltrane’s centennial year, he indulges his family history. For this program of Coltrane’s timeless music, with a quintet including Jonathan Finlayson, Gadi Lehavi and Elé Howell, anticipate fire and beauty in equal measure.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard.jpg\" alt=\"\" class=\"wp-image-13993560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Jennifer-Higdon-A-Bogard-1536x945.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Jennifer Higdon. (Andrew Bogard)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.californiasymphony.org/shows/sibelius-higdon-and-bartok/\">American Connections\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Sept. 26 and 27, 2026 \u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Lesher Center for the Arts, Walnut Creek\u003c/em>\u003c/p>\n\n\n\n\u003cp>This year’s celebrations for the United States’ 250th anniversary have seen a flood of programming filled with Ives, Gershwin and Copland; the California Symphony, meanwhile, highlights Sibelius’ \u003cem>The Oceanides\u003c/em>, written during the composer’s only trip to the states. It’s paired here with American composer Jennifer Higdon’s cello concerto, performed by Julian Schwarz, and Bartok’s Concerto for Orchestra.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080.jpg\" alt=\"\" class=\"wp-image-13993550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/6_RF_New_DT_1920x1080-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Renée Fleming. (Andrew Eccles)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Renee-Fleming-Strauss\">Renée Fleming\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 1, 3 and 4, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>The soprano Renée Fleming needs no introduction, and perhaps her interpretations of the songs of Richard Strauss don’t either. Suffice it to say that her long relationship with Strauss’ \u003cem>Four Last Songs\u003c/em> provides repeated moments of contemplation and emotional depth for one’s life — and its end. Also on the program is Strauss’ \u003cem>Ein Heldenleben\u003c/em>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg\" alt=\"\" class=\"wp-image-13993559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Ann.Suor_-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Ann Toomey as Sister Angelica with the Berlin Philharmonic in 2020. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://livermorevalleyopera.com/suor-angelica/\">Suor Angelica\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 3–11, 2026\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>Bankhead Theater, Livermore\u003c/em>\u003cem>\u003cbr>\u003c/em>\u003cem>\u003cbr>\u003c/em>Set in a convent, Puccini’s luminous one-act features a rare all-female cast. At Livermore Opera, that cast is led by Ann Toomey as Sister Angelica, who wrestles with family estrangement and worldly desires — and sings the moving aria “Senza mamma.” Part of Puccini’s “triptych” of lesser-performed one-acts, \u003cem>Suor Angelica\u003c/em> remains rewarding.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FrancescoLecceChong.SusanandNeilSilvermanPhotography.jpg\" alt=\"\" class=\"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=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Francesco Lecce-Chong. (Susan and Neil Silverman Photography)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">‘\u003ca href=\"https://www.srsymphony.org/event/twist-of-fate/\">Twist of Fate\u003c/a>’\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 10–12, 2026\u003cbr>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\n\n\n\u003cp>In the Santa Rosa Symphony’s season opener, Music Director Francesco Lecce-Chong returns to the first piece he performed with the orchestra, nine years ago: Tchaikovsky’s Symphony No. 4. Liszt’s Piano Concerto No. 1 is in the capable hands of Maxim Lando, hailed in \u003cem>The New York Times\u003c/em> for his “brilliance and infectious exuberance,” and a world premiere of Matt Browne’s \u003cem>Divertimento for Orchestra\u003c/em> rounds out the program.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool.jpg\" alt=\"\" class=\"wp-image-13993551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/all-stars_2026_cool-1536x1083.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Bang on a Can All-Stars. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://calperformances.org/events/2026-27/new-music/steve-reich-at-90-a-birthday-celebration-bang-on-a-can-all-stars-ensemble-signal/\">Steve Reich at 90\u003c/a> \u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 24, 2026 \u003cbr>Zellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\n\n\n\u003cp>With the dubious honor of being \u003ca href=\"https://pitchfork.com/news/69512-donald-trump-on-steve-reich-hes-a-great-example-of-an-innovator/\">one of the few musicians praised by Donald Trump\u003c/a> (or maybe just his \u003ca href=\"https://en.wikipedia.org/wiki/Meredith_McIver\">ghostwriter\u003c/a>, who even knows), Steve Reich turns 90 this year. Presented by \u003ca href=\"https://calperformances.org/\">Cal Performances\u003c/a> in Berkeley, the New York ensemble Bang on a Can All Stars perform his \u003cem>Electric Counterpoint\u003c/em>, Double Sextet and a new Cal Performances co-commission, \u003cem>In All Your Ways\u003c/em>. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1125\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver.jpg\" alt=\"\" class=\"wp-image-13993552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/s2627_hero_charlestolliver-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Charles Tolliver. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/26-27/charles-tolliver-africa-brass/\">Charles Tolliver\u003c/a>\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 25, 2026\u003cbr>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>It’s been ages since trumpeter Charles Tolliver last performed in the Bay Area, and in the years since, the record label he co-founded in the 1970s, Strata East, has undergone a massive renaissance. Which makes it curious that, instead of performing his own music, he’s in town for a tribute to John Coltrane’s \u003cem>Africa/Brass\u003c/em> album. Ever original, he’ll surely put his own stamp on the big-band compositions. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg\" alt=\"A young Asian woman stands, arms outstretched, holding a baton in front of a symphony orchestra\" class=\"wp-image-13990510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/2526concerts_060526_elimchanstefancohen_008-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">Elim Chan with the San Francisco Symphony. (Stefan Cohen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2026-27/Doctor-Atomic-and-Mendelssohn-OR\">Elim Chan Conducts Adams and Mendelssohn\u003c/a>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Oct. 29–Nov. 1, 2026\u003cbr>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\n\n\n\u003cp>In her first appearance since \u003ca href=\"https://www.kqed.org/arts/13990508/elim-chan-review-davies-wagner-berlioz-debussy-san-francisco-symphony\">a triumphant welcome concert in June\u003c/a>, the first woman to lead the San Francisco Symphony conducts Brahms and Mendelssohn alongside two contemporary pieces: Arvo Pärt’s \u003cem>Magnificat\u003c/em> and John Adams’ \u003cem>Doctor Atomic\u003c/em> Symphony. Chan is openly enamored of Adams, and her ease with soft tenderness should serve Pärt’s music well. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio.jpg\" alt=\"\" class=\"wp-image-13993553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Marcus-Roberts-Trio-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-element-caption\">The Marcus Roberts Trio. (Courtesy the Artist)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>\u003ca href=\"https://www.ncco.org/concert-season/groove-with-marcus-roberts-trio\">Marcus Roberts Trio with the New Century Chamber Orchestra\u003c/a>\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>\u003cem>Nov. 5–8, 2026\u003cbr>Various venues\u003c/em>\u003c/p>\n\n\n\n\u003cp>The Bay Area’s conductorless New Century Chamber Orchestra teams up with jazz pianist Marcus Roberts and his trio for a joint performance of Ellington and Gershwin. Adding plenty to the program are newer pieces by Caroline Shaw and Rhiannon Giddens. Roberts and the orchestra were a hot ticket in 2019; catch them this year across four dates in Berkeley, Mountain View, San Francisco and San Rafael.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "For Ledisi, Channeling Blues Queen Dinah Washington Is Spiritual",
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"content": "\u003cp>Nearly twenty years before she sang “Lift Ev’ry Voice and Sing” at the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> or performed on Broadway, R&B supernova \u003ca href=\"https://www.ledisi.com/\">Ledisi\u003c/a> was just another Bay Area artist, hustling to make ends meet.\u003c/p>\n\u003cp>With her hair tucked under a baseball cap, she sang jazz at the local fish markets and wine bars, and worked odd jobs as a telemarketer and record store attendant. She put her operatic training from UC Berkeley to use at Max’s Opera Cafe in San Francisco, where she sang arias for tips. She also performed in the long-running revue \u003ca href=\"https://www.kqed.org/news/11878995/preserving-the-legacy-of-beach-blanket-babylon-one-hat-at-a-time\">Beach Blanket Babylon\u003c/a> in North Beach. [aside postid='arts_13981911']\u003c/p>\n\u003cp>“I had a Tina Turner wig that went six feet tall on top of my head,” Ledisi says. “I was tapping a trash can.”\u003c/p>\n\u003cp>On Oct. 6, Ledisi will return to San Francisco to sing yet again, this time \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">in tribute to Dinah Washington\u003c/a>, known as the Queen of Blues, at Davies Symphony Hall.\u003c/p>\n\u003cp>The concert is part of a larger tour for Ledisi’s new tribute album, \u003cem>For Dinah\u003c/em>, out Oct. 3. As the “\u003ca href=\"https://youtu.be/McUj4t3TkPA?si=8j3arYtzNtRT9fyT\">Pieces of Me\u003c/a>” singer reflects, “It’s been about eight years of waiting for this project. We only hear her voice in film and television, but we never hear her name.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dinah Washington was born Ruth Lee Jones in 1924, just before the Great Depression. Before she finished high school, Washington directed her church choir and became a member of the Sallie Martin Gospel Singers. She started her career in Chicago jazz clubs before winning the 1959 Grammy Award for R&B Performance with her interpretation of “\u003ca href=\"https://youtu.be/upJ3OgMRiUA?si=gnjaAULN4wXZVmI6\">What a Diff’rence a Day Makes\u003c/a>.”\u003c/p>\n\u003cp>Washington refused to abandon her dramatic gospel, jazz and blues roots, diversifying the sound of R&B with other hits such as “\u003ca href=\"https://youtu.be/WxVw_q3x6UQ?si=ZIX1wBdWAaoYTzd5\">This Bitter Earth\u003c/a>” and her rendition of “\u003ca href=\"https://youtu.be/kmmKGH1UR6A?si=4XD7yj_g-Cxv1-cH\">I Left My Heart in San Francisco\u003c/a>.” She died in 1963 at the age of 39 and left behind a legacy that influenced musical giants like Quincy Jones, Aretha Franklin, Amy Winehouse and Lady Gaga.\u003c/p>\n\u003cp>https://youtu.be/v6hkI9znBxA?si=qTRop7DFbfMEuksl\u003c/p>\n\u003cp>It’s easy to trace the vocal lineage from Washington to Ledisi through other generational voices like Sarah Vaughan, Nancy Wilson and Natalie Cole. Yet Ledisi brings a raw emotional understanding of Washington’s catalogue that’s all her own.\u003c/p>\n\u003cp>“To not be accepted in an industry that you helped create … that hurts my heart,” Ledisi says of Washington’s story. “I understand being ignored. I know what that feels like, having a big presence and still not getting the recognition.”\u003c/p>\n\u003cp>Ledisi uses that level of empathy to elevate her storytelling, combining it with a Broadway veteran’s polished theatricality and a historian’s rigor. She combs through the biographies of those she pays tribute to — whether it’s for a full-length project like her Grammy-nominated 2021 album, \u003cem>Ledisi Sings Nina\u003c/em>, or one of her many career-defining homages to artists including Chaka Khan, Patti LaBelle and Natalie Cole.\u003c/p>\n\u003cp>https://youtu.be/QAsg8EXMH6M?si=NhJSZseT0juk3r-U\u003c/p>\n\u003cp>“I go to the music first because that’s what hits the heart,” Ledisi says. “And then the mind starts working. I’m a nerd of the voice, whether it be opera, theater, jazz, blues. I’m forever wanting to understand people and what made them become who they are and what got in the way of who they are. … Why are they hurting? Where does that pain go?”\u003c/p>\n\u003cp>In crafting \u003cem>For Dinah\u003c/em>, the chance to nerd out and revive the Washington sound not only excited Ledisi, but took her across the country. She partnered with composer and jazz guitarist Paul Jackson Jr. to re-transcribe some of the original Quincy Jones arrangements of Washington’s music. Grammy Award-winning jazz musician Gregory Porter shares the mic with Ledisi on her rendition of Washington’s 1960 duet with Brook Benton, “\u003ca href=\"https://youtu.be/gSA0ZXo_nw4?si=h4w-FxRI5ow8z3T9\">Baby (You’ve Got What it Takes.)\u003c/a>” From recording sessions in New York to tightening the album in Los Angeles, reproducing the ’50s big band sound was a special priority for Ledisi.\u003c/p>\n\u003cp>https://youtu.be/gSA0ZXo_nw4?si=tOWUzlweyfPPa-OM\u003c/p>\n\u003cp>“It was amazing watching this group record … through the little window while I’m singing,” Ledisi says. “The synergy of all of us as creatives in one space, creating together in rehearsals was great.”\u003c/p>\n\u003cp>With 12 studio albums, 14 Grammy nominations and one win for Best Traditional R&B Performance, Ledisi is well past those days of grinding just to prove herself. With this album release and tour, she’s earned the opportunity to set aside the heavy bass and racing rhythm sections in favor of a beautiful gown, the raw power of her voice and deep gratitude for the pioneers of her profession.\u003c/p>\n\u003cp>“Anytime I show reverence to an ancestor, my head is saying, ‘I’ll let them know for you. I haven’t forgotten.’ That is what’s holding me to move the music in the catalog forward, to sing it right, to study it, to give it that attitude like she would or like I would,” says Ledisi. “Thank you Dinah, for letting me go through you for this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ledisi’s 13th studio album, ‘For Dinah,’ is available Oct. 3. She performs at \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Davies Symphony Hall in San Francisco on Oct. 6\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly twenty years before she sang “Lift Ev’ry Voice and Sing” at the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> or performed on Broadway, R&B supernova \u003ca href=\"https://www.ledisi.com/\">Ledisi\u003c/a> was just another Bay Area artist, hustling to make ends meet.\u003c/p>\n\u003cp>With her hair tucked under a baseball cap, she sang jazz at the local fish markets and wine bars, and worked odd jobs as a telemarketer and record store attendant. She put her operatic training from UC Berkeley to use at Max’s Opera Cafe in San Francisco, where she sang arias for tips. She also performed in the long-running revue \u003ca href=\"https://www.kqed.org/news/11878995/preserving-the-legacy-of-beach-blanket-babylon-one-hat-at-a-time\">Beach Blanket Babylon\u003c/a> in North Beach. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had a Tina Turner wig that went six feet tall on top of my head,” Ledisi says. “I was tapping a trash can.”\u003c/p>\n\u003cp>On Oct. 6, Ledisi will return to San Francisco to sing yet again, this time \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">in tribute to Dinah Washington\u003c/a>, known as the Queen of Blues, at Davies Symphony Hall.\u003c/p>\n\u003cp>The concert is part of a larger tour for Ledisi’s new tribute album, \u003cem>For Dinah\u003c/em>, out Oct. 3. As the “\u003ca href=\"https://youtu.be/McUj4t3TkPA?si=8j3arYtzNtRT9fyT\">Pieces of Me\u003c/a>” singer reflects, “It’s been about eight years of waiting for this project. We only hear her voice in film and television, but we never hear her name.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dinah Washington was born Ruth Lee Jones in 1924, just before the Great Depression. Before she finished high school, Washington directed her church choir and became a member of the Sallie Martin Gospel Singers. She started her career in Chicago jazz clubs before winning the 1959 Grammy Award for R&B Performance with her interpretation of “\u003ca href=\"https://youtu.be/upJ3OgMRiUA?si=gnjaAULN4wXZVmI6\">What a Diff’rence a Day Makes\u003c/a>.”\u003c/p>\n\u003cp>Washington refused to abandon her dramatic gospel, jazz and blues roots, diversifying the sound of R&B with other hits such as “\u003ca href=\"https://youtu.be/WxVw_q3x6UQ?si=ZIX1wBdWAaoYTzd5\">This Bitter Earth\u003c/a>” and her rendition of “\u003ca href=\"https://youtu.be/kmmKGH1UR6A?si=4XD7yj_g-Cxv1-cH\">I Left My Heart in San Francisco\u003c/a>.” She died in 1963 at the age of 39 and left behind a legacy that influenced musical giants like Quincy Jones, Aretha Franklin, Amy Winehouse and Lady Gaga.\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/v6hkI9znBxA'\n title='//www.youtube.com/embed/v6hkI9znBxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s easy to trace the vocal lineage from Washington to Ledisi through other generational voices like Sarah Vaughan, Nancy Wilson and Natalie Cole. Yet Ledisi brings a raw emotional understanding of Washington’s catalogue that’s all her own.\u003c/p>\n\u003cp>“To not be accepted in an industry that you helped create … that hurts my heart,” Ledisi says of Washington’s story. “I understand being ignored. I know what that feels like, having a big presence and still not getting the recognition.”\u003c/p>\n\u003cp>Ledisi uses that level of empathy to elevate her storytelling, combining it with a Broadway veteran’s polished theatricality and a historian’s rigor. She combs through the biographies of those she pays tribute to — whether it’s for a full-length project like her Grammy-nominated 2021 album, \u003cem>Ledisi Sings Nina\u003c/em>, or one of her many career-defining homages to artists including Chaka Khan, Patti LaBelle and Natalie Cole.\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/QAsg8EXMH6M'\n title='//www.youtube.com/embed/QAsg8EXMH6M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I go to the music first because that’s what hits the heart,” Ledisi says. “And then the mind starts working. I’m a nerd of the voice, whether it be opera, theater, jazz, blues. I’m forever wanting to understand people and what made them become who they are and what got in the way of who they are. … Why are they hurting? Where does that pain go?”\u003c/p>\n\u003cp>In crafting \u003cem>For Dinah\u003c/em>, the chance to nerd out and revive the Washington sound not only excited Ledisi, but took her across the country. She partnered with composer and jazz guitarist Paul Jackson Jr. to re-transcribe some of the original Quincy Jones arrangements of Washington’s music. Grammy Award-winning jazz musician Gregory Porter shares the mic with Ledisi on her rendition of Washington’s 1960 duet with Brook Benton, “\u003ca href=\"https://youtu.be/gSA0ZXo_nw4?si=h4w-FxRI5ow8z3T9\">Baby (You’ve Got What it Takes.)\u003c/a>” From recording sessions in New York to tightening the album in Los Angeles, reproducing the ’50s big band sound was a special priority for Ledisi.\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/gSA0ZXo_nw4'\n title='//www.youtube.com/embed/gSA0ZXo_nw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It was amazing watching this group record … through the little window while I’m singing,” Ledisi says. “The synergy of all of us as creatives in one space, creating together in rehearsals was great.”\u003c/p>\n\u003cp>With 12 studio albums, 14 Grammy nominations and one win for Best Traditional R&B Performance, Ledisi is well past those days of grinding just to prove herself. With this album release and tour, she’s earned the opportunity to set aside the heavy bass and racing rhythm sections in favor of a beautiful gown, the raw power of her voice and deep gratitude for the pioneers of her profession.\u003c/p>\n\u003cp>“Anytime I show reverence to an ancestor, my head is saying, ‘I’ll let them know for you. I haven’t forgotten.’ That is what’s holding me to move the music in the catalog forward, to sing it right, to study it, to give it that attitude like she would or like I would,” says Ledisi. “Thank you Dinah, for letting me go through you for this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ledisi’s 13th studio album, ‘For Dinah,’ is available Oct. 3. She performs at \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Davies Symphony Hall in San Francisco on Oct. 6\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "8 Great Jazz and Classical Concerts in the Bay Area This Fall",
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"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n",
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"excerpt": "Enriching musical experiences outside the confines of the jazz club or concert hall are abundant this fall.",
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"title": "Your Guide to Jazz and Classical Concerts This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-jazz-bay-area-summer-concerts-festivals",
"title": "10 of the Best Jazz Shows in the Bay Area This Summer",
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"headTitle": "10 of the Best Jazz Shows in the Bay Area This Summer | KQED",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s an unpredictable summer, folks. Some find escape in \u003ca href=\"https://www.kqed.org/arts/13975778/summer-concerts-music-festivals-bay-area-san-francisco-napa-oakland\">music festivals\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13976207/bay-area-summer-djing-glass-blowing-ceramics-sewing-gardening\">hands-on diversions\u003c/a>, while I’ve always gotten lost in jazz — especially live jazz, and its beautiful reshaping of the world and one’s self in it. \u003c/p>\n\u003cp>Here are 10 excellent jazz shows in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13976346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg\" alt=\"\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13976346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1536x865.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/howard-wiley/\">Howard Wiley’s ‘California Love Pt. II’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Last year, Oakland tenor saxophonist and SFJAZZ resident artistic director Howard Wiley brought a sold-out crowd to its feet in a concert celebrating the music of the Golden State. (A medley of “Hotel California” and “California Love”? Check.) This year he brings that beat back with its sequel, subtitled “Love, Kale, Pride and Revolution,” with a group including organist Lionel “LJ” Holoman and trombonist Robin Eubanks, plus a handful of Bay Area all-stars. If you’ve been meaning to introduce a date to the thrill and energy of live jazz, you can’t go wrong here.\u003c/p>\n\u003cfigure id=\"attachment_13976347\" class=\"wp-caption aligncenter\" style=\"max-width: 963px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg\" alt=\"\" width=\"963\" height=\"542\" class=\"size-full wp-image-13976347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-768x432.jpg 768w\" sizes=\"auto, (max-width: 963px) 100vw, 963px\">\u003cfigcaption class=\"wp-caption-text\">LMNts Trio. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://centerfornewmusic.com/event/lmnts-trio-aaron-bennett/\">LMNts Trio with Aaron Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Center for New Music, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re feeling adventurous with $15 in your pocket, here’s your opportunity for radical exploration. The LMNts Trio evokes the form-fluid free jazz of labels like ESP-Disk with Scott R. Looney on prepared piano and electronics, Lisa Mezzacapa on bass and Kjell Nordeson on percussion. Add into the mix saxophonist Aaron Bennett, steeped in jazz standards and Thelonious Monk, and there’s no telling what could happen. That’s the fun of it, isn’t it? \u003c/p>\n\u003cfigure id=\"attachment_13976348\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png\" alt=\"\" width=\"872\" height=\"584\" class=\"size-full wp-image-13976348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-768x514.png 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Takuya Koroda. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/takuya-kuroda/\">Takuya Koroda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 6, 2025\u003c/em>\u003cbr>\n\u003cem>The New Parish, Oakland \u003c/em>\u003c/p>\n\u003cp>Born in Kobe and now living in Brooklyn, Takuya Koroda is Japan’s answer to Roy Hargrove: a little bit of fusion, a little bit of post-bop, a little bit of hip-hop and a lot of invention. Having made a name for himself backing vocalist José James, Koroda has since recorded albums for Blue Note, Concord and Universal; his newest, \u003cem>Everyday\u003c/em>, is alive in all the right ways.\u003c/p>\n\u003cfigure id=\"attachment_13976349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Charles Lloyd Sky Quartet, with Eric Harland, Larry Grenadier and Jason Moran. \u003ccite>(D. Darr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2025-summer/festival/overview/\">San Francisco Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center and surrounding streets, San Francisco\u003c/em>\u003c/p>\n\u003cp>Charles Lloyd alone makes this first-year festival at SFJAZZ worth attending, but the rest of this completely bananas lineup is so exciting, it had no choice but to spill out onto the streets for a three-day block party — complete with food trucks, local DJs and wine and beer. With bona fide jazz legends (Patrice Rushen, Stanley Clarke, Gonzalo Rubalcaba, Dave Holland), hot, new up-and-comers (Lakecia Benjamin, Kassa Overall) and local stars (Ambrose Akinmusire, Salami Rose Joe Louis, Idris Ackamoor), it’s the must-see jazz event of the summer in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13976350\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13976350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1920x1353.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Reeves. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/\">Healdsburg Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–22, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Healdsburg\u003c/em>\u003c/p>\n\u003cp>The best of the Bay Area’s small-town jazz festivals hosts big names in intimate environs. This year it’s vocalist Diane Reeves, pianist Kenny Barron, drummer Terri Lynne Carrington, trumpeter Nicholas Payton and more. Under the direction of Marcus Shelby, regional artists get plenty of time in the wine country sunshine as well. Pro tip: The free Juneteenth concert in the town plaza couldn’t embody the festival spirit more, and Jason Moran’s tribute to Ellington — with Shelby and his orchestra — is essential.\u003c/p>\n\u003cfigure id=\"attachment_13976351\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jovino Santos Neto. \u003ccite>(Daniel Sheehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://tickets.blackcatsf.com/r/jovino-santos-neto\">Jovino Santos Neto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 26–29, 2025\u003c/em>\u003cbr>\n\u003cem>The Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Now 70 years old, Jovino Santos Neto is playing as well as ever, and the basement confines of San Francisco’s classic, straight-out-of-the-movies jazz club should caress something special out of the Brazilian musician for this four-night residency. The multi-instrumentalist began performing at age 16 before a long run with Hermeto Pascal’s band; his talent and experience both emanate from his rarified music. \u003c/p>\n\u003cfigure id=\"attachment_13976352\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13976352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gyedu-Blay Ambolley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.jazzisdead.com/uploadevents/gyedu-blay-ambolley\">Gyedu-Blay Ambolley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 18, 2025\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Ghana, Gyedu-Bley Ambolly has released nearly 30 albums — but none so revered as his 1975 debut \u003cem>Simigiwa\u003c/em>. Mixing West African highlife with James Brown, Ambolley offered a Fela Kuti-esque vision of the world and, in the process, inadvertently created a roadmap for hip-hop. For its 50th anniversary, Ambolley plays the album in its entirety in Berkeley with an eight-piece band.\u003c/p>\n\u003cfigure id=\"attachment_13976353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg\" alt=\"\" width=\"2000\" height=\"1553\" class=\"size-full wp-image-13976353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1536x1193.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1920x1491.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo. \u003ccite>(Courtesy Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/pete-escovedo-orchestra-birthday-celebration-5/detail\">Pete Escovedo 90th Birthday Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 25–27, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>Between his own music, his time in the groups Santana and Azteca, and his running of the 1990s jazz club Mr. E’s, there’s no underestimating the contributions of Pete Escovedo to Latin jazz. There’s also no underestimating the stature of the percussionist’s family, either, who’ll be on hand to give their patriarch a much-deserved musical celebration in their hometown. Though no lineup for the six-show residency has been formally announced, daughter Sheila E. and sons Juan and Peter III would be natural special guests for this family affair. \u003c/p>\n\u003cfigure id=\"attachment_13976355\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg\" alt=\"\" width=\"1374\" height=\"1028\" class=\"size-full wp-image-13976355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-768x575.jpg 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Richie Rich and Mac Mall. \u003ccite>(Jason Hayes (\u003ca href=\"https://www.instagram.com/j.castae/\">J.Castae\u003c/a> / Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/richie-rich-2/detail\">Richie Rich\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 1 and 2, 2025\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/mac-mall/detail\">Mac Mall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>Among the more welcome developments in jazz clubs is the gradual migration of jazz’s natural lineage onto the stage: rap artists, performing with a live band. Yoshi’s in Oakland has been at the forefront of this trend, hosting thrilling shows with national artists like Scarface, Rakim and DJ Quik. This summer, local rap icons Richie Rich and Mac Mall both hit the club with a live band for a week of shows to remind you just how skilled and charismatic these two Bay legends are.\u003c/p>\n\u003cfigure id=\"attachment_13903773\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13903773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples in 2019. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug 8–10, 2025\u003c/em>\u003cbr>\n\u003cem>Downtown San Jose \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not summer in San Jose without this fantastic weekend festival, an annual tradition which takes over downtown San Jose and its scenic César Chávez Plaza. With headliners Mavis Staples, Common, Femi Kuti, Butcher Brown and Bilal — and over 100 artists total — the festival sprawls across nine stages to fill the downtown air with top-notch music and vibes that, sare we say, are immaculate. \u003c/p>\n\n",
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"excerpt": "A new street festival, international touring acts and local favorites round out a syncopated summer.",
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"title": "10 of the Best Jazz Shows in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s an unpredictable summer, folks. Some find escape in \u003ca href=\"https://www.kqed.org/arts/13975778/summer-concerts-music-festivals-bay-area-san-francisco-napa-oakland\">music festivals\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13976207/bay-area-summer-djing-glass-blowing-ceramics-sewing-gardening\">hands-on diversions\u003c/a>, while I’ve always gotten lost in jazz — especially live jazz, and its beautiful reshaping of the world and one’s self in it. \u003c/p>\n\u003cp>Here are 10 excellent jazz shows in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13976346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg\" alt=\"\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13976346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1536x865.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/howard-wiley/\">Howard Wiley’s ‘California Love Pt. II’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Last year, Oakland tenor saxophonist and SFJAZZ resident artistic director Howard Wiley brought a sold-out crowd to its feet in a concert celebrating the music of the Golden State. (A medley of “Hotel California” and “California Love”? Check.) This year he brings that beat back with its sequel, subtitled “Love, Kale, Pride and Revolution,” with a group including organist Lionel “LJ” Holoman and trombonist Robin Eubanks, plus a handful of Bay Area all-stars. If you’ve been meaning to introduce a date to the thrill and energy of live jazz, you can’t go wrong here.\u003c/p>\n\u003cfigure id=\"attachment_13976347\" class=\"wp-caption aligncenter\" style=\"max-width: 963px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg\" alt=\"\" width=\"963\" height=\"542\" class=\"size-full wp-image-13976347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-768x432.jpg 768w\" sizes=\"auto, (max-width: 963px) 100vw, 963px\">\u003cfigcaption class=\"wp-caption-text\">LMNts Trio. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://centerfornewmusic.com/event/lmnts-trio-aaron-bennett/\">LMNts Trio with Aaron Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Center for New Music, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re feeling adventurous with $15 in your pocket, here’s your opportunity for radical exploration. The LMNts Trio evokes the form-fluid free jazz of labels like ESP-Disk with Scott R. Looney on prepared piano and electronics, Lisa Mezzacapa on bass and Kjell Nordeson on percussion. Add into the mix saxophonist Aaron Bennett, steeped in jazz standards and Thelonious Monk, and there’s no telling what could happen. That’s the fun of it, isn’t it? \u003c/p>\n\u003cfigure id=\"attachment_13976348\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png\" alt=\"\" width=\"872\" height=\"584\" class=\"size-full wp-image-13976348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-768x514.png 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Takuya Koroda. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/takuya-kuroda/\">Takuya Koroda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 6, 2025\u003c/em>\u003cbr>\n\u003cem>The New Parish, Oakland \u003c/em>\u003c/p>\n\u003cp>Born in Kobe and now living in Brooklyn, Takuya Koroda is Japan’s answer to Roy Hargrove: a little bit of fusion, a little bit of post-bop, a little bit of hip-hop and a lot of invention. Having made a name for himself backing vocalist José James, Koroda has since recorded albums for Blue Note, Concord and Universal; his newest, \u003cem>Everyday\u003c/em>, is alive in all the right ways.\u003c/p>\n\u003cfigure id=\"attachment_13976349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Charles Lloyd Sky Quartet, with Eric Harland, Larry Grenadier and Jason Moran. \u003ccite>(D. Darr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2025-summer/festival/overview/\">San Francisco Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center and surrounding streets, San Francisco\u003c/em>\u003c/p>\n\u003cp>Charles Lloyd alone makes this first-year festival at SFJAZZ worth attending, but the rest of this completely bananas lineup is so exciting, it had no choice but to spill out onto the streets for a three-day block party — complete with food trucks, local DJs and wine and beer. With bona fide jazz legends (Patrice Rushen, Stanley Clarke, Gonzalo Rubalcaba, Dave Holland), hot, new up-and-comers (Lakecia Benjamin, Kassa Overall) and local stars (Ambrose Akinmusire, Salami Rose Joe Louis, Idris Ackamoor), it’s the must-see jazz event of the summer in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13976350\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13976350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1920x1353.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Reeves. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/\">Healdsburg Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–22, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Healdsburg\u003c/em>\u003c/p>\n\u003cp>The best of the Bay Area’s small-town jazz festivals hosts big names in intimate environs. This year it’s vocalist Diane Reeves, pianist Kenny Barron, drummer Terri Lynne Carrington, trumpeter Nicholas Payton and more. Under the direction of Marcus Shelby, regional artists get plenty of time in the wine country sunshine as well. Pro tip: The free Juneteenth concert in the town plaza couldn’t embody the festival spirit more, and Jason Moran’s tribute to Ellington — with Shelby and his orchestra — is essential.\u003c/p>\n\u003cfigure id=\"attachment_13976351\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jovino Santos Neto. \u003ccite>(Daniel Sheehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://tickets.blackcatsf.com/r/jovino-santos-neto\">Jovino Santos Neto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 26–29, 2025\u003c/em>\u003cbr>\n\u003cem>The Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Now 70 years old, Jovino Santos Neto is playing as well as ever, and the basement confines of San Francisco’s classic, straight-out-of-the-movies jazz club should caress something special out of the Brazilian musician for this four-night residency. The multi-instrumentalist began performing at age 16 before a long run with Hermeto Pascal’s band; his talent and experience both emanate from his rarified music. \u003c/p>\n\u003cfigure id=\"attachment_13976352\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13976352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gyedu-Blay Ambolley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.jazzisdead.com/uploadevents/gyedu-blay-ambolley\">Gyedu-Blay Ambolley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 18, 2025\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Ghana, Gyedu-Bley Ambolly has released nearly 30 albums — but none so revered as his 1975 debut \u003cem>Simigiwa\u003c/em>. Mixing West African highlife with James Brown, Ambolley offered a Fela Kuti-esque vision of the world and, in the process, inadvertently created a roadmap for hip-hop. For its 50th anniversary, Ambolley plays the album in its entirety in Berkeley with an eight-piece band.\u003c/p>\n\u003cfigure id=\"attachment_13976353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg\" alt=\"\" width=\"2000\" height=\"1553\" class=\"size-full wp-image-13976353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1536x1193.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1920x1491.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo. \u003ccite>(Courtesy Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/pete-escovedo-orchestra-birthday-celebration-5/detail\">Pete Escovedo 90th Birthday Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 25–27, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>Between his own music, his time in the groups Santana and Azteca, and his running of the 1990s jazz club Mr. E’s, there’s no underestimating the contributions of Pete Escovedo to Latin jazz. There’s also no underestimating the stature of the percussionist’s family, either, who’ll be on hand to give their patriarch a much-deserved musical celebration in their hometown. Though no lineup for the six-show residency has been formally announced, daughter Sheila E. and sons Juan and Peter III would be natural special guests for this family affair. \u003c/p>\n\u003cfigure id=\"attachment_13976355\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg\" alt=\"\" width=\"1374\" height=\"1028\" class=\"size-full wp-image-13976355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-768x575.jpg 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Richie Rich and Mac Mall. \u003ccite>(Jason Hayes (\u003ca href=\"https://www.instagram.com/j.castae/\">J.Castae\u003c/a> / Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/richie-rich-2/detail\">Richie Rich\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 1 and 2, 2025\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/mac-mall/detail\">Mac Mall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>Among the more welcome developments in jazz clubs is the gradual migration of jazz’s natural lineage onto the stage: rap artists, performing with a live band. Yoshi’s in Oakland has been at the forefront of this trend, hosting thrilling shows with national artists like Scarface, Rakim and DJ Quik. This summer, local rap icons Richie Rich and Mac Mall both hit the club with a live band for a week of shows to remind you just how skilled and charismatic these two Bay legends are.\u003c/p>\n\u003cfigure id=\"attachment_13903773\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13903773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples in 2019. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug 8–10, 2025\u003c/em>\u003cbr>\n\u003cem>Downtown San Jose \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not summer in San Jose without this fantastic weekend festival, an annual tradition which takes over downtown San Jose and its scenic César Chávez Plaza. With headliners Mavis Staples, Common, Femi Kuti, Butcher Brown and Bilal — and over 100 artists total — the festival sprawls across nine stages to fill the downtown air with top-notch music and vibes that, sare we say, are immaculate. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Reason to Skip out of Work Early: A Free Soundcheck at SFJAZZ",
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"content": "\u003cp>Here at KQED Arts, we’re always looking for unexpected, quirky experiences — particularly if they’re free.\u003c/p>\n\u003cp>So it came with much delight to learn that, for the past several months, SFJAZZ has been throwing its doors open to the public to witness pre-concert soundchecks by top jazz artists.\u003c/p>\n\u003cp>Attendees might hear a song or two, plus some bantering with the stage and sound crew, and any requisite adjustments. At the end of it all, there’s an open Q&A between the artist and the public.\u003c/p>\n\u003cp>The next open soundcheck is on \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/open-soundcheck-brandee-younger-new-century-chamber-orchestra/\">Thursday, March 6 at 4:30 p.m. with jazz harpist Brandee Younger\u003c/a>, making a return to SFJAZZ with the New Century Chamber Orchestra after a much-acclaimed residency last year. Next month, on \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/open-soundcheck-kenny-barron/\">Thursday, April 10 at 4:30 p.m., it’s pianist Kenny Barron\u003c/a> with his quintet featuring Christian McBride and Immanuel Wilkins.\u003c/p>\n\u003cp>In the stadium touring world, attending a soundcheck is \u003ca href=\"https://cutefrogcreations.com/kpop-sound-check/\">an expensive VIP Package perk\u003c/a>. At the symphony just down the street, \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2-OR\">attending an open rehearsal\u003c/a> costs $35-$45.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SFJAZZ has invited educators and students to soundchecks since 2015, but last year began inviting the general public, free of charge. About 50–100 people show up to each one, says Rebecca Mauleón, SFJAZZ’s director of education.\u003c/p>\n\u003cp>“It’s an incredible opportunity to see the space being activated before the public experiences it,” Mauleón says, adding that those interested in sound engineering, in particular, get to witness discussions and decision-making that make the evening concert so special. “It’s very compelling to see the magic before the magic happens.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Brandee Younger and the New Century Chamber Orchestra hold an open soundcheck on Thursday, March 6, at 4:30 p.m., at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/open-soundcheck-brandee-younger-new-century-chamber-orchestra/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here at KQED Arts, we’re always looking for unexpected, quirky experiences — particularly if they’re free.\u003c/p>\n\u003cp>So it came with much delight to learn that, for the past several months, SFJAZZ has been throwing its doors open to the public to witness pre-concert soundchecks by top jazz artists.\u003c/p>\n\u003cp>Attendees might hear a song or two, plus some bantering with the stage and sound crew, and any requisite adjustments. At the end of it all, there’s an open Q&A between the artist and the public.\u003c/p>\n\u003cp>The next open soundcheck is on \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/open-soundcheck-brandee-younger-new-century-chamber-orchestra/\">Thursday, March 6 at 4:30 p.m. with jazz harpist Brandee Younger\u003c/a>, making a return to SFJAZZ with the New Century Chamber Orchestra after a much-acclaimed residency last year. Next month, on \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/open-soundcheck-kenny-barron/\">Thursday, April 10 at 4:30 p.m., it’s pianist Kenny Barron\u003c/a> with his quintet featuring Christian McBride and Immanuel Wilkins.\u003c/p>\n\u003cp>In the stadium touring world, attending a soundcheck is \u003ca href=\"https://cutefrogcreations.com/kpop-sound-check/\">an expensive VIP Package perk\u003c/a>. At the symphony just down the street, \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-mahler2-OR\">attending an open rehearsal\u003c/a> costs $35-$45.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SFJAZZ has invited educators and students to soundchecks since 2015, but last year began inviting the general public, free of charge. About 50–100 people show up to each one, says Rebecca Mauleón, SFJAZZ’s director of education.\u003c/p>\n\u003cp>“It’s an incredible opportunity to see the space being activated before the public experiences it,” Mauleón says, adding that those interested in sound engineering, in particular, get to witness discussions and decision-making that make the evening concert so special. “It’s very compelling to see the magic before the magic happens.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Brandee Younger and the New Century Chamber Orchestra hold an open soundcheck on Thursday, March 6, at 4:30 p.m., at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/open-soundcheck-brandee-younger-new-century-chamber-orchestra/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a stark study in contrasts, this year’s Inauguration Day and Martin Luther King Jr. Day fall on the same day: Jan. 20. \u003c/p>\n\u003cp>Here in the Bay Area, we’re going to go out on a limb and suggest that most people will choose to recognize the latter. Whether you prefer to spend the day with live music, viewing art or taking to the streets, here’s a roundup of Bay Area activities, performances and other live events coming up for Martin Luther King Jr. Day. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://noontimeconcerts.org/concerts/a-musical-tribute-to-dr-martin-luther-king-jr/\">A Musical Tribute to Dr. Martin Luther King Jr.\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 14\u003cbr>\nOld St. Mary’s Cathedral, San Francisco / Online\u003c/em>\u003c/p>\n\u003cp>This year, Noontime Concerts teamed up with the NorCal Dr. Martin Luther King Jr. Community Foundation for a music program curated by Bay Area pianist Dr. Carl Blake. Featured classical artists also included Santa Rosa violinist Joseph Edelberg, soprano Hope Briggs, flutist William Underwood III and others. If you missed it live, you can \u003ca href=\"https://www.youtube.com/watch?v=LGsFI8GELnE\">rewatch the livestream here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/visiting-presenters/lift-every-voice/\">‘Lift Every Voice’ and ‘No More Water’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 17–19\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With concerts spread over three days, ‘Lift Every Voice’ celebrates Black music and its roots. Unfortunately, all three shows are sold out. However, another three-day residency at SFJAZZ happens simultaneously: ‘\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/meshell-ndegeocello/\">No More Water\u003c/a>,’ a James Baldwin-themed musical project by Grammy-award winning bassist and singer Meshell Ndegeocello. \u003c/p>\n\u003cfigure id=\"attachment_13970329\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13970329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Meshell Ndegeocello. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-a-tribute-to-dr-martin-luther-king-jr-1\">‘In The Name of Love’: A Tribute to MLK featuring the music of Aretha Franklin\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>In this all-star evening, the music of the Queen of Soul herself, Aretha Franklin, will honor the legacy and impact of Dr. King. (Aretha \u003ca href=\"https://www.ebony.com/the-spiritual-life-aretha-franklin-remembers-mlk-405/\">went on tour with King\u003c/a> when she was just 16; after King’s assassination, she \u003ca href=\"https://www.youtube.com/watch?v=OPvLVGvteHM\">sang at his funeral\u003c/a>.) A collaboration between Living Jazz and SFJAZZ, the tribute features saxophonist Howard Wiley, pianist Kev Choice, the Oakland Interfaith Gospel Choir and others.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2025/2025-mlk-liberation-film-festival/\">2025 MLK Liberation Film Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18–20\u003cbr>\nVarious venues\u003c/em>\u003c/p>\n\u003cp>In partnership with California Newsreel, NorCal MLK Foundation’s Liberation Film Festival will take place over three days and showcase films meant to inspire civic and social justice engagement. Screenings are free and open to the public, though registration is encouraged. More details on the full lineup and locations will be announced soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg\" alt=\"Museum of the African Diaspora\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13849283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1920x1272.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-national-day-of-service-free-admission-2\">Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nMoAD, San Francisco\u003c/em>\u003c/p>\n\u003cp>On MLK Day, the Museum of the African Diaspora is offering free admission. This year, in addition to current exhibition Liberatory Living: Protective Interiors and Radical Black Joy, free programming will include sidewalk chalk art, a gallery scavenger hunt, and Prescott Circus Theater with performances by Marcus Shelby and his Youth Orchestra.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.padc.info/mlk25\">28th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nAlan Harvey Theater, Piedmont\u003c/em>\u003c/p>\n\u003cp>For their 28th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by Black Panther Party member \u003ca href=\"https://www.erickahuggins.com/\">Ericka Huggins\u003c/a>. There will also be performances by the Oakland Youth Chorus Chamber Singers, a writing showcase and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.antipoliceterrorproject.org/new-events/2025/1/20/reclaim-mlk\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n14th & Broadway, Oakland / Online\u003c/em>\u003c/p>\n\u003cp>The Anti Police-Terror Project is back for their 11th annual march inspired by Dr. King’s revolutionary spirit and his radical legacy. The event will include various speakers and include a children’s area. A livestream with ASL interpretation will be available for those wishing to participate online. \u003c/p>\n\u003cfigure id=\"attachment_12377285\" class=\"wp-caption aligncenter\" style=\"max-width: 2960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg\" alt=\"Behind the waterfall at the San Franciscos Martin Luther King Memorial designed by Houston Conwill\" width=\"2960\" height=\"1761\" class=\"size-full wp-image-12377285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg 2960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-520x309.jpg 520w\" sizes=\"auto, (max-width: 2960px) 100vw, 2960px\">\u003cfigcaption class=\"wp-caption-text\">Behind the waterfall at San Francisco’s Martin Luther King Jr. Memorial in Yerba Buena Gardens, designed by Houston Conwill. \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/2025-mlk-music-festival/\">MLK 2025 Music Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nYerba Buena Gardens, San Francisco\u003c/em>\u003c/p>\n\u003cp>In its 15th year, NorCal MLK’s 2025 Music Festival brings a variety of artists to the Great Lawn at the Yerba Buena Gardens, the site of a walking Martin Luther King Jr. memorial (above). Those who arrive by 11:45 a.m. will be able to participate in the interfaith commemoration; at noon, the concert kicks off with sets by Dee Dee Simon, Top Shelf Classics, Prentice Powell and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/silence-the-violence-mlk-day-peace-walk-tickets-1143379491839?aff=ebdssbdestsearch\">Silence The Violence MLK Day Peace Walk\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n4th and Townsend St. Caltrain Station, San Francisco \u003c/em>\u003c/p>\n\u003cp>Walk the Block, in collaboration with local groups like United Playaz and the San Francisco Interfaith Council, will host a peace walk through the streets of the city to honor Dr. King’s legacy. The walk will kick off promptly at 11:00 a.m.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://equity.marincounty.org/events/mlk-event\">Marin City’s Annual MLK Day Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nManzanita Recreation Center, Marin City\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The theme for Marin City’s MLK celebration this year is “Fan the flames of the ‘Dream’ into reality!” Festivities will include youth presentations, music, spoken word and other speakers. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a stark study in contrasts, this year’s Inauguration Day and Martin Luther King Jr. Day fall on the same day: Jan. 20. \u003c/p>\n\u003cp>Here in the Bay Area, we’re going to go out on a limb and suggest that most people will choose to recognize the latter. Whether you prefer to spend the day with live music, viewing art or taking to the streets, here’s a roundup of Bay Area activities, performances and other live events coming up for Martin Luther King Jr. Day. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://noontimeconcerts.org/concerts/a-musical-tribute-to-dr-martin-luther-king-jr/\">A Musical Tribute to Dr. Martin Luther King Jr.\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 14\u003cbr>\nOld St. Mary’s Cathedral, San Francisco / Online\u003c/em>\u003c/p>\n\u003cp>This year, Noontime Concerts teamed up with the NorCal Dr. Martin Luther King Jr. Community Foundation for a music program curated by Bay Area pianist Dr. Carl Blake. Featured classical artists also included Santa Rosa violinist Joseph Edelberg, soprano Hope Briggs, flutist William Underwood III and others. If you missed it live, you can \u003ca href=\"https://www.youtube.com/watch?v=LGsFI8GELnE\">rewatch the livestream here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/tickets/productions/visiting-presenters/lift-every-voice/\">‘Lift Every Voice’ and ‘No More Water’\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 17–19\u003cbr>\nSFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With concerts spread over three days, ‘Lift Every Voice’ celebrates Black music and its roots. Unfortunately, all three shows are sold out. However, another three-day residency at SFJAZZ happens simultaneously: ‘\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/meshell-ndegeocello/\">No More Water\u003c/a>,’ a James Baldwin-themed musical project by Grammy-award winning bassist and singer Meshell Ndegeocello. \u003c/p>\n\u003cfigure id=\"attachment_13970329\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13970329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/MeshellNdegeocello-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Meshell Ndegeocello. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paramountoakland.org/events/detail/in-the-name-of-love-a-tribute-to-dr-martin-luther-king-jr-1\">‘In The Name of Love’: A Tribute to MLK featuring the music of Aretha Franklin\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>In this all-star evening, the music of the Queen of Soul herself, Aretha Franklin, will honor the legacy and impact of Dr. King. (Aretha \u003ca href=\"https://www.ebony.com/the-spiritual-life-aretha-franklin-remembers-mlk-405/\">went on tour with King\u003c/a> when she was just 16; after King’s assassination, she \u003ca href=\"https://www.youtube.com/watch?v=OPvLVGvteHM\">sang at his funeral\u003c/a>.) A collaboration between Living Jazz and SFJAZZ, the tribute features saxophonist Howard Wiley, pianist Kev Choice, the Oakland Interfaith Gospel Choir and others.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://norcalmlkfoundation.org/mlkcelebration/mlk2025/2025-mlk-liberation-film-festival/\">2025 MLK Liberation Film Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 18–20\u003cbr>\nVarious venues\u003c/em>\u003c/p>\n\u003cp>In partnership with California Newsreel, NorCal MLK Foundation’s Liberation Film Festival will take place over three days and showcase films meant to inspire civic and social justice engagement. Screenings are free and open to the public, though registration is encouraged. More details on the full lineup and locations will be announced soon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg\" alt=\"Museum of the African Diaspora\" width=\"2048\" height=\"1356\" class=\"size-full wp-image-13849283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1200x795.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/moad-website-exterior-1920x1272.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.moadsf.org/event/dr-martin-luther-king-jr-national-day-of-service-free-admission-2\">Dr. Martin Luther King Jr. Free Community Day\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nMoAD, San Francisco\u003c/em>\u003c/p>\n\u003cp>On MLK Day, the Museum of the African Diaspora is offering free admission. This year, in addition to current exhibition Liberatory Living: Protective Interiors and Radical Black Joy, free programming will include sidewalk chalk art, a gallery scavenger hunt, and Prescott Circus Theater with performances by Marcus Shelby and his Youth Orchestra.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.padc.info/mlk25\">28th Annual Dr. Martin Luther King, Jr. Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nAlan Harvey Theater, Piedmont\u003c/em>\u003c/p>\n\u003cp>For their 28th annual MLK Day celebration, the Piedmont Anti-Racism and Diversity Committee is offering a program featuring a keynote presentation by Black Panther Party member \u003ca href=\"https://www.erickahuggins.com/\">Ericka Huggins\u003c/a>. There will also be performances by the Oakland Youth Chorus Chamber Singers, a writing showcase and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.antipoliceterrorproject.org/new-events/2025/1/20/reclaim-mlk\">March to Reclaim MLK’s Radical Legacy\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n14th & Broadway, Oakland / Online\u003c/em>\u003c/p>\n\u003cp>The Anti Police-Terror Project is back for their 11th annual march inspired by Dr. King’s revolutionary spirit and his radical legacy. The event will include various speakers and include a children’s area. A livestream with ASL interpretation will be available for those wishing to participate online. \u003c/p>\n\u003cfigure id=\"attachment_12377285\" class=\"wp-caption aligncenter\" style=\"max-width: 2960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg\" alt=\"Behind the waterfall at the San Franciscos Martin Luther King Memorial designed by Houston Conwill\" width=\"2960\" height=\"1761\" class=\"size-full wp-image-12377285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401.jpg 2960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/009-e1479765691401-520x309.jpg 520w\" sizes=\"auto, (max-width: 2960px) 100vw, 2960px\">\u003cfigcaption class=\"wp-caption-text\">Behind the waterfall at San Francisco’s Martin Luther King Jr. Memorial in Yerba Buena Gardens, designed by Houston Conwill. \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybgfestival.org/event/2025-mlk-music-festival/\">MLK 2025 Music Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nYerba Buena Gardens, San Francisco\u003c/em>\u003c/p>\n\u003cp>In its 15th year, NorCal MLK’s 2025 Music Festival brings a variety of artists to the Great Lawn at the Yerba Buena Gardens, the site of a walking Martin Luther King Jr. memorial (above). Those who arrive by 11:45 a.m. will be able to participate in the interfaith commemoration; at noon, the concert kicks off with sets by Dee Dee Simon, Top Shelf Classics, Prentice Powell and more. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/silence-the-violence-mlk-day-peace-walk-tickets-1143379491839?aff=ebdssbdestsearch\">Silence The Violence MLK Day Peace Walk\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\n4th and Townsend St. Caltrain Station, San Francisco \u003c/em>\u003c/p>\n\u003cp>Walk the Block, in collaboration with local groups like United Playaz and the San Francisco Interfaith Council, will host a peace walk through the streets of the city to honor Dr. King’s legacy. The walk will kick off promptly at 11:00 a.m.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://equity.marincounty.org/events/mlk-event\">Marin City’s Annual MLK Day Celebration\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Jan. 20\u003cbr>\nManzanita Recreation Center, Marin City\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The theme for Marin City’s MLK celebration this year is “Fan the flames of the ‘Dream’ into reality!” Festivities will include youth presentations, music, spoken word and other speakers. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-live-music-bay-area-2024",
"title": "The Best Live Music I Saw But Didn’t Get to Review in 2024",
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"headTitle": "The Best Live Music I Saw But Didn’t Get to Review in 2024 | KQED",
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"content": "\u003cp>Maybe it was the election anxiety. I went to see live music \u003cem>compulsively\u003c/em> in 2024 — over 50 shows, and that’s on top of another 20-odd plays, art exhibits, movies and events. Yes, it’s part of my job, but it’s also my connection to others, my spiritual practice, my therapy. And while I was able to review 15 live music shows for KQED by stars of \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">rap\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13962051/review-olivia-rodrigo-san-francisco-chase-center-guts-tour\">pop\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955312/review-green-day-fillmore-photos-san-francisco\">rock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">classical\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">jazz\u003c/a>, many others went unnoted.\u003c/p>\n\u003cp>There are dozens of reasons for all of us to see live music, and to especially \u003ca href=\"https://www.kqed.org/arts/11027790/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music\">seek out new music, no matter your age\u003c/a>. But in 2024, you’ll notice below, I also allowed myself the guilty pleasure of nostalgia. Here, then, are 30 shows I saw in 2024 which I didn’t review, now reviewed in just one sentence each — complete with bad photos from my phone.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg\" alt=\"\" width=\"1920\" height=\"1472\" class=\"aligncenter size-full wp-image-13969134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-800x613.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1020x782.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-768x589.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1536x1178.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Jan. 14\u003cbr>\n\u003cstrong>David Hegarty\u003cbr>\nCastro Theatre, San Francisco\u003c/strong>\u003cbr>\nBefore the double feature of \u003cem>Blade Runner\u003c/em> and \u003cem>Robocop\u003c/em>, I made a point of writing down the beloved organist’s setlist: “Consider Yourself,” “S’Wonderful,” “This Could Be the Start of Something Big,” “A Wonderful Guy,” “Cheek to Cheek,” “That’s Entertainment” and, naturally, “San Francisco” (two weeks later, before a screening of \u003cem>2001\u003c/em>, he played “Also Sprach Zarathustra”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png\" alt=\"\" width=\"1294\" height=\"1126\" class=\"aligncenter size-full wp-image-13969132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-800x696.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-1020x888.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-160x139.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-768x668.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Feb. 3\u003cbr>\n\u003cstrong>Howard Wiley\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nGod bless saxophonist Howard Wiley, who advertised a gospel music show and then opened his set with Ornette Coleman’s “The Face of the Bass.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg\" alt=\"\" width=\"1920\" height=\"1590\" class=\"aligncenter size-full wp-image-13969143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1020x845.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-768x636.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1536x1272.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>MDC\u003cbr>\nThe Ivy Room, Albany \u003c/strong>\u003cbr>\nThis San Francisco punk band once \u003ca href=\"https://www.kqed.org/arts/12454758/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art\">squatted inside the giant underground beer vats\u003c/a> of the former Hamm’s brewery on Bryant Street, just two and a half blocks from KQED’s current headquarters; at this haywire show, “Born to Die” still sounded tremendous, 43 years later. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png\" alt=\"\" width=\"1292\" height=\"1096\" class=\"aligncenter size-full wp-image-13969129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-800x679.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-1020x865.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-768x651.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>Deltrice\u003cbr>\nChris Club, Vallejo \u003c/strong>\u003cbr>\nI want Deltrice to sing the hook on almost every Bay Area rap song I hear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/cellski.main_.jpg\" width=\"1286\" height=\"866\" class=\"size-full wp-image-13959762\">\u003c/p>\n\u003cp>Feb. 22\u003cbr>\n\u003cstrong>Cellski with the Top Chefs\u003cbr>\nBrick & Mortar Music Hall, San Francisco \u003c/strong>\u003cbr>\nThere is nothing like a whole city turning out to shower love on one of its own, who performed \u003ca href=\"https://www.instagram.com/p/C3rqbZIraS_/\">every single song\u003c/a> from \u003cem>Mr. Predicter\u003c/em> for its 30th anniversary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png\" alt=\"\" width=\"1286\" height=\"866\" class=\"aligncenter size-full wp-image-13969135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-768x517.png 768w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003c/p>\n\u003cp>March 24\u003cbr>\n\u003cstrong>Lil Kayla\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nDear Lil Kayla, I apologize on behalf of Sonoma County that only 85 people came to your show, hope you give us another shot someday.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg\" alt=\"\" width=\"1920\" height=\"1320\" class=\"aligncenter size-full wp-image-13969128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1536x1056.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>March 28 (and 31)\u003cbr>\n\u003cstrong>Bruce Springsteen and the E Street Band\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI am not allowed to talk about Bruce Springsteen in public, because eventually someone spins their forefinger around their ear in the universal sign for “this guy’s crazy,” but suffice it to say, he opened with “Something In the Night” (!!) and when I got home I immediately bought a solo ticket to the second show. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png\" alt=\"\" width=\"1290\" height=\"994\" class=\"aligncenter size-full wp-image-13969136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-1020x786.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-768x592.png 768w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003c/p>\n\u003cp>April 3\u003cbr>\n\u003cstrong>Danny Brown\u003cbr>\nRegency Ballroom, San Francisco\u003c/strong>\u003cbr>\nOpener Alice Longyu Gao bent minds with “Let’s Hope Heteros Fail, Learn and Retire” and Bruiser Wolf melted hearts with “Momma Was a Dopefiend,” but it’s Detroit’s era in rap, and Danny Brown still brought the heat (speaketh the forefather: “\u003ca href=\"https://www.youtube.com/watch?v=PUv_OIFmLwg\">My hoe got tats on her face, sell me them cookies from Oakland\u003c/a>”). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png\" alt=\"\" width=\"1715\" height=\"1638\" class=\"aligncenter size-full wp-image-13969137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png 1715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-800x764.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1020x974.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-768x734.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1536x1467.png 1536w\" sizes=\"auto, (max-width: 1715px) 100vw, 1715px\">\u003c/p>\n\u003cp>May 8\u003cbr>\n\u003cstrong>454\u003cbr>\nThe Independent, San Francisco\u003c/strong>\u003cbr>\nLet us all have the energy of 10 bowls of Frosted Flakes before we bound onstage and bounce, weave, skitter and float about for 40 minutes of unfiltered joy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png\" alt=\"\" width=\"1526\" height=\"1384\" class=\"aligncenter size-full wp-image-13969138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png 1526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-800x726.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-768x697.png 768w\" sizes=\"auto, (max-width: 1526px) 100vw, 1526px\">\u003c/p>\n\u003cp>May 18\u003cbr>\n\u003cstrong>The Piner High School Band\u003cbr>\nRose Parade, Santa Rosa\u003c/strong>\u003cbr>\nIt should be considered cruel and unusual punishment to force high school music students into military marching rituals, and yet I, a former band kid, still felt a strange sort of pride to see my alma mater persisting against brutal budget cuts to public school music programs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png\" alt=\"\" width=\"1298\" height=\"1276\" class=\"aligncenter size-full wp-image-13969140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-768x755.png 768w\" sizes=\"auto, (max-width: 1298px) 100vw, 1298px\">\u003c/p>\n\u003cp>May 21\u003cbr>\n\u003cstrong>Too Short\u003cbr>\nLake Merritt Bandstand, Oakland\u003c/strong>\u003cbr>\nOakland Is the Most Amazing City In the World, Chapter 3,276: Too Short agreeing to this free afternoon show on the shore of the lake for thousands of people on a random Tuesday … to promote \u003cem>voter registration\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png\" alt=\"\" width=\"1275\" height=\"1162\" class=\"aligncenter size-full wp-image-13969141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png 1275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-800x729.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-1020x930.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-160x146.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-768x700.png 768w\" sizes=\"auto, (max-width: 1275px) 100vw, 1275px\">\u003c/p>\n\u003cp>May 29\u003cbr>\n\u003cstrong>Los Alegres del Barranco\u003cbr>\nJuilliard Park, Santa Rosa\u003c/strong>\u003cbr>\nThere is an attraction in \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listening to concerts from outside the fence\u003c/a> — and just a few nights after watching Los Alegres del Barranco’s norteño corridos through the chain link, my daughter and I stood outside City Hall in San Francisco to hear Skrillex’s set wafting through the nighttime air.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png\" alt=\"\" width=\"1288\" height=\"1102\" class=\"aligncenter size-full wp-image-13969117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-768x657.png 768w\" sizes=\"auto, (max-width: 1288px) 100vw, 1288px\">\u003c/p>\n\u003cp>June 9\u003cbr>\n\u003cstrong>Gary Bartz\u003cbr>\nSFJAZZ, San Francisco \u003c/strong>\u003cbr>\nTruly (and I imagine guest trumpeter Ambrose Akinmusire agrees) all of us can only hope to be one-tenth as funny and creative as Gary Bartz when we, too, are 83. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png\" alt=\"\" width=\"1722\" height=\"1324\" class=\"aligncenter size-full wp-image-13969118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-800x615.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1020x784.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1536x1181.png 1536w\" sizes=\"auto, (max-width: 1722px) 100vw, 1722px\">\u003c/p>\n\u003cp>June 15\u003cbr>\n\u003cstrong>Houston Person\u003cbr>\nTown Plaza, Healdsburg \u003c/strong>\u003cbr>\nI played his version of “\u003ca href=\"https://www.youtube.com/watch?v=lR3K7msLNes\">Young, Gifted and Black\u003c/a>” for a week straight afterward.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg\" alt=\"\" width=\"1920\" height=\"1394\" class=\"aligncenter size-full wp-image-13969116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1536x1115.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>July 6\u003cbr>\n\u003cstrong>Standing on the Corner\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nAcross a 13-song set of spaced-out songs like “Angel,” “Get Out the Ghetto” and “Genocide,” Gio Escobar recited original poetry, covered Chuck Berry and showed that New York, though it historically looks down on the Bay Area, has a bit of our experimental, political bent after all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1522\" class=\"aligncenter size-full wp-image-13969121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1536x1218.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Aug. 20\u003cbr>\n\u003cstrong>X\u003cbr>\nGuild Theatre, Menlo Park\u003c/strong>\u003cbr>\nI danced and danced and danced and danced and danced, and did not stop until an acoustic duet of John and Exene singing “\u003ca href=\"https://www.youtube.com/watch?v=V9zfrW0F2K8\">See How We Are\u003c/a>,” and only because it rendered my knees too weak to move. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png\" alt=\"\" width=\"1144\" height=\"936\" class=\"aligncenter size-full wp-image-13969119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-800x655.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-1020x835.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-768x628.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 1\u003cbr>\n\u003cstrong>Fifteen\u003cbr>\nArlene Francis Center, Santa Rosa\u003c/strong>\u003cbr>\nThe lines “\u003ca href=\"https://youtu.be/fv5ZFuiGiXQ?si=UqRQ4WULyM6Qv2Gy&t=165\">I was born a little too late to see the dream that they called America / See I only wanna be a free man but it’s against the law to sleep on the ground in God’s land\u003c/a>” felt more relevant than ever after the \u003ca href=\"https://www.kqed.org/news/11991340/supreme-court-says-laws-criminalizing-homeless-camping-do-not-violate-constitution\">Supreme Court’s Grants Pass decision criminalizing camping on public property\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png\" alt=\"\" width=\"1042\" height=\"776\" class=\"aligncenter size-full wp-image-13969123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png 1042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-768x572.png 768w\" sizes=\"auto, (max-width: 1042px) 100vw, 1042px\">\u003c/p>\n\u003cp>Sept. 3\u003cbr>\n\u003cstrong>Smoking Popes\u003cbr>\nGreat American Music Hall, San Francisco\u003c/strong>\u003cbr>\nThey dropped a minute or so of the Replacements’ “Can’t Hardly Wait” into the middle of “Gotta Know Right Now,” and I died right then and there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png\" alt=\"\" width=\"1144\" height=\"1002\" class=\"aligncenter size-full wp-image-13969125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-800x701.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-1020x893.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-160x140.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-768x673.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 5\u003cbr>\n\u003cstrong>Future and Metro Boomin\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nWhile Future isn’t a rap dinosaur by any means, when the transcendence of “March Madness” filled the arena, I had a sobering realization that the song is now nearly 10 years old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png\" alt=\"\" width=\"1140\" height=\"784\" class=\"aligncenter size-full wp-image-13969126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-768x528.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Sept. 16\u003cbr>\n\u003cstrong>Pulp\u003cbr>\nBill Graham Civic Auditorium, San Francisco\u003c/strong>\u003cbr>\nIt was a Monday night, tickets on Stubhub were literally $9, and Jarvis Cocker talked about Richard Brautigan living on Geary Street before soaring through “This Is Hardcore,” a perfect song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1582\" class=\"aligncenter size-full wp-image-13969114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Sept. 21\u003cbr>\n\u003cstrong>The Linda Lindas\u003cbr>\n924 Gilman, Berkeley\u003c/strong>\u003cbr>\nPerhaps the most wholesome punk show I’ve ever seen; I lost count of how many parents I ran into in the packed crowd, bringing their children to Gilman for the first time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png\" alt=\"\" width=\"1146\" height=\"828\" class=\"aligncenter size-full wp-image-13969112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png 1146w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-800x578.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-1020x737.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-768x555.png 768w\" sizes=\"auto, (max-width: 1146px) 100vw, 1146px\">\u003c/p>\n\u003cp>Sept. 23\u003cbr>\n\u003cstrong>Nicki Minaj\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI WISH I COULD QUIT YOU NICKI 🤷♂️\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png\" alt=\"\" width=\"1138\" height=\"770\" class=\"aligncenter size-full wp-image-13969113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-768x520.png 768w\" sizes=\"auto, (max-width: 1138px) 100vw, 1138px\">\u003c/p>\n\u003cp>Sept. 28\u003cbr>\n\u003cstrong>Built to Spill\u003cbr>\nThe Fillmore, San Francisco\u003c/strong>\u003cbr>\nThe new rhythm section shreds, the transition from “Twin Falls” into “Some” is better than hospital painkillers, and Doug Martsch’s beard has grown capable of knocking over tall buildings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png\" alt=\"\" width=\"1144\" height=\"846\" class=\"aligncenter size-full wp-image-13969115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-768x568.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 6\u003cbr>\n\u003cstrong>Billy Ocean\u003cbr>\nGraton Casino, Rohnert Park\u003c/strong>\u003cbr>\nA very long-overdue show in the Bay Area; Billy Ocean basically has six hits, but they are really, really good hits, and he still has \u003cem>that voice\u003c/em> — let’s hope we don’t have to wait another 20 years for him to return. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png\" alt=\"\" width=\"1134\" height=\"810\" class=\"aligncenter size-full wp-image-13969120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-1020x729.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-768x549.png 768w\" sizes=\"auto, (max-width: 1134px) 100vw, 1134px\">\u003c/p>\n\u003cp>Oct. 10\u003cbr>\n\u003cstrong>Bladee\u003cbr>\nThe Warfield, San Francisco\u003c/strong>\u003cbr>\nTwo years ago, with ecco2k, Bladee delivered a beautiful, joyful show at Complex in Oakland, and maybe fame really does curdle people, or else Bladee was simply leaning hard into the concept of \u003cem>Cold Visions\u003c/em>, because this time around, bleakness reigned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png\" alt=\"\" width=\"1140\" height=\"1006\" class=\"aligncenter size-full wp-image-13969122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-768x678.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>History of the Bay\u003cbr>\nThe Midway, San Francisco\u003c/strong>\u003cbr>\nThe Bay Area has an eternally deep well of unsung rap heroes, which means that as monumental as it is to get B-Legit, Kamaiyah, Souls of Mischief, Rick Rock and Mob Figaz on stage together, it still feels like a mere sliver of talent; shout out to Dregs One for playing the long game and building the history piece by piece. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png\" alt=\"\" width=\"1144\" height=\"972\" class=\"aligncenter size-full wp-image-13969124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-800x680.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-1020x867.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-768x653.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>D.R.I.\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003cbr>\nTwo people got thrown out, girls crowdsurfed over the pit, someone fell asleep on the stage, and afterward, talking to singer Kurt Brecht with swirling thoughts of 500 things to say, all I could muster was “Thank you for the great art you have given the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png\" alt=\"\" width=\"1142\" height=\"950\" class=\"aligncenter size-full wp-image-13969130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-800x665.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-1020x849.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-768x639.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Oct. 27\u003cbr>\n\u003cstrong>Phoenix Halloween Show\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nA classic Halloween-covers night, except this year at the Phoenix, Miss Minor’s insanely elaborate Britney Spears tribute — period-correct in wardrobe, set and choreography — capped the night, along with a giant balloon drop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png\" alt=\"\" width=\"1142\" height=\"1016\" class=\"aligncenter size-full wp-image-13969133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-800x712.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-1020x907.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-768x683.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Nov. 2\u003cbr>\n\u003cstrong>Kirk Franklin’s Reunion Tour\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nI went for the Clark Sisters, but the surprise of the night was Yolanda Adams, who, at 63, sent shivers down the spine; meanwhile, Kirk Franklin only had to play two piano notes before a spontaneous mass acapella sing-along of “Silver & Gold” broke out around the arena.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg\" alt=\"\" width=\"1920\" height=\"1996\" class=\"aligncenter size-full wp-image-13969144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-800x832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1478x1536.jpg 1478w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nov. 30\u003cbr>\n\u003cstrong>Victims Family\u003cbr>\nThe Big Easy, Petaluma\u003c/strong>\u003cbr>\nAfter Victims Family’s epic 40-song set to celebrate their 40th anniversary, I genuinely worried that I had permanent hearing loss, but you know, I wouldn’t have complained if this life-affirming show had been the last music I ever heard.\u003c/p>\n\n",
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"excerpt": "One can only review so many concerts. Here's a roundup of 30 stellar shows that didn't make the cut this year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it was the election anxiety. I went to see live music \u003cem>compulsively\u003c/em> in 2024 — over 50 shows, and that’s on top of another 20-odd plays, art exhibits, movies and events. Yes, it’s part of my job, but it’s also my connection to others, my spiritual practice, my therapy. And while I was able to review 15 live music shows for KQED by stars of \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">rap\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13962051/review-olivia-rodrigo-san-francisco-chase-center-guts-tour\">pop\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955312/review-green-day-fillmore-photos-san-francisco\">rock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">classical\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">jazz\u003c/a>, many others went unnoted.\u003c/p>\n\u003cp>There are dozens of reasons for all of us to see live music, and to especially \u003ca href=\"https://www.kqed.org/arts/11027790/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music\">seek out new music, no matter your age\u003c/a>. But in 2024, you’ll notice below, I also allowed myself the guilty pleasure of nostalgia. Here, then, are 30 shows I saw in 2024 which I didn’t review, now reviewed in just one sentence each — complete with bad photos from my phone.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg\" alt=\"\" width=\"1920\" height=\"1472\" class=\"aligncenter size-full wp-image-13969134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-800x613.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1020x782.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-768x589.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_4637-scaled-e1733464046796-1536x1178.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Jan. 14\u003cbr>\n\u003cstrong>David Hegarty\u003cbr>\nCastro Theatre, San Francisco\u003c/strong>\u003cbr>\nBefore the double feature of \u003cem>Blade Runner\u003c/em> and \u003cem>Robocop\u003c/em>, I made a point of writing down the beloved organist’s setlist: “Consider Yourself,” “S’Wonderful,” “This Could Be the Start of Something Big,” “A Wonderful Guy,” “Cheek to Cheek,” “That’s Entertainment” and, naturally, “San Francisco” (two weeks later, before a screening of \u003cem>2001\u003c/em>, he played “Also Sprach Zarathustra”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png\" alt=\"\" width=\"1294\" height=\"1126\" class=\"aligncenter size-full wp-image-13969132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-800x696.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-1020x888.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-160x139.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.41.41-PM-768x668.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Feb. 3\u003cbr>\n\u003cstrong>Howard Wiley\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nGod bless saxophonist Howard Wiley, who advertised a gospel music show and then opened his set with Ornette Coleman’s “The Face of the Bass.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg\" alt=\"\" width=\"1920\" height=\"1590\" class=\"aligncenter size-full wp-image-13969143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1020x845.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-768x636.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_5133-scaled-e1733463947410-1536x1272.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>MDC\u003cbr>\nThe Ivy Room, Albany \u003c/strong>\u003cbr>\nThis San Francisco punk band once \u003ca href=\"https://www.kqed.org/arts/12454758/bay-area-warehouse-scene-threatened-after-decades-of-incubating-art\">squatted inside the giant underground beer vats\u003c/a> of the former Hamm’s brewery on Bryant Street, just two and a half blocks from KQED’s current headquarters; at this haywire show, “Born to Die” still sounded tremendous, 43 years later. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png\" alt=\"\" width=\"1292\" height=\"1096\" class=\"aligncenter size-full wp-image-13969129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-800x679.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-1020x865.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.45.07-PM-768x651.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003c/p>\n\u003cp>Feb. 10\u003cbr>\n\u003cstrong>Deltrice\u003cbr>\nChris Club, Vallejo \u003c/strong>\u003cbr>\nI want Deltrice to sing the hook on almost every Bay Area rap song I hear.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/cellski.main_.jpg\" width=\"1286\" height=\"866\" class=\"size-full wp-image-13959762\">\u003c/p>\n\u003cp>Feb. 22\u003cbr>\n\u003cstrong>Cellski with the Top Chefs\u003cbr>\nBrick & Mortar Music Hall, San Francisco \u003c/strong>\u003cbr>\nThere is nothing like a whole city turning out to shower love on one of its own, who performed \u003ca href=\"https://www.instagram.com/p/C3rqbZIraS_/\">every single song\u003c/a> from \u003cem>Mr. Predicter\u003c/em> for its 30th anniversary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png\" alt=\"\" width=\"1286\" height=\"866\" class=\"aligncenter size-full wp-image-13969135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.48.20-PM-768x517.png 768w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003c/p>\n\u003cp>March 24\u003cbr>\n\u003cstrong>Lil Kayla\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nDear Lil Kayla, I apologize on behalf of Sonoma County that only 85 people came to your show, hope you give us another shot someday.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg\" alt=\"\" width=\"1920\" height=\"1320\" class=\"aligncenter size-full wp-image-13969128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/IMG_6004-1536x1056.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>March 28 (and 31)\u003cbr>\n\u003cstrong>Bruce Springsteen and the E Street Band\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI am not allowed to talk about Bruce Springsteen in public, because eventually someone spins their forefinger around their ear in the universal sign for “this guy’s crazy,” but suffice it to say, he opened with “Something In the Night” (!!) and when I got home I immediately bought a solo ticket to the second show. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png\" alt=\"\" width=\"1290\" height=\"994\" class=\"aligncenter size-full wp-image-13969136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-1020x786.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.51.05-PM-768x592.png 768w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003c/p>\n\u003cp>April 3\u003cbr>\n\u003cstrong>Danny Brown\u003cbr>\nRegency Ballroom, San Francisco\u003c/strong>\u003cbr>\nOpener Alice Longyu Gao bent minds with “Let’s Hope Heteros Fail, Learn and Retire” and Bruiser Wolf melted hearts with “Momma Was a Dopefiend,” but it’s Detroit’s era in rap, and Danny Brown still brought the heat (speaketh the forefather: “\u003ca href=\"https://www.youtube.com/watch?v=PUv_OIFmLwg\">My hoe got tats on her face, sell me them cookies from Oakland\u003c/a>”). \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png\" alt=\"\" width=\"1715\" height=\"1638\" class=\"aligncenter size-full wp-image-13969137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147.png 1715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-800x764.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1020x974.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-768x734.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.04-PM-e1733464012147-1536x1467.png 1536w\" sizes=\"auto, (max-width: 1715px) 100vw, 1715px\">\u003c/p>\n\u003cp>May 8\u003cbr>\n\u003cstrong>454\u003cbr>\nThe Independent, San Francisco\u003c/strong>\u003cbr>\nLet us all have the energy of 10 bowls of Frosted Flakes before we bound onstage and bounce, weave, skitter and float about for 40 minutes of unfiltered joy. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png\" alt=\"\" width=\"1526\" height=\"1384\" class=\"aligncenter size-full wp-image-13969138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM.png 1526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-800x726.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.54.36-PM-768x697.png 768w\" sizes=\"auto, (max-width: 1526px) 100vw, 1526px\">\u003c/p>\n\u003cp>May 18\u003cbr>\n\u003cstrong>The Piner High School Band\u003cbr>\nRose Parade, Santa Rosa\u003c/strong>\u003cbr>\nIt should be considered cruel and unusual punishment to force high school music students into military marching rituals, and yet I, a former band kid, still felt a strange sort of pride to see my alma mater persisting against brutal budget cuts to public school music programs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png\" alt=\"\" width=\"1298\" height=\"1276\" class=\"aligncenter size-full wp-image-13969140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-8.57.10-PM-768x755.png 768w\" sizes=\"auto, (max-width: 1298px) 100vw, 1298px\">\u003c/p>\n\u003cp>May 21\u003cbr>\n\u003cstrong>Too Short\u003cbr>\nLake Merritt Bandstand, Oakland\u003c/strong>\u003cbr>\nOakland Is the Most Amazing City In the World, Chapter 3,276: Too Short agreeing to this free afternoon show on the shore of the lake for thousands of people on a random Tuesday … to promote \u003cem>voter registration\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png\" alt=\"\" width=\"1275\" height=\"1162\" class=\"aligncenter size-full wp-image-13969141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971.png 1275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-800x729.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-1020x930.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-160x146.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.01.34-PM-e1733463982971-768x700.png 768w\" sizes=\"auto, (max-width: 1275px) 100vw, 1275px\">\u003c/p>\n\u003cp>May 29\u003cbr>\n\u003cstrong>Los Alegres del Barranco\u003cbr>\nJuilliard Park, Santa Rosa\u003c/strong>\u003cbr>\nThere is an attraction in \u003ca href=\"https://bohemian.com/listening-to-huey-lewis-outside-the-fence-at-the-sonoma-county-fair-isnt-all-that-bad/\">listening to concerts from outside the fence\u003c/a> — and just a few nights after watching Los Alegres del Barranco’s norteño corridos through the chain link, my daughter and I stood outside City Hall in San Francisco to hear Skrillex’s set wafting through the nighttime air.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png\" alt=\"\" width=\"1288\" height=\"1102\" class=\"aligncenter size-full wp-image-13969117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM.png 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.02.29-PM-768x657.png 768w\" sizes=\"auto, (max-width: 1288px) 100vw, 1288px\">\u003c/p>\n\u003cp>June 9\u003cbr>\n\u003cstrong>Gary Bartz\u003cbr>\nSFJAZZ, San Francisco \u003c/strong>\u003cbr>\nTruly (and I imagine guest trumpeter Ambrose Akinmusire agrees) all of us can only hope to be one-tenth as funny and creative as Gary Bartz when we, too, are 83. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png\" alt=\"\" width=\"1722\" height=\"1324\" class=\"aligncenter size-full wp-image-13969118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-800x615.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1020x784.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.03.23-PM-1536x1181.png 1536w\" sizes=\"auto, (max-width: 1722px) 100vw, 1722px\">\u003c/p>\n\u003cp>June 15\u003cbr>\n\u003cstrong>Houston Person\u003cbr>\nTown Plaza, Healdsburg \u003c/strong>\u003cbr>\nI played his version of “\u003ca href=\"https://www.youtube.com/watch?v=lR3K7msLNes\">Young, Gifted and Black\u003c/a>” for a week straight afterward.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg\" alt=\"\" width=\"1920\" height=\"1394\" class=\"aligncenter size-full wp-image-13969116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/E99FCECE-8347-4F39-87B5-E3D5B50892F3_1_201_a-1536x1115.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>July 6\u003cbr>\n\u003cstrong>Standing on the Corner\u003cbr>\nSFJAZZ, San Francisco\u003c/strong>\u003cbr>\nAcross a 13-song set of spaced-out songs like “Angel,” “Get Out the Ghetto” and “Genocide,” Gio Escobar recited original poetry, covered Chuck Berry and showed that New York, though it historically looks down on the Bay Area, has a bit of our experimental, political bent after all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1522\" class=\"aligncenter size-full wp-image-13969121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/A054A4D5-A61A-45BA-9A0B-F51B003D27C5_1_105_c-1536x1218.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Aug. 20\u003cbr>\n\u003cstrong>X\u003cbr>\nGuild Theatre, Menlo Park\u003c/strong>\u003cbr>\nI danced and danced and danced and danced and danced, and did not stop until an acoustic duet of John and Exene singing “\u003ca href=\"https://www.youtube.com/watch?v=V9zfrW0F2K8\">See How We Are\u003c/a>,” and only because it rendered my knees too weak to move. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png\" alt=\"\" width=\"1144\" height=\"936\" class=\"aligncenter size-full wp-image-13969119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-800x655.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-1020x835.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-160x131.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.09.39-PM-768x628.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 1\u003cbr>\n\u003cstrong>Fifteen\u003cbr>\nArlene Francis Center, Santa Rosa\u003c/strong>\u003cbr>\nThe lines “\u003ca href=\"https://youtu.be/fv5ZFuiGiXQ?si=UqRQ4WULyM6Qv2Gy&t=165\">I was born a little too late to see the dream that they called America / See I only wanna be a free man but it’s against the law to sleep on the ground in God’s land\u003c/a>” felt more relevant than ever after the \u003ca href=\"https://www.kqed.org/news/11991340/supreme-court-says-laws-criminalizing-homeless-camping-do-not-violate-constitution\">Supreme Court’s Grants Pass decision criminalizing camping on public property\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png\" alt=\"\" width=\"1042\" height=\"776\" class=\"aligncenter size-full wp-image-13969123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM.png 1042w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-800x596.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-1020x760.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.11.28-PM-768x572.png 768w\" sizes=\"auto, (max-width: 1042px) 100vw, 1042px\">\u003c/p>\n\u003cp>Sept. 3\u003cbr>\n\u003cstrong>Smoking Popes\u003cbr>\nGreat American Music Hall, San Francisco\u003c/strong>\u003cbr>\nThey dropped a minute or so of the Replacements’ “Can’t Hardly Wait” into the middle of “Gotta Know Right Now,” and I died right then and there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png\" alt=\"\" width=\"1144\" height=\"1002\" class=\"aligncenter size-full wp-image-13969125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-800x701.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-1020x893.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-160x140.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.14.15-PM-768x673.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Sept. 5\u003cbr>\n\u003cstrong>Future and Metro Boomin\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nWhile Future isn’t a rap dinosaur by any means, when the transcendence of “March Madness” filled the arena, I had a sobering realization that the song is now nearly 10 years old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png\" alt=\"\" width=\"1140\" height=\"784\" class=\"aligncenter size-full wp-image-13969126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.17.27-PM-768x528.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Sept. 16\u003cbr>\n\u003cstrong>Pulp\u003cbr>\nBill Graham Civic Auditorium, San Francisco\u003c/strong>\u003cbr>\nIt was a Monday night, tickets on Stubhub were literally $9, and Jarvis Cocker talked about Richard Brautigan living on Geary Street before soaring through “This Is Hardcore,” a perfect song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg\" alt=\"\" width=\"1920\" height=\"1582\" class=\"aligncenter size-full wp-image-13969114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/F3AE3AD0-48A6-482E-8102-017383C095FB_1_105_c-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Sept. 21\u003cbr>\n\u003cstrong>The Linda Lindas\u003cbr>\n924 Gilman, Berkeley\u003c/strong>\u003cbr>\nPerhaps the most wholesome punk show I’ve ever seen; I lost count of how many parents I ran into in the packed crowd, bringing their children to Gilman for the first time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png\" alt=\"\" width=\"1146\" height=\"828\" class=\"aligncenter size-full wp-image-13969112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM.png 1146w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-800x578.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-1020x737.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.25.55-PM-768x555.png 768w\" sizes=\"auto, (max-width: 1146px) 100vw, 1146px\">\u003c/p>\n\u003cp>Sept. 23\u003cbr>\n\u003cstrong>Nicki Minaj\u003cbr>\nChase Center, San Francisco\u003c/strong>\u003cbr>\nI WISH I COULD QUIT YOU NICKI 🤷♂️\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png\" alt=\"\" width=\"1138\" height=\"770\" class=\"aligncenter size-full wp-image-13969113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.27.28-PM-768x520.png 768w\" sizes=\"auto, (max-width: 1138px) 100vw, 1138px\">\u003c/p>\n\u003cp>Sept. 28\u003cbr>\n\u003cstrong>Built to Spill\u003cbr>\nThe Fillmore, San Francisco\u003c/strong>\u003cbr>\nThe new rhythm section shreds, the transition from “Twin Falls” into “Some” is better than hospital painkillers, and Doug Martsch’s beard has grown capable of knocking over tall buildings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png\" alt=\"\" width=\"1144\" height=\"846\" class=\"aligncenter size-full wp-image-13969115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.28.28-PM-768x568.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 6\u003cbr>\n\u003cstrong>Billy Ocean\u003cbr>\nGraton Casino, Rohnert Park\u003c/strong>\u003cbr>\nA very long-overdue show in the Bay Area; Billy Ocean basically has six hits, but they are really, really good hits, and he still has \u003cem>that voice\u003c/em> — let’s hope we don’t have to wait another 20 years for him to return. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png\" alt=\"\" width=\"1134\" height=\"810\" class=\"aligncenter size-full wp-image-13969120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-1020x729.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.29.39-PM-768x549.png 768w\" sizes=\"auto, (max-width: 1134px) 100vw, 1134px\">\u003c/p>\n\u003cp>Oct. 10\u003cbr>\n\u003cstrong>Bladee\u003cbr>\nThe Warfield, San Francisco\u003c/strong>\u003cbr>\nTwo years ago, with ecco2k, Bladee delivered a beautiful, joyful show at Complex in Oakland, and maybe fame really does curdle people, or else Bladee was simply leaning hard into the concept of \u003cem>Cold Visions\u003c/em>, because this time around, bleakness reigned.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png\" alt=\"\" width=\"1140\" height=\"1006\" class=\"aligncenter size-full wp-image-13969122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM.png 1140w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.31.18-PM-768x678.png 768w\" sizes=\"auto, (max-width: 1140px) 100vw, 1140px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>History of the Bay\u003cbr>\nThe Midway, San Francisco\u003c/strong>\u003cbr>\nThe Bay Area has an eternally deep well of unsung rap heroes, which means that as monumental as it is to get B-Legit, Kamaiyah, Souls of Mischief, Rick Rock and Mob Figaz on stage together, it still feels like a mere sliver of talent; shout out to Dregs One for playing the long game and building the history piece by piece. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png\" alt=\"\" width=\"1144\" height=\"972\" class=\"aligncenter size-full wp-image-13969124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM.png 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-800x680.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-1020x867.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-160x136.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.34.02-PM-768x653.png 768w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003c/p>\n\u003cp>Oct. 19\u003cbr>\n\u003cstrong>D.R.I.\u003cbr>\nNeck of the Woods, San Francisco\u003c/strong>\u003cbr>\nTwo people got thrown out, girls crowdsurfed over the pit, someone fell asleep on the stage, and afterward, talking to singer Kurt Brecht with swirling thoughts of 500 things to say, all I could muster was “Thank you for the great art you have given the world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png\" alt=\"\" width=\"1142\" height=\"950\" class=\"aligncenter size-full wp-image-13969130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-800x665.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-1020x849.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.36.36-PM-768x639.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Oct. 27\u003cbr>\n\u003cstrong>Phoenix Halloween Show\u003cbr>\nPhoenix Theatre, Petaluma\u003c/strong>\u003cbr>\nA classic Halloween-covers night, except this year at the Phoenix, Miss Minor’s insanely elaborate Britney Spears tribute — period-correct in wardrobe, set and choreography — capped the night, along with a giant balloon drop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png\" alt=\"\" width=\"1142\" height=\"1016\" class=\"aligncenter size-full wp-image-13969133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM.png 1142w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-800x712.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-1020x907.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Screenshot-2024-12-05-at-9.38.28-PM-768x683.png 768w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\">\u003c/p>\n\u003cp>Nov. 2\u003cbr>\n\u003cstrong>Kirk Franklin’s Reunion Tour\u003cbr>\nOakland Arena, Oakland\u003c/strong>\u003cbr>\nI went for the Clark Sisters, but the surprise of the night was Yolanda Adams, who, at 63, sent shivers down the spine; meanwhile, Kirk Franklin only had to play two piano notes before a spontaneous mass acapella sing-along of “Silver & Gold” broke out around the arena.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg\" alt=\"\" width=\"1920\" height=\"1996\" class=\"aligncenter size-full wp-image-13969144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-800x832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1020x1060.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-768x798.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/img_1409_720-1478x1536.jpg 1478w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nov. 30\u003cbr>\n\u003cstrong>Victims Family\u003cbr>\nThe Big Easy, Petaluma\u003c/strong>\u003cbr>\nAfter Victims Family’s epic 40-song set to celebrate their 40th anniversary, I genuinely worried that I had permanent hearing loss, but you know, I wouldn’t have complained if this life-affirming show had been the last music I ever heard.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RixIgKDjVfM\u003c/p>\n\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b1Y9w_sC8Vw\u003c/p>\n\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>[aside postID='arts_13962843']Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>[aside postID='arts_13955977']“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GM8gmSyeEsQ\u003c/p>\n\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RixIgKDjVfM'\n title='//www.youtube.com/embed/RixIgKDjVfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b1Y9w_sC8Vw'\n title='//www.youtube.com/embed/b1Y9w_sC8Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GM8gmSyeEsQ'\n title='//www.youtube.com/embed/GM8gmSyeEsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-10-best-jazz-shows-in-the-bay-area-this-fall",
"title": "The 10 Best Jazz Shows in the Bay Area This Fall",
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"headTitle": "The 10 Best Jazz Shows in the Bay Area This Fall | KQED",
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"content": "\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n",
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"excerpt": "Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ",
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"title": "The 10 Best Jazz Shows in the Bay Area This Fall | KQED",
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"headline": "The 10 Best Jazz Shows in the Bay Area This Fall",
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"source": "Fall Guide 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "chhoti-maa-indigenous-songbook-at-sfjazz",
"title": "Chhoti Maa’s Musical Ceremony for ‘Indigenous Songbook’ at SFJAZZ",
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"headTitle": "Chhoti Maa’s Musical Ceremony for ‘Indigenous Songbook’ at SFJAZZ | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Before the music can begin, Vreni Michelini Castillo lights copal and sage to smudge the cozy rehearsal space. Next, the rapper and singer, who goes by the moniker \u003c/span>\u003ca href=\"https://www.chhotimaa.com/music\">\u003cspan style=\"font-weight: 400\">Chhoti Maa\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, leads a prayer to give thanks to their ancestors for bringing them and five musicians together. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past 17 years, Chhoti Maa has been crafting an eclectic style of music that is an amalgamation of R&B, hip-hop, cumbia and what they dub “migrant soul” and “neufolk.” The Oakland musician will bring this sound to SFJAZZ as part of their August series, \u003c/span>\u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/summer-2024/?month=AUG\">\u003ci>\u003cspan style=\"font-weight: 400\">Indigenous Songbook\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which spotlights four different musicians who integrate their Indigenous heritage into their artistry. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Identifying as mixed — Kikapú from their mother’s side, Purépecha on their father’s, with European and African roots — Chhoti Maa has spent their whole life nurturing and learning more about these lineages. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chhoti Maa and their six-piece band rehearse in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in Guanajuato, Mexico, the artist remembers watching traditional Chichimeca ceremonial dance, or danza, outside their grandmother’s house. “Danza was always a part of my upbringing,” Chhoti Maa says. “And now that I’m a danzante, those sounds have influenced my music.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shakers, rattles made of shells and clay flutes from these ceremonial dances now feature prominently in Chhoti Maa’s songs. For their last two studio albums, Chhoti Maa collaborated with producers beto guapoflaco and Keith Avelino Hernandez. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While performing in Chile, a seed was planted: a woman musician asked if Chhoti Maa had ever considered performing with an all-femme and nonbinary band. Chhoti Maa sat on that idea for a year and finally felt invigorated to make it a reality. They slowly put the word out to a few peers in the Bay Area music scene, and through mutual connections they found the right instrumentalists: Carolina Acuña-Olvera on the congas\u003c/span> \u003cspan style=\"font-weight: 400\">and cajón, Rocio Cordova on the jarana, Bri Izaguirre on the drum pad, Camellia Boutros on bass and Corina Santos on violin. Together they make up the Indigo Ensemble. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chhoti Maa, right, and members of the Indigo Ensemble rehearse in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the band came together, Chhoti Maa performed with a much more lo-fi set-up, with one of their producers playing backing tracks and occasionally a few instruments. Indigo Ensemble marks the next phase of their artistry, a more expansive sound where the violin and jarana add texture to their voice as it undulates from husky to a soft high pitch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back at the rehearsal, Chhoti Maa and the band play “Quita Sal,” a track off their forthcoming album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">7 Luminarias\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. It’s a song inspired by the George Floyd uprisings, describing the collective pain that drove protesters, including Chhoti Maa, into the streets to call for an end to police violence. The group retakes the song multiple times, trying to figure out where Santos, the violinist, can have a solo moment. Although Chhoti Maa wrote this song, they don’t tell the others how to play, and there’s a profound openness to letting each musician experiment and embellish it in their own way. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960637\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer, songwriter, and rapper Chhoti Maa displays their name necklace in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Chhoti is so loving and humble, like super open to sharing the creative process,” reflects Rocio Cordova, the jarana player. “There’s no ego at all in wanting to have it Chhoti’s way.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the fourth take, the ensemble has settled on a faster-paced rhythm in the middle of the song. Congas and violin swell to accentuate Chhoti’s vocals expressing yearning and release. “It’s not just like a performance. It very much feels like a ceremony,” adds Cordova. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That ceremonial quality to Chhoti Maa’s music is no accident. In addition to sourcing inspiration from their Kikapú and Purepecha lineages, they’ve studied with master musicians including singer \u003c/span>\u003ca href=\"https://www.bobicespedes.com/\">\u003cspan style=\"font-weight: 400\">Bobi Céspedes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who performs in the Lucumi tradition; Zamora, a drumkeeper for the Wakan Wiya Two Spirit Drum; and \u003c/span>\u003ca href=\"https://www.richardhodges.com/ladzekpo/Bio.html\">\u003cspan style=\"font-weight: 400\">C.K. Ladzekpo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who composes and drums in the Ewe tradition of Ghana. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My teachers have helped me understand the range of my voice and also my responsibilities to both communities: Indigenous and the diasporic African community. And that I’m indebted and responsible to both,” explains Chhoti Maa.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to these cultural values, there’s often a throughline in Chhoti Maa’s music about connecting global struggles of protecting land and water. Take the song “Atiza,” which laments the displacement of Black and brown folks from their Californian communities. For the SFJAZZ performance, Chhoti Maa updates it with the lyric “viva Palestina\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">” or “long live Palestine,” to shed light on the current bombardment of Gaza that has uprooted civilians from their homes. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rocio Cordova, left, and Camellia Boutros, right, rehearse with Chhoti Maa in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bassist Boutros, who is of Palestinian and Lebanese ancestry, says, “This resistance element is very present in Chhoti’s music. And it speaks to me, there’s a lot of parallels and I’m just really happy to support it as a bass player.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chhoti credits this collaboration with the ensemble as critical to their growth. It’s an ethos that speaks to their own guiding principle of decolonization, what they define as shedding “the way in which colonialism wants us to be individualists, wants us to be selfish. But we have to reroute ourselves in traditions and reroute ourselves in Indigenous knowledge and Indigenous practices.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which is why Chhoti Maa’s show at SFJAZZ is not one to miss. They and the Indigo Ensemble will show what it means to breathe new life into one’s body of work while centering the musical lessons their ancestors and teachers have imparted. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Chhoti Maa performs two shows on \u003c/span>\u003c/i>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/chhoti-ma/\">\u003ci>\u003cspan style=\"font-weight: 400\">Saturday, Aug. 17 \u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">at SFJAZZ’s Joe Henderson Lab as part of ‘Indigenous Songbook.’ First show is at 7 p.m. and the second show is at 8:30 p.m. \u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Before the music can begin, Vreni Michelini Castillo lights copal and sage to smudge the cozy rehearsal space. Next, the rapper and singer, who goes by the moniker \u003c/span>\u003ca href=\"https://www.chhotimaa.com/music\">\u003cspan style=\"font-weight: 400\">Chhoti Maa\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, leads a prayer to give thanks to their ancestors for bringing them and five musicians together. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past 17 years, Chhoti Maa has been crafting an eclectic style of music that is an amalgamation of R&B, hip-hop, cumbia and what they dub “migrant soul” and “neufolk.” The Oakland musician will bring this sound to SFJAZZ as part of their August series, \u003c/span>\u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/summer-2024/?month=AUG\">\u003ci>\u003cspan style=\"font-weight: 400\">Indigenous Songbook\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which spotlights four different musicians who integrate their Indigenous heritage into their artistry. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Identifying as mixed — Kikapú from their mother’s side, Purépecha on their father’s, with European and African roots — Chhoti Maa has spent their whole life nurturing and learning more about these lineages. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-017-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chhoti Maa and their six-piece band rehearse in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in Guanajuato, Mexico, the artist remembers watching traditional Chichimeca ceremonial dance, or danza, outside their grandmother’s house. “Danza was always a part of my upbringing,” Chhoti Maa says. “And now that I’m a danzante, those sounds have influenced my music.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shakers, rattles made of shells and clay flutes from these ceremonial dances now feature prominently in Chhoti Maa’s songs. For their last two studio albums, Chhoti Maa collaborated with producers beto guapoflaco and Keith Avelino Hernandez. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While performing in Chile, a seed was planted: a woman musician asked if Chhoti Maa had ever considered performing with an all-femme and nonbinary band. Chhoti Maa sat on that idea for a year and finally felt invigorated to make it a reality. They slowly put the word out to a few peers in the Bay Area music scene, and through mutual connections they found the right instrumentalists: Carolina Acuña-Olvera on the congas\u003c/span> \u003cspan style=\"font-weight: 400\">and cajón, Rocio Cordova on the jarana, Bri Izaguirre on the drum pad, Camellia Boutros on bass and Corina Santos on violin. Together they make up the Indigo Ensemble. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960639\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-021-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chhoti Maa, right, and members of the Indigo Ensemble rehearse in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the band came together, Chhoti Maa performed with a much more lo-fi set-up, with one of their producers playing backing tracks and occasionally a few instruments. Indigo Ensemble marks the next phase of their artistry, a more expansive sound where the violin and jarana add texture to their voice as it undulates from husky to a soft high pitch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back at the rehearsal, Chhoti Maa and the band play “Quita Sal,” a track off their forthcoming album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">7 Luminarias\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. It’s a song inspired by the George Floyd uprisings, describing the collective pain that drove protesters, including Chhoti Maa, into the streets to call for an end to police violence. The group retakes the song multiple times, trying to figure out where Santos, the violinist, can have a solo moment. Although Chhoti Maa wrote this song, they don’t tell the others how to play, and there’s a profound openness to letting each musician experiment and embellish it in their own way. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960637\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-015-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer, songwriter, and rapper Chhoti Maa displays their name necklace in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Chhoti is so loving and humble, like super open to sharing the creative process,” reflects Rocio Cordova, the jarana player. “There’s no ego at all in wanting to have it Chhoti’s way.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the fourth take, the ensemble has settled on a faster-paced rhythm in the middle of the song. Congas and violin swell to accentuate Chhoti’s vocals expressing yearning and release. “It’s not just like a performance. It very much feels like a ceremony,” adds Cordova. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That ceremonial quality to Chhoti Maa’s music is no accident. In addition to sourcing inspiration from their Kikapú and Purepecha lineages, they’ve studied with master musicians including singer \u003c/span>\u003ca href=\"https://www.bobicespedes.com/\">\u003cspan style=\"font-weight: 400\">Bobi Céspedes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who performs in the Lucumi tradition; Zamora, a drumkeeper for the Wakan Wiya Two Spirit Drum; and \u003c/span>\u003ca href=\"https://www.richardhodges.com/ladzekpo/Bio.html\">\u003cspan style=\"font-weight: 400\">C.K. Ladzekpo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who composes and drums in the Ewe tradition of Ghana. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My teachers have helped me understand the range of my voice and also my responsibilities to both communities: Indigenous and the diasporic African community. And that I’m indebted and responsible to both,” explains Chhoti Maa.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to these cultural values, there’s often a throughline in Chhoti Maa’s music about connecting global struggles of protecting land and water. Take the song “Atiza,” which laments the displacement of Black and brown folks from their Californian communities. For the SFJAZZ performance, Chhoti Maa updates it with the lyric “viva Palestina\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">” or “long live Palestine,” to shed light on the current bombardment of Gaza that has uprooted civilians from their homes. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240627-CHHOTIMAA-JY-022-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rocio Cordova, left, and Camellia Boutros, right, rehearse with Chhoti Maa in San Francisco on Thursday, June 27, 2024. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bassist Boutros, who is of Palestinian and Lebanese ancestry, says, “This resistance element is very present in Chhoti’s music. And it speaks to me, there’s a lot of parallels and I’m just really happy to support it as a bass player.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chhoti credits this collaboration with the ensemble as critical to their growth. It’s an ethos that speaks to their own guiding principle of decolonization, what they define as shedding “the way in which colonialism wants us to be individualists, wants us to be selfish. But we have to reroute ourselves in traditions and reroute ourselves in Indigenous knowledge and Indigenous practices.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which is why Chhoti Maa’s show at SFJAZZ is not one to miss. They and the Indigo Ensemble will show what it means to breathe new life into one’s body of work while centering the musical lessons their ancestors and teachers have imparted. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Chhoti Maa performs two shows on \u003c/span>\u003c/i>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/chhoti-ma/\">\u003ci>\u003cspan style=\"font-weight: 400\">Saturday, Aug. 17 \u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">at SFJAZZ’s Joe Henderson Lab as part of ‘Indigenous Songbook.’ First show is at 7 p.m. and the second show is at 8:30 p.m. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even though he’s from Vancouver and based in Montreal, Kid Koala is Bay Area music royalty.\u003c/p>\n\u003cp>In the late ’90s, the turntablist joined forces with rapper \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a> and producer Dan the Automator. As \u003ca href=\"https://delthefunkyhomosapien.bandcamp.com/album/deltron-3030\">Deltron 3030\u003c/a>, they dropped a concept album like no other: a sci-fi epic about an intergalactic fight against corporate domination. It \u003ca href=\"https://www.passionweiss.com/2023/08/22/deltron-3030-review/\">went down as a classic\u003c/a>, with world-building that could be studied alongside that of Octavia Butler and Ursula K. LeGuin.\u003c/p>\n\u003cp>Kid Koala has used his scratching prowess in service of storytelling ever since. Along with his Deltron comrades, he worked on Gorillaz’s debut album in 2001. He’s written and illustrated graphic novels with accompanying soundtracks, and composed for hit films like \u003ci>Looper\u003c/i>, \u003ci>Baby Driver\u003c/i> and \u003ci>Scott Pilgrim vs. the World\u003c/i>. And more recently, in his most ambitious efforts, he’s created stage shows with puppeteers and string ensembles.\u003c/p>\n\u003cp>Two of those productions will soon arrive in the Bay Area for Kid Koala’s residency at SFJAZZ. From Aug. 1–4, he’ll present a live adaptation of his graphic novel \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-nufonia-must-fall/\">\u003cem>Nufonia Must Fall\u003c/em>\u003c/a>, a charming, quirky story about a robot falling in love with a human woman. The following weekend, Aug. 8–11, he’ll stage \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-the-storyville-mosquito/\">\u003cem>The Storyville Mosquito\u003c/em>\u003c/a>, a surprisingly tender tale about an insect chasing his dreams of musical fame and fortune.\u003c/p>\n\u003cp>https://youtu.be/iXqr5iZCMJI?si=X8idTZO5dBBUimuD\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both of these shows play out like films that come together live on stage. Puppeteers bring characters to life on hand-built sets while cinematographers capture the action. The audience can look up at a screen and watch the story unfold like they would at a movie theater, only to look down and see it being acted out in real time. Meanwhile, Kid Koala performs a live score on turntables and keyboards, accompanied by a string ensemble and Foley artists doing sound effects.\u003c/p>\n\u003cp>Even after decades of touring with huge names like Radiohead and A Tribe Called Quest, Kid Koala says \u003ci>Nufonia Must Fall\u003c/i> and \u003cem>The\u003c/em> \u003ci>Storyville Mosquito\u003c/i> have been the most fun he’s had on stage. Each production is a delicate feat of teamwork and timing. “I’ve never felt that kind of synergy with everybody on stage and even with the audience, who know that at any moment the show can fall apart,” says Kid Koala, whose real name is Eric San. “But we keep it together somehow.”\u003c/p>\n\u003cp>https://youtu.be/66Nh_Os-tHE?si=KHFpG5QGDJTtXxif\u003c/p>\n\u003cp>\u003cem>Nufonia Must Fall \u003c/em>has been touring for over a decade, and a key collaborator in developing it was director K.K. Barrett, an Oscar-winning production designer who has collaborated with Spike Jonze on films like \u003ci>Adaptation.\u003c/i>, \u003ci>Her\u003c/i> and \u003ci>Being John Malkovich\u003c/i>.\u003c/p>\n\u003cp>After meeting Kid Koala backstage at one of his shows, Barrett immediately got on board. Over the years, \u003cem>Nufonia Must Fall \u003c/em>and\u003cem> The Storyville Mosquito\u003c/em> have only grown more intricate. Each features 70 puppets, live special effects and elaborate filming techniques that mimic drone and crane shots.\u003c/p>\n\u003cp>Both shows have a quaint, old time-y aesthetic that stems from Kid Koala’s early love of Charlie Chaplin films. He watched them as a child with his grandmother who only spoke Cantonese, and grew to appreciate how physical comedy can overcome generational and language barriers.\u003c/p>\n\u003cfigure id=\"attachment_13961646\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1920x1284.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A robot faces his own obsolescence when a new model comes to town in ‘Nufonia Must Fall.’ \u003ccite>(Pierre Borasci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala’s two touring productions are also dialogue-free, which has enabled him to take them to five continents. Whether they’re in San Francisco, Tokyo or Abu Dhabi, he and his collaborators look for ways to add nods to local audiences — sometimes updating sets two hours before the show.\u003c/p>\n\u003cp>Kid Koala’s favorite part of these project is “challenges that our team kind of sets up for ourselves,” he reflects. “How do we make the scene funny, or how do we make the scene more poignant? Or how do we make the music more grandiose?”\u003c/p>\n\u003cfigure id=\"attachment_13961647\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1920x1440.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kid Koala’s ‘The Storyville Mosquito’ is a feel-good story of a mosquito finding his voice. \u003ccite>(KKP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala is forever drawing and tinkering with musical hardware in his \u003ca href=\"https://youtu.be/V7QNzk8A_E4?si=pUOh3YUGxT6nP3js\">laboratory-like Montreal studio\u003c/a>, looking for ways to push his creativity forward. He teamed up with Montreal production company Outsiders on his first feature film, which is an adaptation of his 2011 graphic novel \u003ci>Space Cadet\u003c/i>, about a robot who raises a young girl who grows up to be a space explorer.\u003c/p>\n\u003cp>“Even though they’re lightyears away from each other, they have this connectivity,” he says. “It deals with the cycles of generations and loss. … I remember it was dealing with my grandmother passing and trying to process that somehow. But then also I was expecting my first daughter.” [aside postid='arts_13961349']\u003c/p>\n\u003cp>At the moment, Kid Koala is in the process of wrapping up the credit sequence, and he expects \u003ci>Space Cadet\u003c/i> to hit the film festival circuit next year. This fall, he has a few music festivals lined up with Deltron 3030, including the sold-out Portola Festival in San Francisco on Sept. 28. The trio is working on new music, too. Dan the Automator just sent him three new tracks he’s cooked up with Del.\u003c/p>\n\u003cp>But before Kid Koala can think about what turntable effects he’ll add, he has boxes of puppets to unpack as he prepares to take the stage at SFJAZZ next week. “The energy we get from the crowd in SF is amazing,” he says with a smile, “so very much looking forward to that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kid Koala presents ‘Nufonia Must Fall’ at SFJAZZ Aug. 1-4, followed by ‘The Storyville Mosquito’ Aug. 8-11. \u003ca href=\"https://www.sfjazz.org/calendar/?month=8.2024&series=68550\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though he’s from Vancouver and based in Montreal, Kid Koala is Bay Area music royalty.\u003c/p>\n\u003cp>In the late ’90s, the turntablist joined forces with rapper \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a> and producer Dan the Automator. As \u003ca href=\"https://delthefunkyhomosapien.bandcamp.com/album/deltron-3030\">Deltron 3030\u003c/a>, they dropped a concept album like no other: a sci-fi epic about an intergalactic fight against corporate domination. It \u003ca href=\"https://www.passionweiss.com/2023/08/22/deltron-3030-review/\">went down as a classic\u003c/a>, with world-building that could be studied alongside that of Octavia Butler and Ursula K. LeGuin.\u003c/p>\n\u003cp>Kid Koala has used his scratching prowess in service of storytelling ever since. Along with his Deltron comrades, he worked on Gorillaz’s debut album in 2001. He’s written and illustrated graphic novels with accompanying soundtracks, and composed for hit films like \u003ci>Looper\u003c/i>, \u003ci>Baby Driver\u003c/i> and \u003ci>Scott Pilgrim vs. the World\u003c/i>. And more recently, in his most ambitious efforts, he’s created stage shows with puppeteers and string ensembles.\u003c/p>\n\u003cp>Two of those productions will soon arrive in the Bay Area for Kid Koala’s residency at SFJAZZ. From Aug. 1–4, he’ll present a live adaptation of his graphic novel \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-nufonia-must-fall/\">\u003cem>Nufonia Must Fall\u003c/em>\u003c/a>, a charming, quirky story about a robot falling in love with a human woman. The following weekend, Aug. 8–11, he’ll stage \u003ca href=\"https://www.sfjazz.org/tickets/productions/2024-summer-sessions/kid-koala-the-storyville-mosquito/\">\u003cem>The Storyville Mosquito\u003c/em>\u003c/a>, a surprisingly tender tale about an insect chasing his dreams of musical fame and fortune.\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/iXqr5iZCMJI'\n title='//www.youtube.com/embed/iXqr5iZCMJI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both of these shows play out like films that come together live on stage. Puppeteers bring characters to life on hand-built sets while cinematographers capture the action. The audience can look up at a screen and watch the story unfold like they would at a movie theater, only to look down and see it being acted out in real time. Meanwhile, Kid Koala performs a live score on turntables and keyboards, accompanied by a string ensemble and Foley artists doing sound effects.\u003c/p>\n\u003cp>Even after decades of touring with huge names like Radiohead and A Tribe Called Quest, Kid Koala says \u003ci>Nufonia Must Fall\u003c/i> and \u003cem>The\u003c/em> \u003ci>Storyville Mosquito\u003c/i> have been the most fun he’s had on stage. Each production is a delicate feat of teamwork and timing. “I’ve never felt that kind of synergy with everybody on stage and even with the audience, who know that at any moment the show can fall apart,” says Kid Koala, whose real name is Eric San. “But we keep it together somehow.”\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/66Nh_Os-tHE'\n title='//www.youtube.com/embed/66Nh_Os-tHE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Nufonia Must Fall \u003c/em>has been touring for over a decade, and a key collaborator in developing it was director K.K. Barrett, an Oscar-winning production designer who has collaborated with Spike Jonze on films like \u003ci>Adaptation.\u003c/i>, \u003ci>Her\u003c/i> and \u003ci>Being John Malkovich\u003c/i>.\u003c/p>\n\u003cp>After meeting Kid Koala backstage at one of his shows, Barrett immediately got on board. Over the years, \u003cem>Nufonia Must Fall \u003c/em>and\u003cem> The Storyville Mosquito\u003c/em> have only grown more intricate. Each features 70 puppets, live special effects and elaborate filming techniques that mimic drone and crane shots.\u003c/p>\n\u003cp>Both shows have a quaint, old time-y aesthetic that stems from Kid Koala’s early love of Charlie Chaplin films. He watched them as a child with his grandmother who only spoke Cantonese, and grew to appreciate how physical comedy can overcome generational and language barriers.\u003c/p>\n\u003cfigure id=\"attachment_13961646\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-Nufonia-Must-Fall-photo-by-Pierre-Borasci-1920x1284.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A robot faces his own obsolescence when a new model comes to town in ‘Nufonia Must Fall.’ \u003ccite>(Pierre Borasci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala’s two touring productions are also dialogue-free, which has enabled him to take them to five continents. Whether they’re in San Francisco, Tokyo or Abu Dhabi, he and his collaborators look for ways to add nods to local audiences — sometimes updating sets two hours before the show.\u003c/p>\n\u003cp>Kid Koala’s favorite part of these project is “challenges that our team kind of sets up for ourselves,” he reflects. “How do we make the scene funny, or how do we make the scene more poignant? Or how do we make the music more grandiose?”\u003c/p>\n\u003cfigure id=\"attachment_13961647\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/KID-KOALA-The-Storyville-Mosquito-CREDIT-KKP-1920x1440.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kid Koala’s ‘The Storyville Mosquito’ is a feel-good story of a mosquito finding his voice. \u003ccite>(KKP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Koala is forever drawing and tinkering with musical hardware in his \u003ca href=\"https://youtu.be/V7QNzk8A_E4?si=pUOh3YUGxT6nP3js\">laboratory-like Montreal studio\u003c/a>, looking for ways to push his creativity forward. He teamed up with Montreal production company Outsiders on his first feature film, which is an adaptation of his 2011 graphic novel \u003ci>Space Cadet\u003c/i>, about a robot who raises a young girl who grows up to be a space explorer.\u003c/p>\n\u003cp>“Even though they’re lightyears away from each other, they have this connectivity,” he says. “It deals with the cycles of generations and loss. … I remember it was dealing with my grandmother passing and trying to process that somehow. But then also I was expecting my first daughter.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the moment, Kid Koala is in the process of wrapping up the credit sequence, and he expects \u003ci>Space Cadet\u003c/i> to hit the film festival circuit next year. This fall, he has a few music festivals lined up with Deltron 3030, including the sold-out Portola Festival in San Francisco on Sept. 28. The trio is working on new music, too. Dan the Automator just sent him three new tracks he’s cooked up with Del.\u003c/p>\n\u003cp>But before Kid Koala can think about what turntable effects he’ll add, he has boxes of puppets to unpack as he prepares to take the stage at SFJAZZ next week. “The energy we get from the crowd in SF is amazing,” he says with a smile, “so very much looking forward to that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kid Koala presents ‘Nufonia Must Fall’ at SFJAZZ Aug. 1-4, followed by ‘The Storyville Mosquito’ Aug. 8-11. \u003ca href=\"https://www.sfjazz.org/calendar/?month=8.2024&series=68550\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The only guarantee about the Brooklyn-based musical ensemble Standing on the Corner is that there are no guarantees. \u003c/p>\n\u003cp>The group, founded nearly a decade ago, has played both avant-garde jazz sets and lo-fi beat sets. They’ve soundtracked afrofuturist films. They’ve performed at radio station benefits, and even acupuncture sessions. \u003c/p>\n\u003cp>On Saturday, the group, led on organ by Puerto Rican multidisciplinarian Gio Escobar, headlines a half-day festival at SFJAZZ while a who’s-who of Bay Area grassroots collectives and artists take over the building’s side rooms and upstairs lobby.\u003c/p>\n\u003cp>It’s the first time Standing on the Corner has played the Bay Area since 2017, opening for King Krule at the Fillmore and performing molasses-slathered renditions of “Body and Soul” and “My Funny Valentine” that handily predated the \u003ca href=\"https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/\">slowed ‘n’ reverbed TikTok trend\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg\" alt=\"\" width=\"1920\" height=\"890\" class=\"size-full wp-image-13960645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1536x712.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Zachary James Watkins and Maylee Todd also perform at Saturday’s mini-festival, coproduced by the Bay Area collective Smartbomb. \u003ccite>(Courtesy Smartbomb / Brittany Carmichael )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the seven years since, the group has collaborated with film director \u003ca href=\"https://www.youtube.com/watch?v=PEwQV6RRrzQ\">Melvin Van Peebles\u003c/a>, the rapper \u003ca href=\"https://www.youtube.com/watch?v=5vVHPRZ21iE\">Earl Sweatshirt\u003c/a>, hip-hop pioneers the Last Poets and the singer \u003ca href=\"https://www.youtube.com/watch?v=wrrjls-oxFo\">Solange\u003c/a>. After two dizzyingly creative independent releases, Standing on the Corner signed a record contract with XL Recordings but have not released a proper album since, preferring instead to self-release live cassettes and stage elaborate installations. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saturday’s show, co-produced by the Bay’s \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a> collective, also features live sets by \u003ca href=\"https://www.kqed.org/arts/11864342/the-time-traversing-sound-of-oaklands-black-spirituals\">Zachary James Watkins\u003c/a>, Maylee Todd, Musele Project and Diego Gaeta, and an art market with Smartbomb DJs and vendors from \u003ca href=\"https://www.kqed.org/arts/13919544/eternal-now-west-oakland-store-will-bundy-ali-madigan\">Eternal Now\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a> and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Standing on the Corner plays Saturday, July 6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/sfjazz-x-smartbomb/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only guarantee about the Brooklyn-based musical ensemble Standing on the Corner is that there are no guarantees. \u003c/p>\n\u003cp>The group, founded nearly a decade ago, has played both avant-garde jazz sets and lo-fi beat sets. They’ve soundtracked afrofuturist films. They’ve performed at radio station benefits, and even acupuncture sessions. \u003c/p>\n\u003cp>On Saturday, the group, led on organ by Puerto Rican multidisciplinarian Gio Escobar, headlines a half-day festival at SFJAZZ while a who’s-who of Bay Area grassroots collectives and artists take over the building’s side rooms and upstairs lobby.\u003c/p>\n\u003cp>It’s the first time Standing on the Corner has played the Bay Area since 2017, opening for King Krule at the Fillmore and performing molasses-slathered renditions of “Body and Soul” and “My Funny Valentine” that handily predated the \u003ca href=\"https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/\">slowed ‘n’ reverbed TikTok trend\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg\" alt=\"\" width=\"1920\" height=\"890\" class=\"size-full wp-image-13960645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1536x712.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Zachary James Watkins and Maylee Todd also perform at Saturday’s mini-festival, coproduced by the Bay Area collective Smartbomb. \u003ccite>(Courtesy Smartbomb / Brittany Carmichael )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the seven years since, the group has collaborated with film director \u003ca href=\"https://www.youtube.com/watch?v=PEwQV6RRrzQ\">Melvin Van Peebles\u003c/a>, the rapper \u003ca href=\"https://www.youtube.com/watch?v=5vVHPRZ21iE\">Earl Sweatshirt\u003c/a>, hip-hop pioneers the Last Poets and the singer \u003ca href=\"https://www.youtube.com/watch?v=wrrjls-oxFo\">Solange\u003c/a>. After two dizzyingly creative independent releases, Standing on the Corner signed a record contract with XL Recordings but have not released a proper album since, preferring instead to self-release live cassettes and stage elaborate installations. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday’s show, co-produced by the Bay’s \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a> collective, also features live sets by \u003ca href=\"https://www.kqed.org/arts/11864342/the-time-traversing-sound-of-oaklands-black-spirituals\">Zachary James Watkins\u003c/a>, Maylee Todd, Musele Project and Diego Gaeta, and an art market with Smartbomb DJs and vendors from \u003ca href=\"https://www.kqed.org/arts/13919544/eternal-now-west-oakland-store-will-bundy-ali-madigan\">Eternal Now\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a> and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Standing on the Corner plays Saturday, July 6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/sfjazz-x-smartbomb/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
},
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"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. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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